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The Promise of April
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Vous avez sélectionné:
The Promise of April
Partitions à imprimer
13 partitions trouvées
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The Promise of April for flute, 3 alto flutes, and piano
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Flûte, Hautbois, Clarinette, Basson
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Nancy Shafer Rohar
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The Promise of April for flute
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Nancy Shafer Rohar
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet - Level 4 - SKU: A0.957980 Composed by Nancy Shafer Rohar. Concert,Easter. 25 pages. Nancy Shafer Rohar #6285449. Pub...
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Woodwind Ensemble,Woodwind Quartet - Level 4 - SKU: A0.957980 Composed by Nancy Shafer Rohar. Concert,Easter. 25 pages. Nancy Shafer Rohar #6285449. Published by Nancy Shafer Rohar (A0.957980). Meant to evoke the longing for, and the beginning of, springtime. .
$5.99
The Promise of April Trio, for flute, alto flute, and piano
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Flûte traversière et Piano
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Nancy Shafer Rohar
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The Promise of April Trio, for
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Nancy Shafer Rohar
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SheetMusicPlus
Instrumental Duet,Piano Flute,Instrumental Duet,Piano - Level 4 - SKU: A0.957981 Composed by Nancy Shafer Rohar. Concert,Easter. Score and parts. 21 pag...
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Instrumental Duet,Piano Flute,Instrumental Duet,Piano - Level 4 - SKU: A0.957981 Composed by Nancy Shafer Rohar. Concert,Easter. Score and parts. 21 pages. Nancy Shafer Rohar #6285453. Published by Nancy Shafer Rohar (A0.957981). A trio meant to evoke the longing for, and the beginning of, springtime.
$4.99
The Promise of April for flute, oboe, and piano
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Musique Sacrée
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Nancy Shafer
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The Promise of April for flute
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Nancy Shafer Rohar
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SheetMusicPlus
Woodwind Ensemble - Level 4 - SKU: A0.957982 Composed by Nancy Shafer. Concert,Easter. 20 pages. Nancy Shafer Rohar #6285455. Published by Nancy Shafer ...
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Woodwind Ensemble - Level 4 - SKU: A0.957982 Composed by Nancy Shafer. Concert,Easter. 20 pages. Nancy Shafer Rohar #6285455. Published by Nancy Shafer Rohar (A0.957982). Meant to evoke the longing for spring, and the coming of spring.
$4.99
The Promise of April (Spring's Thaw) for flute and piano
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Flûte traversière et Piano
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INTERMÉDIAIRE/AVANCÉ
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Nancy Shafer Rohar
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The Promise of April
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Nancy Shafer Rohar
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SheetMusicPlus
Flute,Piano - Level 4 - SKU: A0.957989 Composed by Nancy Shafer Rohar. Concert,Contemporary,Easter. Score and part. 16 pages. Nancy Shafer Rohar #628669...
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Flute,Piano - Level 4 - SKU: A0.957989 Composed by Nancy Shafer Rohar. Concert,Contemporary,Easter. Score and part. 16 pages. Nancy Shafer Rohar #6286693. Published by Nancy Shafer Rohar (A0.957989). Lovely piece evoking the coming of Spring.
$5.99
The Wonderful Season Of Love
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Piano seul
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INTERMÉDIAIRE
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Franz Waxman and Paul Francis
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Timothy Stapay
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The Wonderful Season Of Love
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1298554 Composed by Franz Waxman and Paul Francis Webster. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show...
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Piano Solo - Level 3 - SKU: A0.1298554 Composed by Franz Waxman and Paul Francis Webster. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Pop,Singer/Songwriter. Score. 6 pages. Timothy Stapay #888449. Published by Timothy Stapay (A0.1298554). The Wonderful Season Of Love is better known as the Theme from Peyton Place, written by Franx Waxman.  In 2005, the American Film Institute recognized the score in its 100 Years of Film Scores, for which it received a nomination.Peyton Place was an American prime-time soap opera that aired on ABC in half-hour episodes from September 15, 1964, to June 2, 1969.  The movie of the same name  was a 1957 American drama film starring Lana Turner, Hope Lange, Lee Philips, Lloyd Nolan, Diane Varsi, Arthur Kennedy, Russ Tamblyn, and Terry Moore..  It was based partly on Grace Metalious's bestselling 1956 novel of the same name. Lyrics:Where I was born time was told, Not by the clock nor the calendar, But by the seasons.  Summer was carefree contentment,Autumn was that bittersweet time of regret, And then Winter fell with a cold mantle of caution and chill.  Spring was promise, But there was a fifth season, Of love, and only the wise knew where to find it!They say that the seasons are four,They come and they go by my door;From April's first roseTo the day that it snows,Same moon is smiling above.They say that the seasons are four,But you and I know there are more!And best of them allIs the one that we callThe wonderful season of love!They say that the seasons are four,But you and I know there are more!And best of them allIs the one that we callThe wonderful season of love!
$6.99
Prelude
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Piano seul
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AVANCÉ
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Nikolay Artcibouchev
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Yury Chugunov and Zellev
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7 March [O
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Prelude
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Zellev Music
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1239146 Composed by Nikolay Artcibouchev. Arranged by Yury Chugunov and Zellev. 20th Century,Classical,Contemporary,Grung...
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Piano Solo - Level 5 - SKU: A0.1239146 Composed by Nikolay Artcibouchev. Arranged by Yury Chugunov and Zellev. 20th Century,Classical,Contemporary,Grunge,Lent. Score. 3 pages. Zellev Music #834550. Published by Zellev Music (A0.1239146). Key Signature: C♯ minorTime Signature: 12/8Tempo: Moderato assai (very moderately (126))Difficulty: AdvancedNikolai Vasilievich Artsybushev (Russian: Ðиколай ВаÑильевич Ðрцыбушев; 7 March [O.S. 23 February] 1858 – 15 April 1937) was a Russian jurist, music publisher and promoter, and minor composer. His name is sometimes seen as Artsibushev, Artsybuchev, Artzibushev, Artzybushev, Artchibousheff, Arcybusev, etc.Artsybushev was born at Tsarskoye Selo in 1858. His legal studies were at the Imperial School of Jurisprudence in Saint Petersburg, after which he practised in St Petersburg as an attorney. He also dabbled in music composition, and Nikolai Rimsky-Korsakov gave him private lessons in music theory after Mily Balakirev said his works showed some promise.He also became acquainted with the music publisher Mitrofan Belyayev and participated in his regular weekly gatherings called Fridays (Vendredis). To mark these occasions, a group of 10 composers including Artsybushev collaborated on a 16-part suite for string quartet, called Les Vendredis. His contribution was a Serenade in A major. He also collaborated with others on Variations on a Russian Theme, in versions for both string quartet and orchestra.He was a member of the St Petersburg City Council. After Belyayev's death in 1903 he became chairman of the board of the Belyayev publishing house, in which capacity he had significant dealings with Alexander Scriabin. From 1908 to 1917 he was President of his city's branch of the Russian Musical Society, and later succeeded Rimsky-Korsakov as President of the Board of Trustees for the Society for the Encouragement of Russian Musicians.In 1920 he moved to Paris and became a director of the Belyayev publishing house there. He died in Paris in 1937, aged 79.His works other than those mentioned above are now little known, but include:-Polka caractéristique, Op. 4, orchestra-Valse-Fantaisie, Op. 9, orchestra-Scherzo in C, orchestra (this had its premiere at the same concert at which Rimsky-Korsakov's-Capriccio Espagnol was premiered)-Piano pieces-Orchestral and other arrangements of works by:--Borodin--Glazunov (Suite for string quartet, Op. 35)--Mussorgsky (Night on Bald Mountain, for piano 4-hands;world premiere recording) and--Rimsky-Korsakov (Sinfonietta on Russian Themes, Op. 31).[https://en.wikipedia.org/wiki/Nikolai_Artsybushev].
$5.00
Trapped
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Scott Custer Jr
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being used for my kindness
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Trapped
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Scott Custer Jr
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1153691 By Scott Custer Jr. By Scott Custer Jr. Contemporary. Score and parts. 101 pages. Scott Custer Jr #753948. Publ...
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Concert Band - Level 4 - SKU: A0.1153691 By Scott Custer Jr. By Scott Custer Jr. Contemporary. Score and parts. 101 pages. Scott Custer Jr #753948. Published by Scott Custer Jr (A0.1153691). My first complete concert band piece. It's been in the works for about 3 months. The early drafts of this piece were written in April/May and were then left to collect dust for months. I wrote it to experiment with melodic/harmonic minor scales and did not intend to finish the piece. Around the same time I wrote the early drafts of the piece, my high school band director asked if I wanted to write a piece for the concert band. I agreed and spent months working on different pieces of music, completing none of them. Around late October I stumbled across this looking through old pieces of music for some new ideas. I listened through it 3 or 4 times and decided to continue the piece. After spending roughly two months finishing the draft, and another month revising and adding parts, I had finally finished Trapped. When I started working on this piece with the intention of finishing it, I was at a difficult point in my life. I had recently come home from my rookie season of drum corps and was still transitioning back to the real world. The freedom of tour had been taken away from me, I had mentally matured a lot during the summer. While only 17 I felt like I was stuck with a bunch of kids. I had spent all summer with friends much older than me, learning a lot from them and taking inspiration from them in many ways. When I started this piece, I was conflicted with many thoughts and emotions. I was still under the impression that my peers in the music program hated me because of some of my actions last year. The girl from home I had been talking with all summer while I was gone, and hoped to start a relationship with, lied to me while I was gone about many things, causing me to remove them from my life. The last year and a half have involved many events like losing my best friend of 5 years because of, what I consider, an overreaction on my part; being used for my kindness; lied to; having secrets about me revealed behind my back by those I trusted; being a therapy friend; constant overthinking; as well as toxic friendships I didn’t want to leave because I gave them the benefit of the doubt. I felt trapped. I had spent so long trying to improve myself to become who I am today, and I still felt like crap. Even though I knew and promised myself I wouldn’t follow through, I was battling suicidal thoughts and I was in a severely depressive episode of my life. I wrote this piece to express the feeling of overthinking, being trapped in your mind, and the road to recovery. The constant back-and-forth battles with yourself, unsure of where to go and what to do next; feeling trapped. I hope that this piece connects and resonates with those of you in a similar position to what I was in, and I promise there is a way out and that life does get better. And with that, I present to you, Trapped.
$25.00
Promise Me
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Beverley Craven
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Spence Bundy
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Promise Me
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Spencer Bundy
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SheetMusicPlus
Woodwind Ensemble Bass Clarinet - Level 3 - SKU: A0.837906 By Beverley Craven. By Beverley Craven. Arranged by Spence Bundy. 20th Century,Pop. 17 pages....
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Woodwind Ensemble Bass Clarinet - Level 3 - SKU: A0.837906 By Beverley Craven. By Beverley Craven. Arranged by Spence Bundy. 20th Century,Pop. 17 pages. Spencer Bundy #6360049. Published by Spencer Bundy (A0.837906). Beverley Cravens signature tune has been covered many times strangely never making it to No.1. It came out in 1990 but it wasn't until the following April of 1991 it peaked at No.3 in the British charts. It was one of the most requested songs on the British Forces Broadcasting Service during the Gulf conflict and remains a very important song to many.
$12.99
Promise Me
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Flûte, Hautbois, Clarinette, Basson
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INTERMÉDIAIRE
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Beverley Craven
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Spence Bundy
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Promise Me
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Spencer Bundy
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet - Level 3 - SKU: A0.837904 By Beverley Craven. By Beverley Craven. Arranged by Spence Bundy. 20th Century,Pop. 17 pag...
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Woodwind Ensemble,Woodwind Quartet - Level 3 - SKU: A0.837904 By Beverley Craven. By Beverley Craven. Arranged by Spence Bundy. 20th Century,Pop. 17 pages. Spencer Bundy #6360045. Published by Spencer Bundy (A0.837904). Beverley Cravens signature tune has been covered many times strangely never making it to No.1. It came out in 1990 but it wasn't until the following April of 1991 it peaked at No.3 in the British charts. It was one of the most requested songs on the British Forces Broadcasting Service during the Gulf conflict and remains a very important song to many.
$12.99
Promise Me
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE
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Contemporain
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Beverley Craven
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Spence Bundy
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Promise Me
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Spencer Bundy
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SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.837902 By Beverley Craven. B...
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.837902 By Beverley Craven. By Beverley Craven. Arranged by Spence Bundy. Contemporary. 17 pages. Spencer Bundy #6360037. Published by Spencer Bundy (A0.837902). Beverley Cravens signature tune has been covered many times strangely never making it to No.1. It came out in 1990 but it wasn't until the following April of 1991 it peaked at No.3 in the British charts. It was one of the most requested songs on the British Forces Broadcasting Service during the Gulf conflict and remains a very important song to many.
$12.99
Promise Me
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Contemporain
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Beverley Craven
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Spence Bundy
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Promise Me
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Spencer Bundy
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.837903 By Beverley Craven. By Beverley Craven. Arranged by Spence Bundy. Contemporary. Score and parts...
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String Quartet String Quartet - Level 3 - SKU: A0.837903 By Beverley Craven. By Beverley Craven. Arranged by Spence Bundy. Contemporary. Score and parts. 17 pages. Spencer Bundy #6360041. Published by Spencer Bundy (A0.837903). Beverley Cravens signature tune has been covered many times strangely never making it to No.1. It came out in 1990 but it wasn't until the following April of 1991 it peaked at No.3 in the British charts. It was one of the most requested songs on the British Forces Broadcasting Service during the Gulf conflict and remains a very important song to many.
$12.99
Gregory Sullivan Isaacs: Henry Faust for tenor and piano
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Voix Tenor, Piano
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AVANCÉ
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Contemporain
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Henry
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Musik Fabrik Music Publishing
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SheetMusicPlus
Tenor Voice,Vocal Solo - Level 5 - SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fa...
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Tenor Voice,Vocal Solo - Level 5 - SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fabrik Music Publishing #3424583. Published by Musik Fabrik Music Publishing (A0.534399). Described as a « tour de force« during the operaâ??s initial run of performances â??Henry Faustâ? by Gregory Sullivan Isaacs is a three-act, one character opera based on Goëtheâ??s play as translated by Anna Swanwich (1859) with a libretto by the composer. It was premièred at the Circle Theatre in Chicago on April 11, 1993 with the Composer as Faust and Kevin Hinton, pianistâ??Henry Faustâ? started out as a thought about the â??essenceâ? of opera. Isaacs thought that one singer, one piano, and a black box theater were all that was really needed to achieve â??opera-nessâ?. Goetheâ??s play, â??Faust,â? immediately came to mind. The tale of the professor who makes a deal with the devil for infinite knowledge and the restoration of youth, only to betray himself by lust, seemed perfect. The three-act opera is for tenor and piano and in a Goethe-era English translation by Anna Swanwick. She was the leading translator of Goethe of her day and one of the first advocates for womenâ??s rights. Every word Faust sings is a line from the play.The opera is set in a miserable single-occupancy hotel room furnished with an iron cot, a beat-up dresser and a tattered arm chair. Faust, disheveled and in his pajamas, lives out the drama. The ensuing events, the feverish creations of an addled brain, are all real to Faust. He sees and interacts with the other two characters â?? the devil and Gretchen â?? and flies to hell to dance at the Witches Sabbath. Both the tenor and piano parts are equally demanding and require artists of the first order. The tenor part covers a great range â?? both vocally and dramatically. The piano part requires a virtuoso and musically expresses all of the imaginary characters.SOME SELECTED HENRY FAUST REVIEWS â??You can add Henry Faust to that short list of successful single-singer operas (Schoenbergâ??s Ewartung and Poulencâ??s La Voix Humaine) ... it proved to be a moving experience. Isaacsâ?? music, cast in traditional forms, such as fugue, passacaglia, rondo and variation, is always accessible... often strikingly beautiful, as in the Ländler that closes act two.â? THE DETROIT FREE PRESS (John Guinn) - Detroitâ??Written in what Isaacs calls â??refreshed tonality,â?? this lush, supplely intense music serves the drama well ... from the despairing agitato of Faust's opening agonies to the lyrical frenzy of his first glimpse of Gretchen to a hushed declaration of love as tender as we could wish... Isaacs' tour de force certainly has a future.â? THE CHICAGO READER (Larry Bommer) - Chicagoâ??...the first (full evening) operatic monodrama ever promises to give Goethe's thrice-told tale a fresh contemporary slantâ?¦ a theater piece that uses opera as its language... a prototype of a new kind of small theater piece, eminently practical at a time of reduced opera company budgets... (Isaacs) brings solid professional credits ... an experienced conductor as well as composer/performer.â? THE CHICAGO TRIBUNE (John von Rhein) â?? Chicago
$65.95
Revelations 5 (Mvt. II)
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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John Dorhauer
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Revelations 5
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John J Dorhauer
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1024060 Composed by John Dorhauer. 20th Century,Contemporary. Score and Parts. 126 pages. John J Dorhauer #59173. Publi...
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Concert Band - Level 4 - SKU: A0.1024060 Composed by John Dorhauer. 20th Century,Contemporary. Score and Parts. 126 pages. John J Dorhauer #59173. Published by John J Dorhauer (A0.1024060). Back to School 2015 This standalone movement balances chaotic, breakneck ensemble writing with placid, luscious quieter moments. Inspired by the fifth chapter of the Book of Revelation, the music vividly depicts the duality of the lion/lamb character (hence the plurality of the title), and the ample use of mixed meter and solo opportunities (particularly for flute and percussion) will offer an engaging challenge to most high school ensembles. Although this is the middle movement of a three-movement work, it works in its own self-contained world. Contact information: johnjdorhauer@gmail.com PRO: ASCAP Social Media: https://www.facebook.com/JohnDorhauer?fref=ts / https://twitter.com/JohnDorhauer Duration: 9 minutes Year of Release: 2011 Program Notes: This composition is intended to function on two different levels: it is simultaneously a programmatic depiction of the events that unfold in Revelation 5 and a musical representation of the duality found in the scripture. It was this sense of duality that persuaded me to keep the s at the end of Revelation in the title – it is as if there are multiple revelations to be found within both the scripture and my musical interpretation of it. In the book of Revelation, the prophet John is sharing an apocalyptic vision to a group of churches in Asia as a means of hope – even though these people were being persecuted for their beliefs, John promises the rapture in which God will save the believers and destroy the nonbelievers. The fifth chapter begins with John’s ascension to heaven, and it concludes just before the Christ-like Lion of Judah breaks the seals of the scroll that will unleash the rapture. While this is intended to be a message of hope, it will also bring about cataclysmic death and destruction. Herein lies the duality – how can a message of hope come as the result of such a violent outcome? Movement II (of three) corresponds with only verse 6, and it is more of a character study than a programmatic narrative. It examines the Lion of Judah character, which is portrayed at first as an overwhelming and aggressive figure after it approaches from the distance in the hazy beginning section. This character is also depicted in the scripture as a lamb, though, and this is reflected in the piece’s latter half, which is a softer reimagining of the Lion character’s material. The Lion and the Lamb are not two different characters but, rather, different sides of the same character. It is this duality that drives the movement, and it explains the connections between these otherwise distinct sections. This movement was originally performed by the CCPA Wind Ensemble in April 2010 when it received first place in CCPA’s wind ensemble composition contest.
$50.00
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