Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord n...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics, chord
names and guitar chord
chart. Gospel and
worship. Series: Hal
Leonard Fake Books. 295
pages. 9x12 inches.
Published by Hal Leonard.
SATB choir, optional
congregation, organ,
trumpet - Early
Intermediate
SKU:
MN.60-8704A
Composed
by Milburn Price.
Catholic Year C All
Saints Day; Year C
Pentecost13; Catholic
Year C Ordinary20; Year C
All Saints;. All
Saints/All Souls. Choral
score. MorningStar Music
Publishers #60-8704A.
Published by MorningStar
Music Publishers
(MN.60-8704A).
UPC:
688670870477.
Based
on the familiar HYFRYDOL
tune and paired with a
new text that treats past
heritage, present
circumstances, and future
challenges as
inter-related aspects of
the life of a church.
Though suitable for
general use, this setting
would be particularly
appropriate for an
occasion that both
celebrates faith heritage
and considers present and
future ministries, such
as an anniversary
celebration or the
dedication of new
facilities. The treatment
of the tune retains
sufficient harmonic
familiarity to preserve
its accustomed sound, but
provides sufficient
harmonic change to offer
a fresh approach.
**Organist plays from the
Full Score.
**Congregational page and
trumpet parts included in
separate Full Score.
For Concert Band.
Composed by Dan Welcher.
Spiral. Contemporary.
Large Full Score. With
Standard notation.
Composed 1994. 76 pages.
Duration 10 minutes.
Theodore Presser Company
#165-00092L. Published by
Theodore Presser Company
(PR.16500092L).
UPC:
680160039531. 11 x 17
inches.
Zion is the
third and final
installment of a series
of works for Wind
Ensemble inspired by
national parks in the
western United States,
collectively called Three
Places in the West. As in
the other two works (The
Yellowstone Fires and
Arches), it is my
intention to convey more
an impression of the
feelings I've had in Zion
National Park in Utah
than an attempt at
pictorial description.
Zion is a place with
unrivalled natural
grandeur, being a sort of
huge box canyon in which
the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both is
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of triumph
and unbreakable spirit.
Zion was commissioned in
1994 by the wind
ensembles of the
University of Texas at
Arlington, the University
of Texas at Austin, and
the University of
Oklahoma. It is dedicated
to the memory of Aaron
Copland.
Composed
by Dan Welcher. Spiral.
Large Score. With
Standard notation.
Duration 10 minutes.
Theodore Presser Company
#466-00047. Published by
Theodore Presser Company
(PR.466000470).
UPC:
680160099405. 11 x 17
inches.
This is the
second incarnation of a
work I first composed in
1994 for symphonic wind
ensemble. The earlier
version was intended to
be the summation of
three-part suite, each
part being named for a
different national park
in the Western United
States. This orchestral
version, commissioned in
1999 by the Utah Symphony
and dedicated to the
memory of Aaron Copland,
is more than a re-scoring
of the earlier piece; it
is a re-thinking of all
its elements. Zion is a
place with unrivaled
natural grandeur, being a
sort of huge box canyon
in which the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both his
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of
triumph.
Every Promise Chorale SATB SATB, Piano [Octavo] Lorenz Publishing Company
By Keith Getty. Arranged by Stuart Townend. For SATB choir, piano (with optional...(+)
By Keith Getty. Arranged
by Stuart Townend. For
SATB choir, piano (with
optional violin, rhythm
section). Sacred Anthem,
Eastertide, General.
Octavo. Published by
Lorenz Publishing Company
Rhythm SKU: LO.30-2911L Composed by Keith Getty. Arranged by Stuart Towne...(+)
Rhythm
SKU:
LO.30-2911L
Composed
by Keith Getty. Arranged
by Stuart Townend.
Choral. Sacred Anthem,
Eastertide, General.
Score and parts. Lorenz
Publishing Company
#30/2911L. Published by
Lorenz Publishing Company
(LO.30-2911L).
UPC:
000308132946.
Larry
Shackley's bright,
driving, and rhythmic
setting is filled with
hope and the assurance
that God's word is
sufficient for all of the
challenges of life.
Violin, Acoustic Gtr,
Elec Bass, Drums.
SKU: LO.99-3113L Composed by Keith Getty. Arranged by Stuart Townend. Cho...(+)
SKU: LO.99-3113L
Composed by Keith Getty.
Arranged by Stuart
Townend. Choral. Sacred
Anthem, Eastertide,
General.
Performance/accompaniment
CD (split-track). Lorenz
Publishing Company
#99/3113L. Published by
Lorenz Publishing Company
(LO.99-3113L).
UPC:
000308132953.
Larry
Shackley's bright,
driving, and rhythmic
setting is filled with
hope and the assurance
that God's word is
sufficient for all of the
challenges of life.
SKU: HL.14004435 Composed by Carl Maria von Weber. Music Sales America. B...(+)
SKU: HL.14004435
Composed by Carl Maria
von Weber. Music Sales
America. Biography. Book
[Softcover]. Music Sales
#NOV110099. Published by
Music Sales
(HL.14004435).
ISBN
9780853601135.
Scot
t Goddard, Michael Hurd.
A major series of titles
containing clear and
concise accounts of the
lives and music of some
of the great composers.
Written by leading
authorities, they give
students a background
sufficient for all but
very specialist
study.
Medley. Arranged
by Eiji Suzuki. New
Sounds for Concert Band.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2018. De Haske
Publications #DHP
1185977-010. Published by
De Haske Publications
(BT.DHP-1185977-010).
Who
doesn’t like the
bad guys in the movies?
We all know they will
lose in the end, but
maybe we’re
rooting for them a
little. Enjoy this
Disney Villains
medley!
Hebben
we niet allemaal een zwak
voor de slechteriken in
de tekenfilm? We weten
dat ze uiteindelijk aan
het kortste eind zullen
trekken, maar we voelen
vaak ook heimelijk met ze
mee! Reden genoeg om een
heuse slechterikenmedley
te maken. Geniet van deze
Disney Villains
Medley!
Wer
mag nicht die Bösen im
Film? Wir alle wissen,
dass sie am Ende
verlieren werden, aber
wir hegen dennoch auch
ein wenig Sympathie
für sie! Grund genug,
ein echtes Medley der
Bösen“ zu
erstellen. Viel Spaß
mit dem Disney
Villains
Medley!
A chi non
piacciono i cattivi nei
film? Sappiamo tutti che
alla fine perderanno, ma
comunque ci piace avere
per loro una sorta di
comprensione! Un motivo
sufficiente per mettere
insieme un medley del
cattivo. Godetevi quindi
il Disney Villains
Medley ossia il
medley dei personaggi
cattivi di Disney!