SKU: CF.CM9608
ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892).
The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep†in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark†in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,†which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.â€Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray.
SKU: CF.CM9619
ISBN 9781491156704. UPC: 680160915248. 6.875 x 10.5 inches. Key: F major. English. Original.
The text of the piece was inspired by a conviction that the deepest meanings of Advent/Christmas are alive and meaningful throughout the year. At the heart, the text is a prayer. Musically, the piece affords a great opportunity for each voice section to take turns sharing the melody. Though mostly homophonic, a countermelody is introduced first by the piano, and then reappears in the alto line midway through the piece, providing a nice contrast both texturally and lyrically. The piece builds to a dramatic climax in the final verse, and then scales back down for a contemplative finish. This piece works especially well in the season of Advent and Christmas, though it's themes resonate and would be appropriate throughout the church liturgical year.
SKU: LO.15-3982H
ISBN 9780787778422.
John Purifoyâ??s sophisticated concert setting of Poor Wayfaring Stranger features rich and haunting harmonies with long, expressive melodic lines. The tenor and bass parts underpin the melody with echoing countermelodies creating forward motion in conjunction with the long musical lines in the soprano and alto lines.
SKU: GI.WW1708
UPC: 785147014560. English. Text by William C. Dix.
Deeply moving, Child of Light speaks of the wonder of the Christ child living among us on the earth. A sensitive and supportive piano accompaniment underlines a timeless melody, and makes this a perfect option for church and community choirs or for your school Christmas program. The optional audience participation on What Child Is This adds a level of beauty and reverence.
SKU: AP.46973
UPC: 038081536224. English. Traditional English Carol.
What happens when you cross a beloved Christmas carol with the hip and asymmetric rhythms of Take Five? This does! A satisfying mix of the familiar and the fresh, the arrangement applies jazz articulation, harmony, and style in a way that's both exciting and accessible. All voice parts get a turn with the melody as well as a fun doo bop accompaniment! Optional parts for flute and vibraphone are free online.
SKU: LO.15-3311H
ISBN 9780787718480.
Patrick Roszell sensitively set familiar lines from Philippians with an introspective original melody to create this arrangement suited to ensembles of all sizes. Whatsoever things bring love and cheer, virtue and peace, think on these things..
SKU: GI.G-006288
Scripture: Psalm 72.
Here is an imaginative setting of Psalm 72 for Advent and the World Day of Prayer for Peace. Logical, tuneful vocal lines are supported by a sensible, user-friendly piano accompaniment. The cantor's solo verses expertly support the text, a well-thought out choral texture underscores the cantor's melody in verse 4. An alternative refrain is also included for Epiphany. .
SKU: OU.9780193573628
ISBN 9780193573628. 10 x 7 inches.
For SATB and piano In this fun and snappy arrangement of a well-loved Christmas carol, Crawford has breathed new life into the melody using playful alterations between 3/4 and 6/8 metre. The simple vocal lines are underpinned by a supportive, bouncy piano accompaniment.
SKU: GI.G-10297
UPC: 785147029717. English, Spanish. Text Source: Revised Order of Mass 2010, Lectionary for Mass. Misal Romano, tercera edición
A versatile Mass setting for use throughout the liturgical year, Mass of the Sun of Justice / Misa Sol de Justicia is fully bilingual, singable entirely in English or in Spanish, or any pastoral combination of both languages. At its core, this setting is built on assembly-minded melodies. Much of the choral writing is two-part, albeit spelled out in four voices, whereby the basses frequently double the soprano melody, and the alto and tenor lines essentially share a single harmony in their respective ranges, splitting only at cadence points for a fuller effect. Optional descants and divisi further expand the voicing possibilities. The additional instrumentation is particularly spirited, further enhancing these sung texts for solemn occasions. “Sun of justice†is a term used to reference Christ with respect to his second coming, as found in the ancient “O†antiphons. This title appears in the Lectionary among the Alleluia options for the common of the Blessed Virgin Mary, and is, in fact, assigned to the feast of Our Lady of Guadalupe, celebrated within the Advent season. As such, the music is “Advent-like†in nature—joyful and filled with hope. ~~~~~ Una Misa versátil para usar durante todo el año litúrgico, Mass of the Son of Justice / Misa Sol de Justicia es completamente bilingüe, se puede cantar completamente en inglés o en español, o en cualquier combinación pastoral de ambos idiomas. En esencia, este arreglo se basa en melodÃas para la asamblea. Gran parte de la escritura coral es de dos partes, aunque escrito para cuatro voces, por lo que los bajos con frecuencia duplican la melodÃa de soprano, y las lÃneas de alto y tenor comparten esencialmente una sola armonÃa en sus respectivos rangos, dividiéndose solo en los puntos de cadencia para una melodÃa más completa. Los discante y divisi opcionales amplÃan aún más las posibilidades de sonorización. La instrumentación adicional es particularmente animada, mejorando aún más estos textos cantados para ocasiones solemnes. Sol de justicia es un término que se usa para referirse a Cristo con respecto a su segunda venida, como se encuentra en las antÃfonas O antiguas. Este tÃtulo aparece en el Leccionario entre las opciones de Aleluya para el común de la SantÃsima Virgen MarÃa y, de hecho, está asignado a la fiesta de Nuestra Señora de Guadalupe, celebrada dentro del tiempo de Adviento. Como tal, la música es en esencia de adviento—alegre y llena de esperanza. ~~~~~ Preview select songs from this mass setting in the video below:.
SKU: MN.56-0005
UPC: 688670220043. English.
I am Christmas day has all the hallmarks of Goodall’s well-loved style: inspiring melodies, beautiful harmonies and well-crafted, accessible parts. In this delightful Christmas carol, the melody weaves between different lines and textures, all underpinned by a flowing accompaniment. Duration: 4:00.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
