By Richard Matteson, Jr. For Fretted. Tune book. Bluegrass. Level: Beginning. Bo...(+)
By Richard Matteson, Jr.
For Fretted. Tune book.
Bluegrass. Level:
Beginning. Book. Size
8.75x11.75. 248 pages.
Published by Mel Bay
Publications, Inc.
Composed by
Michael John Trotta. E.e.
cummings. Mjts.
Performance Score. With
Standard notation. 20
pages. Duration 5
minutes, 11 seconds. Carl
Fischer Music #CM9565.
Published by Carl Fischer
Music (CF.CM9565).
ISBN 9781491153611.
UPC: 680160911110. 6.75 x
10.5 inches. Key: E
minor. English. Text:
E.E. Cummings. E. e.
cummings. E.e.
cummings.
Trotta's
unique juxtaposition of
texts from the past
(Requiem?text in
the?Liber Usualis) with
the present (e.e.
cummings poem?i carry
your heart) results in a
compelling, lush
composition accessible to
mixed choirs of all
sizes. With optional oboe
and solo or small group,
i carry your heart?is
appropriate for concert,
festival, retirement or a
special tribute. It is
certain to be adored and
appreciated by all.
Highly
recommend!. This piece
incorporates the
Introit from the
Requiem in the
Liber Usualis in
the men's voices using
the text by E. E.
Cummings. The women's
voices have original
music that soars
gracefully about the
plainsong. The middle
section features the
Requiem text,
set simply in a
homophonic style. The
final section blends the
two styles into a prayer
of thanks and
remembrance. This beloved
E.E. Cummings text was
commissioned in honor and
loving memory of Dr.
Ferris Ohl (1914-2017) in
thanks for over four
decades of service to the
Heidelberg University
Music department.
Director of Choral
Activities Dr. Greg
Ramsdell sought to pay
tribute to the rich
legacy of Dr. Ohl by
having a setting of the
text that broadened the
scope of the message i
carry your heart to
include those who have
come before us and who
live on in our song.
INSERT GRAPHIC
HERE - I e mailed you on
5-14. This piece
incorporates theA
IntroitA from
theA RequiemA in
theA Liber UsualisA
in the men's voices
using the text by E. E.
Cummings. The women's
voices have original
music that soars
gracefully about the
plainsong. The middle
section features theA
RequiemA text,
set simply in a
homophonic style. The
final section blends the
two styles into a prayer
of thanks and
remembrance. This beloved
E.E. Cummings text was
commissioned in honor and
loving memory of Dr.
Ferris Ohl (1914-2017) in
thanks for over four
decades of service to the
Heidelberg University
Music department.
Director of Choral
Activities Dr. Greg
Ramsdell sought to pay
tribute to the rich
legacy of Dr. Ohl by
having a setting of the
text that broadened the
scope of the message i
carry your heart to
include those who have
come before us and who
live on in our song.
INSERT GRAPHIC
HERE - I e mailed you on
5-14. This piece
incorporates theA
IntroitA from
theA RequiemA in
theA Liber UsualisA
in the men's voices
using the text by E. E.
Cummings. The women's
voices have original
music that soars
gracefully about the
plainsong. The middle
section features theA
RequiemA text,
set simply in a
homophonic style. The
final section blends the
two styles into a prayer
of thanks and
remembrance. This beloved
E.E. Cummings text was
commissioned in honor and
loving memory of Dr.
Ferris Ohl (1914-2017) in
thanks for over four
decades of service to the
Heidelberg University
Music department.
Director of Choral
Activities Dr. Greg
Ramsdell sought to pay
tribute to the rich
legacy of Dr. Ohl by
having a setting of the
text that broadened the
scope of the message i
carry your heart to
include those who have
come before us and who
live on in our song.
INSERT GRAPHIC
HERE - I e mailed you on
5-14. This piece
incorporates the
Introit from the
Requiem in the
Liber Usualis in
the men's voices using
the text by E. E.
Cummings. The women's
voices have original
music that soars
gracefully about the
plainsong. The middle
section features the
Requiem text,
set simply in a
homophonic style. The
final section blends the
two styles into a prayer
of thanks and
remembrance. This beloved
E.E. Cummings text was
commissioned in honor and
loving memory of Dr.
Ferris Ohl (1914-2017) in
thanks for over four
decades of service to the
Heidelberg University
Music department.
Director of Choral
Activities Dr. Greg
Ramsdell sought to pay
tribute to the rich
legacy of Dr. Ohl by
having a setting of the
text that broadened the
scope of the message i
carry your heart to
include those who have
come before us and who
live on in our song.
INSERT GRAPHIC
HERE - I e mailed you on
5-14. This piece
incorporates the Introit
from the Requiem in the
Liber Usualis in the
men's voices using the
text by E. E. Cummings.
The women's voices have
original music that soars
gracefully about the
plainsong. The middle
section features the
Requiem text, set simply
in a homophonic style.
The final section blends
the two styles into a
prayer of thanks and
remembrance. This beloved
E.E. Cummings text was
commissioned in honor and
loving memory of Dr.
Ferris Ohl (1914-2017) in
thanks for over four
decades of service to the
Heidelberg University
Music department.
Director of Choral
Activities Dr. Greg
Ramsdell sought to pay
tribute to the rich
legacy of Dr. Ohl by
having a setting of the
text that broadened the
scope of the message i
carry your heart to
include those who have
come before us and who
live on in our song.
INSERT GRAPHIC
HERE - I e mailed you on
5-14. This piece
incorporates
the Introit from
the Requiem in
the Liber
Usualis in the men's
voices using the text by
E. E. Cummings. The
women's voices have
original music that soars
gracefully about the
plainsong. The middle
section features
the Requiem text,
set simply in a
homophonic style. The
final section blends the
two styles into a prayer
of thanks and
remembrance.This beloved
E.E. Cummings text was
commissioned in honor and
loving memory of Dr.
Ferris Ohl (1914-2017) in
thanks for over four
decades of service to the
Heidelberg University
Music department.Director
of Choral Activities Dr.
Greg Ramsdell sought to
pay tribute to the rich
legacy of Dr. Ohl by
having a setting of the
text that broadened the
scope of the message i
carry your heart to
include those who have
come before us and who
live on in our
song. INSERT GRAPHIC
HERE - I e mailed you on
5-14.
(A sacred oratorio). By George Frideric Handel (1685-1759). Edited by Watkins Sh...(+)
(A sacred oratorio). By
George Frideric Handel
(1685-1759). Edited by
Watkins Shaw. For soprano
solo voice, alto solo
voice, tenor solo voice,
bass solo voice, SATB
choir and piano
accompaniment. Novello
Handel Edition. Baroque,
Choral, Christmas and
Easter. Difficulty:
medium. Vocal score
(paperback). Choral
notation and piano
reduction. 257 pages.
Published by Novello and
Co Ltd
SKU: WD.080689705120 Composed by John E. Coates. Modern Christian: Sacred...(+)
SKU:
WD.080689705120
Composed by John E.
Coates. Modern Christian:
Sacred. Accompaniment CD
(split). Word Music
#080689705120. Published
by Word Music
(WD.080689705120).
UPC:
080689705120.
In
the past twenty years,
worship styles in many
churches have
transformed, emphasizing
a personal worship that
strives for intimacy with
the Father. This renewal
led some ministries,
perhaps unintentionally,
to abandon the great
hymns of our faith in
favor of newly composed
worship songs. Other
ministries, in an effort
to create a balanced
worship style, mixed the
new with the old,
sometimes with results
that only amplified the
differences between the
two. Hymns for Praise &
Worship bridges the
stylistic gap between
modern-day worship songs
and the hymns of our
Christian heritage. A
select advisory board of
active music ministers,
Word Music staff and key
choral arrangers were
assembled to pinpoint
fifty-six hymns from the
vast array of hymnody,
not only for their
musical quality, but for
the messages that they
bring to worshippers
today. Veteran choral
arrangers John E. Coates
and Travis Cottrell have
been creating new
settings of hymns for
their own congregations
for years. Their
experience as worship
leaders brought not only
musicality, but also
congregational and choral
pragmatism to each new
arrangement in Hymns for
Praise & Worship. With
all of the same editions
and features as the Songs
for Praise & Worship
series, this collection
is designed to work
hand-in-hand with
existing resources for
worship. Various
stylistic changes make
these settings flow
easily, appeal to the
modern ear, and correlate
with the styles of
contemporary praise &
worship songs. Throughout
this book you will
encounter variations from
traditional time
signatures, intuitive
syncopated rhythms, and
substituted chords and
harmonies. Even the few
hymns with more
traditional settings are
treated in a manner that
takes the congregation on
a journey through the
verses, sometimes in a
more through-composed
manner, and usually
culminating in a
climactic conclusion.
Each of the changes was
not implemented
arbitrarily, but with the
goal of making the
timeless messages of each
hymn leap from the page
in new and exciting ways.
Two added features of
Hymns for Praise &
Worship are the
demonstration and
accompaniment recordings.
While the songs in the
collection are well
known, the new
arrangements are not. The
staff of Word Music felt
that it was vital to
provide audible resources
to teach and lead worship
to best communicate the
desires of the arrangers.
All of the core editions
(Choir/Worship Team,
Worship Planner, Keyboard
Edition, Guitar Edition)
reflect the verses and
voicings used on the
recordings.
String Quartet SKU: HL.14008374 Composed by Sir Peter Maxwell Davies. Mus...(+)
String Quartet
SKU:
HL.14008374
Composed
by Sir Peter Maxwell
Davies. Music Sales
America. Classical.
Score. Composed 2006. 24
pages. Chester Music
#CH68629. Published by
Chester Music
(HL.14008374).
ISBN
9781846096150. UPC:
884088435202.
8.25x11.75x0.105
inches.
The Full
Score for Peter Maxwell
Davies' fourth in a
series of ten string
quartets commissioned by
the Naxos Recording
company, first performed
by the Maggini Quartet on
20th August 2004 at the
Chapel of the Royal
Palace, Oslo, Norway, as
part of the Olso Chamber
Music Festival. Composer
Note: The fourth Naxos
quartet was written in
January and February of
2004, with the intention
of producing something
lighter and much less
fierce than its
predecessor, an
unpremeditated and
spontaneous reaction to
the illegal invasion of
Iraq. I returned to the
well-known Brueghel
picture of children's
games (1560, now in
Vienna), which had been
the inspiration for my
sixth Strathclyde
Concerto, for flute and
orchestra. These
illustrations liberated
my musical imagination,
but I feel it would limit
the listener's perception
to be too specific about
which game relates to
exactly which section of
the work. Suffice it to
say that there is
vigorous play -
leap-frog, bind the devil
with a cord, truss,
wrestling - alongside
quieter pastimes - masks,
guess whom I shall
choose, courting, odds
and evens. The single
movement juxtaposes these
activities as abruptly
and intimately as they
occur in Brueghel. Rather
as the eye is taken into
different perspectives
and proportions of scale
within the picture,
taking liberties which
would never be present
in, for instance,
Brunelleschi
architectural drawings,
so here, with a constant
sequence of
transformation processes,
I have distorted the
neat, precise
implications of modal
progression, expressed in
the unison opening phrase
(from F to B through A
sharp/B flat), so that
the ear is led, en route,
into the sound
equivalents of strange
passageways and closed
rooms: sicut exposition
ludus. As work on the
quartet progressed I
became aware that I was
reading into, and behind
the games, adult motives
and implications,
concerning aggression and
war, with their
consequences. It was
impossible to escape into
innocent childhood
fantasy. The nature of
the F to B progression
underlying the whole
construction derives from
a passage in the
development of the first
movement of Mahler's
Third Symphony, and the
opening of Schoenberg's
Second String Quartet.
However, unlike in these
models, here a real - if
temporary - sense of
resolution occurs at the
close of the quartet: as
when the curtain falls on
the reconciled Count and
Countess in 'Figaro' one
wonders how long the F/B
truce will hold, and
games break out again.
The quartet is dedicated
to Giuseppe Rebecchini,
Roman architect, and
friend since the
nineteen-fifties.
Arranged by Joan Frey Boytim. For soprano voice and piano. Format: piano/vocal b...(+)
Arranged by Joan Frey
Boytim. For soprano voice
and piano. Format:
piano/vocal book. With
vocal melody, lyrics,
piano accompaniment and
introductory text. Vocal
standards, romantic
period and 20th century.
Text language English,
German*, French*,
Italian*, . 135 pages.
9x12 inches. Published by
G. Schirmer, Inc
Compiled by Joan Frey Boytim. 2 accompaniment CDs for soprano voice solo. CDs On...(+)
Compiled by Joan Frey
Boytim. 2 accompaniment
CDs for soprano voice
solo. CDs Only- no sheet
music. Text language
German, Latin, French,
Italian, Swedish,
English. Published by G.
Schirmer, Inc.
(GEH) SKU: HL.49023823 Composed by Kunterbund. This edition: Saddle stitc...(+)
(GEH)
SKU:
HL.49023823
Composed
by Kunterbund. This
edition: Saddle
stitching. Sheet music.
Kunter-bund-edition.
Melody line (with
chords). 96 pages. Schott
Music #BUND 71019.
Published by Schott Music
(HL.49023823).
ISBN
9783795756512.
5.75x8.25x0.18 inches.
German.
Schwerpunkt
in der Liederkiste sind
die deutschen Volks- und
Kinderlieder. Sie enthalt
aber auch deutsche und
internationale Lieder von
Liedermachern.
Vorangestellt ist den
Liedern ein thematisch
gegliedertes
Inhaltsverzeichnis, das
kurz die Titelauswahl aus
den einzelnen Bereichen
(Kinderlieder, deutsche
und internationale Lieder
und Folklore, politische
Lieder und Lieder von
Liedermachern)
kommentiert. Die
Liederkiste umfasst 88
Lieder mit
Gitarrengriffen und einer
Transponiertafel.
Voix Soprano, Piano [Partition + Accès audio] Schirmer
Book/Online Audio. Vocal Collection. Vocal Standards, Classical and Play Along. ...(+)
Book/Online Audio. Vocal
Collection. Vocal
Standards, Classical and
Play Along. Softcover
Audio Online. With vocal
melody, lyrics, piano
accompaniment and
introductory text. 136
pages. Published by G.
Schirmer
Chorus a cappella SKU: BR.CHB-5381-00 Composed by Howard Arman. Choir; st...(+)
Chorus a cappella
SKU:
BR.CHB-5381-00
Composed by Howard Arman.
Choir; stapled.
Chor-Bibliothek (Choral
Library). Song; Music
post-1945; New music
(post-2000). Choral
score. 80 pages.
Breitkopf and Haertel
#ChB 5381-00. Published
by Breitkopf and Haertel
(BR.CHB-5381-00).
ISBN
9790004413821. 7.5 x 10.5
inches. English.
As
director of the Bavarian
Radio Choir, Howard Arman
has been actively engaged
with international
Christmas carols through
various Christmas-related
CD productions in the
past years. This has
resulted in a number of
original arrangements for
four- to eight-part mixed
choir a cappella,
shedding new light on
well-known classics such
as O du frohliche [O, you
joyful], Stille Nacht
[Silent Night] and Lasst
uns froh und munter sein
[Let us be happy and
cheerful]. The first
volume includes five
Christmas carols from the
German-speaking regions.
They range from simple
but harmonically
intriguing settings such
as Lieb Nachtigall, wach
auf [Dear nightingale,
wake up] to eight-part
sound paintings with
bell-like chimes as in O
du frohliche and
classical double choir
settings such as Resonet
in laudibus. The second
volume includes five
Christmas spirituals with
English texts, forming a
contrast to the solemn
and festive character of
the first. The choir can
prove its swing and jazz
qualities here; the
stirring arrangements are
a gain for classical
Christmas concerts, too.
Following the tradition
of the spiritual, some
settings also require
soloists, which can,
however, also be
recruited from the choir
if adequate singers are
available. The first
piece combines the
spirituals It's a
Birthday and Wasn't That
a Mighty Day to form a
medley, Ain't That a
Rockin' gives a moment of
tranquility before the
likewise rousing
spirituals Mary Had a
Baby and Little David
conclude the volume. In
both volumes, Howard
Arman provides a short
preface in German and
English, explaining the
background of each piece
and giving advice on
performance.
Chorus a cappella SKU: BR.CHB-5380-00 Composed by Howard Arman. Choir; st...(+)
Chorus a cappella
SKU:
BR.CHB-5380-00
Composed by Howard Arman.
Choir; stapled.
Chor-Bibliothek (Choral
Library). Song; Music
post-1945; New music
(post-2000). Choral
score. 40 pages.
Breitkopf and Haertel
#ChB 5380-00. Published
by Breitkopf and Haertel
(BR.CHB-5380-00).
ISBN
9790004413814. 7.5 x 10.5
inches. German /
Latin.
As director
of the Bavarian Radio
Choir, Howard Arman has
been actively engaged
with international
Christmas carols through
various Christmas-related
CD productions in the
past years. This has
resulted in a number of
original arrangements for
four- to eight-part mixed
choir a cappella,
shedding new light on
well-known classics such
as O du frohliche [O, you
joyful], Stille Nacht
[Silent Night] and Lasst
uns froh und munter sein
[Let us be happy and
cheerful]. The first
volume includes five
Christmas carols from the
German-speaking regions.
They range from simple
but harmonically
intriguing settings such
as Lieb Nachtigall, wach
auf [Dear nightingale,
wake up] to eight-part
sound paintings with
bell-like chimes as in O
du frohliche and
classical double choir
settings such as Resonet
in laudibus. The second
volume includes five
Christmas spirituals with
English texts, forming a
contrast to the solemn
and festive character of
the first. The choir can
prove its swing and jazz
qualities here; the
stirring arrangements are
a gain for classical
Christmas concerts, too.
Following the tradition
of the spiritual, some
settings also require
soloists, which can,
however, also be
recruited from the choir
if adequate singers are
available. The first
piece combines the
spirituals It's a
Birthday and Wasn't That
a Mighty Day to form a
medley, Ain't That a
Rockin' gives a moment of
tranquility before the
likewise rousing
spirituals Mary Had a
Baby and Little David
conclude the volume. In
both volumes, Howard
Arman provides a short
preface in German and
English, explaining the
background of each piece
and giving advice on
performance.
String Quartet - intermediate SKU: BT.DHP-1064034-070 Arranged by Gunter ...(+)
String Quartet -
intermediate
SKU:
BT.DHP-1064034-070
Arranged by Gunter Van
Rompaey and Hans Aerts.
Pop & Rock. Set (Score &
Parts). Composed 2006. 40
pages. De Haske
Publications #DHP
1064034-070. Published by
De Haske Publications
(BT.DHP-1064034-070).
ISBN 9789043124720.
9x12 inches.
English-German-French-Dut
ch.
Traditionally a
string quartet will not
readily take on pop
music. But times are
changing and the classic
quartet line-up proves
suitable for beautiful
arrangements of
contemporary songs as
well. This book features
three hits from past
decades, The Rose
(Bette Midler) with its
simple, pure sounds and
underlying harmonies,
La Solitudine
(Laura Pausini) -
compelling and with a
hidden energy and finally
Wonderwall
(Oasis), an unexpected
choice, with its
persistent rhythmic
background. To allow the
string quartet to play
together with optional
guitar or keyboard, chord
symbols have been added
in the score. These songs
- which certainly have a
passionate andromantic
ring to them - are ideal
for receptions, weddings
and other festive
occasions. (Position 1-5)
Drie bekende
songs in geslaagde
bewerkingen voor
strijkkwartet: Pop
Ballads for String
Quartet bewijst dat
het kan. Om het
strijkkwartet de
mogelijkheid te bieden
samen te spelen met
gitaar of keyboards zijn
akkoordsymbolentoegevoegd
in de partituur. Deze
songs vol passie en
romantiek zijn ideaal
voor het opluisteren van
recepties, bruiloften en
andere feestelijke
gelegenheden. (Position
1-5)
Ein Buch
für alle Streicher,
die anstatt der
klassischen Literatur
für Streichquartett
auch einmal etwas ganz
Modernes, Unterhaltsames
spielen wollen. Hans
Aerts und Gunter Van
Rompaey bearbeiteten
für diese Ausgabe drei
bekannte Pop- Titel
für zwei Violinen,
Viola und Cello.
Akkordsymbole für eine
Begleitung von Keyboard
oder Gitarre sind
ebenfalls
enthalten.(Position 1-5)
Questa
pubblicazione permetter
ai giovani musicisti di
cominciare a suonare in
gruppo. Il quartetto
d’archi è da
sempre la formazione per
eccellenza, equilibrata e
potente
nell’espressione.
Anche la musica in stile
pop, arrangiata per
l’occasione da
Hans Aerts, si adatta a
questo tipo di organico.
L’importante è
saper ascoltare la parte
degli altri per inserire
il proprio ritmo
nell’insieme.
(Position 1-5).