| Breathe on Me, Breath of God Choral SATB SATB A Cappella - Intermediate Laurendale Associates
SATB choir a cappella - Intermediate SKU: MN.CAP-06 Composed by Beverly M...(+)
SATB choir a cappella - Intermediate SKU: MN.CAP-06 Composed by Beverly Mortensen. Octavo. Laurendale Associates #CAP-06. Published by Laurendale Associates (MN.CAP-06). Breath on me, breath of God, Fill me with life anew... Starts with a lovely unison breaking into a gracious 4-part harmonization. $1.40 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| All That Hath Life and Breath Choral SATB SATB A Cappella Hal Leonard
The Music of Rollo Dilworth (Henry Leck Creating Artistry) Series. Composed by...(+)
The Music of Rollo Dilworth
(Henry Leck Creating
Artistry) Series. Composed by
Rollo Dilworth. Rollo
Dilworth Choral Series.
Concert, Festival,
Inspirational. Octavo. 16
pages. Published by Hal
Leonard
$2.25 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Oxford Book Of Flexible Anthems
Choral SATB [Vocal Score] Oxford University Press
A Clare Benediction Composed by John Rutter A Prayer Of St Richard Of Chicheste...(+)
A Clare Benediction Composed by John Rutter
A Prayer Of St Richard Of Chichester Composed by L. J. White
Alleluia Composed by William Boyce
Author Of Life Divine Composed by Cecilia Mcdowall
Be Still For The Presence Of The Lord Composed by David Evans; Arranged by Richard Shephard
Bread Of The World Composed by Scottish Traditional; Arranged by Alan Bullard
Brightest And Best Composed by Malcolm Archer
Christ Is The World's True Light Composed by W. K. Stanton
Christ The Lord Is Risen Again Composed by Richard Shephard
Christians Shout For Joy And Gladness Composed by Johann Sebastian Bach
Come Down, O Love Divine Composed by Hilary Tadman-robins
Plainsong: Creator Of The Stars Arranged by John Scott
Drop, Drop Slow Tears Composed by Kerry Andrew
Evening Service In C Composed by Frank Henry Shera
Fairest Lord Jesus Composed by Martin How
Gabriel To Mary Came Composed by 14th Century Irish; Arranged by Alan Bullard
Give Thanks To God Composed by Botswanan Traditional; Arranged by Alan Bullard
God Be In My Head Composed by Armstrong Gibbs
God In Mine Eternity Composed by Alan Bullard
God So Loved The World Composed by Alan Bullard
God That Madest Earth And Heaven Composed by Welsh Traditional; Arranged by David Thorne
Hail, Virgin Mary (Ave Maria) Composed by Franz Liszt
Hark, The Glad Sound Composed by David Thorne
Harvest Carol Composed by Ian Ray
He Is Risen Composed by Cecil Cope
Hide Not Thy Face Composed by Richard Farrant
see all...
Holy, Holy, Holy, Holy Is The Lord Composed by Franz Schubert; Arranged by Alan Bullard
Holy, Holy, Holy! Lord God Almighty Composed by Alan Smith
Hosanna To The Son Of David Composed by Georg Philipp Telemann
Irish Blessing Composed by Bob Chilcott
Jesu, Lamb Of God, Redeemer (Ave Verum Corpus) Composed by Edward Elgar
Jesus Christ The Apple Tree Composed by English Traditional; Arranged by Alan Bullard
Jubilate (Let Us Praise You) Composed by Wolfgang Amadeus Mozart
Lamb Of God (Agnus Dei) Composed by Samuel Webbe
Let All Mortal Flesh Keep Silence Composed by Stephen Cleobury
Like The Murmur Of The Dove's Song Composed by Alan Smith
Lord, In Thy Mercy Composed by Felix Bartholdy Mendelssohn
Magnificat And Nunc Dimittis In C Composed by F. H. Shera
Never Weather-beaten Sail Composed by Thomas Campion; Arranged by Alan Bullard
Now The Green Blade Riseth Composed by French Traditional; Arranged by Alan Bullard
O Breath Of Life Composed by English Traditional; Arranged by Alan Bullard
O For A Closer Walk With God Composed by Charles Villiers Stanford
O God Of Mercy Composed by Simon Lole
O God, Your Goodness Composed by Ludwig Van Beethoven
O Praise God In His Holiness Composed by John Weldon
Panis Angelicus Composed by Cesar Auguste Franck
Peace Between Nations Composed by Christopher Wiggins
Pie Jesu Composed by Gabriel Faure
Praise To The Trinity Composed by Hildegard Of Bingen
Psalm 150 Composed by Bob Chilcott
Rejoice In The Lord Always Composed by Christopher Wiggins
Shout For Joy Composed by African Traditional; Arranged by Alan Bullard
Star Of Wonder Composed by Alan Bullard
The Eternal Gifts Of Christ The King Composed by Guidetti/henry G. Ley
The Heavens Sing Praises To God Composed by Ludwig Van Beethoven
The Lord Ascendeth Composed by Michael Praetorius
The Lord Bless You And Keep You Composed by John Rutter
The Lord's My Shepherd Composed by Bob Chilcott
The Peace Of God Composed by Alan Bullard
The True And Living Bread Composed by David Blackwell
There Is No Rose Composed by Andrew Smith
Thou Visitest The Earth Composed by Maurice Greene
To Be A Pilgrim Composed by Nick Burt
Were You There? Composed by American Spiritual; Arranged by Peter Hunt
Where All Charity And Love Are (Ubi Caritas) Arranged by Alan Bullard
Wondrous Cross Composed by Philip Wilby
The Oxford Book of Flexible Anthems by Alan Bullard (1947-). For flexible instrumentation. Mixed Voices. Sacred. Paperback. 296 pages. Published by Oxford University Press
(2)$28.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Everglades (River of Grass) [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500101F Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F). ISBN 9781491131725. UPC: 680160680252. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Symphony No. 6 [Score] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU: PR.16500104F Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F). ISBN 9781491132159. UPC: 680160681082. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $90.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Rise Again Songbook Lyrics and Chords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard
$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Protocol: A Guide to the Collegiate Audition Process for Violin Violin Carl Fischer
(Foreword and Additional Editing by Doris Gazda). By George Frideric Handel Fede...(+)
(Foreword and Additional Editing by Doris Gazda). By George Frideric Handel Federigo Fiorillo. Edited by Larry Clark, Leopold Auer, Doris Gazda. Arranged by William Strasser. For Violin, Violin and Piano. Book. 96 pages. Published by Carl Fischer
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| O Breath of Life (Accompaniment CD) Choral Unison Lillenas Publishing Co.
Choir SKU: LP.765762168923 Composed by Nick Robertson. Arranged by Russel...(+)
Choir SKU: LP.765762168923 Composed by Nick Robertson. Arranged by Russell Mauldin. Anthems. Sacred. Stereo & split-channel accompaniment CD with demo. Published by Lillenas Publishing Company (LP.765762168923). UPC: 765762168923. Sacred lyrics from the 1800s and a modern new chorus are combined in this lush arrangement by Nick Robertson and orchestration by Russell Mauldin that will move your congregation and your singers alike. That we may know the heart of Christ; come fill us now O Breath of Life!. $29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| O Breath of Life (Orchestration - CD-Rom) Choral Unison Lillenas Publishing Co.
Choir SKU: LP.765762222106 Composed by Nick Robertson. Arranged by Russel...(+)
Choir SKU: LP.765762222106 Composed by Nick Robertson. Arranged by Russell Mauldin. Anthems. Sacred. Orchestration on CD-ROM. Published by Lillenas Publishing Company (LP.765762222106). UPC: 765762222106. Sacred lyrics from the 1800s and a modern new chorus are combined in this lush arrangement by Nick Robertson and orchestration by Russell Mauldin that will move your congregation and your singers alike. That we may know the heart of Christ; come fill us now O Breath of Life!. $74.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.
(31)$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Seek a Place of Breathless Beauty MorningStar Music Publishers
Hymn Collection SKU: MN.90-70 Composed by James Biery and Marilyn Biery. ...(+)
Hymn Collection SKU: MN.90-70 Composed by James Biery and Marilyn Biery. Hymn Collections. Hymnary. MorningStar Music Publishers #90-70. Published by MorningStar Music Publishers (MN.90-70). Text: Marilyn Biery. This collection of twenty-five original hymn texts flows from the writers years of experience as a practicing Church musician. The texts cover many aspects of the church year and includes texts for many particular needs such as confirmation and stewardship. Eleven new hymn tunes are also included in this collection. Complete tune, title, topic, meter, and scriptural indexes are included, making this a very useful collection of hymns. Hymns include: Break Forth in Joyous Song Christ is the Vine, We are the Branches Come To Us, O Holy Spirit Easter Dawn, Streaming Bright Embrace the Love that Makes Us One Emmanuel Comes! From the Word of God, Creation Jesus Walked Among the People Joined Together As One Body Lift Up Your Hearts, You Poor in Spirit Listen to the Voice of Gladness Lord God, The Source of Every Gracious Gift May Peace from Christ Come Dwell in You O Dearest Jesus O God of All Life, Now Hid from Our Sight O God of Love, Enable Us O God, Hear My Cry Our Gifts, O Lord, to You We Bring Radiant Light, Love Divine Rejoice, Rejoice, God's Kingdom is Coming Seek a Place of Breathless Beauty The Ancient Story Thrills Our Modern Ear The Frozen Earth Begins to Thaw The Spirit Makes Us One in Christ We Sing our Love for Jesus. $15.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Oxford Book Of Flexible Anthems Sp Choral [Vocal Score] Oxford University Press
The Oxford Book of Flexible Anthems composed by Alan Bullard (1947-). For flexib...(+)
The Oxford Book of Flexible Anthems composed by Alan Bullard (1947-). For flexible instrumentation. Mixed Voices. Sacred. Spiral-bound paperback. 296 pages. Published by Oxford University Press
$32.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| On Music Carl Fischer
Choral SSA Choir, piano, flute SKU: CF.CM9583 Composed by Christopher Gab...(+)
Choral SSA Choir, piano, flute SKU: CF.CM9583 Composed by Christopher Gabel. Sws. Performance Score. 20 pages. Duration 4 minutes, 9 seconds. Carl Fischer Music #CM9583. Published by Carl Fischer Music (CF.CM9583). ISBN 9781491154052. UPC: 680160912551. 6.875 x 10.5 inches. Key: Eb major. English. Thomas Moore (1779-1852). Thomas Moore (17791852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Filld with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasures dream is gone, Its memory lives in Musics breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendships balmy words may feign, Loves are even more false than they; Oh! tis only musics strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece. Thomas Moore (1779a1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music a Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Fillad with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasureas dream is gone, Its memory lives in Musicas breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendshipas balmy words may feign, Loveas are even more false than they; Oh! atis only musicas strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece. Thomas Moore (1779-1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music - Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Fill'd with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasure's dream is gone, Its memory lives in Music's breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendship's balmy words may feign, Love's are even more false than they; Oh! 'tis only music's strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece. Thomas Moore (1779-1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music - Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Fill'd with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasure's dream is gone, Its memory lives in Music's breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendship's balmy words may feign, Love's are even more false than they; Oh! 'tis only music's strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece. Thomas Moore (1779–1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song.We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life?On Music – Thomas MooreWhen through life unblest we rove,Losing all that made life dear,Should some notes we used to love,In days of boyhood, meet our ear,Oh! how welcome breathes the strain!Wakening thoughts that long have slept,Kindling former smiles againIn faded eyes that long have wept.Like the gale, that sighs alongBeds of oriental flowers,Is the grateful breath of song,That once was heard in happier hours.Fill’d with balm the gale sighs on,Though the flowers have sunk in death;So, when pleasure’s dream is gone,Its memory lives in Music’s breath.Music, oh, how faint, how weak,Language fades before thy spell!Why should Feeling ever speak,When thou canst breathe her soul so well?Friendship’s balmy words may feign,Love’s are even more false than they;Oh! ’tis only music’s strainCan sweetly soothe, and not betray.Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece. $3.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ave Maria Choral SATB SATB divisi, A Cappella - Intermediate Laurendale Associates
SATB choir divisi (a cappella) - Late Intermediate SKU: MN.CH-1296 Compos...(+)
SATB choir divisi (a cappella) - Late Intermediate SKU: MN.CH-1296 Composed by Andrew Bonacci. Catholic Year A Immaculate Conception. 21st Century. Choral score. Laurendale Associates #CH-1296. Published by Laurendale Associates (MN.CH-1296). UPC: 765844005764. Ave Maria was composed for the University of Kansas Choirs, and dedicated with appreciation to Simon Carrington (Kings Singers). It was premiered by the Oread Consort at Edington Priori Church in Wiltshire, England in May of 1997. The Gregg Smith Singers brought new life to this work at the 2000 Adirondack Festival of American Music in Saranac Lake, and followed with a recording on the Living Artist series. This piece was inspired by Gyorgy Ligeti's setting of Lux Aeterna (1966), as well as by Giuseppe Verdi's Ave Maria, the scala enigmatica armonizzata a Quattro voci (1898). It is shaped by a series of breath-like harmonic swells leading to climactic homophonic statements of the text, with strident voice pairings yearning for resolution. New York writer Watson Bosler describes the work as an iridescent wash of color as an intricate web of interrelated melodic and rhythmic themesThis Ave hymns not the sugar-water Virgin of Gounod or Scott, but rather the powerful Goddess Yeats depicts: The Roman Empire stood appalled:/ It dropped the reins of peace and war/ When that fierce virgin and her Star/ Out of the fabulous darkness called. $4.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| O Sing a Song Unto the Lord Choral Unison Unison/2-part, Piano [Octavo] - Intermediate Choristers Guild
Composed by Naomi King Walker. Sacred anthem. General. Octavo. Published by Chor...(+)
Composed by Naomi King Walker. Sacred anthem. General. Octavo. Published by Chorister's Guild (LO.CGA1461).
$1.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| De Profundis Sikorski
Bayan SKU: HL.50600472 For Bayan Solo. Composed by Sofia Gubaiduli...(+)
Bayan SKU: HL.50600472 For Bayan Solo. Composed by Sofia Gubaidulina. Woodwind Solo. Classical. Softcover. 16 pages. Sikorski #SIK8742. Published by Sikorski (HL.50600472). 8.25x12.0x0.076 inches. In the field of New Music, Sofia Gubaidulina's “De profundis†has already achieved the status of a classic. It is not only an attainment of the New Music that instruments are capable of approaching the human voice in their sound, or that they can imitate areas of expression found in language and linguistic articulation. But the avant-garde has surely expanded the spectrum to a considerable extent. The piece for solo bayan is an impressive example of this. The listener witnesses a slow and inexorable intensification from the “rattling†of the lowest accordion register up to the pure, tender tones of the highest register. It is “anascent from the lowest to the highest, from the breath and soul to the world's soul or wisdomâ€, as Gubaidulina's friend and colleague Viktor Suslin once expressed it. With the means of sound, Gubaidulina transfers a symbol of life onto the music: breathing. Breathing distinguishes the living from the dead. What other instrument, other than the winds, perhaps, could better lendexpression to this characteristic than the accordion? In contrast to the wind instruments, however, the accordion is not an instrument into which the player breathes and creates breathing sounds - instead, the instrument itself assumes this function. It breathes through the pulling apart and pressing together of the bellows. As the basis of her composition, Gubaidulina chose the lines of the Psalm 130 “From the depths, o Lord, I call to you†for the characterisation of her interlaced message. Shadowy chorale melodies are occasionally heard, but the fundamental idea of ascent remains decisive. Sharp insertions and expressive gestures, intrusive glissandi and nervous vibrati repeatedly disturb the direction of movement. And then we hear consciously the integrated breathing of the instrument - breathing slightly, hardly audible, opposing the powerful chord blocks. The musicologist Valentina Cholopova once said of this: “All these sounds confront solemn chords richly ornamented with figurations, but there is also a long, monodic melody running through the entire symbolic path of the work - from the depths all the way up to the brilliant heights.†The work is dedicated to Friedrich Lips! $19.99 - See more - Buy online | | |
| The Ultimate Fake Book - Third Edition (Bb version)
Bb Instruments [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.
(8)$49.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Change the World Choral TTBB TTBB A Cappella Barbershop Harmony Society
By Eric Clapton. Arranged by David Wright, Deke Sharon. Barbershop Harmony Socie...(+)
By Eric Clapton. Arranged by David Wright, Deke Sharon. Barbershop Harmony Society. Barbershop, Pop. Octavo. 8 pages. Barbershop Harmony Society #211164. Published by Barbershop Harmony Society (HL.234449).
$3.20 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| O Breath of Life Choral SATB Beckenhorst Press
SATB choir SKU: BP.1516 Composed by Howard Helvey. Arranged by Howard Hel...(+)
SATB choir SKU: BP.1516 Composed by Howard Helvey. Arranged by Howard Helvey. Sacred octavos. Sacred. Octavo. Beckenhorst Press #1516. Published by Beckenhorst Press (BP.1516). UPC: 748769020784. Howard Helvey has joined the lovely French tune BERGERS, usually associated with Christmas, with Elizabeth Ann Porter Head's prayer to the Holy Spirit and provided us with a beautiful anthem suitable for the themes of Pentecost or revival. As always, Mr. Helvey's sensitive accompaniment provides a wonderful backdrop for the smooth part-writing that has become a signature of his writing. $2.10 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Song of the Sea Mariner String Orchestra [Score and Parts] - Easy FJH
By Soon Hee Newbold. Intermediate String Orchestra. FJH Developing Strings. Scor...(+)
By Soon Hee Newbold. Intermediate String Orchestra. FJH Developing Strings. Score for this title: ST6112S. Extra part for this title: ST6112P. String Orchestra. Level: 2.5. Score and Set of Parts. Published by The FJH Music Company Inc.
$50.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Scenes Of Winter Shawnee Press
3-Part Mixed (3PT MIXED) SKU: HL.1253510 Arranged by Glenda E. Franklin. ...(+)
3-Part Mixed (3PT MIXED) SKU: HL.1253510 Arranged by Glenda E. Franklin. Shawnee Press. Octavo. 12 pages. Duration 195 seconds. Published by Shawnee Press (HL.1253510). ISBN 9798350100372. UPC: 196288155218. 6.75x10.5 inches. This traditional English carol, “God Rest Ye Merry, Gentlemen,†breathes new life with original lyrics in this gentle choral for winter. Vocal echoing and simple harmonies beautifully paint the text, creating a lovely holiday selection that is unique yet familiar. $2.35 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Scenes Of Winter Shawnee Press
2-Part (2PT) SKU: HL.1253511 Arranged by Glenda E. Franklin. Shawnee Pres...(+)
2-Part (2PT) SKU: HL.1253511 Arranged by Glenda E. Franklin. Shawnee Press. Christmas. Octavo. 8 pages. Duration 195 seconds. Published by Shawnee Press (HL.1253511). ISBN 9798350100389. UPC: 196288155225. 6.75x10.5 inches. The traditional English carol “God Rest Ye, Merry Gentlemen†breathes new life with original lyrics in this gentle choral for winter. Vocal echoing and simple harmonies beautifully paint the text, creating a lovely holiday selection that is unique yet familiar. $2.35 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| G String Swing Choral SATB SATB divisi, A Cappella Gentry Publications
SATB divisi a cappella Choral (SATB a cappella) SKU: HL.1424335 Composed ...(+)
SATB divisi a cappella Choral (SATB a cappella) SKU: HL.1424335 Composed by Pietro Ferrario. Gentry Publications. Octavo. Duration 165 seconds. Gentry Publications #JG2710. Published by Gentry Publications (HL.1424335). UPC: 196288200604. Experience the innovative SATB divisi arrangement in the Jason Max Ferdinand Choral Series, breathing new life into Bach's iconic “Air on the G String.” This piece introduces an acrobatic jazz quodlibet, showcasing a spirited contrapuntal structure with glimpses of both Bach and non-Bach themes. Dedicated to Ward Swingle's memory, this vibrant arrangement is tailored for advanced-level jazz choirs or vocal octets, offering an exhilarating challenge and an exciting fusion of classical and jazz elements. $3.50 - See more - Buy online | | |
| Lyrics Lyrics only [Sheet music] Hal Leonard
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Library. Softcover. Size 8.5x11 inches. 373 pages. Published by Hal Leonard.
(1)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Little New Broadway Fake Book C Instruments [Fake Book] Hal Leonard
645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway. Softcover....(+)
645 Songs from 285 Shows.
Composed by Various. Fake
Book. Broadway. Softcover.
696 pages. Published by Hal
Leonard
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The New Broadway Fake Book C Instruments Hal Leonard
645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway, Musicals. ...(+)
645 Songs from 285 Shows.
Composed by Various. Fake
Book. Broadway, Musicals.
Softcover. 696 pages.
Published by Hal Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Big Book of Hymns Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords...(+)
Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 272 pages. Published by Hal Leonard.
(3)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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