Download Digital Sheet Music of Let's play Duets for Choral SATB

Let's play Duets
Choral SATB

A Lucky Star, A 1920s Musical in 2 Acts Songbook Choral SATB

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.730513 Composed by James N…(+)

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.730513 Composed by James Nathaniel Holland. Broadway,Jazz,Musical/Show. Octavo. 103 pages. James Nathaniel Holland #6040031. Published by James Nathaniel Holland (A0.730513). A celebration of the Roaring 20s for the new roaring 2020s. All the jazzy choruses, solos, trios and duets in one place from the Musical A Lucky Star contained in one place, fully arranged for voice and piano with chords (guitar or banjo) by American composer James Nathaniel Holland (music and lyrics). The story follows a young man as he dreams of moving from the Midwest to New York City in the year 1924. Songs included are: I Ain't Doin' Homework, This Town, Such is the County Fair (with mini-ballet), What the Heck Do I Care, An Inspiration (That Lucky Star), The Letter, New York The Town of Your Dreams, Music and Words, Bad Ain't So Bad (a 1920s flapper number), O Baby You Treat Me Too Rough (a Charleston type trio and women's chorus), So Alone Am I, and the touching song Indiana for chorus and separate arrangements for solo voice. Full piano vocal score, full orchestral score, and orchestral accompaniments sold separately.YouTube Playlist Demo:https://www.youtube.com/playlist?list=PLEcbVsA36MCva9aAwNei4XFxFQdI5Jiio
$14.95 13.81 € #Choral SATB #James Nathaniel Holland #A Lucky Star, A 1920s Musical in 2 Acts Songbook #James Nathaniel Holland #SheetMusicPlus

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1082352 Composed by Erik Spangler. A Cappella,Classical,Contemporary,Praise & Worship,Sacred. Octavo. 4 pages. Erik Spangler #686504. Published by Erik Spangler (A0.1082352). Commissioned by Allen Buskirk for the Mount Calvary Choir, Baltimore, MD. â€œDiffusa est gratia / Senex puerum portabatâ€Â combines two liturgical texts associated with the feast of Candlemas. The first,Â â€œDiffusa est gratia is from Psalm 44:3 and ascribes to Mary aÂ fullness of grace that is a common theme in Marian feasts. The second, Senex puerum portabat,â€ is more particularly relevant to the story of the infant Jesus and the ancient holy man Simeon found in todayâ€™s gospel. Singing two texts within one piece was common in Medieval music, where the interest lay on theÂ juxtapositionÂ of the texts and theÂ interplay between them. Erikâ€™s setting is influenced by both late Medieval and Renaissance choral styles. Each singer has long flowing lines that combine in duets, trios, and full quartet, yielding a variety of textures. Dissonant intervals are treated freely as was common in the late Medieval period before the tight control of the high Renaissance style. This expanded palette allows for more modern harmony that shifts in and out and resolves into consonant intervals at the end of phrases.Â Rhythmic syncopation and complexity were highly valued in the late Medieval style as they are again today; here they provideÂ forward momentum.Â Together, these elements define a sensibility that is both ancient and new, influenced by practices of composers from the 14th and 15th centuries as well asÂ more modern composers such as Moondog and Meredith Monk.