Download Digital Sheet Music of Chance for Baritone voice, Piano

Chance

#Martin Lachance

Sang d'encre (for baritone & piano) #Baritone voice, Piano #ADVANCED #Contemporary #Martin Lachance #Sang d'encre #Martin Lachance #SheetMusicPlus

Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1009916 Composed by Martin Lachance. Contemporary. 6 pages. Martin Lachance #16585...(+)

Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1009916 Composed by Martin Lachance. Contemporary. 6 pages. Martin Lachance #16585. Published by Martin Lachance (A0.1009916). Sang dâ€™encre is a composition for voice and piano inspired by a poem of Patrick Michael Lachance. Written in the early 90s, the text describes the somber mood of the poet, alone at home on a cold autumn evening. The piece is available in two versions. Originally composed for baritone, a transcription for mezzo-soprano was subsequently added.

Questo amor, vergogna mia - Edgar (F Major) #Baritone voice, Piano #INTERMEDIATE/ADVANCED #Giacomo Puccini #Jonathan Prentice #Questo amor, vergogna mia - Ed #Jonathan Prentice #SheetMusicPlus

Baritone Horn TC,Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.884804 Composed by Giacomo Puccini. Arranged by Jonathan Prentice. 20th Century,Op...(+)

Baritone Horn TC,Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.884804 Composed by Giacomo Puccini. Arranged by Jonathan Prentice. 20th Century,Opera. 5 pages. Jonathan Prentice #5868561. Published by Jonathan Prentice (A0.884804). Frank's heartfelt lament from Puccini's, Edgar is a rare chance for the baritone to steal the limelight from the sopranos and tenors in what is probably the highlight of the opera (Here in the original F Major).

Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.533384 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 20 pages. Musik Fabrik Music Publishing #2803929. Published by Musik Fabrik Music Publishing (A0.533384). Whitman only published one book â€“ Leaves of Grass â€“ but it was always a work in progress. He added poems and revised others for each succeeding edition. Thus, the first edition (1819) was a small book with only 12 poems and the last, often refered to as the Deathbed Edition (1892), contained over 400. Some of these he wrote in â€œclustersâ€ of related poems. Such is the case with the Calamus cluster. The title was chosen to alert the reader that these were poems about what he called â€œthe love of comrades,â€ â€œmanly loveâ€ or with the code word, â€œadhesiveness.â€ The concept of homosexuality, as we know it today, was very different in Whitmanâ€™s time, but violently socially taboo. Acorus calamus is a reed-like species of marsh grass. In Poetry and Prose, Whitman wrote that it s a â€¦ very large and aromatic grass, or root, spears three feet highâ€”often called 'sweet flag'â€”grows all over the Northern and Middle States.â€ The phallic plant has always been a symbol of love and associated with the Greek myth of Kalamos, son of the river god who loved the youth Karpos. When Karpos died in a swimming accident, Kalamos transformed himself into a reed so he could always be near the spot where his beloved died, and the rustling of the reeds in the winds sounds like moans of mourning. The Calamus cluster, 39 poems in all, recount the story of a manly love found and lost from the perspective of some time later. They are bittersweet memories. I chose four poems for my own cluster. They represent the four stages of such a relationship: initial attraction, first coy interactions, full-blossomed love, and the bitterness of itâ€™s ending. It is possible that these events actually happened or that they all occurred in the poets mind without ever revealing his thoughts to the intended. Some musical devices, such as the rustling of the leaves in the third song and the constant use of seconds as two people who are close but not yet together in the second one, are obvious. But, other than some indications of tempo, I hesitate to give out remarks about how to perform the songs, or even metronome markings, that might give the singer a preconceived notion. This situation has happened to everyone. So, I say to the singer: revive the memories of a similar event in your life: a particularly heartbreaking one is best. Bring the telling of that memory to the vivid present, and tell us that story as if it ending some time ago but the hurt remains strong, If, by some chance, the singer has not had this experience, he should wait to sing this cycle until he has. The composerï»¿