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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
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4 Violoncelles
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PERCUSSIONS & ORCHESTRES
Orchestre
19
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Cloches
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His Voice As The Sound
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His Voice as the Sound of the Dulcimer Sweet (for soprano, violin, and piano)
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1093622 By Jennifer Rhodes. …
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1093622 By Jennifer Rhodes. By trad. American tune, Samanthra. Arranged by Jennifer Rhodes. Classical,Contemporary,Contest,Festival,Praise & Worship,Sacred. Score. 11 pages. Jennie Rhodes Music #697694. Published by Jennie Rhodes Music (A0.1093622). The traditional hymn, His Voice as the Sound of the Dulcimer Sweet, set in a contemporary classical, art song style for soprano, violin, and piano. Appropriate for both concert performance and worship services. Vocal range: E4 to A5.
$15.95
14.69 €
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Piano, Voix
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Jennifer Rhodes
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Jennifer Rhodes
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His Voice as the Sound of the Dulcimer Sweet
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Jennie Rhodes Music
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SheetMusicPlus
Another Day
Voix Alto, Piano
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859660 Composed by Sydne…
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Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859660 Composed by Sydney Stevens. Country,Folk,New Age,Pop. 7 pages. Sydney Stevens, Water Music #2942889. Published by Sydney Stevens, Water Music (A0.859660). Contact: sydneystevenspianostudio@gmail.comAnother Day: Refreshing, passionate piano/vocal composed by Sydney Stevens (ASCAP). Sheet music arrangement is for piano/vocal/chords.Sounds like: Christina Perri, Enya, Judy CollinsFrom Album: Cycles of Life Theme: New love, love's longing. Mood: Passionate, romantic, heartfelt. Musical Traits: Strong melody in right hand piano that reflects the vocal line. Performance Time: 3:41 Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusic More Links: www.sydneystevenswatermusic.com http://www.linkedin.com/in/sydney-stevens-532a113a BIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to accompany them.In addition to being a prolific composer, Stevens runs a.
$4.95
4.56 €
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Voix Alto, Piano
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Sydney Stevens
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Another Day
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Sydney Stevens, Water Music
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SheetMusicPlus
Carson Cooman: Rossini in the Kitchen (2005) for tenor and piano
Voix Tenor
Tenor Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.533605 Composed by Cars…
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Tenor Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.533605 Composed by Carson Cooman. Concert,Contemporary,Opera,Standards. 17 pages. Musik Fabrik Music Publishing #3030523. Published by Musik Fabrik Music Publishing (A0.533605). Rossini in the Kitchen (2005) is a comic staged monodrama for tenor and piano. It wascomposed for and is dedicated to Frank Napolitano.The work imagines the Italian composer Gioacchino Rossini (1792-1868) in his later years inParis. After his rather young retirement at age 37, Rossini wrote no more opera and insteadled a life of leisure and luxury, pursuing his great love of gourmet cooking.Although Rossini was from the northernmost regions of Italy, known for their elegant Frenchinfluencedcuisine, the recipes in this work are familiar Tuscan style Italian fare. It isassumed that Rossini would perhaps have enjoyed these dishes as well and made them as anod to his native country, whose national musical style he had so impacted with hiscompositional work.The musical language of this work is ecletic, drawing upon the common practice language ofRossini's time, distorted and amplified through more contemporary sounds and textures.Some of the contemporary sounds and textures are derived from popular music traditions ofthe second half of the 20th century. Since, like more modern popular music, Rossini's ownwork was some of the most popular and widely known music of its time. His tunes werewhistled by people in the streets, in the same way that today's pop songs are.Thus, the musical language of the work sometimes switches abruptly or transforms from onestyle into another. There are numerous allusions to Rossini's own music as well as that ofother later opera composers who were indebted to him.
$25.95
23.9 €
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Voix Tenor
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Carson Cooman
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Carson Cooman: Rossini in the Kitchen
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Musik Fabrik Music Publishing
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SheetMusicPlus
His Voice, as the Sound of the Dulcimer Sweet (intermediate)
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.741203 Composed by William Walker. …
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Piano Solo - Level 3 - Digital Download SKU: A0.741203 Composed by William Walker. Arranged by Anne Britt. New Age,Praise & Worship,Sacred. Score. 5 pages. Anne Britt #3684983. Published by Anne Britt (A0.741203). Inspired by The Tabernacle Choir’s captivating performance based on the hymn tune Samanthra (arr. Mack Wilberg), this arrangement transforms the simple, yet haunting, melody into a beautiful piano solo that embraces the minor key as a quiet, meditative contemplation of praise. 5 pages. Intermediate level. Performance time: approximately 4:00.Lyrics:His voice, as the sound of the dulcimer sweetIs heard through the shadows of deathThe cedars of Lebanon bow at His feetThe air is perfumed with His breathHis lips as the fountain of righteousness flowThat waters the garden of graceFrom which their salvation the Gentiles shall knowAnd bask in the smile of His faceLove sits in his eyelids and scatters delightThrough all the bright regions on highTheir faces the cherubim veil in his sightAnd tremble with fullness of joyHe looks and ten thousands of angels rejoiceAnd myriads wait for His wordHe speaks and eternity filled with His voiceRe-echoes the praise of the LordHe looks and ten thousands of angels rejoiceAnd myriads wait for His wordHe speaks and eternity filled with His voiceRe-echoes the praise of the LordRe-echoes the praise of the LordIncluded in the It Is Well songbook: https://www.sheetmusicplus.com/title/22035187Visit the publisher's website for contact info and some free sheet music downloads: https://annebrittmusic.com/
$3.99
3.67 €
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Piano seul
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William Walker
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Anne Britt
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His Voice, as the Sound of the Dulcimer Sweet
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Anne Britt
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SheetMusicPlus
His Voice, as the Sound of the Dulcimer Sweet (early intermediate)
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.741204 Composed by William Walker. …
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Piano Solo - Level 2 - Digital Download SKU: A0.741204 Composed by William Walker. Arranged by Anne Britt. New Age,Praise & Worship,Sacred. Score. 4 pages. Anne Britt #3686391. Published by Anne Britt (A0.741204). Inspired by The Tabernacle Choir’s captivating performance based on the hymn tune Samanthra (arr. Mack Wilberg), this arrangement transforms the simple, yet haunting, melody into a beautiful piano solo that embraces the minor key as a quiet, meditative contemplation of praise. 4 pages. Performance time: approximately 3:00.Also available for intermediate level: https://www.sheetmusicplus.com/title/20825960 Lyrics:His voice, as the sound of the dulcimer sweetIs heard through the shadows of deathThe cedars of Lebanon bow at His feetThe air is perfumed with His breathHis lips as the fountain of righteousness flowThat waters the garden of graceFrom which their salvation the Gentiles shall knowAnd bask in the smile of His faceLove sits in his eyelids and scatters delightThrough all the bright regions on highTheir faces the cherubim veil in his sightAnd tremble with fullness of joyHe looks and ten thousands of angels rejoiceAnd myriads wait for His wordHe speaks and eternity filled with His voiceRe-echoes the praise of the LordHe looks and ten thousands of angels rejoiceAnd myriads wait for His wordHe speaks and eternity filled with His voiceRe-echoes the praise of the LordRe-echoes the praise of the LordVisit the publisher's website for contact info and some free sheet music downloads: https://annebrittmusic.com/.
$3.99
3.67 €
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Piano seul
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William Walker
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Anne Britt
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His Voice, as the Sound of the Dulcimer Sweet
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Anne Britt
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.09 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
The Master Singers of Nuremberg
Piano, Voix
Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erst…
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Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 235\' 0. Schott Music - Digital #Q17852. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE MEISTERSINGER VON NÜRNBERG “Die Meistersinger von Nürnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera’s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche’s publication \"Jenseits von Gut und Böse\" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as ‘magnificent, ornate and ponderous art’ and Wagner’s music in general as being ‘rough and coarse’. This music according to Nietzsche possesses ‘no trace of the fine southern clarity of the sky and nothing of grace’, but instead ‘a cumbersome garb, with a touch of licentious barbarism and solemnity’ and ‘even a certain degree of ungainliness’. Nietzsche’s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott’s Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. […] When the saying ‘the music sets the tone’ is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.” (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht).
$59.99
55.24 €
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Piano, Voix
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Richard Wagner
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The Master Singers of Nuremberg
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SheetMusicPlus
The Dove
Quatuor à cordes: 2 violons, alto, violoncelle
Tenor and string quartet - Digital Download SKU: S9.Q6385 Auf Texte aus der Bibe…
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Tenor and string quartet - Digital Download SKU: S9.Q6385 Auf Texte aus der Bibel. Composed by Naji Hakim. This edition: score and parts. Downloadable, Score and parts. Duration 7 minutes. Schott Music - Digital #Q6385. Published by Schott Music - Digital (S9.Q6385). German • English.This piece shows my hope to have our churches not only in peace but also in full communion. Naji Hakim Die Taube (The Dove) was commissioned by â€Kirchenmusik bei St. Anna Augsburg†to celebrate the 450th anniversary of the Augsburger Religionsfrieden (Religious peace of Augsburg). It is based on three biblical verses related to peace : Gen. 8/11, Luk. 1/79, Joh. 14/27. The music is through composed and develops the character of the verses with contrasted string textures, putting in relief the expressive vocal line, declamation of light and happiness. The work exists in three versions : 1. for Tenor and string quartet, 2. for Tenor and string orchestra, 3. for Tenor and organ. First performance : by Robert Sellier, Tenor, Capella St. Anna Streichquartett, St. Anna Augsburg, Festkonzert zum Hohen Friedensfest, 8 August 2005. Gen.8/11 : â€And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off. †Luk. 1/79 : â€To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace. †Joh.14/27 : â€Peace I leave with you, my peace I give unto you. †...to guide our feet into the way of peace. (Luke 1,79) Words and music bind people together to form fellowships which guide us into the way of peace. Singing or playing together combine bodies and souls, so that our rhythm and breathing becomes one - a sense of belonging to one another is created which instils the very nature of peace. So it is that by becoming an integral part of the music, our feet are guided 'into the way of peace'. In Luke chapter 1, both Maria and Zechariah are carried away, body and soul, in hymns of thanksgiving. They let God´s melody resound in their bodies. Ignatius, one of the Early Fathers of the Church, might have drawn his inspiration from them when he wrote to the Christians of Ephesus around the year 100, Let God´s melody resound in you. The melody of our life is a single voice within God´s great melody; an everlasting celestial melody, in which we join together as integral parts - with time, we are gradually shown which chords we are given to touch and which chords to form with one another. God´s inextinguishable melody has an infinite galaxy of variations. As you would know, a variation is rooted but limitless. At our christening, God gives us a variation - an inextinguishable variation because of his promise, I am with you always, even to the end of the age. (Matthew 28, 20). Deeply rooted as we are, God leads us through. He calls us to Life out of His Eternity, He lets his melody reverberate in us and finally calls us back, when we die, to His everlasting future. Let God´s melody resound in you and guide your feet into the way of peace. Pastor Hanne Margrethe Tougaard.
$22.99
21.17 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Naji Hakim
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The Dove
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Schott Music - Digital
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SheetMusicPlus
His Voice As the Sound
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0002641 His Voice As the Sound - SATB
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Chorus - Digital Download SKU: AX.00-PO-0002641 His Voice As the Sound - SATB. Arranged by Alice Parker and Robert Shaw. Lawson Gould Choral. 6 pages. Alfred Music - Digital Sheet Music #00-PO-0002641. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002641). UPC: 783556002130.
$2.25
2.07 €
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Chorale SATB
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Alice Parker and Robert Shaw
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His Voice As the Sound
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
His Voice as the Sound of the Dulcimer Sweet
Harpe
Harp - Level 3 - Digital Download SKU: A0.525452 By Joseph Swain. By William Walker…
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Harp - Level 3 - Digital Download SKU: A0.525452 By Joseph Swain. By William Walker. Arranged by Bridget Jackson. Easter,Folk,Praise & Worship,Sacred,Traditional. Score. 5 pages. Bridget Jackson Harp #135944. Published by Bridget Jackson Harp (A0.525452). The reverent text by Joseph Swain, set to the traditional American hymn tune SAMANTHRA by William Walker, is now given a hauntingly beautiful breath of air in this arrangement for solo pedal harp. The tune builds throughout the course of the piece through both harmony and complexity until it peaks in majesty, before fading back into the mist.
$4.99
4.59 €
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Harpe
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Joseph Swain
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Bridget Jackson
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His Voice as the Sound of the Dulcimer Sweet
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Bridget Jackson Harp
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SheetMusicPlus
Gregory Sullivan Isaacs: Songs From Calamus for tenor voice and piano
Voix Tenor
Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.533282 Composed by Greg…
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Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.533282 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 21 pages. Musik Fabrik Music Publishing #2331251. Published by Musik Fabrik Music Publishing (A0.533282). Whitman only published one book – Leaves of Grass – but it was always a work in progress. He added poems and revised others for each succeeding edition. Thus, the first edition (1819) was a small book with only 12 poems and the last, often refered to as the Deathbed Edition (1892), contained over 400. Some of these he wrote in “clusters†of related poems. Such is the case with the Calamus cluster. The title was chosen to alert the reader that these were poems about what he called “the love of comrades,†“manly love†or with the code word, “adhesiveness.†The concept of homosexuality, as we know it today, was very different in Whitman’s time, but violently socially taboo. Acorus calamus is a reed-like species of marsh grass. In Poetry and Prose, Whitman wrote that it s a … very large and aromatic grass, or root, spears three feet high—often called 'sweet flag'—grows all over the Northern and Middle States.†The phallic plant has always been a symbol of love and associated with the Greek myth of Kalamos, son of the river god who loved the youth Karpos. When Karpos died in a swimming accident, Kalamos transformed himself into a reed so he could always be near the spot where his beloved died, and the rustling of the reeds in the winds sounds like moans of mourning. The Calamus cluster, 39 poems in all, recount the story of a manly love found and lost from the perspective of some time later. They are bittersweet memories. I chose four poems for my own cluster. They represent the four stages of such a relationship: initial attraction, first coy interactions, full-blossomed love, and the bitterness of it’s ending. It is possible that these events actually happened or that they all occurred in the poets mind without ever revealing his thoughts to the intended. Some musical devices, such as the rustling of the leaves in the third song and the constant use of seconds as two people who are close but not yet together in the second one, are obvious. But, other than some indications of tempo, I hesitate to give out remarks about how to perform the songs, or even metronome markings, that might give the singer a preconceived notion. This situation has happened to everyone. So, I say to the singer: revive the memories of a similar event in your life: a particularly heartbreaking one is best. Bring the telling of that memory to the vivid present, and tell us that story as if it ending some time ago but the hurt remains strong, If, by some chance, the singer has not had this experience, he should wait to sing this cycle until he has. The composer
$16.95
15.61 €
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Voix Tenor
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Songs From Calamus for tenor voice and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Diehnelt: Stile Antico for 5-voice cello ensemble
String Ensemble,String Quintet Cello - Level 5 - Digital Download SKU: A0.809059 Co…
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String Ensemble,String Quintet Cello - Level 5 - Digital Download SKU: A0.809059 Composed by Kim Diehnelt. Baroque,Concert,Contemporary. Score and parts. 10 pages. Kim Diehnelt #4350647. Published by Kim Diehnelt (A0.809059). Stile Antico: On a theme of Palestrina (2012) for 5-voice cello ensemble The title Stile Antico refers a style of musical composition from the 16th century which was often employed in church music, because it allowed the words (sacred text) of each singer to be clearly heard. This pre-classical polyphony was many-voiced and without instrumental accompaniment. Inspired by a theme from a mass by Giovanni Pierluigi da Palestrina (c. 1525 – 1594) ‘Praestet hoc nati genitor, I present a modern cello ensemble rendition of this ‘ancient style.’ Most conspicuous of the work’s attributes is the use of time. Rather than moving the musical ideas and themes towards a goal or through structural development and a sense of progress, the music (and time) unfolds perhaps as the natural swing of a pendulum; neither clinging to a past, nor anticipating a future. The listener beholds one moment continuously being reshaped through sound. Also, the concepts of melody and harmony as we assume them today are blurred. Of the five players, no one has the melody, no one has the harmony, yet together the ensemble combines to create a continuous flux of melodic-harmony (or harmonic-melody). This idea is of another type of ‘stile antico.’ Within the ideas of alchemy, which richly influenced the music of the 16th century and beyond, exists the concept that one plus one equals three. That is, two objects also create a ‘between-ness.’ So too with musical voices; the combination of two voices creates a new between-ness. Through out this work the individual cellists create a continuously shifting canvas of ‘between-ness.’ The music and the performers ask for a renewed perception of the many between-nesses of our present moment. www.kimdiehnelt.com(c) 2012 (ASCAP)
$18.95
17.45 €
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Kim Diehnelt
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Diehnelt: Stile Antico for 5-voice cello ensemble
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Kim Diehnelt
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SheetMusicPlus
Sanbutsuge: A Buddhist Motet for Chorus SATB and Piano, with Solo Soprano
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.939717 Composed by Richard…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.939717 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 23 pages. Richard St. Clair #3002339. Published by Richard St. Clair (A0.939717). This 9-minute motet in which the Buddha-to-be Dharmakara praises His master, Lokeshvaraja Buddha and vows to become the Savior of all Beings (namely, Amida Buddha). The music beings with an extended recitative/aria by solo soprano, and proceeds to the full choral ensemble to its conclusion. The MP3 Audio Clip is a computer-generated soundfile of the entire work. The music is completely tonal and traditional, suitable for good amateur choirs and professional choruses alike.Words from the Larger Sutra on Amida Buddha expounded by Shakyamuni Buddha some 2500 years ago in India.[Setting: Many ages ago, Dharmakara Bhikshu (in his stage before becoming Amida Buddha) declares to his Master, Buddha Lokeshvararaja, his intention to create a Pure Land wherein all suffering beings can be saved.]Text (slightly abridged):Then appeared a Buddha named Lokeshvararaja, the Tathagata, Arhat, Perfectly Enlightened One, Possessed of Wisdom and Practice, Perfected One, Knower of the World, Unsurpassed One, Tamer of Men, Master of Gods and Men, Buddha and World-Honored One.At that time there was a king, who, having heard the Buddha's exposition of the Dharma, rejoiced in his heart and awakened aspiration for the highest, perfect Enlightenment. He renounced his kingdom and the throne, and became a monk named Dharmakara. Having superior intelligence, courage and wisdom, he distinguished himself in the world. He went to see the Tathagata Lokeshvararaja, knelt down at his feet, walked round him three times keeping him always on his right, prostrated himself on the ground, and putting his palms together in worship, praised the Buddha with these verses:The shining face of the Buddha is glorious;Boundless is his magnificence.Radiant splendor such as hisIs beyond all comparison.The sun, the moon and the mani-jewel,Though shining with dazzling brightness,Are completely dimmed and obscuredAs if they were a pile of ink-sticksThe countenance of the TathagataIs beyond compare in the whole world.The great voice of the Enlightened OneResounds throughout the ten regions.His morality, learning, endeavor,Absorption in meditation, wisdomAnd magnificent virtues have no equal;They are wonderful and unsurpassed.I resolve to become a Buddha,Equal in attainment to you, O holy king of the Dharma,To save living beings from birth-and-death,And to lead them all to emancipation.I vow that, when I have become a Buddha,I shall carry out this promise everywhere;And to all fear-ridden beingsShall I give great peace.Even though there are Buddhas,A thousand million kotis in number,And multiudes of great sagesCountless as the sands of the Ganges,I shall make offeringsTo all those Buddhas.I shall seek the supreme WayResolutely and tirelessly.Even though the Buddha-lands are as innumerableAs the sands of the Ganges,And other regions and worldsAre also without number,My light shall shine everywhere,Pervading all those lands.Such being the result of my efforts,My glorious power shall be immeasurable.When I have become a Buddha,My land shall be most exquisite,And its people wonderful and unexcelled;The seat of Enlightenment shall be supreme.My land, being like Nirvana itself,Shall be beyond comparison.I take pity on living beingsAnd resolve to save them all.Those who come from the ten quartersShall find joy and serenity of heart;When they reach my land,They shall dwell in peace and happiness.I beg you, the Buddha, to become my witnessAnd to vouch for the truth of my aspiration.Having now made my vows to you,I will strive to fulfilll them.The World-Honored Ones in the ten quartersHave unimpeded wisdom;I call upon those Honored OnesTo bear witness to my intention.Even though I mu.
$10.99
10.12 €
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Chorale SATB
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Richard St
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Sanbutsuge: A Buddhist Motet for Chorus SATB and Piano, with Solo Soprano
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Richard St. Clair
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SheetMusicPlus
The River
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859664 Composed by Sydne…
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Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859664 Composed by Sydney Stevens. Country,Folk,Pop,Wedding. 8 pages. Sydney Stevens, Water Music #2949779. Published by Sydney Stevens, Water Music (A0.859664). Contact: sydneystevenspianostudio@gmail.comThe River: Uplifting piano/vocal by Sydney Stevens (ASCAP). Sheet music arrangement is for piano/vocal/chords.Sounds like: Dar Williams, Judy Collins, Christina PerriFrom Album: Cycles of Life Theme: Long awaited true love, new love.Mood: Happy, romantic, inspired.Musical Traits: Broken chords in the left hand piano, right hand melody that reflects the vocal line.Performance Time: 3:17Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusicMore Links: www.sydneystevenswatermusic.com http://www.linkedin.com/in/sydney-stevens-532a113aBIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to accompany them.In addition to being a prolific composer,.
$4.95
4.56 €
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Sydney Stevens
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The River
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Sydney Stevens, Water Music
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SheetMusicPlus
When the Saints Go Marching In (Mixed Level, 2 Pianos, 4 Hands Duet)
2 Pianos, 4 mains
2 Pianos,4 Hands,Piano Duet - Level 2 - Digital Download SKU: A0.565178 By Sharon W…
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2 Pianos,4 Hands,Piano Duet - Level 2 - Digital Download SKU: A0.565178 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson Music. Children,Folk,Jazz,Sacred,Spiritual. Score. 12 pages. Sharon Wilson #3519273. Published by Sharon Wilson (A0.565178). This arrangement of the traditional spiritual When the Saints Go Marching In is presented here as a mixed level duet for two pianos, four hands. The PIANO 1 is the easier part (early-intermediate) and the PIANO 2 is slightly more challenging, though still only at the intermediate level. Both PIANO parts carry the melody at times beginning with PIANO 1 for the verse. Quick-paced and bright, this dual piano duet is an ideal selection for a church setting.The purchase price includes a 5-page score with combined PIANO 1 and PIANO 2 parts on each page (the grand staff) plus an alternate format with the PIANO 1 and PIANO 2 parts on separate pages (3 pages each). Duration is just under 1-1/2 minutes. This arrangement is one of the 5 spirituals in the collection Five Joyful Tunes for Two Pianos.This song has numerous verses and varying lyrics, most of which reference the joy of marching into heaven at Jesus' second coming. Bible verses from which the lyrics were gleaned include the following:Â . . .Yahweh's ransomed ones will return, and come with singing to Zion; and everlasting joy will be on their heads. They will obtain gladness and joy, and sorrow and sighing will flee away. Isaiah 35:10 WEBFor the Lord himself will descend from heaven with a shout, with the voice of the archangel, and with God's trumpet. The dead in Christ will rise first, then we who are alive, who are left, will be caught up together with them in the clouds, to meet the Lord in the air. So we will be with the Lord forever. Therefore comfort one another with these words. 1 Thessalonians 4:16-18 WEBBlessed are those who do his commandments, that they may have the right to the tree of life, and may enter in by the gates into the city. Revelation 22:14 WEBLyrics for my favorite 3 verses:O when the saints go marching in,O when the saints go marching in,O Lord I want to be in that number,When the saints go marching in.O when the trumpet sounds its call,O when the trumpet sounds its call,O Lord I want to be in that number,When the trumpet sounds its call.O when they crown him Lord of all,O when they crown him Lord of all,O Lord I want to be in that numberWhen they crown him Lord of all.
$5.99
5.52 €
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2 Pianos, 4 mains
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Sharon Wilson
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Sharon Wilson Music
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When the Saints Go Marching In
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Sharon Wilson
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SheetMusicPlus
The Steadfast Heart Psalm 5-8
Piano, Voix
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.968672 Composed by Nicole Do…
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.968672 Composed by Nicole Doran. 20th Century,Christian,Concert,Jewish,Sacred. Score. 8 pages. Nicole E Doran #6360913. Published by Nicole E Doran (A0.968672). The Steadfast Heart, a psalm cycle for advancing musicians is a pedagogical work of art and a journey of faith. It sets into sound the faith of a Messianic Jewish classical musician who wants to pass along all that she has learned of faith and music to her children and the next generation of God-fearing musicians.Mastering the keyboard step by step helps you understand the miracle of harmony. Melodies refresh the soul and many tones blending together show the wonder of unity in diversity; this is true of all music. However, meditating on the psalms as you play helps you understand the way Christ and all the faithful have looked to the Father in Heaven as their guide and protector as you delight in the musical sounds you can produce.Dr. Doran includes accessible verses from the NIV and some lines of the poetry that challenge modern ears and sensibilities. Sweet melodies, imitative counterpoint, modal and tonal harmonization and register shifts prove that an intermediate pianist can savor the artistry for the level they have achieved and still thirst for more musical and spiritual goodness to come just like David longed for the Lord’s presence and fullness.As the deer pants for streams of water, so my soul longs after You, O God. Thousands of people are trying to hear or memorize ALL the Psalms in these confusing and uncertain times. What safer way to explore than in the shelter of your practice time until you are ready to share your favorites with others. Here is a method to use the instrument we have in our homes and be a participant in this wonderful musical journey from Psalm 1-150. Each new set should be released in January, April, August, and December.
$8.28
7.62 €
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Piano, Voix
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Nicole Doran
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this is true of all music
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The Steadfast Heart Psalm 5-8
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Nicole E Doran
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SheetMusicPlus
Song of the Childless
Instrumental Duet Guitar,Instrumental Duet,Voice - Level 4 - Digital Download SKU: A0.5…
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Instrumental Duet Guitar,Instrumental Duet,Voice - Level 4 - Digital Download SKU: A0.576279 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 4 pages. David Warin Solomons #15653. Published by David Warin Solomons (A0.576279). This song was inspired by my initial reactions to the realization that I am infertile. In my case this was due to Kallmann's syndrome I am now perfectly happy with my infertility, after all, there is much else to do in the world and Dawkins' selfish gene can simply go spin its plot elsewhere: my children are my compositions, and they populate the world in their own way with joy, humour and thoughtfulness... wherever they will... ... However, I know there are many who are not happy with childlessness, so I dedicate this song to them ....and to my past self. The sound sample is my own performance. Here are the words: Learn this my child, who never hears my word Your luck is out, you are but but a poem deaf to change You are a romantic ramble on absurd round which the childless brain desires to range Hear this my daughter, blind to loveliness Your love is mine, untouchable, unknown to all Save to a song befitting her distress Whom Sappho loved but answered not her call See this my eunuch, watching others` joy Your luck was in, your luck was in You threw it far away, too far away for its return Save to another and another boy while I look on, unmoved as from a star Taste this my tears grown cold Resigned and pure Your love is his I know not whose nor do I care Yet love I would, and yet cannot be sure that another`s love could now be mine to share Warm this my heart These strings beget my child Their luck is in Their love is mine So close, my son! My daughter`s breath sings Through my fingers styled Sings to herself All other children shun © David W Solomons Video:https://www.youtube.com/watch?v=NOB34ds34Tk
$11.00
10.13 €
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David Warin Solomons
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Song of the Childless
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David Warin Solomons
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SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.45 €
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Guitare
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Hollinfare Te Deum for men's voices and organ
Chorale 3 parties
Choral Choir,Choral (3-Part) - Level 3 - Digital Download SKU: A0.576393 Composed b…
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Choral Choir,Choral (3-Part) - Level 3 - Digital Download SKU: A0.576393 Composed by David Warin Solomons. 20th Century,Contemporary,Sacred,Spiritual. 9 pages. David Warin Solomons #20919. Published by David Warin Solomons (A0.576393). St Helen's church in Hollinfare celebrated its 500th anniversary in 1997 and invited the gentlemen of Manchester Cathedral Choir to sing at the celebratory service. The service included a Te Deum and Jubilate, which I wrote especially for the purpose. The Te Deum is a full setting with organ and alto, tenor and bass singers. The Jubilate is a psalm chant. Both are available on this site. The sound sample in each case is the original performance.The words of the Te Deum are: We praise thee, O God : we acknowledge thee to be the Lord. All the earth doth worship thee : the Father everlasting. To thee all Angels cry aloud : Â the Heavens, and all the Powers therein. To thee Cherubim and Seraphim : continually do cry, Holy, Holy, Holy : Lord God of Hosts; Heaven and earth are full of the Majesty : of thy glory. The glorious company of the Apostles : praise thee. The goodly fellowship of the Prophets : praise thee. The noble army of Martyrs : praise thee. The holy Church throughout all the world : doth acknowledge thee; The Father : of an infinite Majesty; Thine honourable, true : and only Son; Also the Holy Ghost : the Comforter. Thou art the King of Glory : O Christ. Thou art the everlasting Son : of the Father. When thou tookest upon thee to deliver man : thou didst not abhor the Virgin's womb. When thou hadst overcome the sharpness of death : thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God : in the glory of the Father. We believe that thou shalt come : to be our Judge. We therefore pray thee, help thy servants : whom thou hast redeemed with thy precious blood. Make them to be numbered with thy Saints : in glory everlasting. O Lord, save thy people : and bless thine heritage. Govern them : and lift them up for ever. Day by day : we magnify thee; And we worship thy Name : ever world without end. Vouchsafe, O Lord : to keep us this day without sin.O Lord, have mercy upon us : have mercy upon us. O Lord, let thy mercy lighten upon us : as our trust is in thee. O Lord, in thee have I trusted : let me never be confounded.
$2.99
2.75 €
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Chorale 3 parties
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David Warin Solomons
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Hollinfare Te Deum for men's voices and organ
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David Warin Solomons
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SheetMusicPlus
Were You There When They Crucified My Lord? [G Major - Low Voice]
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1380573 By Stacey Pla…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1380573 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Christian,Easter,Praise & Worship,Religious,Sacred. Score. 6 pages. Anastace #965350. Published by Anastace (A0.1380573). Here is the full piano and vocal version of Were You There When They Crucified My Lord? as heard on my YouTube channel. This version is in G major to match a lower vocal range for a deep and powerful sound. I hope you enjoy this arrangement of such a beautiful Good Friday hymn, a perfect pairing of this classic, contemplative melody with a subdued, richly voiced piano accompaniment to showcase the deep meaning and solemnity of this Holy Week hymn. This arrangement works well as a solo or choral anthem for any Easter service, particularly for Good Friday or Maundy Thursday. Also available, by searching Stacey Plays Hymns and the song title on this site, are the following versions:Full piano and vocal arrangement in C major to match the original recording Full piano and vocal arrangement in G Major for a very high vocal rangeFull piano and vocal arrangement in E Flat Major for a classic soprano rangeLead sheet versionSolo piano version for a prelude/postlude, or communion interludeFor other formats including large print, guitar, or extended choral harmony versions, please write me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Purchase includes a free license for one church service with under 300 people, with proper attribution and credit in any printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!
$5.00
4.6 €
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Piano, Voix et Guitare
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Stacey Plays Hymns
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Anastace
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Were You There When They Crucified My Lord? [G Major - Low Voice]
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Anastace
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SheetMusicPlus
We Gather Together (for Voice and 8-note Boomwhackers®)
Boomwhackers,Piano Accompaniment,Voice - Level 2 - Digital Download SKU: A0.565102 …
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Boomwhackers,Piano Accompaniment,Voice - Level 2 - Digital Download SKU: A0.565102 By Sharon Wilson. By Folk Song and Netherlands Folk Song. Arranged by Sharon Wilson and Sharon Wilson Music. Children,Christian,Folk,Holiday,Sacred. 10 pages. Sharon Wilson #3416477. Published by Sharon Wilson (A0.565102). This arrangement is for voice (either solo or unison group singing) with chord accompaniment using 8-note (C major diatonic scale) Boomwhackers® and an optional easy Piano accompaniment. The following pages provide several options for learning, teaching, and enjoying this timeless hymn. This packet includes the following pages: *  chord chart using colored noteheads corresponding to the Boomwhackers® color system* 2-page combined score with the melody (for voice with the lyrics for one verse) on the top staff and Boomwhackers® 3-note chords on the bottom staff* 1-page melody staff with lyrics and chord names (referring to the chord chart, follow the chord names above the staff to whack out the 3 beats in each measure using the corresponding Boomwhackers®* 1-page with lyrics and chords for 3 verses divided into beats (referring to the chord chart, whack out the beat using the corresponding chord indicated above each syllable, word, or phrase); this page is most useful once the melody and rhythm have been learned* 1-page piano accompaniment score (the right hand plays the melody, especially helpful if the melody is unfamiliar)This arrangement is one of the hymns in a series of Timeless Hymns for Voice and Boomwhackers®. These hymn arrangements provide an excellent teaching tool for families, schools, churches, and other children's ministries. Children will enjoy learning the lyrics and tunes of these classic hymns while accompanying themselves by whacking out chords with the Boomwhackers®. Frequent use of these songs will store the hymns' messages in their memory which they will cherish throughout their lifetime. Other suggestions and uses: *  have the melody played by other instruments with a range of middle C to the second D above such as 20-note handbells, xylophones, or recorders; alternate singing one verse with playing an instrument on the melody for a second verse * use multiple sets of Boomwhackers® to amplify the sound and allow more people to enjoy whacking the tubes*  use as part of the music education for children at school, home, or church* these colorful, inexpensive instruments can be enjoyed by all ages and add a fun, unique element to activities and programs: senior centers, family reunions, church retreats, home school groups, just to name a few Permission is granted to make as many copies as needed for one family, church, or other group. Boomwhackers® is a registered trademark of Rhythm Band Instruments, LLC. Used by permission. Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99
5.52 €
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Sharon Wilson
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We Gather Together
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Sharon Wilson
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SheetMusicPlus
Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano
Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.533384 Composed by Gre…
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Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.533384 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 20 pages. Musik Fabrik Music Publishing #2803929. Published by Musik Fabrik Music Publishing (A0.533384). Whitman only published one book – Leaves of Grass – but it was always a work in progress. He added poems and revised others for each succeeding edition. Thus, the first edition (1819) was a small book with only 12 poems and the last, often refered to as the Deathbed Edition (1892), contained over 400. Some of these he wrote in “clusters†of related poems. Such is the case with the Calamus cluster. The title was chosen to alert the reader that these were poems about what he called “the love of comrades,†“manly love†or with the code word, “adhesiveness.†The concept of homosexuality, as we know it today, was very different in Whitman’s time, but violently socially taboo. Acorus calamus is a reed-like species of marsh grass. In Poetry and Prose, Whitman wrote that it s a … very large and aromatic grass, or root, spears three feet high—often called 'sweet flag'—grows all over the Northern and Middle States.†The phallic plant has always been a symbol of love and associated with the Greek myth of Kalamos, son of the river god who loved the youth Karpos. When Karpos died in a swimming accident, Kalamos transformed himself into a reed so he could always be near the spot where his beloved died, and the rustling of the reeds in the winds sounds like moans of mourning. The Calamus cluster, 39 poems in all, recount the story of a manly love found and lost from the perspective of some time later. They are bittersweet memories. I chose four poems for my own cluster. They represent the four stages of such a relationship: initial attraction, first coy interactions, full-blossomed love, and the bitterness of it’s ending. It is possible that these events actually happened or that they all occurred in the poets mind without ever revealing his thoughts to the intended. Some musical devices, such as the rustling of the leaves in the third song and the constant use of seconds as two people who are close but not yet together in the second one, are obvious. But, other than some indications of tempo, I hesitate to give out remarks about how to perform the songs, or even metronome markings, that might give the singer a preconceived notion. This situation has happened to everyone. So, I say to the singer: revive the memories of a similar event in your life: a particularly heartbreaking one is best. Bring the telling of that memory to the vivid present, and tell us that story as if it ending some time ago but the hurt remains strong, If, by some chance, the singer has not had this experience, he should wait to sing this cycle until he has. The composer
$16.95
15.61 €
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Luther Vandross - If Only for One Night
Piano, Voix
Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Luther Vandross…
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Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Luther Vandross. Arranged by Mario Stallbaumer. 8 pages. Published by Mario Stallbaumer
Here's how to play "If Only for One Night" by Luther Vandross on piano!<br> <br> With this piano sheet music, you get an accurate piano arrangement of the full song which is playable, and sounds fantastic!<br> The full melody is included in the piano part, so it makes for a wonderful instrumental (piano solo) cover.<br> However, you can also use this sheet music to accompany a singer, or sing along yourself - it includes a system for the singer, as well as the song's full lyrics!<br> <br> Originally written by Brenda Russell for her 1979 debut album, Luther Vandross covered the song for his 1985 album "The Night I Fell in Love" ("If Only for One Night" served as its second single).<br> The album topped the Top R&B/Hip-Hop Albums charts and was ranked #93 on Rolling Stone Magazine's list of the 100 best albums of the 1980s!
$4.99
4.59 €
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Piano, Voix
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Luther Vandross
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Luther Vandross - If Only for One Night
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Mario Stallbaumer
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SheetMusicPlus
Fair Katrinelje and Pif-Paf-Poltrie (from the Brothers Grimm Song Cycle)
Small Ensemble Cello,Flute,High Voice,Piano - Level 5 - Digital Download SKU: A0.800331…
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Small Ensemble Cello,Flute,High Voice,Piano - Level 5 - Digital Download SKU: A0.800331 Composed by Sarah Wallin Huff. Contemporary. Score and parts. 43 pages. Novel Soundtrax #11219. Published by Novel Soundtrax (A0.800331). This work by Sarah Wallin is a vocal text setting for soprano, flute, cello, and piano, completed in 2008. According to Dr. Edward David Zeliff, Fair Katrinelje... is very interesting, clever, witty, and captures the quirky little scenario of this poor fellow trying so hard to line up a bride by having to go through the firewall of her entire family and then having enough umph left over to get her attention as well. It's very Stravinskyish, and the charm and humor comes through. The story of Fair Katrinelje and Pif-Paf-Poltrie is a lesser-known fairy tale found in the Children's and Household Tales of Jacob and Wilhelm Grimm, the famous Brothers Grimm. Fair Katrinelje and Pif-Paf-Poltrie is a comedic dialogue. Our hero, Pif-Paf-Poltrie, is out to seek the hand of his beloved, the Fair Katrinelje, in marriage. Being the gentleman that he is, he approaches in turn each member of his beloved's family to ask their permission. Father Hollenthe, Mother Malcho, Brother High-and-Mighty, and Sister Käsetraut all respond in turn similarly – essentially, If it's all right with everyone else, it's all right with me. The challenge for the vocalist is to convey the essence and the hilarity of the dialogue by highlighting, with the mannerisms of the voice, the attitudes and characteristics of each character speaking. Above each character's lines, it is made clear whom it is that is speaking and the emotional context within which it is being spoken. The vocalist has complete freedom to effect these roles in whatever manner and to whatever degree is deemed appropriate, provided the musical integrity of the work is kept intact.
$15.00
13.81 €
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Sarah Wallin Huff
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Fair Katrinelje and Pif-Paf-Poltrie
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Novel Soundtrax
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SheetMusicPlus
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