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I Will Sing - Drums
High voice
Sheetmusic to print
4 sheet music found
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1
I Want to Know - from Rogue One: A Star Wars Musical
High voice
High Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1006779 Composed by Stev…
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High Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1006779 Composed by Steve Danielson. Contemporary,Film/TV,Musical/Show. 8 pages. Steve Danielson #5308807. Published by Steve Danielson (A0.1006779). The the second hit single from Rogue One: A Star Wars Musical - the non-existent musical that is sweeping the galaxy. Also available in a lower key by contacting the publisher (though, it will be available soon).
$4.00
3.58 €
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High voice
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Steve Danielson
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I Want to Know - from Rogue One: A Star Wars Musical
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Steve Danielson
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SheetMusicPlus
I Will Sing New Songs [High Voice]
High voice
By Antonin Dvorak (1841-1904). Arranged by Patrick M. Liebergen. For Vocal. Classical. 4 p…
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By Antonin Dvorak (1841-1904). Arranged by Patrick M. Liebergen. For Vocal. Classical. 4 pages. Published by Alfred Music. Digital Sheet Music
$2.99
2.68 €
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High voice
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Antonin Dvorak
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I Will Sing New Songs [High Voice]
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Alfred Music. Digital Sheet Music
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SheetMusicPlus
The Unquiet Grave from American Death Ballads (Downloadable)
High voice
High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Comp…
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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
3.14 €
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High voice
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David Conte
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The Unquiet Grave from American Death Ballads
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Periwinkle
High voice
High Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1027761 Composed by Alic…
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High Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1027761 Composed by Alicia Willard. 20th Century,Blues,Contemporary. 34 pages. Alicia Santee-Davis #2923157. Published by Alicia Santee-Davis (A0.1027761). Periwinkle is a song cycle that was originally composed for mezzo-soprano and piano, but has been arranged for soprano and piano; it is a collection of character pieces using original poetry by Alicia Willard. High High Shoes is an upbeat, rhythmically active piece that illustrates the exhilaration and anxiety in reaching for one’s desires. Wings is a hauntingly slow array of uneasy dissonances, using only one line of text that is chopped into fragments and slowly arranged into a comprehensible statement. Boulders on Our Shoulders has a lilting jazz feel, including several piano solos that incorporate many aspects of the blues. Follow the Borrowers is much more introspective, with the music vividly conveying what the text colorfully provides in such lines as I’ll caress the tongue shapes. The title of the cycle is taken from a line of poetry in which the periwinkle dirt in the sky is introduced, providing one of many colors that are portrayed in the pieces. Periwinkle was written in 2009 and premiered at the University of North Carolina School of the Arts by Stephanie McAllister, mezzo-soprano, and the composer at the piano. After its recomposition, the soprano edition was premiered in Fairbanks, Alaska in 2016 by Amy Ingram, soprano, with the composer at the piano.
$16.95
15.18 €
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High voice
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Alicia Willard
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Periwinkle
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Alicia Santee-Davis
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SheetMusicPlus
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