Choral SSA choir SKU: CF.CM9580 Composed by Richard Rasch. Arranged by Ri...(+)
Choral SSA choir
SKU:
CF.CM9580
Composed by
Richard Rasch. Arranged
by Richard Rasch. Fold.
Performance Score. 4
pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CM9580.
Published by Carl Fischer
Music (CF.CM9580).
ISBN 9781491154021.
UPC: 680160912520. 6.875
x 10.5 inches. Key: D
mixolydian. English,
Latin. 15th Century
Medieval Carol.
The
text of this poem is from
the Trinity Carol Roll,
an English manuscript
housed at the Wren
Library of Trinity
College, Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherds response in
the gospel of Luke 2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassthe distance
between the highest and
lowest noteis at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherdas response
in the gospel of Luke
2:15,
Transeamus.
Latin phraseA translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassathe distance
between the highest and
lowest noteais at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherd's response
in the gospel of Luke
2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd's response in
the gospel of Luke 2:15,
Transeamus. Latin phrase
translation source
Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pares forma
of equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written.The Latin phrases
come from different parts
of the Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd’s
response in the gospel of
Luke 2:15,
Transeamus.Latin
phrase translation
sourceAlleluia Alleluia
LaetabundusRes miranda A
thing to be wondered at
LaetabundusPares forma of
equal form
LaetabundusGaudeamus Let
us rejoice!
GaudeamusTranseamus Let
us go Luke 2:15The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and
beauty.The music in this
setting mimics the petals
of a rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic
twists.Word painting is
employed in several
places but none are as
important as the dramatic
climax in the fourth
verse where the shepherds
along with all the angels
in heaven proclaim Gloria
in excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass—the
distance between the
highest and lowest
note—is at its
widest.The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol.
Choral SSA Choir and Piano SKU: CF.CM9575 Born on a Fishing Boat. ...(+)
Choral SSA Choir and
Piano
SKU:
CF.CM9575
Born on
a Fishing Boat.
Composed by Braeden
Ayres. Fold. Performance
Score. 8 pages. Duration
2 minutes, 51 seconds.
Carl Fischer Music
#CM9575. Published by
Carl Fischer Music
(CF.CM9575).
ISBN
9781491153970. UPC:
680160912476. 6.875 x
10.5 inches. Key: F
minor. English. Mei-Li
Medvar.
Original.
SSA
and Organ. Composed
by James Whitbourn.
Choral. Classical.
Octavo. 12 pages. Chester
Music #CH81059. Published
by Chester Music
(HL.14042891).
6.5x9.75x0.055
inches.
The
Twenty-Eight Times is a
Vocal piece composed by
British composer and
conductor James Whitbourn
. The Twenty-Eight Times
was commissioned by the
United Westminster
Schools and Grey Coat
Hospital Foundation to
commemorate the fiftieth
anniversary of the
assassination of John F.
Kennedy, and performed in
Westminster Abbey on 25
October 2013 by the choir
of Queen Anne's school,
Caversham. This ancient
Hebrew text from
Ecclesiastes (Qoheleth)
was a favourite of
President Kennedy and
formed partof the Eulogy
delivered at his funeral
service on 25 November
1963. He was assassinated
on 22 November 1963.
Spark of Light Chorale 3 parties SSA, Piano Carl Fischer
Choral SSA Choir and Piano SKU: CF.CM9747 Composed by Andrew Steffen. Dur...(+)
Choral SSA Choir and
Piano
SKU:
CF.CM9747
Composed by
Andrew Steffen. Duration
3 minutes, 4 seconds.
Carl Fischer Music
#CM9747. Published by
Carl Fischer Music
(CF.CM9747).
ISBN
9781491162354. UPC:
680160921102. Key: E
lydian. English. The
Vastness of the Universe
Jonas Hallgrimsson
(1807-1845).
About
Jónas
HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work justice.
Two Folksongs of Love and Loss. Composed by American Folk Song Irish Folk So...(+)
Two Folksongs of Love and
Loss. Composed by
American
Folk Song Irish Folk
Song.
Arranged by Greg Gilpin.
Fold. Octavo. 8 pages.
Duration 1 minute, 40
seconds. Carl Fischer
Music
#CM9646. Published by
Carl
Fischer Music
Choral (SSA Choir) - easy SKU: HL.14025880 (The Little Prince). Co...(+)
Choral (SSA Choir) - easy
SKU: HL.14025880
(The Little
Prince). Composed by
Rachel Portman. Arranged
by Richard Allain. Music
Sales America. Classical,
Female Voices. Choral
Score. Composed 2005. 12
pages. Chester Music
#CH69553. Published by
Chester Music
(HL.14025880).
ISBN
9781846090509. UPC:
884088441050.
6.75x9.75x0.035 inches.
Lyrics by Nicholas
Wright.
An
arrangement of one of the
songs from The Little
Prince, a fabulous,
moving and melodic opera
by Rachel Portman with
luxurious counter
melodies and placid
harmonies. This opera is
based on French
philosopher and aviator
Antoine de
Saint-Exupery's novella,
Le Petit Prince, an
international classic
penned in 1943. It was
composed by Rachel
Portman, the first woman
to win an Oscar for a
film score (Emma-1996),
with text by Nicholas
Wright. While
Saint-Exupery's moving
parable of self-discovery
is the foundation of the
opera's appeal, it is
Portman's music that
gives the work its
dramatic impact. The
characters are brought to
life and portrayed with a
delicate combination of
humour and poignancy.
This SSA and Piano
arrangement of The Birds
by Richard Allain.
Choral (SSA Choir) - easy SKU: HL.14025878 (The Little Prince). Co...(+)
Choral (SSA Choir) - easy
SKU: HL.14025878
(The Little
Prince). Composed by
Nicholas Wright and
Rachel Portman. Arranged
by Richard Allain. Music
Sales America. Classical,
Female Voices. Book
[Softcover]. Composed
2005. 20 pages. Chester
Music #CH69531. Published
by Chester Music
(HL.14025878).
ISBN
9781846090486. UPC:
884088441012.
6.75x9.75x0.069 inches.
Lyrics by Nicholas
Wright.
An
arrangement of one of the
songs from The Little
Prince, a fabulous,
moving and melodic opera
by Rachel Portman with
luxurious counter
melodies and placid
harmonies. This opera is
based on French
philosopher and aviator
Antoine de
Saint-Exupery's novella,
Le Petit Prince, an
international classic
penned in 1943. It was
composed by Rachel
Portman, the first woman
to win an Oscar for a
film score (Emma-1996),
with text by Nicholas
Wright. While
Saint-Exupery's moving
parable of self-discovery
is the foundation of the
opera's appeal, it is
Portman's music that
gives the work its
dramatic impact. The
characters are brought to
life and portrayed with a
delicate combination of
humour and poignancy.
This SSA and Piano
arrangement of The
Lamplighters by Richard
Allain.
Choral (SSA Choir) SKU: HL.14025882 (The Little Prince). Composed ...(+)
Choral (SSA Choir)
SKU: HL.14025882
(The Little
Prince). Composed by
Rachel Portman. Arranged
by Richard Allain. Music
Sales America. Classical,
Female Voices. Choral
Score. Composed 2005. 12
pages. Chester Music
#CH69520. Published by
Chester Music
(HL.14025882).
ISBN
9781846090479. UPC:
884088441029.
6.75x9.75x0.04 inches.
Lyrics by Nicholas
Wright.
An
arrangement for upper
voices of one of the
songs from The Little
Prince, a fabulous,
moving and melodic opera
by Rachel Portman with
luxurious counter
melodies and placid
harmonies. This opera is
based on French
philosopher and aviator
Antoine de
Saint-Exupery's novella,
Le Petit Prince, an
international classic
penned in 1943. It was
composed by Rachel
Portman, the first woman
to win an Oscar for a
film score (Emma-1996),
with text by Nicholas
Wright. While
Saint-Exupery's moving
parable of self-discovery
is the foundation of the
opera's appeal, it is
Portman's music that
gives the work its
dramatic impact. The
characters are brought to
life and portrayed with a
delicate combination of
humour and poignancy.
This SSA and Piano
arrangement of The Roses
by Richard Allain.
Choral (SSA Choir) - easy SKU: HL.14025879 (The Little Prince). Co...(+)
Choral (SSA Choir) - easy
SKU: HL.14025879
(The Little
Prince). Composed by
Rachel Portman. Arranged
by Richard Allain. Music
Sales America. Classical,
Female Voices. Choral
Score. Composed 2005. 12
pages. Chester Music
#CH69542. Published by
Chester Music
(HL.14025879).
ISBN
9781846090493. UPC:
884088447526.
6.75x9.75x0.052 inches.
Lyrics by Nicholas
Wright.
An
arrangement of one of the
songs from The Little
Prince, a fabulous,
moving and melodic opera
by Rachel Portman with
luxurious counter
melodies and placid
harmonies. This opera is
based on French
philosopher and aviator
Antoine de
Saint-Exupery's novella,
Le Petit Prince, an
international classic
penned in 1943. It was
composed by Rachel
Portman, the first woman
to win an Oscar for a
film score (Emma-1996),
with text by Nicholas
Wright. While
Saint-Exupery's moving
parable of self-discovery
is the foundation of the
opera's appeal, it is
Portman's music that
gives the work its
dramatic impact. The
characters are brought to
life and portrayed with a
delicate combination of
humour and poignancy.
This SSA and Piano
arrangement of Look At
The Stars by Richard
Allain.
Chorale 3 parties 3 parties Mixtes [Vocal Score] - Intermédiaire Hal Leonard
(Songbook). By The King's Singers. Arranged by The King's Singers. For choir (on...(+)
(Songbook). By The King's
Singers. Arranged by The
King's Singers. For choir
(one, two, or three-part
voices) (Songbook).
King's Singer's Choral.
Pop Vocal, Traditional
Folk, Baroque and
Classical Period.
Difficulty: easy-medium.
Vocal score (one, two and
three part rounds). Vocal
melody, harmony part and
leadsheet notation. 80
pages. Published by Hal
Leonard
American Heroes Chorale 3 parties SAB, Piano [Octavo] Carl Fischer
"the Caisson Song," "the Marine's Hymn," "Anchors Aweigh," "the U.S. Air Force,"...(+)
"the Caisson Song," "the
Marine's Hymn," "Anchors
Aweigh," "the U.S. Air
Force," "America the
Beautiful" for Three-Part
Mixed (Div.) Voices with
Keyboard and Optional
Narrator. By Various.
Arranged by Carl
Strommen. Mixed choir.
For SAB Chorus, Keyboard,
Narrator. Choral.
Piano/Vocal Score. 16
pages. Published by Carl
Fischer.
(For Three-Part Mixed Voices with Keyboard). By Anonymous. Arranged by Earlene R...(+)
(For Three-Part Mixed
Voices with Keyboard). By
Anonymous. Arranged by
Earlene Rentz. Mixed
chorus. For SAB,
Keyboard. Carl Fischer
Performance Series for
Chorus. Choral. Piano
reduction/vocal score.
Standard notation. 8
pages. Published by Carl
Fischer
(from The Prince of Egypt). By Stephen Schwartz. Arranged by Audrey Snyder. (SA...(+)
(from The Prince of
Egypt). By Stephen
Schwartz. Arranged by
Audrey Snyder. (SAB).
Pop Choral Series. Size
6.7x10.5 inches. 12
pages. Published by
Cherry Lane.
By Vince Guaraldi. Edited by Bob Dingley. Arranged by David Pugh. Pop choral oct...(+)
By Vince Guaraldi. Edited
by Bob Dingley. Arranged
by David Pugh. Pop choral
octavo (3-part mixed
voices). Level: 3-part
mixed. 8 pages. Published
by Warner Brothers.
(2621CC3X) 6-PACK
includes six original
copies of this piece.
(From the Musical Ragtime). Composed by Lynn Ahrens, music by Stephen Fla...(+)
(From the Musical
Ragtime). Composed
by Lynn Ahrens, music by
Stephen Flaherty and Lynn
Ahrens, music by Stephen
Flaherty. Arranged by
Mark Hayes. Choir
Secular. 3-Part Mixed
Choir (SAB). Choral
Octavo. Pop Choral.
Broadway; Secular. 12
pages. Published by
Alfred Music
Performed by Bryan Adams. By Hanz Zimmer, Gretchen Peters, Bryan Adams. Arranged...(+)
Performed by Bryan Adams.
By Hanz Zimmer, Gretchen
Peters, Bryan Adams.
Arranged by Ed Lojeski.
(SAB). Pop Choral Series.
Size 6.75x10.5 inches. 12
pages. Published by
Cherry Lane.
((The Little Prince)). By Rachel Portman. Arranged by Richard Allain. For Choral...(+)
((The Little Prince)). By
Rachel Portman. Arranged
by Richard Allain. For
Choral (SSA). Music Sales
America. Choral, Opera.
20 pages. Chester Music
#CH69564. Published by
Chester Music
Because He Lives Chorale 3 parties SAB [Octavo] Hope Publishing Company
By Gloria; William Gaither. Arranged by Jack Schrader. (SAB or Three-Part). Fun...(+)
By Gloria; William
Gaither. Arranged by Jack
Schrader. (SAB or
Three-Part). Funeral and
Sacred. Print Music
Single (SAB). 8 pages.
Published by Hope
Publishing Company.
