| Annie’s Gone Home [Score] - Beginner Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5 SKU: CF.FAS108F Composed by Bud Woodruff. First-Plus String Orchestra (FAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #FAS108F. Published by Carl Fischer Music (CF.FAS108F). ISBN 9781491151761. UPC: 680160909261. 9 x 12 inches. Annie's Gone Home, composed in the style of a spiritual, was written as a tribute to composer Bud Woodruff's mother. The tune is built on phrases of easily understandable material, but the poignant nature of the piece is marked with profundity. From the subtle bass solo to the emotional high points, the piece is inspired by this strong woman in the life of the composer.
Annies Gone Home is a tribute to my Mother, Annette Fenner Hains (19232017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. Annie’s Gone Home is a tribute to my Mother, Annette Fenner Hains (1923–2017). Her siblings and cousins always called her “Annie.†She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. $7.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Annie’s Gone Home - Beginner Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5 SKU: CF.FAS108 Composed by Bud Woodruff. First-Plus String Orchestra (FAS). Set of Score and Parts. With Standard notation. 8+8+5+5+2+5+2+8 pages. Duration 3 minutes, 21 seconds. Carl Fischer Music #FAS108. Published by Carl Fischer Music (CF.FAS108). ISBN 9781491151396. UPC: 680160908899. 9 x 12 inches. Key: D major. Annie's Gone Home, composed in the style of a spiritual, was written as a tribute to composer Bud Woodruff's mother. The tune is built on phrases of easily understandable material, but the poignant nature of the piece is marked with profundity. From the subtle bass solo to the emotional high points, the piece is inspired by this strong woman in the life of the composer.
Annies Gone Home is a tribute to my Mother, Annette Fenner Hains (19232017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. Annie’s Gone Home is a tribute to my Mother, Annette Fenner Hains (1923–2017). Her siblings and cousins always called her “Annie.†She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. $53.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Invisible Orthodoxy Potenza Music
Clarinet and CD SKU: P2.30116 Composed by Cornelius Boots. Solo music, 20...(+)
Clarinet and CD SKU: P2.30116 Composed by Cornelius Boots. Solo music, 20th century. Published by Potenza Music (P2.30116). Invisible Orthodoxy features extremes of density and space: the densities give way to the space. Ideally this piece will be performed in a small to medium sized recital hall where the performer can play acoustically (no microphone on the clarinet) and the playback will need to be in stereo. The timing of the tape and the solo part are very flexible in terms of how they should line up with each other for any given performance. The soloist should rehearse with the recording and establish their own timeline, similar to the one that is provided as an example, but ideally the soloist will build in a good amount of flexibility to their own version of the timeline. The core idea here is don't panic. Audiences are very sensitive to the tension within a performer, and this piece is meant to prioritize the calm, solid core of the performer's attitude and personality, i.e. the performer is calm and in control, both when playing very dense, rapid material and when leaving large gaps of space for the recording and the ambience of the performance space to speak louder than the solo for extended periods. IF you are getting ahead of the recording when practicing with it, just add more space between phrases and statements, particularly in movements II, IV, and V. Specifically, when exiting and re-entering the stage area in movement IV, do not run, rush or hurry. There is plenty of time built into the tape part for you to get back to the stage, even if you went up to a balcony (which is recommended when possible) to play your half-clarinet part. note that you should slowly move between several locations to play these ad lib. statements, and slowly return to the stage during or after the truck sond. Optimally you would have a dress rehearsal in the performance space, rehearsing with the feel of the space and timing within it so you can rehearse not hurrying. Again in mvt. V, leave plenty of space and really take some expressive freedoms in terms of the timing of the solo. You should actually be feeling the energy field of your heart during this movement; audiences are also sensitive to that, so make yourself vast and humble. $24.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Canone ed Ostinato and Corale con Canto Choral SATB Boosey and Hawkes
Choral (SATB Choir) SKU: HL.48021234 From Cantata academica, Carmen ba...(+)
Choral (SATB Choir) SKU: HL.48021234 From Cantata academica, Carmen basiliense. Composed by Benjamin Britten. Boosey & Hawkes Sacred Choral. Classical. Octavo. 16 pages. Boosey & Hawkes #M051482474. Published by Boosey & Hawkes (HL.48021234). ISBN 9781458423542. UPC: 884088642037. 6.75x10.5 inches. Text: in Latin compiled from the charter of the University, and from older orations in praise of Basle by Bernhard Wyss.
Publisher: Boosey & Hawkes
Difficulty level: 4 (for chorus)
Britten's genius lifts this work above being just a worthy celebration of the 500th anniversary of the foundation of Basle University. It is tongue-in-cheek and mockingly non-academic while referring all the time to academic musical forms and formulae. It is written in two parts (everything is in the statutory Latin including the titles of the parts - Pars I and Pars II). The titles of the movements show Britten's intention to show off a wide variety of techniques. Here are some examples: Chorale/Alla Rovescio (the theme is given and responded to with the same melody upside down)/Recitativo/Tema seriale con fuga/Canone ed ostinato. There is a good deal of humour here.
There are seven movements in Pars I and six in Pars II. The tenor soloist is given three florid recitatives, accompanied only by a piano, which act as bridges between other orchestrally accompanied movements. Of these the most noteworthy are the Arioso con canto popolare for soprano solo with tenors and basses who hum a student song; another terrific Britten scherzo; and a wonderfully raucous final pair of movements (Canon ed ostinato and Corale con canto) where Britten seems to be aping the Vivat Regina! cries in Parry's I was glad or encouraging the kind of noisy 'I'm from the best university' kind of student touchline shout. This has outrageously high notes for the tenors (top B) which further endorse this feeling. There are real echoes of the Spring Symphony (see separate entry) final movement here which are further underlined by the last section of the Cantata which brings in the bells, piano, huge percussion and the inevitable chorale in which the choir sings 'that a free academy may thrive in a free community, for ever the ornament and treasure of illustrious Basle'.
This may not be Britten at his most soul-searching but, as always, there is plenty here to enjoy, especially if the work is not taken too seriously. It is a celebratory, occasional piece and it could be well taken up by other academic establishments celebrating big anniversaries. The chorus parts are not very difficult, though they do present challenges for the choir - not least in having tenors capable of those very high notes at the end. The Tema seriale con fuga is sinewy and needs careful tuning. It also has the subject regularly given upside down after its initial sounding by the basses. All good fun.
Duration: 21 minutes
Paul Spicer, Lichfield, 2011. $2.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Beatitude IV: Beati qui lugent (Blessed are they that grieve) - Easy MorningStar Music Publishers
Soprano voice solo, SS choir, organ, cello, and handbells - Early Intermediate <...(+)
Soprano voice solo, SS choir, organ, cello, and handbells - Early Intermediate SKU: MN.56-0026 Composed by Howard Goodall. 21st Century. Duration 7 minutes, 10 seconds. MorningStar Music Publishers #56-0026. Published by MorningStar Music Publishers (MN.56-0026). UPC: 688670220319. Latin. Matthew 5:3-11. Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For soprano solo and SS chorus, organ, cello, and handbells, the music has a light, ethereal feeling. The text is entirely in Latin and begins with a chant-like melody in unison. The cello begins to dialogue with this melody offset by a measure. The soloist is heard next in music that also dialogues with the cello, both a bit more complex than the beginning. All voices take up the solo passage, the cello commenting. The voices go into canon at the half measure, the cello continues with its own melody. The piece returns to unison and ends quietly. Duration 7:10
$3.15 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Be Encouraged Choral SATB - Easy Zebe Publishing
Mixed Choir (SATB), Solo & Accompaniment (SATB) - Grade 2+ SKU: ZB.ZE-5071(+)
Mixed Choir (SATB), Solo & Accompaniment (SATB) - Grade 2+ SKU: ZB.ZE-5071 11 Songs for Mixed Voices, Soloist and Accompaniment. Composed by Niko Schlenker. 11 Songs for Mixed Voices, Soloist and Accompaniment. Gospel Music. Vocal Score. Zebe Publishing #ZE 5071. Published by Zebe Publishing (ZB.ZE-5071). ISBN 9783954230341. Twelve impressive, varied Gospel Songs for Mixed Choir that inspire and touch! Unique musical themes, deep ballads and great up-tempo numbers are on BE ENCOURAGED to find. A sophisticated piano accompaniment is notated. Affordable Vocal Score.
A pleasure to sing from it. The new songs by Niko Schlenker ... breathe the gospel feeling, put you in a good mood while singing and definitely also with the audience. (Musik + message). $9.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Be Encouraged Choral SATB [Score] - Easy Zebe Publishing
Mixed Choir (SATB), Solo & Accompaniment (SATB) - Grade 2+ SKU: ZB.ZE-5070(+)
Mixed Choir (SATB), Solo & Accompaniment (SATB) - Grade 2+ SKU: ZB.ZE-5070 11 Songs for Mixed Voices, Soloist and Accompaniment. Composed by Niko Schlenker. Contemporary Gospel Music by Niko Schlenker. 11 Songs for Mixed Voices, Soloist and Accompaniment. Gospel Music. Full score. Zebe Publishing #ZE 5070. Published by Zebe Publishing (ZB.ZE-5070). ISBN 9783954230334. Twelve impressive, varied Gospel Songs for Mixed Choir that inspire and touch! Unique musical themes, deep ballads and great up-tempo numbers are on BE ENCOURAGED to find. A sophisticated piano accompaniment is notated.
A pleasure to sing from it. The new songs by Niko Schlenker ... breathe the gospel feeling, put you in a good mood while singing and definitely also with the audience. (Musik + message). $26.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Beatitude II: Beati mundo corde (Blessed are the pure of heart) - Intermediate MorningStar Music Publishers
SS choir, 2 solo voices, organ, cello, and synthesizer - Intermediate SKU: MN...(+)
SS choir, 2 solo voices, organ, cello, and synthesizer - Intermediate SKU: MN.56-0024 Composed by Howard Goodall. 21st Century. Duration 6 minutes, 43 seconds. MorningStar Music Publishers #56-0024. Published by MorningStar Music Publishers (MN.56-0024). UPC: 688670220296. Latin. Matthew 5:3-11. Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For two soloists and treble chorus (SS,) organ, cello, synthesizer, and handbells, the music has a light, ethereal feeling. The text is set entirely in Latin in a chant-like style, first by the soloist with all voices joining as the piece progresses. Marked by rhapsodic melismas, the music is meditative but joyful. Duration 6:43
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| Beatitude I: Beati pauperes (Blessed are the poor) - Easy MorningStar Music Publishers
2 solo voices, SSA choir, cello, organ, and synthesizer - Early Intermediate ...(+)
2 solo voices, SSA choir, cello, organ, and synthesizer - Early Intermediate SKU: MN.56-0023 Composed by Howard Goodall. 21st Century. Duration 4 minutes, 10 seconds. MorningStar Music Publishers #56-0023. Published by MorningStar Music Publishers (MN.56-0023). UPC: 688670220289. Latin. Matthew 5:3-11. Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For two soprano soloists and SA treble chorus (marked Soprano I and Soprano II in the score), cello, organ, and synthesizer, the music has a light, ethereal feeling. The Beatitudes text is set here entirely in Latin. Beginning in a meditative chant-like style, the music moves to a sort of dialogue duet, sometimes between the two soprano sections and sometimes between the two soloists. The music is sweet, lyrical, and calm. Duration 4:10
$3.15 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Beatitude VII: Beati mites (Blessed are the meek) - Easy MorningStar Music Publishers
Solo, unison voices, cello, and organ - Early Intermediate SKU: MN.56-0029(+)
Solo, unison voices, cello, and organ - Early Intermediate SKU: MN.56-0029 Composed by Howard Goodall. 21st Century. Duration 4 minutes, 30 seconds. MorningStar Music Publishers #56-0029. Published by MorningStar Music Publishers (MN.56-0029). UPC: 688670220340. Latin. Matthew 5:3-11. Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For solo and unison voices, cello, and organ, the music has a light, ethereal feeling. The text is in Latin. Appropriately for the title, this movement has the simplest construction of any of the Beatitude pieces. An angular but comfortable vocal line is sung first by the soloist and then by an increasing number of voices. The organ and muted cello accompany with a sustained, almost cantus-firmus-like line. Peaceful, legato, and sublime. Duration 4:30
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| Beatitude V: Beati qui persecutionem (Blessed are the persecuted) - Easy MorningStar Music Publishers
Soprano voice solo, SS choir, organ, cello, and handbells - Early Intermediate <...(+)
Soprano voice solo, SS choir, organ, cello, and handbells - Early Intermediate SKU: MN.56-0027 Composed by Howard Goodall. 21st Century. Duration 6 minutes, 4 seconds. MorningStar Music Publishers #56-0027. Published by MorningStar Music Publishers (MN.56-0027). UPC: 688670220326. Latin. Matthew 5:3-11. Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For soprano solo and SS chorus (there are two measures of SSA divisi), organ, and handbells, the music has a light, ethereal feeling. The cello begins on a chant-like melody which the soloist repeats. Then all voices take up the melody. The length of the perhaps unfamiliar Latin text is offset by the simplicity of the beautiful vocal line. Duration 6:04
$2.75 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Beatitude VIII: Beati pacifici (Blessed are the peacemakers) - Easy MorningStar Music Publishers
Solo, SS choir divisi, cello, organ, and handbells - Early Intermediate SKU: ...(+)
Solo, SS choir divisi, cello, organ, and handbells - Early Intermediate SKU: MN.56-0030 Composed by Howard Goodall. 21st Century. Instrument parts. Duration 5 minutes, 58 seconds. MorningStar Music Publishers #56-0030. Published by MorningStar Music Publishers (MN.56-0030). UPC: 688670220357. Latin. Matthew 5:3-11. Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For soloist, SS chorus (divisi), organ, cello, and handbells, the music has a light, ethereal feeling. A unison chant-line begins the piece unaccompanied. The organ enters with a drone as the chant continues. At the text “vocabuntur (called)†the voices split into three parts in a beautiful moment of radiance. There is a cello solo (13 measures) which restates the chant melody. The voice enter wordlessly as the cello continues. Finally, the chant melody reappears in the voices, in canon, as the music ends. Duration 5:58
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| Beati III: Pro eis solitariis (For those that are lonely) Soli, Mixted choir and accompaniment - Easy MorningStar Music Publishers
Solo and SS choir divisi (a cappella) - Early Intermediate SKU: MN.56-0031(+)
Solo and SS choir divisi (a cappella) - Early Intermediate SKU: MN.56-0031 Composed by Howard Goodall. 21st Century. Instrument parts. Duration 4 minutes, 39 seconds. MorningStar Music Publishers #56-0031. Published by MorningStar Music Publishers (MN.56-0031). UPC: 688670220364. Latin. Genesis 20:13; Numbers 11:17. Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For Solo and SS divisi, a cappella, the music has a light, ethereal feeling. ââ¬ÅBeatiââ¬Â can be taken as a sort of ââ¬ÅBlessed are theyââ¬Â prefix for the movements which are not direct quotes from the Beatitudes. This movement is a unison, chant-like setting of the Latin texts for Genesis 20:13 (ââ¬ÅThou shalt do me this kindnessââ¬Â¦Ã¢â¬Â) and Numbers 11:17 (ââ¬ÅAnd I will take of thy spiritââ¬Â). The soloist begins and sometimes takes over from the choral voices. Mostly unison except for about ten measures (out of the 69) in two-part texture and four measures in three parts. Duration 4:39
$2.65 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Beati I: Pro curatis (For those that are cared for) - Intermediate MorningStar Music Publishers
Soprano voice solo, SSAA choir, organ, cello, synthesizer, and handbells - Inter...(+)
Soprano voice solo, SSAA choir, organ, cello, synthesizer, and handbells - Intermediate SKU: MN.56-0021 Composed by Howard Goodall. 21st Century, Lament/Grief/Sorrow. Duration 7 minutes, 12 seconds. MorningStar Music Publishers #56-0021. Published by MorningStar Music Publishers (MN.56-0021). UPC: 688670220265. Latin. Lamentations 1:2; John 14:18. Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For soprano solo and women’s chorus (mostly SSA but with a few SSAA passages), organ, cello, synthesizer, and handbells, the music has a light, ethereal feeling. “Beati†can be taken as a sort of “Blessed are they†prefix for the movements which are not direct quotes from the Beatitudes. In this case the only English text is at the beginning and end, sung by the soprano soloist. The rest is a Latin setting of Lamentations 1:2 (“Weeping, she hath wept in the nightâ€) and John 14:18 (“I will not leave you orphansâ€). Duration 7:12
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| Duo of Accordance Sikorski
Cello; Clarinet (Score & Parts) SKU: HL.50600662 For Clarinet in B-fla...(+)
Cello; Clarinet (Score & Parts) SKU: HL.50600662 For Clarinet in B-flat and Cello. Composed by Franghiz Ali-Zadeh. Ensemble. Classical. Softcover. 28 pages. Sikorski #SIK8814. Published by Sikorski (HL.50600662). 8.25x11.75x0.082 inches. “This piece is the expression of my admiration for the married couple Hyun-Jung and Julius Berger, two remarkable musicians and outstanding violoncellists. As representatives of two different cultures which are far removed from each other in many respects, this couple forms a magnificent, harmonious family and has given the world two delightful boys. During the Asiago Festival in Italy, I had the good fortune to observe the everyday life of this wonderful family, whose relationship is based on the feeling of love, service to music, mutual trust and help. My composition is inspired by these unforgettable impressions. To speak in the language of musical associations: the clarinet part contains grace, elegance, femininity and the goodness of the wife, whereas noblesse, power, temperament and romanticism of the husband are found in the violoncello part. Consent and harmony always reign between these two parts; the roles of the soloist and accompanist are exchanged now and then, but they always maintain a benevolent agreement and complete similarity, complementing and supporting each other. I hope that my musical present will find its way into Professor Berger's heart.†(Franghiz Ali-Zadeh). $24.99 - See more - Buy online | | |
| Beati II: Pro alios curantibus (For those that care for others) - Intermediate MorningStar Music Publishers
Soprano voice solo, SSA choir, cello, organ, and synthesizer - Intermediate S...(+)
Soprano voice solo, SSA choir, cello, organ, and synthesizer - Intermediate SKU: MN.56-0022 Composed by Howard Goodall. 21st Century. Duration 4 minutes, 44 seconds. MorningStar Music Publishers #56-0022. Published by MorningStar Music Publishers (MN.56-0022). UPC: 688670220272. Latin. Luke 10:33; Isaiah 66:13. Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For soprano solo and SSA voices, cello, organ, and synthesizer, the music has a light, ethereal feeling. “Beati†can be taken as a sort of “Blessed are they†prefix for the movements which are not direct quotes from the Beatitudes. This is piece is a Latin setting of Luke 10:33 (“A certain Samaritan being on his journey came near himâ€) and Isaiah 66:13 (“As one whom the mother caresses, I will comfort youâ€). Quick, florid, and leaping passages begin in the solo voice as the chorus comments and then repeats those passages. After that the piece is basically a duet structure with only two measures where the sopranos divide. Duration 4:44
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| Harbor Music String Quartet: 2 violins, viola, cello [Score] Theodore Presser Co.
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (stu...(+)
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (study). With Standard notation. Duration 11 minutes. Theodore Presser Company #164-00222S. Published by Theodore Presser Company (PR.16400222S). UPC: 680160037841. This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection. The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour. In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature. The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales. The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey. Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher. $25.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Carl Martin Rock Bug Hal Leonard
SKU: HL.438843 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0107. Pu...(+)
SKU: HL.438843 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0107. Published by Hal Leonard (HL.438843). UPC: 196288079453. 4.75x7.0x2.75 inches. The Carl Martin Rock Bug is an Amp/Speaker Simulator and Headphone rehearsal unit that operates on a single 9v battery. Although this type of accessory is not new, we believe there is nothing on the market that feels as real or sounds as realistic as the Rock Bug! You simply get the feeling that you are playing through a good tube amp. Just plug your guitar (with or without pedals) into the unbalanced 1/4″ input, plug your favourite headphones into the unbalanced 1/4″ output and off you go! Adjust your instruments' volume with the Guitar knob, select an open cabinet or closed cabinet simulation with the mini-toggle switch, and wail away through the privacy of your headphones. If you like, use the AUX stereo inputs and add an MP3, CD or DAT player to the mix; adjust the Master volume for your music, blend in your guitar sounds with the Guitar volume, and either play along with your favourite cd's or add a personal touch to your pre-recorded backing tracks. Utilizing the balanced XLR output, you can connect your Rock Bug to a mixing console for recording, solo gigs accompanying the pre-recorded music with your live guitar, or as a DI for live performance when you are packing light, or your amp goes down. You might not think an Amp-Speaker Simulator is new, but with all these features, the Rock Bug is the little Danish-Swiss Army Knife that belongs in the pocket of every guitar-players gig-bag. $179.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Beatitude III: Beati qui esuriunt (Blessed are the hungry) - Beginner MorningStar Music Publishers
2 treble choir, cello, organ, and handbells - Beginning SKU: MN.56-0025 C...(+)
2 treble choir, cello, organ, and handbells - Beginning SKU: MN.56-0025 Composed by Howard Goodall. 21st Century. Instrument parts. Duration 5 minutes, 2 seconds. MorningStar Music Publishers #56-0025. Published by MorningStar Music Publishers (MN.56-0025). UPC: 688670220302. Latin. Matthew 5:3-11. Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For two-part treble chorus, cello, organ, and handbells, the music has a light, ethereal feeling. The piece begins in unison on a lyrical theme, which the cello echoes next in a 30-measure solo. The voices enter again with the theme, expanded to two parts. After brief restatement in the cello, the piece returns to a quiet, unison ending. Duration 5:02
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| How To Play Banjo Banjo [Sheet music + CD] Santorella Publications
How To Play Banjo with CD composed by Larry McCabe. For banjo. This edition: Pap...(+)
How To Play Banjo with CD composed by Larry McCabe. For banjo. This edition: Paperback. Instructional. Method. Book and CD. Text Language: English. 48 pages. Published by Santorella Publications
$14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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