Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano
SKU: PR.110418370
Composed by Charles Ives.
Arranged by Danny Holt.
Performance Score. 20
pages. Duration 8
minutes. Theodore Presser
Company #110-41837.
Published by Theodore
Presser Company
(PR.110418370).
ISBN
9781491135075. UPC:
680160686247.
Compo
sed as an organ solo by
the 17-year-old Ives for
his own performance
purposes, the beloved
Variations on America is
a treat for any occasion,
whether a holiday
concert, a serious
recital, or other special
event. Danny
Holt’s
transcription for Piano,
Four Hands adds a
dazzling new option to
play at home or on stage,
taking best advantage of
Ives’ tremendous
contrasts in color,
dynamics, and
texture. Composed when
Charles Ives was a
teenager, Variations on
“America†is
both a convenient
introduction to
Ives’ body of
work, and an early
example of his
iconoclastic musical
voice and creative
genius. Just a few years
after composing this
piece, Ives would leave
home to study music at
Yale. But until then he
had been taught by his
father, George (who had
been a bandmaster in the
Civil War). George
subjected the young Ives
to experiments such as
singing a song in one key
while being accompanied
in another, or arranging
for two marching bands to
converge on a town
center, with the
resulting cacophony that
ensued.The Variations
exemplifies an early
period of experimentation
in Ives’ work,
spurred on by the unusual
pedagogy of his father.
The piece is particularly
notable for its use of
bitonality in the two
interludes, subtly
foreshadowing more
well-known examples by
Stravinsky, Bartók,
and others by
approximately two
decades.The bitonal
interludes were so ahead
of their time, in fact,
they were omitted from
the first copy that was
submitted to a publisher
in 1892. (Alas, the piece
was rejected even despite
these
“shockingâ€
elements having been left
out, and it wasn’t
published until more than
five decades later.)
There is some ambiguity
about when exactly Ives
added the interludes into
his manuscript copy,
though ample evidence
suggests he had performed
the piece with the
interludes around the
time he notated the piece
in 1891-92. In any case,
in light of this piece
and his other polytonal
explorations from the
last decade of the 19th
century, it seems fair to
give Ives credit for
being a pioneer in this
area!This arrangement for
Piano, Four Hands,
closely follows
Ives’ original
version for organ,
setting aside William
Schuman’s popular
adaptation for symphony
orchestra and William
Rhoads’ band
transcription of the
Schuman orchestration.
Pianists will find that
the piece translates well
to the instrument.
Ideally, the choreography
and logistics of
elbow-to-elbow four-hands
playing approximates the
wild joy one gets from
watching an organist play
the piece (e.g., the
elaborate pedal part in
the final variation).In
preparing this
publication, attention
was paid to details in
the dual Critical
Editions (Presser
443-41003) of both
Ives’ manuscript
edition and the 1949
publication edited by
organist E. Power Biggs
(who is credited with
discovering what had been
a long-lost, forgotten
work.) But as with much
of Ives’ output,
attempting to create a
true
‘urtext’
score is a futile
endeavor, and especially
with a piece such as this
one – in which
Ives incorporated
improvisation in live
performance –
seems unnecessary anyhow.
True die-hards are of
course encouraged to
consult the critical
editions and even find
inspiration in the
orchestrated version.
Generally, performers are
advised to be wild, have
fun, and not to be too
rigid in their
interpretive
choices.Dynamics in this
arrangement mostly follow
the organ score closely.
Pianists will use good
judgment about pedaling
throughout, which should
be straightforward and
intuitive. Courtesy
accidentals have been
provided frequently
– without
parentheses –
balancing the need for
extra clarity in the
context of Ives’
murky musical language,
and a desire to avoid
unnecessary clutter.A few
notes that might inform
interpretive
decisions:mm. 15-16:
There are inconsistencies
here between Ives’
original manuscript and
the 1949 Biggs edition,
regarding the top voice
in m. 15, beat 3 (C# vs.
Cn) and m. 16 (D Major
vs. D Minor).mm. 76-84 &
143-146: In both
Interludes, Ives
emphatically notates
extreme dynamic contrast,
in order to highlight the
bitonality. Although it
may seem counterintuitive
(or even a misprint, as
has apparently been
misconstrued by some),
performers are urged to
follow the
composer’s
marking!m. 109: Two-note
slurs have been added
here for clarity and
consistency with other
similar passages, though
they do not appear in
either the original
manuscript or Biggs.m.
112: The last two eighth
notes of Primo appear as
16ths in the original
manuscript.mm. 183-186:
The original manuscript
has a slightly different
bass line.mm. 184 & 186:
Primo gestures have been
re-written to be slightly
more idiomatic for Piano,
Four Hands.m. 186: The
breath mark at the end of
this bar does not appear
in either the manuscript
or Biggs, but is an
editorial suggestion
– aside from being
appropriately dramatic,
it will indeed be
necessary in a
reverberant hall!I would
like to thank Steven
Vanhauwaert, the other
half of my piano duo,
4handsLA, for his input
on early drafts of this
arrangement.—
Danny Holt, April
2022.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
For C instrument and voice. Format: fakebook (spiral bound). With chord names, v...(+)
For C instrument and
voice. Format: fakebook
(spiral bound). With
chord names, vocal melody
and lyrics. Jazz. Series:
Hal Leonard Fake Books.
448 pages. 9x12 inches.
Published by Hal Leonard.
Fakebook for Eb instrument and voice. With vocal melody, lyrics and leadsheet no...(+)
Fakebook for Eb
instrument and voice.
With vocal melody, lyrics
and leadsheet notation.
Series: Hal Leonard Fake
Books. 448 pages.
Published by 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. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by 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. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
Piano, Vocal and Guitar SKU: HL.14017965 Composed by Judith Queripel. Mus...(+)
Piano, Vocal and Guitar
SKU: HL.14017965
Composed by Judith
Queripel. Music Sales
America. Musical
Education. Book
[Softcover]. Composed
2017. 30 pages. Music
Sales #GA10931. Published
by Music Sales
(HL.14017965).
ISBN
9780711941632.
English.
The castle
is beautiful but
draughty. The king is
visited by double glazing
salesmen who are offering
two free cloaks along
with their special window
units. The king gladly
gives them the work, not
realising the effect the
magic cloaks would have
upon him and subsequently
upon his family and the
rest of his subjects.
This all-year-round play
with seven songs,
optional improvised
music, percussion and
dance, has a strong moral
- that attractive things
are not always what they
seem, and it is the
simple things which bring
joy and peace of mind.
Script available in
student book. If you need
to license a school/youth
theatre performance of
this product, please use
the online application
form.
Chamber Music Saxophone(s) SKU: PR.114423500 Composed by Chen Yi. Perform...(+)
Chamber Music
Saxophone(s)
SKU:
PR.114423500
Composed
by Chen Yi. Performance
Score. Duration 3
minutes. Theodore Presser
Company #114-42350.
Published by Theodore
Presser Company
(PR.114423500).
ISBN
9781491137758. UPC:
680160691531.
Commi
ssioned by The Juilliard
School’s Music
Advancement Program,
IMPRESSIONS FROM THE
CHINESE ZODIAC is a suite
of three characteristic
pieces within reach of
advanced pre-college
saxophonists, and
introducing advanced
techniques. The work is
equally satisfying and
impressive for top-level
performers. The movements
are titled:1. Rooster
Singing Out in the
Morning2. Monkey Jumping
Around in the Forest3.
Tiger Walking Down from
the
Mountain. Commissioned
by The Juilliard School
for Juilliard’s Music
Advancement Program,
Impressions from the
Chinese Zodiac was
composed for any size
saxophone in 2022. It
consists of three
independent movements
featuring different
musical characteristics
with various performing
techniques. The
inspiration for the music
came from impressions of
three animal signs
(rooster, monkey, and
tiger), from the twelve
in the Chinese Zodiac.The
first piece begins with a
repeated phrase imitating
a rooster’s loud
singing in the morning;
the pitch with
fluttertongue sounds like
the noise from the
rooster’s throat),
followed by phrases of a
pentatonic melody drawn
from The Sun Is Rising
With Our Joy, a Chinese
folk song from Sichuan
province. There are
descending passages,
simulating the
dropping-down sound of
the singing. Each passage
is different from others,
each of which should be
played accurately and
smoothly. The melody is
moved up a step with
variation, followed by an
echo of the rooster
singing at the end of the
piece. Now the sky is
bright, so the rooster
call returns up four
scale steps!The second
piece includes two
Chinese folk songs:
Thinking of My Darling
(from Shanxi province)
and Guessing (from Yunnan
province). Both songs
have large interval skips
spanning different
registers, as well as
microtonal intervals in
their original singing,
which show the
characteristics of the
regional musical
languages respectively.
The tone colors should be
matched when registers
are changed. The
microtonal pitches
(quarter-tone flat or
three-quarter-tone flat)
may be done by bending
the tone with one’s
lips. The image is the
monkey jumping around
lively, and the music is
played humorously. The
high and long pitch with
a yelling-down effect at
the end of the piece
brings the music to an
exciting peak.The third
piece features the strong
and brave tiger, with
accented tones in the
lowest register. The
first 3-pitch motive is
developed throughout the
piece, while peristaltic
chromatic material is
formed in various shapes
and directions, to show
the gestures of a mighty
and fierce image.Getting
accustomed to special
fingerings for the
chromatic passages and
trills, along with
precisely notated
articulations, and the
techniques of tongue slap
and key clicks, are the
basic goals to achieve in
this piece.
Piano Solo, Voice SKU: HL.14012679 Music Sales America. Christmas. Music ...(+)
Piano Solo, Voice
SKU:
HL.14012679
Music
Sales America. Christmas.
Music Sales #GA10526.
Published by Music Sales
(HL.14012679).
4.25x2.75x0.666
inches.
Caroline
Hoile follows the success
of The Little Angel with
this delightful work, The
Gigantic Star. The
melodies are very catchy
and children will love to
sing these songs. All the
elements for a successful
Christmas Nativity are
here. Caroline's writing
for the very young is
sensitive and shows her
understanding of children
this age. She has woven
the traditional Biblical
story around the feelings
of a large and
embarrassed star who
turns out to be something
rather special. Duration:
30 mins. If you need to
license a school/youth
theatre performance of
this product, please use
the online application
form.
Guitar SKU: BT.MUSAM996996 Arranged by Russ Shipton. The Complete Guitar ...(+)
Guitar
SKU:
BT.MUSAM996996
Arranged by Russ Shipton.
The Complete Guitar
Player. Pop & Rock. Book
with CD. Wise
Publications
#MUSAM996996. Published
by Wise Publications
(BT.MUSAM996996).
ISBN
9781849380140.
English.
Th
e Complete Guitar
Player series
has taught hundreds of
thousands how to play and
the accompanying
songbooks have featured
hits by Paul Simon, Elvis
Presley, The Beatles,
John Denver and many
othertopartists.
N
ow these songbooks are
available in super value
omnibus editions like
this one. The songs are
still graded by ease of
playing and everything is
there... standard
notation, Guitar chord
boxes, full lyrics
andevenstrumming
patterns!
Over 180
great songs! Perfect for
all players and
singers!
The bonus
CD contains backing
tracks to 16 of the songs
in the book.
Composed by Richard Wagner (1813-1883). Edited by Ulrich Konrad. This edition:...(+)
Composed by Richard
Wagner
(1813-1883). Edited by
Ulrich
Konrad. This edition:
facsimile. Half-leather
binding. Documenta
musicologica II/56 /
Barenreiter Facsimile.
Facsimile. Baerenreiter
Verlag #BVK02418.
Published
by Baerenreiter Verlag
SKU: GI.G-CD-905 By Fr. Bede Camera, OSB. Evoking Sound. Music Edu...(+)
SKU: GI.G-CD-905
By Fr. Bede Camera,
OSB. Evoking Sound.
Music Education. CD. GIA
Publications #905.
Published by GIA
Publications
(GI.G-CD-905).
UPC:
785147090526.
A
companion to the
best-selling book by
James Jordan The seven
meditations on this
recording are a wonderful
companion to any musical
journey. There are many
ways that you can use
these meditations, the
authors encourage you to
trust your own instinct
as to how you can enjoy
and benefit from them.
Use them in whatever
creative way you wish.
Tap into your own inner
wisdom and your natural
creativity to develop
your own prayers,
writings, and meditations
that will come from what
you have encountered in
your own soul-work. Each
of the seven meditations
develops themes that are
important for the inner
journey. Since they are
directed towards
musicians, the
meditations make use of
much imagery particular
to their special vocation
in life, however, they
can easily be applied to
any life situation. The
Musician’s Soul
Meditations CD contains
seven meditations on
particular themes:
• Visioning •
Shedding • Be, Do,
Have • Gifts
• Giving •
Coming from Love •
Commitment In some cases,
the meditations address
specific topics from The
Musician’s Soul.
In other cases, the
meditations have come
from Fr.
Bede's personal
conversations with Dr.
Jordan over the past ten
years and from work with
his own choirs and the
choirs at Westminster.
All of the meditations
are designed to assist in
the work, which Dr.
Jordan encourages us all
to undertake if our music
is to sing with the
spiritual depth that is
its rightful
heritage.
Daily tone and articulation studies from the flutistas repertoire. Arranged by...(+)
Daily tone and
articulation
studies from the
flutistas
repertoire. Arranged by
Daniel Dorff. Sws.
Theodore
Presser Company
#114-41983.
Published by Theodore
Presser Company
(30 Sheet Music Bestsellers by the Grammyå¨ Award-Winning Songwriter (Piano/Vo...(+)
(30 Sheet Music
Bestsellers by the
Grammyå¨ Award-Winning
Songwriter
(Piano/Vocal/Guitar)).
For Guitar; Keyboard;
Piano; Voice. This
edition:
Piano/Vocal/Guitar.
Artist/Personality; Book;
Personality Book;
Piano/Vocal/Chords.
Pop/Rock. 172 pages.
Published by Alfred Music
Publishing
Flexible Ensemble SKU: HL.14035123 By Nicholas Hare. By Antonio Vivaldi. ...(+)
Flexible Ensemble
SKU:
HL.14035123
By
Nicholas Hare. By Antonio
Vivaldi. Edited by
Nicholas Hare. Music
Sales America. Classical.
Set. Composed 2005.
Chester Music #CH59386.
Published by Chester
Music (HL.14035123).
ISBN 9780711926769.
9.0x12.0x0.328
inches.
Kaleidoscop
e will save you time! Do
you spend hours arranging
music for odd assortments
of instruments?
Kaleidoscope is specially
arranged to suit almost
any instrumental
combination and these
varied ensembles are easy
and enjoyable too. So
much scope for virtually
any combination of
instruments! The series
is successful with
recorders, guitars,
percussion and keyboard
as well as with
orchestral groupings.
Whether there are five or
fifty players, every
Kaleidoscope title will
work! Just make sure that
melody and keyboard parts
are included - all other
parts are optional.
Kaleidoscope is superb
value for money - each
set contains a score plus
around 50 parts, each one
carefully written to suit
the needs of each
instrument. For example,
easy string parts are in
first position only
whilst easy clarinet
parts take care to avoid
the break. There are more
demanding parts too, for
experienced players. To
help you choose the right
pieces for your players
we have given the key of
each Kaleidoscope in
brackets. The complete
performance option! These
super-flexible
arrangements of
well-known titles are a
must for every school.
Why not choose a theme
for your concert and
perform a selection of
Kaleidoscope show titles
and film themes or have
an evening of classical
favourites? In G and D
minor. Edited by Nicholas
Hare.
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.
Autoharp Complete Method.
For Autoharp. Ashley
Publications. Theory. 96
pages. Ashley Mark
Publishing Company
#AS10462. Published by
Ashley Mark Publishing
Company
Look To The Lamb. (An Easter Musical for Every Choir). By Thomas Fettke. For SAT...(+)
Look To The Lamb. (An
Easter Musical for Every
Choir). By Thomas Fettke.
For SATB Choir. Musical.
Easter. Easy. Choral
Book. Duration 38
minutes. Published by
Word Music (