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8 sheet music found
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1
Idylls - five songs for solo high voice (soprano or tenor) and piano, based upon poems by Alfred, Lo
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High voice
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INTERMEDIATE/ADVANCED
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Stuart Brown
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Idylls - five songs for solo h
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Stuart Brown Music
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SheetMusicPlus
High Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.835449 Composed by Stuart Brown. 20th Century,Contemporary,Spiritual. 37 pages. Stuart Brown M...
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High Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.835449 Composed by Stuart Brown. 20th Century,Contemporary,Spiritual. 37 pages. Stuart Brown Music #4285583. Published by Stuart Brown Music (A0.835449). If you are looking for a genuinely beautiful and rewarding work for solo voice and piano, to fill a 20-minute time slot, then Idylls is for you. It provides an opportunity for both singer and pianist to demonstrate an ability to communicate a wide range of emotions. It is particularly satisfying for the pianist, whose part is anything but subservient to the vocal line and provides an opportunity to shine. At notated tempo the work lasts just under 18 minutes; the concert première performance (in January 2019) lasted just short of 20 minutes because of the slower tempo at which the performers chose to take the fourth song.While intended primarily for the concert platform, Idylls contains some profoundly Christian themes that may make it suitable also for church use in an appropriate context.Although intended for professional use, Idylls may be within the technical capability of advanced high school students, noting that the third song ('Of old sat Freedom on the heights') has a piano part that was described as 'challenging' by the professional pianist who first performed it in public (Jonathan Ellis, January 12th, 2019).As noted above, Idylls can work for church services in various contexts, although not all of the songs are necessarily appropriate to the same context. The lyrics themselves provide the best guidance in this respect.From observing the rehearsal sessions of the two professionals who first performed the work (Chen Wang and Jonathan Ellis), the composer suggests that none of the songs - however apparently straightforward - should be taken for granted. There are nuances in all of them that require careful attention to timing and pitch. The vocal entries in the opening song require careful attention to pitch. In the second song concentrate on the timing and making it sound as light and dance-like as possible. The third song requires the singer to keep an E-flat in mind at all times (in order to pitch entries) and to sing to strict meter regardless of what the pianist is playing. The fourth song requires both grace and intensity. Pitch is the main issue, particularly some of the B-natural entries; pay special attention to timing in the first verse. The fifth and final song is melodically straightforward; pay attention to timing in the second verse.Stuart Brown composed Idylls in early 2015 specifically for the London-based Chinese soprano Chen Wang. She performed it in public for the first time, accompanied by Manchester-based pianist Jonathan Ellis, at a concert in the southwest of England in January 2019.Performing rights are handled in the UK by PRS for Music, in Canada by SOCAN, in the USA by ASCAP, BMI and SESAC. The full list of arrangements can be found at www.prsformusic.com/our-global-network/partnersAll contact and other information (including lyrics) can be found on the composer's website at https://stuartbrownmusic.com/discover-11.html
$7.74
For Terry--Four Songs
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High voice
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ADVANCED
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Maria Thompson Corley
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For Terry--Four Songs
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Maria Thompson Corley
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SheetMusicPlus
High Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.845948 Composed by Maria Thompson Corley. 20th Century,Concert,Contemporary. 20 pages. Maria T...
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High Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.845948 Composed by Maria Thompson Corley. 20th Century,Concert,Contemporary. 20 pages. Maria Thompson Corley #6265255. Published by Maria Thompson Corley (A0.845948). These four songs were commissioned by Louise Toppin. The texts are by and about the composer's late brother, Terry (1963-88). The first, For Terry, has whole tone harmonies. Poem has a gospel/funk feel with a short moment of reggae. L'orangerie is distinctly French in its inspiration. The poignant final song, The Visitor, quotes Mendelssohn's Introduction and Rondo Capriccioso, which was the only piano piece Terry would play on request. He always stopped after the easy part. The text is based on a dream the composer had a few months after her brother's death.
$18.99
Ice! from Songs from the High Sierra
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High voice
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Gwyneth W
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Ice! from Songs from the High
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
High voice and piano - Medium - Digital Download SKU: MQ.8318-4E Composed by Gwyneth W. Walker. Secular, 21st century. 9 pages. E. C. Schirmer Music Comp...
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High voice and piano - Medium - Digital Download SKU: MQ.8318-4E Composed by Gwyneth W. Walker. Secular, 21st century. 9 pages. E. C. Schirmer Music Company - Digital #8318-4E. Published by E. C. Schirmer Music Company - Digital (MQ.8318-4E). The five letters which provide the lyrics for the songs (adapted by the composer) were selected for their range of topics and sentiments. Some portray the wildlife in the mountains (“Glacier Birds...â€). Others extol the beauty of the Sierra (“Mountain Glory,†“Yosemite Fallsâ€). One expresses the whimsical/temperamental personality of the author (“Ice!â€). And the final letter (“Sequoiaâ€) speaks reverently of the great trees, in a language both naturalistic and sacred. They are the “greatest light in the woods, the greatest light in the world.†The musical settings, especially in the piano accompaniment, are quite programmatic. Glacier birds scamper up and down the keyboard in tone clusters. “Icy†glissandi float off. The great trees take root in large, block chords, and waterfalls cascade down in scales.There is personality in the letters. The bond between John Muir and Mrs. Carr (whom he addresses formally) is one of great kinship- a blending of the souls, a “spiritual romance.†As he marvels at the beauty of the wilderness, he writes ardently, “I wish that you could see this...†When he learns that Mrs. Carr, a botanist (whose plants suffer from the frost), dislikes ice, he chides her, and creates a “mock argument†over the value of glacial ice.The songs begin with an ascent into the mountains. They close with the return to the coast, to the magnificent Sequoia trees, where John Muir camps for the night, in the company of a squirrel. Charmingly, he writes “therefore, my Carr, goodnight.â€.
$7.25
The Unquiet Grave from American Death Ballads (Downloadable)
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High voice
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David Conte
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The Unquiet Grave from America
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. ...
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High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.
$3.50
Serenade - Ständchen - Schwanengesang, D. 957 No. 4 (Duet for Voice and Piano)
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High voice
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INTERMEDIATE
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Classical
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Franz Schubert
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Flavio Regis Cunha
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Serenade - Ständchen - Schwan
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Flavio Regis Cunha
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SheetMusicPlus
High Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.597338 By Franz Schubert. By Franz Schubert. Arranged by Flavio Regis Cunha. Romantic Period. ...
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High Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.597338 By Franz Schubert. By Franz Schubert. Arranged by Flavio Regis Cunha. Romantic Period. 8 pages. Flavio Regis Cunha #5725037. Published by Flavio Regis Cunha (A0.597338). Schwanengesang (swan song), D 957, is a collection of songs written by Franz Schubert towards the end of his life and published posthumously.The collection was named by its first editor, Tobias Haslinger, probably intending to present it as Schubert's final musical testament to the world. Unlike earlier Die schöne Müllerin and Winterreise, it contains settings by three poets, Ludwig Rellstab (1799–1860), Heinrich Heine (1797–1856) and Johann Gabriel Seidl (1804–1875). Schwanengesang was composed in 1828 and published in 1829 just a few months after the composer's death on 19 November 1828.Advanced Intermediate.Format: Concert, 9 x 12.8 pages.
$5.99
WHEN I CAN READ MY TITLE CLEAR
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High voice
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J
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Sonny Rios
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WHEN I CAN READ MY TITLE CLEAR
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Sonny Rios
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SheetMusicPlus
High Voice,Vocal Solo - Digital Download SKU: A0.962917 Composed by J.C. Lowry. Arranged by Sonny Rios. Christian,Contemporary,Jewish,Sacred. 5 pages. So...
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High Voice,Vocal Solo - Digital Download SKU: A0.962917 Composed by J.C. Lowry. Arranged by Sonny Rios. Christian,Contemporary,Jewish,Sacred. 5 pages. Sonny Rios #4278121. Published by Sonny Rios (A0.962917). WHEN I CAN READ MY TITLE CLEAR: This old public domain Christian song, by Isaac Watts and J.C. Lowry, has been arranged by Sonny Rios for solo High Voice. The song’s range is C4-A5 and is in English. The song speaks about a person’s final journey and arrival in his/her heavenly rest. The song may be used in Jewish or Christian services, concerts, and in funerals. This arrangement has been registered with the US Copyright Office and ASCAP. An MP3 of the piano accompaniment (with or without lead example) is available for purchase at tenor@sonnyrios.com. If you wish to record this arrangement, please obtain a license by emailing: tenor@sonnyrios.com.
$5.99
Does It Matter?
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High voice
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ADVANCED
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Mike Lyons
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Does It Matter?
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Lyons Music Services
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SheetMusicPlus
High Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.767060 Composed by Mike Lyons. 20th Century,Contemporary. 18 pages. Lyons Music Services #2384...
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High Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.767060 Composed by Mike Lyons. 20th Century,Contemporary. 18 pages. Lyons Music Services #238419. Published by Lyons Music Services (A0.767060). This song was written in response to Siegfried Sassoon's well-known war poem of the same title. I have tried to emulate the ironic tone of Sassoon's descriptions of the treatment of wounded and damaged men by the society for whom they have been fighting. This is as current a topic today as it was 50 years ago. The song is short at just under 2 minutes, but demands some difficult techniques from both singer and pianist. The vocal line, in particular, will need good control of breathing and pitch in the sliding arpeggio on the Ah!! after letter B and the line And people won't say that you're mad. The sudden ending is quite deliberate and the final bar rest should be counted in full. The listener should expect more, but there isn't anything more to say - we treat our soldiers badly!
$3.99
The Lamb (William Blake) — high voice (soprano / tenor), keyboard accompaniment
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High voice
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EASY
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the stream and o'er the mead;<
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Todd Marchand
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The Lamb
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Con Spirito Music
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SheetMusicPlus
High Voice,Vocal Solo - Level 2 - Digital Download SKU: A0.1141419 Composed by Todd Marchand. Christian,Christmas,Religious,Sacred. 5 pages. Con Spirito ...
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High Voice,Vocal Solo - Level 2 - Digital Download SKU: A0.1141419 Composed by Todd Marchand. Christian,Christmas,Religious,Sacred. 5 pages. Con Spirito Music #741745. Published by Con Spirito Music (A0.1141419). William Blake (1757-1827), a seminal figure in the history of the poetry and visual art of the Romantic Age, published the lyric poem The Lamb in his collection, Songs of Innocence, in 1789.The Lamb is presented as from the viewpoint of, and in the voice of, a child. In the first stanza, the child asks the lamb if it knows its Creator; in the second, it tells the creature, by means of metaphor, that its Creator is the Lord Jesus Christ, who like the lamb took on the flesh of a created being, “little,†“meek,†and “mild.†The child declares that he/she shares with the creature the name of the One who is, in Christian belief, both the sacrificial Lamb and the Shepherd of his flock. Finally, the child pronounces a benediction: “Little lamb, God bless thee!â€This new setting of The Lamb for voice and keyboard accompaniment is intended to evoke the simplicity of the text, and therefore should be performed simply yet expressively, with subtle rubato (flexibility in tempo) to give emphasis to the text.Little lamb, who made thee? / Dost thou know who made thee,Gave thee life, and bid thee feed / By the stream and o'er the mead;Gave thee clothing of delight, / Softest clothing, woolly, bright;Gave thee such a tender voice, / Making all the vales rejoice?Little lamb, who made thee? / Dost thou know who made thee?Little lamb, I'll tell thee; / Little lamb, I'll tell thee:He is called by thy name, / For He calls Himself a Lamb.He is meek, and He is mild, / He became a little child.I a child, and thou a lamb, / We are called by His name.Little lamb, God bless thee! / Little lamb, God bless thee!Soprano range C4-G5; Tenor range C3-G4©Copyright 2022 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
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