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Vous avez sélectionné:
With Respect in Creation
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With Respect in Creation
String Ensemble Choir,Electric Bass Guitar,Piano Accompaniment - Level 3 - Digital Downloa…
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String Ensemble Choir,Electric Bass Guitar,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1105283 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary. Full Performance. Duration 172. David Kai #708528. Published by David Kai (A0.1105283). A hymn based on the United Church of Canada's A New Creed and Romans 8, calling for the care of creation. WITH RESPECT IN CREATION (All Creation Groans) Words and music by David Kai ©2012 All creation groans as earth, our fragile home turns in paths that lead to devastation, Fish and bird and tree, threatened until we will live with respect in creation. Skies and seas and land, created for God’s plan, not for our own selfish domination, Drought or rising sea threaten until we will live with respect in creation. All creation sighs, we hear the Spirit’s cries, calling for rebirth and restoration, warmth for every heart, healing of each part that lives with respect in creation. All creation sings, let fields and forests ring as we make this holy declaration, Mountains, lakes, rejoice, joining every voice to live with respect in creation, We’ll live with respect in creation.
$1.99
1.83 €
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David Kai
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David Kai
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With Respect in Creation
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David Kai
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SheetMusicPlus
With Respect in Creation (instrumental)
String Ensemble Choir,Electric Bass Guitar,Flute,Piano Accompaniment - Level 3 - Digital D…
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String Ensemble Choir,Electric Bass Guitar,Flute,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1105289 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary. Accompaniment. Duration 164. David Kai #708534. Published by David Kai (A0.1105289). A hymn based on the United Church of Canada's A New Creed and Romans 8, calling for the care of creation. This version is for accompanying a soloist, group or congregation. WITH RESPECT IN CREATION (All Creation Groans) Words and music by David Kai ©2012 All creation groans as earth, our fragile home turns in paths that lead to devastation, Fish and bird and tree, threatened until we will live with respect in creation. Skies and seas and land, created for God’s plan, not for our own selfish domination, Drought or rising sea threaten until we will live with respect in creation. All creation sighs, we hear the Spirit’s cries, calling for rebirth and restoration, warmth for every heart, healing of each part that lives with respect in creation. All creation sings, let fields and forests ring as we make this holy declaration, Mountains, lakes, rejoice, joining every voice to live with respect in creation, We’ll live with respect in creation.
$1.99
1.83 €
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David Kai
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David Kai
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With Respect in Creation
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David Kai
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SheetMusicPlus
With Respect in Creation (SATB anthem)
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893840 Composed by Da…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893840 Composed by David Kai. Christian,Sacred. Score. 6 pages. David Kai #5301983. Published by David Kai (A0.893840). A hymn based on the United Church of Canada's A New Creed and Romans 8, calling for the care of creation. Words and music: David Kai Tune: New DenverThis is an SATB arrangement of the hymn, however the author allows the copying of this music for one church choir. Please print of project the words during worship and report use to One License or CCLI.All creation groans as earth, our fragile home, turns in paths that lead to devastation,Fish and bird and tree, threatened until we will live with respect in creation. Skies and seas and land, created for God’s plan, not for our own selfish domination, Drought or rising sea threaten until we will live with respect in creation.All creation sighs, we hear the Spirit’s cries, calling for rebirth and restoration,warmth for every heart, healing of each part that lives with respect in creation. All creation sings, let fields and forests ring, as we make this holy declaration, Mountains, lakes, rejoice, joining every voice, to live with respect in creation, We’ll live with respect in creation.www.sites.google.com/site/davidwkaismusic
$15.00
13.82 €
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Piano, Voix et Guitare
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David Kai
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With Respect in Creation
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David Kai
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SheetMusicPlus
With Respect in Creation (accompaniment)
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893839 Composed by Da…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893839 Composed by David Kai. Christian,Sacred. Score. 2 pages. David Kai #5301975. Published by David Kai (A0.893839). A hymn based on the United Church A New Creed and Romans 8, calling for the care of creation.
$3.00
2.76 €
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Piano, Voix et Guitare
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David Kai
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With Respect in Creation
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David Kai
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SheetMusicPlus
'Re-Creation'
Orchestre à Cordes
String Orchestra - Digital Download SKU: A0.1022594 Composed by Craig Michael Davis…
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String Orchestra - Digital Download SKU: A0.1022594 Composed by Craig Michael Davis. 20th Century,Contemporary. Score and parts. 11 pages. Jack Harrison Inc. #50957. Published by Jack Harrison Inc. (A0.1022594). 'Re-Creation' Program Notes What is time, and where did it come from? These two questions consumed my thought process while writing Re-Creation. Upon completing the piece, I was no closer to answering those questions, but what I could answer became clear: could I write a piece in which time ceases to exist? In order to do this, I decided early on to throw out conventional notation that tends to restrict most performers. As my thought process evolved, I began contemplating the idea of juxtaposing the continuum of timelessness against the traditional view of time. Not only did this free me from the confines of a specific time, it opened up the entire spectrum of time, creating the possibility of infinity and the eternal existence of the continuity of time that invariably existed from the earliest sketches of this piece. The early sketches of this piece were written in my coastal Californian studio during the summer months of 2014, and because of this, Re-Creation represents not only a freedom of time, but also a sound world unique to California’s breathtaking coast. However, the impetus for this piece was the opening chapters of the book of Genesis, portraying the creation of the world in seven days. In this respect, the usage of three and seven play and important roll in the overall structure of this piece. Re-Creation was also inspired by a vacation I had taken a year before where I drove up the coast, stopping in small towns periodically, to collect poems from local authors. One collection of poems from Jeanie Greensfelder entitled, Biting the Apple, caught my attention. Reading through the poems, I began to realize that each poem was unique in that it marked a special time and place in the authors life, ultimately providing the reader with an autobiographical time capsule. The arch of the author’s life was thus on display for the world to read inevitably transforming her life, rather than her work, into the work of art. My hope for The Creation is that it portrays a snapshot of the Californian coast in which it was written, so that it can have a life of it’s own, free from the confines of it’s author and any concert hall it is performed in.
$15.00
13.82 €
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Orchestre à Cordes
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Craig Michael Davis
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'Re-Creation'
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Jack Harrison Inc.
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SheetMusicPlus
The Process Of Creation Suite
Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081838 Compo…
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Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081838 Composed by Horace Silver. Arranged by George Kaplan. This edition: Interactive Download. Jazz. Score and parts. 5 pages. Duration 25. George Kaplan #4Fx29LqIYqPsRCeyOfsxjs. Published by George Kaplan (A0.1081838). Key: G major.Composed of 2 side-long suites, Silver 'n Wood features his regular touring front end of Tom Harrell on Trumpet and Bob Berg on tenor together with Ron Carter and Al Foster (both of whom didn't tour with Horace). Wade Marcus orchestrated the brass and reed overdubs according to Horace's exacting charts, doing a wonderful job. What stands out is the quality of the 8 compositions: unsurpassed. The record is long at about 48 minutes but immensely rewarding in all respects.
$9.99
9.21 €
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Horace Silver
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George Kaplan
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The Process Of Creation Suite
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George Kaplan
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SheetMusicPlus
The Process Of Creation Suite
Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081858 Compo…
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Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081858 Composed by Horace Silver. Arranged by George Kaplan. This edition: Interactive Download. Jazz. Score and parts. 4 pages. Duration 48. George Kaplan #1iaCvuKkfEHODGgoNuqBzA. Published by George Kaplan (A0.1081858). Key: Db major.Composed of 2 side-long suites, Silver 'n Wood features his regular touring front end of Tom Harrell on Trumpet and Bob Berg on tenor together with Ron Carter and Al Foster (both of whom didn't tour with Horace). Wade Marcus orchestrated the brass and reed overdubs according to Horace's exacting charts, doing a wonderful job. What stands out is the quality of the 8 compositions: unsurpassed. The record is long at about 48 minutes but immensely rewarding in all respects.
$9.99
9.21 €
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Horace Silver
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George Kaplan
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The Process Of Creation Suite
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George Kaplan
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SheetMusicPlus
The Process Of Creation Suite
Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081887 Compo…
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Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081887 Composed by Horace Silver. Arranged by George Kaplan. This edition: Interactive Download. Jazz. Score and parts. 11 pages. Duration 62. George Kaplan #6c63vhiSltK9DHdn3xlZD. Published by George Kaplan (A0.1081887). Key: D major.Composed of 2 side-long suites, Silver 'n Wood features his regular touring front end of Tom Harrell on Trumpet and Bob Berg on tenor together with Ron Carter and Al Foster (both of whom didn't tour with Horace). Wade Marcus orchestrated the brass and reed overdubs according to Horace's exacting charts, doing a wonderful job. What stands out is the quality of the 8 compositions: unsurpassed. The record is long at about 48 minutes but immensely rewarding in all respects.
$9.99
9.21 €
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Horace Silver
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George Kaplan
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The Process Of Creation Suite
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George Kaplan
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SheetMusicPlus
The Process Of Creation Suite
Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081947 Compo…
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Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081947 Composed by Horace Silver. Arranged by George Kaplan. This edition: Interactive Download. Jazz. Score and parts. 8 pages. Duration 101. George Kaplan #2uIrVF7pGzuY7eR4IpeXm8. Published by George Kaplan (A0.1081947). Key: C major.Composed of 2 side-long suites, Silver 'n Wood features his regular touring front end of Tom Harrell on Trumpet and Bob Berg on tenor together with Ron Carter and Al Foster (both of whom didn't tour with Horace). Wade Marcus orchestrated the brass and reed overdubs according to Horace's exacting charts, doing a wonderful job. What stands out is the quality of the 8 compositions: unsurpassed. The record is long at about 48 minutes but immensely rewarding in all respects.
$9.99
9.21 €
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Horace Silver
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George Kaplan
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The Process Of Creation Suite
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George Kaplan
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Det förlorade paradiset
Chorale TTBB
SATB chorus and reciter - Digital Download SKU: BJ.1427 Das verlorene Paradies
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SATB chorus and reciter - Digital Download SKU: BJ.1427 Das verlorene Paradies. Composed by Kjell Perder. A paradise lost – A choral work in honour of Beethoven. Secular. Octavo. 24 pages. Bo Ejeby Forlag - Digital #1427. Published by Bo Ejeby Forlag - Digital (BJ.1427). 8.27 x 11.7 inches.In the symphony popularly known as the Pastoral, Beethoven delineates his deep love for nature, for the peace of the countryside along with the drama of a thunderstorm. Little could he know how industrialism, urbanisation, exploitation and a general lack of respect would come to be a threat to Mother Earth. When we hear the nightingale, the cuckoo, and the rumbling of thunder in Beethoven's sixth symphony, the aim of the composer is to express his emotions with regard to these sounds of nature rather than imitate them (Mehr Empfindung als Malerei!). Yet the Pastoral Symphony became a model for 19th century programme music composers who wished to renew the symphonic format with storytelling and a freer artistic idiom. The vocal work Det forlorade paradiset (The lost paradise) makes reference to Beethoven's ontologically anchored love for Creation, but also to the fundamental tension between the idyllic and encroaching threats, the very factors that give the Pastoral Symphony its richness and inevitability. The lyrics have nothing to do with John Milton's famous epos Paradise Lost, they foretell an approaching apocalypse created by mankind in this age of pollution and climate change. The choral text consists of fragments of Schiller's Ode an die Freude (used by LvB in his 9th Symphony). A few quotes by Beethoven will be recited as well.The basic principal of this composition is to present soothing parallel - tonally based - streams of nature sounds and idyllic surroundings with the gathering of ominous clouds of approaching disaster: ferocious fires, torrents of rain and stormy winds (where the singers make use of clusters, chanting, growl, stamping their feet, etc). Doch mehr Empfindung als Malerei! (emotion rather than mere imitation). A nod or two to Mr. Beethoven by way of droning and using chromatic runs. The performance can be choreographed for extra impact, but it is equally possible to perform the music as a concert piece. - Kjell Perder.
$6.40
5.9 €
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Chorale TTBB
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Kjell Perder
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Det förlorade paradiset
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Bo Ejeby Forlag - Digital
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SheetMusicPlus
What Would Nina Simone Say? For Soprano Sax & Organ (9'50")
Saxophone et Orgue
Instrumental Duet Instrumental Duet,Organ,Soprano Saxophone - Level 5 - Digital Download
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Instrumental Duet Instrumental Duet,Organ,Soprano Saxophone - Level 5 - Digital Download SKU: A0.981222 Composed by Judith Cloud. Contemporary. Score and parts. 24 pages. Judith Cloud #6690537. Published by Judith Cloud (A0.981222). What Would Nina Simone Say? For Soprano Sax and Organ (9'50)Program NotesI became interested in Nina Simone in the spring of 2018. She was born Eunice Waymon in Tryon, North Carolina, my own hometown. I knew little about her while I was growing up. Later I heard she was an activist and the sentiment around town I observed was that there was far from a feeling of pride about who Nina Simone was. If that really was the case (and I have no proof of it) there was a dramatic change with the creation of The Nina Simone Project in 2006. I was still ignorant of this, having lived in Arizona for most of my adult life. But researching Simone led me to an immense feeling of pride for my hometown when I read about the support she had from the white community in the 1940’s. Without that encouragement and financial support, as well as artistic support from a local piano teacher, Muriel Mazzanovich, Mrs. Mazzy, as she was called and who Nina treasured and respected all of her life, Nina Simone would never have reached the world with her unique prodigious musical talent. She was a diva by all counts and her original compositions reflect a balance of words with music that is far superior to what her contemporaries were creating. A bronze sculpture of her by Zenos Frudakis now stands on Main Street in Tryon. How can you be an artist and not reflect the times? Simone asked in an interview. That to me is the definition of an artist. The feminist writer Germaine Greer declared Every generation has to discover Nina Simone. She is evidence that female genius is real. What would Nina Simone say today? I think she’d be mad as hell and screaming about revolution, probably still advocating for the use of violence. I’ve used some of Simone’s energetic and compelling motives in this composition. It is my own tribute to her genius and to how she gave to the world so much even though she was plagued with agonizing physical and mental ailments. That suffering seems to me an undercurrent in each video I have watched of her concerts. What I would give to have been in her presence for one of those concerts! She embodied music as an art form, revering her musical teachers, Bach, especially. That she never achieved her main goal of becoming the first female African-American classical pianist of world stature is perhaps not so sad when you think of how many more people she moved with her talent expressed in jazz and folk popular idioms. But she was prone to violence and many people, even those closest to her, were often fearful of her rage. She was misunderstood for so many years and it was only in the last two decades of her life that her moods were somewhat controlled through use of prescription drugs. The musical life that began for Eunice Waymon when she was seven years old playing the piano and organ for services at St. Luke’s C.M.E. Church (where her mother was the preacher) in Tryon, N.C. traversed many cities in many countries. She died at the age of 70 in 2003 in Carry-le-Rouet, France.
$15.00
13.82 €
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Saxophone et Orgue
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Judith Cloud
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What Would Nina Simone Say? For Soprano Sax & Organ
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Judith Cloud
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SheetMusicPlus
I want a princess
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.943755 Composed by Folk, Karaite, a…
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Piano Solo - Level 4 - Digital Download SKU: A0.943755 Composed by Folk, Karaite, and Panagiotis Tountas. Arranged by The Eastern Piano Project, Nikos Ordoulidis. Folk,Jewish,World. Score. 4 pages. Nikos Ordoulidis #4362697. Published by Nikos Ordoulidis (A0.943755). A melody recorded in various places and times, such as Lithuania, Serbia, Romania, USA, Greece, Belarus and more, since 1910s and up to 1980s.The Eastern Piano ProjectThe position of the piano within classical studies is linked to its emblematic role in the history of Western music, as well as with the respective conservatism that derives from this. An alternative approach, having the present as a pillar, causes, therefore, a resurgence of interest in young students, pianists and the audience. The Eastern Piano Project focuses on urban popular repertoires, moving on two inter-dependable axes: the creation of a unique pianistic repertoire, and the development of a performance practice, both of which have identifiable characteristics. http://www.eastern-piano.com
$2.00
1.84 €
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Piano seul
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Folk, Karaite, and Panagiotis Tountas
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I want a princess
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Nikos Ordoulidis
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SheetMusicPlus
NIhavend longa
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.943757 Composed by Kevser Hanım.…
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Piano Solo - Level 4 - Digital Download SKU: A0.943757 Composed by Kevser Hanım. Arranged by Nikos Ordoulidis. Contemporary,Folk,Standards,World. Score. 5 pages. Nikos Ordoulidis #6118983. Published by Nikos Ordoulidis (A0.943757). Ottoman classical musicThe Eastern Piano ProjectThe position of the piano within classical studies is linked to its emblematic role in the history of Western music, as well as with the respective conservatism that derives from this. An alternative approach, having the present as a pillar, causes, therefore, a resurgence of interest in young students, pianists and the audience. The Eastern Piano Project focuses on urban popular repertoires, moving on two inter-dependable axes: the creation of a unique pianistic repertoire, and the development of a performance practice, both of which have identifiable characteristics.http://www.eastern-piano.com.
$2.00
1.84 €
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Piano seul
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Kevser Hanım
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Nikos Ordoulidis
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NIhavend longa
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Nikos Ordoulidis
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SheetMusicPlus
The dance of the piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.943752 Composed by The Eastern Pian…
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Piano Solo - Level 3 - Digital Download SKU: A0.943752 Composed by The Eastern Piano Project, Nikos Ordoulidis. Folk,Instructional,Standards,World. Score. 6 pages. Nikos Ordoulidis #4361703. Published by Nikos Ordoulidis (A0.943752). The Eastern Piano ProjectThe position of the piano within classical studies is linked to its emblematic role in the history of Western music, as well as with the respective conservatism that derives from this. An alternative approach, having the present as a pillar, causes, therefore, a resurgence of interest in young students, pianists and the audience. The Eastern Piano Project focuses on urban popular repertoires, moving on two inter-dependable axes: the creation of a unique pianistic repertoire, and the development of a performance practice, both of which have identifiable characteristics. http://www.eastern-piano.com
$2.00
1.84 €
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Piano seul
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The Eastern Piano Project, Nikos Ordoulidis
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The dance of the piano
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Nikos Ordoulidis
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SheetMusicPlus
Czerny’s coat
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.943756 Composed by Panagiotis Tount…
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Piano Solo - Level 4 - Digital Download SKU: A0.943756 Composed by Panagiotis Tountas. Arranged by The Eastern Piano Project, Nikos Ordoulidis. Classical,Folk,Instructional,Standards,World. Score. 6 pages. Nikos Ordoulidis #4366244. Published by Nikos Ordoulidis (A0.943756). The Eastern Piano ProjectThe position of the piano within classical studies is linked to its emblematic role in the history of Western music, as well as with the respective conservatism that derives from this. An alternative approach, having the present as a pillar, causes, therefore, a resurgence of interest in young students, pianists and the audience. The Eastern Piano Project focuses on urban popular repertoires, moving on two inter-dependable axes: the creation of a unique pianistic repertoire, and the development of a performance practice, both of which have identifiable characteristics. http://www.eastern-piano.com.
$2.00
1.84 €
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Piano seul
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Panagiotis Tountas
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Czerny’s coat
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Nikos Ordoulidis
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SheetMusicPlus
Beyond the meadows
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.943754 Composed by Dodecanese, Folk…
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Piano Solo - Level 4 - Digital Download SKU: A0.943754 Composed by Dodecanese, Folk, and Greece. Arranged by The Eastern Piano Project, Nikos Ordoulidis. Folk,World. Score. 5 pages. Nikos Ordoulidis #4362695. Published by Nikos Ordoulidis (A0.943754). The Eastern Piano ProjectThe position of the piano within classical studies is linked to its emblematic role in the history of Western music, as well as with the respective conservatism that derives from this. An alternative approach, having the present as a pillar, causes, therefore, a resurgence of interest in young students, pianists and the audience. The Eastern Piano Project focuses on urban popular repertoires, moving on two inter-dependable axes: the creation of a unique pianistic repertoire, and the development of a performance practice, both of which have identifiable characteristics. http://www.eastern-piano.com
$2.00
1.84 €
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Piano seul
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Dodecanese, Folk, and Greece
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Beyond the meadows
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Nikos Ordoulidis
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SheetMusicPlus
No. 42
Soprano and ensemble - Digital Download SKU: S9.Q52963 (In the Alps - an animate…
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Soprano and ensemble - Digital Download SKU: S9.Q52963 (In the Alps - an animated concert). Composed by Richard Ayres. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 45 minutes. Schott Music - Digital #Q52963. Published by Schott Music - Digital (S9.Q52963). English.No.42 (In the Alps) could perhaps best be described as a melodrama. It combines many of the subjects that fascinate me: the relationship of text narrative and musical narrative, the history of opera, early cinema, the theatrical practices of the nineteenth century, along with the folk and popular music of the Alpine region. A girl (the soprano), stranded on top of an un-climbable mountain peak as a young baby, is taught to sing by the mountain animals. Young Bobli lives in the village far below the un-climbable peak. He was born mute and communicates with the world by playing the trumpet. Bobli hears the soprano's song drifting down into the valley. The soprano listens to Bobli's trumpet tunes blown up to her by the wind. They are both enchanted. The three acts are separated by interludes describing how three animals experience time passing in relation to a musical tempo. Like any self respecting melodrama the text and music combine to depict or imply a wide ranging theatrical adventure, in this piece starting at the Creation (or the big bang), a lonely existence, scenes of rustic village life, some carpentry, many mountain goats, unrequited love, and ending in a quest destined to fail. In a live performance the text [provided with the performance material] is to be projected on a screen behind the musicians in the style of silent movie intertitles. Richard Ayres2pic(1.fl, bassfl).0.1.1(Ebcl).1.cbsn-2.0.Ctpt(2.pictpt).0.btbn.1-2perc(timp, b.d, small drum kit, 4 small hand-held cowbells, tri, metal wind chimes, wind machine, large wooden hammer on large wooden box, saw or wood-file on thin wooden box, vib, xyl, glsp, crots, tub bells, almgl)-3vn.db.
$47.99
44.23 €
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Richard Ayres
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No. 42
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Schott Music - Digital
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SheetMusicPlus
Angels We Have Heard on High
(Handbells, Organ) - Level 3 - Digital Download SKU: H1.2207DP Arranged by Cynthia …
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(Handbells, Organ) - Level 3 - Digital Download SKU: H1.2207DP Arranged by Cynthia Dobrinski. Music & Singing, Christmas, Epiphany, Creation, Birth of Jesus Christ, Jesus Christ - King & Lord. Trumpet & Timpani Parts. 4 pages. Hope Publishing - Digital #2207DP. Published by Hope Publishing - Digital (H1.2207DP). Isaiah 55:12 - Luke 2:6 - Luke 2:7 - Luke 2:8 - Luke 2:9 - Luke 2:10 - Luke 2:11 - Luke 2:12 - Luke 2:13 - Luke 2:14 - Luke 2:15 - Luke 2:16 - Luke 2:17 - Luke 2:18 - Luke 2:19 - Luke 2:20 - Philippians 2:10 -.Traditional French Carol Looking for a BIG selection for Christmas worship services? This setting of the traditional French carol may well fit the bill. Looking for a BIG selection for Christmas worship services? This setting of the traditional French carol may well fit the bill. 3-5 octaves of handbells and organ may be combined with trumpets and timpani and congregational singing with special choir parts for verses 3 and 4 (SA and soprano descant respectively, printed in the back of the director's score part with permission to photocopy). A 16-measure fanfare with snippets of the melody leads into the first sung verse. Scored in F Major, this piece is 117 measures.
$9.95
9.17 €
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Cynthia Dobrinski
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Angels We Have Heard on High
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Hope Publishing - Digital
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SheetMusicPlus
God is Love, Let Heav'n Adore Him - SATB voices, piano
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.726149 Composed by B.F. Wh…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.726149 Composed by B.F. White. Arranged by Todd Marchand. 19th Century,Christian,Folk,Sacred. Octavo. 5 pages. Con Spirito Music #6733809. Published by Con Spirito Music (A0.726149). “God is Love: Let Heav’n Adore Him†pairs a text by the Welsh Anglican bishop Timothy Rees (1874-1939) with the 19th-century American hymn tune BEACH SPRING, attributed to Benjamin Franklin White (1800-1979), compiler and editor of the influential Sacred Harp hymnal.Quick to rehearse, yet satisfying to perform and moving in its effect on listeners, this lovely anthem expresses assurance in God’s boundless love, from His creation of the world (v. 1) to His love for “ev’ry child of ev’ry race†(v. 2) to His ultimate triumph over sin and death. Verses 1 and 2 are assigned to unison women’s and unison men’s voices, respectively. Then, following a modulation upward, the concluding verse 3 is sung by all voices in unison, with 4-part harmony at the peak of the verse before drawing to a peaceful, unison close. ©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, patriotic, folk, and holiday music for instruments and voices, visit www.conspiritomusic.com
$2.00
1.84 €
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Chorale SATB
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B
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Todd Marchand
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God is Love, Let Heav'n Adore Him - SATB voices, piano
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Con Spirito Music
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SheetMusicPlus
Ein Streifzug durch Leben und Werk
Piano seul
Piano - easy to intermediate - Digital Download SKU: S9.Q51943 Mit leichten Orig…
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Piano - easy to intermediate - Digital Download SKU: S9.Q51943 Mit leichten Originalstücken und Bearbeitungen. Composed by Franz Joseph Haydn. This edition: Sheet music. Joseph haydn - piano - original composition. Get to know Composers. Downloadable. Schott Music - Digital #Q51943. Published by Schott Music - Digital (S9.Q51943). German.The series 'Get to Know Composers' presents works of famous masters in easy arrangements as well as original compositions for piano. A brief biographical sketch with contemporary colour illustrations as well as a list of the most important works provide easy access to the respective composer. Thus, amateur pianists and young piano pupils can embark on a vivid excursion into the life and work of important composers.Apart from Mozart and Beethoven, Haydn was the oldest of the three representatives of the Viennese Classicism. The genres of symphony, string quartet and oratorio were perfected by Haydn in a way which is regarded as 'classical' today. Apart from Haydn's original piano works, these three genres are among the main topics in this volume which contains excerpts from 'Farewell Symphony', 'Surprise Symphony', the symphony 'The Clock', 'Emperor Quartet' as well as the oratorios 'The Creation' and 'The Seasons', among others.
$15.99
14.74 €
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Piano seul
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Franz Joseph Haydn
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Ein Streifzug durch Leben und Werk
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Schott Music - Digital
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SheetMusicPlus
Hungarian Dance No. 5
5 saxophones (SAATBar) - intermediate - Digital Download SKU: S9.Q40419 Composed by…
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5 saxophones (SAATBar) - intermediate - Digital Download SKU: S9.Q40419 Composed by Johannes Brahms. Arranged by Albert Loritz. This edition: score and parts. Quintett - Saxophon - Tänze. Downloadable, Score and parts. Advance Music GmbH - Digital #Q40419. Published by Advance Music GmbH - Digital (S9.Q40419). Key: G minor. German.Brahms’ Hungarian Dances are among the most popular compositions in the field of light classical music with dance no. 5 probably being the most well-known one of the altogether 21 pieces of the cycle. It is this dance the arrangement for saxophone quintet at hand is based on. Answers to the questions to what extent Brahms incorporated traditional Hungarian melodies into these pieces or whether the dances represent original creations of his own written in a “Hungarian style†might be found in specialist literature or on the internet. These sources may also be consulted to get further information on the history of origins of these compositions.The original version of the Fifth Hungarian Dance for Piano Four-Hands published in 1869 is written in F# minor. For most of the arrangements (for orchestra and for any other conceivable type of ensemble) created thereafter in rapid succession - but also for this present version written for saxophone quartet – the key of G minor was chosen.The markings for tempo and dynamics included are based on the original composition but also take into account certain performance practices. The individual voices take turns in executing the main melody. The brackets appearing in the score and in the individual parts mark the beginning and the end of those passages where the respective instrument takes the lead. The arrangement for quintet at hand can be performed soloistically or in chorus.
$13.99
12.89 €
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Johannes Brahms
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Albert Loritz
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Hungarian Dance No. 5
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Advance Music GmbH - Digital
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SheetMusicPlus
Let's Swing, Mr. Diabelli!
1 Piano, 4 mains
Piano (4 hands) - easy - Digital Download 14 Jazzy Pieces for Piano Duet. Composed by…
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Piano (4 hands) - easy - Digital Download 14 Jazzy Pieces for Piano Duet. Composed by Uwe Korn and Anton Diabelli (1781- 1858). This edition: Sheet music. Schott Popular Music. Downloadable. Schott Music - Digital #Q54766. Published by Schott Music - Digital
The success story of Diabelli's 'Melodic Exercises' Op. 149 for piano duet has lasted now for almost 200 years. They are beautiful melodies covering a range of only five tones, perfectly suitable for beginners, with refined and brilliantly designed accompanying settings in the Secondo part. To this day, the pieces are very popular among pupils, teachers and music lovers. Diabelli, born in 1781, was not only a respected piano teacher and composer in Vienna, but also a busy music publisher and friend of Ludwig van Beethoven who jokingly called him 'my diabolus' from time to time. Sometimes he sent themes composed by himself to the then famous composers, asking them to write and return to him some variations on these themes. This led to the creation of the famous Diabelli Variations by Beethoven, a demanding piano work which is performed in the concert halls all over the world still today.<br> Hopefully, Mr Diabelli .would not mind some of his wonderful five-tone melodies .being transported into the world of swing, samba and other forms of expression, as has been .done .in this volume. Apart from some arranged melodies from Opus 149, this volume also contains a few newly arranged pieces, all of them inspired by Diabelli's idea to make music with five fingers as varied as possible. The .original arrangement of the keys has been maintained. New .inspiration for piano lessons and four-handed piano playing!
$15.99
14.74 €
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1 Piano, 4 mains
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Uwe Korn and Anton Diabelli
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Let's Swing, Mr. Diabelli!
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Schott Music - Digital
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SheetMusicPlus
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