Soprano Voice SKU: HL.14019247 Composed by Nicola LeFanu. Music Sales Ame...(+)
Soprano Voice
SKU:
HL.14019247
Composed
by Nicola LeFanu. Music
Sales America. Classical.
Book [Softcover]. 8
pages. Music Sales
#NOV290367. Published by
Music Sales
(HL.14019247).
UPC:
884088446864.
6.75x9.75x0.018
inches.
The little
valleys is
adapted from The
valleys shall sing
for SATB choir with 2
Bassoons, 2 Trumpets and
3 Trombones. It was
written for Michael
Nicholas and the choir of
Norwich Cathedral, and
first performed by them
at the 1973 Norfolk and
Norwich Triennial
Festival. It was
commissioned with funds
provided by the Arts
Council of Great
Britain.
Full
score and parts (chorus
and instrumental) are
available on
hire.
Composed by Betton.
Ensemble. Composed 2020.
Claude T. Smith
Publications
#CTS-7952-00. Published
by Claude T. Smith
Publications
(CL.CTS-7952-00).
Hang on! This
is an art piece telling a
story of driving through
a big city with its main
thoroughfares, dark
alleys, and neon bright
light districts. The
challenges are
intonation, rhythmic
stability, finger
technique, but mainly
endurance! Watch out for
the traffic!
Piano - intermediate SKU: BT.BMI15010643 15 Easy Pieces for Piano Solo...(+)
Piano - intermediate
SKU:
BT.BMI15010643
15
Easy Pieces for Piano
Solo. Composed by
Bert Appermont. Beriato
Music Instrumental. Book
Only. Composed 2015. 35
pages. Beriato Music
#BMI15010643. Published
by Beriato Music
(BT.BMI15010643).
ISBN
9789043147880.
English-German-French-Dut
ch.
This album
contains fifteen easy
compositions for piano
solo, inspired by the
city: from honking cars,
and dark alleys to
imposing
skyscrapers…one of
the pieces is even based
on mobile phone
ringtones. The album is
aimed at students who
have beenplaying the
piano for three to four
years; the level of
difficulty varies for
each piece some are
slightly easier, or
trickier, than the
others. Each work has its
own specific mood and
style, and where possible
I have also tried to
incorporatevarious
techniques or characters
within one composition.
This music would make a
suitable competition
selection, as well as
appropriate concert or
exam pieces.
Dieses
Album enthält 15
leichte Kompositionen
für Klavier solo, die
von Klängen der Stadt
inspiriert wurden: von
hupenden Autos und
dunklen Gassen bis hin zu
imposanten
Wolkenkratzern. Ein
Stück basiert sogar
auf Handyklingeltönen.
Das Album richtetsich an
Schüler, die seit drei
oder vier Jahren Klavier
spielen. Der
Schwierigkeitsgrad der
Stücke ist
unterschiedlich manche
sind etwas einfacher,
manche schwieriger als
die anderen Stücke.
Jedes Werk hat eine
eigene Stimmung und einen
speziellenStil. Wo es
möglich war, habe ich
auch versucht,
verschiedene Techniken
oder Charaktere innerhalb
einer Komposition zu
verwenden. Diese Musik
eignet sich gut für
Wettbewerbe, aber auch
als Konzert- oder
Prüfungsstücke.
1 Piano, 4 Hands; Piano Duet - very easy SKU: HL.49007688 15 Easy Jazz...(+)
1 Piano, 4 Hands; Piano
Duet - very easy
SKU:
HL.49007688
15
Easy Jazz and Pop
Pieces. Composed by
Mike Schoenmehl. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 52 pages.
Schott Music #ED7990.
Published by Schott Music
(HL.49007688).
ISBN
9790001082402. UPC:
884088033576.
9.0x12.0x0.19
inches.
Flips in
the park * Lollopping
Hare Waltz * In the
Galleys * Ripples in the
Water * Come on, Run! *
Grandpa's Ragtime *
Butterfly Meadow *
Hippopotamus and Humming
Bird. One piano, four
hands.
Bass Clarinet and Piano SKU: HL.14017584 For Bass Clarinet and Piano(+)
Bass Clarinet and Piano
SKU: HL.14017584
For Bass Clarinet and
Piano. Composed by
Jouni Kaipainen. Music
Sales America. Classical.
Book [Softcover]. 22
pages. Edition Wilhelm
Hansen #KP00188.
Published by Edition
Wilhelm Hansen
(HL.14017584).
ISBN
9788759851708.
English.
A
brilliant composition by
Jouni Kaipainen completed
in 1984 for Bass Clarinet
in Bb and Piano
accompaniment. Was
commissioned by the Radio
of Netherlands (NOS) and
the Finnish Broadcasting
Company.
Sunlit Peaks and Dark Valleys Violon, Clarinette, Piano (trio) [Conducteur et Parties séparées] Theodore Presser Co.
Sunlit Peaks and Dark Valleys. (For Violin, Clarinet in Bb, and Piano). By Donal...(+)
Sunlit Peaks and Dark
Valleys. (For Violin,
Clarinet in Bb, and
Piano). By Donald Erb.
Chamber ensemble. For
Violin, Clarinet, Piano.
Classical. Score and
part(s). Standard
notation. Composed MAY
1995. 33 pages. Duration
16 minutes, 30 seconds.
Published by Theodore
Presser Company
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.
Band concert band - Grade 4 SKU: KJ.WB148F Composed by Christopher Salern...(+)
Band concert band - Grade
4
SKU: KJ.WB148F
Composed by Christopher
Salerno. Bandworks.
Score. Neil A. Kjos Music
Company #WB148F.
Published by Neil A. Kjos
Music Company
(KJ.WB148F).
An
overture-style piece,
Images of Appalachia
portrays the composer's
impression of the
colorful Appalachian
mountain ranges and
valleys of southwestern
Virginia.
2-Part and piano (2-Part) SKU: HL.48022702 Composed by Herbert Howells. B...(+)
2-Part and piano (2-Part)
SKU: HL.48022702
Composed by Herbert
Howells. BH Secular
Choral. Softcover. 12
pages. Boosey & Hawkes
#M060123542. Published by
Boosey & Hawkes
(HL.48022702).
ISBN
9780851628097. UPC:
888680925888.
7.25x10.25x0.026
inches.
This
setting of a William
Blake text is in two
distinct vocal parts and
has a pastoral flavour
with flowing and singable
melodies. The clever
interplay between the two
parts makes this an
enjoyable song to sing
and listen to, making an
excellent and
rarely-heard concert
filler and a valuable
addition to a choir's
repertoire.
For Viola, Cello, and Piano. Composed by Victor Labenske. Method/Instruction...(+)
For Viola, Cello, and
Piano.
Composed by Victor
Labenske.
Method/Instruction; Piano
with Other Instrument.
Light
Concert. Other. Alfred
Music
#00-47773. Published by
Alfred Music
Jazz Songs of Innocence Chorale 3 parties SSA, Piano [Partie séparée] Oxford University Press
By Bob Chilcott. For SSA choir, piano, optional bass and drum kit. Double Bass. ...(+)
By Bob Chilcott. For SSA
choir, piano, optional
bass and drum kit. Double
Bass. Pieces and Studies.
Bass and drum kit part.
12 pages. Duration 16'.
Published by Oxford
University Press
By Various Artists. E-Z Play Today (Easy big-note right-hand-only arrangements f...(+)
By Various Artists. E-Z
Play Today (Easy big-note
right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Softcover. 218
pages. Published by Hal
Leonard.
The Willow Tree Orchestre d'harmonie - Intermédiaire Hal Leonard
Concert Band (Score) - Grade 3 SKU: HL.4005122 Composed by Pá, Uall...(+)
Concert Band (Score) -
Grade 3
SKU:
HL.4005122
Composed
by Pá,
Uallachá,
draigí, in, and n
Ní. Arranged by
Michael Sweeney.
MusicWorks Grade 3.
Concert. Softcover.
Duration 190 seconds.
Published by Hal Leonard
(HL.4005122).
UPC:
888680687694.
9.0x12.0x0.048
inches.
Although
this haunting tune has
the flavor and sentiment
of a traditional Irish
folk song, it was
composed in 1995 by
multifaceted artist
Padraigin Ni Uallachain.
Her inspiration for the
song was the idea that
when we are happy or sad,
the elements and the
natural world are aligned
with our feelings. From
the wistful lyrics of the
song; Down by the river
there's a tall willow
tree, who weeps all night
for you and me. This
evocative setting for
band follows this
sentiment through peaks
and valleys of sound and
emotion. Dur: 3:10.
By Jay Althouse. For Choir. (TTBB, a cappella). Choral Octavo. Choral Designs. ...(+)
By Jay Althouse. For
Choir. (TTBB, a
cappella). Choral Octavo.
Choral Designs.
Spiritual, Christmas.
Choral Octavo. 8 pages.
Published by Alfred
Publishing.
By Jay Althouse. For Choir. (SSAA, a cappella). Choral Octavo. Choral Designs. ...(+)
By Jay Althouse. For
Choir. (SSAA, a
cappella). Choral Octavo.
Choral Designs.
Spiritual, Christmas.
Choral Octavo. 8 pages.
Published by Alfred
Publishing.