Eyesight Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.342402070 Composed by Steven Stucky. -. ...(+)
Choral SATB choir, piano
SKU: PR.342402070
Composed by Steven
Stucky. -. Ars Nova
Chamber Singers, Boulder
CO. Performance Score.
With Standard notation.
Composed 7-Feb. 8 pages.
Duration 3 minutes.
Theodore Presser Company
#342-40207. Published by
Theodore Presser Company
(PR.342402070).
ISBN
9781491111253. UPC:
680160643226. Octavo
inches. Text: Archibald
R. Ammons. Archibald
Ammons. Text by A.R.
Ammons.
To benefit
Chorus America, Stucky
allowed himself to be
auctioned off as a prize
- the high bidder would
receive a new work from
the composer. After a few
years and not really
hearing anything, Stucky
suddenly found himself up
against a deadline. He
reached back to a
favorite poem by A.R.
Ammons, Eyesight, which,
he says, Won't let...his
reader rest till the very
last word...one of those
sudden insights that
leave us
breathless.. This
piece has an odd history.
A few years ago, I agreed
to be one of
the“prizesâ€
in an auction to benefit
Chorus America: the
highest bidder wouldget a
new piece from me, while
their money went to the
organization. Thewinning
bid came from a
collection of several
professional choruses
anddirectors. But I was
always a little vague
about the details, and,
hearingnothing more about
it for a few years,
forgot the whole
thing.One day I received
a message from Thomas
Edward Morgan, directorof
the Ars Nova Chamber
Singers in Boulder: they
had scheduled thepremiere
of my new piece for a few
weeks later, and could
they have themusic,
please? I needed a text,
quickly, and (as usual) I
was in a Los Angeleshotel
room, not at home with my
books. So I turned to the
internet andsoon tracked
down my favorite poet,
A.R. Ammons
(1926-2001).Once I
stumbled on
“Eyesight,†I
remembered having loved
the poemyears before.
Archie must have loved
it, too, because he
included it bothin his
Collected Poems 1951-1971
and in the later Selected
Poems. It haseverything
you want in an Archie
Ammons poem: what Edward
Hirschcalled his
“offbeat, sideways,
unpredictable
radiance,†his
“homespunglory.â
It has one of his
trademark conversations
with a mountain
(perhapsfrom his native
North Carolina), it has
the fluid motion from one
line tothe next
(enjambment, if you want
to get technical) that
won’t let him
orhis reader rest till
the very last word of the
very last line, and it
has in thatlast line one
of those sudden insights
that leave us breathless:
“some thingsthat go
are gone.â€I miss
Archie, but he’s
not gone. I’m
grateful for the
wonderful poems heleft
us, and I’m
grateful that he was
always generous and kind
when I hadthe chutzpah to
add my music to his.
Jesus! Chorale SATB SATB, Piano Lorenz Publishing Company
Composed by Mary McDonald. Choral, cantatas. Eastertide, Holy Week. Choral scor...(+)
Composed by Mary
McDonald. Choral,
cantatas. Eastertide,
Holy Week. Choral score.
Lorenz Publishing Company
#55/1188L. Published by
Lorenz Publishing Company
(LO.55-1188L).
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to
Playing the Drums, Guided
by the Legends). By Rich
Lackowski. For Drumset.
Artist/Personality; Book;
CD; DVD;
Method/Instruction;
Percussion - Drum Set
Method or Collection. On
the Beaten Path.
Beginner. Published by
Alfred Music Publishing
(An Inspiring Method to Playing the Drums, Guided by the Legends). Composed by R...(+)
(An Inspiring Method to
Playing the Drums, Guided
by the Legends). Composed
by Rich Lackowski. For
Drumset.
Artist/Personality; Book;
CD; DVD;
Method/Instruction;
Percussion - Drum Set
Method or Collection. On
the Beaten Path.
Beginner. Published by
Alfred Music
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to
Playing the Drums, Guided
by the Legends). By Rich
Lackowski. For Drumset.
Artist/Personality; DVD;
Method/Instruction;
Percussion - Drum Set
Method or Collection. On
the Beaten Path.
Beginner. Published by
Alfred Music
Rise Up! Chorale SATB SATB, Piano Lorenz Publishing Company
SATB choir, piano SKU: LO.10-5783L Composed by Victor C Johnson. Choral. ...(+)
SATB choir, piano
SKU:
LO.10-5783L
Composed
by Victor C Johnson.
Choral. Sacred Anthem,
Eastertide. Lorenz
Publishing Company
#10/5783L. Published by
Lorenz Publishing Company
(LO.10-5783L).
ISBN
9780787779467.
Comp
oser Victor Johnson and
lyricist Pamela Stewart
combine talents to bring
us this winning anthem
for Easter. The opening
verse sets the stage for
the Resurrection moment,
with music that features
a suspenseful melody full
of rich chromaticism. At
last, the music moves
into a bright, major-key
refrain as the choir
sings, â??Rise up
singing, Christ is
risen.â? The vocal
parts are carefully
prepared and quickly
learned, and an optional
part for B-flat trumpet
(included in the octavo)
adds the perfect
energy.
By G.F. Handel / Polish Carol / John Menzies Macfarlane / Charles Gabriel / Att....(+)
By G.F. Handel / Polish
Carol / John Menzies
Macfarlane / Charles
Gabriel / Att. To John F.
Wade. Arranged by A.
Laurence Lyon. Text:
Isaac Watts/Nancy Boyd
Turner/John Menzies
Macfarlane/Martin
Luther/att. To John F.
Wade. For SATB Choir.
Christmas. Duration 4:30.
Published by Jackman
Music Corporation.
Level: Medium /
Medium-Difficult
(accompaniment).
Composed by Cecilia
McDowall. Choral Works
(inc. Oratorios). Vocal
score. 36 pages. Duration
13'. Oxford University
Press #9780193379725.
Published by Oxford
University Press
(OU.9780193379725).
ISBN 9780193379725. 12
x 8 inches.
For
SSATB & piano or string
orchestra The Shipping
Forecast is in 3
movements: 'Donegal',
'They that go down to the
sea in ships', and
'Naming'. The first and
last movement are
settings of poems by the
poet, broadcaster, and
academic, Sean
Street.
Mixed choir SKU: FG.55011-455-5 Composed by Matthew Whittall. Score. Fenn...(+)
Mixed choir
SKU:
FG.55011-455-5
Composed by Matthew
Whittall. Score. Fennica
Gehrman #55011-455-5.
Published by Fennica
Gehrman (FG.55011-455-5).
ISBN
9790550114555.
This
cycle of carols, to the
poetry of Christina
Rossetti, was assembled
piecemeal over a number
of years, gradually
acquiring a larger
dramatic and harmonic
arch shape as new
settings were added. I
was particularly
attracted to Rossetti's
conflation of the dark,
fallow winter landscape
with that of the soul
waiting for salvation.
The cycle traces the long
nights of watchfulness
before Christmas, with
the great event
constantly deferred, only
glimpsed periodically in
different visions before
the music turns inward
again to contemplation.
The opening carol
embodies this spirit,
with passages of diffuse,
roving harmony
interspersed with
meditative, lyrical
pedals, calling out the
night watch and dreaming
of a far-off summer of
the spirit. Earth Grown
Old is a kind of double
carol, setting two
complete poems, their
lines at first presented
separately as a still,
expectant chorale and a
jubilant dance, then
progressively interwoven
toward a fervent climax
before once again
receding into quiet. In
the bleak mid-winter,
which sets a highly
compressed version of
Rossetti's original poem,
presents an enfeebled
landscape frozen in time,
in dire need of
deliverance. A gentle
melody weaves its way
through static drones,
broken by an angels'
chorus announcing the joy
to come. Love Came Down
at Christmas ends the
waiting, with its gently
falling, overlapping
lines building to a final
revelation, the mystery
of Christmas at last made
real.
Choral SATB choir, piano SKU: CF.CM9608 Composed by Jamey Ray. Fold. Perf...(+)
Choral SATB choir, piano
SKU: CF.CM9608
Composed by Jamey Ray.
Fold. Performance. 12
pages. Duration 3
minutes, 33 seconds. Carl
Fischer Music #CM9608.
Published by Carl Fischer
Music (CF.CM9608).
ISBN 9781491154304.
UPC: 680160912803. 6.875
x 10.5 inches. Key: E
major. English. Alfred,
Lord Tennyson
(1809-1892).
The
beauty in Alfred, Lord
Tennysons poem is
reflected by the music
with the use of text
painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 5764,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennysonas
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m.A 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word adeepa in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word adarka in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word aembark,a
which is to be an ascent
to Heaven. The melody
moves between voice
parts, even as early as
m. 14 where the altos
have the melody for only
a single measure; it is
then handed back to the
sopranos. From mm. 57a64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word awhen.a Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennyson's
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 57-64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennyson's
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 57-64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing Crossing
the Bar as much as I
enjoyed writing it.
~Jamey Ray. The beauty
in Alfred, Lord
Tennyson’s poem is
reflected by the music
with the use of text
painting. The piano
creates the sound of
moving water in m.Â
19, providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word
“deep†in m.
27 gives another instance
of text painting.Take
advantage of the minor
second suspension on the
word “darkâ€
in m. 38 in order to
achieve a feeling of
suspense. The entrance at
m. 41 is full, and while
still minor, the text
gives us hope for a
change. The change comes
in m. 45 with the
staggered entrances
creating a sense of
building and ascent until
the climax of this moment
at m. 47 on the word
“embark,â€
which is to be an ascent
to Heaven.The melody
moves between voice
parts, even as early as
m. 14 where the altos
have the melody for only
a single measure; it is
then handed back to the
sopranos. From mm.
57–64, the altos
trade the melody back and
forth with the sopranos.
Take note that the alto
melody should be brought
out, but the line does
not actually begin until
the word
“when.â€Lastly
, be intentional with
syllabic stress (no two
eighth notes or quarter
notes alike) and to give
direction to any note
longer than a quarter.I
hope you enjoy learning
and performing Crossing
the Bar as much as I
enjoyed writing it.~Jamey
Ray.
SSATB chorus and piano - Medium / medium-difficult acc. SKU: JK.01015 Com...(+)
SSATB chorus and piano -
Medium / medium-difficult
acc.
SKU: JK.01015
Composed by Conrad
Kocher. Arranged by
Darwin Wolford. Choral
SATB, Difficulty Medium,
Difficulty Medium Hard,
Organ Choir, Piano Choir,
Seasonal Music
Thanksgiving, Children,
Guidance, Home, Jesus
Christ - Creator, Praise
and Worship,
Thanksgiving. Christian,
Inspirational. Duration
3:10. Jackman Music
Corporation #01015.
Published by Jackman
Music Corporation
(JK.01015).
Psalm
95:1-6, Psalm
33:1-6.
Thanksg
iving anthem for mixed
chorus (SATB) and organ
or piano. Sopranos divide
the last four measures.
Sopranos' highest note:
E. Composer: Conrad
Kocher Arranger:
Darwin Wolford
Lyricist: Folliot S.
Pierpont Difficulty:
Medium / medium-difficult
acc. Performance
time: 3:10 Reference:
Psalm 95:1-6, Psalm
33:1-6.
Concert Band/Harmonie and Piano SKU: BT.BMP8095417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8095417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski.
Score Only. Composed
2008. Beriato Music
#BMP8095417. Published by
Beriato Music
(BT.BMP8095417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Concert Band/Harmonie and Piano SKU: BT.BMP8091417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8091417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski. Set
(Score & Parts). Composed
2008. Beriato Music
#BMP8091417. Published by
Beriato Music
(BT.BMP8091417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Arranged by Donald Moore. Based on an American Spiritual. For Choir. (SATB). Ch...(+)
Arranged by Donald Moore.
Based on an American
Spiritual. For Choir.
(SATB). Choral Octavo.
New Directions Choral
Series (Choral Designs).
Spiritual. Choral Octavo.
8 pages. Published by
Alfred Publishing.
Aus:
Brockes-Passion.
Composed by George
Frideric Handel. Arranged
by Paul Horn. Separate
edition with choral
collection. Sacred vocal
music, Hymn settings,
Lent and Passiontide,
Holy Week, Fear and
trust, Mourning, death.
Full score. HWV. Duration
2 minutes. Carus Verlag
#CV 03.220/60. Published
by Carus Verlag
(CA.322060).
ISBN
9790007157784. Key: B
flat major. Language:
German. Text: Herman,
Nikolaus. Text: Nikolaus
Herman.
Composed by Johann Nepomuk Hummel (1778-1837). Edited by Mario Aschauer. This ed...(+)
Composed by Johann
Nepomuk Hummel
(1778-1837). Edited by
Mario Aschauer. This
edition: urtext.
Stuttgart Urtext Edition.
German title: Missa in B.
Latin Masses. Full score.
140 pages. Duration 35
minutes. Published by
Carus Verlag
(CA.4066400).
For SATB chorus, brass quintet and organ. Composed by Thea Musgrave (1928...(+)
For SATB chorus, brass
quintet and organ.
Composed by Thea Musgrave
(1928-). Choral. Octavo.
76 pages. Novello and Co
Ltd. #NOV165231.
Published by Novello and
Co Ltd. (HL.14047823).