Par SMITH GAIL. A collection of 45 popular hymns, two with variations, arranged as preludes and offertories for worship services. Intermediate difficulty. Hymns include A Mighty Fortress is Our God, The God of Abraham Praise, O God Our Help in Ages Past, Wonderful Words of Life, All Hail the Power, O Worship the King and many more. / Niveau : Intermédiaire / Recueil / Piano

John Tavener Anthems favoris pour choeur SATB présente quelques-unes des oeuvres les plus populaires de John Tavener de son catalogue remarquablement vaste et variée d'oeuvres pour choeur. Sont également inclus les belles miniatures et des hymnes radiants qui tracent une ligne au cours des ans à compter de la simplicité exquise de son cadre de William Blake L'Agneau à la voile monumentale du temple et au-delà. John Tavener a connu la gloire en 1969 lorsque son oratorio La baleine a été enregistrée sur The Beatles 'étiquette Apple. Après sa conversion à l'Eglise orthodoxe en 1977, sa musique déplacé dans le sens de la spiritualité et de l'intensité toujours plus grande. Il a marqué un succès populaire en 1989 avec la première Proms de The Protecting Veil, suivie par la production de son opéra Marie d'Egypte au Festival d'Aldeburgh.Son titre de chevalier a été annoncé dans la Liste du Millénaire de distinctions honorifiques. Plus tard, en 2000, il a fait l'objet d'un festival au South Bank Centre. Depuis lors, sa musique a adopté une approche universaliste, qui englobe de nombreuses traditions religieuses, y compris les puissantes oeuvres chorales Le voile du Temple ainsi que l'automne et de la Résurrection, Ikon d'Eros, Lament for Jerusalem, Les Beaux Noms, ses Sollemnitas de masse dans Conceptione immaculata Virginis Mariae Beatae et un ensemble Requiem dans une variété de langues, dont l'anglais, l'arabe, le grec, l'hébreu et le sanskrit ainsi que le texte plus familier en latin. En aucune manière limitée dans sa production d'oeuvres chorales, Tavener a également produit d'innombrables orchestre, soliste instrumental et pièces vocales et a collaboré à des projets de danse et de musiques de film. / Choeur Mixte (SATB)

Par SPARKE PHILIP. Of Skies, Rivers, Lakes and Mountains est une commande de la Northern California Band Directors' Association pour marquer son 50e anniversaire, en 2012. Cette oeuvre a été créée par le Honor Band 2012 de l’Association sous la direction du Dr Royce Trevis au théâtre Harlen Adams de l’université de Californie à Chico, Californie, le 4 février de cette même année. La commande stipulait que la pièce devait célébrer les ressources naturelles des États-Unis. Le compositeur Philip Sparke s’est donc inspiré des paroles de Katharine Lee Bates pour la chanson America the Beautiful, dont voici les premier et dernier couplets :O beautiful for spacious skies, For amberwaves of grain, For purple mountain majestiesAbove the fruited plain!(Oh belle pour tes vastes cieux, Tes vagues de grains ambrés, La majesté de tes montagnes violettesDominant des plaines fruitées !)America! America!God shed His grace on thee, And crown thy good with brotherhoodFrom sea to shining sea(Amérique ! Amérique !Dieu t’a donné sa grâceCouronnée de la fraternité des hommesDe la mer à la mer étincelante)Les trois mouvements empruntent chacun leur titre à ces couplets :1. O Beautiful for Spacious Skies : S’ouvrant avec des figures en filigrane jouées par les bois, ce mouvement cherche à recréer la lumière et la légèreté d’un ciel printanier, d’oiseaux et de fleurs flottant au gré d’une douce brise. 2. From Sea to Shining Sea : Plein de vivacité, ce mouvement évoque les frémissements de l’eau des ruisseaux, des rivières et des lacs. 3. For Purple Mountain Majesties :Le dernier mouvement, lent et majestueux, dépeint une impressionnante chaîne de montagnes. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee's (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: 'In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.' Over the last couple of years I moved back to Jelly Roll Morton's city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman's reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means 'conversation with the gods' in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao's (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950's following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo's ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece's characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles' Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don't Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach's Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bess.

This value-priced collection features over 90 selections for various occasions during the church year. / Musique religieuse / Recueil / Piano

Ces arrangements pour piano solo de cantiques préférés longs textes, doigtés suggérés, le phrasé, les marques de pédales, et facile à lire la notation. / Piano

Les 12 solos de concert de ce recueil ont été écrits dans une large palette de genres musicaux. Sur le compact disc, vous trouverez une version intégrale de chaque pièce ainsi qu'une version où ne subsiste que l'accompagnement. La version papier des accompagnements de piano est jointe au recueil. / Flûte Traversière / 48 pages / niveau : Elémentaire / Partition + Cd

Arm, arm, ye brave! from Judas Maccab″us (Handel) Behold the monstrous human beast from Belshazzar (Handel) Betrache, meine Seel' from St. John Passion (Bach) Confutatis from Messa di Requiem (Verdi) Crucifixus from MESSA DI GLORIA (Puccini) Erblikke hier, betörter Mensch from The Seasons (Haydn) Et in Spiritum sanctum from Mass in B minor (Bach) Fecit potentiam from Magnificat (C.P.E. Bach) For behold, darkness shall cover the earth; The people that walked in darkness from Messiah (Handel) For the mountains shall depart from Elijah (Mendelssohn) Gerne will ich mich bequemen from St. Matthew Passion (Bach) Gott sei mir gnädig from St. Paul (Mendelssohn) Grosser Herr und starker König from Christmas Oratorio (Bach) Honor and arms from Samson (Handel) Hostias from Requiem (Fauré) Is not his word like a fire? from Elijah (Mendelssohn) It is enough! from Elijah (Mendelssohn) Komm, süsses Kreuz from St. Matthew Passion (Bach) Lord God of Abraham from Elijah (Mendelssohn) Mache dich, mein Herze, rein from St. Matthew Passion (Bach) Nun scheint in vollem Glanze der Himmel from The Creation (Haydn) O misère des rois! from L'Enfance du Christ (Berlioz) Pro peccatis from Stabat Mater (Rossini) Quia fecit mihi magna from Magnificat (Bach) Quoniam to solus sanctus from Messe Solennelle (Rossini) Revenge, Timotheus cries from Alexander's Feast (Handel) Rollend in schäumenden Wellen from The Creation (Haydn) Schon eilet froh der Akkermann from The Seasons (Haydn) See the raging flames arise from Joshua (Handel) Song List Available Upon Request HANDEL - The trumpet shall sound from MESSIAH Thus saith the Lord; But who may abide from Messiah (Handel) Thy glorious deeds inspir'd my tongue from Samson (Handel) Why do the nations from Messiah (Handel)

Dream Theater continue de créer un rock qui ne peut être classé. Ce livre contient toutes les chansons de leur album 'Train of Thought' arrangées pour tablature de guitare. / Guitare Tablatures