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--INSTRUMENTS--
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Feel It Still - Portugal The Man
Non classifié
23
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32
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
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Vous avez sélectionné:
Feel It Still - Portugal The Man
Partitions à imprimer
168 partitions trouvées
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151
When I Survey the Wondrous Cross
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Isaac Watts / Lowell Mason
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Robert Myers
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When I Survey the Wondrous Cro
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WheatMyer Music
#
SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.976711 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Easter,Sacred. Octavo. 31 pag...
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Choral Choir (SATB) - Level 3 - SKU: A0.976711 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Easter,Sacred. Octavo. 31 pages. WheatMyer Music #4775085. Published by WheatMyer Music (A0.976711). When I Survey the Wondrous Cross, written by the Father of English Hymnody, Isaac Watts, in 1707 and later matched with Lowell Mason’s 1824 tune, HAMBURG, has long stood at the forefront of English hymnody.This arrangement, taken from my Passion Week cantata, Wounded, Bleeding, Still Proceeding, allows the full talent-spectrum of the Body of Christ to contemplate His sacrifice and offer their devotion.The first two stanzas feature an alto/soprano duet, set in a minor key with frequent diminished and augmented chords to reflect the despair and loss of a witness to the crucifixion. The entire third stanza, set for SATB chorus, never really moves off the F minor tonic until the end. That, and the relentless pounding of the bass line, ponders the witnesses anguish and our vicarious experience of it through Scripture. So, sing these stanzas sadly – they are sad! When the choir enters, be sure to observe the swelling crescendos/diminuendos as the sorrow and love mingle together.The fourth stanza offers optional congregational participation and may be used to provide a responsorial to the Word of God or a preparation for the Table. The choir sings this stanza in four part harmony as the congregation joins on the melody. It stays in a major key and closely follows the traditional consonances used in Lowell Mason’s harmonization; thus, the choral parts will feel familiar and the congregational melody will flow naturally. Take the text literally (Love so amazing, so divine, demands my soul, my life, my all.) and sing it firmly, enthusiastically, passionately, but never triumphantly. Sing it as a song of personal devotion to commit all that you have, all that you are, and all that you will ever be, to the one who humbled Himself by becoming obedient to the point of death, even death on a cross (Phil 2:8b) so that we might become the righteousness of God in Him (2 Cor 5:21)The music is well within the grasp of any ensemble competent with traditional SATB anthems. The piano/organ accompaniments are straightforward yet very colorful. When I Survey the Wondrous Cross is an unapologetic Christian worship anthem suitable for sacred services, yet does not compromise on artistic expression.The parts provided in this version include a full score, a piano-vocal octavo (which may be performed alone), and organ and timpani/percussion parts. Neither organ or timpani are required but adding either or both provides a deep and rich experience. Parts for reduced orchestra (strings and single winds) are available separately.
$2.50
There Were Two Men (Nathan the Prophet and King David) from "The Kings" - ACT 2:Song 7
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Chorale 2 parties
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INTERMÉDIAIRE
#
McCorkle, Dennis F
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There Were Two Men
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DF McCorkle Music and eBook Publications
#
SheetMusicPlus
Choral Choir (TB) - Level 3 - SKU: A0.784833 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. Octavo. 24 pages. DF McCorkle ...
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Choral Choir (TB) - Level 3 - SKU: A0.784833 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. Octavo. 24 pages. DF McCorkle Music and eBook Publications #11757. Published by DF McCorkle Music and eBook Publications (A0.784833). ACT TWO: Song 7. The King, by Dennis McCorkle, is a contemporary pop-rock musical of the first two kings of Israel, Saul ben Kish and David ben Jesse and explores the contrasting lives and outcome of each man’s choices in life. [2 Samuel 12:1-7… - And Yahweh sent Nathan to David. And he came unto him, and said unto him: ‘There were two men in one city: the one rich, and the other poor. 2 The rich man had exceeding many flocks and herds; 3 but the poor man had nothing save one little ewe lamb, which he had bought and reared; and it grew up together with him, and with his children; it did eat of his own morsel, and drank of his own cup, and lay in his bosom, and was unto him as a daughter. 4 And there came a traveler unto the rich man, and he spared to take of his own flock and of his own herd, to dress for the wayfaring man that was come unto him, but took the poor man’s lamb, and dressed it for the man that was come to him.’ 5 And David’s anger was greatly kindled against the man; and he said to Nathan: ‘As Yahweh lives, the man that hath done this deserves to die; 6 and he shall restore the lamb fourfold, because he did this thing, and because he had no pity.’ 7 And Nathan said to David: ‘You art the man.’…] The news is brought back to DAVID and BATHSHEBA. After an appropriate period of mourning, DAVID calls for BATHSHEBA and takes her as his wife and eventually gives birth to a son. DAVID in the meantime still conceals to himself the actions that precipitated URIAH’S death. NATHAN confronts DAVID about a rich man in the town who has stolen a lamb from a poor man. DAVID outraged at the injustice tells NATHAN that the man will die for his unfeeling actions. NATHAN then reveals that he (DAVID) is that man [There Were Two Men – Nathan and the Prophetess’]. Now at last the matter is exposed and David must face his actions. As NATHAN and the prophets leave, one of DAVID’S men comes in and tells him that his son has died. Also included with your order is our new 20 page catalog of over 150 titles at no additional charge.
$2.99
When I Survey the Wondrous Cross - Orchestration
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Orchestre de chambre
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INTERMÉDIAIRE
#
Isaac Watts / Lowell Mason
#
Robert Myers
#
When I Survey the Wondrous Cro
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WheatMyer Music
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and ...
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Chamber Orchestra - Level 3 - SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and parts. 49 pages. WheatMyer Music #4775721. Published by WheatMyer Music (A0.976713). When I Survey the Wondrous Cross, written by the Father of English Hymnody, Isaac Watts, in 1707 and later matched with Lowell Mason’s 1824 tune, HAMBURG, has long stood at the forefront of English hymnody.This arrangement, taken from my Passion Week cantata, Wounded, Bleeding, Still Proceeding, allows the full talent-spectrum of the Body of Christ to contemplate His sacrifice and offer their devotion.The first two stanzas feature an alto/soprano duet, set in a minor key with frequent diminished and augmented chords to reflect the despair and loss of a witness to the crucifixion. The entire third stanza, set for SATB chorus, never really moves off the F minor tonic until the end. That, and the relentless pounding of the bass line, ponders the witnesses' anguish and our vicarious experience of it through Scripture. So, sing these stanzas sadly – they are sad! When the choir enters, be sure to observe the swelling crescendos/diminuendos as the sorrow and love mingle together.The fourth stanza offers optional congregational participation and may be used to provide a responsorial to the Word of God or a preparation for the Table. The choir sings this stanza in four part harmony as the congregation joins on the melody. It stays in a major key and closely follows the traditional consonances used in Lowell Mason’s harmonization; thus, the choral parts will feel familiar and the congregational melody will flow naturally. Take the text literally (Love so amazing, so divine, demands my soul, my life, my all.) and sing it firmly, enthusiastically, passionately, but never triumphantly. Sing it as a song of personal devotion to commit all that you have, all that you are, and all that you will ever be, to the one who humbled Himself by becoming obedient to the point of death, even death on a cross (Phil 2:8b) so that we might become the righteousness of God in Him (2 Cor 5:21)The music is well within the grasp of any ensemble competent with traditional SATB anthems. The instrumental accompaniments are straightforward yet very colorful, suitable for high school or higher level players. When I Survey the Wondrous Cross is an unapologetic Christian worship anthem suitable for sacred services, yet it does not compromise on artistic expression.This is the orchestral accompaniment for the choral octavo version sold separately. This version includes full score and all instrumental parts.
$60.00
Song of the Heather - Mendelssohn- Clarinet duet
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2 Clarinettes (duo)
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FACILE
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Classique
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Felix Bartholdy Mendelssohn
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Phil Beaman
#
Song of the Heather - Mendelss
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Phil Beaman
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SheetMusicPlus
Clarinet Duet Clarinet - Level 2 - SKU: A0.844460 Composed by Felix Bartholdy Mendelssohn. Arranged by Phil Beaman. Romantic Period,Standards. 2 scores....
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Clarinet Duet Clarinet - Level 2 - SKU: A0.844460 Composed by Felix Bartholdy Mendelssohn. Arranged by Phil Beaman. Romantic Period,Standards. 2 scores. 4 pages. Phil Beaman #3383067. Published by Phil Beaman (A0.844460). This beautiful tune was written by Felix Mendelssohn in 1845. He titled it Moderato in Bm when it was first published as Op 67 No 5 in a volume of his Songs Without Words. It was often referred to as Heide Lied , a type of pastoral German folk song. Another title derived from that is Song of the Heather. Many current editions give it the title The Shepherd's Complaint. Â This instrumental duet arrangement takes a Romantic piece and sets it in 2 part writing. Even without the chords it is still very rich in sound and Romantic in feel. The metre is always in 3 even when the phrasing looks to be in 2; except for a section near the end where I have strayed from the original Mendelssohn and clearly marked Part II with tenutos to be in 2 against Part I in 3. I have also changed phrasing and articulation for more contrast between the two parts. This arrangement is faithful to the spirit of Mendelssohn yet freshens this beautiful old melody. The notes and rhythms are quite easy to play but I have marked it Early Intermediate because so much could be done with phrasing, articulation, and expression that would make this sound like a much more advanced piece. A great Romantic repertoire piece for students. (2 page score, 1 page Parts)
$4.99
Song of the Heather - Mendelssohn- Clarinet/ Bass Clarinet duet
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2 Clarinettes (duo)
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FACILE
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Classique
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Felix Bartholdy Mendelssohn
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Phil Beaman
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Song of the Heather - Mendelss
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Phil Beaman
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SheetMusicPlus
Instrumental Duet Bass Clarinet,Instrumental Duet - Level 2 - SKU: A0.844466 Composed by Felix Bartholdy Mendelssohn. Arranged by Phil Beaman. Romantic ...
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Instrumental Duet Bass Clarinet,Instrumental Duet - Level 2 - SKU: A0.844466 Composed by Felix Bartholdy Mendelssohn. Arranged by Phil Beaman. Romantic Period,Standards. Score and parts. 4 pages. Phil Beaman #3384667. Published by Phil Beaman (A0.844466). This beautiful tune was written by Felix Mendlessohn in 1845. He titled it Moderato in Bm when it was first published as Op 67 No 5 in a volume of his Songs Without Words. It was often referred to as Heide Lied , a type of pastoral German folk song. Another title derived from that is Song of the Heather. Many current editions give it the title The Shepherd's Complaint. Â This instrumental duet arrangement takes a Romantic piece and sets it in 2 part writing. Even without the chords it is still very rich in sound and Romantic in feel. The metre is always in 3 even when the phrasing looks to be in 2; except for a section near the end where I have strayed from the original Mendlessohn and clearly marked Part II with tenutos to be in 2 against Part I in 3. I have also changed phrasing and articulation for more contrast between the two parts. This arrangement is faithful to the spirit of Mendlessohn yet freshens this beautiful old melody. The notes and rhythms are quite easy to play but I have marked it Early Intermediate because so much could be done with phrasing, articulation, and expression that would make this sound like a much more advanced piece. A great Romantic repertoire piece for students. (2 page score, 1 page Parts)
$4.99
Song of the Heather - Mendelssohn- Saxophone duet
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2 Saxophones (duo)
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FACILE
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Classique
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Felix Bartholdy Mendelssohn
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Phil Beaman
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Song of the Heather - Mendelss
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Phil Beaman
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Instrumental Duet,Tenor Saxophone - Level 2 - SKU: A0.844461 Composed by Felix Bartholdy Mendelssohn. Arranged by Phil ...
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Instrumental Duet Alto Saxophone,Instrumental Duet,Tenor Saxophone - Level 2 - SKU: A0.844461 Composed by Felix Bartholdy Mendelssohn. Arranged by Phil Beaman. Romantic Period,Standards. Score and parts. 4 pages. Phil Beaman #3383081. Published by Phil Beaman (A0.844461). This beautiful tune was written by Felix Mendelssohn in 1845. He titled it Moderato in Bm when it was first published as Op 67 No 5 in a volume of his Songs Without Words. It was often referred to as Heide Lied , a type of pastoral German folk song. Another title derived from that is Song of the Heather. Many current editions give it the title The Shepherd's Complaint. Â This instrumental duet arrangement takes a Romantic piece and sets it in 2 part writing. Even without the chords it is still very rich in sound and Romantic in feel. The metre is always in 3 even when the phrasing looks to be in 2; except for a section near the end where I have strayed from the original Mendelssohn and clearly marked Part II with tenutos to be in 2 against Part I in 3. I have also changed phrasing and articulation for more contrast between the two parts. This arrangement is faithful to the spirit of Mendelssohn yet freshens this beautiful old melody. The notes and rhythms are quite easy to play but I have marked it Early Intermediate because so much could be done with phrasing, articulation, and expression that would make this sound like a much more advanced piece. A great Romantic repertoire piece for students. For 2 Altos or 2 Tenors. (2 page score, 1 page Parts)
$4.99
Song of the Heather -Mendelssohn- Oboe/Bassoon duet
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Hautbois, Basson (duo)
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FACILE
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Felix Mendlessohn
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Phil Beaman
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Song of the Heather -Mendelsso
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Phil Beaman
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SheetMusicPlus
Instrumental Duet Bassoon,Instrumental Duet,Oboe - Level 2 - SKU: A0.844464 Composed by Felix Mendlessohn. Arranged by Phil Beaman. Romantic Period,Stan...
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Instrumental Duet Bassoon,Instrumental Duet,Oboe - Level 2 - SKU: A0.844464 Composed by Felix Mendlessohn. Arranged by Phil Beaman. Romantic Period,Standards. Score and parts. 4 pages. Phil Beaman #3384007. Published by Phil Beaman (A0.844464). This beautiful tune was written by Felix Mendlessohn in 1845. He titled it Moderato in Bm when it was first published as Op 67 No 5 in a volume of his Songs Without Words. It was often referred to as Heide Lied , a type of pastoral German folk song. Another title derived from that is Song of the Heather. Many current editions give it the title The Shepherd's Complaint. Â This instrumental duet arrangement takes a Romantic piece and sets it in 2 part writing. Even without the chords it is still very rich in sound and Romantic in feel. The metre is always in 3 even when the phrasing looks to be in 2; except for a section near the end where I have strayed from the original Mendlessohn and clearly marked Part II with tenutos to be in 2 against Part I in 3. I have also changed phrasing and articulation for more contrast between the two parts. This arrangement is faithful to the spirit of Mendlessohn yet freshens this beautiful old melody. The notes and rhythms are quite easy to play but I have marked it Early Intermediate because so much could be done with phrasing, articulation, and expression that would make this sound like a much more advanced piece. A great Romantic repertoire piece for students. (2 page score, 1 page Parts)
$4.99
Brass Quintet - Three Pastoral Sketches
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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AVANCÉ
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Contemporain
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Mike Lyons
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Brass Quintet - Three Pastoral
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Lyons Music Servic...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Lyons Music Services #6422239. Published by Lyons Music Services (A0.767578). These three pieces form a small suite, linked by the idea of ‘pastoral’ or rustic situations and places. The first piece to be written now forms the middle movement, though at first it was the starting point. This is not easy music. It travels through several keys with large numbers of sharps and flats and in places the time signature shifts constantly. The first movement is modal, being based on the mixolydian and dorian modes. I took for this movement the idea of ancient Celts celebrating a victory and dancing and getting drunk around a smoky fire. Their chieftain strikes up a song, accompanied by a double drone. This melody is initially stated on the horn, with just two other instruments providing the accompaniment. At 4 before B, the remaining instruments join in, providing a rhythmic pulse and the melody moves to the Euphonium/Baritone/Trombone. Subtle variations shape the melody anew, leading to letter C. Here the complex overlapping rhythms provide a more dance-like feel to the music. Also, countermelodies start to appear which build the excitement. At letter E, the music becomes louder and the rhythmic pulse more insistent (perhaps they are dancing on the tables?) The mode changes to the more major sounding mixolydian. But from here on in, the revellers are starting to wend their way home, still singing and dancing and they gradually fade into the distance. At letter G, we’re back to three players, but with the trumpet 1 playing a rhythmic melody over the top of the original tune. The second movement is called The Aesthetes. The aesthetic movement was formed in the 19th century, but had been around before that in less formal garb. Their ideal was to emulate the Ancient Greeks and Romans – or at least their perception of what the ancients were like as found in statues, paintings and friezes. They adopted studied poses and were very effete in their mannerisms. Gilbert and Sullivan parodied the aesthetic movement in their operettas – particularly Princess Ida (but also in the Mikado and various others). So, here is a movement with classical lines in the style of a minuet, but in 6/8 rather than ¾ so that it can be more languid. All the melodies are ‘studied’ and ‘formal’ with long, languid notes and rhythms which don’t quite fit to the beat as the aesthetes pose and ponder and languidly look, studied and pale and wan. Because of the long notes in the melody, there’s an almost dream-like quality to the music as if they are seeing through a haze of Wormwood or Absinthe (a favourite drink of the aesthetes when they weren’t high on themselves or opiates). The third and final movement is called The Bohemians. This was also a movement at the end of the 19th Century. Where the aesthetes were ruled by rules, the Bohemians lived by none. They were considered wild and unconventional to say the least. The Bohemians movement owed much to the supposed free life and style of the gypsies and wanderers of Europe. Our piece starts with a gypsy violin style opening, including a cadenza, and then moves into the rapidly time shifting and gyrating gypsy dance. This section is in alternating bars of 5/8 and 6/8 with occasional 11/8 thrown in to keep you off balance. The frantic and frenetic movement continues up to letter F where things calm down a little – but not for long as the intensity increases again from Letter H to the quite sudden ending. This is tuneful yet challenging music which will take a lot of effort, but which will give a lot back in return.
$28.00
Scimitars of the Storm
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Orchestre de chambre
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INTERMÉDIAIRE
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Anthony Plominski
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Scimitars of the Storm
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Anthony Plominski
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1459155 Composed by Anthony Plominski. Chamber. 13 pages. Anthony Plominski #1038126. Published by Anthony Plomins...
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Chamber Orchestra - Level 3 - SKU: A0.1459155 Composed by Anthony Plominski. Chamber. 13 pages. Anthony Plominski #1038126. Published by Anthony Plominski (A0.1459155). This is Scimitars of the Storm, an original orchestral composition made by Anthony Plominski. This piece includes 14 instruments of various types, though it can all be played one intrument, most commonly the piano. This piece has a dramatic, epic, battle sort of theme to it, which the many intruments help create. That epic feel keeps throughout the entire composition, though it still has variety and interesting parts to it. The difficulty of this piece can vary depending on what intrument is performing its part, though there is a decent amount of skill an experience required to play it.Loads of thought and effort went into this composition, despite it only being just over two minutes when correctly played. We hope that you enjoy playing this piece!
$10.00
Now the Dove Flies
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Christian contemporain
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Musique Sacrée
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Connie Pwll Walck Tyler
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Now the Dove Flies
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Connie Tyler
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SheetMusicPlus
Small Ensemble Flute,Piano,Voice - Level 3 - SKU: A0.1008082 Composed by Connie Pwll Walck Tyler. Contemporary,Sacred. Score and parts. 14 pages. Connie...
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Small Ensemble Flute,Piano,Voice - Level 3 - SKU: A0.1008082 Composed by Connie Pwll Walck Tyler. Contemporary,Sacred. Score and parts. 14 pages. Connie Tyler #4607671. Published by Connie Tyler (A0.1008082). This piece, for soprano and alto duet with piano and flute, speaks of the persistence of the dove, the peace maker, faced with war, famine, poverty, etc. It was written when the United States went to war with Afghanistan and Representative Barbara Lee stood up and was the lone voice against war. Although the piece is secular, the use of the symbol of the dove would work well in religious services.The piece involves a two against three rhythm which suggests the difficulties the dove faces flying for peace against the overwhelming odds of war. The .mp3 file is computer generated with choral oohs for the voices. The words are:Now the dove flies, sails the war-torn skies,feels the wind rip through her wings.Tossed and turned now, cries of war howl,tear-ing through her, and she still sings. Sings to march-ers on crowd-ed streetssing-ing songs of love and songs of peace.Tips her wings to those who dare stand tall,speak re-sound-ing no's in hal-lowed halls. They say that that sin means to miss the mark.I have so man-y times aimed in the dark.We fail in lit-tle ways, be-tray our friends.It was-n't planned that way.Dis-trac-tion leads to e-vil ends. The sha-dow fear clouds our at-ten-tion.Mind falls a-stray in-to dis-sen-sion. Ig-no rance can twist the dartand then it falls far from the mark. Na-tions, too, a-stray our free-doms bend‘til some have bombed away all chance at friends. We see glo-ry mag-ni-fied.Shout our prais-es to the to the skies.Build our mon-u-ments to our wars,for-get-ting the needs of of weak and poor. And still the dove flies while the earth criespol-lu-ted with more de-bris of war.Child-ren sick now, soldiers cry foul!Dove is weep-ing and yet she hums. Hums to child-ren who diede-spite moth-ers' deep cries.Sings to young who march to war,de-spite fa-thers' out-raged roars.Wings o-ver fa-mine and drought,pol-lu-ted wa-ter, pol-lu-ted ground.Folds us un-der her down-y breast.Warms us in her gen tle nest. Yes, the dove flies. Sails the wa- torn skies.Feels the wind rip through her wings.Tossed and turned now cries of war howltear-ing through her and yet,and yet she sings. For more information or possible revisions contact Connie Pwll Walck Tyler at connie@deephum.com. You can also find out more about her work at www.deephum.com. The words are:
$8.00
The Tale Of The Slightly Miffed Dancing Bear
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James Pickering
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The Tale Of The Slightly Miffe
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Forton Music - Digital
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SheetMusicPlus
Tba. pft. - Intermediate-Advanced - SKU: F2.FM597 Composed by James Pickering. A piece for Tuba and piano. Score and part. 14 pages. Forton Music - Digi...
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Tba. pft. - Intermediate-Advanced - SKU: F2.FM597 Composed by James Pickering. A piece for Tuba and piano. Score and part. 14 pages. Forton Music - Digital #FM597. Published by Forton Music - Digital (F2.FM597). ISBN 9790570484966.The story of this composition really begins with another composition entitled 'Play-Time' for solo piano. I showed the score for 'Play-Time' to a friend, Boryana Petkova a very talented pianist from Bulgaria, to whom I eventually dedicated 'the Dancing Bear'. After showing her 'Play-Time' she commented that part of it sounded like a Bulgarian folk dance. The potential of this intrigued me quite a lot so I sketched out a few bars intent on writing another piano piece based around this idea (the melodic line first heard in the Tuba part in the fifth bar after letter A). However, upon discussing these sketches with Boryana she mentioned they no longer sounded particularly Bulgarian. As this was the main aim of the sketches that eventually became 'The Dancing Bear' it is fair to say I was slightly miffed. Undeterred I decided to shift focus and write for the instrument I knew best, the Tuba. The 'Bear' part of the title refers to the tendency of composers to use Tubas to represent angry bears, most famously in Stravinsky's ballet 'Petrushka'. Musically it still contains quite a few elements of eastern European dance including the use of drones, some typical scales with flattened seconds and sevenths as well as the rhythmic oscillation between bars of 2,2,2,2 and 3,3,2 quaver (8th note) division. However, the goal for me was to writes a slightly humorous piece, with a technically demanding Tuba part, that could show off the musicians abilities and still retain the feel of a rhythmical dance.
$7.95
Waltz Op 69 No 2 (Arranged for Guitar)
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Classique
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Frederic Chopin
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Brian Streckfus
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Waltz Op 69 No 2
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Inst...
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Guitar - Level 3 - SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Instructional,Romantic Period. Guitar Tab. 6 pages. Brian Streckfus #776814. Published by Brian Streckfus (A0.1177383). Key: Changed from B minor to A minorCapo: 2 (If you want original key, but I wasn't a fan of capo 2; it felt like there was no bass notes.)1. Arranged for guitar. 2. Piano pedal markings removed 3. Phrase markings removed and opted for commas. 4. Re-harmonized 5. Key changed from B minor to A minor. 6. Slurs 7. Left hand fingers 8. Tablature9. Harmonics added when advantageous, but playing the regular note would work as well.10. Piano pedal markings removed and replaced with commas. It's a flaw of sheet music that slurs, ties, and phrase markings are all the same symbol, and having all three happening can clutter a score.Compromises This may sound obvious, but of course I had to make some alterations to make this flow properly on guitar. Many of the original chord inversions on the piano were not kept. However, many harmonies were kept intact as far as following the chord nomenclature name. Measure 50 was originally an A minor chord, the irony is that the F major suprise is an homage to Chopin anyways, suprised he didn't opt for it. To be honest, I don't like how there is a perfect authentic cadence in measure 50. I think modern audiences would want to clap too badly, so I believe that ending needs to be slightly messed up to propel the music forward, and give a sense that there is still a problem. The other chord that was changed was an E7b9 to a Ddim7 in measure 78. If you know your theory well, you'll realize these chords have the same exact function and nearly the same notes, it's just that Ddim7 flowed a bit better on guitar. I'd rather have guitarists play the rhythms correctly and with musicality, than have guitarist clunkily go though overly large chords in order to mantain historical accuracy. Measure 15 was hard to keep the original chord intact. A Bb/D with a G in the melody as a suspension sounds more like a g minor chord. That is cliche Chopinesque neopolitan moment so the Bb is crucial to mantain. Having some rough sort of Bbmaj7 or G minor chord while mantaining the melody seemed to sound the best even though the name of the chord might have gotten a little off. I tried chord charts, but they seemed messier than what it was worth. I also could have the denser tablature in the sheet music, but that does make it look 10x more intimidating. So this version is unique in that the tablature is my denser arrangement, whereas the sheet music would allow someone to quickly make a new arrangement. I like this ethos because most guitarists are likely to be much better at playing chord quickly when they don't have to have an exact voicing. This makes this arrangement easier to further perfect since I am naming the harmonies, which often isn't done in classical music.BackstoryThis is one of my favorite pieces, and also my favorite composer. I feel classical guitar repertoire is lacking easily playable music in the romantic style. Often, if it is romantic guitar music, it is extemely difficult and therefore only a select few can enjoy performing it. Also, I sometimes get my hopes up to find a romantic guitar composer, but then after listening, there's nothing quite like Chopin. Obviously, you will have to have some chops to play this since it's one of the most ambitious undertakings a guitarist could take, but it's also not so hard that you have to be train for a decade because I changed the key.
$1.99
A Woman's Work
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Voix Soprano, Piano
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Contemporain
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Abigail Gilson
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A Woman's Work
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Abigail Gilson
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SheetMusicPlus
Soprano voice,Vocal Solo - SKU: A0.1024943 Composed by Abigail Gilson. Contemporary. 6 pages. Abigail Gilson #3675493. Published by Abigail Gilson (A0.1...
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Soprano voice,Vocal Solo - SKU: A0.1024943 Composed by Abigail Gilson. Contemporary. 6 pages. Abigail Gilson #3675493. Published by Abigail Gilson (A0.1024943). The final piece in the three-part song cycle, the young girl has grown up and has taken on the role of a woman. The piece itself is very slow moving, as the woman’s life has significantly slowed down, she’s no longer the young girl filled with hope, she knows what her duty is. The piano itself is always rising, sometimes in major thirds but then followed by clunky seconds and thirds. With a feeling of rush but also as if the whole piece is about to end and resolve, yet it continues in this cycle. Still, there’s reward in her work, a woman gets to see her child grow, and their dreams become her own. As any woman can tell you, there is a reward to being a good mother, wife, and woman. But it is only one that a woman can recognize.
$4.99
Ungaresca & Almande Poussinghe (Recueil de Danseries, 1583)
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Renaissance
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Pierre Phalèse Jnr
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Colin Kirkpatrick
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Ungaresca & Almande Poussi
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Colin Kirkpatrick Publications
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SheetMusicPlus
String Ensemble - Level 2 - SKU: A0.1041170 Composed by Pierre Phalèse Jnr. Arranged by Colin Kirkpatrick. Renaissance. Score and parts. 18 pages. Co...
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String Ensemble - Level 2 - SKU: A0.1041170 Composed by Pierre Phalèse Jnr. Arranged by Colin Kirkpatrick. Renaissance. Score and parts. 18 pages. Colin Kirkpatrick Publications #645901. Published by Colin Kirkpatrick Publications (A0.1041170). These two dances are taken from a collection entitled Recueil de danseries, contenant presque toutes sortes de danses (“Collection of dances, containing almost every kind of dancesâ€) published in Antwerp in 1583 by Pierre Phalèse Jnr (c.1545-1629). He was continuing the work of his father Pierre Phalèse the Elder (1510-1575) the most important publisher in the Low Countries during the 16th century. The piece known as Ungaresca evokes the atmosphere of street music rather than that of the court and the drone accompaniment that Phalèse provides suggests the sound of the peasant bagpipes. As the name implies, the dance came from Hungary though it may have simply been a dance in the Hungarian style. Even so, the melody was tremendously popular during the fifteenth century though the author is unknown. The dance calls for a lively performance, and you can use plenty of percussion to enliven it. This music was meant for dancing and entertainment and musicians would often combine several dances to make a more substantial piece. In this arrangement, the rather wild Ungaresca is paired with the stately Almande Poussinghe. The music would have been played by any instruments that happened to be available. The dances still retain their freshness and charm today and are sure to be popular at any concerts, public recitals or end-of-semester events. This arrangement is for virtually any string ensemble and the single PDF file includes a full score and parts for violin 1, violin 2, viola (violin 3), cello and bass (combined), keyboard and simple percussion. Two additional melody part are provided in the treble and bass clefs and the chords (for optional guitar) are shown in both keyboard and cello-bass parts. In the spirit of the original publication, you can add to the melody line any other C-pitch instruments that happen to be available. Even the additional of a couple of recorders will enhance the sound. Alternatively, you can do opposite and create a pleasing contrast by omitting various instruments for certain sections. The audio demo will give you an idea how this might be achieved. The keyboard part is intended as a guide and when possible, the keyboard player should feel free to improvise around the part and the chords shown. A digital or acoustic harpsichord sounds more authentic than a piano. Most electronic keyboards have a harpsichord option. The optional percussion instruments used are similar to those found in elementary school music rooms and usually include a tambour or hand-held drum, antique (finger) cymbals, wood-blocks and tambourine. Two or three players can be used (but feel free to add more) and the parts can be interpreted quite freely. Dance music is intended to be fun, and we hope that this arrangement brings you just that.
$9.99
Go to the Child
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Chorale SATB
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INTERMÉDIAIRE
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Samantha Jellett
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Go to the Child
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Samantha Jellett
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 3 - SKU: A0.1380835 Composed by Samantha Jellett. Advent,Christmas,Holiday. 6 pages. Samantha Jellett #965614. Publis...
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Choral Choir,Choral (SATB) - Level 3 - SKU: A0.1380835 Composed by Samantha Jellett. Advent,Christmas,Holiday. 6 pages. Samantha Jellett #965614. Published by Samantha Jellett (A0.1380835). This SATB a capella setting of a beautiful poem by Imtiaz Darker was composed for the BBC Carol Competition 2019. It is suitable for both professional and amateur/community choirs. The theme is a universal one of new birth, making it suitable for many occasions as well as Christmas. The text is as follows:Rise and go on a bitter nightWhen hope lies frozen in the ground,Hushed and hidden out of sightNo living thing for miles around.Even though the tears of the earthHave turned to crystal, rise.Take the road that leads to a birth,An infant calls and the heart replies.See in the eyes a blazing star,A spark of something newly born,Feet already walking on air,Holding a lifeline in the palm.When at last you see the faceAnd feel on your cheek the baby's breath;When you have known the graceOf a beginning, being blessed.Look up at the hungry bowl of the skyAnd empty your pockets to fill it,See where the water is risingAnd lift your hands to still it.Turn to a world that is still unbornAnd raise your voice to sing it,Go to the child who is not your ownAnd open your heart to save it.See in the eyes a blazing star,A spark of something newly born,Feet already walking on air,Holding a lifeline in the palm.
$1.99
Waiting for the Sandman (SSAA, a cappella) - original jazz song by Sarah and Gil Jaysmith
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Chorale SSAA
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INTERMÉDIAIRE
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Sarah Jaysmith
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Sarah Jaysmith
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Waiting for the Sandman
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Sarah Jaysmith
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SheetMusicPlus
Choral Choir (SSAA) - Level 3 - SKU: A0.849286 Composed by Sarah Jaysmith. Arranged by Sarah Jaysmith. A Cappella,Holiday,Jazz,Wedding. Octavo. 7 pages....
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Choral Choir (SSAA) - Level 3 - SKU: A0.849286 Composed by Sarah Jaysmith. Arranged by Sarah Jaysmith. A Cappella,Holiday,Jazz,Wedding. Octavo. 7 pages. Sarah Jaysmith #4642305. Published by Sarah Jaysmith (A0.849286). This original song has a wonderful jazzy nostalgia feel to it, and the arrangement for SSAA a cappella enhances that. There is a small amount of divisi at the end. The harmonies are mostly homophonic, allowing the warmth of the voices to shine through. The duration is about 3 minutes.It's a simple story - girl meets boy, girl is too shy to ask his name, girl spends sleepless night wishing she had been brave, girl amazingly meets boy the next day (thanks to a little Sandman magic!). This recording is a rehearsal recording, and is a little under tempo, but still gives you the feel of the piece. Try a new song that audiences and your singers will love! Sarah Jaysmith has been arranging and composing choral music for many years. Find her at www.sarahjaysmith.com
$2.50
Dawn in the Room for alto and guitar (words by S N Solomons) (mp3)
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Contemporain
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David Warin Solomons
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Dawn in the Room for alto and
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David Warin Solomons
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SheetMusicPlus
Alto Voice,Guitar - SKU: A0.1059328 Composed by David Warin Solomons. 20th Century. Full Performance. Duration 259. David Warin Solomons #2054329. Publi...
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Alto Voice,Guitar - SKU: A0.1059328 Composed by David Warin Solomons. 20th Century. Full Performance. Duration 259. David Warin Solomons #2054329. Published by David Warin Solomons (A0.1059328). Score:https://www.sheetmusicplus.com/title/19984192?aff_id=175705Setting of the poem by S N Solomons based on Supervielle's L'Aube dans la chambre for alto and classical guitar. Performed by the composer ... The first light comes, touching the sleeping mind, stroking the head, confirming who it is. Colours prick through the window pane, with silent customary tread. Pale light from Palestine and Java leans over the bed and spreads. Grey light reluctant to leave China powders the glass deepens its image as you come close. Yellow light strokes the window pane, sombre light stains the human comedy sprawled on the bed. And then the watching soul immanent, anxious says All is still well. The substance of our days is whole. No greater pain exists than to feel pain no more, with the soul helpless before locked doors. Alas Time will arrive, and death deprive. Meanwhile take I delight flattering his form guessing his contour beneath the sheets; sensing his blood seeking complexity, feeling his hands fleeting, stirred by some dream; leaving no trace in Time or Space. Let me think no more thoughts for fear he may wake. Let me be quieter than the leaf that grows. Or the rose..
$2.00
Theme From "New York, New York"
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Trio à Cordes: 2 violons, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Frank Sinatra
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Sarah Cellobat Chaffee
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Theme From "New York, New
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Sarah Cellobat Chaffee
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SheetMusicPlus
String Trio Cello,Violin - Level 4 - SKU: A0.1419194 By Frank Sinatra. By Fred Ebb and John Kander. Arranged by Sarah Cellobat Chaffee. Broadway,Film/TV...
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String Trio Cello,Violin - Level 4 - SKU: A0.1419194 By Frank Sinatra. By Fred Ebb and John Kander. Arranged by Sarah Cellobat Chaffee. Broadway,Film/TV,Jazz,Musical/Show,Pop,Standards. 12 pages. Sarah Cellobat Chaffee #1000626. Published by Sarah Cellobat Chaffee (A0.1419194). *INSTRUMENTATION: 2 VIOLINS & CELLO*New York, New York is really a song that needs no introduction! Written as the theme for the Martin Scorsese film of the same name in 1977, the song was originally performed by Liza Minnelli, and her version received a Golden Globe nomination that year. However, it didn't really become a mainstream hit until 1978, when Frank Sinatra included it in his performances at Radio City Music Hall; his version quickly became a massive success, and it's now considered one of his signature songs. To this day, it's still one of the best-known songs of all time about New York City, and it's been included in AFI's list of the top 100 songs in American cinema -- so you can't go wrong adding this one to your gig books! This Cellobat arrangement for your two-violin and cello trio features the soaring melodies, catchy big-band horn riffs, fun jazz harmonies, and feel-good vibe of the original for a chart your group will love to play...and you're sure to get your audience singing along, too! Rated advanced-intermediate for a few tricky rhythms and accidentals; this will be playable for more advanced students and sightreadable for professionals.Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$14.99
Theme From "new York, New York"
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Frank Sinatra
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Sarah Cellobat Chaffee
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Theme From "new York, New
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Sarah Cellobat Chaffee
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1250755 By Frank Sinatra. By Fred Ebb and John Kander. Arranged by Sarah Cellobat C...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1250755 By Frank Sinatra. By Fred Ebb and John Kander. Arranged by Sarah Cellobat Chaffee. Film/TV,Jazz,Pop,Standards. 16 pages. Sarah Cellobat Chaffee #845029. Published by Sarah Cellobat Chaffee (A0.1250755). New York, New York is really a song that needs no introduction! Written as the theme for the Martin Scorsese film of the same name in 1977, the song was originally performed by Liza Minnelli, and her version received a Golden Globe nomination that year. However, it didn't really become a mainstream hit until 1978, when Frank Sinatra included it in his performances at Radio City Music Hall; his version quickly became a massive success, and it's now considered one of his signature songs. To this day, it's still one of the best-known songs of all time about New York City, and it's been included in AFI's list of the top 100 songs in American cinema -- so you can't go wrong adding this one to your gig books! This Cellobat arrangement for your string quartet features the soaring melodies, catchy big-band horn riffs, fun jazz harmonies, and feel-good vibe of the original for a chart your group will love to play...and you're sure to get your audience singing along, too! Rated advanced-intermediate for a few tricky rhythms and accidentals; this will be playable for more advanced students and sightreadable for professionals.Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$16.99
Excerpt from the Lyric Suite
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
Ukraine - The Aftermath
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R H Baptiste
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Ukraine - The Aftermath
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Ron Baptiste
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Flute,Oboe - Level 2 - SKU: A0.1033971 Composed by R H Baptiste. Multicultural,Spiritual,World. 10 pages. Ron Baptist...
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Woodwind Ensemble,Woodwind Quintet Flute,Oboe - Level 2 - SKU: A0.1033971 Composed by R H Baptiste. Multicultural,Spiritual,World. 10 pages. Ron Baptiste #639291. Published by Ron Baptiste (A0.1033971). Watching reports of the ongoing war in Ukraine, it's impossible not to be affected emotionally; innocent civilians being killed is always heartbreaking, and so senseless. The older I get, the less optimistic I become as to the future of the human race. I find it unfathomable that after millenia of evolution, and the development of better methods of cooperation between nations, there are still throwbacks like Putin who are quite willing to resort to the use of force to get their way. Politics aside, I felt compelled to write something that expresses the sadness I feel for the Ukrainian people - for their losses, and the random destruction taking place in their Country.
$1.99
I Can Still Sing, vocal solo
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New Age
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Contemporain
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Kevin G
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I Can Still Sing, vocal solo
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Kevin G. Pace
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SheetMusicPlus
Medium Voice,Vocal Solo - Level 4 - SKU: A0.1077330 Composed by Kevin G. Pace (ASCAP), Sherri D. Johnson. 20th Century,Contemporary,New Age. 8 pages. Ke...
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Medium Voice,Vocal Solo - Level 4 - SKU: A0.1077330 Composed by Kevin G. Pace (ASCAP), Sherri D. Johnson. 20th Century,Contemporary,New Age. 8 pages. Kevin G. Pace #681507. Published by Kevin G. Pace (A0.1077330). A beautiful vocal solo with music by Kevin G. Pace and text by Sherri D. Johnson. Text: When I think of my childhood and all it did bring, (5, p.u. , 6-9) what I remember most is that you always would sing. (9-12) Through the good and the bad, the happy and sad, (13-14) no matter what happened you always did sing. (14-20) There were times I know it was hard for you. (21 pu, 22- There were many things that you had to go through. (23 pu, 24-25 I’m sure there were times when your strength was all gone, (25 pu, 26 and you felt it impossible for you to go on. (27 pu, to 29) Yet somehow within you there was always a song (30 pu, 31- ) that renewed your faith and helped you be strong. (to 37) I learned that no matter what life might bring, (38- it would all be okay if we could still sing. (to 45) I think of the journey you have valiantly fought ( and all of the lessons that to me you taught. You taught me to have faith in my Savior above; you have shown me how to truly love. (to 54) Chorus: You have blessed so many lives; you have touched our hearts. Many tears will be shed when from us you depart. Now your journey soon must come to an end, oh how I will miss you, my dear mother, and friend. (to 66) Yet my life will go on, more challenges to bring, but I’ll be okay, because you taught me to sing. Oh what joy you will feel as you look on his face, and kneel at his feet in that glorious place. (to 79) As you bask in his light he will say to thee, (82-85) “My Daughter, your life has been pleasing to me. (86-89) You kept the faith, you fought a good fight, now take my hand and enter into the light. (to 98) Then joining his angels your voice will ring, as to him your praises you bring. For in that great place, throughout eternity, with Heavenly choirs you will still sing.
$3.99
ISADAR - The Journey (complete collection)
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Isadar
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ISADAR - The Journey
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Mainya Music Publishing
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1224308 By Isadar. By Isadar. New Age. Score. 63 pages. Mainya Music Publishing (BMI) #820403. Published by Mainya Music ...
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Piano Solo - Level 4 - SKU: A0.1224308 By Isadar. By Isadar. New Age. Score. 63 pages. Mainya Music Publishing (BMI) #820403. Published by Mainya Music Publishing (BMI) (A0.1224308). Sounds like:  Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artistsTranscribed by:  David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recordingContents: 1. Joyful Running 2. Fountain Of Life 3. Voice Of God (Thanksgiving) 4. Pocket Change 5. The Journey 6. Smoke Signals 7. Horseman's Thrill Ride 8. End Of The LineAlbum & Songbook review by:  Kathy Parsons (MainlyPiano.com):Isadar’s fourth solo piano album is a blend of smooth jazz and new age stylings, showing both his impressive technique and sensitivity to melody. Several of the eight selections are free-form and improvisational, revealing some of Liz Story’s influence on his music. Some of Isadar’s earlier recordings have very dark, moody sections, but this one stays fairly upbeat and optimistic without being ear candy. The music is complex enough to sink your teeth into, and yet is accessible enough to enjoy as a backdrop to a quiet dinner or an evening with a good book. Joyful Running begins the journey with an exuberant and uplifting piece that reminds me a little of some of Spencer Brewer’s bouncier compositions. Fountain of Life is a beautiful piece with a water-like flow that never stops in its 10 1/2 minutes. I listened to this CD several times without realizing that this song was that long. It flows and meanders so effortlessly that it seemed no longer than the other seven selections, most of which are between four and five minutes in length. Unstructured and free, this is one of my favorite tracks. I also really like the title track, which is even more abstract and unstructured. The tone is of searching and moving forward. End of the Line is my favorite on this album. Very introspective and contemplative, this seems to be a very personal piece. It is the most somber track, but one still senses hope despite the ending of something dear and important. Or maybe it’s simply the end of the journey and the dread of returning to real life - I feel this way on the last day of my vacations! It is a wonderful and moving closing to an excellent album.The companion songbook is expertly transcribed and engraved by David Shenton of New York Music Publishing. The layout of the music is clear and uncluttered, and the notation includes pedal markings and dynamics that allow the pianist to express the music as closely as possible to how Isadar played it on the recording.  A few of the pieces are quite long and require a more advanced pianist who is able to express the nuances that keep the recording so interesting, but several of the pieces are well within the capabilities of upper intermediate players.  Some of the rhythms are a little bit tricky, but the majority of the left hand parts are running eighth notes, which make it easier.  None of the key signatures are difficult, and none of the chords have a reach of more than an octave, making this music very playable for smaller hands.  My favorite pieces to play in this book are Joyful Running, Voice of God (Thanksgiving), Smoke Signals, and End of the Line.Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more... Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player piano.
$49.99
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Feel It Still - Portugal The Man
