SKU: HL.14017482
UPC: 884088840167. 8.5x11.0x0.099 inches.
At the grave of Beethoven was commissioned by the Brodsky Quartet, on the occasion of the bicentenary anniversary of Beethoven's opus 18. The title suggests admiration and a tribute towards Beethoven, and the first movement was inspired by the first four bars of opus 18 no.3.
SKU: HL.49010062
ISBN 9783795761196. UPC: 841886017917. 5.25x7.5x0.108 inches.
Preface * Zeichnung von Graf Mihaly Zichy * Von der Wiege bis zum Grabe: * I. The Cradle. Andante * II. The Struggle for Existence. Adagio rapido * III. To the Grave: the Cradle of the Future Life. Moderato quasi Andante.
SKU: HL.254709
UPC: 888680721954. 6.75x10.5 inches.
This frequently set text by Mary Elizabeth Frye is full of hope and life. In this new setting, the violin soars as if to represent the spirit that has left the grave. The repeating text “I'm not there, I'm not gone” over an ascending 1/16th note pattern gives your singers the sense of traveling to places yet unknown.
SKU: WD.080689670237
UPC: 080689670237.
Made popular by Bethel Music comes this uplifting new anthem from arranger Luke Gambill and orchestrator Cliff Duren, Ain’t No Grave. Jesus rose up like a lion and set all captives free. We are no longer bound by death, no longer held down by the grave! Your choir and congregation will shout praises for the victory over the grave!
SKU: LP.765762194601
UPC: 765762194601.
Refreshing and satisfying No Grave is perfect for Easter or the season between Easter and Pentecost. A lively celebration in song reminding one and all that No grave could hold the King...He is alive again! Arranged for choral unison and SATB.
SKU: HL.35016073
UPC: 747510057321. 9x14 inches.
Just as Jesus was resurrected from the dead, so shall believers experience the joy of eternal life in heaven with him. This inspiring anthem begins in minor, telling of Jesus's death, then builds to a thrilling climax: On the other side of the grave is victory! “On the Other Side of the Grave” is a wonderfully dynamic pageant piece for Easter or for anytime when eternal life is the theme.
SKU: HL.48188370
Rore Duos Trios Renaissance Pj393 Grave Pen'in Amor 3 Part.
SKU: LM.PB742
ISBN 9790231307429.
Le Vent la fureur - A.S.D. - Jamais la paix - Maman Xy - Grave - Pas des carres - En smoking - Click clock - Tea time - Alors je dessine - Enjoliveur - Espace - Ca me vexe - Jalouse - Final.
SKU: BT.ALHE31837
French.
Veyrier Grave Et Allegro Viola & Piano Book.
SKU: WD.080689400230
UPC: 080689400230.
With straightforward rhythms and melodies, this lilting, up-tempo anthem is easy to prepare with your Easter singers. Marty Hamby’s arrangement includes a march-like use of the hymn “Christ Arose†where he has melodically painted our Risen Savior exiting the tomb. Shout hallelujah! He has triumphed o'er the grave!
SKU: CA.3115611
ISBN 9790007208776. Text language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and part available separately - see item CA.3115600.
SKU: CA.3115614
ISBN 9790007208806. Text language: German/English.
SKU: WD.080689724237
UPC: 080689724237.
In an irresistible blues style, Empty Grave features strong choral backgrounds that support a soulful tenor solo. Consider this anthem as an exciting and engaging opener to your Easter service.
SKU: MB.31008M
ISBN 9781513467016. 8.75x11.75 inches.
Blind Lemon Jefferson was a trail blazer, both as a singer and guitarist, but also as a commercial phenomenon, for he was the first blues musician to establish the tremendous appeal that blues, as played and sung by rural African American folk, had for the record-buying public. It is no exaggeration to say that the sales of Lemon’s records paved the way for a host of other solo rural blues musicians to record in his wake and made the record companies more willing to give other musicians a chance, in the hopes of achieving similar success. Lemon’s record sales weren’t what made him a great musician, though - that could only be attributed to his startlingly virtuosic guitar - playing and soulful singing, developed over years of busking, building on his natural gifts with a great deal of practice and work. In the Guitar of Blind Lemon Jefferson author John Miller presents transcriptions, in standard notation and tablature, of 22 of Lemon’s greatest performances, with an additional essay examining Lemon’s senses of time and phrasing and his picking techniques. Also included is a download link to all the original recordings. To present a picture of Lemon the man, noted blues researchers Alan Governar and Kip Lornell have contributed an essay focusing on Lemon’s early life, the origins of his music, and his time spent in a musical partnership with Lead Belly. Links are provided to downloadable performances of the songs in the book from which the transcriptions were made, so that you can have Lemon’s sound in your head as you learn to play his songs.Blind Lemon Jefferson was remarkable, even in a style that abounded in great musicians, and some measure of his influence can be seen in the fact that musicians recorded in the 1960s, more than thirty years after his death, were still covering his songs and stealing guitar licks from him. The Guitar of Blind Lemon Jefferson gives you the resources needed to learn what was so special about Lemon’s music, and to experience his musical excellence from inside the music itself.Titles include: One Dime Blues, Got The Blues, Dry Southern Blues, Big Night Blues, Rabbit Foot Blues, Shuckin' Sugar Blues, Where Shall I Be, Wartime Blues, Black Horse Blues, Prison Cell Blues, Piney Woods Money Mama, See That My Grave Is Kept Clean, He Arose From The Dead, Beggin' Back, Broke And Hungry, Bad Luck Blues, Matchbox Blues, Lemon's Worried Blues, That Crawlin' Baby Blues, Easy Rider Blues, Stocking Feet Blues and Right of Way BluesLevel 2/3 • 160 pages • Direct download link to audio files.Â
SKU: CA.3115600
ISBN 9790007186777. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale.
SKU: HL.48183453
UPC: 888680983871. 9.0x12.0x0.087 inches.
Jacques Charpentier: Grave (Bassoon & Piano).
SKU: HL.48187933
UPC: 888680836641. 9.0x12.0x0.064 inches.
SKU: CA.3115619
ISBN 9790007208813. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and parts available separately - see item CA.3115600.
SKU: FJ.ST6348S
English.
This two-movement work contrasts lyrical beauty with rhythmic precision. The opening Grave features sweeping lines with gorgeous suspensions while the melodic lines weave their way throughout the entire ensemble. The joyful Allegro showcases a delightful interplay between sections as the music moves to an exhuberant conclusion. Wonderful!
About FJH String Orchestra
More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up
SKU: CA.3115603
ISBN 9790007186784. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score available separately - see item CA.3115600.
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