The Chair Sheet Music to download and print

The Chair

The Troubles of an Automaton, or The Table and the Chair

Small Ensemble Bass Drum,Cimbalon,Gong,Multi-Percussion,Voice - Digital Download SKU: A0.835820 Composed by Paul Burnell. Contemporary. Score and parts. 11 pages. Paul Burnell #4805257. Published by Paul Burnell (A0.835820). The Troubles of an Automaton, or The Table and the Chair. Composed Paul Burnell 2019. Duration c.5:45 (c.6:30 if performed with optional additional ending and A6 narration) For Cimbalom or other instruments, three Gongs, Bass Drum and Narrator Text: Clementina Maria Black (1853-1922) / Edward Lear (1812-1888)Note: The associated recording is of the version using the text by Clementina Maria Black. First performed by Jordan Wright-Murray on 30 May 2019. The Cimbalom part may be played on a chromatic hammered dulcimer or hackbrett or any other instruments. Gongs - ideally 3 bossed/tuned gongs, non-specific pitches: high, medium, low. Bass drum - ideally an orchestral bass drum. The octave lower transposition indications in the cimbalom part are optional and when given beneath two-note chords only apply to the lower note. From bar 62 to the end the cimbalom may be played an octave higher than written. The cimbalom and gongs are played laissez vibrer throughout. The bass drum is played laissez vibrer, except where marked with x on stem (for example in bar 32), indicating dead stick technique. The narrator may choose one of two texts: A: The Troubles of an Automaton (Excerpt) by Clementina Maria Black B: The Table and the Chair by Edward Lear. The start of each section of Narrator text is indicated in the score with boxed text. Where necessary the end of a text section is shown as unboxed text. The additional section after Fine 1, starting at bar 101, is optional and can be performed with or without the A6 narration. It is also possible to perform the whole piece without the Narrator, provided the texts are available to the audience.Programme note: This piece may be performed with one of two texts: 'The Troubles of an Automaton (Excerpt)' or 'The Table and the Chair'. 'The Troubles of an Automaton' was written by Clementina Maria Black (1853-1922) and published in the New Quarterly Magazine in 1876. The story begins with a fictional advertisement announcing a public exhibition of Mr. Slade's Famous Chess-Playing Automaton. 'The Table and the Chair' by Edward Lear (1812 - 1888) appeared in his collection 'Nonsense Songs' published in 1870. In the poem a table and a chair go for a walk around town, become lost, are taken back to their house by a group of small animals, and then dine and dance together.

#The Troubles of an Automaton, or The Table and the Chair

The Table and the Chair (for SATB with optional childrens' choir)

The Table and the Chair (for SATB with optional childrens' choir) Choral SATB

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1178799 Composed by Alan B…(+)

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1178799 Composed by Alan Bullard. Children,Comedy. Octavo. 8 pages. Colne Edition / BullardMusic #778764. Published by Colne Edition / BullardMusic (A0.1178799). Rediscover the magical world of Edward Lear through a conversation between a table and a chair as they learn to walk, wander through the town, get a little lost, and finally dine together on beans and bacon! The Table and the Chair (Colne Edition) is a movement from Mr Lear, an entertainment for SATB choir with optional childrens’ choir and narrator, with piano or brass quintet. Three of the songs (including this one) are also available together as Three Nonsense Songs, all from this site.Alan Bullard's choral works are performed worldwide, and many have been recorded and broadcast. He has a reputation for music that choirs enjoy performing, and which speaks directly to audiences. The Colne Choral Series contains a range of Bullard's pieces for adult and youth choirs of all types, including cantatas and choral suites as well as individual movements. For full details please visit www.colneedition.co.uk or www.alanbullard.co.uk
$1.99 1.86 € #Choral SATB #Alan Bullard #The Table and the Chair #Colne Edition / BullardMusic #SheetMusicPlus

#The Table and the Chair

When Hancock Takes The Chair. A Rousing Campaign Song And Chorus

When Hancock Takes The Chair. A Rousing Campaign Song And Chorus Piano, Voice

Piano and voice - Digital Download SKU: LV.12702 Composed by Thomas P. Westendorf. …(+)

Piano and voice - Digital Download SKU: LV.12702 Composed by Thomas P. Westendorf. Portraits, Presidential elections. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.12702). When Hancock Takes The Chair. A Rousing Campaign Song And Chorus. Words and Music By Thos. P. Westendorf. Published 1880 by W.F. Shaw[?] in n.p. Composition of strophic with satb chorus with piano and voice instrumentation. Subject headings for this piece include Portraits, Presidential elections. First line reads A glorious day is dawning now, we see the coming light.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99 5.59 € #Piano, Voice #Thos #Thomas P #When Hancock Takes The Chair. A Rousing Campaign Song And Chorus #Johns Hopkins University Sheridan Libraries #SheetMusicPlus

#When Hancock Takes The Chair. A Rousing Campaign Song And Chorus

Cello Solo - Level 4 - Digital Download SKU: A0.1288214 Composed by Chris Becker. 21st Century,Classical,Contemporary,New Age. Individual part. 6 pages. Beckeresque (ASCAP) #879245. Published by Beckeresque (ASCAP) (A0.1288214). When I first saw the enormous chair Rachel Gardner and Carlos Canul constructed for A Gift from the Bower, an outdoor, multi-disciplinary group exhibition conceived by renowned artists James Surls and Charmaine Locke, I had a vision of a cellist seated in a chair on the chair, performing solo in a bower deep in the woods of Splendora Gardens. I shared this image with Rachel, who didn’t think I was nuts, and over the course of several weeks, composed a piece for unaccompanied cello to be performed at the opening of the exhibit. I was honored when cellist Patrick Moore agreed to premiere the work; his formidable technique and the deep expression he brings to his playing inspired me to embrace the challenge of composing a solo for his instrument.Knowing my piece would be performed outdoors, I was inspired to evoke the rhythm of sound events one hears in woods, especially the rise and fall of wind as it moves through branches and leaves. The very opening of the piece and later, what I hear as an extended coda, were created as moments for the cellist as much as for the listener and are performed in a sort of meditative state, calling to mind the age-old question, “If a tree falls in a forest and no one is around to hear it, does it make a sound?” The repeating measures of 16th notes in the piece’s demanding middle section pay tribute to two of my heroes, Terry Riley and Philip Glass. While composing the work, Bach’s Six Suites for Violoncello Solo was another important point of reference, as was double bassist Eberhard Weber's 1973 album, The Colours of Chloë.Once finished, it made sense to name the piece A Gift from the Bower since the opportunity to compose the work was a gift, and in exchange, so is the music I have composed.A Gift from the Bower premiered on April 22, 2023, by Patrick Moore at the Locke Surls Center for Art and Nature.A revised version of this piece was completed on September 5, 2023.

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.869912 Composed by Cherolyn Klosner-Lane, Gene Klosner. Christian,Contemporary,Sacred. Octavo. 12 pages. Cher & Gene Klosner #5999959. Published by Cher & Gene Klosner (A0.869912). Contemporary setting of Psalm 23 with Psalm Tone verses.4th Sunday of Lent (Laetare Sunday) A (lent4A)4th Sunday of Easter (Good Shepherd Sunday) A (east4A)16th Sunday in Ordinary Time B (ord16B)34th Sunday in Ordinary Time A (Christ the King) (ord34A)Most Sacred Heart C (solsacheartC)Nov 2: Commemoration of All the Faithful Departed (All Souls) ABC (1102ABC)Confirmation, 1st Communion, FuneralsOfficial Liturgical text: The Lord is my shepherd; there is nothing I shall want.Sheet music available in Octavo and Soloist/Small Group formats. MP3s soon available w/Alto or Tenor verses.Other liturgical uses for this psalm:Saturday of the 4th Week in Ordinary Time (I) (ord4SaI)Wednesday of the 20th Week in Ordinary Time (II) (ord20WeII)Wednesday of the 32nd Week in Ordinary Time (II) (ord32WeII)Masses for the Dead (incl'g Funerals for Baptized Children)Common Masses: Holy Men and Women Common Masses: PastorsRitual Masses: Christian Initiation of Adults - Presentation of the Lord's PrayerRitual Masses: Christian Initiation of Adults - Apart from Easter VigilRitual Masses: Holy Orders Ritual Masses: Institution of AcolytesRitual Masses: Pastoral Care of the Sick and the Dying - ViaticumVarious Needs: Masses for the Unity of ChristiansVotive Masses: Most Holy EucharistVotive Masses: Jesus Christ, the Eternal High PriestVotive Masses: Most Sacred Heart of JesusJan 2*: Memorial of Sts. Basil the Great and Gregory Nazianzen, bishops and doctors of the Church (mem0102)Jan 21*: Memorial of St. Agnes, virgin and martyr (mem0121)Feb 22*: Feast of The Chair of St. Peter, apostle (fst0222)May 18*: Optional memorial of St. John I, pope and martyr (optmem0518)Jun 6*: Optional memorial of St. Norbert, bishop (optmem0606)Jul 20*: Optional memorial of St. Apollinaris, bishop and martyr (optmem0720)Oct 16*: Optional memorial of St. Margaret Mary Alacoque, virgin (optmem1016b)Nov 16*: Optional memorial of St. Gertrude, virgin (optmem1116b)Dec 31*: Optional memorial of St. Sylvester I, pope (optmem1231)*not on Sundayshttps://www.facebook.com/LTFMusic/www.LTFMusic.comwww.youtube.com/cgklosner

#The Chair

Choral Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.869914 Composed by Cherolyn Klosner-Lane, Gene Klosner. Contemporary,Sacred. Score. 9 pages. Cher & Gene Klosner #6009623. Published by Cher & Gene Klosner (A0.869914). Contemporary setting of Psalm 23 with Psalm Tone verses.4th Sunday of Lent (Laetare Sunday) A (lent4A)4th Sunday of Easter (Good Shepherd Sunday) A (east4A)16th Sunday in Ordinary Time B (ord16B)34th Sunday in Ordinary Time A (Christ the King) (ord34A)Most Sacred Heart C (solsacheartC)Nov 2: Commemoration of All the Faithful Departed (All Souls) ABC (1102ABC)Confirmation, 1st Communion, FuneralsOfficial Liturgical text: The Lord is my shepherd; there is nothing I shall want.Sheet music available in Octavo and Soloist/Small Group formats. MP3s soon available w/Alto or Tenor verses.Other liturgical uses for this psalm:Saturday of the 4th Week in Ordinary Time (I) (ord4SaI)Wednesday of the 20th Week in Ordinary Time (II) (ord20WeII)Wednesday of the 32nd Week in Ordinary Time (II) (ord32WeII)Masses for the Dead (incl'g Funerals for Baptized Children)Common Masses: Holy Men and Women Common Masses: PastorsRitual Masses: Christian Initiation of Adults - Presentation of the Lord's PrayerRitual Masses: Christian Initiation of Adults - Apart from Easter VigilRitual Masses: Holy Orders Ritual Masses: Institution of AcolytesRitual Masses: Pastoral Care of the Sick and the Dying - ViaticumVarious Needs: Masses for the Unity of ChristiansVotive Masses: Most Holy EucharistVotive Masses: Jesus Christ, the Eternal High PriestVotive Masses: Most Sacred Heart of JesusJan 2*: Memorial of Sts. Basil the Great and Gregory Nazianzen, bishops and doctors of the Church (mem0102)Jan 21*: Memorial of St. Agnes, virgin and martyr (mem0121)Feb 22*: Feast of The Chair of St. Peter, apostle (fst0222)May 18*: Optional memorial of St. John I, pope and martyr (optmem0518)Jun 6*: Optional memorial of St. Norbert, bishop (optmem0606)Jul 20*: Optional memorial of St. Apollinaris, bishop and martyr (optmem0720)Oct 16*: Optional memorial of St. Margaret Mary Alacoque, virgin (optmem1016b)Nov 16*: Optional memorial of St. Gertrude, virgin (optmem1116b)Dec 31*: Optional memorial of St. Sylvester I, pope (optmem1231)*not on Sundayshttps://www.facebook.com/LTFMusic/www.LTFMusic.comwww.youtube.com/cgklosner

Drums Across the River (SA/2-Part) Choral 2-part

Choral Choir (SA) - Level 2 - Digital Download SKU: A0.727538 Composed by Carol Tro…(+)

Choral Choir (SA) - Level 2 - Digital Download SKU: A0.727538 Composed by Carol Troutman Wiggins. Children,Contemporary,Contest,Festival,Instructional,Multicultural,World. Octavo. 11 pages. Carol Troutman Wiggins #4782769. Published by Carol Troutman Wiggins (A0.727538). DRUMS ACROSS THE RIVER SA/2-Part Mixed Voices This song represents someone who hears the familiar sound of home when they hear the sound of the drums across the river, and the yearning to be back there. A 2-part canon style song, it has easy harmonies and easy rhythm patterns for the drums. Any type of drum may be used – whatever you have on hand – or they can beat the table tops or backs of the chairs! Excellent for upper middle school, middle school and younger high school students Comfortable singing range Drum chorus cues included in score Canon style 2nd part Chords included for additional instruments Piano Accompaniment Track on this site.
$2.50 2.33 € #Choral 2-part #Carol Troutman Wiggins #Drums Across the River #Carol Troutman Wiggins #SheetMusicPlus

Drums Across the River (SA/2-Part) Piano Accompaniment Track Piano Accompaniment

Choir,Drums,Piano - Digital Download SKU: A0.1065727 Composed by Carol Troutman Wig…(+)

Choir,Drums,Piano - Digital Download SKU: A0.1065727 Composed by Carol Troutman Wiggins. Contemporary. Accompaniment. Duration 132. Carol Troutman Wiggins #4782777. Published by Carol Troutman Wiggins (A0.1065727). DRUMS ACROSS THE RIVER Piano Track SA/2-Part Mixed Voices This song represents someone who hears the familiar sound of home when they hear the sound of the drums across the river, and the yearning to be back there. A 2-part canon style song, it has easy harmonies and easy rhythm patterns for the drums. Any type of drum may be used – whatever you have on hand – or they can beat the table tops or backs of the chairs! Excellent for upper middle school, middle school and younger high school students Comfortable singing range Drum chorus cues included in score Canon style 2nd part Chords included for additional instruments .
$3.99 3.72 € #Piano Accompaniment #Carol Troutman Wiggins #Drums Across the River #Carol Troutman Wiggins #SheetMusicPlus

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.802647 By Bee Gees. By Barry Gibb, Maurice Gibb, and Robin Gibb. Arranged by Peet du Toit. Dance,Disco. Score and parts. 23 pages. Peet du Toit #6197563. Published by Peet du Toit (A0.802647). I've Gotta Get a Message to You is a song by the Bee Gees. Released as a single on 7 September 1968, it was their second number-one single on the UK Singles Chart and their first US Top 10 hit.The song is about a man who, awaiting his execution in the electric chair, begs the prison chaplain to pass a final message on to his wife. Robin Gibb, who wrote the lyrics, said that the man's crime was the murder of his wife's lover, though the lyrics do not explicitly allude to the identity of the victim. Robin said, This is about a prisoner on Death Row who only has a few hours to live. He wants the prison chaplain to pass on a final message to his wife. There's a certain urgency about it. Myself and Barry wrote it. It's a bit like writing a script. Sometimes you can sit there for three hours with your guitar and nothing will happen. Then in the last ten minutes something will spark. The song was written with Percy Sledge in mind to record it. Sledge did record it in February 1970 but Atlantic did not issue his version in the United States at the time.Barry recalled, In those days, the lyrics were almost pretty well done on the spot. I don't remember the fundamentals on how the lyrics were formed, except that we were writing about a guy on death row. That was it.Robin adds:It was like acting, you see, we said, let's pretend that somebody, his life is on the line, somebody's going to the chair. What would be going through their mind? Let's not make it doom and gloom but sort of an appeal to the person he loves. Because right now that's all he cares about. Regardless of whether he's done a bad thing, he is a human being, and he's sending out this last message. There's someone out there whom he loves. It's a torch song, but within a very sort of theatrical sense. Not sort of abstract, but definitely somebody in a very bad situation whose life is going to end. What would they be saying, you know? This is it: 'Gotta get a message to you, hold on.Revive this hit on your brass instruments and enjoy!

String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #119391. Published by David Warin Solomons (A0.576736). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.

Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.