| A Christmas Special Choral 2-part 2-part Faber Music Limited
Arranged by Alexander L'Estrange. Choir Secular. For with Piano (2-Part Choir). ...(+)
Arranged by Alexander L'Estrange. Choir Secular. For with Piano (2-Part Choir). Book; Choral Collection. Faber Edition: Choral Basics. Christmas; Winter. Published by Faber Music
$3.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Danny Boy and Other Classic Irish Melodies Choral 2-part 2-part, Piano Faber Music Limited
Danny Boy and Other Classic Irish Melodies arranged by Alexander L'Estrange. Cho...(+)
Danny Boy and Other Classic Irish Melodies arranged by Alexander L'Estrange. Choir Secular. For with Piano (2-Part Choir). Book; Choral Collection. Faber Edition: Choral Basics. Published by Faber Music
$3.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| E-Z Play Today #048 - Gospel Songs of Johnny Cash Piano, Vocal and Guitar [Sheet music] - Easy Hal Leonard
Performed by Johnny Cash. For voice and keyboard. Format: easy piano/vocal/chord...(+)
Performed by Johnny Cash. For voice and keyboard. Format: easy piano/vocal/chords songbook. With vocal melody, lyrics, chord names and big note notation. Traditional country and gospel. Series: Hal Leonard E-Z Play Today. 48 pages. 9x12 inches. Published by Hal Leonard.
$10.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| How Great Thou Art Handbells Jeffers Handbell Supply
By Traditional. Arranged by Kevin McChesney / Karen Roth. For handbell choir (3-...(+)
By Traditional. Arranged by Kevin McChesney / Karen Roth. For handbell choir (3-5 octaves). Level 1+. Published by Jeffers Handbell Supply
$3.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| How Great Thou Art Light Of The World Music
By Keith Kunda. For Brass Ensemble. Large Ensemble for Brass Ensemble. Tradition...(+)
By Keith Kunda. For Brass Ensemble. Large Ensemble for Brass Ensemble. Traditional. Level: 4. Published by Light Of The World Music.
$18.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Traditional Gospel Keyboard [Sheet music] Hal Leonard
(E-Z Play Today #145). By Various. E-Z Play Today. Softcover. 56 pages. Publishe...(+)
(E-Z Play Today #145). By Various. E-Z Play Today. Softcover. 56 pages. Published by Hal Leonard
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sunday Morning Blended Worship Companion Piano solo - Intermediate/advanced Alfred Publishing
(33 Selections of Praise Songs with Hymns). Arranged by Victor Labenske. For Pia...(+)
(33 Selections of Praise Songs with Hymns). Arranged by Victor Labenske. For Piano. Book; Piano Collection; Piano Supplemental. Sacred Performer Collections. Contemporary Christian; Hymn; Sacred. Early Advanced; Late Intermediate. 124 pages. Published by Alfred Music
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Medleys for Blended Worship, Complete Collection Piano solo - Advanced Alfred Publishing
40 Contemporary Arrangements of Praise Songs with Hymns. Arranged by Carol Tor...(+)
40 Contemporary Arrangements
of Praise Songs with Hymns.
Arranged by Carol Tornquist.
Book; Piano Collection;
Piano Supplemental. Sacred
Performer Collections.
Contemporary Christian;
Hymn; Sacred. 172 pages.
Published by Alfred Music
$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| What Can I Play for Special Services?, Complete Collection Piano solo - Intermediate Alfred Publishing
(Easily Prepared Arrangements for Weddings, Easter, and Funerals). Arrange...(+)
(Easily Prepared
Arrangements for Weddings,
Easter, and Funerals).
Arranged by Cindy Berry. For
Piano. Book; Piano
Collection; Piano
Supplemental. Sacred
Performer Collections.
Easter; Sacred; Spring;
Wedding. Late Intermediate.
112 pages. Published by
Alfred Music
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concord Worship Sings - Choral Book Word Music
Intermediate SKU: WD.080689628177 Composed by Tim Paul. Book. Word Music ...(+)
Intermediate SKU: WD.080689628177 Composed by Tim Paul. Book. Word Music #080689628177. Published by Word Music (WD.080689628177). UPC: 080689628177. Hymns, and Spiritual Songs —featuring the Concord Worship Choir & Orchestra, under the direction of Pastor of Worship Jeff Lawrence, and arranged and orchestrated by Tim Paul.
Seeking to create inspiring music to penetrate the hearts of every generation, Tim Paul has eloquently crafted these beautiful songs of rich legacy and grand tradition into fresh, new masterpieces of worship and praise. With prayerful consideration and inspired by the multiple generations represented in his home congregation, First Baptist Concord in Knoxville, TN, Tim felt the call to write arrangements that would infuse new energy and life to a set of familiar songs carefully selected to minister to his blended church family. Now, Word Music & Church Resources is bringing this special collection of songs from the church, straight to you and your church! It is our desire that by sharing, with churches everywhere, this new project from The Concord Worship Choir & Orchestra, that you too will be inspired and encouraged to share these powerful and moving arrangements with your choir, church and community…songs from the church, to the church!
Featuring new and unique arrangements of well-known favorites such as Nothing but the Blood, Because He Lives, It Is Well, How Great Thou Art, and more, CONCORD WORSHIP SINGS is filled with vibrant and powerful moments of worship…enhanced by soloists, worship leader improvisation, and congregational participation. PLEASE NOTE: CONCORD WORSHIP SINGS features a Live Recording. As such, you may notice some bleed between the different stem groups on the Stem Mixes. Also, due to the nature of a Live Recording, the .wav files in the Stem Mixes package may not be completely isolated as they would be in a studio-recorded project. $12.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lorie Line - Practice, Practice, Practice! Book Four: Popular Hymns Piano solo [Sheet music] - Easy Hal Leonard
(Easy Piano Arrangements for Beginners). By Lorie Line. Piano Solo Personality. ...(+)
(Easy Piano Arrangements for Beginners). By Lorie Line. Piano Solo Personality. Softcover. 54 pages. Hal Leonard #TLP342. Published by Hal Leonard
$29.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Postludes - Vol 9 Organ - Intermediate Jackman Music Corporation
Organ - Late Intermediate SKU: JK.02066 Composed by Various. Arranged by ...(+)
Organ - Late Intermediate SKU: JK.02066 Composed by Various. Arranged by James C. Kasen. Christian, Contemporary Christian, Gospel, Inspirational. Score. Jackman Music Corporation #02066. Published by Jackman Music Corporation (JK.02066). UPC: 093285020665. Postludes Volume 9 continues in the rich tradition of spirit-filled arrangements by the acclaimed James C. Kasen. Offering a refined touch, these beautiful arrangements are appropriate for a wide variety of worship services, large and small. Intermediate in difficulty, these variations on beloved hymns are almost as easy under the fingers as they are on discerning ears.
Contents: How Great Thou Art Lord, We Come before Thee Now Now Let Us Rejoice Now Thank We All Our God Oh, May My Soul Commune with Thee Precious Savior, Dear Redeemer Sweet Hour of Prayer. $11.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gladiator March for Trombone Quartet Brass Quartet: 4 trombones [Score and Parts] - Advanced Cherry Classics
By John Philip Sousa (1854-1932). Arranged by Andrew Converse. For Trombone Quar...(+)
By John Philip Sousa (1854-1932). Arranged by Andrew Converse. For Trombone Quartet. 20th Century Americana. Advanced. Score and parts. Published by Cherry Classics
$22.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Danny Boy and Other Classic Irish Melodies Choral 3-part SAB, Piano Faber Music Limited
Arranged by Alexander L'Estrange. Choir Secular. For with Piano (3-Part Mixed Ch...(+)
Arranged by Alexander L'Estrange. Choir Secular. For with Piano (3-Part Mixed Choir (SAB)). Book; Choral Collection. Faber Edition: Choral Basics. Published by Faber Music
$3.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Christmas Special Choral 3-part SAB, Piano Faber Music Limited
Arranged by Alexander L'Estrange. Choir Secular. For with Piano (3-Part Mixed Ch...(+)
Arranged by Alexander L'Estrange. Choir Secular. For with Piano (3-Part Mixed Choir (SAB)). Book; Choral Collection. Faber Edition: Choral Basics. Christmas; Winter. Published by Faber Music
$3.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| High Voice Treasury - High Voice High voice, Piano Lillenas Publishing Co.
(Contemporary and Traditional Favorites). By Ken Bible. For high voice, piano. S...(+)
(Contemporary and Traditional Favorites). By Ken Bible. For high voice, piano. Sacred Vocal. Published by Lillenas Publishing Company
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| String Quartet Op. 37 String Quartet: 2 violins, viola, cello PWM (Polskie Wydawnictwo Muzyczne)
String Quartet (Score) SKU: HL.370494 Critical Edition Hardcover. ...(+)
String Quartet (Score) SKU: HL.370494 Critical Edition Hardcover. Composed by Karol Szymanowski. PWM. Classical. Hardcover. 60 pages. Polskie Wydawnictwo Muzyczne #9267030. Published by Polskie Wydawnictwo Muzyczne (HL.370494). ISBN 9781705147009. UPC: 840126994025. The First String Quartet in C major, Op. 37, was written in the autumn of 1917 and earned Szymanowski the first prize in a competition organized by the Ministry of Religious and in a competition organized by the Ministry of Religious and Educational Affairs in January 1922. The First String Quartet is notable for its clar and simple construction. The first movement is in the formof a sonata allegro; the Andantino semplice (in modo iuna canzone) in the middle is a cross between ternary and variation form. The final Scherzando alla burlesca also keeps to the form of a sonata allegro. The combinations and proportions of formal factors and the treatment of thematic material betray a fairly conventional adoption of classical models. Similarly, the expressive and structural use of melodic material shows a respect for traditional norms. Szymanowski created, in other works from the same period, his own individual type of melodic line, which was strongly expressive and achieved its effect chiefly by its tonal qualieties; nevertheless in this Quartet he returns to a fluid, cantilena-like, symmetrically shaped melodic line, which runs along in broad phrases of a concentrated, reflective character. Melody becomes the chief factor in the development of the form, both in thematic usage and in the application of a more polyphonic texture. Harmonic and tonal means are considerably simplified in the Quartet []. Most of the writing is linear, or horizontal, with individual treatment of each part, the parallel continuation of the four sound planes, almost a matter of principle. The functions of the particular instruments in realizing these planes are constantly changing,which accounts for the even greater variedy of tone-colour. The decision to forego experiment with forms and sonorities is reflectedin the overall approach to musical expression. The predominant atmosphere of restrained emotion, quiet lyricism and serenity is strongly suggestive of classical aestetic models. (Based on Zofia Helman Commentary on Szymanowski Complete Edition, Vol. B6) (II) The ''Second String Quartet'' represents an interesting attempt to revert to classical form coupled with the new harmonic and tonal vocabulary worked out previously in the ''Slopiewnie'', ''Stabat Mater'' and ''Mazurkas''. It was also the first time the composer had used folk elements in the framework of a major classical form. The ''Second String Quartet'' is in a special category among Szymanowski's works. Though it dates from the composer was still occupied with folk music, it nevertheless shows him returning to classical models, but at the same time using an aesthetic of subjective expression, which gives the work its own individual stamp. The ''Second String Quartet'' synthesis of the various directions in which Szymanowski was attempting to develop. The sonority and texture used in the first. $40.00 - See more - Buy online | | |
| Play Mormon Hymns, Book 3 Piano solo - Intermediate Alfred Publishing
16 Piano Arrangements of Traditional Hymns. Arranged by Linda Christensen an...(+)
16 Piano Arrangements of
Traditional Hymns. Arranged
by Linda Christensen and
David M. Love. Book; Piano
Collection; Piano
Supplemental. Play Mormon
Hymns. Hymn; Sacred. 32
pages. Published by Alfred
Music
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 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 | | |
| Without Form and Void Choral SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION ...(+)
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION by Franz Joseph Haydn. Composed by Dan Welcher. Sws. Premiered at the Northwest Hills United Methodist Church, Austin, TX. Choral. Performance Score. With Standard notation. Composed July 5 2014. 16 pages. Duration 5:15. Theodore Presser Company #362-03423. Published by Theodore Presser Company (PR.362034230). ISBN 9781598069556. UPC: 680160624225. Letter inches. English. When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental. When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?” THE CREATION already contains a prologue; it’s called “Representation of Chaos”, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos” was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overture”, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres” universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent” until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!”, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.” I love that phrase, and it’s in that spirit that I offer my humble “opener” to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear. $3.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 150 of the Most Beautiful Songs Ever (4th Edition)
Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
Composed by Various. Traditional Pop, Broadway and Vocal Standards. Songbook (so...(+)
Composed by Various. Traditional Pop, Broadway and Vocal Standards. Songbook (softcover). With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. 576 pages. Published by Hal Leonard
(137)$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
Next page 1 31 61 |