Partitions Numériques de Let's Hear It For The Boy pour Chorale SATB

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Let's Hear It For The Boy
Chorale SATB

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.787250 Composed by Greg Bartholomew. Concert,Contemporary,Folk,Patriotic,Standards. Octavo. 16 pages. Burke & Bagley #49747. Published by Burke & Bagley (A0.787250). SONG OF THE MOUNTAINS is a setting for mixed (SSAATB) choir with piano accompaniment of text adapted from prose by American naturalist John Muir (1838-1914). Commissioned for the Combined Choirs of St. Joseph's School, Seattle, directed by Rick Boyle, who premiered the piece at Benaroya Hall's Nordstrom Recital Hall on May 6, 2004, in the second annual New Works New Hope concert for the benefit of Gilda's Club Seattle. The piece was revised in 2007 and the premiere of the revised score was given on November 16, 2007, by the Queens College Chorus, Cindy Bell conducting, at the Aaron Copland School of Music in New York. It was selected by the Portland Vocal Consort for their 2013 Best of the Northwest program. Duration ca. 6 minutes. Conductor Cindy Bell says, Driven by a refreshing text of American naturalist John Muir, Bartholomew has created an accessible work that flows easily through both key and meter changes, and features expressive, lyric melodies contrasted by exciting rhythmic drive. Song of the Mountains is almost cantata-like, or through-composed, in that each line of Muir's text receives equal and interesting interpretation. Occasional use of the triplet rhythm creates both a relaxing effect (grasses cease waving) and driving sense of forward motion (Vibrating!). Effective use of dynamics and interweaving of choral parts make for each section having a musical life of its own. Follow along in the score as you listen to a performance in this video: https://www.youtube.com/watch?v=5VVW1Ah6kqE SONG OF THE MOUNTAINS Climb the mountains and get their good tidings. Nature's peace will flow into you as sunshine flows into trees. The winds will blow their freshness into you, and the storms their energy, while cares drop off like autumn leaves. Here is calm so deep, grasses cease waving. Everything in wild nature fits into us, as if truly part and parent of us. The sun shines not on us but in us. The rivers flow not past, but through us, thrilling, tingling, vibrating every fiber and cell of the substance of our bodies, Making them glide and sing. The trees wave and the flowers bloom in our bodies as in our souls, and every bird song, wind song, and tremendous storm song of the rocks in the heart of the mountain, is our song, our very own, and sings our love.

SATB choir unaccompanied - Medium - Digital Download SKU: MQ.8320-E Composed by Ronald Perera. Advanced/Collegiate. Secular, Christmas, Christmas-Sacred. Octavo. 14 pages. Duration 4 minutes, 40 seconds. E. C. Schirmer Music Company - Digital #8320-E. Published by E. C. Schirmer Music Company - Digital (MQ.8320-E). This setting of the well known Christmas poem 'I Heard the Bells on Christmas Day' restores some of the language that is commonly left out of most hymnals. This setting restores some of the anguish associated with the Civil War and allows for a tension not often associated with this text. A powerful setting. The title of the original Longfellow poem is 'Christmas Bells.' Charles Appleton Longfellow was the eldest son of the famous poet Henry Wadsworth Longfellow and Fannie Elizabeth Appleton, who lived in Cambridge, Massachusetts. In March of 1863, with the Civil War then in its third year, nineteen year old Charley ran away to Washington to join the Union Army. He presented himself for enlistment to the commander of Battery A of the 1st Massachusetts Artillery, who knew the boy. The officer contacted Henry who reluctantly gave his permission for the boy to enlist. Charley proved himself such an exceptional soldier that he was soon offered a commission as a Second Lieutenant of Artillery. He first saw action at the Battle of Chancellorsville. In June he was briefly invalided home following a bout of typhoid fever and malaria, rejoining his unit in August. Then in November, during the Battle of New Hope Church, Charley was shot through the left shoulder, the bullet just grazing his spine. He narrowly avoided being paralyzed. Henry received word of Charleyâ€™s wounding on December 1, and he and a younger son went immediately to Washington, where Charley was in hospital, and brought him home to Cambridge. It was while nursing his son in his slow recovery that Henry Wadsworth Longfellow composed this poem during Christmas, 1863. -Ronald PereraDuration: 4:40.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1032091 By Naughty Boy Featuring Emeli Sande. By Emeli Sande, Harry Craze, and Hugo Chegwin. Arranged by Julian Hay. A Cappella,Contemporary,Pop,Soul. Octavo. 7 pages. Julian Hay #6024773. Published by Julian Hay (A0.1032091). This arrangement was commissioned for, and premiered by, Voices Co. Pop A Cappella Academy, with an ensemble of 20 voices. It is versatile and catchy, and has also been performed by our Vocal Bands with one voice per part, as well as our Kids A Cappella class.This arrangement has a gospel vibe (complete with a shout chorus), but with the groove of the original track provided by the addition of rhythm and bass.VOCAL LAYOUT:The melody, or lead line, is divided amongst the vocal parts to give variety. The B.G (background) parts replicate the instrumental accompaniment of the original track, filling out the arrangement and creating the contemporary texture that is at the heart of Pop A Cappella. When it's performed, it should be heavy on the rhythm and bass! The Rhythm (Beatbox) and Bass should be a feature, and they provide the arrangement with the groove and vibe it needs.The dynamics give an indication which vocal parts should be strongest at any given moment, but changes may need to be made depending on the number / balance of singers, and the strengths of each vocal section. As a general rule, the melody or lead should be strongest, followed by any harmony parts (those with lyrics), followed by any background parts (Mmm's / Dmm's, etc).The full arrangement is scored for SATB including clicking, clapping and Vocal Percussion (beatboxing). The song also works as SAT and could be transposed into a higher key to be delivered by a treble ensemble.RHYTHM & BASS:This Beatboxing part is suitable for beginners, and is made up of groupings of patterns. Specific Beatboxing notes are included in their own section within the Beatboxing score.If your ensemble is without a low bass or a beatboxer you could consider the following options.- Use electric bass guitar playing the bass part- Use a drum kit or drum box (Cajon)- Use a piano to provide some simple background accompanimentAlways click and clap on the off beats (2 and 4).PERSONAL ASSISTANCE:If you need any assistance please don't hesitate to get in touch with us directly, we'd be happy to reply to any questions via email, or you can also book in a 1:1 consultation between your M.D and Julian Hay, or a Zoom workshop with your ensemble for specific feedback:E. hello@voicesco.nzW. www.voicesco.nz