By Andy Beck And Brian Fisher, Recording Orch. Tim Hayden. For Choir. Musicals a...(+)
By Andy Beck And Brian
Fisher, Recording Orch.
Tim Hayden. For Choir.
Musicals and Programs.
Novelty; Secular. Book.
56 pages. Published by
Alfred Publishing.
By Andy Beck And Brian Fisher, Recording Orch. Tim Hayden. For Choir. Musicals a...(+)
By Andy Beck And Brian
Fisher, Recording Orch.
Tim Hayden. For Choir.
Musicals and Programs.
Novelty; Secular. Book
and CD. 56 pages.
Published by Alfred
Publishing.
Composed by The Backstreet Boys. Piano/Vocal/Guitar Artist Songbook. General...(+)
Composed by The
Backstreet
Boys. Piano/Vocal/Guitar
Artist Songbook. General
Merchandise. Duration 240
seconds. Music Sales
#AM950664. Published by
Music
Sales
Performed by The Backstreet Boys. Piano/Vocal/Chords Songbook (Arrangements for ...(+)
Performed by The
Backstreet Boys.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 84 pages.
Published by Hal Leonard.
Heures mystiques: Entrees, Offertoires, Offertoire funebre. By Leon Boellmann. E...(+)
Heures mystiques:
Entrees, Offertoires,
Offertoire funebre. By
Leon Boellmann. Edited by
Schauerte-Maubouet,
Helga. For Organ. Urtext
Edition (paperbound).
Published by
Baerenreiter-Ausgaben
(German import).
Choral SA choir, piano SKU: CF.CM9576 1. Who Robbed the Woods 2. Cool ...(+)
Choral SA choir, piano
SKU: CF.CM9576
1. Who Robbed the
Woods 2. Cool is the
Valley Now. Composed
by Paul David Thomas.
Sws. Performance Score.
16 pages. Carl Fischer
Music #CM9576. Published
by Carl Fischer Music
(CF.CM9576).
ISBN
9781491153987. UPC:
680160912483. 6.875 x
10.5 inches. Key: G
minor. English. Emily
Dickinson (1830-1886) ,
Walt Whitman
(1819-1892).
The
two pieces, Who Robbed
the Woods? and O Cool is
the Valley Now, combine
to create a set that both
explores the subtle
beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinsons poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees behalf, who
would do such a thing?
Whitman ponders a trees
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 712. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 3953). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modes lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
910, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39-53). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning a
cappella section should
be hushed yet intense; a
richer, fuller sound may
be brought out in the
middle section where the
key shifts to Bb major
and the choir sings of
the many noble qualities
of trees (mm. 39-53). O
Cool is the Valley Now
also makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
“Who Robbed the
Woods?†and
“O Cool is the
Valley Now,â€
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around
us.The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson’s poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees’ behalf,
who would do such a
thing? Whitman ponders a
tree’s silent
majesty and power and its
ability to be “yet
say nothing at
all.â€The musical
setting begins and ends
in the mode of G-Dorian
while moving briefly in
the middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7–12. The
beginning a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm.
39–53).O Cool is
the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode’s lack
of a leading tone gives
the melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9–10, imitating
the rolling hills and
valleys evoked in the
text. The phrases of the
vocal lines should also
be flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p. 14.
Composed by Daniel Dorff.
With Standard notation.
112 pages. Duration 7:30.
Theodore Presser Company
#416-41646. Published by
Theodore Presser Company
(PR.416416460).
UPC:
680160675937. 9 X 12 /
9.5 x 13 inches. Based on
a traditional African
folk
tale.
Dorff’
s seventh commission from
the Philadelphia
Orchestra’s
education department, A
TREEFUL OF MONKEYS is a
setting of the folktale
also known as “Caps
For Sale.†Typical
of Dorff’s
narrated works, there is
humor on the surface, and
a musical curriculum in
the background. The
monkeys and hats go up
the tree accompanied by
ascending scales and
melodies, and finally
when all the hats cascade
down the orchestra plays
a beautiful cascade
downward.
For piano four-hands. Composed by Lei Liang. Sheet music. Edition Schott....(+)
For piano
four-hands. Composed
by Lei Liang. Sheet
music. Edition Schott.
Softcover. Composed 2016.
30169. 52 pages. Duration
9'. Schott Music
#ED30169. Published by
Schott Music
(HL.49045481).
Chamber Music Clarinet, Horn, Narrator, Percussion, Piano, Violin SKU: PR.111...(+)
Chamber Music Clarinet,
Horn, Narrator,
Percussion, Piano, Violin
SKU: PR.11140253S
For Narrator, Bb
Clarinet, Horn, Violin,
Percussion, And
Piano. Composed by
Daniel Dorff. Sws.
Contemporary. Full score.
With Standard notation.
Composed 2015. 20 pages.
Duration 7:30. Theodore
Presser Company
#111-40253S. Published by
Theodore Presser Company
(PR.11140253S).
UPC:
680160631377. 9.5x13
inches. Based on a
traditional African folk
tale.
As a
standalone performance
piece, Dorff's A Treeful
of Monkeys is a
delightful telling of an
African folk tale,
complete with narration.
The instrumental ensemble
describes a hat seller, a
good number of hats, and
a good number of monkeys
up in the trees with
those hats. Commissioned
by the Philadelphia
Orchestra Association,
however, A Treeful of
Monkeys is also an
opportunity to introduce
musical elements to young
students, with Dorff's
suggested educational
objectives and
performance tips suitable
for classroom use.
Composed by Harry Dixon Loes (1895-1965). Arranged by Barbara Brocker. For bellt...(+)
Composed by Harry Dixon
Loes (1895-1965).
Arranged by Barbara
Brocker. For belltree
solo/duet with C
instrument, handbells,
handchimes or keyboard
accompaniment. Level 2-.
Published by Jeffers
Handbell Supply
Organ SKU: SU.80101504 For Organ. Composed by Carson Cooman. Keybo...(+)
Organ
SKU:
SU.80101504
For
Organ. Composed by
Carson Cooman. Keyboard,
Organ. Score. Zimbel
Press #80101504.
Published by Zimbel Press
(SU.80101504).
Heaventree
(2022) was written for
English organist Tom
Winpenny. It is dramatic
and evocative music in
one movement inspired by
the idea of the heaven
tree from world
cultures.Organ Duration:
8' Composed: 2022
Published by: Zimbel
Press.
Jingle, Jingle, Jingle and O Christmas Tree arranged by Jonathon Robbins. For pi...(+)
Jingle, Jingle, Jingle
and O Christmas Tree
arranged by Jonathon
Robbins. For piano,
voice, guitar solo. Solo.
Best of Christmas series.
Christmas. Sheet Music.
Text Language: English. 8
pages. Published by
Santorella Publications
Rockin' Around The Christmas Tree and Up On The Housetop arranged by Jonathon Ro...(+)
Rockin' Around The
Christmas Tree and Up On
The Housetop arranged by
Jonathon Robbins. For
piano, voice, guitar
solo. Solo. Best of
Christmas series.
Christmas. Sheet Music.
Text Language: English. 8
pages. Published by
Santorella Publications