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423
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360
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84
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56
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40
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24
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20
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5
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5
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3
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2
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1
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1
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257
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117
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112
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72
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24
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16
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8
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8
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6
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6
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4
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3
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3
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2
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2
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1
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882
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146
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100
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75
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33
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26
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23
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18
Voix Baryton, Piano
16
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15
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13
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12
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11
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257
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181
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177
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170
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159
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148
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145
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62
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55
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53
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41
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37
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35
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34
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33
2 Flûtes traversières, Piano
29
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25
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25
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25
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24
3 Clarinettes (trio)
23
3 Saxophones (trio)
23
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23
Flute (partie séparée)
22
Clarinette (partie séparée)
22
Clarinette Basse, Piano
21
Cor Anglais
20
Quintette de Flûte : 5 flûtes
17
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16
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15
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15
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10
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9
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9
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8
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7
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6
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6
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5
Flûte à bec Tenor
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4
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4
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3
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2
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2
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Cor anglais et Harpe (duo)
2
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1
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1
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Flûte à bec, Harpe
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1
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1
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1
Hautbois, Violoncelle et Piano
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2 Saxophones, Piano
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Ocarina
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1
Saxophone et Piano
1
Clarinette, trompette et piano
1
Hautbois, Clarinette et Piano (Trio)
1
5 Flûtes à bec
1
Piccolo
1
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1
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1
Flûte traversière, Basse continue
1
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301
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264
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244
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210
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102
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87
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85
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81
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81
2 Trompettes (duo)
72
Cor
68
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60
Tuba
49
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45
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26
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20
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19
2 Tubas (duo)
16
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15
Euphonium
14
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12
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10
Tuba et Orgue
9
Ensemble de Cors
6
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Ensemble de Trompettes
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Ensemble de Trombones
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Cor anglais, Guitare (duo)
5
Trompette, Violoncelle (duo)
4
3 Trombones (trio)
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4
2 Euphoniums et 2 Tubas
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3 Cors (trio)
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1
Cor, Violoncelle (duo)
1
Trompette, Harpe
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Cor et Harpe
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1
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Quatuor à cordes: 2 violons, alto, violoncelle
534
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412
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352
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334
Violon
315
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248
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187
Harpe
137
Violon, Violoncelle (duo)
117
2 Violons (duo)
115
Quintette à cordes: 2 violons, alto, violoncelle, basse
107
2 Violoncelles (duo)
80
Violon, Alto (duo)
80
2 Altos (duo)
80
Trio à Cordes: violon, alto, violoncelle
72
Contrebasse, Piano (duo)
66
Contre Basse
55
Alto (partie séparée)
47
Trio à Cordes: 2 violons, violoncelle
37
Violon (partie séparée)
35
Contrebasse (partie séparée)
26
Alto, Violoncelle (duo)
21
Violon, Guitare (duo)
15
2 Contrebasses (duo)
12
Piano Trio: Violon, Alto, Piano
11
Harpe, Flûte (duo)
11
Violoncelle, Contrebasse (duo)
9
2 Harpes (duo)
9
Violoncelle , Guitare (duo)
8
Harpe, Voix
7
Trio à Cordes: 2 violons, alto
7
Harpe, Violoncelle (duo)
6
Trio à cordes: 3 violins
6
Alto et Basson
6
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5
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5
Quintette à cordes: 2 violons, 2 altos, violoncelle
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4
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4
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Trio à Cordes: 3 violoncelles
4
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3
Alto et Harpe
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Harpe et Piano
3
Flûte, Contrebasse (duo)
2
Violon, Tuba (duo)
2
Quatuor à cordes : 4 altos
2
Violoncelle, Orgue
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Violon, Clarinette, Piano (trio)
2
Harpe, Violon, Violoncelle
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Ensemble de Violons
2
Quatuor à cordes: 4 violons
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Alto, Orgue
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Trio à cordes
2
Violoncelle, Orchestre
1
Harpe, Trombone (duo)
1
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1
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1
Trio à cordes: 3 altos
1
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1
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Orchestre d'harmonie
1209
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311
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248
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241
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118
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104
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79
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57
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56
Batterie
48
Ensemble de Percussions
32
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18
Batterie (partie séparée)
13
Marimba
12
Xylophone, Piano
7
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
2 Xylophones
4
Xylophone
3
Quintette de Cuivres: autres combinaisons
2
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2
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Voix et Orchestre
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On The Way Down
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9976
WAYFARING STRANGER (Poor Wayfaring Stranger)
Chorale TTBB
Choral Choir (TTBB) - Level 1 - Digital Download SKU: A0.522333 Composed by Unknown…
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Choral Choir (TTBB) - Level 1 - Digital Download SKU: A0.522333 Composed by Unknown - traditional. Arranged by Paul A. Jorg. Christian,Spiritual,Traditional. Octavo. 4 pages. Paul A. Jorg #5869331. Published by Paul A. Jorg (A0.522333). This song is public domain, written in the 1850's, during a time - pre-civil war - when the nation was being torn apart. The writer calms his anxiety by holding on to God's promises. Here are some lyric notes: I am a poor, wayfaring stranger - Wayfaring: traveling especially on foot; peripatetic country preachers; a poor wayfaring stranger. Wandering through this world of woe - Matthew 18:7: Woe to the world because of the things that cause people to sin! Such things must come, but woe to the man through whom they come! And there's no sickness, toil or danger - John 11:4: When he heard this, Jesus said, This sickness will not end in death. No, it is for God's glory so that God's Son may be glorified through it. Ecclesiastes 2:18-19: I hated all the things I had toiled for under the sun, because I must leave them to the one who comes after me. Acts 14:22: strengthening the disciples and encouraging them to remain true to the faith. We must go through many hardships to enter the kingdom of God, In that bright land to which I go - James 1:17 Every good and perfect gift is from above, coming down from the Father of the heavenly lights, who does not change like shifting shadows.I'm going home to see my Father - John 6:40 - For my Father's will is that everyone who looks to the Son and believes in him shall have eternal life, and I will raise him up at the last day. I'm only going over Jordan - Joshua 22:4: Now that the LORD your God has given your brothers rest as he promised, return to your homes in the land that Moses the servant of the LORD gave you on the other side of the Jordan. Yet though dark clouds will gather round me - 2 Corinthians 12:10: That is why, for Christ's sake, I delight in weaknesses, in insults, in hardships, in persecutions, in difficulties. For when I am weak, then I am strong. I know my way is rough and steep - Psalm 16:11: You have made known to me the path of life; you will fill me with joy in your presence, with eternal pleasures at your right hand. Proverbs 15:24: The path of life leads upward for the wise to keep him from going down to the grave.But beauteous fields lie just before me - Numbers 13:25: We arrived in the land you sent us to see, and it is indeed a magnificient country, a land flowing with milk and honey. Where God's redeemed their vigil's keep - Exodus12:42: Because the LORD kept vigil that night to bring them out of Egypt, on this night all the Israelites are to keep vigil to honor the LORD for the generations to come. I'm going home to see my mother - Mark 10:29-31: I tell you the truth, Jesus replied, no one who has left home or brothers or sisters or mother or father or children or fields for me and the gospel will fail to receive a hundred times as much in this present age (homes, brothers, sisters, mothers, children and fields-and with them, persecutions.
$4.59
4.2 €
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Chorale TTBB
#
Unknown - traditional
#
Paul A
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peripatetic country preachers
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WAYFARING STRANGER
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Paul A. Jorg
#
SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.65 €
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Chorale TTBB
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
Irish National Anthem (Unofficial) for String Orchestra
Orchestre à Cordes
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
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String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related ScoresLondonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.22 €
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Orchestre à Cordes
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trad
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Keith Terrett
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Irish National Anthem
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Music for all Occasions
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SheetMusicPlus
The Sundials
Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #5800833. Published by Matthew Scott Phillips (A0.1004152). Throughout the centuries, civilizations have used sundials to tell time. This instrument consists of a gnomon (Greek for knower), a long pole or incline, whose shadow is cast onto a flat stone or metal plate, that either lies on the ground or is erected onto a wall. This plate is marked with the hours of the day, and the gnomon's shadow passes over the marks. More than just an ancient timepiece, these instruments are doorways to the eternal past, and prophets of the eternal future. They bare witness to the infinite fleeting-ness of the lives of human beings. Unlike a modern watch or digital clock, in which every second enjoys its own momentary significance, the hours as marked by the sundial flow into one another in a continuous stream, that is ultimately timeless. The final hour of any mortal creature is, in this way, no more significant than the first, and all our hours seem insignificant in the context of the cosmos' grandness. Etched upon a great many sundials, in Greek, Latin, English, German, or French, is a motto designed to inspire human beings to consider these truths. Why so many sundial makers felt the need to inscribe on their creations their own philosophies and musings is unclear. Yet, each of these mottos seems contrived to express the contemplations of time and eternity so integral to the sundials' existence. Mottos such as umbra sumus (we amount to shadow) often hold multiple meanings. The we referred to can be the hours, which seem extant only because of the shadow passing over them. Or it can refer to the ephemeral nature of our lives, which on the grand calendar of eternity are so short as to be nothing. Or perhaps it warns that time itself is no more than an illusion; a shadow. Whether they are existential, humorous (I only count the sunny hours), or offer advice (use the hours, don't count them), these mottos are intended to give us pause: to compel us to look for a moment, not at the fleeting significance of our mundane lives, ticked away as they are in tiny hours, but to consider the eternal time that lies beyond us, and to therefore be briefly in contact with it. This composition, approximately an hour long and written for piano trio (Piano, Violin, and Cello), intends as its goal the same purpose as the mottos that inspired it. To transport those who listen to it (listen not merely hear) away from the earthly, and into the cosmic. Each movement is named after a different motto. The mottos, their English translations and the locations of the sundials that bare (or once bore) them is listed at the front. This is one hour, hopefully, that will not simply fade away, but rather will be one spent in the company of the eternal. .
$7.00
6.4 €
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Matthew Scott Phillips
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a shadow
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The Sundials
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Matthew Scott Phillips
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SheetMusicPlus
En Face Du Miroir (Facing The Mirror)
Piano seul
Piano Solo - Advanced - Digital Download Composed by Isadar. Contemporary Classical, …
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Piano Solo - Advanced - Digital Download Composed by Isadar. Contemporary Classical, Jazz, Recital, Americana, New Age. Sheet Music Single. 11 pages. Published by Mainya Music Publishing (BMI)
Contains:<br> "En Face Du Miroir (Facing The Mirror)"<br> - taken from the Isadar solo piano complete collection, "Red" (also available on SMP)<br> <br> Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artists<br> <br> Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording<br> <br> Album & Songbook Review by: Kathy Parsons<br> <br> Red is pianist/composer Isadar’s genre-defying tenth solo piano album and seventeenth independent release from the past twenty years. It is also the third installment in a trilogy of solo piano albums released in the past year - Reconstructed, a Will Ackerman-produced anthology of some of Isadar’s best piano pieces; O Christmas, Isadar’s second piano Christmas album; and now Red, a bittersweet love-themed album that took seven years to produce and that consists of the first new original solo piano material Isadar has released in more than ten years.<br> <br> I have been reviewing and thoroughly enjoying Isadar’s releases since his second piano album, 1999’s Active Imagination, which still stands as one of my favorite recordings. Even though I have been a big fan for many years, I was still blown away by Isadar’s live performance in my house concert series in July 2010. The man has magic fingers and an extraordinary piano touch that are perfectly suited to express his imaginative, distinctive, and emotionally powerful music.<br> <br> Isadar is also a singer/songwriter and an electronic musician who creates the music videos for much of his music, dramatizing the stories that inspired the songs. I will always be partial to Isadar’s piano albums because his voice and vision are unique, incorporating jazz, new age, pop, and classical stylings into a musical language all his own.<br> <br> Red opens with “Broken Valentine,” a free-flowing expression of heartbreak and the broad range of emotions that go with it, alternating between grief and confusion then shifting to perhaps anger and resignation - a great beginning. The title track conveys the freedom of an improvisation while weaving together a variety of upbeat themes. “The Man Who Broke My Heart” is energetic and in constant swirling motion - also very free and from deep within. “The Stairwell” is darker and much more mysterious, overflowing with Isadar’s intriguing accented rhythms and picturesque compositional style. My favorite track is the almost nine-minute “Letting Go,” a piece that intertwines a series of musical vignettes into a powerful, colorful musical collage. I love the way Isadar seamlessly goes from flowing and smooth to a bouncy jazz style to high drama without missing a beat. Great stuff! “En Face Du Miroir (Facing the Mirror)” is much lighter, with fingers dancing nimbly around the piano keyboard. The album closes with “Blood ... Thicker Than Water,” again a combination of changing themes that could well be a musical family portrait - different personalities working separately and as a unit, bound together by the unseen ties that keep families together through thick and thin.<br> <br> Isadar has created another piano masterpiece that should be more widely heard than his previous releases due to the success of Reconstructed. I hope so, anyway! Red is available from isadar.com, Amazon, iTunes, and CD Baby. Very highly recommended!<br> <br> Isadar’s Red: Solo Piano Sheet Music Collection is a note-for-note transcription of all seven pieces from Isadar’s 2013 CD/download release by the same name. The music was transcribed by David Shenton (shentonmusic.com) with clear, concise notation that includes dynamics, pedaling and metronome settings.<br> <br> Isadar is an amazing pianist with a style all his own, so this isn’t a book that most pianists will be able to just sit down and play. It will take some work and attention to detail to get this music right, but it will be well worth the effort. Having the recording for handy reference would be a big help.<br> <br> Rhythms are often complex and syncopated, but are usually repeated within each piece, so once you have them, the rest will follow fairly easily. There are only a few chords with a reach of more than an octave and none of the key signatures are terribly difficult. The layout and spacing of the music is excellent, and the paper stock is a bright white 9”x12” format with a stapled binding.<br> <br> If you enjoy listening to Isadar’s music, I’m sure you will enjoy playing it, too! This songbook is available from isadar.com. Recommended!<br> <br> The songs with their key signatures and the number of pages is listed below:<br> <br> Broken Valentine - C minor (3 flats) - 4 pages<br> Red - A minor (0 sharps or flats) - 5 pages<br> The Man Who Broke My Heart - A minor - 6 pages<br> The Stairwell - F# minor (3 sharps) - 7 pages<br> Letting Go - F minor (4 flats) / C minor (3 flats) - 8 pages<br> En Face Du Miroir (Facing the Mirror) - Ab (4 flats) / F minor/ Bb minor (5 flats) / Db (5 flats) - 7 pages<br> Blood ... Thicker Than Water - A Minor/ C (0) / F (1 flat) - 7 pages<br> <br> Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...<br> <br> Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.<br> <br> For more information, visit his website at: http://www.isadar.comContains:<br> "En Face Du Miroir (Facing The Mirror)"<br> - taken from the Isadar solo piano complete collection, "Red" (also available on SMP)<br> <br> Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artists<br> <br> Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording<br> <br> Album & Songbook Review by: Kathy Parsons<br> <br> Red is pianist/composer Isadar’s genre-defying tenth solo piano album and seventeenth independent release from the past twenty years. It is also the third installment in a trilogy of solo piano albums released in the past year - Reconstructed, a Will Ackerman-produced anthology of some of Isadar’s best piano pieces; O Christmas, Isadar’s second piano Christmas album; and now Red, a bittersweet love-themed album that took seven years to produce and that consists of the first new original solo piano material Isadar has released in more than ten years.<br> <br> I have been reviewing and thoroughly enjoying Isadar’s releases since his second piano album, 1999’s Active Imagination, which still stands as one of my favorite recordings. Even though I have been a big fan for many years, I was still blown away by Isadar’s live performance in my house concert series in July 2010. The man has magic fingers and an extraordinary piano touch that are perfectly suited to express his imaginative, distinctive, and emotionally powerful music.<br> <br> Isadar is also a singer/songwriter and an electronic musician who creates the music videos for much of his music, dramatizing the stories that inspired the songs. I will always be partial to Isadar’s piano albums because his voice and vision are unique, incorporating jazz, new age, pop, and classical stylings into a musical language all his own.<br> <br> Red opens with “Broken Valentine,” a free-flowing expression of heartbreak and the broad range of emotions that go with it, alternating between grief and confusion then shifting to perhaps anger and resignation - a great beginning. The title track conveys the freedom of an improvisation while weaving together a variety of upbeat themes. “The Man Who Broke My Heart” is energetic and in constant swirling motion - also very free and from deep within. “The Stairwell” is darker and much more mysterious, overflowing with Isadar’s intriguing accented rhythms and picturesque compositional style. My favorite track is the almost nine-minute “Letting Go,” a piece that intertwines a series of musical vignettes into a powerful, colorful musical collage. I love the way Isadar seamlessly goes from flowing and smooth to a bouncy jazz style to high drama without missing a beat. Great stuff! “En Face Du Miroir (Facing the Mirror)” is much lighter, with fingers dancing nimbly around the piano keyboard. The album closes with “Blood ... Thicker Than Water,” again a combination of changing themes that could well be a musical family portrait - different personalities working separately and as a unit, bound together by the unseen ties that keep families together through thick and thin.<br> <br> Isadar has created another piano masterpiece that should be more widely heard than his previous releases due to the success of Reconstructed. I hope so, anyway! Red is available from isadar.com, Amazon, iTunes, and CD Baby. Very highly recommended!<br> <br> Isadar’s Red: Solo Piano Sheet Music Collection is a note-for-note transcription of all seven pieces from Isadar’s 2013 CD/download release by the same name. The music was transcribed by David Shenton (shentonmusic.com) with clear, concise notation that includes dynamics, pedaling and metronome settings.<br> <br> Isadar is an amazing pianist with a style all his own, so this isn’t a book that most pianists will be able to just sit down and play. It will take some work and attention to detail to get this music right, but it will be well worth the effort. Having the recording for handy reference would be a big help.<br> <br> Rhythms are often complex and syncopated, but are usually repeated within each piece, so once you have them, the rest will follow fairly easily. There are only a few chords with a reach of more than an octave and none of the key signatures are terribly difficult. The layout and spacing of the music is excellent, and the paper stock is a bright white 9”x12” format with a stapled binding.<br> <br> If you enjoy listening to Isadar’s music, I’m sure you will enjoy playing it, too! This songbook is available from isadar.com. Recommended!<br> <br> The songs with their key signatures and the number of pages is listed below:<br> <br> Broken Valentine - C minor (3 flats) - 4 pages<br> Red - A minor (0 sharps or flats) - 5 pages<br> The Man Who Broke My Heart - A minor - 6 pages<br> The Stairwell - F# minor (3 sharps) - 7 pages<br> Letting Go - F minor (4 flats) / C minor (3 flats) - 8 pages<br> En Face Du Miroir (Facing the Mirror) - Ab (4 flats) / F minor/ Bb minor (5 flats) / Db (5 flats) - 7 pages<br> Blood ... Thicker Than Water - A Minor/ C (0) / F (1 flat) - 7 pages<br> <br> Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...<br> <br> Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.<br> <br> For more information, visit his website at: http://www.isadar.com
$5.99
5.48 €
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Piano seul
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Isadar
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En Face Du Miroir
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Mainya Music Publishing
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SheetMusicPlus
Colores (Let the Children Teach Us)
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.12…
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1256884 Composed by Lon W. Chaffin. 21st Century,Chamber. 71 pages. LCS Productions #850272. Published by LCS Productions (A0.1256884). Imagine a place where cultures are blended and people of all races can laugh, play, sing, dance, and even pray together.  Colores is a musical tale in which children show us how to create such a place.A child walks on to a deserted playground, looking for others.  Another child joins.  They introduce themselves and begin to talk to each other.  A third joins the conversation, then another, and another, until there is a large group of children, creating a colorful, contrapuntal cacophony of vocal chatter.  After the introductions and lively conversations, they pause to decide what to do next.  As would be expected, they decide to just play.  They run races, play chase and tag, catch and kickball, and laugh and giggle until their energy is gone.  Settling down, and wondering what to do next, one child begins singing a tune that is familiar.  …but not to all of them.  So, it’s time to teach the song to everyone.The tune is shared, bit by bit, and one by one every child learns it and joins in.  Before it’s over, their full-voiced singing creates a choral tapestry in which every child adds his or her own color to the musical palette.After a brief conversation, they add their renewed energy to the song they just learned, pick up the pace, and dance.  They twist and spin, jump and swing, making up their moves as they go along.  But, as before, their energy wanes.  This time, as they settle down, one child feels so comfortable with these new friends, he chooses to share his faith in the form of a chant — a prayer.Some join his prayer, as others add a familiar religious tune.  They pray and sing, and their separate experiences combine to produce a stirring, blended chorale.  As they finish, the day ends and they quickly reminisce about the blended experiences that are now behind them.  Before they go their separate ways, they share a moment of gratitude for the place where they can be free to be who they are, together.On a musical note, Colores combines multiple scale structures and varying types of vertical harmonies to give the piece its color palette.  Each of the five voices is set in a different mode, with different tonal centers and sets of accidentals.  The harmony combines both traditional tertian chords with secondal, quartal, and quintal structures.The colors within the music are intended to represent the racial diversity of the borderland from which the composer drew his inspiration.  It is hoped that we can learn from the example of children who talk, laugh, play, sing, dance, and pray together.  …who are grateful for the time and experiences they share.
$35.00
32 €
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Lon W
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Colores
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LCS Productions
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SheetMusicPlus
Everything for the Church Soloist-Digital Download
Vocal, Solo Solo Voice - Digital Download SKU: H1.804DP Arranged by Don Doig, Jack …
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Vocal, Solo Solo Voice - Digital Download SKU: H1.804DP Arranged by Don Doig, Jack Schrader, and John F. Wilson. General Worship. Collection. 392 pages. Hope Publishing - Digital #804DP. Published by Hope Publishing - Digital (H1.804DP). By Various Writers.140 Christian songs by Various Writers Contains over 140 songs including: Because He Lives, Communion Song, Great Is Thy Faithfulness, the Holy City, I Wonder as I Wander, Learning to Lean, Malotte's Lord's Prayer, Wedding Song, and The Palms. Contains over 140 songs including: Because He Lives, Communion Song, Great Is Thy Faithfulness, the Holy City, I Wonder as I Wander, Learning to Lean, Malotte's Lord's Prayer, Wedding Song, and The Palms.
Song List: A Song About Me A Worthy Woman Above the Hills of Time All In The Name Of Jesus Alleluia (Schubert) Amazing Grace Because He Lives Because You Are God's Chosen Ones The Birthday of the King The Blood Will Never Lose Its Power The Body of Our Lord Born Again Bread Of The World In Mercy Broken Bridal Prayer Bring Back The Springtime Chosen of the Lord Christ Living Within You Clean Before My Lord Come, Praise the Lord! Communion Song Eternal Life Flee As A Bird For Those Tears I Died Gentle Like Jesus The Gift Of Love Give Me Jesus Give Them All To Jesus Grace Greater Than Our Sin Great Is Thy Faithfulness Have Thine Own Way, Lord! He Carried My Cross He Died for Me He Shall Feed His Flock He Turned The Water Into Wine He Was There All The Time He's a Wonderful Lord The Heavens Declare His Glory Help Us Accept Each Other Here's My Life Here's One His Eye Is On The Sparrow Ho! Everyone Who Is Thirsty The Holy City How Big Is God How Quiet Is the Night How Real! Hush Now I Am His And He Is Mine I Am the Vine I Am Willing, Lord I Heard About A Man I Just Came To Praise The Lord I Know Where I'm Going I Saw the Lord, and All Beside Was Darkness I Walked Today Where Jesus Walked I Want Jesus to Walk with Me I Wonder as I Wander I Wonder Why? If Jesus Had Not Come If My People Will Pray If with All Your Hearts If You Need a Helping Hand I'm Goin' Home In Jesus' Name In the Image of God Into My Heart It Was His Love It Won't Stop Ivory Palaces Jesus Is Lord Of All Jesus Revealed in Me Just A Closer Walk With Thee Just Because I Asked Lead Me To Calvary Learning to Learn Life Indeed Like A Child Little Baby Jesus Lonely Voices The Lord Is My Light Lord, Listen to Your Children Lord, Show the Way Lord, Take Control of Me The Lord's Prayer Love Came Down At Christmas Love Theme Love Was When Marvelous Mystery May the Mind of Christ Mirror More (Than You'll Ever Know) My Cup Overflows My Jesus, I Love Thee My Tribute The New 23rd New Wind Blowin' No One Ever Cared For Me Like Jesus No Power of My Own Nothing ... Everything O Father in Heaven O Glorious Love! O Holy Night O Lord Most Holy O Rest in the Lord O The Deep, Deep Love Of Jesus Of Love I Sing Oh, What Love! Open the Gates of the Temple The Palms Praise The Lord, He Never Changes Reach Out to Your Neighbor Ring The Bells Rise Again Savior, My Heart Is Thine Seek Ye First Shepherd Of Love Something Beautiful So Great Is His Mercy Spirit Of God Strength to My Soul Sweet Is the Name of Jesus Take God By the Hand Take My Life Ten Thousand Angels Thank You for These Gifts Thanks to God That Someday Is Now That's Why We Are Beautiful Then shall the righteous shine forth There's A Quiet Understanding They Led Him Away This Is My Commandment This Is The Time I Must Sing The Touch Of The Master's Hand The Twenty-Third Psalm (Malotte) Until Then Wedding Song Welcome Home, Children What God Hath Promised What Grace Is This! What Have They Done? Whither Thou Goest Who Are You to Disagree? Who Is This Boy? Who Shall Separate Us? Who Will Go? Worthy Is The Lamb Yes, God Is Real You're Something Special
Song List
: A Song About Me A Worthy Woman Above the Hills of Time All In The Name Of Jesus Alleluia (Schubert) Amazing Grace Because He Lives Because You Are God's Chosen Ones The Birthday of the King The Blood Will Never Lose Its Power The Body of Our Lord Born Again Bread Of The World In Mercy Broken Bridal Prayer Bring Back The Springtime Chosen of the Lord Christ Living Within You Clean Before My Lord Come, Praise the Lord! Communion Song Eternal Life Flee As A Bird For Those Tears I Died Gentle Like Jesus The Gift Of Love Give Me Jesus Give Them All To Jesus Grace Greater Than Our Sin Great Is Thy Faithfulness Have Thine Own Way, Lord! He Carried My Cross He Died for Me He Shall Feed His Flock He Turned The Water Into Wine He Was There All The Time He's a Wonderful Lord The Heavens Declare His Glory Help Us Accept Each Other Here's My Life Here's One His Eye Is On The Sparrow Ho! Everyone Who Is Thirsty The Holy City How Big Is God How Quiet Is the Night How Real! Hush Now I Am His And He Is Mine I Am the Vine I Am Willing, Lord I Heard About A Man I Just Came To Praise The Lord I Know Where I'm Going I Saw the Lord, and All Beside Was Darkness I Walked Today Where Jesus Walked I Want Jesus to Walk with Me I Wonder as I Wander I Wonder Why? If Jesus Had Not Come If My People Will Pray If with All Your Hearts If You Need a Helping Hand I'm Goin' Home In Jesus' Name In the Image of God Into My Heart It Was His Love It Won't Stop Ivory Palaces Jesus Is Lord Of All Jesus Revealed in Me Just A Closer Walk With Thee Just Because I Asked Lead Me To Calvary Learning to Learn Life Indeed Like A Child Little Baby Jesus Lonely Voices The Lord Is My Light Lord, Listen to Your Children Lord, Show the Way Lord, Take Control of Me The Lord's Prayer Love Came Down At Christmas Love Theme Love Was When Marvelous Mystery May the Mind of Christ Mirror More (Than You'll Ever Know) My Cup Overflows My Jesus, I Love Thee My Tribute The New 23rd New Wind Blowin' No One Ever Cared For Me Like Jesus No Power of My Own Nothing ... Everything O Father in Heaven O Glorious Love! O Holy Night O Lord Most Holy O Rest in the Lord O The Deep, Deep Love Of Jesus Of Love I Sing Oh, What Love! Open the Gates of the Temple The Palms Praise The Lord, He Never Changes Reach Out to Your Neighbor Ring The Bells Rise Again Savior, My Heart Is Thine Seek Ye First Shepherd Of Love Something Beautiful So Great Is His Mercy Spirit Of God Strength to My Soul Sweet Is the Name of Jesus Take God By the Hand Take My Life Ten Thousand Angels Thank You for These Gifts Thanks to God That Someday Is Now That's Why We Are Beautiful Then shall the righteous shine forth There's A Quiet Understanding They Led Him Away This Is My Commandment This Is The Time I Must Sing The Touch Of The Master's Hand The Twenty-Third Psalm (Malotte) Until Then Wedding Song Welcome Home, Children What God Hath Promised What Grace Is This! What Have They Done? Whither Thou Goest Who Are You to Disagree? Who Is This Boy? Who Shall Separate Us? Who Will Go? Worthy Is The Lamb Yes, God Is Real You're Something Special
$79.95
73.09 €
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Various Writers
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Everything for the Church Soloist-Digital Download
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Hope Publishing - Digital
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SheetMusicPlus
Finnish National Anthem for String Orchestra
String Orchestra - Level 3 - Digital Download SKU: A0.1511019 Composed by Fredrik P…
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String Orchestra - Level 3 - Digital Download SKU: A0.1511019 Composed by Fredrik Pacius(1809-1891). Arranged by Keith Terrett. Instructional,Multicultural,Patriotic,Praise & Worship,Traditional,World. 8 pages. Keith Terrett #811977. Published by Keith Terrett (A0.1511019). An arrangement for String Orchestra of the national anthem of Finland. There are also versions for Brass Quintet & Symphony Orchestra in my two stores.Maamme (Finnish: [ˈmɑːmːe]) or Vårt land (Finland Swedish: [ˈvoːrt ˈlɑnːd]; both meaning Our Land) is Finland's national anthem. The music was composed by the German immigrant Fredrik Pacius, with (original Swedish) words by Johan Ludvig Runeberg, and with this music it was performed for the first time on 13 May 1848. Originally it was written for the 500th anniversary of Porvoo and for that occasion it was Runeberg himself who wrote the music.The poem has been influenced by the Szózat (Appeal) of Mihály Vörösmarty, both in style and content.[The melody of Maamme is also used for the national anthem of Estonia with a similarly themed text, Mu isamaa, mu õnn ja rõõm (My Fatherland, My Happiness and Joy, 1869).It is also considered to be the ethnic anthem for the Livonians as Min izāmō (My Fatherland).The original poem, written in 1846 but not printed until 1848, had 11 stanzas and formed the prologue to the verse cycle The Tales of Ensign Stål (Fänrik Ståhls Sägner), a classic example of Romantic nationalism. The current Finnish language text is usually attributed to the 1889 translation of Ensign Stål by Paavo Cajander, but in fact originates from the 1867 translation by Julius Krohn.The Tales of Ensign Stål were much appreciated throughout all of Scandinavia. Up until the time of Finland's independence in 1917 and 1918, when the song began to be recognized as specifically applying to Finland, Pacius's tune and Runeberg's text were often also sung in Denmark, Norway, and Sweden. Note that in the original Swedish text there is no reference to Finland (except for in verses 4 and 10, which are rarely sung), only to a country in the north, but the Finnish text explicitly refers to Finland. The poem's theme is, furthermore, remarkably similar to that of the national anthems of Sweden (Du gamla, Du fria) and Norway (Ja, vi elsker dette landet).[citation needed]There is no law regarding an official national anthem in Finland, in the way the coat of arms and flag of Finland are legally defined. Instead its position has been established gradually by convention over the years.Today, Maamme is firmly established by convention. Children learn it in school; in formal occasions it is sung both in Finnish and in Swedish. It is played at sporting events, such as the Olympics. In the 1880s and in the 1920s there were more attempts to replace it with a Finnish language version but these ceased by the 1930s. Some Finns have proposed that the Finnish national anthem be changed to Finlandia by Jean Sibelius, with lyrics by V.A. Koskenniemi (Finnish) and Joel Rundt (Swedish). There are also those who simply prefer Finlandia as a musical piece, although critics claim that it is difficult to sing.[citation needed]It is said that Pacius composed the tune in four days. It was popular throughout the 19th century, but established as national anthem only after Pacius' death.The melody of Maamme has similarities with the German drinking song Papst und Sultan. Many believe that Fredrik Pacius intentionally or unintentionally copied parts of the tune. Another Finnish patriotic song, Sotilaspoika, composed by Pacius, also includes similarities with Papst und Sultan.[citation needed]During 1993, an instrumental version of Maamme was used as Finnish professional wrestler Tony Halme's (under the ring name Ludvig Borga) entrance theme Love anthems, then join me on twitter, facebook, instagram & soundcloud for updates.
$8.99
8.22 €
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Fredrik Pacius(1809-1891)
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Keith Terrett
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Finnish National Anthem for String Orchestra
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Keith Terrett
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SheetMusicPlus
Beyond The Sea
Chorale SATB
Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Comp…
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Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi Crawford #898034. Published by Tobi Crawford (A0.1308788). *Purchase 10 copies to perform this piece with your ensemble of any size*Purchase the instrumental pack (bass and drum part) here: https://www.sheetmusicplus.com/en/product/beyond-the-sea-instrumental-pack-only-22605052.htmlThis arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
$10.00
9.14 €
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Chorale SATB
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Charles Tenet
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Tobi Crawford
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Beyond The Sea
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Tobi Crawford
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SheetMusicPlus
Beyond The Sea *INSTRUMENTAL PACK ONLY*
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1308790 Composed b…
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1308790 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. Set of parts. 10 pages. Tobi Crawford #898036. Published by Tobi Crawford (A0.1308790). *THIS ACCOMPANIES THE VOCAL ARRANGEMENT* This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
$30.00
27.43 €
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Ensemble Jazz
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Charles Tenet
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Tobi Crawford
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Beyond The Sea *INSTRUMENTAL PACK ONLY*
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Tobi Crawford
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SheetMusicPlus
Lights of the Western Sky [SSA, Percussion, and Bluegrass Ensemble]
Chorale 3 parties
Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.891215 Composed by Traditio…
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Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.891215 Composed by Traditional. Arranged by Laurie Betts Hughes. Children,Contemporary,Country,Folk. Octavo. 34 pages. Dandelion Music Press #3256941. Published by Dandelion Music Press (A0.891215). Lights of the Western Sky is a compilation of 3 celestial American folk songs collected by Ruth Crawford Seeger, commissioned by Casper Children's Chorale to celebrate the 2017 total solar eclipse visible in Casper, Wyoming in honor of Mick McMurray. The pieces are connected not only by the folk style and the star subject, but also by tracing the course of a day, and by focusing on the connection of the outer world to the inner soul.I. Bright Morning Stars-- An additive processional on the ultimate theme of children singing. Though the traditional verses state that the fathers are down in the valley a-prayin''' and the mothers have gone to heaven a-shoutin' (or vice versa), the lyrics have been freely adapted in the folk tradition of floating verses (adapting lyrics to personal experience) to describe the children's experience. The opening percussion motif is intended to evoke Aaron Copland's Fanfare for the Common Man.II. Oh, Watch the Stars-- Oh, Watch the Stars and Great Big Stars, combined in unique ways. The two songs used, Oh, Watch the Stars and Great Big Stars, are distinct in their own right. They have been fused together in this movement, borrowing the text from one and using the tune from the other, and modifying one to partner with the other when presented simultaneously. A fusion of two styles, this movement opens solemnly and culminates in a hoedown showdown.Laurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$10.00
9.14 €
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Chorale 3 parties
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Traditional
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Laurie Betts Hughes
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Lights of the Western Sky [SSA, Percussion, and Bluegrass Ensemble]
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Dandelion Music Press
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SheetMusicPlus
How Can I Serve Thee Lord? - sacred music for SATB choir
Chorale SATB
Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1461686 Compos…
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Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1461686 Composed by Kevin G. Pace (ASCAP), Kathryn W. Hales. Christian,Praise & Worship,Religious,Sacred,Spiritual. 10 pages. Kevin G. Pace #1040433. Published by Kevin G. Pace (A0.1461686). Gorgeous, sacred choral anthem with music composed by Kevin G. Pace and text by Kathryn W. Hales.Text:How Can I Serve Thee Lord? (based on Mosiah 2:17)How can I serve Thee, Lord,When Thou art so far away?I can only hope You hear,When I kneel each day to pray,To give thanks for thy giftsOf bounteous gracious love,Bestowed by thy gentle hands,From Thy dwelling place above.How can I serve Thee, Lord,When Thou art so far away?I can only trust Thy word,And Thy precepts all obey,Going through my daily lifeAs if Thou were by my side,To feel Thy nearness, joy,Oh, Lord, with me abide!How can I serve Thee, Lord,When Thou art so far away?I can be Thy hands on earth,To help others on their way,To lend an ear, to lift a load,To share a friendly smile,To walk with others who are in need,Down their road of trial.Chorus:I can serve Thee, Lord, with trust and with faith,I can all Thy commandments keep,I can help my fellow beings along,For serving them is like serving Thee.
$1.99
1.82 €
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Chorale SATB
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Kevin G
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How Can I Serve Thee Lord? - sacred music for SATB choir
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Kevin G. Pace
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SheetMusicPlus
MY FATHER’S FAVORITE HYMNS Piano/Vocal Arrangements-full book
Jazz combo
Jazz Combo - Level 3 - Digital Download SKU: A0.877827 Composed by Deborah Johnson,…
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Jazz Combo - Level 3 - Digital Download SKU: A0.877827 Composed by Deborah Johnson, Various Public Domain. Arranged by DJWorks Music. A Cappella,Christian,Contemporary,Easter,Sacred. Score and parts. 99 pages. Deborah Johnson #4309241. Published by Deborah Johnson (A0.877827). Full book of twelve contemporary arrangements of timeless favorites, including two new hymns by Deborah Johnson. These are piano-based instrumentals and vocals with vocal and orchestral accompaniment. This 99-page book (including cover and table of contents) also includes a beautiful title page for each song with a brief history and lyrics for the two new hymns. The piano transcriptions are completely written out, including the chords and vocal parts. Several have secondary piano parts included. Also available are individual song downloads and some of the MP3 accompaniment tracks.Album notes: My Father’s Favorite Hymns is dedicated to my mom and dad. I have memories of being on the front row of church as a little girl, singing as loud as I could. The album is a tribute to my parents who raised my sisters and I to love God, our country and our families. As many musicians do, I got my start in the church, playing the piano for the Children’s church at the age of 10. It didn’t take long before I started sitting at a 9’ Steinway opposite an incredible organist who changed keys as often as a woman changes her clothes. I fell in love with the simplicity of the hymns and with the many fun arrangements that were possible. The lyrics of some of these hymns have been ingrained in my soul and have brought me comfort, deepened my faith, and have taught me that when all is said and done, the Truth and Faithfulness of God are what will carry me through.If you’re searching for: Christian music, inspirational music or church hymns, consider My Father’s Favorite Hymns. Songs include: Tell Me the Old Old Story; Just a Closer Walk with Thee; Great is Thy Faithfulness; Immortal Invisible; Amazing Grace/It is Well; Your Truth it Stands; Glory to His Name; Stand Up for Jesus/Leaning on the Everlasting Arms; In the Garden; Were You There when they Crucified my Lord? (acapella); What a Friend we Have in Jesus; You are Faithful, You are Lord. Separate song downloads also available, where you can hear and preview each selection.From the album up for a 2012 GRAMMY Award®: My Father’s Favorite Hymns, available on Amazon (https://www.amazon.com/music/player/albums/B008O86FQI) or on the website (https://DJWorksMusic.com/products) by Deborah Johnson. You can hear selections of each song on either of those sites, as well as purchase the album. Video playlist at: http://youtu.be/srvbPkI4eKM?list=PLE49F87AC9C76AE49. There is also a beautiful spiral-bound devotional guide available with the amazing stories and life principles gained from these timeless classics, available on Amazon as well as a spiral-bound print version of this music book. Check out http://www.djworksmusic.com/fathershymns/For more information about Deborah, her albums, books and products, visit https://DJWorksMusic.com https://GoalsForYourLife.com or https://DeborahJohnsonSpeaker.com
$28.50
26.06 €
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Jazz combo
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Deborah Johnson, Various Public Domain
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DJWorks Music
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Just a Closer Walk with Thee
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MY FATHER’S FAVORITE HYMNS Piano/Vocal Arrangements-full book
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Deborah Johnson
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SheetMusicPlus
The Unquiet Grave from American Death Ballads (Downloadable)
Voix haute
High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Comp…
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High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.
$3.50
3.2 €
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Voix haute
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David Conte
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The Unquiet Grave from American Death Ballads
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E. C. Schirmer Music Company - Digital
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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
21.02 €
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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
Chording to the Dance Masters - Melody and chords for 44 Renaissance Dance Consort pieces
Instruments en Do
C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermis…
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C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermisy, Henry VIII, Pierre Phalese, Thoinot Arbeau, John Dowland (1563- 1626), Michael Praetorius (1571-1621), Pierre Attaignant (1494-1553), Pierre Certon (1510-1572), William Cornysh (1470-1523), Juan Del Encina (1468-1530), Claude Gervaise (1540-1560), Giorgio Mainerio (1535-1582), Erasmus Widmann (1572-1634), and Tielman Susato (1500-1561). Arranged by Alastair Lodge. 151, 153, 162, Folk, Renaissance. Lead Sheet / Fake Book. 38 pages. Wold Meridian #727149. Published by Wold Meridian
Chording to the Dance Masters is a selection of dance tunes that were collected originally between about 1500 and 1620. Printing made many of these tunes popular throughout Europe during these times, some of them composed by the printer/publishers themselves, but many more of them existed previously as rustic dance tunes or popular chansons. The works were originally published to be played by three to five instrumentalists, with no particular instruments specified. They suited consorts or “choirs” of instruments that were depicted in the illustrations of Agricola, Mersenne and most notably Praetorius and are now preserved in museums around the world.<br> <br> Many editions exist in the 3, 4 or 5 parts as originally published, and these are an absolute joy to perform from, where the interweaving parts create interesting harmonies that demonstrate the skills of these renaissance composer/arranger/publishers. Playing with modern reproductions of the early instruments will recreate textures and sounds unique to this period. However, not everyone is lucky enough to either own these instruments or else have contact with others with whom they could form ensembles. This book aims to widen the experience out to those who would like to play these tunes on their own or with the accompaniment of a guitar, keyboard or other available chordal instrument. Fake books abound for those who wish to play Jazz, Folk, Classical and Popular music where the melody is annotated with chords so that players can access these tunes in their own way. As far as I am aware, this has not often been done for the player who wishes to busk their way through music of the Renaissance period.<br> <br> I have attempted to include all the chords implied by the polyphonic parts of the original publications, simply because it is in the transitions of the harmonies under the melodies where the genius of the original arranger/publisher resides. Those who go on to explore the original versions may look forward to the way in which each line presents the player with intrinsically beautiful counter melodies.<br> <br> At first, the rapidity of chord changing can be a bit daunting, so I have marked out what I consider to be the essential chords for accompaniment in boxes. Playing just these will provide adequate accompaniment, whilst leaving the more adventurous scope to enhance their performance by referencing some of the other chords. You can hear the chording arrangements together with the original 3, 4 or 5 part versions of all 44 pieces on a YouTube playlist which has been made as a companion to this volume at<br> <br> https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNS<br> <br> As well as the solo or player in a duo, this book would also be of value for someone who is used to reading chords rather than melody lines wishing to join in with a renaissance consort. The selection I have chosen represents quite a few of the “standards” that have become regularly played since the revival of renaissance music in the late 1960s. It is hoped that should this volume prove popular, companion volumes with all the parts provided for the same pieces could make essential repertoire for the budding renaissance dance consorts of the future.Chording to the Dance Masters is a selection of dance tunes that were collected originally between about 1500 and 1620. Printing made many of these tunes popular throughout Europe during these times, some of them composed by the printer/publishers themselves, but many more of them existed previously as rustic dance tunes or popular chansons. The works were originally published to be played by three to five instrumentalists, with no particular instruments specified. They suited consorts or “choirs” of instruments that were depicted in the illustrations of Agricola, Mersenne and most notably Praetorius and are now preserved in museums around the world.<br> <br> Many editions exist in the 3, 4 or 5 parts as originally published, and these are an absolute joy to perform from, where the interweaving parts create interesting harmonies that demonstrate the skills of these renaissance composer/arranger/publishers. Playing with modern reproductions of the early instruments will recreate textures and sounds unique to this period. However, not everyone is lucky enough to either own these instruments or else have contact with others with whom they could form ensembles. This book aims to widen the experience out to those who would like to play these tunes on their own or with the accompaniment of a guitar, keyboard or other available chordal instrument. Fake books abound for those who wish to play Jazz, Folk, Classical and Popular music where the melody is annotated with chords so that players can access these tunes in their own way. As far as I am aware, this has not often been done for the player who wishes to busk their way through music of the Renaissance period.<br> <br> I have attempted to include all the chords implied by the polyphonic parts of the original publications, simply because it is in the transitions of the harmonies under the melodies where the genius of the original arranger/publisher resides. Those who go on to explore the original versions may look forward to the way in which each line presents the player with intrinsically beautiful counter melodies.<br> <br> At first, the rapidity of chord changing can be a bit daunting, so I have marked out what I consider to be the essential chords for accompaniment in boxes. Playing just these will provide adequate accompaniment, whilst leaving the more adventurous scope to enhance their performance by referencing some of the other chords. You can hear the chording arrangements together with the original 3, 4 or 5 part versions of all 44 pieces on a YouTube playlist which has been made as a companion to this volume at<br> <br> https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNS<br> <br> As well as the solo or player in a duo, this book would also be of value for someone who is used to reading chords rather than melody lines wishing to join in with a renaissance consort. The selection I have chosen represents quite a few of the “standards” that have become regularly played since the revival of renaissance music in the late 1960s. It is hoped that should this volume prove popular, companion volumes with all the parts provided for the same pieces could make essential repertoire for the budding renaissance dance consorts of the future.
$11.46
10.48 €
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Instruments en Do
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Various
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Chording to the Dance Masters - Melody and chords for 44 Renaissance Dance Consort pieces
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Wold Meridian
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SheetMusicPlus
60 Easy Hymn Settings for Piano-Digital Download
Piano seul
Easy Piano Arrangements Here are 60 familiar hymns, carols and spirituals all keenly craft…
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Easy Piano Arrangements Here are 60 familiar hymns, carols and spirituals all keenly crafted into moderately easy settings which you will find to be fresh and full of interest. Most pianist will have no problem mastering them, and many can be sight-read by the more accomplished. The wide selection of titles affords ample options for preludes, offertories and special occasions throughout the year. A useful subject index offers easy referencing. The average length of each solo is 2:30
Song List: A Mighty Fortress Is Our God Amazing Grace America, the Beautiful Ave Maria Away in a Manger Be Still, My Soul Be Thou My Vision Children of the Heavenly Father Christ the Lord Is Risen Today Come, Thou Almighty King Come, Thou Fount of Every Blessing Crown Him with Many Crowns Down to the River to Pray Every Time I Feel the Spirit Fairest Lord Jesus Faith of Our Fathers For All the Saints For the Beauty of the Earth Good King Wenceslas Glorious Things of Thee Are Spoken Great Is Thy Faithfulness He's Got the Whole World in His Hands His Eye Is on the Sparrow How Great Thou Art I Am a Poor Wayfaring Stranger Jesus Walked This Lonesome Valley Joy to the World! Joyful, Joyful, We Adore Thee Let All Things Now Living Let Us Break Bread Together Let Us Talents and Tongues Employ Lift High the Cross Lord of the Dance Love Divine, All Loves Excelling Morning Has Broken My Country, 'Tis of Thee My Jesus, I Love Thee Nearer, My God, to Thee O Little Town of Bethlehem O Perfect Love O Sacred Head, Now Wounded Peace Like a River Praise to the Lord, the Almighty Put Peace into Each Other's hands Savior, Like a Shepherd Lead Us Silent Night Softly and Tenderly Sweet Hour of Prayer Swing Low, Sweet Chariot The Gift of Love The Solid Rock To God Be the Glory We Gather Together Were You There We Shall Overcome We Three Kings What Child Is This What a Friend We Have in Jesus What Wondrous Love Is This When the Saints Go Marching In
Song List
: A Mighty Fortress Is Our God Amazing Grace America, the Beautiful Ave Maria Away in a Manger Be Still, My Soul Be Thou My Vision Children of the Heavenly Father Christ the Lord Is Risen Today Come, Thou Almighty King Come, Thou Fount of Every Blessing Crown Him with Many Crowns Down to the River to Pray Every Time I Feel the Spirit Fairest Lord Jesus Faith of Our Fathers For All the Saints For the Beauty of the Earth Good King Wenceslas Glorious Things of Thee Are Spoken Great Is Thy Faithfulness He's Got the Whole World in His Hands His Eye Is on the Sparrow How Great Thou Art I Am a Poor Wayfaring Stranger Jesus Walked This Lonesome Valley Joy to the World! Joyful, Joyful, We Adore Thee Let All Things Now Living Let Us Break Bread Together Let Us Talents and Tongues Employ Lift High the Cross Lord of the Dance Love Divine, All Loves Excelling Morning Has Broken My Country, 'Tis of Thee My Jesus, I Love Thee Nearer, My God, to Thee O Little Town of Bethlehem O Perfect Love O Sacred Head, Now Wounded Peace Like a River Praise to the Lord, the Almighty Put Peace into Each Other's hands Savior, Like a Shepherd Lead Us Silent Night Softly and Tenderly Sweet Hour of Prayer Swing Low, Sweet Chariot The Gift of Love The Solid Rock To God Be the Glory We Gather Together Were You There We Shall Overcome We Three Kings What Child Is This What a Friend We Have in Jesus What Wondrous Love Is This When the Saints Go Marching In
$69.95
63.95 €
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Piano seul
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60 Easy Hymn Settings for Piano-Digital Download
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SheetMusicPlus
String Quintet based on Beethoven's sketches, op. 79
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet,Viola - Level 4 - Digital Download SKU: A0.1004728 Co…
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String Quartet String Quartet,Viola - Level 4 - Digital Download SKU: A0.1004728 Composed by Ludwig van Beethoven. Arranged by Adrian Gagiu. 20th Century,Classical,Contemporary. Score and parts. 205 pages. Adrian Gagiu #6365523. Published by Adrian Gagiu (A0.1004728). This composition is a premiere, speculative, yet as faithful as possible embodiment of all of Beethoven’s sketches for his String Quintet in C major, Hess 41 (WoO 62), as they have been left by the composer. The usefulness and integrity of more or less hypothetical completions of sketches by great composers remains from case to case controversial. Due to the paucity of the sketches for the aim of attempting a true reconstruction, the present composition in no way falls within such category. It is obviously quite different from what Beethoven himself would have produced if he had lived more, also due to the fact that he usually transformed his preliminary sketches substantially during the compositional process. However, there are some of his frequent, subtle thematic relationships between the sketches for the Quintet movements, and probably some features in the sketches would have been kept in the completed composition. The four-movement design hypothesized by Martin Staehelin and others, as well as other retrospective or relaxed features in the sketches may be a result of a still early stage of the compositional process, or perhaps an indicator of a fourth, neoclassical creative period, together with Op. 135 and the new Finale for Op. 130.To generate a continuity draft of the Quintet, all of Beethoven’s sketches for it were used, with the addition of several ones from the same context within the respective sketchbook and which could be related to the identified Quintet sketches: some sketches are clearly labeled as being for the Quintet, while others are thematically related or written down close to them. With the possible exception of bars 75-94 and 136-155 in movement II (which are variations on the theme) and bars 140-145 in movement IV (which fill in the blank bars in the sketch with a progression based on it), virtually every bar of this composition includes the notes from the sketches in at least one of the instruments. Some of those notes were subject to transpositions and adaptations to fit the formal design, and to editorial choices for the unclear pitches and duration in the sketches.This publication includes the score, parts and continuity draft, the latter being marked with the sources in the sketches for each passage.Total duration: 33 minutes. The mp3 audio clip is the 3rd movement. Performing Rights Organization: SOCAN.
$49.95
45.67 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Ludwig van Beethoven
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Adrian Gagiu
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String Quintet based on Beethoven's sketches, op. 79
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Adrian Gagiu
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SheetMusicPlus
The Road to Freedom
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1316871 By Sharon Kaplan. By Sharon…
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Piano Solo - Level 3 - Digital Download SKU: A0.1316871 By Sharon Kaplan. By Sharon Kaplan. 19th Century,20th Century,Contemporary,Folk,Historic. Score. 16 pages. Weopleland #905541. Published by Weopleland (A0.1316871). The Road to Freedom is a collection of settings of four spirituals meant to describe the longing of the African-American slaves on American plantations for freedom. Many of these were based on biblical themes, the better to fool the slave-owners. The first song, Let My People Go, was used to let slaves know that Harriet Tubman, known as Moses, was in the area and ready to lead them from slavery to freedom. The second, Deep River,  refers to the River Jordan and to crossing into campground, the promised Biblical land, but that was code for the Ohio River and passing into the north and freedom.  Wade in the Water reminded slaves running away that by wading in the water they could hide their scent from the dogs pursuing them.  Oh, Wasn't That a Wide River - and then one more and maybe another to cross on the way to freedom. These lovely arrangements catch the spirit of the experience.
$5.00
4.57 €
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Piano seul
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Sharon Kaplan
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The Road to Freedom
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Weopleland
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SheetMusicPlus
The Christmas Wish (Vocal Solo)
Chorale Unison
Choral Choir (Unison) - Level 4 - Digital Download SKU: A0.727123 Composed by Carol…
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Choral Choir (Unison) - Level 4 - Digital Download SKU: A0.727123 Composed by Carol Troutman Wiggins [ASCAP], Mary White Pustrom. Christmas,Contemporary,Holiday,Pop,Singer/Songwriter. Octavo. 11 pages. Carol Troutman Wiggins #2907289. Published by Carol Troutman Wiggins (A0.727123). The Christmas WishVocal Solo for AltoWould you like a different kind of Christmas wish this year? Here it is!This song is based on the poem Christmas Wishes written by contemporary author and poet Mary White Pustrom. Mary wrote many poems with the theme of Christmas, including what she thought people should wish for at Christmas. While so many adults wish for a new car, a sparkling diamond ring, or celebrating with a nice vacation in the tropics, she believes that Christmas wishes should be taken a step further by considering the wishes and needs of others more so than our own. In her poem Christmas Wishes, her desire for reaching out to others and granting them their wishes for the simple things in life take on great meaning: Christmas Wishes by Mary White Pustrom Now that Christmas is drawing near I cannot help but seeAll the poor and needy people who are reaching out to me. It seems that everywhere I look there is a need to fill; I feel so inadequate when their wishes I can't fill. Among the lights and decorations, there is hunger and despair, Faces filled with sadness while bright carols fill the air; Little children who are cold and hungry wait for Santa Claus, Wishing that he would bring them food, for that's a worthy cause. Others laughing, smiling, singing - so completely unaware Of all the pain and suffering that's around them everywhere; They wish for generosity in our thoughts, time, and deeds, And wish that here at Christmas time, someone could fill their needs. My wish is that we reach out to our sisters and our brothers, Who depend on us for kindness from one to another; Fill our hearts with Christmas cheer, and teach us how to share, So that Christmas wishes will be fulfilled all throughout the year. It sounds like she might have the right idea. At this time of year, it is so easy to get caught up in buying and receiving presents, the lights, and the Christmas tree, without considering the simple needs of others. Maybe this year, these simple wishes will come true for some: · Sick little children to be healed · Homeless people and children to find a family · For the less fortunate to have enough food, clothing, shelter, and shoes on their feet · That no one spends Christmas lonely and alone, and spent the way it should be, with loving family and friends. Most of all, wish that by caring for one another, Christmas wishes would come true all year long. ~ Carol Troutman Wiggins
$5.95
5.44 €
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Chorale Unison
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Carol Troutman Wiggins [ASCAP], Mary White Pustrom
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The Christmas Wish
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Carol Troutman Wiggins
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SheetMusicPlus
The Story of a Leader
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor K…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio at the Post #744209. Published by Studio at the Post (A0.1143904). Duration: 16 minutes, 33 pp. Description: Exodus is a great story that belongs to everyone. Not only is it central to Judaism, not only is it integral to the Christian Bible, it is an immortal story that has been, and continues to be, an inspiration to oppressed peoples everywhere on this planet. It is relevant not just as ancient scripture but as living text, to be rediscovered by each new generation of an ever-widening Family of Man. The theme of struggle against oppression and slavery was just as relevant to the early Christians persecuted in Ancient Rome as it was relevant to the American Civil Rights movement of the 1960's, just as relevant to the Soviet Jews wishing to emigrate as it is to the South African Blacks resisting Apartheid. From the Dark Ages and the Spanish Inquisition, to Ghandi's emancipation of India, to the Holocaust, to, full-circle, the ongoing struggles in Palestine today, the story of Exodus is a guiding light in a dim and often grim world. According to the composer: The Story of a Leader is a collection of ‘re-chorales’ I created one summer when I was totally immersed in a post-educational obsession with the 371 Chorales by Johann Sebastian Bach. We used to study these to learn the rules of harmony and voice-leading (no parallel fifths, avoid crossed voices, etc.) at the Cleveland Institute of Music where I began my compositional career. That summer, now a professor of music in my own right, I discovered many broken and bent rules by the master himself and, along with the glory of being able to work through these Chorales myself at the piano, I felt an incredible feeling of liberation and possibilities unmediated by instructors of music theory. I began by stripping away all that Bach wrote, leaving only the hymn tunes which were not his to begin with. These tunes existed long before Bach used them for his tonal experiments, some attributed to Martin Luther, or someone else, others simply listed as ‘anonymous’. The same is true for the texts, which were then translated into English mostly in the 19th century (the provenance of each can be found herein on the first page of each of my reharmonizations). In some cases I modified the text to fit the context. I selected 12 of these ‘re-chorales,’ linking them together based on their texts in a kind of logic that worked for me, and created a narrative that told The Story of a Leader (Moses). This story is highlighted in the music with such techniques as cross-modal harmonies, points of imitation, a beer drinking song in one instance, and in another, to symbolize the parting of the seas for Moses’ people, an inversion of the soprano line in the bass..
$15.04
13.75 €
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Chorale SATB
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Igor Korneitchouk
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The Story of a Leader
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Studio at the Post
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SheetMusicPlus
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
2 Pianos, 4 mains
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by…
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
18.28 €
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2 Pianos, 4 mains
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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IGNITE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
We Must Learn to Walk Together
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waite…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
$3.99
3.65 €
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Piano, Voix et Guitare
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Lisa Waites
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Lisa Waites
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We Must Learn to Walk Together
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Servant Song Music and Ministry
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SheetMusicPlus
How Can I Serve Thee Lord? - a sacred hymn
Chorale SATB
Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1439299 Compos…
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Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1439299 Composed by Kevin G. Pace (ASCAP), Kathryn W. Hales. Christian,Praise & Worship,Religious,Sacred,Spiritual. 3 pages. Kevin G. Pace #1019306. Published by Kevin G. Pace (A0.1439299). A beautiful, sacred hymn with music by Kevin G. Pace and text by Kathryn W. Hales.Text:How Can I Serve Thee Lord? (based on Mosiah 2:17)How can I serve Thee, Lord,When Thou art so far away?I can only hope You hear,When I kneel each day to pray,To give thanks for thy giftsOf bounteous gracious love,Bestowed by thy gentle hands,From Thy dwelling place above.How can I serve Thee, Lord,When Thou art so far away?I can only trust Thy word,And Thy precepts all obey,Going through my daily lifeAs if Thou were by my side,To feel Thy nearness, joy,Oh, Lord, with me abide!How can I serve Thee, Lord,When Thou art so far away?I can be Thy hands on earth,To help others on their way,To lend an ear, to lift a load,To share a friendly smile,To walk with others who are in need,Down their road of trial.Chorus:I can serve Thee, Lord, with trust and with faith,I can all Thy commandments keep,I can help my fellow beings along,For serving them is like serving Thee.
$1.99
1.82 €
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Chorale SATB
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Kevin G
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How Can I Serve Thee Lord? - a sacred hymn
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Kevin G. Pace
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SheetMusicPlus
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