Invocation and Dance Sheet Music to download and print

Invocation and Dance

Invocation and Dance (Downloadable Choral Score)

#Invocation and Dance

Invocation & Dance - Score Only Bassoon, Piano (duet)

Bassoon,Piano - Level 4 - Digital Download SKU: A0.1401689 Composed by Robert A. Ho…(+)

Bassoon,Piano - Level 4 - Digital Download SKU: A0.1401689 Composed by Robert A. Howard. 21st Century,Chamber,Contemporary,Contest,Festival,Instructional. Score and part. 10 pages. Robert A. Howard #984859. Published by Robert A. Howard (A0.1401689). 'Invocation and Dance' begins with an introductory summons call from the bassoon (with piano chords), outlining the irregular metre feature of the whole work. Then follows the main dance section, in ternary form. Its main A section material centres around C (which returns with variation towards the end), and consists of a jaunty 7/8 bassoon theme, accompanied by unsettled piano harmonies. The contrasting central B section, in the dominant key, continues to explore irregular metre with 'hiccups' in the rhythm, as piano 'oom cha' chords support a bassoon melody based mainly on fourths. The opening invocation call recurs in slight variation at the end to bring the work full circle. Note: the score provided also serves as the piano part.Duration: 5 minutes.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk
$5.99 5.53 € #Bassoon, Piano (duet) #Robert A #Invocation & Dance - Score Only #Robert A. Howard #SheetMusicPlus

Invocation and Dance for a Pagan God

#Invocation and Dance for a Pagan God

Invocation and Dance (Downloadable Choral Score) Choral SATB

SATB choir, chamber orchestra or piano - Moderately Difficult - Digital Download SKU: M…(+)

SATB choir, chamber orchestra or piano - Moderately Difficult - Digital Download SKU: MQ.4378-E Composed by David Conte. 32 pages. E. C. Schirmer Music Company - Digital #4378-E. Published by E. C. Schirmer Music Company - Digital (MQ.4378-E). Based on a text drawn from Walt Whitman's When Lilacs Last at the Dooryard Bloom'd. A hymn to nature and the place of death within the cycle of life on earth. Invocation and Dance is included on the album Facing West: Choral Music of Conrad Susa and David Conte. Duration: 13:00.
$3.35 3.09 € #Choral SATB #David Conte #Invocation and Dance #E. C. Schirmer Music Company - Digital #SheetMusicPlus

Invocation of Darkness Guitar

Solo Guitar - Level 5 - Digital Download SKU: A0.1243643 By Brad Rau. By Brad Rau. …(+)

Solo Guitar - Level 5 - Digital Download SKU: A0.1243643 By Brad Rau. By Brad Rau. 20th Century. Individual part. 6 pages. Brad Rau #838597. Published by Brad Rau (A0.1243643). This piece was composed by Brad Rau for solo guitar.Â Rau has always been fascinated with dark, evil, sounding music, and this is his attempt to write some that are truly dark.Â This is also inspired when Rau has a kidney rupture that eventually causes him to have it removed. This was recorded on Brad's third album, In a Very Unusual Manner.Â The main theme is based on two minor chords a tritone apart.Â It then accelerates in tempo into an octatonic excitement with constant time signature changes that jar the listener.Â Then the main theme comes back, this time in Tremolo.Â It ends with the same solo theme it begins with.Â The piece is inspired by works of Erik Satie, Invocation and Dance by Joaquin Rodrigo, and the Usher Waltz by Nikita Koshkin.
$6.99 6.46 € #Guitar #Brad Rau #Invocation of Darkness #Brad Rau #SheetMusicPlus

Invocation and Dance (Downloadable Percussion Parts Version II)

Invocation and Dance (Downloadable Piano Part Version II)

Dance from Invocation and Dance (Downloadable Choral Score)

#Dance from Invocation and Dance

Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.8323-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 9 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8323-E. Published by E. C. Schirmer Music Company - Digital (MQ.8323-E). UPC: 600313483233. English. The three a cappella choral pieces that comprise â€œA Whitman Triptychâ€ were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. â€œWhat is the Grassâ€ was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonightâ€™s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of â€œWhen Lilacs Last in the Dooryard Bloomedâ€ as the basis for my composition â€œInvocation and Dance.â€ I went on to set â€œGood-Bye, My Fancyâ€ for Male Chorus and Soprano Saxophone in 1992, and â€œSong of the Open Roadâ€ for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitmanâ€™s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. Facing West is drawn from the Children of Adam book from Walt Whitman's Leaves of Grass. The full title of the poem is Facing West From California's Shores. Though Whitman never visited California, his biographer Justin Kaplan made the insightful observation that he imagined California's shores to be the starting point for a journey through time and culture. Here was Walt, 'a child, very old,' facing home again, looking over to it, joyous, as after long travel, growth, and sleep, asking: 'But where is what I started for, so long ago?/And why is it yet unfound?' The invitation from the International Orange Chorale to compose a piece in honor of the 75th anniversary of the Golden Gate Bridge led me easily and naturally to this great poem. The tone of Facing West is rich and complex, and draws on one of Whitman's favorite themes of using travel to distant lands as a metaphor for spiritual development. In his poem, Whitman strikes notes of reflection, of longing for adventure, and ultimately ends with a question. The continuing relevance of this question is for me beautifully addressed by the contemporary American writer Edmund White in his 1980 book States of Desire. To paraphrase somewhat, White writes: California is where dreams may come true, and the problem it presents is whether, after all, we wanted these particular dreams to be fulfilled - or would we have preferred others? Did we know what price these dreams would exact? Did we anticipate the ways in which they would unsuit us for the business of daily life? Or should our notion of daily life itself be transformed? For Americans, California's coast is as far as one can go in establishing new roots and new ways of living. As a transplanted Midwesterner who has made California his home for nearly three decades, I experience the Golden Gate Bridge as a beautiful monument to the aspirations and dreams of a restless and inventive people, qualities that Whitman's poem captures perfectly. -David ConteDuration: 5:42

Tenor voice solo, SATB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.8322-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 15 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8322-E. Published by E. C. Schirmer Music Company - Digital (MQ.8322-E). UPC: 600313483226. English. The three a cappella choral pieces that comprise â€œA Whitman Triptychâ€ were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. â€œWhat is the Grassâ€ was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonightâ€™s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of â€œWhen Lilacs Last in the Dooryard Bloomedâ€ as the basis for my composition â€œInvocation and Dance.â€ I went on to set â€œGood-Bye, My Fancyâ€ for Male Chorus and Soprano Saxophone in 1992, and â€œSong of the Open Roadâ€ for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitmanâ€™s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. â€œWhat is the Grass?â€ is also an adaptation of a much longer poem, one of Whitmanâ€™s deepest, and most mysterious. The poem begins as a child-like meditation on grass; as hope, as an embodiment of new life and new growth in the plant world. Then suddenly there is a somber turn with the line â€œAnd now it seems to me the beautiful uncut hair of graves.â€ Here Whitman enters an extended mediation on how grass connects life and death, informed by his experiences in the Civil War. Hope returns with the line: â€œThey are alive and well somewhere,â€ leading to the mysterious final line: â€œAnd to die is different from what anyone supposed, and luckierâ€¦â€ Here Whitman affirms that death can be an initiation into a broader participation of existence. In the words of poet Ivan M. Granger, Whitman offers a â€œZen-like riddle that doesnâ€™t offer an answer so much as a pathway of questioning.â€ My musical setting follows Whitmanâ€™s exploration, first taking a childâ€™s point of view, expressed with lilting melodies set in a lively compound meter. The entry of the tenor soloist indicates a change of mood to the serious. The first mood returns, leading to a climax on the words â€œAnd led forward lifeâ€¦â€, set in 9-part harmony. The mood turns reverent, as the tenor soloist intones: â€œAll goes onward and outward; nothing collapses.â€ The piece ends with a tone of gentle, slightly ironic questioning. -David ConteDuration: 5:42