| 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 Singing
Paroles et Accords [Partition] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing
Songbook. By Various.
Vocal. Size 9.5x12
inches. 281 pages.
Published by Hal Leonard.
(1)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Hymn Fake Book - C Edition
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Up Singing Paroles et Accords [Partition] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood,
Annie Patterson. Vocal.
Size 7.5x10.5 inches. 283
pages. Published by Hal
Leonard.
(1)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Praise! Our Songs and Hymns ? NIV (Dawn Blue) Chorale [Partition] Brentwood-Benson
For SATB. Modern Christian. Sacred. Hymnal. Published by Brentwood-Benson Music ...(+)
For SATB. Modern
Christian. Sacred.
Hymnal. Published by
Brentwood-Benson Music
Publishing.
$10.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Praise! Our Songs and Hymns ? KJV (Dawn Blue) Chorale [Partition] Brentwood-Benson
For SATB. Modern Christian. Sacred. Hymnal. Published by Brentwood-Benson Music ...(+)
For SATB. Modern
Christian. Sacred.
Hymnal. Published by
Brentwood-Benson Music
Publishing.
(1)$10.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Praise! Our Songs and Hymns ? KJV (Looseleaf/Black) Chorale [Partition] Brentwood-Benson
For SATB. Modern Christian. Sacred. Hymnal (Looseleaf). Published by Brentwood-B...(+)
For SATB. Modern
Christian. Sacred. Hymnal
(Looseleaf). Published by
Brentwood-Benson Music
Publishing.
$44.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Movie Fake Book - 3rd Edition
Fake book [Fake Book] - Intermédiaire Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 448 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 448 pages.
Published by Hal Leonard.
(1)$39.95 - 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 | | |
| For the Mystic Harmony 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 | | |
| Eden: Out of Time and Out of Space Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello SKU:
PR.114420410
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Set of Score
and Parts.
30+10+8+10+12+10+10+10
pages. Duration 20
minutes. Theodore Presser
Company #114-42041.
Published by Theodore
Presser Company
(PR.114420410). UPC:
680160687015. In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. $50.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Eden: Out of Time and Out of Space Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello SKU:
PR.11442041L
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Large Score. 30
pages. Duration 20
minutes. Theodore Presser
Company #114-42041L.
Published by Theodore
Presser Company
(PR.11442041L). UPC:
680160687039. In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. $44.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Eden: Out of Time and Out of Space Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello SKU:
PR.11442041S
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Full score. 30
pages. Duration 20
minutes. Theodore Presser
Company #114-42041S.
Published by Theodore
Presser Company
(PR.11442041S). UPC:
680160687022. In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Saddest Noise Chorale SATB SATB divisi, A Cappella Hal Leonard
Movement II from The Lost Birds. Composed by Christopher Tin. BH Secular Chora...(+)
Movement II from The Lost
Birds. Composed by
Christopher
Tin. BH Secular Choral.
Concert, Poetry. Octavo.
16
pages. Duration 270
seconds.
Hal Leonard #M051486021.
Published by Hal Leonard
$2.75 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Blues Fake Book
Fake Book [Fake Book] Hal Leonard
Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound)
for voice and C
instrument. With vocal
melody, lyrics, chord
names and leadsheet
notation. Series: Hal
Leonard Fake Books. 407
pages. Published by Hal
Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Do Not Be Afraid Chorale SATB SATB A Cappella [Octavo] MorningStar Music Publishers
Composed by Philip W. J. Stopford. For SATB choir a cappella, soprano voice solo...(+)
Composed by Philip W. J.
Stopford. For SATB choir
a cappella, soprano voice
solo. Hope/Assurance,
Lament/Grief/Sorrow,
Hope/Assurance,
Lament/Grief/Sorrow, 21st
Century. Moderately Easy.
Octavo. Text Language:
English. Published by
MorningStar Music
Publishers
$2.65 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Promised Land (Piano/Vocal Score) Piano, Voix Schirmer
Composed by Gwyneth W. Walker (1947-). Secular. Published by E.C. Schirmer Publi...(+)
Composed by Gwyneth W.
Walker (1947-). Secular.
Published by E.C.
Schirmer Publishing
(EC.8247).
$14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Take Him, Earth Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.342402020 In Memoriam John F. Kennedy...(+)
Choral SATB choir, piano
SKU: PR.342402020
In Memoriam John F.
Kennedy, 1917-1963.
Composed by Steven
Stucky. Sws. Premiered by
ACDA National Conference,
Craig Jessop, cond.;
Meyerson Symphony Center,
Dallas, TX. Secular
choral. Performance
Score. With Standard
notation. Composed
November 3 2012. 24
pages. Duration 13
minutes. Theodore Presser
Company #342-40202.
Published by Theodore
Presser Company
(PR.342402020). ISBN
9781598064995. UPC:
680160616084. 8.5 x 11
inches. English. Text:
William Shakespeare;
Aurelius Prudentius
Clemens; Aeschylus.
Aurelius Clemens, William
Shakespeare, Aeschylus.
Texts from Aurelius
Prudentius Clemens,
Aeschylus, and William
Shakespeare. When
Tim Sharp, Executive
Director of the ACDA,
offered Stucky the Brock
Memorial Commission, it
was decided that the text
would commemorate the
50th anniversary of the
assassination of John F.
Kennedy, since the annual
convention would take
place in Dallas of that
year. To that end, Stucky
chose four different but
pertinent texts to honor
the occasion, although
never referencing JFK by
name. Take Him, Earth was
premiered at the ACDA
convention in March,
2013. Originally scored
for chorus and chamber
ensemble of nine
instruments (available on
a rental basis), Take
Him, Earth is presented
here in piano reduction.
For advanced choirs.
Duration: 13'. When
Tim Sharp, Executive
Director of the American
Choral Directors
Association, very
kindlyoffered me the
Raymond W. Brock Memorial
Commission for 2013, he
suggested that because
thepremiere would take
place at the national
conference in Dallas in
the 50th year since the
assassinationof John F.
Kennedy in that city, the
text might refer in some
way to that grim
anniversary. Hesuggested,
too, that I consider
using a chamber ensemble
or chamber orchestra to
accompany thechorus.I
took these suggestions to
heart, but at the same
time I wanted to write
something universal
enoughto be appropriate
on other occasions, in
other settings. Thus the
score is dedicated to
PresidentKennedy’s
memory, but otherwise he
is never referred to by
name. Instead, I
assembled a group oftexts
that are associated with
him in some way, but that
also stand alone as a
more general eulogy.As a
refrain, there are a few
lines from the early
Christian burial hymn
that begins “Take
him,Earth, for
cherishingâ€
— lines that were
earlier set to music by
Herbert Howells in his
classic motetcommissioned
for Kennedy’s
memorial service in 1963.
The lines of Aeschylus
“Drop, drop
— inour sleep,
upon the heart sorrow
falls†from
Agamemnon were quoted by
Robert F. Kennedy uponthe
death of Martin Luther
King in April 1968. The
celebrated “When he
shall die, cut him out
inlittle starsâ€
from Act III of
Shakespeare’s
Romeo and Juliet was
cited by RFK a few months
after hisbrother’s
murder. $4.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Ultimate Country Fake Book - 4th Edition
Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Publis...(+)
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 568
pages. Published by Hal
Leonard.
(8)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| LYRE OF ORPHEUS Theodore Presser Co.
Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2...(+)
Chamber Music Viola 1,
Viola 2, Violin 1, Violin
2, Violoncello 1,
Violoncello 2 SKU:
PR.114414290 For
String Sextet.
Composed by Shulamit Ran.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed December 16
2008. 22+8+8+7+8+8+8
pages. Duration 15
minutes. Theodore Presser
Company #114-41429.
Published by Theodore
Presser Company
(PR.114414290). UPC:
680160594030. Writt
en for Concertante, a
string sextet which has
commissioned six
different works, each
highlighting one of its
players. In Ran's new
work, the second cellist,
Zvi Plesser, was
spotlighted with an
outgoing, intensely
lyrical opening theme,
according to a New York
Times review. Yet, Lyre
of Orpheus never
overlooks the
collaborative,
conversational essence of
the ensemble. Read the
full review here:
http://www.nytimes.com/20
09/03/18/arts/music/18con
c.html?_r=1&adxnnl=1&part
ner=rssnyt&emc=rss&adxnnl
x=1286200920-wRrt7MJ416+F
pOYAUe/IOQ For advanced
performers. Lyre of
Orpheus was composed for
Concertante, the New
York-based string sextet,
for its One Plus Five
Project, a three-year,
six-composer
commissioning project
designed to create six
string sextets, each
featuring one of
Concertante’s core
players.This particular
commission was made with
the goal of giving
center-stage to the
ensemble’s first
cello, a choice I was
especially grateful for,
not only because it
features Zvi Plesser, the
outstanding Israeli
cellist, but also because
it gave ma an opportunity
to highlight an
instrument for which,
from a very early stage
in my life, I have felt a
special affinity. The
cell’s
“soulâ€, so
naturally combining
passion and lyricism, has
always touched me in a
special way.As sometimes
happens, naming the piece
was the final act in the
process of creation.Â
Once titled, though, I
found myself looking
through the piece with a
mixture of delight and
astonishment – the
narrative of the almost
iconic mythological story
of love and loss seems as
one entirely plausible,
and to my mind
convincing, way to tract
the unfolding of the
musical events. Of
course, the music was
written with no such tale
(or any tale, for that
matter) in mind. But
perhaps some stories are
emblematic of so much
that is part of our lives
and psyches, of our
desires, fears and
wishes. Orpheus,
whose longing for
Eurydice recognizes no
boundaries of heaven and
hell… Love
regained, then forever
lost…Â
Orpheus’ lyre
intoning his sorrowful
yearning…Lyre of
Orpheus, approximately
fifteen minutes in
length, composed in late
2008, is intermittently
songful, caressing,
passionate, pained,
ferocious, longing.Â
The instrumentation
consists of 2 violins, 2
violas, 2 cellos, the
first of which is the
soloist/protagonist, the
second notable for having
its lowest string tuned
down a third to achieve
extra lower notes.This
commission has been made
possible by the Chamber
Music America
Commissioning Program,
with funding generously
provided by the Aaron
Copland Fund for Music,
and the Chamber Music
America Endowment
Fund. $105.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| LYRE OF ORPHEUS Theodore Presser Co.
Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2...(+)
Chamber Music Viola 1,
Viola 2, Violin 1, Violin
2, Violoncello 1,
Violoncello 2 SKU:
PR.11441429S For
String Sextet.
Composed by Shulamit Ran.
Contemporary. Full score.
With Standard notation.
Composed December 16
2008. 22 pages. Duration
15 minutes. Theodore
Presser Company
#114-41429S. Published by
Theodore Presser Company
(PR.11441429S). UPC:
680160594054. 9.5 x 13
inches. Written for
Concertante, a string
sextet which has
commissioned six
different works, each
highlighting one of its
players. In Ran's new
work, the second cellist,
Zvi Plesser, was
spotlighted with an
outgoing, intensely
lyrical opening theme,
according to a New York
Times review. Yet, Lyre
of Orpheus never
overlooks the
collaborative,
conversational essence of
the ensemble. Read the
full review here:
http://www.nytimes.com/20
09/03/18/arts/music/18con
c.html?_r=1&adxnnl=1&part
ner=rssnyt&emc=rss&adxnnl
x=1286200920-wRrt7MJ416+F
pOYAUe/IOQ For advanced
performers. Lyre of
Orpheus was composed for
Concertante, the New
York-based string sextet,
for its One Plus Five
Project, a three-year,
six-composer
commissioning project
designed to create six
string sextets, each
featuring one of
Concertante’s core
players. This
particular commission was
made with the goal of
giving center-stage to
the ensemble’s
first cello, a choice I
was especially grateful
for, not only because it
features Zvi Plesser, the
outstanding Israeli
cellist, but also because
it gave ma an opportunity
to highlight an
instrument for which,
from a very early stage
in my life, I have felt a
special affinity. The
cell’s
“soulâ€, so
naturally combining
passion and lyricism, has
always touched me in a
special way. As
sometimes happens, naming
the piece was the final
act in the process of
creation. Once
titled, though, I found
myself looking through
the piece with a mixture
of delight and
astonishment – the
narrative of the almost
iconic mythological story
of love and loss seems as
one entirely plausible,
and to my mind
convincing, way to tract
the unfolding of the
musical events. Of
course, the music was
written with no such tale
(or any tale, for that
matter) in mind. But
perhaps some stories are
emblematic of so much
that is part of our lives
and psyches, of our
desires, fears and
wishes. Orpheus,
whose longing for
Eurydice recognizes no
boundaries of heaven and
hell… Love
regained, then forever
lost…Â
Orpheus’ lyre
intoning his sorrowful
yearning… Lyre
of Orpheus, approximately
fifteen minutes in
length, composed in late
2008, is intermittently
songful, caressing,
passionate, pained,
ferocious, longing.Â
The instrumentation
consists of 2 violins, 2
violas, 2 cellos, the
first of which is the
soloist/protagonist, the
second notable for having
its lowest string tuned
down a third to achieve
extra lower
notes. This commission
has been made possible by
the Chamber Music America
Commissioning Program,
with funding generously
provided by the Aaron
Copland Fund for Music,
and the Chamber Music
America Endowment
Fund.—Shulamit
Ran. $37.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Real Country Book Instruments en Do [Fake Book] Hal Leonard
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 520 pages....(+)
(C Instruments). By
Various. For C
Instruments. Fake Book.
Softcover. 520 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Sensational Guitar Songbook Guitare notes et tablatures [Partition] Hal Leonard
(The Complete Resource for Every Guitar Player!). By Various. Guitar Collection....(+)
(The Complete Resource
for Every Guitar
Player!). By Various.
Guitar Collection.
Softcover. Guitar
tablature. 240 pages.
Published by Hal
Leonard
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Schumann: Album For The Young, Op. 68 - Book and Cd Piano seul [Livre + CD] - Intermédiaire Alfred Publishing
By Robert Schumann. Keyboard. Published by Alfred Publishing. Numerous selection...(+)
By Robert Schumann.
Keyboard. Published by
Alfred Publishing.
Numerous selections from
Schumann's Album for the
Young have long been
favorites of intermediate
students, and few
collections fail to
include the "Soldier's
March," the "Happy
Farmer" or the "Wild
Horseman." This
historically informed
edition of the entire
collection clearly
differentiates the
markings of the first
edition from Clara
Schumann's later-edited
version. Discussions of
ornamentation and the
collection's origin are
also included. The Alfred
Masterwork Library CD
Editions conveniently
combine each exceptional
volume with a
professionally recorded
CD that is sure to
inspire artistic
performances.
(1)$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Complete Guitar Player Songbook Omnibus 2 Music Sales
| | |
| Shed No Tear! Chorale SATB SATB A Cappella Subito Music
SATB Chorus, a cappella SKU: SU.27040110 For SATB Chorus, a cappella(+)
SATB Chorus, a cappella
SKU: SU.27040110
For SATB Chorus, a
cappella. Composed by
Gregory J. Hutter.
Vocal/Choral, Secular
Choral. A cappella.
Choral Octavo. Subito
Music Corporation
#27040110. Published by
Subito Music Corporation
(SU.27040110).
First of a set
of two pieces on poems of
John Keats, this is a
gently flowing SATB
unaccompanied piece in D
major with almost no
accidentals. Expressive
yet accessible choral
writing on a unusual and
evocative text. Written
from the faery's point of
view, there are
references to autumn and
spring that encourage
faith, because The flower
will bloom another year.
Secular, Concerts,
Memorial,
Lament/Grief/Sorrow.SATB
Chorus Duration: 3'
Composed: 2011 Published
by: Hutter Music. $2.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hymnal Companion For Woodwinds, Brass And Percussion [Partition] Concordia Publishing House
By Rose. For keyboard/instruments. Reformation; Praise; General. Level: Easy-Mod...(+)
By Rose. For
keyboard/instruments.
Reformation; Praise;
General. Level:
Easy-Moderately Easy.
Published by Concordia
Publishing House.
$32.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Yearning
Chorale SATB SATB, Piano [Octavo] Lorenz Publishing Company
By Craig Courtney. For SATB choir and piano. Sacred: Advent, Christ the King. Oc...(+)
By Craig Courtney. For
SATB choir and piano.
Sacred: Advent, Christ
the King. Octavo.
Published by Lorenz
Publishing Company
(4)$2.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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