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"Phrases" for Baritone Voice
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Vous avez sélectionné:
"Phrases" for Baritone Voice
SheetMusicPlus
Partitions à imprimer
14 partitions trouvées
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Bach: Wachet auf for Baritone Horn & Piano
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Euphonium, Piano (duo)
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FACILE
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Classique
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Johann Sebastian Bach
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James M
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Bach: Wachet auf for Baritone
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jmsgu3
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SheetMusicPlus
Euphonium,Piano - Level 2 - SKU: A0.549852 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standar...
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Euphonium,Piano - Level 2 - SKU: A0.549852 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3555081. Published by jmsgu3 (A0.549852). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. .
$24.95
"Phrases" for Baritone Voice
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Chorale SATB
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Cody Weinmann
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"Phrases" for Barito
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Cody Weinmann
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SheetMusicPlus
Choral Choir (Mixed) - SKU: A0.835109 Composed by Cody Weinmann. Instructional. Octavo. 6 pages. Cody Weinmann #4267369. Published by Cody Weinmann (A0....
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Choral Choir (Mixed) - SKU: A0.835109 Composed by Cody Weinmann. Instructional. Octavo. 6 pages. Cody Weinmann #4267369. Published by Cody Weinmann (A0.835109). This is a warmup called Phrases. It centers around a chromatic progression of chords that will center around one note. It includes piano accompaniment and guitar chords so that pianists or guitarists could play along with the warmup. The warmup in total takes about two and a half minutes long. It is perfect for vocal warmups and lessons.
$2.99
Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
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Therese Brenet
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Thérèse Brenet:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Flute,Medium Voice,Piano - Level 4 - SKU: A0.532835 Composed by Therese Brenet. 20th Century,Concert,Contemporary,Standards. Score and pa...
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Small Ensemble Flute,Medium Voice,Piano - Level 4 - SKU: A0.532835 Composed by Therese Brenet. 20th Century,Concert,Contemporary,Standards. Score and parts. 39 pages. Musik Fabrik Music Publishing #45421. Published by Musik Fabrik Music Publishing (A0.532835). Thérèse Brenet was attracted to the Chinese poems in La Flûte de Jade by Franz Toussaint. She chose seven of these poems in a contrasting style and assembled them into a single work, striving to create an unusual orchestration which reflects this delicate, fantastic and sensual qualities of these poems. Her orchestration uses a small group of strings which are re-enforced by a harpsichord, a vibraphone, a harp and percussion, often superimposed, which serve to underline the delicate character of the poems. IN addition, she uses all styles of vocal production, from whispered passages to spoken words or screams, and from singing normally to sprechgesang. The work finishes serenely with a long melody in flute upon which the baritone repeats the last phrases of the poem in a long perdendosi. The voice and the flute slowly die away without there being a definite ending to the work, which allow the listener to imagine that the work continues, as in a waking dream. One could imagine hearing the echo of the words whispered by the baritone and the arien and luminous sounds of the flute which has lulled us as a soloist throughout the seven poems of the cycle. The orchestration is for 4 percussion, harp, harpsichord, piano and strings (44221). The piece generally lasts approximately fourteen minutes. The composer has intentionally broken with tradition by using instrumental notation for the vovcal part. This notations gives, in her view, a greater ease of reading when the voice exchanges with the flute. This version for flute, voice and piano is identical, as much as is possible, with the orchestral version, excpet for short segments in the 5th and 7th poems. These differences only affect the flute and piano parts and do not affect the vocal part. The Baritone may therefore use this score for performances with orchestra. The Flutist should use the part included in the orchestral parts for performances with orchestra. This work was first performed at the Villa Medicis during Thérèse Brenet time spend there during her Prix de Rome voyage. It was recorded in 2014 with Kurt Ollmann Baritone, Christel Rayneau, flute and the National Polish Radio Orchestra under the direction of Paul Wehage. The orchestral materials are on rental from the publisher.
$22.05
Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
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Orchestre à Cordes
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Contemporain
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Therese Brenet
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Thérèse Brenet:
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Orchestra - SKU: A0.532834 Composed by Therese Brenet. 20th Century,Contemporary. Score and parts. 39 pages. Musik Fabrik Music Publishing #45419...
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String Orchestra - SKU: A0.532834 Composed by Therese Brenet. 20th Century,Contemporary. Score and parts. 39 pages. Musik Fabrik Music Publishing #45419. Published by Musik Fabrik Music Publishing (A0.532834). Thérèse Brenet was attracted to the Chinese poems in La Flûte de Jade by Franz Toussaint. She chose seven of these poems in a contrasting style and assembled them into a single work, striving to create an unusual orchestration which reflects this delicate, fantastic and sensual qualities of these poems. Her orchestration uses a small group of strings which are re-enforced by a harpsichord, a vibraphone, a harp and percussion, often superimposed, which serve to underline the delicate character of the poems. IN addition, she uses all styles of vocal production, from whispered passages to spoken words or screams, and from singing normally to sprechgesang. The work finishes serenely with a long melody in flute upon which the baritone repeats the last phrases of the poem in a long perdendosi. The voice and the flute slowly die away without there being a definite ending to the work, which allow the listener to imagine that the work continues, as in a waking dream. One could imagine hearing the echo of the words whispered by the baritone and the arien and luminous sounds of the flute which has lulled us as a soloist throughout the seven poems of the cycle. The orchestration is for 4 percussion, harp, harpsichord, piano and strings (44221). The piece generally lasts approximately fourteen minutes. The composer has intentionally broken with tradition by using instrumental notation for the vovcal part. This notations gives, in her view, a greater ease of reading when the voice exchanges with the flute. This version for flute, voice and piano is identical, as much as is possible, with the orchestral version, excpet for short segments in the 5th and 7th poems. These differences only affect the flute and piano parts and do not affect the vocal part. The Baritone may therefore use this score for performances with orchestra. The Flutist should use the part included in the orchestral parts for performances with orchestra. This work was first performed at the Villa Medicis during Thérèse Brenet time spend there during her Prix de Rome voyage. It was recorded in 2014 with Kurt Ollmann Baritone, Christel Rayneau, flute and the National Polish Radio Orchestra under the direction of Paul Wehage. The orchestral materials are on rental from the publisher.
$25.95
Machaut: La Messe de Nostre Dame for Saxophone Quartet
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Quatuor de Saxophones: 4 saxophones
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FACILE
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Guillaume de Machaut, 1300-137
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James M
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Machaut: La Messe de Nostre Da
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jmsgu3
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SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 2 - SKU: A0.1257962 Composed by Guillaume de Machaut, 1300...
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 2 - SKU: A0.1257962 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 85 pages. Jmsgu3 #851199. Published by jmsgu3 (A0.1257962). 1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$74.95
Prayers and Blessings (Piano/Vocal Score)
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Gwyneth W
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Prayers and Blessings
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Bass/baritone voice solo, violoncello and organ - Moderately Easy - SKU: MQ.6593-E Composed by Gwyneth W. Walker. 21st century, prayer. Score. 19 pages....
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Bass/baritone voice solo, violoncello and organ - Moderately Easy - SKU: MQ.6593-E Composed by Gwyneth W. Walker. 21st century, prayer. Score. 19 pages. Duration 10 minutes. E. C. Schirmer Music Company - Digital #6593-E. Published by E. C. Schirmer Music Company - Digital (MQ.6593-E). English.The three songs Welcome Love (Ubi caritas), Make Me an Instrument of Thy Peace, and Gaelic Blessing are interconnected motivically yet distinct in meter, tonality, and message. These three songs are interconnected motivically, yet distinct in meter, tonality, and message. Peace and reverence flow throughout. The songs are for a bass-baritone. Commissioned in 2003 by David Arnold, a North Carolina bass-baritone who is a soloist in the 80-voice Chancel Choir at Centenary United Methodist Church in Winston-Salem. Mr. Arnold premiered these songs at Centenary with organist Ray Ebert and cellist Jennifer Alexandra Johnston on February 27, 2005. A new version for voice and piano was created in 2005. A transposition for lyric Baritone was added in 2015, commissioned by Ferris Allen (Baritone) and Linda Holzer (Pianist) of Little Rock, AR.The lyrics for Ubi Caritas are based on a new translation, by Christopher Brunelle, of the traditional Ubi Caritas Est Vera. A recurrent image in this translation is the gesture of welcoming: welcoming love, welcoming God, welcoming the friendly unfamiliar thought, welcoming Christ with us. The musical interpretation of welcoming is stepwise motion, either up or down, around a pitch center. Perhaps this might be heard as an opening of the door, or an opening of the heart.An interlude leads to the second song, Make Me an Instrument of Thy Peace, a musical setting of the Prayer of Saint Francis. The accompaniment is sparse, with material reminiscent of the welcoming pattern in the first song. This song alternates between triple meter for the thematic sections (Lord, make me an instrument of thy peace) and duple meter for the more recitative sections (O Divine Master...). The music ends as it began, with simple open fifths accompaniment, this time filling in the chords to express the fullness of the lyrics born to eternal life.A second interlude provides the bridge to the third song, Gaelic Blessing. The text for this song is a series of blessings for peace. The gentle chordal arpeggiations in the piano are intended to provide a peaceful accompaniment. [Once again, the stepwise intervals and recurrent regular rhythms relate to the first song.]In keeping with the simplicity and repetition of the text, the music is formed by a series of four-measure phrases (blessings). The blessings are similar in contour, each spanning an interval of a fourth. Growth is achieved through repetition and some dynamic contrast. However, the principal aesthetic of this song is constancy and gentle flow. Only at the end of the song, when the voice descends into the deep range, is the melodic contour altered, and dynamic contrast introduced. As the voice ends on low tones, the piano line rises, perhaps to the source of peace.Duration: 10 min.
$11.00
Fantasy in Three Parts, No. 1
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3 Saxophones (trio)
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INTERMÉDIAIRE
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Orlando Gibbons
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Robert Stevens
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Fantasy in Three Parts, No. 1
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SAXpress.com
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SheetMusicPlus
Saxophone Trio,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.1392782 Composed...
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Saxophone Trio,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.1392782 Composed by Orlando Gibbons. Arranged by Robert Stevens. Baroque,Classical,Early Music,Renaissance. 36 pages. SAXpress.com #976304. Published by SAXpress.com (A0.1392782). Introduce your saxophone trio to the world of early music with Fantasy in Three Parts by Orlando Gibbons, arranged for Saxophone Trio, Flexible ensemble. In Tudor or Jacobean music, a fantasy, sometimes spelled fantasie or even fancy is a musical piece for several voices that trade and repeat melodies and phrases. It is an early form of counterpoint. This Fantasy, the first of a set of nine was written in 1620. The original version was for three viols. This arrangement for three saxophones is in the original key of F major. It includes the following parts: Full saxophone trio score Part 1 for soprano sax Part 1 for alto sax Part 2 for alto sax Part 2 for tenor sax Part 3 for baritone sax Part 3 for tenor sax. This part could be played by bass sax as well. Performance time is about 3 minutes. Parts are very independent. The piece is rhthmically straightforward with a few syncopations, moderate tempo, and a convenient key signature. The Part 1 alto sax range is extensive. Moderate difficulty.
$16.95
Goodbye Yellow Brick Road
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Saxophone Baryton, Piano
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INTERMÉDIAIRE
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Rock
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Elton John
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James M
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Goodbye Yellow Brick Road
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jmsgu3
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SheetMusicPlus
Baritone Saxophone,Piano - Level 3 - SKU: A0.547876 By Elton John. By Bernie Taupin and Elton John. Arranged by James M. Guthrie, ASCAP. Pop,Rock. Score...
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Baritone Saxophone,Piano - Level 3 - SKU: A0.547876 By Elton John. By Bernie Taupin and Elton John. Arranged by James M. Guthrie, ASCAP. Pop,Rock. Score and part. 8 pages. Jmsgu3 #3073391. Published by jmsgu3 (A0.547876). BARITONE SAX & PIANOScore: 6 pages, solo part: 2 pages, piano part: 3 pages., Duration 3' 11 at half note = 60. 51 measures. One of Elton John's greatest songs, this mega-hit is suitable for performance in church, nightclub, or recital hall. This song contains many advanced songwriting techniques and shows a complete mastery of tonal harmony. The verses are syllabic, arranged in 8 regular phrases. The last phrase is elided with a melismatic bridge that suddenly modulates to the lowered mediant, causing a chromatic mediant relation. Further drama is introduced by the voice leading where an ascending leap of a minor 9th signals the beginning of the bridge. The bridge then modulates back to the original key for the refrain, which, like the verses is arranged in 8 regular phrases and elides once again into a final version of the bridge which functions this time as a coda. -jmsgu3
$53.95
Yerushalayim Shel Zahav: (Jerusalem of Gold) (Downloadable)
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Musique Sacrée
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Alice Parker and Naomi Shemer
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Alice Parker
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Yerushalayim Shel Zahav:
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Galaxy Music Corporation - Digital
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SheetMusicPlus
Baritone voice solo and TTBB choir unaccompanied - Moderately Easy - SKU: MQ.1.3428-E Composed by Alice Parker and Naomi Shemer. Arranged by Alice Parke...
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Baritone voice solo and TTBB choir unaccompanied - Moderately Easy - SKU: MQ.1.3428-E Composed by Alice Parker and Naomi Shemer. Arranged by Alice Parker. Advanced/Collegiate. Secular, 21st century. Octavo. 16 pages. Duration 6 minutes, 30 seconds. Galaxy Music Corporation - Digital #1.3428-E. Published by Galaxy Music Corporation - Digital (MQ.1.3428-E). Hebrew.This arrangement was commissioned jointly by Brad Spencer, Scott Spencer, and the Washington Men's Camerata and first performed by the Camerata on June 13, 2015, at the John F. Kennedy Center for the Performing Arts in Washington, D.C. Naomi Shemer wrote this lovely poem honoring the fabled city, Jerusalem. Its history and mystery are evoked in each verse and in the passionate refrain. At the beginning, Jerusalem is seen asleep, alone, guarding the Temple Wall at its center. Then we picture a deserted, conquered city, empty and desolate. In the third verse, the writer reveals herself as the latest and least of all the notable scribes who have invoked the city, those writers of magnificent Psalms, odes and poems. At the end, people have returned to the city, enlivening its streets and neighborhoods, adding new chapters to its story. Naomi Shemer's music, with its mixture of nostalgia, melancholy, and desire, lifts her verses to memorable phrases: one does not want the song to end. In performing the work, follow the given dynamic markings and allow the song to slowly accumulate dramatic tension, saving the climax for the final refrain. -Alice ParkerDuration: 6:30.
$2.85
Pippo Non Lo Sa
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Chorale TTBB
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INTERMÉDIAIRE
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Giuseppe Rastelli, Gorni Krame
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Bacco Baccanels
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Pippo Non Lo Sa
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Bacco Baccanels
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - SKU: A0.1264702 Composed by Giuseppe Rastelli, Gorni Kramer, and Mario Panzeri. Arranged by Bacco Baccanels. 20th Centur...
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Choral Choir (TTBB) - Level 3 - SKU: A0.1264702 Composed by Giuseppe Rastelli, Gorni Kramer, and Mario Panzeri. Arranged by Bacco Baccanels. 20th Century,A Cappella,Jazz. Octavo. 6 pages. Bacco Baccanels #857536. Published by Bacco Baccanels (A0.1264702). TTBB Version of the great song by Gorni Kramer.The arrangement is quite basic and is not barbershop like: there is one voice for the main melody (Tenor1) and three voices emulating the armonic infrastructure.(I made also a richer SAATTB version with additional staffs taken from a Pasquale Amico vocal arrangement).TTBB voices follow a simple arrangement: Soprano does the main melody and Tenor, Baritone and Bass do accompaniment: an easy bass line and two voices for the chords.Baritone and Bass often play upbeat in the first bars of most of the phrases (pretending to be guitars or trumpets) and turn to straight beat in the final measures.Tempo is fast, thus singing those upbeat at the right speed can be challenging: bear in mind slowing them down produces a global weakening of the entire song: I suggest Tenor2 and Baritone drink some coffee before singing...To add movement to an otherwise great and funny but simple structure, I added few bars to the original work, starting from bar 79 (F mark); here, pay attention to sing in sync, since the section is very rhythmic.Some background information about the song: written in 1939 under the fascist regime, Kramer was accused of making fun of the fascist hierarch Achille Starace, who used to walk upright in a black shirt, arousing the hilarity of the population. The song thus had to face the censorship of the regime, given that the allusion appeared quite clear.Many years after the composition, Gorni Kramer declared that the piece was inspired not by Starace but by the maestro Pippo Barzizza, with whom, in 1939, Kramer had had an argument during a performance at the Kursaal in Viareggio.
$4.00
Pippo Non Lo Sa
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Chorale SATB
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INTERMÉDIAIRE
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Giuseppe Rastelli, Gorni Krame
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Pippo Non Lo Sa
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Bacco Baccanels
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 3 - SKU: A0.1264987 Composed by Giuseppe Rastelli, Gorni Kramer, and Mario Panzeri. Arranged by Bacco Baccanels and P...
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Choral Choir (SATB divisi) - Level 3 - SKU: A0.1264987 Composed by Giuseppe Rastelli, Gorni Kramer, and Mario Panzeri. Arranged by Bacco Baccanels and Pasquale Amico. A Cappella,Jazz,Multicultural,World. Octavo. 8 pages. Bacco Baccanels #857827. Published by Bacco Baccanels (A0.1264987). SAATBB version of the great song by Gorni Kramer.STBB voices follow a simple arrangement: Soprano does the main melody and Tenor, Baritone and Bass do accompaniment: an easy bass line and two voices for the chords.Baritone and Bass often play upbeat in the first bars of most of the phrases (pretending to be guitars or trumpets) and turn to straight beat in the final measures.Tempo is fast, thus singing those upbeat at the right speed can be challenging: bear in mind slowing them down produces a global weakening of the entire song: I suggest Tenor2 and Baritone drink some coffee before singing...SAA voices, (Soprano, the lead, Alto and Contralto the other), come from a Pasquale Amico (thank You!) arrangement and make a very good melody harmonisation.To add movement to an otherwise great and funny but simple structure, I added few bars to the original work, starting from bar 79 (F mark); here, pay attention to sing in sync, since the section is very rhythmic.Some background information about the song: written in 1939 under the fascist regime, Kramer was accused of making fun of the fascist hierarch Achille Starace, who used to walk upright in a black shirt, arousing the hilarity of the population. The song thus had to face the censorship of the regime, given that the allusion appeared quite clear.Many years after the composition, Gorni Kramer declared that the piece was inspired not by Starace but by the maestro Pippo Barzizza, with whom, in 1939, Kramer had had an argument during a performance at the Kursaal in Viareggio.
$4.00
Happy
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Soul/R&B
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Pharrell
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Nick La Riviere
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Happy
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Nick La Riviere
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drum Set,Drums,Guitar,Keyboard,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet - Level 3 - ...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drum Set,Drums,Guitar,Keyboard,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet - Level 3 - SKU: A0.1027765 By Pharrell. By Pharrell. Arranged by Nick La Riviere. Hip-Hop,R & B,Soul. Score and parts. 55 pages. Nick La Riviere #2949491. Published by Nick La Riviere (A0.1027765). R&B Band Arrangement for:•Lead Vocals•3 Part Backup Vocals•Alto Sax•Tenor Sax•Baritone Sax•Trumpet•Trombone•Guitar•Piano/Keyboard•Bass•Drum Set About the arranger:Arranger and trombonist Nick La Riviere, has made a full time living as a musician for the past 12 years. He's performed across the globe, including Canada, the USA, Mexico, Germany, England, Ireland, Luxembourg, Austria, Switzerland, and more. Nick has toured with award winning multi-genre bands that play jazz, folk, pop, latin, Celtic, klezmer, classical, ska, and others. He plays trombone, conch shells, bass, and sings. Some of his bands include the Juno winning Paperboys, Locarno, and Michael Kaeshammer. His arrangements are used by many different bands ranging from middle school string programs to high school and professional R&B bands to major touring artists. All of Nick's R&B charts have been tested and performed by multiple high school, college level, and professional groups. They’re well written, accurate, high energy, and fun! Charts include vocal cues at the start of new phrases or sections on all the parts. That makes rehearsing easier, and if a singer puts a few extra bars in during a performance it’s easy for the band to get back on track. Just getting started with an R&B band of this instrumentation? Look for more of Nick La Riviere's arrangements on Sheet Music Plus or email Nick@NickLaRiviere.com to put together a complete library of performance ready music.
$50.00
ABC
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Pop musique
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The Jackson 5
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Nick La Riviere
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Nick
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ABC
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Nick La Riviere
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Drums,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet,Voice - Level 4 - SKU: A0.1027763
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Drums,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet,Voice - Level 4 - SKU: A0.1027763 By The Jackson 5. By Alphonso Mizell, Berry Gordy, Deke Richards, and Frederick Perren. Arranged by Nick La Riviere. Pop. Score and parts. 39 pages. Nick La Riviere #2929283. Published by Nick La Riviere (A0.1027763). R&B Band Arrangement for:•Lead Vocals•3 Part Backup Vocals•Alto Sax•Tenor Sax•Baritone Sax•Trumpet•Trombone•Guitar•Piano/Keyboard•Bass•Drum SetAbout the arranger:Arranger and trombonist Nick La Riviere, has made a full time living as a musician for the past 12 years. He's performed across the globe, including Canada, the USA, Mexico, Germany, England, Ireland, Luxembourg, Austria, Switzerland, and more. Nick has toured with award winning multi-genre bands that play jazz, folk, pop, latin, Celtic, klezmer, classical, ska, and others. He plays trombone, conch shells, bass, and sings. Some of his bands include the Juno winning Paperboys, Locarno, and Michael Kaeshammer. His arrangements are used by many different bands ranging from middle school string programs to high school and professional R&B bands to major touring artists. All of Nick's R&B charts have been tested and performed by multiple high school, college level, and professional groups. They’re well written, accurate, high energy, and fun! Charts include vocal cues at the start of new phrases or sections on all the parts. That makes rehearsing easier, and if a singer puts a few extra bars in during a performance it’s easy for the band to get back on track. Just getting started with an R&B band of this instrumentation? Look for more of Nick La Riviere's arrangements on Sheet Music Plus or email Nick@NickLaRiviere.com to put together a complete library of performance ready music.
$50.00
Rise Up, O Flame
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Chorale 3 parties
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FACILE
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Gerda Blok-Wilson
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Rise Up, O Flame
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CanSing
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SheetMusicPlus
Choral Choir (SAB) - Level 2 - SKU: A0.785883 Composed by Gerda Blok-Wilson. Contemporary,Spiritual,World. Octavo. 7 pages. CanSing #3510981. Published ...
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Choral Choir (SAB) - Level 2 - SKU: A0.785883 Composed by Gerda Blok-Wilson. Contemporary,Spiritual,World. Octavo. 7 pages. CanSing #3510981. Published by CanSing (A0.785883). Rise Up, O Flame composed by Gerda Blok-Wilson for SAB developing voices is based on a traditional 16th Century text. The beautiful flowing phrases in the minor mode build with a simple but effective baritone part at the end. The song was premiered by the Vancouver Cansing Youth Choirs to celebrate the 2018 Winter Olympics and is a stunning choice for any concert including Remembrance, Winter Festival and more.
$2.99
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