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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Moment In The Sun
Non classifié
92
Piano & claviers
Piano seul
54
Piano Facile
12
Piano, Voix
8
Instruments en Do
4
Piano, Voix et Guitare
3
Orgue
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Clavecin
1
Piano Trio: piano, violon, violoncelle
1
2 Pianos, 4 mains
1
+ 5 instrumentations
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Guitares
Guitare
5
Voix
Chorale SATB
51
Chorale 3 parties
14
Chorale TTBB
10
Chorale SSAA
9
Chorale Unison
2
Chorale 2 parties
2
Voix duo, Piano
1
+ 2 instrumentations
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Vents
Quatuor de Clarinettes: 4 clarinettes
4
Quatuor de Flûtes : 4 flûtes
4
Quatuor de Saxophones: 4 saxophones
4
Clarinette
3
Flûte traversière et Piano
3
Hautbois, Piano (duo)
3
3 Saxophones (trio)
2
Flute (partie séparée)
2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2
2 Flûtes traversières (duo)
2
Clarinette et Piano
2
Flûte, Hautbois, Clarinette, Basson
2
Hautbois (partie séparée)
2
Saxophone Soprano et Piano
2
Flûte, Hautbois, Piano (trio)
1
Trio de Flûtes: 3 flûtes
1
3 Clarinettes (trio)
1
2 Flûtes traversières, Piano
1
Flûte à Bec, Piano
1
Flûte et Guitare
1
Clarinette, trompette et piano
1
Flûte, Alto et Piano
1
Flûte, Violon, Piano
1
Flûte à bec Soprano, Piano
1
2 Clarinettes, Piano
1
Flûte, Violon, Violoncelle et Piano
1
Saxophone Alto et Piano
1
Flûte à bec Alto, Piano
1
Flûte, Violon et Violoncelle
1
2 Saxophones (duo)
1
Quintette de Saxophone: 5 saxophones
1
Flûte, Violoncelle, Piano (trio)
1
Flûte, Clarinette et Basson
1
Flûte, Clarinette, Piano (trio)
1
Flûte à bec Tenor
1
+ 30 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
3
Ensemble de Trombones
2
Trompette, Piano
2
Trompette (partie séparée)
2
Cor
2
Trompette
1
Trompette, Trombone (duo)
1
Quatuor de cuivres: 4 trompettes
1
Trombone et Piano
1
Quatuor de cuivres: 4 cors
1
Trombone basse et Piano
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Quatuor de cuivres: 4 trombones
1
+ 8 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
14
Trio à Cordes: violon, alto, violoncelle
9
Violon et Piano
6
Harpe
3
Violoncelle, Piano
3
Alto, Piano
3
Violon
2
Harpe, Voix
2
Trio à Cordes: 2 violons, violoncelle
2
Violon, Violoncelle (duo)
1
Violon, Alto (duo)
1
2 Violoncelles (duo)
1
Alto seul
1
Violoncelle , Guitare (duo)
1
Quatuor à cordes: 4 violons
1
2 Violons (duo)
1
Contre Basse
1
Piano Trio: Violon, Alto, Piano
1
Trio à cordes: 3 violins
1
Quatuor à cordes : 4 altos
1
Violoncelle
1
+ 16 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
66
Orchestre
10
Cloches
5
Ensemble Jazz
4
Orchestre de chambre
2
Orchestre à Cordes
2
Jazz combo
2
Marimba
1
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Autres
Instruments
ACCORDEON
ALTO
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CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
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DULCIMER
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FANFARE - B…
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FLUTE A BEC
FLUTE A DIX…
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GUITARE PED…
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HAUTBOIS
LIVRES
LUTH, THEOR…
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TRI ET FILTRES
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Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
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GOSPEL - SPIRITUEL -…
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
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MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
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METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
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POP ROCK - POP MUSIC
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Crtitères actifs :
Moment In The Sun
Partitions à imprimer
501 partitions trouvées
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26
51
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501
The Sundials
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Contemporain
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Matthew Scott Phillips
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a shadow
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The Sundials
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Matthew Scott Phillips
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SheetMusicPlus
Piano Trio,String Ensemble - SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #580083...
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Piano Trio,String Ensemble - SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #5800833. Published by Matthew Scott Phillips (A0.1004152). Throughout the centuries, civilizations have used sundials to tell time. This instrument consists of a gnomon (Greek for knower), a long pole or incline, whose shadow is cast onto a flat stone or metal plate, that either lies on the ground or is erected onto a wall. This plate is marked with the hours of the day, and the gnomon's shadow passes over the marks. More than just an ancient timepiece, these instruments are doorways to the eternal past, and prophets of the eternal future. They bare witness to the infinite fleeting-ness of the lives of human beings. Unlike a modern watch or digital clock, in which every second enjoys its own momentary significance, the hours as marked by the sundial flow into one another in a continuous stream, that is ultimately timeless. The final hour of any mortal creature is, in this way, no more significant than the first, and all our hours seem insignificant in the context of the cosmos' grandness. Etched upon a great many sundials, in Greek, Latin, English, German, or French, is a motto designed to inspire human beings to consider these truths. Why so many sundial makers felt the need to inscribe on their creations their own philosophies and musings is unclear. Yet, each of these mottos seems contrived to express the contemplations of time and eternity so integral to the sundials' existence. Mottos such as umbra sumus (we amount to shadow) often hold multiple meanings. The we referred to can be the hours, which seem extant only because of the shadow passing over them. Or it can refer to the ephemeral nature of our lives, which on the grand calendar of eternity are so short as to be nothing. Or perhaps it warns that time itself is no more than an illusion; a shadow. Whether they are existential, humorous (I only count the sunny hours), or offer advice (use the hours, don't count them), these mottos are intended to give us pause: to compel us to look for a moment, not at the fleeting significance of our mundane lives, ticked away as they are in tiny hours, but to consider the eternal time that lies beyond us, and to therefore be briefly in contact with it. This composition, approximately an hour long and written for piano trio (Piano, Violin, and Cello), intends as its goal the same purpose as the mottos that inspired it. To transport those who listen to it (listen not merely hear) away from the earthly, and into the cosmic. Each movement is named after a different motto. The mottos, their English translations and the locations of the sundials that bare (or once bore) them is listed at the front. This is one hour, hopefully, that will not simply fade away, but rather will be one spent in the company of the eternal. .
$7.00
Moment In The Sun
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Sunflower Bean
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Aisling Gallagher
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Moment In The Sun
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Niamh and Aisling Gallagher
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SheetMusicPlus
String Trio Cello,Viola,Violin - Level 4 - SKU: A0.1247536 By Sunflower Bean. By Dave R Bassett, Jacob Faber, Jacob Portrait, Julia Cumming, Julia Rache...
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String Trio Cello,Viola,Violin - Level 4 - SKU: A0.1247536 By Sunflower Bean. By Dave R Bassett, Jacob Faber, Jacob Portrait, Julia Cumming, Julia Rachel Cumming, Nicholas Anthony Kivlen, and Nick Kivlen. Arranged by Aisling Gallagher. Film/TV,Rock,Wedding. 9 pages. Niamh and Aisling Gallagher #842090. Published by Niamh and Aisling Gallagher (A0.1247536). String trio arrangement of Sunflower Bean's single Moment in the Sun, used in the Netlfix award-winning television show Heartstoppers. If you have enjoyed my arrangement please check our Publisher page for more arrangements.
$20.00
The Sundials: II; Pereunt et Imputantur (They pass and are counted)
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Trio à Cordes: violon, alto, violoncelle
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Contemporain
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Matthew Scott Phillips
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The Sundials: II; Pereunt et I
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Matthew Scott Phillips
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SheetMusicPlus
String Ensemble,String Trio - SKU: A0.1004149 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 13 pages. Matthew Scott Ph...
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String Ensemble,String Trio - SKU: A0.1004149 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 13 pages. Matthew Scott Phillips #3510885. Published by Matthew Scott Phillips (A0.1004149). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
The Sundials: III; Tempus Fugit Velut Umbra (Time flees like a shadow)
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Contemporain
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Matthew Scott Phillips
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The Sundials: III; Tempus Fugi
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Matthew Scott Phillips
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SheetMusicPlus
Piano Trio,String Ensemble - SKU: A0.1004151 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 9 pages. Matthew Scott Phil...
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Piano Trio,String Ensemble - SKU: A0.1004151 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 9 pages. Matthew Scott Phillips #3510887. Published by Matthew Scott Phillips (A0.1004151). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
The Sundials: I;Tempus Edax Rerum (Time devours things)
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Contemporain
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Matthew Scott Phillips
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The Sundials: I;Tempus Edax Re
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Matthew Scott Phillips
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SheetMusicPlus
Piano Trio,String Ensemble - SKU: A0.1004148 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 16 pages. Matthew Scott Phi...
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Piano Trio,String Ensemble - SKU: A0.1004148 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 16 pages. Matthew Scott Phillips #3510879. Published by Matthew Scott Phillips (A0.1004148). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
Солнце (Sun)
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Chorale SATB
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Cassy Gress
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Солнце
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Cassy Gress
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - SKU: A0.1418462 Composed by Cassy Gress. 21st Century. 10 pages. Cassy Gress #1000029. Published by Cassy Gress...
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Choral Choir,Choral,SATB Chorus divisi - SKU: A0.1418462 Composed by Cassy Gress. 21st Century. 10 pages. Cassy Gress #1000029. Published by Cassy Gress (A0.1418462). On April 8, 2024, I had the privilege to be able to view a solar eclipse in totality. I'd previously seen one at around 99% totality, but 100% is a completely different experience. I periodically glanced at the sun in my protective glasses, watching the disc shrink down to nothing, not expecting much other than the absence of a sun. But I looked away for a moment, and my son suddenly cried, It's there!I turned and gasped: the sky was a flat twilight blue, and a crisp brilliant ring glowed in the sky, safe to view with the naked eye. The world was still, strangely silent, alien and new. We all tried to grab as many pictures as we could. After a few minutes, the moon continued its arc across the sky, and the sun's glare abruptly reappeared, already blinding even as a sliver. I can still see that ring in my mind's eye, fiercely burning, as if someone had literally cut a circle out of the sky and exposed another universe behind it.In this piece I tried to capture the growing ominous wonder of an eclipse approaching totality. While the 2024 eclipse was not visible in Russia, the Russian word for sun, Ñолнце (solntse), has a lily-like fragility to it that the English equivalent does not. Various parts of the choir repeat the word throughout the piece, and the repeated ts and s sounds should create a percussive susurrance. Stagger breathing should be used throughout.Also repeated is the Russian word for moon, луна (luna). As the eclipse approaches that crystalline moment of totality, the moon becomes more and more prominent and the text more chantlike. The refrain, first sung by a solo bass at bar 7, and sung in variation by the other parts thereafter, is repeated in its original form once by the sopranos near the top of their range. This represents the sun in final desperate ecstasy, before it too collapses into the inevitability and madness of occultation.After an indefinite sudden pause, the shock of the moment, the choir reverently sings suscipe deprecationem nostram. Glorificamus te. As the moon frees the sun from its cold grip, the menace of the previous section threatens to return, but just as quickly fades, revealing once again Ñолнце в небе (the sun in the sky).
$1.99
THE LAST MY FLOWER (THE WOLF AND THE WITCH)
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Piano seul
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Contemporain
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Monica Bergo
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THE LAST MY FLOWER
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Moni Bergo
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SheetMusicPlus
Piano Solo - SKU: A0.1012709 Composed by Monica Bergo. Contemporary. Score. 13 pages. Moni Bergo #5742973. Published by Moni Bergo (A0.1012709). ...
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Piano Solo - SKU: A0.1012709 Composed by Monica Bergo. Contemporary. Score. 13 pages. Moni Bergo #5742973. Published by Moni Bergo (A0.1012709). Music and song composed by meTHE LAST MY FLOWER (the wolf and the witch) I look at my last flower It loses its scentand I do not know what to do I protect you with warmthof this other story I have to tell creatures alone and desperate many scars heal a witch and a wolf do not know yet that their destinies are to merge and starts this magical storysweet as ancient fable in a forest with no place and no age out of touch and the time is stopped and does not move a breath and the heart, explodes and skip a beat and look you recognize like not having never lost and the wolf that is injured a white rose in red has turned He is bleeding along with drops of pain his red eyes burning with love and the witch instead hides because she isn't beautiful and it is not important nobody in the world has never belonged and a caress he never touched she care and caresses the soul he looks at her and his anger dominates and one year only lasts a moment lost in eternity and the wolf tells tales and the witch makes magic potions and exchange promises useless that the night guard and she will dance will dance naked and the wolf with his heart on his sleevelying by the fire that lights up, so free unobstructed and are reflected in the magic lake and do not feel that cold shiver... not last, do not you feel it too?cold around us Abracadabra !! from caterpillar to butterfly Alakazam !! and I too am beautiful do not you wonder how and why I started to talk to me snow fallsbut we are in August and there is nothing that you find a place this my music speaks for it self this is the strangest tale that is I stop here It will end well I can not tell the end of a love that is not written yet I stop here It will end well in a vacuum and the absence these days my silence and inconstancy in your feeling sthe flower dies already go wolf go stop thinking about her from your pack you will need to return and then runs away witch will if you want to transform changes role an actress who artand you will have new flowers day step into the dark caverns of regret Mix them with potions and transform everything into tears like a cat in the night I try the food in the trashno sun, no light no god here that help me body and spirit dentedas a glass stuckinside my poor heart the memory of a love He never really lived so alive in the mind is my animal instinct that makes me ache while another dream diesthe witch in the lake you slidethe water lapping against the planin his eyes the wolf that is now already far a fairy tale real or invented in between my hidden truth all my stories strange and weird over this skin are now tattooed I watc.
$5.00
Nocturne in Bb minor (Vesper Procession)
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Musique Sacrée
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Dillon Ekle
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Nocturne in Bb minor
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Dillon Ekle
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 4 - SKU: A0.966750 Composed by Dillon Ekle. 20th Century,Christian,Easter,Sacred. Score and parts. 9 p...
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Instrumental Duet Instrumental Duet,Piano - Level 4 - SKU: A0.966750 Composed by Dillon Ekle. 20th Century,Christian,Easter,Sacred. Score and parts. 9 pages. Dillon Ekle #3068399. Published by Dillon Ekle (A0.966750). This original composition takes its inspiration from Vespers, an evening service of prayer. The piece begins with a brooding bass rhythm, which underlies much of the composition, as melodies depict images of the evening sun's procession toward the horizon. At the moment of the sun's setting, a grand hymn emerges, the emotional high point of the journey as the fires of creation illuminates the world in God's glory, before cooling into a final reprise of the initial melody as the darkness of night settles in.While not an actual setting of the text, the original hymn-like melody in this piece is inspired by the ancient prayer called Phos Hilaron (O Gladsome Light), one of the earliest Christian hymns.This piece, written for piano duet (1-piano, 4-hands), is appropriate for concerts, or as a prelude or other instrumental moment in a church service, especially evening services. While it is not specific to any season, the mood is also appropriate for services in Advent, Lent, Holy Week, or other times of reflection.Melodies move throughout the range of the piano and across both players. Both parts are of similar difficulty, and neither part is more featured than the other; a musical performance will require a strong sense of ensemble.An audio preview accompanied by images and the Phos Hilaron text which inspired part of this piece can be found here: https://www.youtube.com/watch?v=NK0NAl15juUThe PDF file is formatted to be printed double-sided. Once printed and bound, odd numbered pages (including the cover page) should be on the right (where the primo player sits), and even numbered pages should be on the left (where the secondo player sits). Alternatively, if two pianos are being used, the file can be printed single-sided and the parts separated out; the primo player will have the odd numbered pages, and the secondo player will have the even numbered pages.
$4.99
1917: The Halifax Disaster
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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William Brenner
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1917: The Halifax Disaster
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William Brenner
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1008264 Composed by William Brenner. Contemporary. Score and parts. 80 pages. William Brenner #5370501. Published by Wi...
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Concert Band - Level 4 - SKU: A0.1008264 Composed by William Brenner. Contemporary. Score and parts. 80 pages. William Brenner #5370501. Published by William Brenner (A0.1008264). Halifax was devastated on 6 December 1917 when two ships collided in the city's harbour, one of them a munitions ship loaded with explosives bound for the battlefields of the First World War. What followed was one of the largest human-made explosions prior to the detonation of the first atomic bombs in 1945.(...)In early December, one of the merchant ships in port was the large, Norwegian vessel Imo, en route from Halifax to New York to pick up relief supplies (...) Another was the French munitions ship Mont-Blanc - filled with tons of benzol, the high explosive picric acid, TNT and gun cotton - arriving in Halifax to join a convoy across the ocean.(...)The Imo was departing the harbour on the morning of 6 December 1917 (...) Imo had an experienced, local harbour pilot on board, William Hayes, who knew the navigation rules of the harbour. However, earlier encounters that morning with two inbound vessels moving towards Bedford Basin - both of which Imo had passed starboard-to-starboard - resulted in the unusual position that Imo now occupied, too far to the east (...) The Mont-Blanc had arrived outside Halifax the previous day and anchored overnight at the mouth of the harbour. On the morning of 6 December, the ship was cleared by harbour authorities to proceed toward Bedford Basin. Despite the Mont-Blanc's dangerous cargo, there was no special protocol for the passage of munitions ships in the harbour. Other ships such as the Imo were not ordered to hold their positions that morning until the Mont-Blanc had made safe passage through the port. Francis Mackey, Mont-Blanc's pilot, was guiding the ship inbound on the Dartmouth-side of the Narrows, when he encountered the Imo heading straight towards him in what he believed was Mont-Blanc's lane. Mackey would later maintain that the Imo was moving at an unsafe speed for such a large, unwieldly ship in the harbour, and also that incoming ships (in this case Mont-Blanc) had the right-of-way over outgoing vessels. Regardless of the accuracy of those claims, what is certain is that the Imo was sailing too far to the east, in what should have been Mont-Blanc's path.After a series of whistles and miscommunications between the officers and pilots on the two ships, and failed manoeuvres to avoid a collision, the Imo struck the starboard bow of the Mont-Blanc. After a few moments the two ships parted, leaving a gash in Mont-Blanc's hull and generating sparks that ignited volatile grains of dry picric acid, stored below its decks. (...) The Mont-Blanc exploded at 9:04:35 a.m., sending out a shock wave in all directions, followed by a tsunami that washed violently over the Halifax and Dartmouth shores. More than 2.5 square km of Richmond were totally levelled, either by the blast, the tsunami, or the structure fires caused when buildings collapsed inward on lanterns, stoves and furnaces.Homes, offices, churches, factories, vessels (including the Mont-Blanc), the railway station and freight yards - and hundreds of people in the immediate area - were obliterated. (...) Across Halifax, there were miraculous stories of survival. And equally, stories of tragedy. Many children were killed on their walk to school that morning, or blinded by flying glass. Those that survived the blast stumbled home, only to find their houses shattered, or their parents dead or wounded, among the wreckage. (...) Every year on 6 December, people gather above the Narrows to hear the ringing of the memorial's carillon bells, and to remember the victims of the disaster. www.thecanadianencyclopedia.ca/en/article/halifax-explosion
$22.99
Pantheon for Horn, Violin and Piano
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Contemporain
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Elizabeth Raum
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Pantheon for Horn, Violin and
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Gordon Cherry
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SheetMusicPlus
Small Ensemble Horn,Piano,Violin - Level 5 - SKU: A0.1503872 Composed by Elizabeth Raum. 20th Century. 73 pages. Gordon Cherry #1079324. Published by Go...
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Small Ensemble Horn,Piano,Violin - Level 5 - SKU: A0.1503872 Composed by Elizabeth Raum. 20th Century. 73 pages. Gordon Cherry #1079324. Published by Gordon Cherry (A0.1503872). Rome's Pantheon, based on Greek mythical legends was first constructed over 2,000 years ago as a temple of all the gods. In the year 609, it became a Catholic church.Pantheon for Violin, Horn, and Piano by the great Canadian composer Elizabeth Raum is a seven-movement suite of chamber music depicting various of the Greek gods:1. Eos: Goddess of the Dawn2. Moirae: Gods of Fate3. Aphrodite: Goddess of Love and Beauty4. Zeus and Hera5. Artemis (Diana) Goddess of the Moon and the Hunt6. Hermes (Mercury) of the Winged Sandals7. Apollo: God of Sun and LightHere are the comments about Pantheon from composer Elizabeth Raum:Pantheon alludes to a temple, a musical temple in this case, devoted to the gods of ancient Greek mythology, several of whom are represented in this work. The first movement opens with a horn call as Eos, Goddess of the Dawn begins her rosy-fingered awakening, and rising from her couch, ascends the heavens in her horse-drawn chariot. She heralds the approach of her brother, Helius, the sun god, whose superior brightness causes her color to fade. In the second movement, The Fates (Moirae) spin their thread of life and death. The minimalist quality of the music, representing the steady turn of the spindle, becomes more and more agitated as Atropos, the Fate who holds the shears, prepares to cut the thread. The hand stopped horn and the Bartok pizzicato signify the final snip. A moment of contemplation, and they begin again. Some try to persuade Atropos to delay a moment, but she cannot be deterred. Aphrodite, the goddess of love and beauty, is the third movement. She arose from the foam of the sea and all were charmed by her grace, but she could also be coy and flirtatious as she is in this version. Zeus and Hera, the king and queen of the gods, make up the fourth movement. The opening theme suggests the regal stride of Zeus while Hera, furious at his many infidelities, quarrels with him and schemes to thwart his affairs. In the fifth movement, Artemis (Dawn Goddess of the Moon and the Hunt), holds high her silver bow that gleams in the night sky like the new moon. The clouds drift silently past while she runs with her hounds and dances with her nymphs. Hermes (Mercury) of the Winged Sandals, sixth movement, is scored for violin and horn alone. He is a very mischievous and cunning god, and his exceptional swiftness is aided by his winged sandals as he flies to carry out his divine duties. And finally in the seventh movement, Apollo the horn again summons the gods. A hymn to Apollo celebrates the god of eternal youth, beauty, and music. This is a major chamber work for Violin, Horn, and Piano of about 26 minutes in length written for Erika Raum, Phil Myers, and Peter Allen and is appropriate for very advanced artists.
$45.00
6 Simple Songs To Sing & Play On The Guitar including House Of The Rising Sun, Sloop John B
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Contemporain
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Traditional
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Simon James
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6 Simple Songs To Sing & P
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DML
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SheetMusicPlus
Guitar,Instrumental Duet,Voice - Level 2 - SKU: A0.1281240 Composed by Traditional. Arranged by Simon James. Classical,Contemporary,Folk,Historic,Tradit...
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Guitar,Instrumental Duet,Voice - Level 2 - SKU: A0.1281240 Composed by Traditional. Arranged by Simon James. Classical,Contemporary,Folk,Historic,Traditional. 36 pages. DML #872584. Published by DML (A0.1281240). Songs are about storytelling, sometimes the emotions of a moment, happy or sad, sometimes an entire life in three verses and a chorus. These songs I chose because I like them, some I learnt from my first real guitar teacher, Dylan Todd, at the Guitar Centre in Palma de Mallorca in the late sixties when my family lived there; some from my father who was my other first guitar teacher; some down the years from other musicians. I have kept the accompaniments as simple as possible to go with my book The Art Of Accompaniment On The Guitar, most guitarists could handle them. I have also annotated everything, knowing the history of a song is important and as we increasingly lose the oral tradition I was brought up with the reason I chose certain verses and not others becomes relevant to that understanding. This is a simpler publication than the printed one available from Amazon. All of these songs are out of copyright, those that are in copyright that I would include and have arranged can be found individually through Sheet Music Plus or Sheet Music Direct.
$11.99
Hosanna to the Son of David
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Chorale 3 parties
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Philip Le Bas
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Hosanna to the Son of David
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Philip Le Bas
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SheetMusicPlus
Choral Choir (SAB) - Level 4 - SKU: A0.1126896 Composed by Philip Le Bas. A Cappella,Christian,Easter,Religious,Sacred. Octavo. 6 pages. Philip Le Bas #...
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Choral Choir (SAB) - Level 4 - SKU: A0.1126896 Composed by Philip Le Bas. A Cappella,Christian,Easter,Religious,Sacred. Octavo. 6 pages. Philip Le Bas #727543. Published by Philip Le Bas (A0.1126896). A new acclamation for Palm Sunday, composed by Philip Le Bas. Jesus enters Jerusalem riding on a donkey and the people acclaim him as the long-awaited Messiah (the Son of David.) We, in hind-sight, know that they will turn on him within a few days and will have him crucified. It is a moment of excitement and celebration, as the people see all their hopes fulfilled. The Christian liturgy reflects this, often with a congregational procession into the church accompanied by the words below. The music is simple and joyful, and is scored for just three different choral voices (SABar/SAMen), typical of those available in parish churches. After an initial syncopated section, there follows a middle section of dotted rhythms, before returning to the syncopated theme, and ending in a glorious rising Tierce de Picardie. The work is short, breathless and exciting, matching the mood of that early moment in the Palm Sunday celebration.
$1.99
1. Bulbul the Bird
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Piano seul
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INTERMÉDIAIRE
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Contemporain
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Louise du Toit
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Louise du Toit
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1. Bulbul the Bird
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Louise du Toit
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1138387 By Louise du Toit. By Louise du Toit. Arranged by Louise du Toit. Contemporary. Score. 4 pages. Louise du Toit #7...
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Piano Solo - Level 3 - SKU: A0.1138387 By Louise du Toit. By Louise du Toit. Arranged by Louise du Toit. Contemporary. Score. 4 pages. Louise du Toit #738715. Published by Louise du Toit (A0.1138387). Bulbul the Bird is the first in a series of fifteen original contemporary compositions for piano, titled 15 Animal Compositions for Piano and created to musically describe the movement and habits of specific wildlife creatures. From music notes to words: Bulbul the bird leaps from one branch to another, searching for sunlight through the leaves of the trees. The warm sunrays on his beautiful body delight him when he sits quietly for a moment, every now and then fluttering his colorful wings and feathers as a sign of satisfaction. A heavy feathery fellow joins him for a few fleeting moments of dialogue before flying off to another acacia tree, leaving Bulbul to continue his morning exercises as he reaches for the highest branches, in an effort to be closer to the African sun..
$4.99
The Moon's Sun
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Nolwazi Nkwanyana
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The Moon's Sun
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Nolwazi Nkwanyana
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SheetMusicPlus
Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 4 - SKU: A0.1029742 Composed by Nolwazi Nkwanyana. 20th Century,Contemporary,Roma...
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Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 4 - SKU: A0.1029742 Composed by Nolwazi Nkwanyana. 20th Century,Contemporary,Romantic Period. Score and parts. 15 pages. Nolwazi Nkwanyana #6884175. Published by Nolwazi Nkwanyana (A0.1029742). For Flute, Bb Clarinet and PianoDuration: 4.5 minutesThe relationship between the sun and the moon is a rather fascinating one. One could imagine that the sun, as bright and glorious as it is, shares its light to help the moon come to life at night. A bright full moon is such a splendid and ethereal sight -but it would not be so without the sun. During the darkest nights, the moon and sun work together to provide the night sky with a timeless illumination. You will find that all three instruments have their beautiful individual moments. However, the most brilliant and splendid sections in the piece are a result of their timbres combined and the way their melodic lines intertwine. The piano part is crucial for setting the mood of each section and should be treated with ultimate delicacy and importance. There is no main instrument in this piece. The flute and clarinet come together bringing additional light and life to the majestic landscape that is provided by the piano.
$11.99
Last Sunset
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Chorale SATB
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FACILE
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Jeremy T
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Last Sunset
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Warner Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.1030790 Composed by Jeremy T. Warner. Concert,Contemporary,Sacred. Octavo. 9 pages. Warner Music Publishing #307...
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Choral Choir (SATB) - Level 2 - SKU: A0.1030790 Composed by Jeremy T. Warner. Concert,Contemporary,Sacred. Octavo. 9 pages. Warner Music Publishing #3074343. Published by Warner Music Publishing (A0.1030790). This moving work, born out of friendship between composer and poet, speaks of hope, loss, and renewal in the form of light, sunsets and sunrises. It is perfect for general concert use, living composer features, funerals, and any concerts/services dealing with the metaphors of darkness and light and/or sunsets and sunrises.The text comes from the personal experiences of the poet, Philip Tabler. He’d felt compelled to write this poem for a dear friend that had lost her father. As the story goes, it was her father’s last request that he see the sunset before his passing and though he was confined to his bed and bedroom, the family was able to adjust the room in such a way that he was able to see the sunset out of the bedroom window one final time in the moments just before he passed. The recording features the Memphis ChoralArts and University of Memphis Collegiate Choir ensembles performing in the beautiful and acoustic Cathedral of the Immaculate Conception, Memphis, TN under the director of the composer on April 23, 2017.
$1.99
AND THE WORD BECAME FLESH - SEVEN ANTHEMS TO CHRIST
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Chorale SATB
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INTERMÉDIAIRE
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Michael A
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AND THE WORD BECAME FLESH - SE
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.926660 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 112 pages. M.A. Morizio #3588371. Pu...
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Choral Choir (SATB) - Level 3 - SKU: A0.926660 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 112 pages. M.A. Morizio #3588371. Published by M.A. Morizio (A0.926660). During the late spring of 2017, I began composing a new choral piece based on the 1 Timothy 3:16 text. I was studying Paul's first letter to Timothy at the time when this particular passage jumped out at me. Not only was it an efficient summary of the Gospel message, but it was also a textual grouping, or form, such as might be found in a traditional hymn. What I was reading were indeed lyrics to an actual 1st Century Hymn to Christ, the music of which has since been lost. I entitled my piece, Great is the Mystery. I composed the anthem for SATB (a cappella), and set it to the ESV translation of the scripture. Based on its context, I suspected the song would work great for Ascension Sunday. Our choir sang the piece beautifully, crescendoing at the finish to the words, Believed on in the world and taken up in glory! Later that spring, I played the piece for a dear friend of mine who is Pastor at Immanuel Church in Manchester, New Hampshire. What he told me was actually a bit stunning. He informed me that there were (at least) seven specific known Hymns to Christ written into the New Testament Scriptures, whose text is found among the writings of the apostles’ Paul and John. The 1 Timothy 3:16 verse that I had selected for my piece was indeed one of those texts. At that moment, Pastor Don and I made a pact. If he were to supply me with the literal Greek translations of the other six known Hymns to Christ, I would set out to compose brand new anthems for them all. A new musical collaboration had begun. With this short introduction serving as the genesis of my new song cycle, I offer you these new Seven Anthems to Christ based on the seven known ancient ‘Hymns to Christ' texts found in the New Testament.
$9.99
Beyond the Rainbow Bridge - backing track
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David Kai
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David Kai
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Beyond the Rainbow Bridge - ba
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David Kai
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SheetMusicPlus
String Ensemble Drum Set,Electric Bass Guitar,Piano Accompaniment - Level 3 - SKU: A0.1105087 By David Kai. By David Kai. Arranged by David Kai. Christi...
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String Ensemble Drum Set,Electric Bass Guitar,Piano Accompaniment - Level 3 - SKU: A0.1105087 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary,Country,Rock. Accompaniment. Duration 221. David Kai #708333. Published by David Kai (A0.1105087). A song for those grieving the loss of a pet, especially those whose pets support them through issues such as PTSD and depression. The death of a pet is certainly one the most difficult things that pet lovers experience. Pets offer us companionship, affection and healing, but their relatively short lifespan means that we will experience this loss many times in our lives. Many of us take comfort in the idea of a rainbow bridge that our pets cross when they die, and that we too will cross to be united with our pets. This song expresses the grief that we experience with the death of a pet, but also the hope that we will be reunited with them one day. This version of the song is a backing track for a soloist. BEYOND THE RAINBOW BRIDGE by David Kai ©2019 The day that I first met you, I held you in the palm of my hand And from that moment onward I knew that we would be the best of friends And though you started as a Christmas gift to set beneath the tree You know you really were a gift from God to me. We walked through fields and forests, we’d hit the trail in sun and wind and rain When I was at my lowest, you licked my hand and raised me up again But time passed much too quickly, and you know just what you did You took a piece of my broken heart beyond the rainbow bridge. I’m not sure what heaven’s like , I’m not sure how things will be But if we won’t be together, it won’t feel like heaven to me But if the Lord be willing, I’ll hear your welcome bark again, And see you running to me, through the golden fields of grain Most faithful of companions, you’d been with me in sickness and in health You always loved to see me, even when I couldn’t really love myself And when you licked my hand that one last time, then you know just what you did You took a piece of my broken heart beyond the rainbow bridge. You took a piece of my broken heart beyond the rainbow bridge.
$1.99
Thank You For The Music
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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ABBA
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Chris Childs
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Thank You For The Music
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Chris Childs
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.934754 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Chris Childs. Dan...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.934754 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Chris Childs. Dance,Pop. Score and parts. 8 pages. Chris Childs #4791189. Published by Chris Childs (A0.934754). Ideal for weddings, parties, and corporate events, or playing just for fun, this string quartet arrangement is faithful to the original song by ABBA and is enjoyable for listeners and players alike, as all parts have moments in the sun.
$12.99
"The Dog Had..." Variations
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Daniel Burwasser
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"The Dog Had..." Var
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Head and Stem
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1290458 Composed by Daniel Burwasser. 21st Century,Chamber,Contemporary,Romantic Pe...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1290458 Composed by Daniel Burwasser. 21st Century,Chamber,Contemporary,Romantic Period. 35 pages. Head and Stem #881172. Published by Head and Stem (A0.1290458). BACKSTORY ON “The Dog Had…†Variations The origin of “The Dog Had…†Variations†stems from a frantic voicemail received from the composer’s mother-in-law many years ago while on a visit exclaiming that our dog at the time, Pepper, a chocolate-brown and white springer spaniel, “HAD†an accident of explosive proportions on their basement rug and that we needed to “GET HOME†and deal with it immediately. At first the family was taken aback by the phone message, but ultimately it became a source of hilarity and shortly afterward, the composer’s wife created a rhyme from the message and a tune immediately sprung from that. This tune simply became something our family sung together periodically over many year’s time for amusement until now when the composer came up with the idea to set it to variations for string quartet. In this work, the tune is first heard in simple fashion in its entirety in the viola. Fragments of the tune follow in various guises. For example, the rhythm of the words “GET HOME†as well as “I’VE HAD IT†are prominent thematic ideas used in the piece. There are also a couple of moments where the music sounds weak and demented, but also places where it sounds like a domestic quarrel and the theme is further broken down into fragments. For more information, go to: https://www.danielburwasser.com/To contact the composer directly, go to: danielburwasser9@gmail.comYoutube channel: https://www.youtube.com/@danielburwasser60.
$20.00
The Sense of a Place Will Remain
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Chorale SATB
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Contemporain
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Paul Burnell
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The Sense of a Place Will Rema
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Paul Burnell
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.835786 Composed by Paul Burnell. Contemporary. Octavo. 124 pages. Paul Burnell #3405305. Published by Paul Burnell (A0.835...
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Choral Choir (SATB) - SKU: A0.835786 Composed by Paul Burnell. Contemporary. Octavo. 124 pages. Paul Burnell #3405305. Published by Paul Burnell (A0.835786). Composed 2007, duration 8:30 approx. The music and text of ‘The Sense of a Place Will Remain’ was inspired by pictures of an early carved stone cross and a tenth-century Viking burial stone on the island of Inchcolm in Scotland. First performed by Inchcolm New Music Ensemble 29 June 2007, conductor Steve King. Instrumentation is flexible; the following is a guide: Part 1 - Violin 1, flute 1 (doubling piccolo if possible) oboe 1, Part 2 - Violin 2, flute 2, oboe 2 (doubling tenor recorder if possible), clarinet 1, trumpet Part 3 - Viola, clarinet 2, horn in F, Eb horn (2 players doubling harmonicas in C) Part 4 - Cello, bassoon Part 5 - Double bass, bass guitar (or Cello 2 - playing as if usual bass clef, but an octave lower where possible) SATB voices (doubling metal spoons and pitch pipes) Optional:Percussion (one player) - claves, glockenspiel (could be a child’s toy instrument such as an ‘Angel’ glockenspiel), mark tree, spring drum (thunder shaker), frame drum, musical jewelry box (or similar clockwork device).Should a glockenspiel not be available, a special part has been created which arranges the glockenspiel for two flutes, together with the other percussion music. This special part is not visible in the score. Keyboard instrument with sustaining capability - piano sound Instructions: Wind players can breathe ad lib. during any very long notes. From letter D onwards non-wind players who are not soloists blow across the top of small bottles. The pitches produced are not specified, but they should not be shrill. A soft breathy tone is preferred. About half of the voices play pairs of metal spoons (share printed part between two singers and anyone not holding the music holds metal spoons). Hold the spoons one in each hand, and strike the larger ends together. Spoons are struck together where shown with a large patterned note head. Strike rapidly where a tremolo sign is given. Four singers play pitch tuning pipes: 1 Soprano and 1 Alto play viola/cello pitch tuning pipes, 1 Tenor and 1 Bass play violin pitch tuning pipes Pitch pipe playing is indicated with square note heads - player should breathe ad lib. during very long notes. Where there are very long sung notes, the singers may stagger breathing ad lib. Spoken sounds are indicated with x note heads and with the text in italics. There are many pauses. These can be of varying duration, but on the whole they should not hold up the momentum of the piece, but be of sufficient duration to establish the solo and pitch pipe notes. Text: Carve stone Strike out Stay at home Or go far alone. Blocks of stone are laid Emblazoned with the signs of great deeds That signify our memory, Mem’ries of who we are. Careful carvings erode through time, Chiseled grooves smooth away. Families, they scatter and fade As generations age Descendants pass on memory time. Sense of our allegiance shifts when major faults are found, Feelings of belonging fall on shaky ground, But the sense of a place will remain.
$7.95
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
In Your Slumber
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Orchestre d'harmonie
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DÉBUTANT
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Aaron Fonzi
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In Your Slumber
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Aaron Fonzi
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.998359 Composed by Aaron Fonzi. Christmas,Contemporary,Folk,Standards. Score and parts. 25 pages. Aaron Fonzi #4834971....
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Concert Band - Level 1 - SKU: A0.998359 Composed by Aaron Fonzi. Christmas,Contemporary,Folk,Standards. Score and parts. 25 pages. Aaron Fonzi #4834971. Published by Aaron Fonzi (A0.998359). This lyrical piece is a delightful way to introduce your young band to ballad style. Exploring slurs, accents, dynamics, caesuras, ritardandos and more, you'll be shocked by how sophisticated this beautiful piece sounds while using only a limited number of notes. Written to convey the playful innocence of a child dreaming, In Your Slumber balances the calm of a starry sky with the imagination and adventure of a child's mind at rest. Simple and elegant, the lullaby played by the flutes in the beginning gives way to an imaginative variation on the theme by the trumpets and clarinets at B. Gentle, pulsating tenutos in the harmonizing chords underneath are symbolic of relaxed, rhythmic breathing underlying the musical thoughts flowing by above them. Just as in dreams we seldom have control of which direction the story may go, D takes us somewhere else musically and implies a build to a false climax. At E, we are greeted with the quiet sounds of the night once more, but this time our imagination runs wild as the music builds to the climax of the piece at F. This powerful proclamation of the melody is concluded with a gentle final statement in the flute and clarinet, and the piece concludes with the final twinkle of the stars as the sun rises for a new day.Full of imagination, beauty and teachable moments throughout, I hope that you and your students can enjoy and appreciate this piece for it's simple beauty as I do. Onward!~Aaron FonziREHEARSAL NOTES:1. The clarinet part should be a very light drone creating atmosphere at the beginning- the same goes for the clarinet and saxophone at rehearsal E.2. It's easy to get too loud too soon in this piece, so remind your students to have patience. F is the climax of the piece, but many young students will want to play C as if it is. Similarly, be sure to balance the trumpet/ clarinet and the flute/ oboe/ bells at C so both lines come out evenly.3. Take your time in measure 48- we want to naturally fade away and pause before going on at rehearsal E. This increase and decrease in energy is a characterization of the ebb and flow of the piece.4. At F, there are 3 important parts that must be balanced: flute/oboe/bells; trumpet/clarinet; alto saxophone/horn. For best results, balance these 3 parts, and encourage the alto/horn line to play out a bit more than they think they need to. They are the new part which must be heard here.5. Have fun and use your imagination in terms of expressing the music- ask your students what it makes them think of and create a story to go along with it. Let this ultimately guide your interpretation. I am consistently impressed with the creative ideas my students come up with, so let them decide how the music should sound with their own stories. In your slumber, anything is possible!
$15.00
Master, the Tempest is Raging (SATB)
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Chorale SATB
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DÉBUTANT
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Musique Sacrée
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Mary Ann Baker, H
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Garrett Breeze
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Master, the Tempest is Raging
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Lagom Music
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SheetMusicPlus
Choral Choir (SATB) - Level 1 - SKU: A0.723296 Composed by Mary Ann Baker, H.R. Palmer. Arranged by Garrett Breeze. Easter,Praise & Worship,Sacred,Spiri...
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Choral Choir (SATB) - Level 1 - SKU: A0.723296 Composed by Mary Ann Baker, H.R. Palmer. Arranged by Garrett Breeze. Easter,Praise & Worship,Sacred,Spiritual. Octavo. 7 pages. Lagom Music #6093717. Published by Lagom Music (A0.723296). This arrangement by Garrett Breeze is easy to learn and fun to sing! The men and women sing the first and second verses respectively in unison, then come together on the third verse in familiar harmony. The piano part is full of movement, evoking the motion of the ocean as it ebbs and flows. An excited and accessible arrangement suitable for many different kinds of church services.Visit https://garrettbreeze.com to read my blog and discover new music!Check out my catalog of choral music at https://holidaychoirmusic.com!Subscribe to my YouTube channel at https://bit.ly/35HZC2d!Lyrics:Master the tempest is raging! The billows are tossing high! The sky is o'ershadowed with blackness. No shelter or help is nigh. Carest thou not that we perish? How canst thou lie asleep when each moment so madly is threat'ning a grave in the angry deep?Master with anguish of spirit I bow in my gried today. The depths of my sad heart are troubled. Oh, waken and save, I pray! Torrents of sin and of anguish sweep o'er my sinking soul, and I perish! I perish! dear Master. Oh hasten and take control!Master, the terror is over, the elements sweetly rest. Earth's sun in the calm lake is mirrored, and heaven's within my breast. Linger, o blessed Redeemer! Leave me alone no more, and with joy I shall make the blest harbor and rest on the blissful shore.The winds and the waves shall obey thy will: Peace, be still. Whether the wrath of the stormtossed sea or demons or men or whatever it be, no waters can swallow the ship where lies the Master of ocean and earth and skies. They all shall sweetly obey Thy will: Peace, be still. Peace, be still. They all shall sweetly obey Thy will: Peace, peace, be still.
$2.25
A Warm Autumn Sun, It Was
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Kathleen Ryan
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A Warm Autumn Sun, It Was
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Indigo Mesa Music LLC
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1208656 By Kathleen Ryan. By Kathleen Ryan. Classical,New Age. Score. 5 pages. Indigo Mesa Music LLC #806757. Published b...
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Piano Solo - Level 4 - SKU: A0.1208656 By Kathleen Ryan. By Kathleen Ryan. Classical,New Age. Score. 5 pages. Indigo Mesa Music LLC #806757. Published by Indigo Mesa Music LLC (A0.1208656). A lyrical theme and variations piano solo, as composed and performed by Kathleen Ryan on her CD Passages.Kathleen's note: “The year may be winding down, the darkness may be closing in — but there are yet moments to bask in the sun.â€Late intermediate: many left hand arpeggios.
$5.25
Holy Holy Holy (To Thee We Sing)
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Piano seul
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Musique Sacrée
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John Bacchus Dykes
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April Rundquist
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Holy Holy Holy
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April Ann Rundquist
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SheetMusicPlus
Piano Solo - SKU: A0.938197 Composed by John Bacchus Dykes. Arranged by April Rundquist. Christian,Sacred. Score. 8 pages. April Ann Rundquist #2033633....
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Piano Solo - SKU: A0.938197 Composed by John Bacchus Dykes. Arranged by April Rundquist. Christian,Sacred. Score. 8 pages. April Ann Rundquist #2033633. Published by April Ann Rundquist (A0.938197). This has always been a very visual arrangement for me with a rough narrative. It starts with the trumpets at the end of the world, the sense of quiet expectation. Wind across a field. It drops off into the silence of outer space. The initial theme presented against that impersonal void, knowing that He's out there, somewhere. Some of this is very difficult for me to describe because this is really about the Triune God, the great creative power, the mover in harmony and cooperation with Himself. The second verse is more grand, the love, the sense of story. And then it gets very, very big, in the way that I AM is always in capitals. Who WAS and IS and evermore shall BE! And in my mind that word BE is light, and just explodes against the blackness into a billion sparkles. And we shrink down to the microcosm for a moment, the wonders of His creative power in the tiny worlds, and it fades to the black of space again. Holy, Holy, Holy, though the darkness hide Thee. The Light that we can't see that would outshine all the stars. More beauty, and then we tumble down the waterfall of Living Water from the Throne of God...in Heaven. The golden palaces and the wonder, the unearthliness, the richness of the life. For a moment it's more simple and I'm reminded of an old hymn being sung in a rustic church. Then a vision of the Cosmic Christ from Revelation giving a benediction, and we're plunged into the chorus of Heaven, the new song of the 144,000. (this part sounds really good on an acoustic piano because the sound physically builds on itself) And it ends as it began...
$4.99
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Moment In The Sun