Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Sher Music Company
By Various. Almost 600 pages of world-famous Sher Music transcriptions! Don't go...(+)
By Various. Almost 600
pages of world-famous
Sher Music
transcriptions! Don't go
to the gig without it!.
Various. Fake Book.
Published by Sher Music
Company.
Fakebook (spiral bound) for Eb instrument and voice. With vocal melody, lyrics, ...(+)
Fakebook (spiral bound)
for Eb instrument and
voice. With vocal melody,
lyrics, chord names,
black and white photos
and introductory text.
574 pages. Published by
Sher Music Company.
Fakebook (spiral bound) for Bb instrument and voice. With vocal melody, lyrics, ...(+)
Fakebook (spiral bound)
for Bb instrument and
voice. With vocal melody,
lyrics, chord names,
black and white photos
and introductory text.
574 pages. Published by
Sher Music Company.
Choral SA choir, piano SKU: CF.CM9795 Composed by Mark Burrows. Duration ...(+)
Choral SA choir, piano
SKU: CF.CM9795
Composed by Mark Burrows.
Duration 3:45. Carl
Fischer Music #CM9795.
Published by Carl Fischer
Music (CF.CM9795).
ISBN 9781491164662.
UPC: 680160923571. Key: A
major. English. Coty
Raven Morris.
Original.
The text
for When I Grow Up first
came to me while I was
teaching in Houston,
Texas. I noticed that my
students were becoming
more and more concerned
about what steps they had
to take as students to
secure a future for
themselves decades ahead.
Young people are finding
themselves having to make
lifelong decisions at a
time where they are still
in a season of
exploration and
wonderment. I then asked
myself, What happened to
discovery through play
and imagination?With the
help of one of my former
and forever choir
students, Monica Juarez,
we took my original text
and created illustrations
of a young Coty in New
Orleans, Louisiana
imagining, in real time,
all of the things that
she could be! It was
important to me that the
images were of real
things that I had seen
growing up every day.That
we are limitless and that
it's only in the
pressures of growing up
that we can lose our
creativity, I hope this
text allows both singers
and conductor to let
their imagination take
the lead and shape the
journey ahead!Sing with
JOY!—Coty
Occasionally, when I get
to visit with young
people, I’ll ask,
Has anyone ever asked you
want to be when you grow
up? All the hands go up.
Children say yes, and
then proceed to tell me
what they want to be when
they grow up. So, then I
ask a follow-up question,
Why on earth do you have
to wait until
you’re a grown-up
to be somebody?!When I
first read through
Coty’s text, I was
so moved by how clear and
beautiful that message of
empowerment shines
through:I want to live,
and that begins now. I
want to be happy. And I
refuse to wait until I
grow up.I also was struck
by her imaginative use of
the four classical
elements—air,
water, fire, and
earth—to bring us
on a journey of discovery
and wonder.I’ve
tried my best to, not so
much set Coty’s
words to a tune, as to go
along with her on the
journey and see what
music would emerge. And
I’m so happy
you’ve joined us
on the journey,
too.Welcome!—Mark.
Choral SAB Choir, Piano SKU: CF.CM9794 Composed by Mark Burrows. Duration...(+)
Choral SAB Choir, Piano
SKU: CF.CM9794
Composed by Mark Burrows.
Duration 3:45. Carl
Fischer Music #CM9794.
Published by Carl Fischer
Music (CF.CM9794).
ISBN 9781491164655.
UPC: 680160923564. Key: A
major. English. Coty
Raven Morris.
Original.
The text
for When I Grow Up first
came to me while I was
teaching in Houston,
Texas. I noticed that my
students were becoming
more and more concerned
about what steps they had
to take as students to
secure a future for
themselves decades ahead.
Young people are finding
themselves having to make
lifelong decisions at a
time where they are still
in a season of
exploration and
wonderment. I then asked
myself, What happened to
discovery through play
and imagination?With the
help of one of my former
and forever choir
students, Monica Juarez,
we took my original text
and created illustrations
of a young Coty in New
Orleans, Louisiana
imagining, in real time,
all of the things that
she could be! It was
important to me that the
images were of real
things that I had seen
growing up every day.That
we are limitless and that
it's only in the
pressures of growing up
that we can lose our
creativity, I hope this
text allows both singers
and conductor to let
their imagination take
the lead and shape the
journey ahead!Sing with
JOY!—CotyOccasiona
lly, when I get to visit
with young people,
I’ll ask, Has
anyone ever asked you
want to be when you grow
up? All the hands go up.
Children say yes, and
then proceed to tell me
what they want to be when
they grow up. So, then I
ask a follow-up question,
Why on earth do you have
to wait until
you’re a grown-up
to be somebody?!When I
first read through
Coty’s text, I was
so moved by how clear and
beautiful that message of
empowerment shines
through:I want to live,
and that begins now. I
want to be happy. And I
refuse to wait until I
grow up. I also was
struck by her imaginative
use of the four classical
elements—air,
water, fire, and
earth—to bring us
on a journey of discovery
and wonder.I’ve
tried my best to, not so
much set Coty’s
words to a tune, as to go
along with her on the
journey and see what
music would emerge. And
I’m so happy
you’ve joined us
on the journey,
too.Welcome!—Mark.
I Can Hear Northern Lights Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Fennica Gehrman
String quartet SKU: FG.55011-484-5 Composed by Kai Nieminen. Score and pa...(+)
String quartet
SKU:
FG.55011-484-5
Composed by Kai Nieminen.
Score and parts. Fennica
Gehrman #55011-484-5.
Published by Fennica
Gehrman (FG.55011-484-5).
ISBN
9790550114845.
In
January 1999, Nieminen
worked with his oboe
piece Elegy for Agatha.
The work kept running
through his mind. Its
musically intimate and
intriguing setting seemed
to include sufficient
elements for explicating
a bigger whole. The poem
by Hannele Huovi was the
inspiration of the
sequel: Kuulen virtaavaa
valoa ja se on pimeys (I
can here streaming light
and it is darkness).
In his work, Nieminen
also looks back on his
days in military service.
The mental pictures
created decades ago on
guard during winter frost
amid silence combined
with Huovi's poem took a
musical shape. I Hear
Streaming Light (1999)
for the String Quartet
was created out of these
ideas, which together
with Elegy for Agatha
constitute a whole called
I Can Hear Northern
Lights. All musical
material and melodic
themes of the string
quartet piece originate
from Elegy for Agatha but
they do not appear in
their original forms.
By Stephen Flaherty And Lynn Ahrens. For Piano/Vocal/Chords. This edition: Piano...(+)
By Stephen Flaherty And
Lynn Ahrens. For
Piano/Vocal/Chords. This
edition:
Piano/Vocal/Chords. Shows
and Movies. Broadway.
Book. 88 pages. Published
by Alfred Publishing.
Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For pi...(+)
Composed by Johann
Sebastian Bach
(1685-1750), edited by
Riemenschneider. For
piano. Format: piano solo
book. With piano
reduction, introductory
text, instructional text,
lyrics and performance
notes. Baroque. 184
pages. 9x12 inches.
Published by Schirmer
Jazz Ensemble (Score & Parts) - Grade 5 SKU: HL.7012926 Vocal Solo wit...(+)
Jazz Ensemble (Score &
Parts) - Grade 5
SKU:
HL.7012926
Vocal
Solo with Big Band.
By Peggy Lee. By Bill
Schluger and Peggy Lee.
Arranged by John Clayton.
Professional Ed. Vocal
Solo. Jazz. Softcover.
Published by Hal Leonard
(HL.7012926).
UPC:
888680662165.
9.0x12.0x0.227
inches.
Originally
recorded by Peggy Lee in
1960, this upbeat swinger
exudes a great message
and positive energy.
Perfect for a singer to
add their own personality
and connect with the
audience. John Clayton's
standout arrangement was
recorded by Queen Latifah
on her album Trav'lin'
Light.
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030).
ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches.
A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018.
Orchestra Orchestra SKU: PR.11641145S Composed by Lowell Liebermann. Stud...(+)
Orchestra Orchestra
SKU: PR.11641145S
Composed by Lowell
Liebermann. Study Score.
80 pages. Duration 20
minutes. Theodore Presser
Company #116-41145S.
Published by Theodore
Presser Company
(PR.11641145S).
ISBN
9781491136553. UPC:
680160689408.
The
Concerto for Piccolo and
Orchestra Op.50 was
commissioned by Jan
Gippo, principal Piccolo
of the St. Louis
Symphony, who gave the
premiere of the work on
August 18th, 1996, in New
York City with the New
Jersey Symphony Orchestra
conducted by Glenn
Cortese. The occasion was
the annual convention of
the National Flute
Association, who
sponsored the
commission.Jan Gippo had
enthusiastically pursued
the idea of commissioning
a Piccolo concerto from
me ever since he played
orchestral Piccolo in the
premiere of my Concerto
for Flute with James
Galway and the St. Louis
Symphony. Won over by his
enthusiasm, I agreed to
write this work for an
instrument which has had
virtually no concerto
repertoire since the
baroque era. In doing so
I was eager to stress the
lyrical and expressive
qualities of an
instrument which is too
often stereotyped as
being useful for only
brilliant and ornamental
flourishes.The work falls
into three movements
which are united by
thematic and motivic
materials, significant
among which is a twelve
note row which forms the
basis of the second
movement’s
variations. The final
movement, which puts the
seriousness of the first
tow movements aside for
an unbridled romp, makes
use of three explicit
musical quotations at
strategic structural
moments, one of which is
an implicit homage to
Shostakovich, who quoted
from the same work in his
own second Violin
Concerto.Orchestration of
the Concerto was
completed at the
Loew’s Hotel in
Monte Carlo, where I was
situated for the
rehearsal period of my
opera The Picture of
Dorian Gray.The Concerto
for Piccolo and Orchestra
has been recorded for
release on the BMG label
by James Galway with the
London Mozart Players
conducted by the
composer.
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
SA divisi Cello Accompaniment; Choral (SA) SKU: HL.364343 Composed by Cra...(+)
SA divisi Cello
Accompaniment; Choral
(SA)
SKU:
HL.364343
Composed by
Craig Hella Johnson.
Craig Hella Johnson
Series. Concert,
Festival. Octavo.
Published by Hal Leonard
(HL.364343).
UPC:
840126958638.
6.75x10.5x0.019
inches.
Here is a
setting of a Tagore text
set for cello and treble
voices. It was composed
specifically for a
Conspirare program called
“The Singing
Guitar,†the Grammy
Award-nominated album
featuring three works for
guitar quartets and
voices. This was
conceived as an
introductory invocation
which would reflect
aspects of unfulfilled
purpose and a longing for
intimacy with the Divine.
It will gracefully fill
the same role in your
concerts.
What Was I Made For? Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Hal Leonard
Score and Parts Concert Band (Score and Parts) - Grade 2 SKU: HL.4008581 ...(+)
Score and Parts Concert
Band (Score and Parts) -
Grade 2
SKU:
HL.4008581
By Billie
Eilish. By Billie Eilish
O'Connell and Finneas
O'Connell. Arranged by
Michael Brown. Discovery
Plus Concert Band.
Ballad, Movies, Pop.
Softcover. Duration 185
seconds. Published by Hal
Leonard (HL.4008581).
UPC: 196288182894.
9.0x12.0x0.335
inches.
From the
blockbuster movie
â??Barbie,â? this
moving ballad by Billie
Eilish features a tuneful
melody and tender
emotions. Here's a
beautifully scored
setting for young
bands.
Good work for examinations and recitals by an important British composer. Durati...(+)
Good work for
examinations and recitals
by an important British
composer. Duration c.6'.
AMEB (Australian
Syllabus) 2004. Programme
notes as
follows:
Lennox
Berkeley was born in 1903
and died in 1989. After
reading modern languages
at Oxford he had no
intention of becoming a
composer until he met
Ravel in 1926, who
encouraged him to study
in Paris with Nadia
Boulanger. He stayed in
Paris until 1932,
developing his own
musical language. In
1936, after the death of
his mother, he went to
Barcelona for the
International Society for
Contemporary Music
festival where he met
Benjamin Britten. The two
lived together at Snape
in Suffolk for a while
until the outbreak ofwar,
before Berkeley moved
back to London to work
for the BBC. Here he met
his future wife Freda
Bernstein. He taught at
the Royal Academy of
Music in London from 1946
until 1968, where his
pupils included Richard
Rodney Bennett, Nicholas
Maw and John Tavener,
among others. He was
knighted in 1974.
In early
February 1971 I was
playing in a concert at
St. John's Smith Square,
London, then only
relatively recently
restored as a superb
venue for music. The
programme, which I
believe was being
broadcast, included
Berkeley's Serenade
Op.12. It was a work I
had always enjoyed
playing and was standard
string orchestra
repertoire at the time.
There was initially no
platform at St. John's
and so the audience sat
virtually on top of the
performers. So close were
they on this occasion
that I had to ask for a
little more room in order
to play. At the end of
the piece the orchestra
acknowledged the applause
and the gentleman who I
had all but practically
decapitated with my
over-enthusiastic
playing, stood up and
took a bow. I had been
almost playing in Lennox
Berkeley's lap! The
opportunity was too good
to miss and I wasted
little time in
introducing myself. Mr
Berkeley said that he had
been fascinated by my
playing and asked me to
write to him about a
possible
commission.
Brass Band - Grade 3 SKU: BT.GOB-000983-130 Arranged by Menno Haantjes. S...(+)
Brass Band - Grade 3
SKU:
BT.GOB-000983-130
Arranged by Menno
Haantjes. Score Only. 6
pages. Gobelin Music
Publications #GOB
000983-130. Published by
Gobelin Music
Publications
(BT.GOB-000983-130).
Isaac Watts
(1674-1748) wrote the
lyrics of There is a land
of pure delight and is
known as the Father of
English Hymnody.
Watts was for the English
hymn as Ambrose was for
the medieval Latin hymn
and what Martin Luther
was for the German
chorale. He wrote
about 750 songs, and some
of them survide the
ravahes of time. (Joy To
The World, When I survey
the wondrous cross, I
sing the Mighty Power of
God)
There is a
Land of Pure Delight is
usually in
English-speaking areas
sung on Luther Orlando
Emerson's melody
('Ascription'). Here
is used a traditional
English melody
('Mendip').
There is a land of pure
delight Wheresaints
immortal Reign.
Infinite day excludes the
night, And pleasures
banish pain.
Isaac Watts
(1674-1748) schreef de
tekst van ‘There is a
land of pure delight’,
en staat bekend als de
'Father of English
Hymnody' (Vader van het
gezang). Watts was
voor het Engelse gezang
wat Ambrosius was voor de
middeleeuwseLatijnse
hymne in de getijden en
wat Maarten Luther was
voor het Duitse koraal.
Hij schreef ongeveer 750
liederen, waarvan een
aantal de tand des tijds
overleefden. (Joy to the
World, When I survey the
wondrous cross, I singthe
mighty Power of
God)
'There is a
Land of Pure Delight'
wordt in Engelstalige
gebieden meestal op een
melodie van Luther
Orlando Emerson gezongen
('Ascription'). In
Nederland is het lied
opgenomen in het
'Liedboekder Kerken'
(gez. 290). Hier wordt
gebruik gemaakt van een
Engelse traditionele
melodie
('Mendip').
There
is a land of pure
delight Where saints
immortal reign.
Infinite day excludes the
night, And
pleasuresbanish pain.
Fanfare Band - Grade 3 SKU: BT.GOB-000982-020 Arranged by Menno Haantjes....(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000982-020
Arranged by Menno
Haantjes. Set (Score &
Parts). 71 pages. Gobelin
Music Publications #GOB
000982-020. Published by
Gobelin Music
Publications
(BT.GOB-000982-020).
Isaac Watts
(1674-1748) wrote the
lyrics of There is a land
of pure delight and is
known as the Father of
English Hymnody.
Watts was for the English
hymn as Ambrose was for
the medieval Latin hymn
and what Martin Luther
was for the German
chorale. He wrote
about 750 songs, and some
of them survide the
ravahes of time. (Joy To
The World, When I survey
the wondrous cross, I
sing the Mighty Power of
God)
There is a
Land of Pure Delight is
usually in
English-speaking areas
sung on Luther Orlando
Emerson's melody
('Ascription'). Here
is used a traditional
English melody
('Mendip').
There is a land of pure
delight Wheresaints
immortal Reign.
Infinite day excludes the
night, And pleasures
banish pain .
Isaac Watts
(1674-1748) schreef de
tekst van ‘There is a
land of pure delight’,
en staat bekend als de
'Father of English
Hymnody' (Vader van het
gezang). Watts was
voor het Engelse gezang
wat Ambrosius was voor de
middeleeuwseLatijnse
hymne in de getijden en
wat Maarten Luther was
voor het Duitse koraal.
Hij schreef ongeveer 750
liederen, waarvan een
aantal de tand des tijds
overleefden. (Joy to the
World, When I survey the
wondrous cross, I singthe
mighty Power of
God)
'There is a
Land of Pure Delight'
wordt in Engelstalige
gebieden meestal op een
melodie van Luther
Orlando Emerson gezongen
('Ascription'). In
Nederland is het lied
opgenomen in het
'Liedboekder Kerken'
(gez. 290). Hier wordt
gebruik gemaakt van een
Engelse traditionele
melodie
('Mendip').
There
is a land of pure
delight Where saints
immortal reign.
Infinite day excludes the
night, And
pleasuresbanish pain.
Fanfare Band - Grade 3 SKU: BT.GOB-000982-120 Arranged by Menno Haantjes....(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000982-120
Arranged by Menno
Haantjes. Score Only. 6
pages. Gobelin Music
Publications #GOB
000982-120. Published by
Gobelin Music
Publications
(BT.GOB-000982-120).
Isaac Watts
(1674-1748) wrote the
lyrics of There is a land
of pure delight and is
known as the Father of
English Hymnody.
Watts was for the English
hymn as Ambrose was for
the medieval Latin hymn
and what Martin Luther
was for the German
chorale. He wrote
about 750 songs, and some
of them survide the
ravahes of time. (Joy To
The World, When I survey
the wondrous cross, I
sing the Mighty Power of
God)
There is a
Land of Pure Delight is
usually in
English-speaking areas
sung on Luther Orlando
Emerson's melody
('Ascription'). Here
is used a traditional
English melody
('Mendip').
There is a land of pure
delight Wheresaints
immortal Reign.
Infinite day excludes the
night, And pleasures
banish pain.
Isaac Watts
(1674-1748) schreef de
tekst van ‘There is a
land of pure delight’,
en staat bekend als de
'Father of English
Hymnody' (Vader van het
gezang). Watts was
voor het Engelse gezang
wat Ambrosius was voor de
middeleeuwseLatijnse
hymne in de getijden en
wat Maarten Luther was
voor het Duitse koraal.
Hij schreef ongeveer 750
liederen, waarvan een
aantal de tand des tijds
overleefden. (Joy to the
World, When I survey the
wondrous cross, I singthe
mighty Power of
God)
'There is a
Land of Pure Delight'
wordt in Engelstalige
gebieden meestal op een
melodie van Luther
Orlando Emerson gezongen
('Ascription'). In
Nederland is het lied
opgenomen in het
'Liedboekder Kerken'
(gez. 290). Hier wordt
gebruik gemaakt van een
Engelse traditionele
melodie
('Mendip').
There
is a land of pure
delight Where saints
immortal reign.
Infinite day excludes the
night, And
pleasuresbanish pain.
