SKU: GH.GE-10366
ISBN 9790070103664. 185 x 262 mm inches. Text: Alf Hardelin (Swedish).
Text ur Cantus sororum.
SKU: GH.CG-7110S
SKU: GI.G-10931
UPC: 785147093114. English. Text Source: Trad. Celtic prayer and Isaiah 6:3. Scripture: Isaiah 6:3.
SKU: UM.112703
ISBN 9790224412703.
SKU: GI.G-10644
UPC: 785147064411. English. Text Source: Trad. gospel.
SKU: GI.G-3134
Text Source: Trad.
Brass quartet part is optional.
SKU: GI.G-10687
UPC: 785147068716. English. Text Source: Trad. spiritual.
SKU: BT.DHP-1012653-050
Jacob de Haan hat vier Weihnachtslieder bearbeitet und zu der Suite Vier weihnachtliche Hirtenlieder zusammengefasst. Das Medley, das Renso Propstra für Akkordeonorchester anpasste, enthält folgende Lieder: Als ich bei meinen Schafen wacht‘ , Inmitten der Nacht, Kommet, ihr Hirten und Ihr Hirten, erwacht. Vier weihnachtliche Hirtenlieder (“Quatre noëls des bergersâ€) est une suite de quatre noëls traditionnels allemands : Als ich bei meinen Schafen wacht, Inmitten der Nacht, Kommet Ihr Hirten et Ihr Hirten, erwacht. Cette pièce peut également être interprétée avec un ChÅ“ur mixte (texte en allemand).
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: HL.49046375
ISBN 9781540084590. UPC: 840126908251.
Peter Gabriel's 1992 Gospel Ballad; as performed by Vocal Line. A new choral series that sets a new standard: Familiar traditionals are replaced by legendary pop and jazz classics, the arrangers - among them Jens Johansen, Bertrand Groger, Oliver Gies, Thierry Lalo, Dylan Bell - rank among the great figures of the European choral scene, and the book comes along in an absolutely choir-friendly format: as a handy, modern separate edition at an affordable price - a valuable addition for all jazz, pop and gospel ensembles looking to add new pieces to their repertoire. further editions: Straighten up and Fly right / Smells Like Teen Spirit / African Call / Blues on Sunday / As.
SKU: HL.49001287
ISBN 9790001014427. German.
SKU: CF.CMF1
ISBN 9780825857768. UPC: 798408057763. 6.75 X 10.5 inches. Text: Keith Hibbs; Claire Cloninger; Cherry Tadlock; Ron Harris. Claire Cloninger, Ron Harris, Cherry Tadlock, Keith Hibbs.
This collection offers both seasonal and general worship anthems from one of America’s premiere church writers. The anthems in this collection are perfectly suited for praise and worship and are sure to become an integral part of church choir programs. Seven anthems total, Hallquist has skillfully written these beautiful pieces with care and thoughtfulness; a style that has been one of his trademarks throughout the years. A must-have for every church choir! Faithful to the Vision (Anniversary/Dedication), I Often Dance (General Praise/Worship), In Times Like These (Encouragement/Easter Resurrection), Let Us Worship and Bow Down (Call to Worship), On a Hillside in Bethlehem (Christmas), They Could Not (Easter) and We Are His Love (Missions/Ministry).
SKU: HL.1197743
UPC: 196288134749. 6.75x10.5x0.029 inches.
With its heartfelt, stunning poetry and stirring melody, “Be Thou My Vision†- beautifully arranged for SATB and piano by Skip Stradtman - is a refreshing setting of the familiar hymn that school, community, and church choirs alike will thoroughly enjoy.
SKU: GH.GE-11904
ISBN 979-0-070-11904-7.
Nu vaknen och gladjens, Staffan var en stalledrang, Staffansvisa fran Vaxmora. Nya frascha tonsattningar av traditionella texter. Smalter val in i den svenska Luciatraditionen.
SKU: HL.49031945
ISBN 9790001062183. German.
SKU: PE.EP73689
ISBN 9790577023366.
This gently rocking traditional carol, originating in Ukraine, is arranged by Roxanna Panufnik as a beautiful lullaby for SATB choir with piano or organ with an English language text. It is also possible to perform it as a unison single-line piece. The last of the four verses has an optional solo descant that can be sung in either English or the original Ukrainian. Duration: 3.5 minutes. Roxanna Panufnik hat dieses sanft schwingende traditionelle Lied aus der Ukraine als wunderschönes Wiegenlied für SATB und Klavier oder Orgel arrangiert und mit einem englischen Text versehen. Das Stück kann auch als einstimmiges Lied aufgeführt werden. Die letzte der vier Strophen hat einen optionalen Solopart für Sopran, der in Englisch oder im ukrainischen Original gesungen werden kann. Dauer: 3,5 Minuten.
SKU: GH.GE-10947
ISBN 9790070109475. 185 x 262 mm inches. Text: Traditional / Birgitta Wennerberg-Berggren (Swedish).
Arrangemang for kor och piano/instrument ad lib.
SKU: EC.RBM-124
This composition was commissioned in 2015 by the City of Fairfax Band and was premiered by that ensemble incollaboration with the Fairfax Choral Society on December 19 th of that year, under the baton of Robert J. Pouliot. The work was originally scored for symphonic wind ensemble and SATB chorus and has subsequently been transcribed for use in an orchestral/choral platform with the same voicing. (3.3.3.3, 4.3.3.1, timp. 3 perc., harp & strings).
The work is a setting of two Catholic liturgical texts traditionally associated with the season of Advent: Hodie, Christus Natus Est and O Magnum Mysterium. The work is a traditional arch-form in onemovement, a setting of the more reflective O Magnum Mysterium text being framed by a more ebullient and assertive treatment of the Hodie, Christus Natus Est text. There are passages of declamatory and angular rhythmic statements throughout, interspersed with contrasting sections of broad lyricism and reflectiveness. The piece begins and ends with triumphant brass and choral textures. This work is suitable for any Christmas program, especially as an opening or closing number.
No vocal soloists are called for in the performance of this work.
SKU: GH.GE-11658
ISBN 9790070116589. 185 x 262 mm inches. Text: Lars Bjorklund.
For sangsolist, blandad kor och piano eller orgel.For att erbjuda ett alternativ till de traditionella verken for forsta advent uppmuntrade Sensus och Gehrmans skrivandet av detta verk. Forst togs texten fram och darefter uppmuntrades fyra upphovsman att tonsatta denna text.
SKU: GH.GE-11657
ISBN 9790070116572. 185 x 262 mm inches. Text: Lars Bjorklund.
For sangsolist, blandad kor och orgel.For att erbjuda ett alternativ till de traditionella verken for forsta advent uppmuntrade Sensus och Gehrmans skrivandet av detta verk. Forst togs texten fram och darefter uppmuntrades fyra upphovsman att tonsatta denna text.
SKU: GH.GE-11660
ISBN 9790070116602. 185 x 262 mm inches. Text: Lars Bjorklund.
SKU: GH.GE-11659
ISBN 9790070116596. 185 x 262 mm inches. Text: Lars Bjorklund.
For sopran, blandad kor och orgel.For att erbjuda ett alternativ till de traditionella verken for forsta advent uppmuntrade Sensus och Gehrmans skrivandet av detta verk. Forst togs texten fram och darefter uppmuntrades fyra upphovsman att tonsatta denna text.
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