Concert Band - Grade 2.5 SKU: AP.50064 Featuring Bad Blood and You Bel...(+)
Concert Band - Grade 2.5
SKU: AP.50064
Featuring Bad Blood
and You Belong With
Me. Arranged by
Michael Story. Concert
Band; MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Pop Young Band. Light
Concert; Pop; Pop/Rock;
Radio. Score and Part(s).
Duration 2:40. Alfred
Music #00-50064.
Published by Alfred Music
(AP.50064).
ISBN
9781470656553. UPC:
038081575308.
English.
This
fantastic arrangement by
Michael Story is a medley
of two of Taylor Swift's
biggest hits---Bad Blood
and You Belong with Me.
Treat your band to the
excitement of performing
these blockbuster hits!
(2:40).
(30 of Today's Top Christian Artists & Hits). For Piano/Vocal/Guitar. Sacred Fol...(+)
(30 of Today's Top
Christian Artists &
Hits). For
Piano/Vocal/Guitar.
Sacred Folio. Softcover.
216 pages. Word Music
#080689552281. Published
by Word Music
(Easy Guitar Play-Along Volume 12). By Taylor Swift. For Guitar. Easy Guitar Pla...(+)
(Easy Guitar Play-Along
Volume 12). By Taylor
Swift. For Guitar. Easy
Guitar Play-Along.
Softcover with CD. Guitar
tablature. 72 pages.
Published by Hal Leonard
(62 Songs -- Rock, Pop, Jazz, and Holiday Favorites!). For Guitar. This edition:...(+)
(62 Songs -- Rock, Pop,
Jazz, and Holiday
Favorites!). For Guitar.
This edition: Easy Guitar
TAB. Book; Guitar Mixed
Folio; Guitar TAB; Solo
Guitar TAB (EZ/Int).
Jazz; Pop; Rock. 224
pages. Published by
Alfred Music Publishing
(Piano/Vocal/Guitar). By Lostprophets. For Guitar; Keyboard; Piano; Voice. This ...(+)
(Piano/Vocal/Guitar). By
Lostprophets. For Guitar;
Keyboard; Piano; Voice.
This edition:
Piano/Vocal/Guitar. Book;
Personality Book;
Piano/Vocal/Chords. Faber
Edition. Pop; Rock.
Published by Faber Music
Choral Hand Clap, Hand Drum, Violin, alto 1, alto 2, soprano 1, soprano 2 SKU...(+)
Choral Hand Clap, Hand
Drum, Violin, alto 1,
alto 2, soprano 1,
soprano 2
SKU:
CF.CM9563
Great
and Fiery Force.
Composed by Michael John
Trotta. Hidegard Von
Bingen transcribed by
Michael John Trotta.
Mjts. With Standard
notation. 24 pages.
Duration 4 minutes, 41
seconds. Carl Fischer
Music #CM9563. Published
by Carl Fischer Music
(CF.CM9563).
ISBN
9781491153635. UPC:
680160911134. 6.75 x 10.5
inches. Key: G minor.
Latin, English. Hidegard
Von Bingen transcribed by
Michael John
Trotta.
Trotta's
composition is an
energetic reimagining of
timeless text and tune
from the 12th century
poet, composer, and
philosopher Hildegard of
Bingen. The marriage of
the chant Caritas Abundat
with a text taken from
Liber Divinorum Operum
(The Book of Divine
Works) creates an
entirely new work that
expresses themes of
empowerment. There is a
reflective sense of the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than
oneself. This
commissioned work for
womens choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas
Abundat with a text
taken from Liber
Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
womenas choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas
Abundat with a text
taken from Liber
Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
womenas choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas
Abundat with a text
taken from Liber
Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
women's choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas
Abundat with a text
taken from Liber
Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
women's choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas Abundat
with a text taken from
Liber Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
women’s choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.This
piece marries the chant
Caritas Abundat with a
text taken from Liber
Divinorum Operum (The
Book of Divine Works),
creating an entirely new
work that expresses
themes of empowerment.An
adapted quotation of the
tune is introduced in the
violin, then taken up by
the choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish.I am the
great and fiery
force,That breathes life
into all things:I am what
awakens and supports
lifeAnd enkindles all
living thingsI am the
great and fiery
force,That breathes life
into all
things:Everything in the
cosmosIs encircled with
my wisdom.I am the beauty
in the fields,The force,
that moves like a
graceful windI shine in
the waters, and burn in
the sun,Glimmering in the
stars.Caritas abundat in
omnia (Grace abounds for
everyone)[Liber Divinorum
Operum (The Book of
Divine Works),
I.I.2].
Choral SSAA choir SKU: CF.CM9717 Composed by Mark Burrows. 8 pages. Durat...(+)
Choral SSAA choir
SKU:
CF.CM9717
Composed by
Mark Burrows. 8 pages.
Duration 3 minutes, 7
seconds. Carl Fischer
Music #CM9717. Published
by Carl Fischer Music
(CF.CM9717).
ISBN
9781491160961. UPC:
680160919567. Psalm
91:4-5.
The Lord
will overshadow you with
his pinions, and you will
find refuge under his
wings. His faithfulness
will encompass you with a
shield. Psalm 91:4-5 To
feel safe and to feel
cared for, these are two
of the great yearnings of
the human heart. What a
blessing it is,
especially during times
of distress or
uncertainty, to know that
we aren't alone, that
someone is reaching out
to help us and even hold
us. It could be a family
member or a friend. It
could be a still small
voice whispering, It's
okay. I've got you. It
could even be a loving
community, like a choir,
assuring us that we are
known, that we are loved,
that we belong. The first
word - scapulis - is
translated as pinions. On
a bird, a pinion is the
outer part of the wing,
including the flight
feathers. The opening
measures, with a
one-measure phrase
followed be a
three-measure phrase, are
meant to evoke the image
of wings unfurling to
welcome in. All through
this section - mm. 1-20 -
encourage phrasing that
is never hurried but
moves with intention to
the last stressed
syllable of each phrase,
before ebbing slightly.
This section is all about
reassurance and comfort.
In mm. 21-30 we have a
new section where
uncertainty grows. At
this point the text - and
you will find refuge
under his wings - is more
aspirational than
definitive. Leaning into
non-chord tones will help
make this feeling of
uncertainty more
palpable. Places where
this occurs: Alto I -
Measure 22 the Ab in
pennis, m. 26 the Bb in
sperabis Soprano II -
Measure 23 the A natural
in pennis, m. 29 the C in
sperabis Soprano I -
Measure 24 the C in
pennis, m. 28 the D in
sperabis The apex of the
piece is at m. 30 where
the yearning for comfort
and assurance reaches its
height, finding that
comfort in the arrival
back at Eb major in m.
39. The phrase veritas
ejus (his faithfulness),
with its triplet figure
should flow gently, like
a musical carress. The
final reassurance occurs
at m. 51 as we return to
the melody, and the
homophonic texture, of
the opening. Even as the
piece gets softer and
softer, encourage the
singers to keep energy
moving through each
phrase. The structure and
feel of this piece was
inspired by one of the
all-time great settings
of yet another Psalm of
assurance - Felix
Mendelssohn's Lift Thine
Eyes. The Lord will
overshadow you with his
pinions,and you will find
refuge under his
wings.His faithfulness
will encompass you with a
shield. Psalm 91:4-5 To
feel safe and to feel
cared for, these are two
of the great yearnings of
the human heart.What a
blessing it is,
especially during times
of distress or
uncertainty, to know that
we aren’t alone, that
someone is reaching out
to help us and even hold
us. It could be a family
member or a friend. It
could be a still small
voice whispering,
“It’s okay. I’ve
got you.” It could even
be a loving community,
like a choir, assuring us
that we are known, that
we are loved, that we
belong.The first word –
scapulis – is
translated as
“pinions.” On a bird,
a pinion is the outer
part of the wing,
including the flight
feathers. The opening
measures, with a
one-measure phrase
followed be a
three-measure phrase, are
meant to evoke the image
of wings unfurling to
welcome in. All through
this section – mm. 1-20
– encourage phrasing
that is never hurried but
moves with intention to
the last stressed
syllable of each phrase,
before ebbing slightly.
This section is all about
reassurance and
comfort.In mm. 21-30 we
have a new section where
uncertainty grows. At
this point the text –
and you will find refuge
under his wings – is
more aspirational than
definitive. Leaning into
non-chord tones will help
make this feeling of
uncertainty more
palpable. Places where
this occurs:Alto I –
Measure 22 the Ab in
pennis, m. 26 the Bb in
sperabisSoprano II –
Measure 23 the A natural
in pennis, m. 29 the C in
sperabisSoprano I –
Measure 24 the C in
pennis, m. 28 the D in
sperabis The apex of the
piece is at m. 30 where
the yearning for comfort
and assurance reaches its
height, finding that
comfort in the arrival
back at Eb major in m.
39. The phrase veritas
ejus (his faithfulness),
with its triplet figure
should flow gently, like
a musical carress.The
final reassurance occurs
at m. 51 as we return to
the melody, and the
homophonic texture, of
the opening. Even as the
piece gets softer and
softer, encourage the
singers to keep energy
moving through each
phrase.The structure and
feel of this piece was
inspired by one of the
all-time great settings
of yet another Psalm of
assurance – Felix
Mendelssohn’s Lift
Thine Eyes.
Voice, Flute, Percussion, Viola and Guitar SKU: BT.WH31915 Composed by Po...(+)
Voice, Flute, Percussion,
Viola and Guitar
SKU:
BT.WH31915
Composed
by Poul Rovsing Olsen.
Contemporary Music. Score
Only. Composed 2019. 48
pages. Edition Wilhelm
Hansen #WH31915.
Published by Edition
Wilhelm Hansen
(BT.WH31915).
ISBN
9788759829004.
The
Planets, op. 80 for
mezzo-soprano, flute,
viola and guitar, was
composed in spring 1978
and given its first
performance on 30 July
the same year at the
Lerchenborg Music Days.
The occasion which led to
the composition of the
work was the 50th
anniversary of the
finding of a block book
from the second half of
the 15th century with
texts on the planets. The
inspiration came from
Louise
Lerche-Lerchenborg, who
organised the Lerchenborg
Music Days, and the work
is dedicated to her. In
connection with the
concert at Lerchenborg,
Poul Rovsing Olsen wrote
the following about his
opus: “The Planets
derives from the block
book found in
Lerchenborg’s library
in 1928. Seven
fine,coloured drawings
tell of the seven
celestial bodies which in
many European languages
have given the weekdays
their names. Each drawing
is accompanied by a Latin
text, under which there
is a two-line dictum that
briefly though very
concisely gives an
account of the
characteristics of the
children who belong to
that particular celestial
body. And these
concentrated portrayals
form the basis for the
music. In the music I
have attempted to give
indications of my own
experience of the
particular power and
nature characterizing
each one of the heavenly
bodies, just as I have
allowed this cycle of
planet songs to pass like
a journey through the
ethereal realms with
motifs that appear, are
repeated, are varied and
disappear (but only so as
to be replaced by new
ones), until we finally
return to the point of
departure. The
introduction Aether is
purely instrumental. Two
of the planets Venus and
Luna are female; in the
music written for them
small (Indian) cymbals
are used that are also
present in
Aether.”.
Romantic opera in
three acts. Composed
by Franz Schubert. Edited
by Walther Durr. This
edition: complete
edition, urtext edition.
Linen. New Schubert
Edition (Neue Ausgabe
samtlicher Werke) Series
II, Volume 6. 3 part
volumes. Opern, dt.
(German Opera). Complete
edition, Score. D 732.
Duration 2 hours, 30
minutes. Baerenreiter
Verlag #BA05540_00.
Published by Baerenreiter
Verlag (BA.BA05540).
ISBN 9790006497126. 33
x 26 cm inches. Text:
Franz von
Schober.
In late
September or early
October 1821 Schubert and
his close friend, Franz
von Schober, vacationed
in the countryside of
Lower Austria. Their
first stopover was at
Ochsenburg Castle, which
belonged to the Bishop of
St. Pölten (a close
relative of Schober’s),
after which they moved on
to St. Pölten itself.
Roughly a year earlier,
two stage works by
Schubert had been
performed in Vienna: the
one-act singspiel Die
Zwillingsbrüder and the
melodrama Die
Zauberharfe. The
librettos were both
written by the seasoned
Viennese playwright Georg
von Hofmann, who blamed
the press for the
indifferent reception the
two works were given by
the audience. Schubert
and Schober now decided,
it would seem, to write a
grand romantic opera
uninfluenced by the
workaday world of the
theatre and beholden
solely to their own ideas
of what an opera should
be.
Not until 24
June 1854 was the opera
finally performed in
Weimar, under the baton
of Franz Liszt. It only
achieved success,
however, in an
arrangement by Johann
Nepomuk Fuchs that was
staged on many German and
Austrian stages in
1881–2, allegedly with
brilliant
acclaim.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Trumpet Overture -
Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Ralf Wehner.
Orchestra.
Orchester-Bibliothek
(Orchestral Library).
Overture; Romantic. Part.
8 pages. Duration 10'.
Breitkopf and Haertel #OB
5623-23. Published by
Breitkopf and Haertel
(BR.OB-5623-23).
ISBN
9790004348758. 10 x 12.5
inches.
Certainly
Robert Schumann was right
when he stated soon after
Beethoven's death that
the latter's conception
of the symphony as a
great, universal
confessional work was
hardly to be continued by
the next generation of
composers. He saw a
solution to the dilemma
in the creation of
autonomous concert
overtures, such as those
written, for instance, by
Felix Mendelssohn
Bartholdy: Four of his
overtures were printed
during his lifetime, and
others were extant in
manuscript, though
frequently and
successfully performed by
the composer. Belonging
to the latter group is
the Trumpet Overture,
begun in 1825 and
performed three times
between 1828 und 1833 on
prominent occasions in
Berlin, Dusseldorf, and
London.
Flute SKU: SP.TS162 Composed by Jonathon Robbins. Arranged by Jonathon Ro...(+)
Flute
SKU:
SP.TS162
Composed by
Jonathon Robbins.
Arranged by Jonathon
Robbins. Collection;
Ethnic. Book and CD.
Santorella Publications
#TS162. Published by
Santorella Publications
(SP.TS162).
ISBN
9781585600120. UPC:
649571101626.
The
music of Latin America is
as rich, diverse and
stimulating as its unique
culture. European,
African and Indian
influences have blended
to create energetic
rhythms and intriguing
melodies that break away
from their traditional
origins, creating a sound
that is distinctly Latin.
Discover the allure of
passionate and dynamic
music. Latin Favorites
For Flute published by
Santorella Publications
has it all. Each book in
the series includes a
piano with Latin
percussion accompaniment
CD. This Santorella
Publication is arranged
and edited by Jonathon
Robbins in accommodating
keys for trumpet,
clarinet, flute, alto
saxophone and trombone. A
piano accompaniment book
is available and sold
separately. Includes:
Ados Muchachos (Farewell
Boys) - Adios Vida Mia -
Alla en el Rancho Grande
(My Ranch) - Amapola
(Pretty Little Poppy) -
Amor - Besame Mucho -
Brazil (Aquarela Do
Brasil) - Camnito (Little
Lane) - Cose, Cose, Cose
- Cuando Calienta El Sol
(Love Me with All Your
Heart) - Cuantu Le Gusta
(La Parranda) -
Cu-Cu-Rru-Cu-Cu, Paloma
(Coo Coo Roo Coo Coo,
Paloma) - El Cumbancho
(Rumba Guaracha) -
Granada (Fantasia
Espanola) Guadalajara
(Cancion Tipica de
Jalisco) - Historia de un
Amor (The Story of Love)
- Maria Elena - Mas Que
Nada (Say No More) - Mi
Rival (My Rival) -
Perfidia - Quizas,
Quizas, Quizas (Perhaps,
Perhaps, Perhaps) - Rico
Vacilon - Siempre en Mi
Corazon (Always in My
Heart) - Solamente Una
Vez (You Belong to My
Heart) - Tico-Tico
(Tico-Tico No Fuba) -
Tres Palabras (Without
You).
Trumpet Overture -
Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Ralf Wehner.
Orchestra.
Orchester-Bibliothek
(Orchestral Library).
Overture; Romantic. Part.
8 pages. Duration 10'.
Breitkopf and Haertel #OB
5623-19. Published by
Breitkopf and Haertel
(BR.OB-5623-19).
ISBN
9790004348741. 10 x 12.5
inches.
Certainly
Robert Schumann was right
when he stated soon after
Beethoven's death that
the latter's conception
of the symphony as a
great, universal
confessional work was
hardly to be continued by
the next generation of
composers. He saw a
solution to the dilemma
in the creation of
autonomous concert
overtures, such as those
written, for instance, by
Felix Mendelssohn
Bartholdy: Four of his
overtures were printed
during his lifetime, and
others were extant in
manuscript, though
frequently and
successfully performed by
the composer. Belonging
to the latter group is
the Trumpet Overture,
begun in 1825 and
performed three times
between 1828 und 1833 on
prominent occasions in
Berlin, Dusseldorf, and
London.