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Vous avez sélectionné:
It's Okay To Be Different
SheetMusicPlus
Partitions à imprimer
4 partitions trouvées
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It's Okay To Be Different
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Chorale Unison
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Gene Grier and Lowell Everson
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It's Okay To Be Different
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Chorister's Guild - Digital
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SheetMusicPlus
Unison chorus - SKU: C7.CGC39 Composed by Gene Grier and Lowell Everson. General. With Optional flute, C instrument. Cantata. Choral Score. 48 pages. Ch...
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Unison chorus - SKU: C7.CGC39 Composed by Gene Grier and Lowell Everson. General. With Optional flute, C instrument. Cantata. Choral Score. 48 pages. Chorister's Guild - Digital #CGC39. Published by Chorister's Guild - Digital (C7.CGC39). UPC: 749193004562.This musical is recommended for younger elementary singers. TodayAEs children encounter frustrating situations that sometimes lead to aggression and violence. Music can be used as a tool to ease these tensions, and singing provides a sense of unity and security. Singing also builds self-confidence and respect. The choir director has the opportunity to plant musical seeds and watch them grow. The director can also use creative skills to bring children into God's musical circle of love. This cantata can help children grasp the important concepts of learning to understand and accept others who may look or act differently. Children will enjoy these wonderful songs and the opportunities for learning important lessons about getting along with others. The cast includes lions, lambs, and a choir director. Approximately 25 minutes in duration.
$6.95
Jesus Shall Reign Where'er the Sun
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Piano seul
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AVANCÉ
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John Hatton
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Paul Thurmond
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Jesus Shall Reign Where'er the
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Paul Thurmond
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Th...
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Piano Solo - Level 5 - SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
$4.99
Advanced Viola Scale Studies
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Alto seul
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INTERMÉDIAIRE
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Advanced Viola Scale Studies
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Viola - Intermediate - SKU: M0.31154EB Technique. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #31154EB. Published by Mel Bay Publicatio...
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Viola - Intermediate - SKU: M0.31154EB Technique. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #31154EB. Published by Mel Bay Publications - Digital Sheet Music (M0.31154EB). ISBN 9781513473901. 8.75X11.76 inches.Practicing scales is essential to building and maintaining strength, technique, tone, and agility on the viola, but it is easy to slip into the habit of playing scales automatically, without paying attention to tonality or sound production. The 29 single-page studies in this book focus the attention of violists on the beauty of sound, with a particular concern for the way different keys resonate on the viola.The first 24 studies address all minor and relative major keys and proceed through the circle of fifths; the last 5 pieces are individually conceived, i.e., apart from the circle of fifths. No metronome indications are given, so the etudes can be played at individually comfortable tempos.The names of the etudes refer to various animals that have scales, including insects, fish, birds, reptiles, and a few species of mammals. The author hopes that in addition to experiencing more enjoyable scale practice, students will be inspired to learn more about these amazing creatures and write scale studies of their own.
Song List
: Red-Tailed Boa (A minor) Green Iguana (C major) Saw-Scaled Viper (E minor) Red Factor Canary (G major) Funereal Dusky-Wing Butterfly (B minor) American Crocodile (D major) Gorgon Copper Butterfly (F-sharp minor) Steller's Sea Eagle (A major) Lembert's Green Hairstreak (C-sharp minor) Lord Darby's Scaly-Tailed Squirrel (E major) Giant Pangolin (G-sharp minor) Freshwater Crocodile (B major) Blowfish (D-sharp minor) Cuban Crocodile (F-sharp major) Rainbow Sardine (B-flat minor) Musky Rat-Kangaroo (D-flat major) Great White Shark (F minor) Blue Scaled Quail (A-flat major) Brahminy Blind Snake (C minor) Tokay Gecko (E-flat major) Neon Damselfish (G minor) Pel's Flying Squirrel (B-flat major) Cloudless Sulphur Butterfly (D minor) Cameroon Scaly Tail Squirrel (F major) Sanford's Sea Eagle (A-flat major) False Coral Snake (D minor) Black-Bellied Pangolin (G minor) Round Sardinella (B-flat major) Northern Bobwhite (A major
$12.99
9.28.85
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Trombone
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AVANCÉ
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Drake Mabry
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9.28.85
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Drake Mabry
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SheetMusicPlus
Trombone Solo - Level 5 - SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published ...
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Trombone Solo - Level 5 - SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchin’s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as he’s a wonderful musician, anything is possible, he’s open to trying out new ideas and he’s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited ‘window’ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. He’s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between ‘ts’ and ‘tsh’ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really ‘speak’ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.
$7.99
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It's Okay To Be Different
