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Fly away free style
Melody line, (Lyrics) and Chords
C Instrument - Level 1 - Digital Download SKU: A0.1048231 By Sunford. By Sunford. A…
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C Instrument - Level 1 - Digital Download SKU: A0.1048231 By Sunford. By Sunford. Arranged by Sunford. 20th Century,Children,Classical,Hip-Hop,New Age,R & B. Lead Sheet / Fake Book. 8 pages. Sunx3 #652655. Published by Sunx3 (A0.1048231).
$1.99
1.81 €
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Melody line, (Lyrics) and Chords
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Sunford
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Fly away free style
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Sunx3
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SheetMusicPlus
Fly away free style
Melody line, (Lyrics) and Chords
C Instrument - Level 1 - Digital Download SKU: A0.1048218 By Sunford. By Sunford. A…
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C Instrument - Level 1 - Digital Download SKU: A0.1048218 By Sunford. By Sunford. Arranged by Sunford. 20th Century,Baroque,Hip-Hop,Pop,R & B,Rock. Lead Sheet / Fake Book. 21 pages. Sunx3 #652640. Published by Sunx3 (A0.1048218).
$1.99
1.81 €
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Melody line, (Lyrics) and Chords
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Sunford
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Fly away free style
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Sunx3
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SheetMusicPlus
Requiem
Chamber Orchestra
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
50.93 €
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Winning Fight March for Pianoforte
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1456161 Composed by Abe Holzmann. A…
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Piano Solo - Level 4 - Digital Download SKU: A0.1456161 Composed by Abe Holzmann. Arranged by Keith Terrett. 20th Century,Contest,Festival,Historic,Instructional,Multicultural,World. Score. 9 pages. Keith Terrett #1035313. Published by Keith Terrett (A0.1456161). Abe Holzmann wrote some very fine marches, but here's one inspired by a book. Herbert Kaufman's 1910 book The Winning Fight inspired this winning march (it's a book about self-mastery and fostering a can-do attitude). Tiis march was published by Leo Feist in New York City in 1911.Arrangement of a March by Abe Holzmann (1874-1939), writthn in 1911. He also wrote what is probably his best known march Blaze Away''.Blaze Away! is a 1901 march by the German-American composer Abe Holzmann. It was his greatest success.Holzmann was inspired by the Battle of Manila Bay during the Spanish–American War, when a command to American sailors to open fire on the Spanish fleet was reputedly met with the response Well boys, let's blaze away by the gunners. Building on the war fever in the United States, the cover of the sheet music featured an image resembling Theodore Roosevelt charging at San Juan Hill. Very popular as a two-step, its success outlasted the war and it became a repertoire piece amongst military bands around the world.Abraham Holzmann (19 August 1874 – 16 January 1939) was an American composer, famous for his march Blaze-Away! Abraham Holzmann was born in New York City. His parents were Jacob Holzmann, a Hungarian-Jewish immigrant and Isabella Holzmann, a native of Louisiana. The young Holzmann learned music in Germany. A review originally published by the New York Herald on Sunday, 13 January 1901, entitled German Composer who Writes American Cakewalk Music describes [h]is knowledge of bass and counterpoint is thorough, and his standard compositions bear the stamp of harmonic lore, which makes his proclivity for the writing of the popular style of music the more remarkable. Abe married Isabelle Fishblatt around 1908, and he became the manager of the Orchestra Department at Jerome Remick & Company, music publisher in New York. He was an early member (1923) of the American Society of Composers, Authors and Publishers (ASCAP). He earned his livelihood as composer/arranger for Tin Pan Alley publishers, including Leo Feist. He later was advertising manager for the American Federation of Musicians publication, International Musician. He was a member of Freemasonry, the Elks, and Knights of Pythias, all in New York City. Holzmann died in East Orange, New Jersey at age 64. He was survived by his widow, a daughter Natalie Holzmann, three half-brothers, and four sisters. His music was especially revered by ragtime enthusiasts, although he composed marches, waltzes, and other light music. His 1899 composition Smokey Mokes was briefly featured in the 1936 movie San Francisco.
$4.99
4.54 €
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Piano solo
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Abe Holzmann
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Winning Fight March for Pianoforte
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Keith Terrett
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SheetMusicPlus
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