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Whatever May Come This Is The Way
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Vous avez sélectionné:
Whatever May Come This Is The Way
Partitions à imprimer
10 partitions trouvées
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Whatever May Come This Is The Way
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Don Hodell Chilcote
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Don Hodell Chilcote
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Whatever May Come This Is The
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Don Hodell Chilcote
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1242123 By Don Hodell Chilcote. By Don Hodell Chilcote. Arranged by Don Hodell Chilcote. Film/TV,Multicultural,Thriller,V...
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Piano Solo - Level 4 - SKU: A0.1242123 By Don Hodell Chilcote. By Don Hodell Chilcote. Arranged by Don Hodell Chilcote. Film/TV,Multicultural,Thriller,Video Game,World. Score. 2 pages. Don Hodell Chilcote #837480. Published by Don Hodell Chilcote (A0.1242123). Whatever May Come This Is The Way is for piano solo or ensemble. A indulsion that I improvised on the piano for fun. This is a fun tune that I orchestrated and the piece has a distinct and unique introduction, and 2 page arrangement is challenging but not overly so, and well worth the effort to learn. Fun tune to learn and improvise over.
$2.98
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
CHRISTMAS IS HERE (New festive songs & traditional carols)
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Chorale Unison
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INTERMÉDIAIRE
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Noël
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Dennis A
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D
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CHRISTMAS IS HERE
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Tyne Music
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SheetMusicPlus
Choral Choir (Unison) - Level 3 - SKU: A0.999354 Composed by Dennis A. Westgate. Arranged by D.A. Westgate. Children,Christmas,Contemporary,Instructiona...
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Choral Choir (Unison) - Level 3 - SKU: A0.999354 Composed by Dennis A. Westgate. Arranged by D.A. Westgate. Children,Christmas,Contemporary,Instructional,Sacred. Octavo. 47 pages. Tyne Music #5981485. Published by Tyne Music (A0.999354). CHRISTMAS IS HERE is the second album of my own interpretation of the festive season expressed in music. The theme is based on the many and varied greeting cards we send and receive, from the traditional Christmas message, to the picturesque and jovial. The songs I’ve selected are from old and well-loved traditional carols,along with some from my own Christmas musicals, plus others I’ve composed specifically for this album They cover all the moods of this joyful occasion and could even be performed as a complete evening’s entertainment, or alternatively, individual numbers may be used for those of you looking for a little originality to spice up your existing repetoire. Whatever you are planning in the way of your Christmas celebrations, I’m sure you will find ‘Christmas is Here a new enjoyable work from TYNE MUSIC to add to your Christmas collection. This album includes the Piano & Vocal Score + separate lyricsFor full information please see my website:- https://www.tynemusic.com/christmas-is-hereP.S. Owing to the high cost in orchestration The music is only available as a piano score with lyrics and chords. However this is reflected in the price. You would have to add your own instrumentation.SONG TITLES 1) Christmas is Here 2) Today is Born a King 3) *Away in a Manger 4) The First Nativity 5) *Once in Royal David’s City 6) A Christmas Calypso 7) *O Come all ye Faithful 8) Thoughts of Christmas 9) *Silent Night 10) Hey Ding a Dong 11) *Jingle Bells 12) Mister Santa Claus
$10.00
Tropical Cafe - at the Resort for Sxophone Quartet (optional Piano & Percussion)
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE
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Mari Miura
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Katsuo Mizushina
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Tropical Cafe - at the Resort
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FOSTERMUSIC.JP Digital Publishing
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SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.1477423 Composed by Mari Miu...
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.1477423 Composed by Mari Miura. Arranged by Katsuo Mizushina. Classical,Contest,Festival. 79 pages. FOSTERMUSIC.JP Digital Publishing #1054001. Published by FOSTERMUSIC.JP Digital Publishing (A0.1477423). Tropical Cafe - at the Resort This piece is originally in a flute duet and piano version, arranged by Katsuo Mizushina for saxophone quartet.The suite is inspired by a story in a café at a resort, but can also be performed as excerpts.We would also be happy if the performers could freely enjoy the piece by adding piano and percussion instruments for optional parts and ad-libbing.Please imagine your favorite café and play it. (Mari Miura)Click here for piano accompaniment sound files.A clear blue sky.Reflected in a sea of sapphire.Waves lapping on the dazzling white of the beach glimmer in the sunlight.The Tropical Cafe, a charming building full of tourists on the shore.It has a mysterious power that transports you into the world of whatever you order.Word of its power soon spread, and now business is booming.But who will visit today? I.Bossa Nova on the Beach Today’s first customers are a group of girls who came to the beach for a holiday.“We need something to match our excitement!”“What could capture the radiance of the sun reflecting on the beach?”They’re having the time of their lives as they decide what to order.“This would be perfect!”One of the girls points out the Beach Bossa Nova. II.Anniversary Waltz At high noon, an elderly couple walks in.“Today is our wedding anniversary.”“We always talked about returning to this beach after we got married here, but we never got round to it.”“Until today!”The sun shining. Seagulls soaring across the sky. Waves gently lapping the shoreline.It was exactly as they’d remembered.Just like the waltz they danced at their wedding, they order the Anniversary Waltz. III.Songs of Nostalgia As the sun begins to set in the west, a customer dressed in unfamiliar clothes enters the cafe.“I wonder where this sea leads to.”The sun shines on half of his face, casting a long shadow.Thinking of his hometown, he gazes at the menu. His eyes tinged with sorrow, he comes across the Song of Nostalgia. IV.Happy Samba Flaming torches are lit as the sun falls beyond the horizon.When you feel a little lonesome as an exciting day draws to a close, treat yourself to the cafe’s most uplifting item.The Happy Samba!May tomorrow be filled with happiness.Click here for other works by Mari Miura.
$49.99
Lesson Plan & Manuscript Book
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Eric Bolvin
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Lesson Plan & Manuscript B
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ERIC V BOLVIN
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drums,English Horn,Euphoni...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drums,English Horn,Euphonium,Flute,Harmonica,Harp,Marimba,Oboe,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - SKU: A0.829070 Composed by Eric Bolvin. Instructional,Standards. Score and parts. 78 pages. ERIC V BOLVIN #3579873. Published by ERIC V BOLVIN (A0.829070). All teachers and students can use this book. It is simply an outline for developing a consistent practice routine. Sections A and B should consist of exercises that are for the instrument. For trumpet this may include flexibility, long tones, scales, arpeggios, buzzing, pedal tones or any other technical exercise. Sections C, D and E should be used for assignments concerning music. These could include etudes, jazz transcriptions, orchestral excerpts, concertos, ensemble parts or any other musical application. The indications for REST are very important for all brass players. You must always rest as much as you play during the A and B sections of the lesson.This is the warm-up section of your routine and you will feel better if you take your time during these first and most important steps. If you become fatigued during parts A or B, you are not resting enough and shouldstart fresh the next day, all the while considering the fact that you have not rested properly.The opposing manuscript page is for writing scales, exercises, tunes, licks, notes, or whatever you wish to write there.The book also has a space at the bottom for students to write down how much time they practice each day.
$13.95
Requiem
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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
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - 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 “letting 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: “I 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 “in an ocean†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: “So 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 boy’s 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 “lux 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: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear 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: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And 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: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And 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 Beethoven’s 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 “renewed†occupation with the “old†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 “homecomerâ€. 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
Futility [Horn Transcription]
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Cor
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Benjamin Giesbrecht
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Futility [Horn Transcription]
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Benjamin Giesbrecht
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SheetMusicPlus
French Horn Solo - SKU: A0.1025113 Composed by Benjamin Giesbrecht. Contemporary,Dance,Pop. Individual part. 3 pages. Benjamin Giesbrecht #4727665. Publ...
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French Horn Solo - SKU: A0.1025113 Composed by Benjamin Giesbrecht. Contemporary,Dance,Pop. Individual part. 3 pages. Benjamin Giesbrecht #4727665. Published by Benjamin Giesbrecht (A0.1025113). Note: Performance will also require the purchase of Futility (Recorded Accompaniment Track). I apologize, but there is no way to combine the two into one package on this site.Full Title: Futility for Horn and Recorded AccompanimentOn escaping commercial musicPerformance Directions:Some degree of acting is required, as the performer is asked to shake their head, leave the stage, and throw pages off their stand. Performers are encouraged to act out the struggle in additional ways to those marked in the score. Use whatever combination of fingerings/grace notes, lip bends, and right hand technique you are comfortable with to achieve the closest effect to a trombone slide for the section at 21.Program Notes from the score:Transcribed from the original for trombone, Futility is a work embodying the struggle of a single musician to overcome the influence of commercialized music. We are inundated with commercial music and exposure to it is inescapable, thus it effects every musician in some form. Futilityfeatures an electronic track as accompaniment that was composed using commercially available audio loops and automatic beat generators-thus every sound the performer struggles against is both musically and literally commercial. The performer begins with some tentative entrances, moving towards an emulation of the electronic background. Extra copyright information: The purchaser may copy pages if they are needed to achieve successful performance(s) and are used by a sole performer. (e.g. an extra first page to throw, or an extra page for offstage.)
$3.00
Staines Morris
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Anonymous
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Gordon Jackson
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Staines Morris
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Gordon Jackson
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SheetMusicPlus
Small Ensemble Bouzouki,Guitar,Harpsichord,Mandolin,Violin - SKU: A0.1017678 Composed by Anonymous. Arranged by Gordon Jackson. Baroque,Celtic,Classical...
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Small Ensemble Bouzouki,Guitar,Harpsichord,Mandolin,Violin - SKU: A0.1017678 Composed by Anonymous. Arranged by Gordon Jackson. Baroque,Celtic,Classical,Folk,Irish,Multicultural,World. Score and parts. 4 pages. Gordon Jackson #6436745. Published by Gordon Jackson (A0.1017678). Staines MorrisThe song, Staines Morris, is very well known by singers of traditional songs. It’s a 17th century song. It’s a 19th century song. Actually, it’s both! The lyrics were certainly published, and probably written, by Robert Cox for his play Actaeon and Diana, published in 1656. The tune was first published in John Playford’s The English Dancing Master in 1651. There is no evidence that, in the 17th century, the lyrics were sung to this melody. That didn’t happen for two hundred years, when William Chappell put the two together for his Popular Music of the Olden Time, vol. 1 (1859). I have added chords to the melody. Whilst humming the tune to myself, I found myself moving into 6/8 time, and that inspired me to compose a galliard based on it, complete with ‘divisions’ (runs of semiquavers or 32nd notes) and counterpoint. The song melody and the galliard can be played separately or as parts of one piece, perhaps with the galliard played between two of the verses. I put the galliard in A minor, to provide a contrast with the D minor song melody, but play them in whatever key takes your fancy. I have also added below the lyrics, as most often sung today.Come ye young men, come alongWith your music, dance and songBring your lasses in your handsFor ’tis that which love commands Then to the Maypole haste away For ’tis now our holidayIt is the choice time of the yearFor the violets now appearNow the rose receives its birthAnd the pretty primrose decks the earthAnd when you well reckoned haveWhat kisses you your sweetheart gaveTake them all again, and moreIt will never make them poorWhen you thus have spent your timeAnd the day be past its primeTo your beds repair at nightAnd dream there of your day’s delight
$4.99
Christmas Flash Mob 2017
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Noël
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Various, Traditional
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Petey C
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Christmas Flash Mob 2017
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Petey C.
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SheetMusicPlus
Brass Ensemble Horn - Level 2 - SKU: A0.873886 Composed by Various, Traditional. Arranged by Petey C. Christmas. Score and parts. 8 pages. Petey C. #347...
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Brass Ensemble Horn - Level 2 - SKU: A0.873886 Composed by Various, Traditional. Arranged by Petey C. Christmas. Score and parts. 8 pages. Petey C. #3479829. Published by Petey C. (A0.873886). This arrangement was made for the Edmonton Horn Choir, created and led by Mary Fearon. The arrangement was specifically meant for a flash mob event in City Center Mall in Edmonton, Alberta, Canada. It is based off of the traditional holiday, public domain songs, The First Noel, Jingle Bells, It Came Upon a Midnight Clear, Silent Night and Dona Nobis Pacem. It is designed with a beginning and ending meant to facilitate the casual assembling and disassembling of a group. There are 4 parts. All beginner in difficulty, save for maybe few measures of bass clef. All can be performed within a 2 octave range. It is relatively short. Each part fits on one page so it can be taped to the back of a fellow flash mobber. The manner of entering and exiting can be experimented with. The way we did it was each horn part entering a full phrase plus 2 measures apart and done in a round, then 2nd ending taken on cue. It sounds more pleasant and orderly this way. Originally was meant for people to start at the beginning of any bar during The First Noel and for it to become kind of dense and ambiguous until everybody went to the second ending at the same time. Whatever way you want though. Same with the exit for Dona Nobis Pacem.
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WWJD (If He Was You)
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C Instrument - Level 3 - SKU: A0.1283052 By Les Blachut. By Les Blachut. Arranged by Les Blachut. Jazz,Latin,Multicultural,Praise & Worship,Religious,Wo...
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C Instrument - Level 3 - SKU: A0.1283052 By Les Blachut. By Les Blachut. Arranged by Les Blachut. Jazz,Latin,Multicultural,Praise & Worship,Religious,World. Lead Sheet / Fake Book. 1 pages. Les Blachut #874343. Published by Les Blachut (A0.1283052). Ref. WWJD means What Would Jesus Do WWJD If He was youWWJD What Would Jesus Do WWJD If He was you 1. The death and sin are gone, I’m free like flying birdsTo appreciate your saving grace, I ask myself these words 2. Whatever is to come, and what is here to stayI face with dignity because, I follow in your way 3. My Lord throughout this day, I’ll try to follow youIt may not be an easy task, so please come help me too 4. And let me dedicate, each new day coming throughTo you my friends with love and peace, as Jesus liked to do.
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Whatever May Come This Is The Way
