The Golden Compass Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Alexandre Desplat. Arranged by John Ross. For Concert Band. Concert Band. Pop...(+)
By Alexandre Desplat.
Arranged by John Ross.
For Concert Band. Concert
Band. Pop Concert Band.
Movie; Pop. Level: 3
(Medium Easy) (grade 3).
Conductor Score and
Parts. 268 pages.
Published by Alfred
Publishing.
(Piano/Vocal/Guitar). By Rascal Flatts. By Diane Warren. For Guitar; Keyboar...(+)
(Piano/Vocal/Guitar). By
Rascal Flatts. By Diane
Warren. For Guitar;
Keyboard;
Piano; Voice. This
edition:
Piano/Vocal/Guitar.
Artist/Personality;
Piano/Vocal/Chords;
Sheet;
Solo. Original Sheet
Music
Edition. Country; Movie.
8
pages. Published by
Alfred
Music
By Alexandre Desplat. Arranged by John Ross. For Concert Band. Concert Band. Pop...(+)
By Alexandre Desplat.
Arranged by John Ross.
For Concert Band. Concert
Band. Pop Concert Band.
Movie; Pop. Level: 3
(Medium Easy) (grade 3).
Score. 36 pages.
Published by Alfred
Publishing.
SA choir and piano SKU: OU.9780193561359 Composed by Jenny Mahler. Songbi...(+)
SA choir and piano
SKU:
OU.9780193561359
Composed by Jenny Mahler.
Songbird. Octavo. 12
pages. Duration 4'.
Oxford University Press
#9780193561359. Published
by Oxford University
Press (OU.9780193561359).
ISBN 9780193561359. 10
x 7 inches.
SA and
piano The Compass uses
evocative imagery to
describe how feelings of
being lost and adrift can
be assuaged by journeying
towards self-acceptance
and positive change. A
characterful four-note
motif punctuates the
piano part, which
provides a steady
rhythmic cushion for the
stylistically syncopated
and catchy melodic
lines.
By Alice Parker. For 2-part or unison mixed chorus and optional congregation a c...(+)
By Alice Parker. For
2-part or unison mixed
chorus and optional
congregation a cappella,
optional organ. General,
Love/Compassion,
Justice/Peace/Social
Concerns,
Benediction/Sending,
Service. Easy. Published
by E.C. Schirmer
Publishing
(The Compassion Hymn). By Keith Getty, Kristyn Lennox Getty and Stuart Townend. ...(+)
(The Compassion Hymn). By
Keith Getty, Kristyn
Lennox Getty and Stuart
Townend. Arranged by
Lloyd Larson. For SATB
choir and piano with
optional C instrument.
Octavo. 12 pages.
Published by Hope
Publishing Company
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.
Showing Complete Tonal Compass and Exact Location of the Tones, Semitones and Po...(+)
Showing Complete Tonal
Compass and Exact
Location of the Tones,
Semitones and Positions.
Charts and Scales Showing
The Compass and Fingering
of Various Instruments.
Merchandise. Published by
Carl Fischer.
SATB choir, assembly, organ accompaniment, trumpet in B-flat, trumpet in C - Beg...(+)
SATB choir, assembly,
organ accompaniment,
trumpet in B-flat,
trumpet in C - Beginning
SKU: GI.G-7249
Concertato on
ELLACOMBE. Arranged
by Stephen Folkemer.
Ordinary Time 14 A,
Ordinary Time 23 B,
Ordinary Time 32 B,
Sacred Heart A. Choral.
Tune name: Ellacombe.
Sacred. Octavo. 12 pages.
GIA Publications #7249.
Published by GIA
Publications (GI.G-7249).
UPC: 785147724902.
English. Text by Herman
G. Stuempfle, Jr.
A
stirring concertato on
ellacombe with a text
that prays that our
hearts may beat in time
with the compassionate
heart of Christ.
Masterfully arranged for
organ, trumpet,
congregation and choir,
with a stirring
instrumental intro,
re-echoed in the
interlude before the
final stanza.
Mixed choir SKU: ST.B934 Composed by Brian Wren. Hymns & Relgious Drama. ...(+)
Mixed choir
SKU:
ST.B934
Composed by
Brian Wren. Hymns &
Relgious Drama. Hymns
& Psalms 2009-2012. .
If ordering from USA,
Canada, Australia or New
Zealand please contact.
Collection. Stainer &
Bell Ltd. #B934.
Published by Stainer &
Bell Ltd. (ST.B934).
ISBN
9780852499344.
This
, the ninth of a series
of books begun in 1983,
contains Brian Wren's 36
most recent hymns (2009
to 2012). It is nicely
presented and laid out in
a user-friendly way. The
hymns are divided into
five thematic sections:
Jesus from Cradle to
Cross; Easter Hymns;
Church and Mission;
Praise; and Metrical
Psalms. This last
section, rooted in
(though not bound by) the
Old Testament, is often
influenced by Isaac Watts
and will be of more use
to some than others; it
concludes with a
tremendous rendering of
Psalm 8; a paean of
praise which all will
love, set to a stirring
tune.
Each
section is prefaced with
a single page
introduction listing the
contents and, in some
instances, giving an
interesting insight into
Brian Wren's theology and
thinking which provides
food for contemplation.
Each hymn is printed in
words format with all the
necessary information for
inclusion in an order of
worship. Every hymn is
also printed with full
score music for
accompaniment interlined
with the words. The book
is slightly larger than
A5, and there are various
useful indexes.
The tunes range from
ancient to modern, some
very familiar, including
Candler (better known as
Ye Banks and
Braes). A number are
of a metre where
alternative tunes are
available. Those tunes
which are new vary in
ease of use; some will be
readily picked up, others
would prove challenging
for occasional use in a
small congregation but
could be used as music
group items.
These are hymns which
need to be read as a
whole and require
thought. The words are
chosen with care and
notable as much for those
not used as those
included e.g.: 'Christ,
untameably alive,/
breathe your life upon us
- / Compass, Governor and
Guide, / with us and
beyond us,/ Sky and
Sunlight, / spreading
Vine./ Spring of Living
Water,/ Truth and Wisdom,
Way and Word,/ here, and
then hereafter.' These
hymns will be useful in
worship as either sung or
read pieces, and will
also prove an invaluable
resource for private
devotion.
(The Biggest Movies * The Greatest Artists (Easy Piano)). Arranged by Dan ...(+)
(The Biggest Movies * The
Greatest Artists (Easy
Piano)). Arranged by Dan
Coates. For Piano. This
edition: Easy Piano;
Deluxe
Annual. Book; Piano -
Easy
Piano Collection; Piano
Supplemental. Greatest
Hits.
Movie; Pop. Easy Piano.
116
pages. Published by
Alfred
Music
12
ensemble pieces for young
musicians. Composed
by Ming Wang. Edited by
English edition. This
edition: English edition.
Wind Ensemble; Guitar
Ensemble; String
Ensemble; Children'S
Orchestra. Full score and
CD with parts. Edition HH
Music Publishers
#HH314-FSP. Published by
Edition HH Music
Publishers
(HH.HH314-FSP).
ISBN
9790708092636.
Ming
Wang's A Child's Universe
is a strikingly novel and
versatile set of ensemble
pieces intended to
introduce young
instrumentalists of
beginner-intermediate
level to the world of
contemporary music.
Immediately accessible in
style, attractive,
tuneful and rhythmically
uncomplicated, the twelve
pieces are divided into
four groups -- one each
for winds, guitars, and
strings, all with
percussion ad lib.,
together with a final
group for all the
instruments combined.
Though each group is
conceived as a unity, the
pieces can be played in
any order, or even
performed individually.
The number of musicians
playing each instrumental
line can vary, provided
that a suitable balance
within the ensemble is
maintained. If a
particular instrument is
unavailable, another of
similar compass and
timbre may be substituted
(versions of the parts in
C are provided where a
non transposing
instrument is used).
Included with the score
is a CD containing the
parts (PDF format), which
may be printed out as
necessary. Imbued with a
playful and childlike
spirit, A Child's
Universe is an exciting
new addition to the
contemporary musical
repertoire for young
players.
(for Violoncello). By Louis R. Feuillard. For cello. This edition: ED1117. Essen...(+)
(for Violoncello). By
Louis R. Feuillard. For
cello. This edition:
ED1117. Essential
Exercises. Instructional
and Studies.
Instructional book. 44
pages. Published by
Schott Music
Timpani - difficult SKU: HL.49046028 Timpani. Composed by Thierry ...(+)
Timpani - difficult
SKU: HL.49046028
Timpani. Composed
by Thierry Pé and
cou. This edition: Saddle
stitching. Sheet music.
Percussion. Classical.
Softcover. Composed 2016.
12 pages. Duration 540
seconds. Schott Music
#BAT54. Published by
Schott Music
(HL.49046028).
ISBN
9790001166485. UPC:
841886026605.
Writt
en for the timpanist
Philippe Serra, this work
is reminiscent of North
American Indian tribal
dances. The pulsation -
relating to the earth and
the landscape and,
naturally, also to the
circle (a symbol itself
for the points of the
compass and the cycle of
life) - sets the
character of the music,
which exploits the sonic
possibilities of the
instrument as well as the
evocative force of the
pulsing beat itself on
the timpani. Thierry
Pecou.
By Joseph-Hector Fiocco. Arranged by Wilby/Childs. Solo. For Euphonium and Piano...(+)
By Joseph-Hector Fiocco.
Arranged by Wilby/Childs.
Solo. For Euphonium and
Piano. Two varied
movements illustrate the
flexibility of the
instrument. Classical.
Level: Advanced. Piano
score and parts. Standard
Notation. Duration 6:15.
Published by Winwood
Music (U.K. Import).
Jazz Ensemble - Grade 3 SKU: KN.61466S Composed by Rick Lawn. Jazz Journe...(+)
Jazz Ensemble - Grade 3
SKU: KN.61466S
Composed by Rick Lawn.
Jazz Journey. Kendor
Music Inc #61466S.
Published by Kendor Music
Inc (KN.61466S).
UPC:
822795614664.
Built
on an extended 16-bar
minor blues, this relaxed
original shifts between
two and four feels to
create subtle contrasts
within the swing style.
Ideal for advancing
groups and dedicated to
the Compass Jazz Quartet,
it features an open solo
section for guitar,
trumpet or trombone. A
guitar chord chart by Jim
Greeson is included in
each set. Duration
4:10.
(Spanish Language Edition). By Gary Chaffee, translated by Jose Manuel Mena Cuev...(+)
(Spanish Language
Edition). By Gary
Chaffee, translated by
Jose Manuel Mena Cuevas.
For Drumset.
Method/Instruction;
Percussion - Drum Set
Method or Collection.
Patterns. Book and CD.
Text language: Spanish.
88 pages
Piano seul [Partition] - Débutant Faber Music Limited
(Technique and Artistry, Book 1). By Nancy Faber and Randall Faber. For Piano. F...(+)
(Technique and Artistry,
Book 1). By Nancy Faber
and Randall Faber. For
Piano. Faber Piano
Adventures®. Methods.
SMP Level 1 (Elementary).
Softcover. 64 pages.
Faber Music #FF1420.
Published by Faber Music