(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson.
Set of Score and Parts.
44+32+2 pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743IN.
Published by Carl Fischer
Music (CF.CM9743IN).
ISBN 9781491162231.
UPC: 680160920990. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis.
This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem: This refers
to the infant Jesus. Two
for Paul and
Silas: This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.ÂÂ
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door: Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂÂ
stars in the
right hand of Ch
rist mentioned inÂ
 the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun!
Choral SATB Choir, Bass Guitar, Percussion, Piano SKU: CF.CM9743 Composed...(+)
Choral SATB Choir, Bass
Guitar, Percussion, Piano
SKU: CF.CM9743
Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson. 20
pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743.
Published by Carl Fischer
Music (CF.CM9743).
ISBN 9781491161562.
UPC: 680160920211. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis.
This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem: This refers
to the infant Jesus. Two
for Paul and
Silas: This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.ÂÂ
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door: Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂÂ
stars in the
right hand of Ch
rist mentioned inÂ
 the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun!
Composed by Traditional
African American
Spiritual. Arranged by
Kevin Phillip Johnson. 16
pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9742.
Published by Carl Fischer
Music (CF.CM9742).
ISBN 9781491161555.
UPC: 680160920204. Key: E
minor. English. Iyana
Davis.
This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem: This refers
to the infant Jesus. Two
for Paul and
Silas: This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.ÂÂ
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door: Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂÂ
stars in the
right hand of Ch
rist mentioned inÂ
 the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun!
Choir Secular Countertenor Solo - Children's Chorus - SATB choir- 2 piano - perc...(+)
Choir Secular
Countertenor Solo -
Children's Chorus - SATB
choir- 2 piano -
percussion
SKU:
PE.EP72698A
Cantata for Solo
Countertenor, Children's
Chorus, Adult Mixed
Chorus, Two Pianos and
Percussion. Composed
by Jonathan Dove. Choral
Works (inc. Oratorios).
Edition Peters. Book. 92
pages. Duration 00:25:00.
Edition Peters
#98-EP72698A. Published
by Edition Peters
(PE.EP72698A).
ISBN
9790577010519. 210 x
297mm inches.
English.
Commiss
ioned by Making Music
with funds from the
Nicholas Berwin
Charitable
Foundation
First
performance: 12th March
2016, Waltham Singers,
conducted by Andrew
Fardell, King Edward's
Grammar School,
Chelmsford.
Mus
ic runs through the story
of Arion, which begins
with a singing
competition in Sicily.
Arion wins the prize, and
this puts his life in
danger: his newfound
wealth excites the Greed
of the sailors who are
supposed to be bringing
him back to Corinth, and
they threaten to kill
him. They allow
Arion to sing one last
song, and the power of
his singing attracts
dolphins to the ship.
At The End of his
song, he jumps overboard,
and one of the dolphins
carries him to safety.
So Arion’s
musical gift gets him
into trouble, but it is
also his
salvation.
The idea of
being rescued by a
music-loving dolphin is
very appealing. In
Robert Graves’
account of the myth, the
dolphin could not bear to
be parted from Arion, and
accompanied him back to
court, where “it
soon succumbed to a life
of luxury.”
However, Herodotus
says that, after his
rescue and return to
Corinth, Arion failed to
return the dolphin to the
sea, and it died there.
Apollo placed the
dolphin among the stars,
and next to it,
Arion’s lyre, in
recognition of his
musical skill. This
is one of the mythical
explanations of the
origins of the
constellations Delphinus
and
Lyra.
It
seems natural to sing a
story that has singing at
its heart. When I
was asked by the Nicholas
Berwin Charitable Trust
to write a choral work
for Making Music,
something that would be
within reach of many
choirs, and involve
children, this story
struck me as ideal: the
men of the chorus could
be the bloodthirsty
sailors, and the women
could create an
atmosphere of mystery for
the arrival of the
dolphins, represented by
children’s voices.
There would be one
solo voice: Arion, the
marvellous singer.
Andrew Fardell, the
conductor who was advisor
to this commission, had
suggested that I might
use the same
instrumentation as a
popular arrangement of
Orff’s Carmina
Burana, a work that, as
well as using
children’s chorus,
features a solo
countertenor. I
thought the magical,
otherworldly quality of
this voice would help to
convey the extraordinary
effect Arion’s
singing had on all who
heard
it.
Eloise Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Full Score Concert Band (Score) - Grade 4 SKU: HL.44007313 Composed by Pa...(+)
Full Score Concert Band
(Score) - Grade 4
SKU:
HL.44007313
Composed
by Paul Ryan. Arranged by
Philip Sparke. Anglo
Music Concert Band.
Concert. Score Only.
Composed 2006. Anglo
Music Press #AMP149.
Published by Anglo Music
Press (HL.44007313).
Paul and Barry
Ryan were identical twin
sons of 1950's pop singer
Marion Ryan and were born
on 24th October 1948.
They were groomed for
stardom and had started
singing as a duo before
their fifteenth birthday.
They were signed by Decca
in 1965 and brilliantly
marketed as clean-cut
fashion icons. Their
first single 'Don't Bring
Me Your Heartaches'
reached the UK top twenty
but their success as twin
performers lasted only
three years. In 1968
Barry embarked on a solo
career while Paul
concentrated on writing
and producing. Eloise
with its melodramatic
vocal style and heavily
orchestrated backing was
an early success of this
new collaboration and
went on to be covered by
a variety ofartists,
including punk legends
The Damned.
De
eeneiige tweelingbroers
Paul en Barry Ryan
vormden al een zangduo
voor hun vijftiende
verjaardag. In 1965
tekenden ze een contract
bij Decca en werden ze op
een briljante manier voor
het voetlicht gebracht
als keurige
mode-idolen,maar hun
succes als
tweelingartiesten duurde
slechts drie jaar. In
1968 begon Barry aan een
solocarriere terwijl Paul
zich concentreerde op het
schrijver- en
producerschap.
Eloise, een stevig
georkestreerd,
melodramatischgezongen
nummer, was een vroege en
succesvolle vrucht van
deze samenwerking. De
song werd in de loop der
tijd vertolkt door
diverse
artiesten.
Paul
und Barry Ryan waren die
Zwillingssohne der
50er-Jahre-Popsangerin
Marion Ryan. Den beiden
Brudern war eine Zukunft
als Popstars in die Wiege
gelegt. Bereits vor ihrem
15. Geburtstag traten sie
als Duo auf. Spater
verlegte sich Paul jedoch
aufs Songschreiben und
Barry trat solo auf. Der
Hit Eloise mit
seinem melodramatischen
Gesangsstil und dem stark
orchestrierten
Hintergrund ist ein
Resultat dieser
erfolgreichen
Zusammenarbeit und wurde
in der Folge von
zahlreichen Kunstlern neu
interpretiert. Philip
Sparke machte den
Pop-Evergreen nun auch
fur Blasorchester
spielbar.
Paul et
Barry Ryan etaient
jumeaux, nes le 24
octobre 1948, fils de la
chanteuse pop des annees
1950 Marion Ryan. Formes
pour la celebrite, ils
ont commence a chanter en
duo avant l'age de quinze
ans. En 1965 ils ont
signe un contrat
d'enregistrement avec
Decca qui a commercialise
leur image soignee
d'icones de la mode. Leur
premier single Don't
Bring Me Your
Heartaches est
parvenu au top 20 du
hit-parade britannique,
mais leur succes a deux
n'a dure que trois ans.
En 1968, Barry a
entrepris une carriere
solo tandis que Paul
s'est concentre sur la
composition et la
production.
Eloise, avec son
style vocal
melodramatique et son
accompagnement tres
orchestral, etaitun
succes precoce pour cette
nouvelle collaboration.
De nombreux artistes
l'ont depuis reprise,
telles que les legendes
du punk The Damned.
Figli gemelli di
Marion Ryan, celebre
cantante pop degli anni
'50, Paul e Barry Ryan si
esibivano insieme gia
prima di aver compiuto
quindici anni.Nel 1965
firmano un contratto con
la casa discografica
Decca e commercializzano
con successo la loro
immagine di icone della
moda. Il primo single
entra nelle top 20
britanniche. Nel 1968,
Barry si lancia nella
carriera di solista,
mentre Paul si concentra
sulla composizione e la
produzione.
Eloise, una
canzone dallo stile
vocale melodrammatico che
si sviluppa su un
importante
accompagnamento
orchestrale, e uno dei
primi successi della
collaborazione tra i due
fratelli.
Eloise Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-149-140 Composed by Paul Ryan...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-149-140
Composed by Paul Ryan.
Arranged by Philip
Sparke. Anglo Music
Midway Series. Pop &
Rock. Score Only.
Composed 2006. Anglo
Music Press #AMP 149-140.
Published by Anglo Music
Press (BT.AMP-149-140).
9x12 inches.
English-German-French-Dut
ch.
Paul and Barry
Ryan were identical twin
sons of 1950’s pop
singer Marion Ryan and
were born on 24th October
1948. They were groomed
for stardom and had
started singing as a duo
before their fifteenth
birthday. They were
signed by Decca in 1965
and brilliantly marketed
as clean-cut fashion
icons. Their first single
‘Don’t Bring
Me Your
Heartaches’
reached the UK top twenty
but their success as twin
performers lasted only
three years. In 1968
Barry embarked on a solo
career while Paul
concentrated on writing
and producing. Eloise
with its melodramatic
vocal style and heavily
orchestrated backing was
an early success of this
new collaboration and
went on to be covered by
a variety ofartists,
including punk legends
The Damned.
De
eeneiige tweelingbroers
Paul en Barry Ryan
vormden al een zangduo
voor hun vijftiende
verjaardag. In 1965
tekenden ze een contract
bij Decca en werden ze op
een briljante manier voor
het voetlicht gebracht
als keurige
mode-idolen,maar hun
succes als
tweelingartiesten duurde
slechts drie jaar. In
1968 begon Barry aan een
solocarrière terwijl
Paul zich concentreerde
op het schrijver- en
producerschap.
Eloise, een stevig
georkestreerd,
melodramatischgezongen
nummer, was een vroege en
succesvolle vrucht van
deze samenwerking. De
song werd in de loop der
tijd vertolkt door
diverse
artiesten.
Paul
und Barry Ryan waren die
Zwillingssöhne der
50er-Jahre-Popsängerin
Marion Ryan. Den beiden
Brüdern war eine
Zukunft als Popstars in
die Wiege gelegt. Bereits
vor ihrem 15. Geburtstag
traten sie als Duo auf.
Später verlegte sich
Paul jedoch aufs
Songschreiben und Barry
trat solo auf. Der Hit
Eloise mit seinem
melodramatischen
Gesangsstil und dem stark
orchestrierten
Hintergrund ist ein
Resultat dieser
erfolgreichen
Zusammenarbeit und wurde
in der Folge von
zahlreichen Künstlern
neu interpretiert. Philip
Sparke machte den
Pop-Evergreen nun auch
für Blasorchester
spielbar.
Figli
gemelli di Marion Ryan,
celebre cantante pop
degli anni ’50,
Paul e Barry Ryan si
esibivano insieme gi
prima di aver compiuto
quindici anni.Nel 1965
firmano un contratto con
la casa discografica
Decca e commercializzano
con successo la loro
immagine di icone della
moda. Il primo single
entra nelle top 20
britanniche. Nel 1968,
Barry si lancia nella
carriera di solista,
mentre Paul si concentra
sulla composizione e la
produzione.
Eloise, una
canzone dallo stile
vocale melodrammatico che
si sviluppa su un
importante
accompagnamento
orchestrale, è uno dei
primi successi della
collaborazione tra i due
fratelli.
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-149-010 Composed by Paul Ryan...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-149-010
Composed by Paul Ryan.
Arranged by Philip
Sparke. Anglo Music
Midway Series. Pop &
Rock. Set (Score &
Parts). Composed 2006.
Anglo Music Press #AMP
149-010. Published by
Anglo Music Press
(BT.AMP-149-010).
9x12
inches.
English-German-French-Dut
ch.
Paul and Barry
Ryan were identical twin
sons of 1950’s pop
singer Marion Ryan and
were born on 24th October
1948. They were groomed
for stardom and had
started singing as a duo
before their fifteenth
birthday. They were
signed by Decca in 1965
and brilliantly marketed
as clean-cut fashion
icons. Their first single
‘Don’t Bring
Me Your
Heartaches’
reached the UK top twenty
but their success as twin
performers lasted only
three years. In 1968
Barry embarked on a solo
career while Paul
concentrated on writing
and producing. Eloise
with its melodramatic
vocal style and heavily
orchestrated backing was
an early success of this
new collaboration and
went on to be covered by
a variety ofartists,
including punk legends
The Damned.
De
eeneiige tweelingbroers
Paul en Barry Ryan
vormden al een zangduo
voor hun vijftiende
verjaardag. In 1965
tekenden ze een contract
bij Decca en werden ze op
een briljante manier voor
het voetlicht gebracht
als keurige
mode-idolen,maar hun
succes als
tweelingartiesten duurde
slechts drie jaar. In
1968 begon Barry aan een
solocarrière terwijl
Paul zich concentreerde
op het schrijver- en
producerschap.
Eloise, een stevig
georkestreerd,
melodramatischgezongen
nummer, was een vroege en
succesvolle vrucht van
deze samenwerking. De
song werd in de loop der
tijd vertolkt door
diverse
artiesten.
Paul
und Barry Ryan waren die
Zwillingssöhne der
50er-Jahre-Popsängerin
Marion Ryan. Den beiden
Brüdern war eine
Zukunft als Popstars in
die Wiege gelegt. Bereits
vor ihrem 15. Geburtstag
traten sie als Duo auf.
Später verlegte sich
Paul jedoch aufs
Songschreiben und Barry
trat solo auf. Der Hit
Eloise mit seinem
melodramatischen
Gesangsstil und dem stark
orchestrierten
Hintergrund ist ein
Resultat dieser
erfolgreichen
Zusammenarbeit und wurde
in der Folge von
zahlreichen Künstlern
neu interpretiert. Philip
Sparke machte den
Pop-Evergreen nun auch
für Blasorchester
spielbar.
Figli
gemelli di Marion Ryan,
celebre cantante pop
degli anni ’50,
Paul e Barry Ryan si
esibivano insieme gi
prima di aver compiuto
quindici anni.Nel 1965
firmano un contratto con
la casa discografica
Decca e commercializzano
con successo la loro
immagine di icone della
moda. Il primo single
entra nelle top 20
britanniche. Nel 1968,
Barry si lancia nella
carriera di solista,
mentre Paul si concentra
sulla composizione e la
produzione.
Eloise, una
canzone dallo stile
vocale melodrammatico che
si sviluppa su un
importante
accompagnamento
orchestrale, è uno dei
primi successi della
collaborazione tra i due
fratelli.
Eloise Fanfare [Conducteur] - Intermédiaire Anglo Music
Fanfare Band - Grade 4 SKU: BT.AMP-149-120 Composed by Paul Ryan. Arrange...(+)
Fanfare Band - Grade 4
SKU:
BT.AMP-149-120
Composed by Paul Ryan.
Arranged by Philip
Sparke. Anglo Music
Midway Series. Pop &
Rock. Score Only.
Composed 2006. Anglo
Music Press #AMP 149-120.
Published by Anglo Music
Press (BT.AMP-149-120).
9x12 inches.
English-German-French-Dut
ch.
Paul and Barry
Ryan were identical twin
sons of 1950’s pop
singer Marion Ryan and
were born on 24th October
1948. They were groomed
for stardom and had
started singing as a duo
before their fifteenth
birthday. They were
signed by Decca in 1965
and brilliantly marketed
as clean-cut fashion
icons. Their first single
‘Don’t Bring
Me Your
Heartaches’
reached the UK top twenty
but their success as twin
performers lasted only
three years. In 1968
Barry embarked on a solo
career while Paul
concentrated on writing
and producing. Eloise
with its melodramatic
vocal style and heavily
orchestrated backing was
an early success of this
new collaboration and
went on to be covered by
a variety ofartists,
including punk legends
The Damned.
De
eeneiige tweelingbroers
Paul en Barry Ryan
vormden al een zangduo
voor hun vijftiende
verjaardag. In 1965
tekenden ze een contract
bij Decca en werden ze op
een briljante manier voor
het voetlicht gebracht
als keurige
mode-idolen,maar hun
succes als
tweelingartiesten duurde
slechts drie jaar. In
1968 begon Barry aan een
solocarrière terwijl
Paul zich concentreerde
op het schrijver- en
producerschap.
Eloise, een stevig
georkestreerd,
melodramatischgezongen
nummer, was een vroege en
succesvolle vrucht van
deze samenwerking. De
song werd in de loop der
tijd vertolkt door
diverse
artiesten.
Paul
und Barry Ryan waren die
Zwillingssöhne der
50er-Jahre-Popsängerin
Marion Ryan. Den beiden
Brüdern war eine
Zukunft als Popstars in
die Wiege gelegt. Bereits
vor ihrem 15. Geburtstag
traten sie als Duo auf.
Später verlegte sich
Paul jedoch aufs
Songschreiben und Barry
trat solo auf. Der Hit
Eloise mit seinem
melodramatischen
Gesangsstil und dem stark
orchestrierten
Hintergrund ist ein
Resultat dieser
erfolgreichen
Zusammenarbeit und wurde
in der Folge von
zahlreichen Künstlern
neu interpretiert. Philip
Sparke machte den
Pop-Evergreen nun auch
für Blasorchester
spielbar.
Figli
gemelli di Marion Ryan,
celebre cantante pop
degli anni ’50,
Paul e Barry Ryan si
esibivano insieme gi
prima di aver compiuto
quindici anni.Nel 1965
firmano un contratto con
la casa discografica
Decca e commercializzano
con successo la loro
immagine di icone della
moda. Il primo single
entra nelle top 20
britanniche. Nel 1968,
Barry si lancia nella
carriera di solista,
mentre Paul si concentra
sulla composizione e la
produzione.
Eloise, una
canzone dallo stile
vocale melodrammatico che
si sviluppa su un
importante
accompagnamento
orchestrale, è uno dei
primi successi della
collaborazione tra i due
fratelli.
Fanfare Band - Grade 4 SKU: BT.AMP-149-020 Composed by Paul Ryan. Arrange...(+)
Fanfare Band - Grade 4
SKU:
BT.AMP-149-020
Composed by Paul Ryan.
Arranged by Philip
Sparke. Anglo Music
Midway Series. Pop &
Rock. Set (Score &
Parts). Composed 2006.
Anglo Music Press #AMP
149-020. Published by
Anglo Music Press
(BT.AMP-149-020).
9x12
inches.
English-German-French-Dut
ch.
Paul and Barry
Ryan were identical twin
sons of 1950’s pop
singer Marion Ryan and
were born on 24th October
1948. They were groomed
for stardom and had
started singing as a duo
before their fifteenth
birthday. They were
signed by Decca in 1965
and brilliantly marketed
as clean-cut fashion
icons. Their first single
‘Don’t Bring
Me Your
Heartaches’
reached the UK top twenty
but their success as twin
performers lasted only
three years. In 1968
Barry embarked on a solo
career while Paul
concentrated on writing
and producing. Eloise
with its melodramatic
vocal style and heavily
orchestrated backing was
an early success of this
new collaboration and
went on to be covered by
a variety ofartists,
including punk legends
The Damned.
De
eeneiige tweelingbroers
Paul en Barry Ryan
vormden al een zangduo
voor hun vijftiende
verjaardag. In 1965
tekenden ze een contract
bij Decca en werden ze op
een briljante manier voor
het voetlicht gebracht
als keurige
mode-idolen,maar hun
succes als
tweelingartiesten duurde
slechts drie jaar. In
1968 begon Barry aan een
solocarrière terwijl
Paul zich concentreerde
op het schrijver- en
producerschap.
Eloise, een stevig
georkestreerd,
melodramatischgezongen
nummer, was een vroege en
succesvolle vrucht van
deze samenwerking. De
song werd in de loop der
tijd vertolkt door
diverse
artiesten.
Paul
und Barry Ryan waren die
Zwillingssöhne der
50er-Jahre-Popsängerin
Marion Ryan. Den beiden
Brüdern war eine
Zukunft als Popstars in
die Wiege gelegt. Bereits
vor ihrem 15. Geburtstag
traten sie als Duo auf.
Später verlegte sich
Paul jedoch aufs
Songschreiben und Barry
trat solo auf. Der Hit
Eloise mit seinem
melodramatischen
Gesangsstil und dem stark
orchestrierten
Hintergrund ist ein
Resultat dieser
erfolgreichen
Zusammenarbeit und wurde
in der Folge von
zahlreichen Künstlern
neu interpretiert. Philip
Sparke machte den
Pop-Evergreen nun auch
für Blasorchester
spielbar.
Figli
gemelli di Marion Ryan,
celebre cantante pop
degli anni ’50,
Paul e Barry Ryan si
esibivano insieme gi
prima di aver compiuto
quindici anni.Nel 1965
firmano un contratto con
la casa discografica
Decca e commercializzano
con successo la loro
immagine di icone della
moda. Il primo single
entra nelle top 20
britanniche. Nel 1968,
Barry si lancia nella
carriera di solista,
mentre Paul si concentra
sulla composizione e la
produzione.
Eloise, una
canzone dallo stile
vocale melodrammatico che
si sviluppa su un
importante
accompagnamento
orchestrale, è uno dei
primi successi della
collaborazione tra i due
fratelli.
Concert band - Grade 4 SKU: MH.1-59913-072-6 Composed by Timothy Broege. ...(+)
Concert band - Grade 4
SKU:
MH.1-59913-072-6
Composed by Timothy
Broege. Suitable for high
school, community, and
college bands. Conductor
score and set of parts.
Duration 7:00. Published
by Manhattan Beach Music
(MH.1-59913-072-6).
ISBN
9781599130729.
Prog
ram Notes: It was a happy
coincidence that the
commission for SINFONIA
XVI: TRANSCENDENTAL
VIENNA came from the
Henry David Thoreau
School located in Vienna,
Virginia. Thoreau is one
of the magic names in
American culture: Henry
David Thoreau, one of the
leading figures of the
Transcendentalist
movement, centered in
19th-century New England,
left us a body of unique
philosophical and
poetical writings. To
utter the words, Walden
Pond, is to invoke an
America long past in
physical actuality, but
still present in the
minds and hearts of many
American citizens. The
name, Vienna, of course,
summons thoughts of the
Old World: culture, fine
food, wine, civilized
cities. While
contemplating the form
that SINFONIA XVI should
take, I found myself
thinking of two pillars
of Viennese culture:
expressionism and the
waltz. Musically
speaking, expressionism
reached a zenith in the
works of Arnold
Schoenberg and Alban
Berg. It was Berg, in
particular, that I wanted
to invoke in the outer
movements of my
composition. I knew I
would also have to
include a waltz, and an
invocation of the
mysterious forces that
are contained in both
expressionism and
transcendentalism. Thus
was the structure of the
work generated. The outer
movements with their
vision of the night sky
and the stars, Aldebaran
and Sirius, frame the
central movements, which
are essentially two
versions of the same
material, and are quieter
and less dramatic. The
outer movements are
symmetrical, and share
both pitch and rhythmic
materials. Accordingly, I
see the work as a ternary
form, with the central
movements forming a unit
within the outer frame: A
(Movement 1) B (Movements
2 & 3) A' (Movement 4).
Harmonically, the work
can be summarized by the
two pitch-series which
occur in the opening bars
of Movement 1: the
initial 12-note row, with
a tonal center on F-sharp
(measures 1-6), and the
subsequent D-minor Dorian
7-note row (beginning in
measure 14). Aspects of
these materials occur in
all four movements, but
they are most strongly
present in Movements 1
and 4. Note that the
12-note row is not
subjected to the usual
serial procedures, but
instead is treated as a
signifier and is left
unchanged. Since the
fourth movement takes up
where the first movement
leaves off, I can
conceive of one
interpretation of
SINFONIA XVI as an
evocation of Thoreau
himself contemplating two
of the brightest stars on
a clear, cold night.
Aldebaran is an orange,
first-magnitude star,
located in the
constellation Taurus;
Sirius, the Dog Star, is
the brightest star in the
sky, and is located in
the constellation Canis
Major. Thoreau interrupts
his star-gazing to
entertain some inward
thoughts, waking dreams,
as it were, then returns
his gaze to the splendid
night sky and all its
treasures. Although many
other interpretations of
the material are
possible, it is important
to remember that the
abstract materials of the
piece -- pitch, rhythm,
structure -- are what
count the most. Ensemble
instrumentation: 1
Piccolo, 4 Flute 1, 4
Flute 2, 3 Oboe, 1 Eb
Clarinet (opt.), 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 3
Bass Clarinet, 3 Bassoon,
3 Eb Alto Saxophone 1, 3
Eb Alto Saxophone 2, 2 Bb
Tenor Saxophone, 2 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 Horn
1, 2 Horn 2, 3 Trombone
1, 3 Trombone 2, 3
Euphonium B.C., 2
Euphonium T.C., 5 Tuba, 2
Timpani, 3 Percussion 1,
3 Percussion 2, 3
Percussion 3, 3
Percussion 4.
Easy Piano SKU: BT.MUSAM1010647 Really Easy Piano. Pop and Rock. Book wit...(+)
Easy Piano
SKU:
BT.MUSAM1010647
Really Easy Piano. Pop
and Rock. Book with
Online Audio. Composed
2015. 48 pages. Wise
Publications
#MUSAM1010647. Published
by Wise Publications
(BT.MUSAM1010647).
ISBN 9781783059812.
English.
The Really
Easy Piano Playalong
series provides you with
Easy Piano arrangements
of hit songs by the most
popular artists of today,
with online audio that
gives you demonstration
and playalong tracks for
each tune. With this
edition of the
bestselling series, you
can learn 17 Chart Hits
then play along to
professionally-recorded
backing tracks. Featuring
many of the top tunes of
today, Chart Hits
 includes simplified
arrangements for solo
Piano, so these massively
famous songs can be
played by all abilities.
With songs like Best Song
Ever by One Direction,
Happy by Pharrell
Williams, Roar by Katy
Perry and Ed Sheeran's
Thinking Out Loud , these
pop chart-topperswill
impress anyone and
everyone when played on
the Piano. Each tune is
arranged for Easy Piano,
meaning the chords and
tune can be picked up by
beginners to the Piano,
letting them play famous
songs quickly and easily.
Using the accompanying
download card, you can
get instant online access
to demonstration and
backing tracks of each
song, letting you first
hear how it's meant to be
played, then learn the
song using the sheet
music, and finally play
along to a
professionally-recorded
backing track, ensuring
you sound great and just
like the original! Also
included in this Really
Easy Piano Playalong
 sheet music songbook
is some very helpful and
useful fingering tips, as
well as lyrics,
fascinating background
information and
invaluable performance
hints, all contributing
to make this a really
great way for beginning
pianists to learn all the
best tunes of today.ÂÂ
With songs by Miley
Cyrus, Passenger,
Coldplay, Adele, Taylor
Swift and Rihanna, Really
Easy Piano Playalong
presents a great number
of today's bestselling,
radio-conquering Chart
Hits  along with some
demonstrations and
backing tracks that will
enable beginning pianists
to play 17 brilliant pop
songs with ease. The
Really Easy Piano
Playalong series
provides you with Easy
Piano arrangements of hit
songs by the most popular
artists of today, with a
unique download card that
gives you demonstration
and playalong tracks
foreach tune. With this
edition of the
bestselling series, you
can learn 17
Chart
Hits then play
along to
professionally-recorded
backing tracks.
By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with g...(+)
By Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. Size 9x12
inches. 176 pages.
Published by Hal Leonard.
E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and...(+)
E-Z Play Today (Easy
big-note right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 96 pages.
Published by Hal Leonard.