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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
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JAZZ MANOUCHE - SWIN…
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Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
33116
PIANO & CLAVIERS
Piano seul
21845
Piano, Voix
7601
Piano Facile
5598
Piano, Voix et Guitare
4865
Orgue
4140
Accompagnement Piano
3344
Instruments en Do
1360
Piano (partie séparée)
730
1 Piano, 4 mains
592
Piano grosses notes
581
Piano Trio: piano, violon, violoncelle
429
2 Pianos, 4 mains
204
Accordéon
158
Piano Quatuor: piano, 2 violons, violoncelle
150
Orgue, Piano (duo)
114
Orgue, Trompette (duo)
90
Piano Quatuor: piano, violon, alto, violoncelle
72
Clavecin
51
Piano Quintette: piano, 2 violons, alto, violoncelle
31
1 Piano, 6 mains
20
Clavier
14
2 Pianos, 8 mains
14
Orgue, Voix
3
3 Pianos
2
Tous Les Instruments
2
Instrument seul et Orgue
2
Ligne De Mélodie, Piano
2
2 Orgues (duo)
1
Accordéon, Voix
1
Accordéon, Piano
1
Ensemble de Pianos
1
Piano Quintette: piano, violon, alto, violoncelle, contre basse
1
Instrumentations suivantes
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GUITARES
Guitare notes et tablatures
3012
Ligne De Mélodie, (Paroles) et Accords
1990
Guitare
1250
Guitare (partie séparée)
1000
Basse electrique
962
Ukulele
571
Paroles et Accords
371
Basse électrique (partie séparée)
143
Banjo
131
2 Guitares (duo)
118
Dulcimer
109
Piano, Guitare (duo)
98
Mandoline
70
4 Guitares (Quatuor)
50
Ukulele Baryton
33
3 Guitares (trio)
24
Guitare Pedal Steel
19
Ensemble de guitares
16
Dobro
12
2 Dulcimers (duo)
5
Guitare, Violon, Violoncelle (trio)
3
2 Mandolines (duo)
3
Mandoline, Piano (duo)
2
Guitare, Orchestre
2
2 Ukuleles
1
Cithare
1
Partitions De Groupes
1
Instrumentations suivantes
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VOIX
Chorale SATB
19215
Chorale 2 parties
5708
Chorale 3 parties
5324
Chorale Unison
3484
Voix duo, Piano
2232
Chorale TTBB
1587
Chorale SSAA
816
Voix duo
759
Chorale
730
Voix Soprano, Piano
371
Voix Alto, Piano
279
Voix seule
264
Voix Tenor, Piano
251
Voix haute
216
Voix Baryton, Piano
163
Voix moyenne, Piano
107
Voix basse, Piano
107
Voix Tenor
56
Voix Soprano
34
Chorale SSATB
26
Chorale SSAATTBB
24
Voix basse
22
Voix Baryton
18
Voix Mezzo-Soprano, Piano
13
Chorale, Orgue
12
Voix Moyenne
9
Chorale SSATTB
9
Chorale SSAB, Piano
7
Voix, Guitare
7
Chorale SSAATB
6
Chorale SSAB a cappella
6
Soli, choeur mixte et accompagnement
5
Chorale SAATB A Cappella
3
Chorale SATBB
3
Paroles Seulement
2
Chorale SATTB
2
Chorale SSATBB
2
Chorale SATTBB A Cappella
1
Voix Soprano, Orchestre
1
Instrumentations suivantes
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VENTS
Saxophone (partie séparée)
4996
Clarinette (partie séparée)
2867
Flûte traversière et Piano
2742
Quatuor de Saxophones: 4 saxophones
1921
Clarinette et Piano
1809
Hautbois, Piano (duo)
1788
Saxophone Alto et Piano
1614
Flûte, Hautbois, Clarinette, Basson
1601
Flute (partie séparée)
1491
2 Saxophones (duo)
1485
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1483
Flûte traversière
1207
Quatuor de Clarinettes: 4 clarinettes
1174
Saxophone Tenor et Piano
1166
2 Flûtes traversières (duo)
1054
Hautbois (partie séparée)
1050
Clarinette
939
2 Clarinettes (duo)
885
Saxophone Soprano et Piano
868
Saxophone Alto
686
Quintette de Saxophone: 5 saxophones
642
Flûte, Clarinette (duo)
559
Quatuor de Flûtes : 4 flûtes
522
Saxophone Tenor
454
Saxophone Baryton, Piano
416
Ensemble de Clarinettes
408
3 Saxophones (trio)
342
Cor anglais, Piano
316
3 Clarinettes (trio)
314
Ensemble de Flûtes
286
Saxophone, Clarinette (duo)
272
Clarinette, Violon (duo)
271
Hautbois
257
Quintette de Clarinettes: 5 clarinettes
255
2 Hautbois (duo)
228
Trio de Flûtes: 3 flûtes
220
Hautbois, Basson (duo)
200
Saxophone
197
Flûte, Violon
196
Ensemble de saxophones
181
Hautbois, Clarinette (duo)
171
Clarinette, Trompette (duo)
165
Flûte et Guitare
162
Quintette de Flûte : 5 flûtes
134
2 Flûte à bec (duo)
131
Clarinette Basse, Piano
127
Clarinette et Alto
121
Flûte, Alto (duo)
112
Flûte, Saxophone (duo)
107
Clarinette, Basson (duo)
106
Hautbois, Flûte
101
Flûte, Hautbois, Clarinette (trio)
97
Flûte, Clarinette, Piano (trio)
94
Flûte, Trompette (duo)
92
Quatuor de Flûtes à bec
89
Saxophone Soprano
86
2 Saxophones, Piano
81
Flûte, Clarinette et Basson
78
Flûte, Violoncelle
75
2 Clarinettes, Piano
74
Flûte à bec Soprano
74
Flûte, Hautbois (duo)
72
Flûte, Violon, Piano
71
2 Flûtes traversières, Piano
67
Flûte, Violoncelle, Piano (trio)
66
Hautbois, Clarinette, Basson (trio d'anches)
64
Saxophone et Piano
63
Piccolo
62
Flûte à Bec
58
Clarinette, Violoncelle (duo)
58
Saxophone Baryton
56
Clarinette, Violoncelle, Piano (trio)
50
Clarinette, Guitare (duo)
47
Flûte, Basson et Piano
45
Flûte, Violon et Violoncelle
41
Cor Anglais
40
Hautbois, Violoncelle
38
Clarinette, Harpe (duo)
38
Flûte, Trombone (duo)
37
Saxophone et Orgue
37
Flûte à bec Alto
35
Flûte à bec Alto, Piano
35
Harmonica
34
Flûte à bec Soprano, Piano
33
Flûte, Hautbois, Basson
33
Flûte, Alto et Piano
29
5 Flûtes à bec
27
Flûte, trombone et piano
25
Hautbois et alto (duo)
25
Hautbois, violon (duo)
25
Ensemble De Flûte à bec
24
Flûte, Hautbois, Piano (trio)
24
Clarinette Basse
24
Flûte, Clarinette, Cor, Basson (Quartet)
23
Flûte à Bec, Piano
23
Flûte à bec Tenor
23
3 Flûtes à bec (trio)
23
Saxophone et Harpe
22
4 Hautbois
21
Clarinette, Basson, Piano (trio)
20
Flûte, Violon, Violoncelle et Piano
20
3 Hautbois
19
Hautbois, Harpe
17
Ocarina
16
Instruments en Mib
16
Flûte, Clarinette, Violon (trio)
16
Flûte traversière, Orgue (duo)
15
Clarinette, Alto et Piano (trio)
14
Saxophone et Guitare
14
Flûte, Hautbois, Violon
14
Piccolo, Piano
14
Clarinette, trompette et piano
12
Clarinette, Tuba
10
Flute, Cor (duo)
10
Flute, harpe et violon
10
Flûte, Tuba (duo)
10
Hautbois, Basson et Piano
9
Cor anglais, Guitare (duo)
9
Hautbois, Guitare (duo)
9
Hautbois, Clarinette et Piano (Trio)
9
Hautbois, Violoncelle et Piano
8
Flûte, Violoncelle, Guitare
8
Clarinette, Orgue
8
2 Hautbois, Piano
8
Clarinette, Trombone (duo)
8
Ensemble à vent
5
Clarinette, Contrebasse (duo)
5
Flûte à bec, Guitare (duo)
5
Quintette de Clarinette: Clarinette, Quatuor à Cordes
5
2 Clarinettes, Basson
5
Flûte, Harpe et Violoncelle
4
Hautbois, Violon, Piano
4
Hautbois, trombone (duo)
4
Ensemble de Hautbois
4
2 Flûtes à bec, Piano
4
Flûte irlandaise
4
Flûte et Trio à cordes
4
2 Cors Anglais Et Pianoforte
3
2 Flûtes, 2 Clarinettes (Quatuor)
3
Flûte traversière, Basse continue
2
Flûte, alto et harpe
2
Flûte à bec, Harpe
2
Cornemuse
2
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
2
Flûte, Violon, Guitare
2
Cor anglais et Harpe (duo)
1
Flûte, Guitare, Piano
1
Hautbois, Orgue
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Clarinette, Saxophone, Piano
1
Hautbois et Orchestre
1
2 Hautbois, 2 Cors et 2 Bassons
1
Saxophone, Tuba (duo)
1
2 Flûtes traversières, Harpe
1
Instrumentations suivantes
Retracter
CUIVRES
Trombone (partie séparée)
4675
Trompette (partie séparée)
3359
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1801
Cor (partie séparée)
1785
Trombone et Piano
1541
Trompette, Piano
1454
Tuba (partie séparée)
1316
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1176
Trompette
1117
Cor et Piano
1032
Trombone
605
2 Trompettes (duo)
517
Quatuor de Cuivres: 2 trompettes, Cor, trombone
490
2 Trombones (duo)
481
Cor
471
Quatuor de Cuivres
366
Trompette, Trombone (duo)
357
Tuba et Piano
327
Cor anglais, Piano
316
Tuba
302
2 Cors (duo)
249
Quatuor de cuivres: 4 trombones
237
Euphonium, Piano (duo)
234
Trompette, Cor (duo)
211
Trompette, Saxophone (duo)
185
Ensemble de Trombones
155
Quatuor de cuivres: 4 cors
146
Quatuor de cuivres: 2 trompettes, 2 trombones
73
Cornet A Pistons
70
Quatuor de cuivres: 4 trompettes
67
2 Tubas (duo)
62
3 Trombones (trio)
61
3 Trompettes (trio)
61
Euphonium
57
Ensemble de Trompettes
57
Trio de Cuivres
45
2 Euphoniums et 2 Tubas
45
Cor Anglais
40
4 Tubas
35
Ensemble de Cors
33
2 Trompettes, Clavier (piano ou orgue)
32
Trompette, Tuba (duo)
31
Trombone, Orgue
30
Euphonium, Tuba (duo)
24
Trompette, Trombone, Piano
24
Cor et Harpe
24
Tuba et Orgue
23
Trompette, Violoncelle et Piano
22
Bass Clef Instruments
20
Clarinette, Cor (duo)
18
Trombone, Tuba (duo)
17
Trombone, Cor (duo)
17
Instruments en Sib
17
Trombone basse
17
Trombone basse et Piano
12
Trompette, Harpe
12
3 Cors (trio)
11
Cor et Orgue
11
Trombone, Violon (duo)
10
Cor anglais, Guitare (duo)
9
2 Euphoniums (duo)
9
Tuba ou Euphonium ou Saxhorn
9
3 Tubas (trio)
8
Cor, Violoncelle (duo)
6
Cor, Tuba (duo)
6
2 Trombones, Piano
6
2 Cors, Piano
5
Trompette et Guitare
4
2 Cors Anglais Et Pianoforte
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Trompette, Basson (duo)
3
Trompette, violon (duo)
3
Instruments en Fa
2
Ensemble de Tubas
2
4 Euphoniums
2
Trompette, Euphonium (duo)
2
Cor et Basson (duo)
2
Trombone, violoncelle (duo)
2
Cor anglais et Harpe (duo)
1
Trombone et orchestre
1
Trompette, Orchestre
1
Trompette, Violoncelle (duo)
1
3 Euphoniums
1
Cor, Orchestre
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
3990
Violon et Piano
3469
Violon (partie séparée)
2312
Violoncelle, Piano
1943
Alto, Piano
1643
Contrebasse (partie séparée)
1639
Violon
1344
Harpe
1056
Violon, Violoncelle (duo)
882
Violoncelle
866
Violoncelle (partie séparée)
850
2 Violons (duo)
845
Alto seul
812
Alto (partie séparée)
690
Trio à Cordes: violon, alto, violoncelle
586
2 Violoncelles (duo)
575
Violon, Alto (duo)
458
2 Altos (duo)
353
Trio à Cordes: 2 violons, violoncelle
291
Piano Trio: Violon, Alto, Piano
290
Quintette à cordes: 2 violons, alto, violoncelle, basse
289
Contre Basse
256
Contrebasse, Piano (duo)
238
2 Harpes (duo)
187
Alto, Violoncelle (duo)
151
Harpe (partie séparée)
128
Trio à cordes: 3 violins
122
4 Violoncelles
113
Harpe, Flûte (duo)
101
Quatuor à cordes: 4 violons
73
Trio à Cordes: 3 violoncelles
68
Harpe, Violon (duo)
61
Violon, Guitare (duo)
52
Trio à Cordes: 2 violons, alto
47
Harpe, Violoncelle (duo)
42
2 Contrebasses (duo)
38
Quatuor à cordes : 4 altos
37
2 Violons, Piano
36
Trio à cordes
35
Violon, Basson (duo)
34
Trio à cordes: 3 altos
33
Alto et Harpe
31
Violon, Clarinette, Piano (trio)
30
Harpe, Voix
28
Violoncelle, Contrebasse (duo)
27
Alto, Guitare (duo)
25
Violoncelle, Orgue
25
Violoncelle , Guitare (duo)
23
Ensemble de Violons
22
Quintette à cordes: 2 violons, 2 altos, violoncelle
18
2 Violoncelles, Piano
15
Ensemble d'Altos
15
Quintette à cordes : 2 violons, alto et 2 violoncelles
13
Violon, Orgue
13
Flûte, Contrebasse (duo)
12
Alto et Basson
10
Violon, Tuba (duo)
9
Harpe, Trombone (duo)
8
Harpe, Violon, Violoncelle
8
Ensemble de Violoncelles
7
4 Contrebasses
5
Alto, Orgue
5
Harpe et Piano
4
Violon, Trompette et Piano
4
Violoncelle, Orchestre
4
Harpe et Orgue
3
Violon, Violoncelle, Clarinette
3
3 Harpes
3
Harpe et mandoline
2
Violoncelle, Basse continue
2
2 Altos, Piano
2
5 Harpes
2
Autoharp
2
Alto et orchestre
2
Violon, Basse continue
2
4 Harpes
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
25640
Orchestre à Cordes
3402
Orchestre
3225
Cloches
2064
Percussion (partie séparée)
1796
Ensemble Jazz
1350
Batterie (partie séparée)
1233
Ensemble de cuivres
1191
Fanfare
973
Orchestre de chambre
654
Timbales (partie séparée)
457
Jazz combo
419
Batterie
417
Percussion
354
Ensemble de Percussions
164
Marimba
75
Xylophone
48
Vibraphone
41
Xylophone, Piano
28
Timbales
27
Piano et Orchestre
20
Quintette à Vent
19
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
12
2 Xylophones
8
Instrumentation Flexible
7
Quintette de Cuivres: autres combinaisons
6
Orchestre, Violon
5
Ensemble d'École
4
Caisse Claire
3
Quatuor à Vent : 4 instruments à vents
3
Vibraphone (partie séparée)
2
Voix Mezzo-Soprano, Orchestre
1
Vibraphone et Marimba
1
Marimba ou Xylophone et Piano
1
Bongos
1
2 Caisses Claires (duo)
1
Marimba, Piano (duo)
1
3 Percussions
1
Trio à Vent: 3 instruments à vents
1
Instrumentations suivantes
Retracter
AUTRES
Théorie de la musique
4
Formation musicale - Solfège
3
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CONJUNCTION: The Christmas Star of 2020
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers…
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Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.
$95.00
84.85 €
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Orchestre
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Robert Myers
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He will show His favor again
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CONJUNCTION: The Christmas Star of 2020
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WheatMyer Music
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SheetMusicPlus
Frederick Frahm: Spaces of Night for voice, organ and strings, full score
Orchestre à Cordes
String Orchestra - Level 4 - Digital Download SKU: A0.534002 Composed by Frederick …
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String Orchestra - Level 4 - Digital Download SKU: A0.534002 Composed by Frederick Frahm. Contemporary,Folk,Holiday,Patriotic. Score and parts. 26 pages. Musik Fabrik Music Publishing #3095057. Published by Musik Fabrik Music Publishing (A0.534002). On 31 October 1517, Dr. Martin Luther, according to church custom,posted a document presenting 95 theses intended for scholarly debateon the door of the Castle Church of Wittenberg. As a teacher, theologian,and a pastor he found much to be concerned with in the conduct of hismother, the Church. His intent was to begin a conversation over honestgrievances and to persuade those who would lead to take a path moreconsistent with the teachings they espoused.Spaces of Night takes its impetus from this desire to speak truth to power.It's music, with no small sympathy towards the tonal language and dialectof the classic American liturgical tradition, is at times parody and at othertimes anti-parody. It's libretto, while created 100 years ago by a celebratedAmerican author, speaks in our present age to an empire that has lost its way.Its voice is not one of despair and rage,but hope for and commitment to the future of the gathered community.If I should cast off this tattered coat,And go free into the mighty sky;If I should find nothing thereBut a vast blue,Echoless, ignorant —What then?Libretto adapted by the composerFrom the ‘lines’ of Stephen Crane:The Black Riders and Other Lines (1895) &War is Kind (1899)This is the full score; A reduction for mezzo and organ is available as another item. The orchestral parts are on rental from the publisher
$25.95
23.18 €
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Orchestre à Cordes
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Frederick Frahm
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Frederick Frahm: Spaces of Night for voice, organ and strings, full score
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Musik Fabrik Music Publishing
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SheetMusicPlus
Fred Bock's Greatest Gospel Hits
Orgue
Organ SKU: HL.8738380 For All Organs. Composed by Fred Bock. Arranged by Fre…
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Organ SKU: HL.8738380 For All Organs. Composed by Fred Bock. Arranged by Fred Bock. Organ. Fred Bock Publications. General Worship, Sacred. 144 pages. Fred Bock Music Company #BG0605. Published by Fred Bock Music Company (HL.8738380). ISBN 9781934596319. UPC: 073999239201. 9.3x12.0x0.496 inches.This volume includes 43 of the best-loved gospel songs - all arranged in the sought-after stylings of Fred Bock. It contains such tunes as: Blessed Assurance * Happiness Is the Lord * Ivory Palaces * The Love of God * and many more. Spiral bound.
Song List: Amazing Grace (Newton) Battle Hymn Of The Republic Every Time I Feel The Spirit Born Again (Bock) Come, Holy Spirit (Bock) Springs of Living Water (Arr: F Bock) (John Peterson) He's Got The Whole World In His Hands To God Be the Glory (Fanny Crosby) In the Garden (C. Austin Miles) Swing Low, Sweet Chariot Just A Closer Walk With Thee Blessed Assurance His Eye Is On The Sparrow Thou Didst Leave Thy Throne Great Is Thy Faithfulness (Wm. Runyan) How Big Is God (S Hamblen) Happiness Is the Lord (Ira Stanphill) I Believe in Miracles (John Peterson) Until Then (Stuart Hemblen) Am I A Soldier of the Cross? (Arr: F Bock) To Be Free (Eddie Smith) It Took A Miracle (John Peterson) Now I Belong to Jesus (Norman Clayton) I Just Feel Like Something Good Is About to Happen(Wm Gaither) In Times Like These (Ruth Jones) He Is the Way, He Is the Truth, He Is the Life (Otis Skillings) Have You Any Room for Jesus? (C. C. Williams) All He Wants Is You (Audrey Mieir) Constantly Abiding (Mrs. Will Murphy) Teach Me, Lord, to Wait (S Hamblen) Ivory Palaces (H Barraclough) This Ole House (S Hamblen) Something Beautiful (Wm Gaither) Beyond the Sunset (Blanche & Virgil Brock) Holy Hands (Carl Farrer) No More (A Mieir) OLD RUGGED CROSS MADE THE DIFFERENCE, THE (BOCK) LOVE OF GOD, THE (FREDERICK H LEHMAN) OLD RUGGED CROSS, THE (G BENNARD) LONGER I SERVE HIM, THE (WM. GAITHER) BROKEN VESSEL, THE (ANDREA CROUCH) SPIRIT OF JESUS IS IN THIS PLACE, THE (W GAITHER) LORD IS COUNTING ON YOU, THE (S HAMBLEN)
$24.95
22.28 €
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Orgue
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Fred Bock
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Fred Bock
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Fred Bock's Greatest Gospel Hits
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Fred Bock Music Company
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SheetMusicPlus
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
Level 3 - Digital Download SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainer…
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Level 3 - Digital Download SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman Susato. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733808. Published by Wold Meridian (A0.1133711). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
10.72 €
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Various
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Alastair Lodge
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Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
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Wold Meridian
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SheetMusicPlus
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervais…
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Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Phalese, Thoinot Arbeau, Tielman Susato, and William Cornysh. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733832. Published by Wold Meridian (A0.1133721). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances.  You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
10.72 €
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Various
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Alastair Lodge
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Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
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Wold Meridian
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SheetMusicPlus
They Who Decide Fate
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet - Level 5 - Digital Download SKU: A0.912906 Comp…
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Woodwind Ensemble,Woodwind Quartet - Level 5 - Digital Download SKU: A0.912906 Composed by Brandon Nelson. Concert,Contemporary. 93 pages. Brandon Nelson #1954835. Published by Brandon Nelson (A0.912906). Imagine the terrifying prospect of having your fate-indeed, the fate of the entire universe-decided by the fickle whims of seven gods! This was life for all those who dwelled in the ancient society of Sumeria! They Who Decide Fate paints the picture of what living with these gods might have been like for those pitiable mortals. The introduction builds to the dreadful fate theme, which is woven within the rest of the piece. In the first episode, the Eb clarinet is highlighted depicting Enki, the magical, clever Lord of the Earth. Crafty and mischievous, one would not cross this god, so mighty he was said to have created the Tigris and Euphrates rivers between which the entire Sumerian world existed! The full orchestra comes roaring back to represent Shamash, the Lion of Justice. Bringing wrongdoers their just due, he could also be merciful, curing the faithful sick who plead for his mercy. The second episode is gently ushered in by the Basset horn. Featured here is Ninhursag, the mild, nurturing Mother Goddess. It was said that any couple who desired to be fertile would do well to propitiate themselves to herâ?¦ An explosive, percussive jolt fanfares in Inanna, wild, untamed Goddess of Primal Passions! Whether in war or in lust, Inanna stood for all things raw-and ultimately destructive! The low, rumbling voice of the contralto clarinet brings us Anu, Father of the Gods. Ancient and wise, Anu is the manifestation of the heavenly vault. Nanna, the moon god riding on the back of a bull, illuminated the night sky. Sparkling and light colors of the orchestra depict his deft, spry nocturnal motions. The sinuous lines of the Bb clarinet illustrate Enlil, fickle God of Wind and Weather. It is said that it was he who created humans, but lost interest in them and flooded the whole earth. The whole clarinet quartet reprises the fate theme one last time, ending in an exultant flurry, reflecting both the fear and ecstasy that these seven gods inspired in their mortal charges. Learn more about me: bnelsonmusic.wordpress.com.
$89.99
80.38 €
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Flûte, Hautbois, Clarinette, Basson
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Brandon Nelson
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They Who Decide Fate
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Brandon Nelson
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SheetMusicPlus
Gathering - an original hymn for SATB voices
Voix seule
Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.701527 Composed by Kevin G. P…
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Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.701527 Composed by Kevin G. Pace, Krista Mason Pace. Christian,Praise & Worship,Sacred. 2 pages. Kevin G. Pace #3224905. Published by Kevin G. Pace (A0.701527). An original hymn with text by Krista Mason Pace below.YouTube video: https://youtu.be/c9lVXglYbCoTeaching His children, Jesus spoke softly, Gathering all of His followers there. He taught the kingdom of God on this earth Was as man sewing good seeds in fields with great care. Then, while sleeping at night, an enemy came And sowed the tares among the wheat in shame. Soon when the wheat grew, showing great promise, Tares also covered the space all around. Knowing the young roots were tender and new, Then the man, in great wisdom, approached his good ground. Let them both grow together. Harvest time waits. The tares and wheat then gathered to their fates. Now is the harvest. Gather together All the elect from the quarters of earth. Those who will call on the Savior in faith, And in places of holiness stand with true worth. For the angels are waiting for their command. Come gather close to reach His outstretched hand.
$1.99
1.78 €
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Voix seule
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Kevin G
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Gathering - an original hymn for SATB voices
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Kevin G. Pace
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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
6.25 €
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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
1917: The Halifax Disaster
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.1008264 Composed by William Brenn…
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Concert Band - Level 4 - Digital Download SKU: A0.1008264 Composed by William Brenner. Contemporary. Score and parts. 80 pages. William Brenner #5370501. Published by William Brenner (A0.1008264). Halifax was devastated on 6 December 1917 when two ships collided in the city's harbour, one of them a munitions ship loaded with explosives bound for the battlefields of the First World War. What followed was one of the largest human-made explosions prior to the detonation of the first atomic bombs in 1945.(...)In early December, one of the merchant ships in port was the large, Norwegian vessel Imo, en route from Halifax to New York to pick up relief supplies (...) Another was the French munitions ship Mont-Blanc - filled with tons of benzol, the high explosive picric acid, TNT and gun cotton - arriving in Halifax to join a convoy across the ocean.(...)The Imo was departing the harbour on the morning of 6 December 1917 (...) Imo had an experienced, local harbour pilot on board, William Hayes, who knew the navigation rules of the harbour. However, earlier encounters that morning with two inbound vessels moving towards Bedford Basin - both of which Imo had passed starboard-to-starboard - resulted in the unusual position that Imo now occupied, too far to the east (...) The Mont-Blanc had arrived outside Halifax the previous day and anchored overnight at the mouth of the harbour. On the morning of 6 December, the ship was cleared by harbour authorities to proceed toward Bedford Basin. Despite the Mont-Blanc's dangerous cargo, there was no special protocol for the passage of munitions ships in the harbour. Other ships such as the Imo were not ordered to hold their positions that morning until the Mont-Blanc had made safe passage through the port. Francis Mackey, Mont-Blanc's pilot, was guiding the ship inbound on the Dartmouth-side of the Narrows, when he encountered the Imo heading straight towards him in what he believed was Mont-Blanc's lane. Mackey would later maintain that the Imo was moving at an unsafe speed for such a large, unwieldly ship in the harbour, and also that incoming ships (in this case Mont-Blanc) had the right-of-way over outgoing vessels. Regardless of the accuracy of those claims, what is certain is that the Imo was sailing too far to the east, in what should have been Mont-Blanc's path.After a series of whistles and miscommunications between the officers and pilots on the two ships, and failed manoeuvres to avoid a collision, the Imo struck the starboard bow of the Mont-Blanc. After a few moments the two ships parted, leaving a gash in Mont-Blanc's hull and generating sparks that ignited volatile grains of dry picric acid, stored below its decks. (...) The Mont-Blanc exploded at 9:04:35 a.m., sending out a shock wave in all directions, followed by a tsunami that washed violently over the Halifax and Dartmouth shores. More than 2.5 square km of Richmond were totally levelled, either by the blast, the tsunami, or the structure fires caused when buildings collapsed inward on lanterns, stoves and furnaces.Homes, offices, churches, factories, vessels (including the Mont-Blanc), the railway station and freight yards - and hundreds of people in the immediate area - were obliterated. (...) Across Halifax, there were miraculous stories of survival. And equally, stories of tragedy. Many children were killed on their walk to school that morning, or blinded by flying glass. Those that survived the blast stumbled home, only to find their houses shattered, or their parents dead or wounded, among the wreckage. (...) Every year on 6 December, people gather above the Narrows to hear the ringing of the memorial's carillon bells, and to remember the victims of the disaster. www.thecanadianencyclopedia.ca/en/article/halifax-explosion
$22.99
20.53 €
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Orchestre d'harmonie
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William Brenner
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1917: The Halifax Disaster
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William Brenner
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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
3.56 €
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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
Frederick Frahm: Spaces of Night for voice, organ and strings, full score
Orchestre à Cordes
String Orchestra - Level 5 - Digital Download SKU: A0.533560 Composed by Frederick …
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String Orchestra - Level 5 - Digital Download SKU: A0.533560 Composed by Frederick Frahm. Contemporary,Folk,Holiday,Patriotic. Score and parts. 26 pages. Musik Fabrik Music Publishing #3020007. Published by Musik Fabrik Music Publishing (A0.533560). This is the score of this work. The string parts are available on rental from the publisher. Composer's note:On 31 October 1517, Dr. Martin Luther, according to church custom,posted a document presenting 95 theses intended for scholarly debateon the door of the Castle Church of Wittenberg. As a teacher, theologian,and a pastor he found much to be concerned with in the conduct of hismother, the Church. His intent was to begin a conversation over honestgrievances and to persuade those who would lead to take a path moreconsistent with the teachings they espoused.Spaces of Night takes its impetus from this desire to speak truth to power.It's music, with no small sympathy towards the tonal language and dialectof the classic American liturgical tradition, is at times parody and at othertimes anti-parody. It's libretto, while created 100 years ago by a celebratedAmerican author, speaks in our present age to an empire that has lost its way.Its voice is not one of despair and rage,but hope for and commitment to the future of the gathered community.If I should cast off this tattered coat,And go free into the mighty sky;If I should find nothing thereBut a vast blue,Echoless, ignorant —What then?
$25.95
23.18 €
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Orchestre à Cordes
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Frederick Frahm
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Frederick Frahm: Spaces of Night for voice, organ and strings, full score
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Musik Fabrik Music Publishing
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SheetMusicPlus
Frederick Frahm: Spaces of Night for voice and organ
Small Ensemble High Voice,Medium Voice,Organ - Level 5 - Digital Download SKU: A0.53355…
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Small Ensemble High Voice,Medium Voice,Organ - Level 5 - Digital Download SKU: A0.533559 Composed by Frederick Frahm. Concert,Contemporary,Folk. Score and parts. 26 pages. Musik Fabrik Music Publishing #3020003. Published by Musik Fabrik Music Publishing (A0.533559). This is the composer's transcription of the original version for voice, organ and strings. Composer's note:On 31 October 1517, Dr. Martin Luther, according to church custom,posted a document presenting 95 theses intended for scholarly debateon the door of the Castle Church of Wittenberg. As a teacher, theologian,and a pastor he found much to be concerned with in the conduct of hismother, the Church. His intent was to begin a conversation over honestgrievances and to persuade those who would lead to take a path moreconsistent with the teachings they espoused.Spaces of Night takes its impetus from this desire to speak truth to power.It's music, with no small sympathy towards the tonal language and dialectof the classic American liturgical tradition, is at times parody and at othertimes anti-parody. It's libretto, while created 100 years ago by a celebratedAmerican author, speaks in our present age to an empire that has lost its way.Its voice is not one of despair and rage,but hope for and commitment to the future of the gathered community.If I should cast off this tattered coat,And go free into the mighty sky;If I should find nothing thereBut a vast blue,Echoless, ignorant —What then?
$19.95
17.82 €
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Frederick Frahm
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Frederick Frahm: Spaces of Night for voice and organ
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Musik Fabrik Music Publishing
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SheetMusicPlus
O Praise the Gracious Power
Choral (SATB Choir) SKU: HL.232908 Composed by Lloyd Larson. Fred Bock Publications…
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Choral (SATB Choir) SKU: HL.232908 Composed by Lloyd Larson. Fred Bock Publications. Sacred. Octavo. 16 pages. Fred Bock Music Company #BG2638. Published by Fred Bock Music Company (HL.232908). UPC: 888680679576. 6.75x10.5 inches.Lloyd Larson put on his most distinguished and regal robes when he composed this piece. Using a text by the revered theologian, Thomas Troeger, and poet John Oxenham, Larson presents a magnificent theme. The St. Peter hymn tune (In Christ There Is No East Or West) with congregation crowns the anthem beautifully. Scored with optional brass and percussion, this commission praises God and honors our unity in Christ.
$2.65
2.37 €
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Lloyd Larson
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O Praise the Gracious Power
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Fred Bock Music Company
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SheetMusicPlus
Angels Came Singing, sacred choral music
Chorale SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1339986 Composed by…
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1339986 Composed by Kevin G. Pace (ASCAP), Krista Mason Pace. Christian,Christmas,Easter,Praise & Worship,Sacred. 11 pages. Kevin G. Pace #925650. Published by Kevin G. Pace (A0.1339986). A glorious choral arrangement for Christmas or Easter.  Music by Kevin G. Pace.  Text by Krista Mason Pace.Text:Great are the words of prophets of oldWho spoke of a King to come as foretold;A Savior, Redeemer, to rule and to reign;Taking our sorrow, grief, loss, and pain.Angels came singing, sent from aboveRevealing as promised, our Father’s love;Teaching the world of His plan for all menThat through God’s own Son, we’d come home again.Chosen of God, a virgin so fairWas blessed from on high, a Son she would bear,And call His name Jesus, for He was the One;His life to offer, Thy will be done.Angels came singing, sent from aboveDeclaring glad tidings, our Father’s love;Shepherds and wise men would reverently bendFor Jesus was born, the Savior of men. Women did come, their spices prepared;Still grieving the loss of life thus not spared.Then, finding the tomb with the stone rolled awayVoid of His body, cried in dismay.Angles came singing, sent from aboveWhy seek ye the living? Our Father’s LoveRising, thus breaking the death bands to giveA promise of life to all who would live.Seeking for truth, he knelt down to pray;Disturbed by the strife of men in his day.A pillar of light shone around this young boy;Christ and His Father answered in joy.Angels came singing, sent from above;Proclaiming the good news, our Father’s love;Full restoration of truth to the Earth;That all may rejoice, His gift of great worth.This Christmas (Easter) day, I ponder anewHis birth, life, and death; my covenants true,And His resurrection that leads to my own;Prophets still leading, guiding me home.Angels are singing, sent from our homeProtecting our children, loved ones who roam.One day we'll join them to sing in His light.He’s coming again in glory and might.
$1.99
1.78 €
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Chorale SATB
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Kevin G
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Angels Came Singing, sacred choral music
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Kevin G. Pace
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SheetMusicPlus
O Praise the Gracious Power
Parts Choral (Instrumental Parts) SKU: HL.254400 Composed by Lloyd Larson. Fred Boc…
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Parts Choral (Instrumental Parts) SKU: HL.254400 Composed by Lloyd Larson. Fred Bock Publications. Softcover. Fred Bock Music Company #BG2638B. Published by Fred Bock Music Company (HL.254400). UPC: 888680721091. 9.0x12.0x0.14 inches.Lloyd Larson put on his most distinguished and regal robes when he composed this piece. Using a text by the revered theologian, Thomas Troeger, and poet John Oxenham, Larson presents a magnificent theme. The St. Peter hymn tune (In Christ There Is No East Or West)with congregation crowns the anthem beautifully. Scored with optional brass and percussion, this commission praises God and honors our unity in Christ.
$50.00
44.66 €
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Lloyd Larson
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O Praise the Gracious Power
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Fred Bock Music Company
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SheetMusicPlus
Hymns in The Style of the Masters - Volume 2
Piano seul
Piano SKU: HL.8738368 Arr. Michele Murray. Composed by Michele Murray. Piano…
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Piano SKU: HL.8738368 Arr. Michele Murray. Composed by Michele Murray. Piano solos. Fred Bock Publications. Classical, General Worship, Sacred. 41 pages. Fred Bock Music Company #BG0868. Published by Fred Bock Music Company (HL.8738368). ISBN 9780634003660. UPC: 073999383683. 9.0x12.0x0.11 inches.Due to the tremendous popularity and success of the first volume in this series, Michele Murray has supplied another collection of inspired arrangements. These arrangements include reflections of Bach, Schumann, and Liszt. Titles include: Battle Hymn of the Republic * Christ the Lord is Risen Today * Christmas Medley * The Old Rugged Cross * Once in Royal David's City * Patriotic Medley * Turn Your Eyes Upon Jesus * We Gather Together.
Song List: Christ the Lord Is Risen Today (Arr. M. Murray) Christmas Medley (Arr. M. Murray) Once in Royal David's City (Arr. M. Murray) Patriotic Medley (Arr. M. Murray) Turn Your Eyes Upon Jesus (Arr. M. Murrary) We Gather Together (Arr. M. Murray) CHRIST, THE LORD, IS RISEN TODAY (ARR. M. MURRAY) OLD RUGGED CROSS, THE (ARR. M. MURRAY)
$12.95
11.57 €
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Piano seul
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Michele Murray
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Hymns in The Style of the Masters - Volume 2
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Fred Bock Music Company
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SheetMusicPlus
Bethlehem Angel and The First Noel
Small Ensemble Flute,Piano,Voice - Level 3 - Digital Download SKU: A0.889815 Compos…
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Small Ensemble Flute,Piano,Voice - Level 3 - Digital Download SKU: A0.889815 Composed by Ginny Saltzman (Bethlehem Angel) and The First Noel - Traditional. Christmas. Score and parts. 9 pages. Ginny's House of Music #4362443. Published by Ginny's House of Music (A0.889815). *Bethlehem Angel and The First Noel This is a very beautifully flowing presentation which includes both an original work by this composer entitled Bethlehem Angel and an arrangement of The First Noel. It includes scriptures and lyrics. It was written for flute, guitar, voice, and piano accompaniment on Intermediate Level.  It is based on the scriptures Luke 2: 8-11 --- And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid. And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord and Matthew 2:1-10 ---- Now when Jesus was born in Bethlehem of Judaea in the days of Herod the king, behold, there came wise men from the east to Jerusalem, Saying, Where is he that is born King of the Jews? for we have seen his star in the east, and are come to worship him. When Herod the king had heard these things, he was troubled, and all Jerusalem with him. And when he had gathered all the chief priests and scribes of the people together, he demanded of them where Christ should be born. And they said unto him, In Bethlehem of Judaea: for thus it is written by the prophet, And thou Bethlehem, in the land of Judea, art not the least among the princes of Judea: for out of thee shall come a Governor, that shall rule my people Israel. Then Herod, when he had privily called the wise men, enquired of them diligently what time the star appeared. And he sent them to Bethlehem, and said, Go and search diligently for the young child; and when ye have found him, bring me word again, that I may come and worship him also. When they had heard the king, they departed; and, lo, the star, which they saw in the east, went before them, till it came and stood over where the young child was. When they saw the star, they rejoiced with exceeding great joy.Â
$4.99
4.46 €
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Ginny Saltzman
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Bethlehem Angel and The First Noel
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Ginny's House of Music
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SheetMusicPlus
Montenegrin National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.746971 Composed by Montenegrin …
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Full Orchestra - Level 3 - Digital Download SKU: A0.746971 Composed by Montenegrin folk song. Arranged by Keith Terrett. 20th Century,Multicultural,Patriotic,Praise & Worship,Traditional,World. 27 pages. Keith Terrett #5205655. Published by Keith Terrett (A0.746971). The National Anthem of Montenegro arranged for Symphony Orchestra. There are versions for Brass Quintet & String Orchestra in my on-line stores.Oj, svijetla majska zoro (Montenegrin Cyrillic: „Ој, Ñвијетла мајÑка зоро, trans. Oh, Bright Dawn of May) is the official National anthem of Montenegro adopted in 2004. Before becoming the anthem, it was a popular folk song of the Montenegrins, with many variations of its text. The oldest one is dated to the 2nd half of the 19th century, known as Oh, Bright Dawn of Heroism, oh!, a popular Montenegrin folk song.It was played in public for the first time in 1863 in the national theater in Belgrade. It was a component song of the Battle of Grahovo or blood feud in Montenegro (Бој на Грахову или крвна оÑвета у Црној Гори) heroic play in three parts. It is unknown if the text’s authors are also the play’s, namely the following Montenegrin composer/writers: the father of Marko Car Jovan Car and an unknown Obrad Vitković. The play and the Montenegrin folk song was also played/sung in the National Theater again in 1870 and 1876. Its first record in Montenegro itself dates to 1887, when it was included into the regular school program of Montenegrin national songs for pupils in the 3rd grade. It was reconfirmed in the teacher’s plan for Montenegrin schools of 1888, which speculates that it must have been an established folk song for decades by then.Sekule Drljević, party strongman of a minor political party which was active in the Yugoslavian Kingdom in Montenegro known as the Montenegrin Federalist Party, rewrote the text and published it in 1937 in the book of then’s Croatian writer of Montenegrin origins Savić Marković Å tedimlija known as Crvena Hrvatska (Red Croatia), which confounded the thesis not of a Serb ethnic origin of the Montenegrins, which was the dominant one back then, but rather from the Croats. Its name was Eternal Ours… (VjeÄna naÅ¡a). When Nikola Hercigonja wrote down Oh, Bright Dawn of May shortly after WWII ended after 1945, he erroneously concluded that Drljević was the original wholesale author of this song, which also led to its considerable decline in popularity as a Montenegrin folk song altogether.The song survived until today under various names as a popular Montenegrin folk song under the name Oh, Bright Dawn of May (Oj svijetla majska zoro). This version of the song has been one of the several versions proposed in 1993 during the first discussion on the official anthem, however, on which there was no consensus because of the disputed melodic value.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 Love national anthems, then join me on twitter, facebook, instagram & soundcloud for frequent updates on my Olympic anthems!
$36.00
32.15 €
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Orchestre
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Montenegrin folk song
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Keith Terrett
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Montenegrin National Anthem for Symphony Orchestra
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Keith Terrett
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SheetMusicPlus
The Donkey's Song
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1320840 By Althea Wra…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1320840 By Althea Wray. By Althea Wray. Arranged by Althea wrayDaddy Donkey finally spoke up, “Can you help them? She’s about to ha. 21st Century,Children,Christian,Christmas,Contemporary. Score. 3 pages. Water II Wine Publishing #908237. Published by Water II Wine Publishing (A0.1320840). This song is the Donkey's response and request to the animals in the barn who did'nt seem bothered about the tired and hungry couple Mary and Joseph... a bit like the people in Bethlehem duriing that census.....He paused, then brayed sadly. “What can each of you do? What can each of you give?†  Taken from the upcoming story 'The Christmas animal Party'  by Althea 'Thea' Wray and Ruth Fraser. This song can be sung along with the song ' The Christmas Animal Party' also available on  https://www.sheetmusicdirect.com/se/ID_No/1165858/Product.aspx
$3.99
3.56 €
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Piano, Voix et Guitare
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Althea Wray
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The Donkey's Song
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Water II Wine Publishing
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SheetMusicPlus
Two Scenes from The Rubáiyát of Omar Khayyám (Trio for Bb Clarinet, Violin and Piano)
Violon, Clarinette, Piano (trio)
B-Flat Clarinet,Piano,Violin - Level 5 - Digital Download SKU: A0.1208741 Composed …
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B-Flat Clarinet,Piano,Violin - Level 5 - Digital Download SKU: A0.1208741 Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenhart #806841. Published by Adam Lenhart (A0.1208741). Introduction to The Rubáiyát of Omar KhayyámThe Rubaiyat of Omar Khayyam is a Persian poetry collection first put together in 1460 in Shiraz.  It consists of quatrains, four-line poems, with a set of unconventional themes.  The poetry is irreligious and questions the afterlife and God's providence.  It shows keen awareness of the shortness of life and the finality of death. It advises therefore that every fleeting moment of every day should be savored, with wine, lovers and song. The combination of a serious philosophy of life and a carefree attitude has made the poetry popular for centuries.  In 1859, Edward FitzGerald brought out a loose English translation that took the world by storm.  It became the most beloved and widely known poem in the English language for decades until its popularity finally faded in the late twentieth century. Although they were attributed to the great mathematician and astronomer, Omar Khayyam (d. 1131), the poems were by many anonymous hands, and he was just a frame author, akin to Scheherezade in the Arabian Nights.- Dr. Juan Cole, Richard P. Mitchell Collegiate Professor of History at the University of MichiganAbout the CompositionTwo Scenes from The Rubáiyát of Omar Khayyám explores and embodies two of the main themes that carry throughout the quatrains of the poem collection. In FitzGerald's translation, the quatrains follow a day to night cycle. The two movements reflect this by starting off with an abrupt wake up section and ending the piece with a nocturne.  The first movement, Wine, celebrates the camaraderie, joy and chaos that comes through the physical joy of being with friends. The clarinet, violin and piano interact in a conversational way, talking, laughing, and insulting one another in their own independent lines.The second movement is entitled Intimacy and explores the emotional joy of connecting with one another. The movement is set in a waltz style dance and draws influence from Chopin, Liszt and other romantic era composers. This is juxtaposed by youthful and energetic phrases so that the piece embodies all forms of love: young love, years of marriage and even friendship. Each movement has a sense of urgency and density which is present in the rubá'iyát as well, expressing to the reader that our time on Earth is so short and to make the most of each day.---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition, and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Association’s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Men’s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$14.99
13.39 €
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Violon, Clarinette, Piano (trio)
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Adam Lenhart
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Two Scenes from The Rubáiyát of Omar Khayyám
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Adam Lenhart
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SheetMusicPlus
When I Survey the Wondrous Cross
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.976711 Composed by Isaac W…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.976711 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Easter,Sacred. Octavo. 31 pages. WheatMyer Music #4775085. Published by WheatMyer Music (A0.976711). When I Survey the Wondrous Cross, written by the Father of English Hymnody, Isaac Watts, in 1707 and later matched with Lowell Mason’s 1824 tune, HAMBURG, has long stood at the forefront of English hymnody.This arrangement, taken from my Passion Week cantata, Wounded, Bleeding, Still Proceeding, allows the full talent-spectrum of the Body of Christ to contemplate His sacrifice and offer their devotion.The first two stanzas feature an alto/soprano duet, set in a minor key with frequent diminished and augmented chords to reflect the despair and loss of a witness to the crucifixion. The entire third stanza, set for SATB chorus, never really moves off the F minor tonic until the end. That, and the relentless pounding of the bass line, ponders the witnesses anguish and our vicarious experience of it through Scripture. So, sing these stanzas sadly – they are sad! When the choir enters, be sure to observe the swelling crescendos/diminuendos as the sorrow and love mingle together.The fourth stanza offers optional congregational participation and may be used to provide a responsorial to the Word of God or a preparation for the Table. The choir sings this stanza in four part harmony as the congregation joins on the melody. It stays in a major key and closely follows the traditional consonances used in Lowell Mason’s harmonization; thus, the choral parts will feel familiar and the congregational melody will flow naturally. Take the text literally (Love so amazing, so divine, demands my soul, my life, my all.) and sing it firmly, enthusiastically, passionately, but never triumphantly. Sing it as a song of personal devotion to commit all that you have, all that you are, and all that you will ever be, to the one who humbled Himself by becoming obedient to the point of death, even death on a cross (Phil 2:8b) so that we might become the righteousness of God in Him (2 Cor 5:21)The music is well within the grasp of any ensemble competent with traditional SATB anthems. The piano/organ accompaniments are straightforward yet very colorful. When I Survey the Wondrous Cross is an unapologetic Christian worship anthem suitable for sacred services, yet does not compromise on artistic expression.The parts provided in this version include a full score, a piano-vocal octavo (which may be performed alone), and organ and timpani/percussion parts. Neither organ or timpani are required but adding either or both provides a deep and rich experience. Parts for reduced orchestra (strings and single winds) are available separately.
$2.50
2.23 €
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Chorale SATB
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Isaac Watts / Lowell Mason
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Robert Myers
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When I Survey the Wondrous Cross
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WheatMyer Music
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SheetMusicPlus
Hymns of the Faith
Orgue
Organ: 3-staff - Intermediate SKU: LO.70-1620S A Collection for Organ. Compo…
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Organ: 3-staff - Intermediate SKU: LO.70-1620S A Collection for Organ. Composed by Robert Lau. Sacred. Sacred Music Press #70/1620S. Published by Sacred Music Press (LO.70-1620S). ISBN 9780893288396.A glorious collection of some of Christendom's greatest hymns. Varied and tasteful are two adjectives that leap to mind when considering these short but completely musically gratifying settings. Useful as a suite for recital or individually for the sacred service, these artistic arrangements will hold a special place in your repertoire for years to come.
Song List: My Faith Looks Up To Thee How Firm A Foundation Jesus, the Very Thought of Thee Faith of Our Fathers It Is Well With My Soul Lord Jesus, Think On Me
$25.00
22.33 €
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Orgue
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Robert Lau
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Hymns of the Faith
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Sacred Music Press
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SheetMusicPlus
Last Of The Summer Wine Theme
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.850553 Composed by Ronald Hazle…
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Full Orchestra - Level 3 - Digital Download SKU: A0.850553 Composed by Ronald Hazlehurst. Arranged by Kevin Riley. 20th Century,Film/TV. Score and parts. 24 pages. Kevin Riley #457258. Published by Kevin Riley (A0.850553). Composer and conductor Ronnie Hazlehurst, who also produced themes for such series as Are You Being Served?, Yes Minister, and Only Fools and Horses, created the theme for the show. The BBC initially disliked Hazlehurst's theme, feeling it was not proper for a comedy programme to have such mellow music. He was asked to play the music faster for more comedic effect but eventually his original slower version was accepted. A jauntier, upbeat version was played by a brass band in the episode Full Steam Behind. The theme, an instrumental work, featured lyrics three times. The 1981 Christmas special, Whoops, had two verses of lyrics written by Roy Clarke that were performed over the closing credits. The 1983 film, Getting Sam Home, used those two verses, with an additional two and played them over the opening credits. Another altered version was sung during Compo's funeral in the 2000 episode Just a Small Funeral. Bill Owen also wrote a different version of the lyrics but this version was never used during an episode of the show. Composing the score for each episode until his death in 2007, Hazlehurst spent an average of ten hours per episode watching scenes and making notes for music synchronisation. Hazlehurst then recorded the music using an orchestra consisting of a guitar, harmonica, two violins, a viola, cello, accordion, horn, bass, flute, and percussion. The distinctive harmonica was played by Harry Pitch, who had featured in the 1970 one-hit-wonder Groovin With Mr Bloe. The harmonica part is included in this arrangement but it is cued in the Flute 1 part if one is not available.
$50.00
44.66 €
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Orchestre
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Ronald Hazlehurst
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Kevin Riley
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Last Of The Summer Wine Theme
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Kevin Riley
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SheetMusicPlus
Ballet, “THE LITTLE MATCH GIRL”, Op.24, (1977) - (piano score)
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1009194 Composed by A…
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Guitar,Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1009194 Composed by An-lun Huang. 20th Century,Christmas,Classical. Score. 38 pages. DoReMi Edition #594856. Published by DoReMi Edition (A0.1009194). Based on the fairy tale “The Little Match Girl†by Hans Christian Anderson (1805-1875), the famous Danish writer, the Beijing Ballet School of China commissioned An-Lun Huang to compose this ballet in 1977. The play was written by Zhang Dun-yi, and the choreographers were Wu Fu-kang and Huang Buo-hong. The premiere took place in Beijing in 1977. It was performed by the school and the Central Opera House Orchestra, conducted by Zheng Xiao-ying. The music is written in Nineteen Century-Romantic style with some strong Scandinavian flavor. Margot Fonteyn, one of the most important ballet dancers of our age, claimed that “the composer has composed the very, very, very good music for this ballet ! “ She then produced a movie of it, which has been broadcasted by the PBS of U.S.A. in early of eighties. Since the great success of the premiere, this ballet and its music have been widely performed and warmly received. A tape of it was also released in China. This is the story of the ballet: In a little Danish town in the nineteenth century, Betty, a little girl who lost her mother, was selling matches along the street during Christmas time. The sound of the church bell reminded her that the time was quite late, but she was unable to go home until she completed her job. An old man came to light the street lights. He gave her some money and left. Betty tried to sell her matches to a carriage, but the carriage just ran away. Snow fell, cold and hungry, she lit a match on the wall to warm herself. A group of “Fire Fairies†appeared. They danced around her and got her warm. Since they disappeared so quickly, Betty lit another match. She saw a big dining room with a beautiful Christmas tree and a lot of food. While some bus boys were handing her a piece of roasted goose, the typical Danish Christmas food, a nobleman in a portrait hanging on the wall suddenly moved. Everything disappeared again. Betty immediately lit the third match, a “Swan Lake†with a beautiful garden appeared. She met her mother with tears because the mother had passed away for years. Mother got a pair of little red shoes for her as the Christmas gift and danced with her. The “Portrait nobleman†brought the mother out of the scene. Everything was gone but the snow storm. The church bell sounded again, with the morning dawn, the old man came to extinguish the street lights. He found the frozen body of the little girl.
$19.99
17.85 €
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Piano, Voix et Guitare
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An-lun Huang
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Ballet, “THE LITTLE MATCH GIRL”, Op.24,
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DoReMi Edition
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SheetMusicPlus
Toasting Mother Earth
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1255098 Composed by Ross Fid…
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1255098 Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692. Published by Ross Fiddes (A0.1255098). It was in the aftermath of the 2020 summer bushfires in Australia that soprano Ayse Goknur Shanala rang me from Cyprus to suggest I compose a work about climate change, a subject of concern for me.  My research for lyrics did not elicit anything I considered suitable, so I turned to Derek Dowding, a local poet, singer, actor, raconteur, and a person vitally interested in the future of humanity and of the planet.Derek and I had worked together before – he brilliantly performed the role of Abelard in the workshopping and concert performances of my hybrid opera “Abelard and Heloiseâ€, which, in 1997, won the supreme CONDA (City of Newcastle Drama Award)  for ‘Outstanding Achievement in Newcastle Theatre’ against some 200 other stage productions in Newcastle’s bi-centenary year.Derek worked long and late on the lyrics for the work, producing an emotional document covering history, cause and effect.  His words produced musical responses from me which I consider react appropriately to both his words and the subject matter. I hope our listeners will agree.For the musical treatment I had to consider that the length of the work, through-sung, 20+ minutes, required a recurrent grounding to avoid too many thematic ideas getting in the way of the words.  To that end, I created a quasi-reflective section which appears, rondo-style, quite a few times during the length of the piece.  And, for further cohesion, I built an ABA (ternary) section early to address certain word structures.  Mostly, the various sections followed the stanza structure provided by Derek, with some combinations.  My musical style is essentially melodic, but with dramatic and other episodes, be they tonal, astringent, harmonically indecisive and so on.  In building the work I was principally influenced by the impact and flow of the words.The work is quite mammoth for both the singer and the pianist.  I was absolutely delighted that Anna Fraser again premiered a work of mine – in 2015 she marvellously premiered another major composition of mine, reviewed here:  http://soundslikesydney.com.au/reviews/concert-review-the-man-in-the-other-roomacacia-quartetanna-fraser/19830.htmlWe can only hope that the new work ultimately adds to the chorus of warnings and concern about the climactic future that awaits if we continue to ignore or postpone dramatic and urgent attention to addressing the causes of climate change.A living orb cloaked white and blue and greenRevolving and evolving, tight-hugged in orbit flightWe ride her back; dependent, fragile offspring.Suckling all the while …but have we bonded?A world unlike any other world we’ve seenGifted with Water, Air, Earth and perfect Light.The essentials of life. Freely, these gifts she brings.Free for all but how have we responded?                                   Poem© 2020 Derek DowdingRoss FiddesJanuary 2023.
$35.00
31.26 €
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Piano, Voix
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Ross Fiddes
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dependent, fragile offspring
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Toasting Mother Earth
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Ross Fiddes
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SheetMusicPlus
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