| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(31)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Fake Book - Third Edition (Bb version)
Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(8)$49.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| Send the Light Chorale 3 parties SAB, Piano [Octavo] Monarch Music
By Mark Hayes. For SAB choir and piano. Sacred. Sacred Anthem. Published by Mona...(+)
By Mark Hayes. For SAB
choir and piano. Sacred.
Sacred Anthem. Published
by Monarch Music.
(10/3603M)
$3.20 $3.04 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rise Again Songbook Paroles et Accords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Up! A New Light A-Comina!! Chorale 3 parties SAB, Piano [Vocal Score] Lorenz Publishing Company
(Sending the Light of Christmas into the World). By Lloyd Larson; Pamela Martin....(+)
(Sending the Light of
Christmas into the
World). By Lloyd Larson;
Pamela Martin. For SAB
choir and piano (with
optional orchestra).
Advent, Christmas,
Sacred. Cantata
$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Prophesies [Conducteur et Parties séparées] Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello,
Viola, Violin 1, Violin 2
SKU: PR.114419030
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030). ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches. A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| For the Mystic Harmony [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Oboe 1, Oboe 2, Piccolo,
alto Saxophone, soprano
Saxophone, tenor
Saxophone SKU:
PR.165001000 Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000). ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Living Light Chorale 3 parties SAB, Piano [Vocal Score] Lorenz Publishing Company
By Ruth Elaine Schram. For SAB choir and piano. Christmas, Sacred. Cantata. Publ...(+)
By Ruth Elaine Schram.
For SAB choir and piano.
Christmas, Sacred.
Cantata. Published by
Lorenz Publishing
Company. (65/1990L)
(1)$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mark Hayes: Send the Light Chorale SATB SATB, Piano [Octavo] Monarch Music
By Mark Hayes. For SATB choir and piano. Sacred. Octavo. Published by Monarch Mu...(+)
By Mark Hayes. For SATB
choir and piano. Sacred.
Octavo. Published by
Monarch Music. (10/3602M)
$3.20 $3.04 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Best Rock Pop Fake Book Instruments en Do [Fake Book] Hal Leonard
(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pa...(+)
(For C Instruments). By
Various. For C
Instruments. Fake Book.
Softcover. 576 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Send the Light - Brass and Rhythm Score and Parts [Partition] Monarch Music
By Mark Hayes. For 3 trumpets, 3 trombones, digital keyboard and rhythm (conduct...(+)
By Mark Hayes. For 3
trumpets, 3 trombones,
digital keyboard and
rhythm (conductor's
score). Sacred. Sacred
Anthem. Published by
Monarch Music. (30/2253M)
$39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Kevin Kaisershot : Scherzo Diabolique 3 Cors (trio) Eighth Note Publications
By Kevin Kaisershot. For 3 F Horns. Mixed Instruments - Flexible Instrumentation...(+)
By Kevin Kaisershot. For
3 F Horns. Mixed
Instruments - Flexible
Instrumentation; Part(s);
Score; Trio. Eighth Note
Publications.
Contemporary. Duration
00:02:10. Published by
Eighth Note Publications
. Contemporary.
$10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Light of Grace Chorale 3 parties SAB Alfred Publishing
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.50228 Performance Mu...(+)
Choir Secular (SAB
choir/3-Part choir Mixed)
SKU: AP.50228
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Graduation; Secular;
Traditional. Choral
Octavo. 12 pages. Alfred
Music #00-50228.
Published by Alfred Music
(AP.50228). UPC:
038081573984. English.
Andy Beck. Here's a
heartfelt adaptation of
traditional Irish and
English blessing texts. A
gentle yet rhythmic piano
figure supports graceful
vocal lines and
occasional harmonic
crunches in this warm
closer or send-off song
by Andy Beck. Concludes
with a musical quote from
Amazing Grace to bring a
final smile, chill, or
tear.
About Alfred
Choral
Designs Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests. $2.05 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Heart Of Lithuania Grade 3 Sc/pts Orchestre d'harmonie Hal Leonard
| | |
| RandB Fake Book - C Instruments - 2nd Edition
Fake Book [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Randb and classic
soul. Series: Hal Leonard
Fake Books. 437 pages.
9x12 inches. Published by
Hal Leonard.
(9)$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Busk It Country Fake Book Piano seul Music Sales
| | |
| There Goes the Neighbourhood Cherry Classics
SKU: CY.CC2360 Composed by I Tromboni. Arranged by Jim Tranquila. Audio C...(+)
SKU: CY.CC2360
Composed by I Tromboni.
Arranged by Jim
Tranquila. Audio CD with
inserts. Published by
Cherry Classics
(CY.CC2360). A
landmark audio/video
CD-Rom recorded in 2003.
The dynamic and always
entertaining group of
five of Canada's finest
young Trombonists is the
Team Canada of Trombones.
This recording is crammed
with 15 great tracks of
music
including:
1.
Fanfare for the Common
Man; 2. The Flight of the
Bumblebee; 3. La
Primavera from the Four
Seasons; 4. Sondheim's
Send in the Clowns; 5.
Verdi's Overture to
Nabucco; 6 Joshua Fit the
Battle of Jericho; 7.
Tommy Pederson's Wishing
Well; 8. Dango's Tango;
9. Transcendance; 10.
Danny Elfman's Simpsons
Theme; 11. Vivaldi
Concerto for Two
Trumpets; 12. Barumba by
Pearce; 13. Elsa's
Procession to the
Cathedral trans. by
Cherry; 14. O Canada &
Hockey Night in Canada
Theme; 15. Mission
Impossible Theme. $23.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Children, go where I send thee Chorale SATB SATB, Piano Oxford University Press
SATB chorus & piano & optional bass & drums SKU: OU.9780193555433 Compose...(+)
SATB chorus & piano &
optional bass & drums
SKU:
OU.9780193555433
Composed by Ryan Murphy.
Vocal score. 12 pages.
Duration 3.5'. Oxford
University Press
#9780193555433. Published
by Oxford University
Press (OU.9780193555433).
ISBN 9780193555433.
Other inches. For
SATB and piano (with opt
bass and drums) Optional
parts for bass and drum
set enliven this joyous
arrangement for choir and
piano of a traditional
spiritual. Propelled by a
light swing tempo, the
mood grows more and more
euphoric with each
succeeding stanza of
text, and the uplifting
music surges towards an
opulent conclusion. $3.65 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 100 Years of Broadway (Medley) - SAB Chorale 3 parties SAB, Piano Hal Leonard
Arranged by Mac Huff. (Sab Singer). Broadway Choral. Size 6.75x10.5 inches. 56 p...(+)
Arranged by Mac Huff.
(Sab Singer). Broadway
Choral. Size 6.75x10.5
inches. 56 pages.
Published by Hal Leonard.
(2)$5.15 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Eugen Onegin Op. 24 Deutscher Verlag für Musik
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081). ISBN
9790200460032. 9.5 x 12
inches. Duration:
full evening
Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'. $76.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Choral Essentials: Easter, Volume 2 - Music Collection Chorale 3 parties SAB GIA Publications
(Volume 2: SAB and 2-part). For SAB choir, 2-part choir. Eastertide, Easter Sund...(+)
(Volume 2: SAB and
2-part). For SAB choir,
2-part choir. Eastertide,
Easter Sunday, Ascension,
Pentecost Sunday. Sacred.
Collection. Published by
GIA Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 110 Ireland's Best Session Tunes - Volume 3 Ligne De Mélodie, Paroles et Accords [Partition + CD] Walton Music
With Guitar Chords. Edited by John Canning. Waltons Irish Music Books. Celtic, I...(+)
With Guitar Chords.
Edited by John Canning.
Waltons Irish Music
Books. Celtic, Irish. 48
pages. Waltons Irish
Music #WM1383CD.
Published by Waltons
Irish Music
$41.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Spirals Of Light Score Orchestre d'harmonie [Conducteur] Hal Leonard
Concert Band/Harmonie (Score) - 3-4 SKU: HL.44011485 Composed by Naoya Wa...(+)
Concert Band/Harmonie
(Score) - 3-4 SKU:
HL.44011485 Composed
by Naoya Wada. Beriato
Music Concert Band Set.
Opening Pieces. Score
Only. Composed 2010. Hal
Leonard #BMP10025468.
Published by Hal Leonard
(HL.44011485). UPC:
884088893736.
9.0x12.0x0.116 inches.
English(UK)/Deutsch/Franc
ais/Nederlands. Thi
s refreshing, lively
composition by the
Japanese composer Naoya
Wada is an ideal opening
work, but it can equally
provide a boost of energy
later in your concert
programme. Brilliant
themes supported by
virtuoso runs and
energetic counter
melodies ensure that each
section, including
percussion, is given a
chance to shine.
Deze frisse,
levendige compositie van
de Japanse componist
Naoya Wada is een ideaal
openingswerk, maar kan
ook tussendoor voor de
nodige energie zorgen in
uw concertprogramma.
Briljante thema's
ondersteund door virtuoze
loopjes enenergieke
tegenmelodieen zorgen
ervoor dat elke groep aan
bod komt. Ook voor het
slagwerk is er rijkelijk
wat te spelen, maar niet
alle partijen zijn
obligaat.
Dieses
frische und energiereiche
Eroffnungswerk aus der
Feder des japanischen
Komponisten Naoya Wada
ist eine ideale Eroffnung
für Ihr Konzert,
kann aber auch
zwischendurch für
die notige Energie in
Ihrem Konzertprogramm
sorgen. Brillante Themen,
die von virtuosen Laufen
und energischen
Gegenmelodien
unterstützt werden,
sorgen dafür, dass
jedes Register zum Zug
kommt. Auch für das
Schlagzeug ist reichlich
zu tun, aber nicht alle
Stimmen sind
obligat.
Spiral
s of Light, du
compositeur japonais
Naoya Wada, est une piece
lumineuse et dynamique.
Des themes brillants, des
contre-chants vifs et
colores, et des
percussions solides pour
fixer un cap energique
d'entree de jeu.
Questo brano di
apertura fresco ed
energetico, firmato dal
compositore giapponese
Naoya Wada e un brano
ideale per iniziare un
concerto, puo pero anche
essere eseguito in ogni
momento per conferire la
necessaria energia al
programma. Temi
brillanti, sostenuti da
passaggi virtuosi e
potenti controcanti,
mettono in primo piano
ogni sezione della banda.
Anche le percussioni
vengono sollecitate, ma
non tutte le voci sono
comunque
obbligatorie. $18.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Three Songs of Petition from the Psalms Chorale SATB - Débutant GIA Publications
SATB choir, SAT, piano reduction - Beginning SKU: GI.G-6202 Send Out Y...(+)
SATB choir, SAT, piano
reduction - Beginning
SKU: GI.G-6202
Send Out Your Light /
On God Alone I Wait
Silently / May the Words
of My Mouth. Composed
by John L. Bell. Advent.
Iona Community. Tune
Name: Strong Tower,
Seearem. Sacred. Octavo.
4 pages. GIA Publications
#6202. Published by GIA
Publications (GI.G-6202).
UPC: 785147620204.
English. Text Source:
Psalm 43:3, Psalm 62,
Psalm 19, adapt. JLB.
Scripture: Psalm 19:14,
Psalm 43, Psalm
62:1–2. Thes
e brief settings of psalm
verses with music and
text adaptations by John
L. Bell have seemingly
limitless uses—a
number of suggestions are
given in the notes. The
recording for the Choral
Subscription Series
includes “Send Out
Your Light.â€. $2.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nordic Moods Ensemble de cuivres [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Brass Band - Grade 3 SKU: BT.GOB-000314-030 Composed by Tom Brevik. Set (...(+)
Brass Band - Grade 3
SKU:
BT.GOB-000314-030
Composed by Tom Brevik.
Set (Score & Parts). 50
pages. Gobelin Music
Publications #GOB
000314-030. Published by
Gobelin Music
Publications
(BT.GOB-000314-030).
The
composer: 1st
movement: Reflections by
the Fjord. Overlooking
one of the mighty fjords
of Norway, my mind and
thoughts are with an old
religious Norwegian
folk-tune, with words by
the famous parson Peter
Dass. The majestic
fanfare-likeopening
reflects the power of God
our Father, the choral
itself heard for the
first time on flugelhorn.
The choral is repeated a
few times, separated only
by some short variations.
The movement ends in
thriumph, with fanfares
and the choral
broughttogether. 2nd
movement: Reflections in
the Old Church. In
this movement my
associations of a summer
day, finding myself alone
in an old deserted stone
church. From the old
walls I hear folk songs,
perhaps like the ones
sung in the church bypoor
fishermen and farmers in
days gone by. Suddenly
the light from the sun
breakes through the small
circular window above the
altar, and a lovely
melody is heard, before
the original figures take
us to the end of the
movement. 3rd
movement:Festive
Reflections. Any
festive occasion can be
reflected in this
movement. from the
bonfire at
midsummer-night to the
children celebrating the
return of the sun in the
northern part of Norway.
from the traditional
sleigh-riding at
Christmas tothe
Celebrations of the
National Day on the 17th
of May each
year.
De
componist: 1e deel:
Reflections by the Fjord.
Uitkijkend over een
van de machtige fjorden
van Noorwegen, zijn mijn
geest en gedachten bij
een oude, religieuze
Noorse folk-melodie, met
woorden van de beroemde
dominee Peter Dass.
Demajestueuze
fanfare-achtige opening
weerspiegelt de kracht
van God, onze Vader. Het
koraal wordt als eerste
gespeeld door de
bugel. Het koraal
wordt een aantal keren
herhaald, slechts
onderbroken door enkele
korte variaties. Het deel
eindigttriomfantelijk,
met fanfares en het
koraal bij elkaar
gebracht. 2e deel:
Reflections in the Old
Church. In dit deel
mijn denkbeelden van een
zomerse dag, ik zie
mezelf staan in een oude,
verlaten stenen kerk.
Weerkaatsend tussen de
oudemuren hoor ik
volksliederen, misschien
wel zoals die in de kerk
gezongen werden door arme
vissers en boeren in
vervlogen tijden.
Plotseling breekt het
licht van de zon door de
kleine ronde ramen boven
het altaar, en ik hoor
een prachtigemelodie,
voordat het
oorspronkelijke thema ons
naar het einde van het
deel voert. 3e deel:
Festive Reflections.
Feestelijke gelegenheden
kunnen worden
weerspiegeld in dit deel,
van het nachtelijk
midzomer vuur tot de
kinderen die deterugkeer
van de zon in het
noordelijk deel van
Noorwegen vieren, van het
traditionele sleerijden
met Kerstmis tot aan de
viering van de Nationale
Dag op 17 mei van elk
jaar toe.
Gobelin
Music Publications. $143.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
Page suivante 1 31 61 |