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Vous avez sélectionné:
Alone At Last
Partitions à imprimer
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THE LAST MY FLOWER (THE WOLF AND THE WITCH)
Piano seul
Piano Solo - Digital Download SKU: A0.1012709 Composed by Monica Bergo. Contemporar…
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Piano Solo - Digital Download SKU: A0.1012709 Composed by Monica Bergo. Contemporary. Score. 13 pages. Moni Bergo #5742973. Published by Moni Bergo (A0.1012709). Music and song composed by meTHE LAST MY FLOWER (the wolf and the witch) I look at my last flower It loses its scentand I do not know what to do I protect you with warmthof this other story I have to tell creatures alone and desperate many scars heal a witch and a wolf do not know yet that their destinies are to merge and starts this magical storysweet as ancient fable in a forest with no place and no age out of touch and the time is stopped and does not move a breath and the heart, explodes and skip a beat and look you recognize like not having never lost and the wolf that is injured a white rose in red has turned He is bleeding along with drops of pain his red eyes burning with love and the witch instead hides because she isn't beautiful and it is not important nobody in the world has never belonged and a caress he never touched she care and caresses the soul he looks at her and his anger dominates and one year only lasts a moment lost in eternity and the wolf tells tales and the witch makes magic potions and exchange promises useless that the night guard and she will dance will dance naked and the wolf with his heart on his sleevelying by the fire that lights up, so free unobstructed and are reflected in the magic lake and do not feel that cold shiver... not last, do not you feel it too?cold around us Abracadabra !! from caterpillar to butterfly Alakazam !! and I too am beautiful do not you wonder how and why I started to talk to me snow fallsbut we are in August and there is nothing that you find a place this my music speaks for it self this is the strangest tale that is I stop here It will end well I can not tell the end of a love that is not written yet I stop here It will end well in a vacuum and the absence these days my silence and inconstancy in your feeling sthe flower dies already go wolf go stop thinking about her from your pack you will need to return and then runs away witch will if you want to transform changes role an actress who artand you will have new flowers day step into the dark caverns of regret Mix them with potions and transform everything into tears like a cat in the night I try the food in the trashno sun, no light no god here that help me body and spirit dentedas a glass stuckinside my poor heart the memory of a love He never really lived so alive in the mind is my animal instinct that makes me ache while another dream diesthe witch in the lake you slidethe water lapping against the planin his eyes the wolf that is now already far a fairy tale real or invented in between my hidden truth all my stories strange and weird over this skin are now tattooed I watc.
$5.00
4.59 €
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Piano seul
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Monica Bergo
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THE LAST MY FLOWER
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Moni Bergo
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SheetMusicPlus
Alone At Last
Piano, Voix et Guitare
C Instrument,Guitar,Piano and Keyboard - Interactive Download SKU: HX.373919 By Jac…
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C Instrument,Guitar,Piano and Keyboard - Interactive Download SKU: HX.373919 By Jackie Wilson. This edition: Interactive Download,scorch. Pop,Rock. Lead Sheet / Fake Book. 1 pages. Hal Leonard - Digital #20113. Published by Hal Leonard - Digital (HX.373919).
$3.99
3.66 €
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Piano, Voix et Guitare
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Jackie Wilson
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Alone At Last
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Hal Leonard - Digital
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SheetMusicPlus
Alone At Last
Guitare notes et tablatures
Guitar - Level 3 - Digital Download SKU: A0.900719 Composed by Robert Hilliard and …
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Guitar - Level 3 - Digital Download SKU: A0.900719 Composed by Robert Hilliard and Victor Young. Arranged by Enea A. Contemporary. Guitar Tab. 3 pages. Enea Acco #4987657. Published by Enea Acco (A0.900719).
$4.99
4.58 €
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Guitare notes et tablatures
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Robert Hilliard and Victor Young
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Enea A
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Alone At Last
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Enea Acco
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SheetMusicPlus
Alone At Last from Something to Live For - Piano/Vocal/Chords
Piano, Voix
Victor Young - Alone At Last Digital Sheetmusic - instantly downloadable sheet music plus …
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Victor Young - Alone At Last Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Chords, instruments: Voice;Piano; 3 pages -- Movie/TV~~Standards~~Traditional Pop~~Soundtrack
$5.50
5.05 €
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Piano, Voix
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Piano/Vocal/Chords
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Musicnotes
Alone at Last by Jackie Wilson - Leadsheet
Ligne De Mélodie, (Paroles) et Accords
Performed by: Jackie Wilson: Alone At Last Digital Sheetmusic - instantly downloadable she…
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Performed by: Jackie Wilson: Alone At Last Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Lyrics/Melody/Chords;Leadsheet, instruments: Voice;C Instrument; 1 pages -- Soul~~R & B~~Pop-Soul
$2.95
2.71 €
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Ligne De Mélodie, (Paroles) et Accords
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Jackie Wilson
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Leadsheet
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Musicnotes
Cygnus X-1 Book Ii: Hemispheres
Basse electrique
Bass Guitar - Level 4 - Digital Download SKU: A0.1193208 By Rush. By Alex Lifeson, …
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Bass Guitar - Level 4 - Digital Download SKU: A0.1193208 By Rush. By Alex Lifeson, Geddy Lee, and Neil Peart. Arranged by Tracy Dean McCallum. Rock. Score. 16 pages. Tracy Dean McCallum #792663. Published by Tracy Dean McCallum (A0.1193208). When our weary world was youngThe struggle of the ancients first beganThe gods of Love and ReasonSought alone to rule the fate of ManThey battled through the agesBut still neither force would yieldThe people were dividedEvery soul a battlefieldEvery soul a battlefieldThe Universe dividedAs the Heart and Mind collidedWith the people left unguidedFor so many troubled yearsIn a cloud of doubts and fearsTheir world was torn asunder into hollow hemispheresSome fought themselves, some fought each otherMost just followed one anotherLost and aimless like their brothersFor their hearts were so unclearAnd the truth could not appearTheir spirits were divided into blinded hemispheresSome who did not fightBrought tales of old to lightMy Rocinante sailed by nightOn her final flightTo the heart of Cygnus' fearsome forceWe set our courseSpiralled through that timeless spaceTo this immortal placeI have memory and awarenessBut I have no shape or formAs a disembodied spiritI am dead and yet unbornI have passed into OlympusAs was told in tales of oldTo the City of ImmortalsMarble white and purest goldI see the Gods in battle rage on highThunderbolts across the skyI cannot move, I cannot hideI feel a silent scream begin insideThen all at once the chaos ceasedA stillness fell, a sudden peaceThe Warriors felt my silent cryAnd stayed their struggle, mystifiedApollo was astonishedDionysus thought me madBut they heard my story furtherAnd they wondered, and were sadLooking down from OlympusOn a world of doubt and fearIts surface splintered intoSorry hemispheresThey sat a while in silenceThen they turned at last to meWe will call you CygnusThe God of Balance you shall beWe can walk our road togetherIf our goals are all the sameWe can run alone and freeIf we pursue a different aimLet the truth of Love be lightedLet the love of truth shine clearSensibilityArmed with sense and libertyWith the Heart and Mind unitedIn a single perfect sphere
$5.99
5.5 €
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Basse electrique
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Rush
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Tracy Dean McCallum
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Cygnus X-1 Book Ii: Hemispheres
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Tracy Dean McCallum
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SheetMusicPlus
Gregory Sullivan Isaacs: Elegy on the Quilt for tenor voice and piano
Voix Tenor
Tenor Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.534586 Composed by Greg…
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Tenor Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.534586 Composed by Gregory Sullivan Isaacs. Concert,Contemporary,Standards. 12 pages. Musik Fabrik Music Publishing #4729123. Published by Musik Fabrik Music Publishing (A0.534586). Part of the AIDS memorial songbook, this melody for tenor voice and piano has an orginal text by the composer: It was still dark.The dawn had not yet arrived.He stood quietly, looking out over the field.,soon to be filled with patches of grief.Monuments to great men,grey against the pre-dawn sky,reminded him of the Great Dream:We are all equal under Law, it promised.We are all equal under Law.He smiled wryly at the thought.The keepers of that Dream still keep it for themselves,only- releasing what little part what group or anothercan wrest away.The unfolding began.Each patch holds the grief of dozens:friends, family.Amercia's children left to die alone.Amercia's children left to diebecause of who they were, who they had to be.Fully open now.Small groups wander here and there.searching, looking,Afraid that the edges wait for them.Afraid that the edges wait for them.Some already gathering scraps of cloth.Finally, he moves at last.Finally with enough courage to go look.His thoughts warmly dwell on him who made it.The one whose devotion was unquestioned.whose love was always present.Having seen it, he was cotent to move on towhatever was to come.His patch was there.
$10.35
9.51 €
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Voix Tenor
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Elegy on the Quilt for tenor voice and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
The Children's Journey (Five Piano Pieces from The Little Lyric Suite)
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1290932 Composed by Rocco Di Pietro…
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Piano Solo - Level 4 - Digital Download SKU: A0.1290932 Composed by Rocco Di Pietro. 21st Century,Chamber,Classical,Contemporary. Score. 14 pages. Rocco Di Pietro #881617. Published by Rocco Di Pietro (A0.1290932). “The emotion it seems roused in children when they are left alone in the darkis not dread, but desire. An overwhelming and fearful longing for the one whocan bring them solace for an apparent loss of self in the absence of the visible world.The light becomes both a beacon and a being, a summons and a response, illuminatingthe darkness that is a prelude to sleep, which is next door to the next world.â€~ J. Lord ~I. The PlaygroundThe child’s journey starts in a toxic playground at home.II. Roaming Among the CuckoosThe child roams among cuckoos, who make their nests in other creatures’homes. He knows this well, with his plethora of step dads.III. First Loss, Inner FlightThe child experiences his first loss, and goes into inner flight.IV. A Curious StoryThe actual awaited long journey of the child begins. A very curious storyindeed. V. Hospitality Dream (About Strange Lands and Peoples)At last, the child arrives with his dream of hospitality among strange landsand peoples, and is met with a rude, if not deadly, awakening.
$12.00
11.02 €
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Piano seul
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Rocco Di Pietro
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The Children's Journey
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Rocco Di Pietro
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SheetMusicPlus
The Chimes I Heard Today (light jazz Christmas)
Piano Facile
Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.973171 Composed by Richard d…
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Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.973171 Composed by Richard deCosta. Christian,Christmas,Gospel,Jazz. Score. 3 pages. Richard deCosta #4805429. Published by Richard deCosta (A0.973171). Light jazz vocal arrangement in the style of Ella Fitzgerald, Bing Crosby or Nat King Cole of a new original Christmas tune by deCosta & Lane.A day like any other day,A dismal one, I want to say.A day when joy seems to have flown away.Is misery to be my dole?But what now do I hear within my soul?They sing to me in lovely tones,I feel it in my flesh and bones,No longer will we be alone.Gone the void so dark and vast.Emmanuel is come at last.CHORUSI hear the chimes so many times,They ring out loud, so clear in my ears.But they don’t sound In just my ears,But deep in the hearts of all gathered here.And as the chimes so sweetly ring,Let us all rejoice and sing,And hearken to the hope they bring.We wonder what that may allow,If our savior’s with us now.We’ll know Him, somedayWe’ll know Him somehow.[CHORUS]
$7.99
7.34 €
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Piano Facile
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Richard deCosta
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Lane
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The Chimes I Heard Today
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Richard deCosta
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SheetMusicPlus
Powder Your Face With Sunshine
Piano, Voix et Guitare
Piano/Vocal/Chords - Digital Download SKU: AX.00-XS-0000010 By Guy Lombardo. By Guy…
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Piano/Vocal/Chords - Digital Download SKU: AX.00-XS-0000010 By Guy Lombardo. By Guy Lombardo and Stanley Rochinski. Nostalgia. 3 pages. Alfred Music - Digital Sheet Music #00-XS-0000010. Published by Alfred Music - Digital Sheet Music (AX.00-XS-0000010). ISBN 9780739068540. UPC: 038081386140.This songbook contains more than 50 of the biggest hits of the 1940s. Each song is sure to spark a memory or create a new one for pianists and vocalists of all ages. For practice, performance, or pleasure, play and sing your way through your favorite decade in pop music history! Titles: The Anniversary Waltz (Vera Lynn) * As Time Goes By (Dooley Wilson) * At Last (Glenn Miller) * Ballerina (Vaughn Monroe) * Blues in the Night (Woody Herman) * Chattanooga Choo Choo (Glenn Miller) * Don't Fence Me In (Bing Crosby and The Andrews Sisters) * Don't Sit Under the Apple Tree (The Andrews Sisters) * Elmer's Tune (Glenn Miller) * Enjoy Yourself (Guy Lombardo) * Fools Rush In (Glenn Miller) * A Gal in Calico (Johnny Mercer) * How About You? (Tommy Dorsey) * How Are Things in Glocca Morra? (Buddy Clark) * How High the Moon (Benny Goodman) * I Fall in Love Too Easily (Frank Sinatra) * I'll Walk Alone (Dinah Shore) * I'm in Love (Doris Day) * Imagination (Glenn Miller) * It's Magic (Doris Day) * I've Heard That Song Before (Harry James) * La Vie en Rose (Edith Piaf) * Laura (Woody Herman) * Mam'selle (Art Lund) * The More I See You (Dick Haymes) * Near You (Francis Craig) * New York, New York (Gene Kelly, Frank Sinatra, & Jules Munshin) * Oh! What It Seemed to Be (Frank Sinatra) * The Old Lamp-Lighter (Sammy Kaye) * Only Forever (Bing Crosby) * Paper Doll (The Mills Brothers) * Powder Your Face with Sunshine (Guy Lombardo) * Red Roses for a Blue Lady (Vaughn Monroe) * Serenade in Blue (Glenn Miller) * Speak Low (Guy Lombardo) * Straighten Up and Fly Right (Nat King Cole) * Swinging on a Star (Bing Crosby) * Take the A Train (Duke Ellington) * Taking a Chance on Love (Benny Goodman) * That Lucky Old Sun (Frankie Laine) * Too-Ra-Loo-Ra-Loo-Ral (That's an Irish Lullaby) (Bing Crosby) * The Trolley Song (Judy Garland) * You'd Be So Nice to Come Home To (Dinah Shore) * You'll Never Know (Dick Haymes) * Zip-a-Dee-Doo-Dah (James Baskett).
$3.99
3.66 €
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Piano, Voix et Guitare
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Guy Lombardo
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Powder Your Face With Sunshine
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Jackie Wilson: Alone At Last - voice & other instruments (fake book)
Ligne De Mélodie, (Paroles) et Accords
Instantly printable sheet music by Jackie Wilson for voice & other instruments (fake b…
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Instantly printable sheet music by Jackie Wilson for voice & other instruments (fake book) of MEDIUM skill level. / pop,rock
$4.97
4.56 €
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Ligne De Mélodie, (Paroles) et Accords
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Jackie Wilson
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Virtualsheetmusic
Missa Solemnis, op. 27 (vocal score)
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99
80.81 €
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Chorale SATB
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Missa Solemnis, op. 27 (parts)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$160.00
146.95 €
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Orchestre
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$85.99
78.98 €
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Orchestre
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
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SheetMusicPlus
For Wisdom is Better than Jewels
Chorale SATB
Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.1008087 Composed by…
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Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.1008087 Composed by Connie Pwll Walck Tyler. Christian,Contemporary,Jewish,Sacred. Octavo. 48 pages. Connie Tyler #4765403. Published by Connie Tyler (A0.1008087). What is Wisdom?In Proverbs 8:5-11 she says,Learn prudence, acquire intelligence, …take my instruction instead of silver,and knowledge rather than choice gold,for Wisdom is better than jewels. This suite of three songs is appropriate for use in a Christian or Jewish religious service or a secular concert. It includes a short audience participation possibility at the end of the last song. All are written for flute, piano, ethnic drum, SATB plus a high soprano part that can be a soloist. The drum part is written out, but could be improvised. The first song, Hear My Call, is short (1:49) and could be used as a call to worship in a religious service. The second song, God Created Me, (4:36) is an anthem of praise using the wonderful words of the creation of Wisdom in Proverbs 8:22-36 with a descant of the creation story in the book of Ben Sira 24:3, found in the Apocrypha. The tenors and basses sing the comparison of Wisdom with the trees of Israel, also found in Ben Sira, all in praise of Wisdom. The third song, Choose Life, (1:16) includes a chant that can be sung by the congregation or audience along with the choir. This could be used as the final hymn in a religious service. All three songs can be used separately or together. At the end of the score you will find a copy of the congregational chant which can be copied and placed in an Order of Service or Program. Purchase includes the right to make eight photocopies. For additional copies please purchase another score from sheetmusicplus.com. The recording is electronically produced and therefore has choral oohs without words. All three songs are on the recording, and at the end there is a flute rendering of the chant.. This is not intended to stand alone, but to be sung, as directed, with the last part of the choir song, Choose Life.
$20.00
18.37 €
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Chorale SATB
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Connie Pwll Walck Tyler
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For Wisdom is Better than Jewels
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Connie Tyler
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SheetMusicPlus
Tribute to the Trail of Tears
Chorale SATB
Choral Alto Voice,Bass Voice,Soprano voice,Tenor Voice (SATB) - Level 5 - Interactive Down…
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Choral Alto Voice,Bass Voice,Soprano voice,Tenor Voice (SATB) - Level 5 - Interactive Download SKU: A0.726326 Composed by Barron Brothers. This edition: Interactive Download. Folk,World. Octavo. 25 pages. Duration 281. Barron Brothers #6JvK5OaFLfcELYSz4fsbms. Published by Barron Brothers (A0.726326). Key: Ab major.**NJMEA Finalist Composition** Sun Tracks The track of the Sun across the sky leaves its shining, eternal message Illuminating, strengthening, warming... all of us who are here It shows us we are not alone. We are not alone. We are yet alive. And this fire, our fire shall not die! *- Atoni* Iyo he, iyo he; iyo he, iyo he; He, he, he, iyo he. - *Choctaw war dance* ...... Tribute to the Trail of Tears is an original SATB choir song commemorating my Choctaw heritage. When I wrote this song, I wanted to look at the Trail of Tears from the Choctaws' eyes. I did this by emphasizing the contrast between their anger with the shouting taken from a Choctaw war chant and hope with a Choctaw Sun Prayer (the sun is an important figure of hope in Choctaw spirituality), their English traditions forced upon them and their true Choctaw nature, and the betrayal of a government that was supposed to protect them. This song is designed to be slow and relaxed (~70bpm for the first part and ~85bpm for the piu mosso), with the bends representing relaxed glissandos in the voice. The last three chords are meant to be sensitive and should be taken very slowly. Keep in mind that this piece should not only be meaningful but convey the emotions to spread the Native awareness that is so direly needed in America.
$3.75
3.44 €
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Chorale SATB
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Barron Brothers
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iyo he, iyo he
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Tribute to the Trail of Tears
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Barron Brothers
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SheetMusicPlus
Carson Cooman - Newton Antiphonies (2008) for two or more trumpets
Trompette
Trumpet Solo - Level 3 - Digital Download SKU: A0.775966 Composed by Carson Cooman.…
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Trumpet Solo - Level 3 - Digital Download SKU: A0.775966 Composed by Carson Cooman. Contemporary,Standards. Individual part. 3 pages. Musik Fabrik Music Publishing #2034727. Published by Musik Fabrik Music Publishing (A0.775966). Newton Antiphonies (2008) for two or more trumpets was composed for the First Unitarian Society in Newton, Massachusetts on the occasion of its 160th anniversary in November 2008. The score of the work consists of seven cells, each with a different tempo. It is important that the distinct tempo and character of each cell be observed. Other than starting points (as described below), no rhythmic coordination between the performers should be attempted in any way. A performance should begin with the first trumpet playing cell #1. When he reaches the point in the cell marked with an asterisk (*), the second player begins playing cell #1. Once the first player has finished cell #1, after a brief pause, he may choose any one of the other six cells to play next. When the second player has reached the point in cell #1 marked by the asterisk, the third player begins cell #1, continuing after a pause to whichever cell he has chosen next. This thus continues in this same manner for each trumpet. Ideally, the piece will last between 2 and 5 minutes, although if there are an exceptionally large number of trumpets used, it may be longer. Each player thus always begins with cell #1 and after finishing it, plays the remaining cells in any order he chooses, not repeating any and pausing briefly between each one. Once finished with playing all seven, the player stops. When only one player (the last player) is left playing his final cell (and ideally at the point marked with the asterisk in whichever cell he is playing), the first trumpet should begin playing cell #7 again. Thus, the first player will always end the piece alone with cell #7, which is the only repetition of a cell that occurs in the context of performance. The composer recommends between 4 and 6 trumpets for an ideal performance, however any number (two or more) is acceptable. It is also strongly requested that the trumpets surround the audience antiphonally. The work may be performed on any matched trumpets (i.e., do not mix C and Bb instruments).
$12.95
11.89 €
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Trompette
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Carson Cooman
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Carson Cooman - Newton Antiphonies
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Musik Fabrik Music Publishing
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SheetMusicPlus
Over The Rainbow
Cor et Piano
French Horn,Piano - Level 2 - Digital Download SKU: A0.803433 By Judy Garland. By H…
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French Horn,Piano - Level 2 - Digital Download SKU: A0.803433 By Judy Garland. By Harold Arlen. Arranged by Robert Fisco. Contemporary. Score and part. 6 pages. Robert Fisco #6232735. Published by Robert Fisco (A0.803433). Solo arrangement for French Horn of the famous song Over The Rainbow from The Wizard of Oz. This arrangement comes with piano accompaniment and is just as fun to play along with the accompaniment as it is to play alone. Recommended level: high school and above (advanced middle school could work it up too!). The piano part is at an intermediate level, primarily because of the last time through the melody at the end. Approximate length: 2 minutes and 45 seconds.
$5.00
4.59 €
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Cor et Piano
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Judy Garland
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Robert Fisco
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Over The Rainbow
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Robert Fisco
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SheetMusicPlus
Over The Rainbow
Trompette, Piano
Piano,Trumpet - Level 2 - Digital Download SKU: A0.803437 By Judy Garland. By Harol…
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Piano,Trumpet - Level 2 - Digital Download SKU: A0.803437 By Judy Garland. By Harold Arlen. Arranged by Robert Fisco. Contemporary. Score and part. 6 pages. Robert Fisco #6232743. Published by Robert Fisco (A0.803437). Solo arrangement for Trumpet of the famous song Over The Rainbow from The Wizard of Oz. This arrangement comes with piano accompaniment and is just as fun to play along with the accompaniment as it is to play alone. Recommended level: high school and above (advanced middle school could work it up too!). The piano part is at an intermediate level, primarily because of the last time through the melody at the end. Approximate length: 2 minutes and 45 seconds.
$5.00
4.59 €
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Trompette, Piano
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Judy Garland
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Robert Fisco
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Over The Rainbow
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Robert Fisco
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SheetMusicPlus
Over The Rainbow
Clarinette et Piano
Clarinet,Piano - Level 2 - Digital Download SKU: A0.803430 By Judy Garland. By Haro…
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Clarinet,Piano - Level 2 - Digital Download SKU: A0.803430 By Judy Garland. By Harold Arlen. Arranged by Robert Fisco. Contemporary. Score and part. 6 pages. Robert Fisco #6232729. Published by Robert Fisco (A0.803430). Solo arrangement for Clarinet of the famous song Over The Rainbow from The Wizard of Oz. This arrangement comes with piano accompaniment and is just as fun to play along with the accompaniment as it is to play alone. Recommended level: high school and above (advanced middle school could work it up too!). The piano part is at an intermediate level, primarily because of the last time through the melody at the end. Approximate length: 2 minutes and 45 seconds.
$5.00
4.59 €
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Clarinette et Piano
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Judy Garland
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Robert Fisco
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Over The Rainbow
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Robert Fisco
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SheetMusicPlus
Over The Rainbow
Tuba et Piano
Piano,Tuba - Level 2 - Digital Download SKU: A0.803438 By Judy Garland. By Harold A…
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Piano,Tuba - Level 2 - Digital Download SKU: A0.803438 By Judy Garland. By Harold Arlen. Arranged by Robert Fisco. Contemporary. Score and part. 6 pages. Robert Fisco #6232747. Published by Robert Fisco (A0.803438). Solo arrangement for Tuba of the famous song Over The Rainbow from The Wizard of Oz. This arrangement comes with piano accompaniment and is just as fun to play along with the accompaniment as it is to play alone. Recommended level: high school and above (advanced middle school could work it up too!). The piano part is at an intermediate level, primarily because of the last time through the melody at the end. Approximate length: 2 minutes and 45 seconds.
$5.00
4.59 €
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Tuba et Piano
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Judy Garland
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Robert Fisco
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Over The Rainbow
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Robert Fisco
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SheetMusicPlus
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