Serenity Chorale SATB SATB, Piano - Intermédiaire Walton Music
SATB choir, piano reduction - Late intermediate SKU: GI.WW1726 Composed b...(+)
SATB choir, piano
reduction - Late
intermediate
SKU:
GI.WW1726
Composed by
Daniel Elder. Concert,
School. Andrew Crane
Choral Series. Classical.
Octavo. 16 pages. Walton
Music #WW1726. Published
by Walton Music
(GI.WW1726).
UPC:
785147015369. English.
Text by Daniel
Elder.
Serenity
seeks to inspire peace
from within using the
sound of spoken word and
the sound of music. A
challenge for more
advanced choirs, and
incorporates strong
melody and rich
harmonies.
Piano - intermediate/advanced SKU: JK.01976 Composed by Various. Arranged...(+)
Piano -
intermediate/advanced
SKU: JK.01976
Composed by Various.
Arranged by Sarah Brough
Blomquist. Christian,
Contemporary Christian,
Gospel, Inspirational.
Jackman Music Corporation
#01976. Published by
Jackman Music Corporation
(JK.01976).
UPC:
093285019768.
Intro
ducing Path to Serenity,
the advanced sacred
instrumental series for C
instruments. This series
of C instrument solo
books is the answer to
many inquiries for
advanced sacred solo
repertoire from a variety
of instrumentalists.
These elegant
arrangements were
composed to enfold the
souls of all listeners in
the messages of hope and
healing found in the
hymns. This series will
accommodate the oboe,
flute, violin, cello,
bassoon, and many other
instruments. Appropriate
settings include sacred
occasions such as
funerals, sacrament
meetings, and firesides,
as well as recitals and
concerts.
The
series includes three
books (SOLD
SEPARATELY): Piano
Accompaniment Book -
#01976 C Instrument -
Treble Clef - #01977 C
Instrument - Bass Clef -
#01978
Arr
angements found in this
book: Be Still, My
Soul Come, Thou Fount
of Every Blessing
(Treble/Bass Duet - use
all three books) Where
Can I Turn for
Peace? If You Could
Hie to Kolob I Need
Thee Every Hour More
Holiness Give
Me Jesus, the Very
Thought of
Thee Amazing
Grace Our Savior's
Love Composer:
Various Arranger:
Sarah Brough
Blomquist Difficulty:
Late-Intermediate/Advance
d.
Serenity Orchestre d'harmonie [Conducteur] - Intermédiaire Boosey and Hawkes
Composed by Ola Gjeilo. Edited by J. Eric Wilson. For Concert Band (Score). Wind...(+)
Composed by Ola Gjeilo.
Edited by J. Eric Wilson.
For Concert Band (Score).
Windependence Master
Level. Grade 4. 16 pages.
Published by Boosey and
Hawkes
Serenity Orchestre d'harmonie - Intermédiaire Boosey and Hawkes
Composed by Ola Gjeilo. Edited by J. Eric Wilson. For Concert Band (Score and Pa...(+)
Composed by Ola Gjeilo.
Edited by J. Eric Wilson.
For Concert Band (Score
and Parts). Boosey and
Hawkes Concert Band.
Grade 4. Published by
Boosey and Hawkes
Orchestra String Orchestra - Grade 2 SKU: FJ.ST6489 Composed by Bruce W. ...(+)
Orchestra String
Orchestra - Grade 2
SKU: FJ.ST6489
Composed by Bruce W.
Tippette. Series; String
Orchestra. FJH Developing
Strings. Score and
Part(s). The FJH Music
Company Inc #98-ST6489.
Published by The FJH
Music Company Inc
(FJ.ST6489).
UPC:
241444411780.
English.
This
expressive work aims to
encapsulate the essence
of serenity through its
calm, moderate tempo and
simple rhythms. A
beautiful interplay
between sweeping melodic
lines and a gorgeous
harmonic language
provides unlimited
potential for phrasing
and music-making.
About FJH
Developing
Strings
Sl
ightly more advanced than
Beginning Strings, this
series begins to involve
more position work and a
slightly more complex
rhythmic figures.
Rehearsal piano is often
provided. Ideal for
middle school and smaller
high school programs.
Grade 2 - 2.5
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.
Niedermeyer,Berlioz,Gouno
d,Viardot,Franck,
Masse,Lalo,Saint-Saens,
Delibes, Bizet,Massenet,
Chabrier, Paladihle,
Faure, Duparc,
Chausson,Debussy, Satie,
de Severac, Dupont,
Poulenc(Fr). By Various.
Edited by Nichols. For
low voice, piano.
Photoprint edition -
publisher prints this
title after order is
received. Published by
C.F. Peters.
Niedermeyer, Berlioz,
Gounod, Viradot, Franck,
Masse, Lalo, Saint-Saens,
Delibes,Bizet, Massenet,
Chabrier, Paladihle,
Faure, Duparc, Chausson,
Debussy, Satie,de
Severac, Dupont,
Poulenc(Fr). By Various.
Edited by Nichols. For
high voice, piano.
Photoprint edition -
publisher prints this
title after order is
received. Published by
C.F. Peters.
Thy Word Cloches [Conducteur] - Facile Hope Publishing Company
By Amy Grant. Edited by Michael Perry. Arranged by Peggy Bettcher. Handbell choi...(+)
By Amy Grant. Edited by
Michael Perry. Arranged
by Peggy Bettcher.
Handbell choir. For 3-5
octave handbells.
Contemporary.
Contemporary and Sacred.
Grade 2 . Handbell Score.
Published by Hope
Publishing Company
Cradle Hymn Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
Concert Band - Grade 2.5 SKU: AP.39624S Based on a Kentucky Folk Song<...(+)
Concert Band - Grade 2.5
SKU: AP.39624S
Based on a Kentucky
Folk Song. Arranged
by Earl J. Fox, Jr.
Concert Band; Performance
Music Ensemble; Single
Titles. Young Symphonic.
Folk; Hymn; Traditional.
Score. 20 pages. Duration
5:00. Alfred Music
#00-39624S. Published by
Alfred Music (AP.39624S).
UPC: 038081449340.
English.
Traditional.
Based
upon a Kentucky folk
song, this lovely lullaby
radiates a feeling of
serenity and tranquility.
The opening, with a
stately, majestic
chorale, is followed with
an exhilarating rhythmic
development of the theme
supplemented by energetic
percussion. The ending is
a re-instatement of the
introduction with a quiet
and peaceful conclusion.
(5:00).
Concert Band - Grade 1.5 SKU: AP.48120 Composed by Jason A. Spraggins. Co...(+)
Concert Band - Grade 1.5
SKU: AP.48120
Composed by Jason A.
Spraggins. Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Alfred Debut Series.
Score and Part(s). 124
pages. Duration 2:05.
Alfred Music #00-48120.
Published by Alfred Music
(AP.48120).
UPC:
038081554754.
English.
Inspired
by the painting of the
same title by the famed
Dutch painter Vincent van
Gogh, this work evokes
the calmness and serenity
of the starry scene while
capturing the grandeur of
the painting's swirling
sky and dramatic moon,
providing a sense of
abiding warmth, peace,
and hope. (2:05) This
title is available in
MakeMusic Cloud.
Dark Passenger 3 Percussions [Conducteur et Parties séparées] - Avancé Tapspace Publications
For percussion trio. Composed by Andy Harnsberger. Score and parts on CD-...(+)
For percussion
trio. Composed by
Andy Harnsberger. Score
and parts on CD-Rom. 26
pages. Duration 8
minutes, 20 seconds.
Published by Tapspace
Publications
(TA.TSPCE15-008).
Performed by Sandra Magris. By Cyrille Hambli. Arranged by Cyrille Hambli. For p...(+)
Performed by Sandra
Magris. By Cyrille
Hambli. Arranged by
Cyrille Hambli. For piano
solo. This edition:
Editions Bourges R. In
Edit. Instrumental. Sheet
music. 3 pages. Published
by Editions Bourges
(French import).
Themes from Mercury,
Venus and Mars.
Composed by Gustav Holst.
Arranged by Carrie Lane
Gruselle. MakeMusic
Cloud; String Orchestra.
FJH String Orchestra.
Masterwork Arrangement.
Score and Part(s). The
FJH Music Company Inc
#98-ST6494. Published by
The FJH Music Company Inc
(FJ.ST6494).
UPC:
241444412534.
English.
This
cleverly titled work
includes three famous
themes from The Planets.
The swooping and
fluttering sounds of
Mercury, the Winged
Messenger give way to the
mystical tone clusters
and serenity of Venus,
the Bringer of Peace. The
arrangement closes with
the iconic militant
ostinato and extreme
dissonance of Mars, the
Bringer of War. An
exceptional
arrangement.
About FJH
String
Orchestra
More emphasis on bow
technique and
independence of lines.
For the accomplished
middle, high school,
college, or professional
group. Grade 3 and up
SATB choir, piano
accompaniment, violin 1,
violin 2, viola, cello
SKU: GI.G-EH1009
Composed by Elaine
Hagenberg. Music
Education. Octavo. 12
pages. GIA Publications
#EH1009. Published by GIA
Publications
(GI.G-EH1009).
Text
source: Gaelic
blessing.
Beautiful
ly capturing the essence
of this traditional
Gaelic blessing, Elaine
Hagenberg’s
setting evokes the
natural tranquility of a
“gentle
night†where the
“moon and stars
pour their healing light
on you.†The gently
flowing piano
accompaniment supports
the rolling legato vocal
lines. Optional string
quartet parts add
serenity and depth to
this well loved text.
Full Score and Parts
version also available.
EH1009A. Scroll down for
link.
(Low Voice and Piano). Composed by Various. For Low Voice, Piano Accompaniment. ...(+)
(Low Voice and Piano).
Composed by Various. For
Low Voice, Piano
Accompaniment. Vocal.
Softcover. 96 pages. G.
Schirmer #ED4600.
Published by G. Schirmer