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Ants in My Pants: Score
Chorale SATB
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As the Deer / Hallelujah medley SATB + Piano (complete score + single parts)
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.904846 Composed by Keith A…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.904846 Composed by Keith Armstead and Martin Nystrom. Arranged by A. Mazzer editing by Marco Borsoi. Christian,Gospel,Pop,Sacred. Octavo. 21 pages. Marco Borsoi #3432511. Published by Marco Borsoi (A0.904846). The two pieces, which are composed in a Medley, are As the Deer and Hallelujah, Oh Lord we praise your name. They belong, the first to the repertoire of white religious music, generally called Christian Music, which is characterized by a clear influence of the Country and Pop genre and the other to the repertoire of Gospel Music, Afro-American religious music, born in the Christian-Methodist churches in the '30s. The author of As the Deer is Martin J. Nystrom, American composer who, based on a simple and very effective chord progression, resumes the beginning of Psalm 42: As the deer pants for streams of water, so my soul pants for you, my God ... (Psalm 42, 1-2) The author of Hallelujah, Oh Lord we praise your name is Keith Armstead, minister of music at King George Church of God in King George, VA. The song, with a typical Gospel atmosphere, is characterized by the solo vs. chorus mode, that is to say a short singing phrase performed by a single singer (in this arrangement performed by sopranos) alternates the response of the whole choir. The song is included in the album You can count on Jesus, produced by Armstead and published in 2003.
$10.99
9.87 €
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Chorale SATB
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Keith Armstead and Martin Nystrom
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A
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As the Deer / Hallelujah medley SATB + Piano
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Marco Borsoi
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SheetMusicPlus
Anim Zemiros
Chorale SATB
Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909…
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Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.
$3.00
2.69 €
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Chorale SATB
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Stanley M Hoffman
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Stanley M Hoffman
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Anim Zemiros
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stanleymhoffman.com
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SheetMusicPlus
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