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29
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51
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22
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6
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2
Instruments en Do
1
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11
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3
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6
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4
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31
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10
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4
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29
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Contrebasse (partie séparée)
6
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34
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22
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7
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--INSTRUMENTS--
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Vous avez sélectionné:
Swing State
Chorale SATB
Partitions à imprimer
4 partitions trouvées
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The Night Has A Thousand Eyes
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Jazz
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Buddy Bernier and Jerry Braini
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Darmon Meader
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The Night Has A Thousand Eyes
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Darmon Meader Music
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SheetMusicPlus
Rhythm Section Voice (SATB divisi) - Level 4 - SKU: A0.1294448 Composed by Buddy Bernier and Jerry Brainin. Arranged by Darmon Meader. Jazz. Vocal Jazz ...
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Rhythm Section Voice (SATB divisi) - Level 4 - SKU: A0.1294448 Composed by Buddy Bernier and Jerry Brainin. Arranged by Darmon Meader. Jazz. Vocal Jazz Ensemble. 52 pages. Darmon Meader Music #884836. Published by Darmon Meader Music (A0.1294448). Looking for an exciting up-tempo show opener? Check out my arrangement of The Night Has a Thousand Eyes. This SSATB samba/swing standard will give your group a solid workout. Plenty of full ensemble sections with a few short lyric solos, and room for a nice scat or piano solo. A classic shout chorus section finishes things out. I arranged this in 2013 for the Florida Music Educators All-State VJE, and am now making it available to everyone. Give it a try!PDF download will include SSATB Octavo, Piano, Bass, Drums and Full Score. There are also optional fully-notated Piano and Bass parts included for less experienced players.
$75.00
Mr. P.c.
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Jazz
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John Coltrane
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Gerhard Guter
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Mr. P.c.
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Gerhard Guter
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - SKU: A0.844244 By John Coltrane. By John Coltrane. Arranged by Gerhard Guter. Jazz. 10 pages. Gerhard Guter #4267...
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Choral Choir,Choral (SATB) - Level 4 - SKU: A0.844244 By John Coltrane. By John Coltrane. Arranged by Gerhard Guter. Jazz. 10 pages. Gerhard Guter #4267419. Published by Gerhard Guter (A0.844244). If you’re looking for an up-tempo, minor blues swing with plenty of space for scatting and instrumental improvisation, then dig P.C.! This arrangement of the John Coltrane classic, which pays tribute to legendary jazz bassist and Miles Davis compatriot Paul Chambers, provides an exciting introduction, statement of the theme in varied textures, a challenging (optional) soli, and room for lots of energetic drum solos. Following an introductory figure reminiscent of Miles Davis and Victor Feldman’s well-known Seven Steps to Heaven collaboration, the arrangement features two optional background choruses to keep the blowing fresh and interesting. After the improvisation, the drums and piano drop out, sending off a challenging, optional soli (18 second mark in demo) featuring a doubled, walking vocal and acoustic bassline. As this section concludes, the acoustic bass drops out and the drums re-enter, propelling a fugal statement of the melody (25 second mark in demo). Following a return to the head, the arrangement modulates upward by whole step to its exciting conclusion. Piano, bass, and drums read off the included composite rhythm section part. The arrangement, which makes prominent use of sharp ninth chords during the head, is a great teaching tool for basses and altos in any vocal jazz ensemble! Demo performed by Christine Guter, Gerhard Guter, and Dina Humble Backing tracks available here: http://tiny.cc/mpnsuz Â
$3.99
The Gift to Sing - SATB choir
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Chorale SATB
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Gospel Spirituel
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Musique Sacrée
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Francis Kayali
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The Gift to Sing - SATB choir
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Francis Kayali
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.973048 Composed by Francis Kayali. 20th Century,Contemporary. Octavo. 19 pages. Francis Kayali #6230277. Published by Fran...
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Choral Choir (SATB) - SKU: A0.973048 Composed by Francis Kayali. 20th Century,Contemporary. Octavo. 19 pages. Francis Kayali #6230277. Published by Francis Kayali (A0.973048). The Gift to Sing is a poem by James Weldon Johnson (1871-1938) published in 1917. The central theme of the text is one of optimism and resilience, using the power of song – meaning, more broadly, art or any kind of artful, heightened expression – to overcome adversity. Although the poem can be interpreted broadly to pertain to any kind of struggle, it is likely that Johnson, as a civil-rights activist was alluding more specifically to the oppression African-Americans in the United States, a struggle that continues to this day, in 2020. I composed this setting in September of 2020, right after the Black Lives Matter protests that took place that summer, so current events played a role in this interpretation on my part as well. If one reads the poem as pertaining the continued struggle of African Americans, some passages may come across as ambiguous. For instance, I brood not over the broken past should not be taken as suggesting that the horrors of the past should be forgotten, but as an injunction that the memory of these horrors should not discourage us or diminish our resolve to work toward overcoming the injustices. The musical inspiration for the opening of the piece comes from the song Lonesome Valley, which starts with a pentatonic melodic gesture. The pentatonic scale is often used in African American Spirituals, Christian hymns, and folksongs (e.g., Swing Low, Sweet Chariot, Amazing Grace, How Can I Keep from Singing?, Red River Valley, Oh Shenandoah). The more rhythmic parts take inspiration from the African-American spiritual tradition, as found for instance in the choral music of Moses Hogan (1957-2003). Meanwhile, the tenor solo at the end, is intended to be very loud, bright, and without the pronounced vibrato one would find in a Western operatic style. This kind of bright and intense vocal sound is not unfamiliar to most listeners, who may have encountered it in places as varied as Sacred Harp singing, the opening of the Lion King soundtrack, or the Muslim call to prayer.
$1.99
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