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Vous avez sélectionné:
Whatever We Imagine
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Whatever We Imagine (vocal)
Instruments en Do
C Instrument - Level 3 - Digital Download SKU: A0.1303235 By James Ingram. By David…
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C Instrument - Level 3 - Digital Download SKU: A0.1303235 By James Ingram. By David Babyface Foster, Jeremy Michael Lubbock, and Paul Gordon. Arranged by Popnroll 1976. 20th Century,Pop. Lead Sheet / Fake Book. 2 pages. Popnroll 1976 #892835. Published by Popnroll 1976 (A0.1303235). Whatever We Imagine - David Foster (Lead Sheet/Rhodes Intro)This is a lead sheet (with electric piano intro) for Whatever We Imagine, the opening instrumental from the 1985 leader album by the great American producer David Foster.PDF format, 2 pages.Composed by David Foster, Paul Gordon and Jeremy Lubbock[Song description].The introduction is a Rhodes electronic piano solo by Jeremy Lubbock, which is a perfect and chic introduction to the song.After the drums begin to fade in, the piano theme appears.In the chorus part, the synthesizer and brass are in unison, and the latter half of the song is modulated to minor third degree (Ab to B), and it is slowly carried to the ending with a sense of exuberance.The original sound source fades out, but this score ends with a Bmaj7 whole note at the end.The bass playing pattern is based on quarter note + eighth note + quarter note + eighth note throughout the entire piece.
$9.99
9.32 €
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Instruments en Do
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James Ingram
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David Foster, Paul Gordon and Jeremy Lubbock
[Song description]
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Popnroll 1976
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Whatever We Imagine
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Popnroll 1976
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SheetMusicPlus
Requiem
Orchestre de chambre
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin ⢠German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of âletting goâ. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: âI will return the key of my doorâ. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though âin an oceanâ of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: âSo teach us to number our days, that we may apply our hearts unto wisdomâ. This cannot be expressed more plainly.I have begun the requiem with a solo boyâs voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent âlux aeternaâ. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: âEntreià dich, Seele, nun der Zeit, entreià dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgenâ [âTear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ] and later: âUnd die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu lebenâ [âAnd the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: âUnd meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Hausâ [âAnd my soul spread its wings wide. Flew through the still country as if homeward bound.â]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethovenâs late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my ârenewedâ occupation with the âoldâ country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a âhomecomerâ. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
52.23 €
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Home Again Piano Minus Vocal
Piano seul
Piano - Digital Download SKU: A0.1069957 Composed by Steven H. Boothe. Arranged by …
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Piano - Digital Download SKU: A0.1069957 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop. Accompaniment. Duration 230. Boothe Publishing #4633659. Published by Boothe Publishing (A0.1069957). After our first child arrived I realized that I wasn't free any longer. My mind returned to the good old days when I was free to daydream and do whatever it was that I wanted to do. When I was younger I had wanted to grow up to be a bird, a frog, an ant or a baby bee, but I had grown up to be a man, and now I had a wife and a baby son. Things were not the way I had imagined they would be. Now I had to go to work every day to pay the bills, and I didn't even like my job. It felt like I was bound in chains that were unbreakable. There seemed to be no way out, but there was a way out. All I had to do was accept that life had changed, that I had changed, and I needed to make the best of it. After making that decision life got better and better. I realized that the true plan for life was to create our own homes and families, and that sooner or later we will all return to our heavenly home. I love being home, and at the homes of my siblings, friends, and parents. Home is not really a physical place so much as it is where we are surrounded by people who love us. For me, being home is being where I am loved and accepted.
$1.99
1.86 €
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Piano seul
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Steven H
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Ashley Ivers
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Home Again Piano Minus Vocal
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Boothe Publishing
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SheetMusicPlus
Home Again Guitar Minus Vocal
Guitar - Digital Download SKU: A0.1069956 Composed by Steven H. Boothe. Pop. Accomp…
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Guitar - Digital Download SKU: A0.1069956 Composed by Steven H. Boothe. Pop. Accompaniment. Duration 212. Boothe Publishing #4633655. Published by Boothe Publishing (A0.1069956). After our first child arrived I realized that I wasn't free any longer. My mind returned to the good old days when I was free to daydream and do whatever it was that I wanted to do. When I was younger I had wanted to grow up to be a bird, a frog, an ant or a baby bee, but I had grown up to be a man, and now I had a wife and a baby son. Things were not the way I had imagined they would be. Now I had to go to work every day to pay the bills, and I didn't even like my job. It felt like I was bound in chains that were unbreakable. There seemed to be no way out, but there was a way out. All I had to do was accept that life had changed, that I had changed, and I needed to make the best of it. After making that decision life got better and better. I realized that the true plan for life was to create our own homes and families, and that sooner or later we will all return to our heavenly home. I love being home, and at the homes of my siblings, friends, and parents. Home is not really a physical place so much as it is where we are surrounded by people who love us. For me, being home is being where I am loved and accepted.
$1.99
1.86 €
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Steven H
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Home Again Guitar Minus Vocal
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Boothe Publishing
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SheetMusicPlus
Home Again Guitar Vocal Performance
Guitar,Voice - Digital Download SKU: A0.1069974 Composed by Steven H. Boothe. Pop. …
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Guitar,Voice - Digital Download SKU: A0.1069974 Composed by Steven H. Boothe. Pop. Full Performance. Duration 212. Boothe Publishing #4633719. Published by Boothe Publishing (A0.1069974). After our first child arrived I realized that I wasn't free any longer. My mind returned to the good old days when I was free to daydream and do whatever it was that I wanted to do. When I was younger I had wanted to grow up to be a bird, a frog, an ant or a baby bee, but I had grown up to be a man, and now I had a wife and a baby son. Things were not the way I had imagined they would be. Now I had to go to work every day to pay the bills, and I didn't even like my job. It felt like I was bound in chains that were unbreakable. There seemed to be no way out, but there was a way out. All I had to do was accept that life had changed, that I had changed, and I needed to make the best of it. After making that decision life got better and better. I realized that the true plan for life was to create our own homes and families, and that sooner or later we will all return to our heavenly home. I love being home, and at the homes of my siblings, friends, and parents. Home is not really a physical place so much as it is where we are surrounded by people who love us. For me, being home is being where I am loved and accepted.
$1.99
1.86 €
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Steven H
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Home Again Guitar Vocal Performance
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Boothe Publishing
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SheetMusicPlus
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