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You've selected:
The Sense of a Place Will Remain
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1
The Sense of a Place Will Remain
Choral SATB
Choral Choir (SATB) - Digital Download SKU: A0.835786 Composed by Paul Burnell. Con…
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Choral Choir (SATB) - Digital Download SKU: A0.835786 Composed by Paul Burnell. Contemporary. Octavo. 124 pages. Paul Burnell #3405305. Published by Paul Burnell (A0.835786). Composed 2007, duration 8:30 approx. The music and text of ‘The Sense of a Place Will Remain’ was inspired by pictures of an early carved stone cross and a tenth-century Viking burial stone on the island of Inchcolm in Scotland. First performed by Inchcolm New Music Ensemble 29 June 2007, conductor Steve King. Instrumentation is flexible; the following is a guide: Part 1 - Violin 1, flute 1 (doubling piccolo if possible) oboe 1, Part 2 - Violin 2, flute 2, oboe 2 (doubling tenor recorder if possible), clarinet 1, trumpet Part 3 - Viola, clarinet 2, horn in F, Eb horn (2 players doubling harmonicas in C) Part 4 - Cello, bassoon Part 5 - Double bass, bass guitar (or Cello 2 - playing as if usual bass clef, but an octave lower where possible) SATB voices (doubling metal spoons and pitch pipes) Optional:Percussion (one player) - claves, glockenspiel (could be a child’s toy instrument such as an ‘Angel’ glockenspiel), mark tree, spring drum (thunder shaker), frame drum, musical jewelry box (or similar clockwork device).Should a glockenspiel not be available, a special part has been created which arranges the glockenspiel for two flutes, together with the other percussion music. This special part is not visible in the score. Keyboard instrument with sustaining capability - piano sound Instructions: Wind players can breathe ad lib. during any very long notes. From letter D onwards non-wind players who are not soloists blow across the top of small bottles. The pitches produced are not specified, but they should not be shrill. A soft breathy tone is preferred. About half of the voices play pairs of metal spoons (share printed part between two singers and anyone not holding the music holds metal spoons). Hold the spoons one in each hand, and strike the larger ends together. Spoons are struck together where shown with a large patterned note head. Strike rapidly where a tremolo sign is given. Four singers play pitch tuning pipes: 1 Soprano and 1 Alto play viola/cello pitch tuning pipes, 1 Tenor and 1 Bass play violin pitch tuning pipes Pitch pipe playing is indicated with square note heads - player should breathe ad lib. during very long notes. Where there are very long sung notes, the singers may stagger breathing ad lib. Spoken sounds are indicated with x note heads and with the text in italics. There are many pauses. These can be of varying duration, but on the whole they should not hold up the momentum of the piece, but be of sufficient duration to establish the solo and pitch pipe notes. Text: Carve stone Strike out Stay at home Or go far alone. Blocks of stone are laid Emblazoned with the signs of great deeds That signify our memory, Mem’ries of who we are. Careful carvings erode through time, Chiseled grooves smooth away. Families, they scatter and fade As generations age Descendants pass on memory time. Sense of our allegiance shifts when major faults are found, Feelings of belonging fall on shaky ground, But the sense of a place will remain.
$7.95
7.23 €
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Choral SATB
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Paul Burnell
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The Sense of a Place Will Remain
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Paul Burnell
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.69 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.69 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
#
Soundnotation
#
SheetMusicPlus
An Orange for Soprano/Tenor and Piano
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.942058 Composed by Apostolos…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.942058 Composed by Apostolos Paraskevas. 20th Century,Jazz,Opera,World. Score. 10 pages. Silver Sickle Publications #4729017. Published by Silver Sickle Publications (A0.942058). This witty and extremely fun work to perform by composer Apostolos Paraskevas was conceived after real events. There is a version for Soprano/tenor and Piano and one for guitar as well. Easy to perform and the text was inspired of the following narrative. I Slaughtered an Orange over the Sink... ...and it just sat there…It didn't say a word, not a sound of anguish, not even when my teeth started to tear apart it's flesh little by little... I knew it was a special orange but I couldn't fathom the magnitude of its character…Even when gentle I took it away from its friends there at the top of the kitchen counter, it looked at me almost with a sense of gratitude. Yes, gratitude.! As if it was saying: Thank you! Thank you for helping me to fulfill the purpose of my life…Since I was a little seed I knew I would serve a higher purpose. My sacrifice will help a human to become a healthier mother, doctor, composer, a better scientist. Yes, I think I felt it said…a better composer as well. ...and there I was, sinking my teeth deep inside its flesh and taking all of what it had to offer. It's life, it's substance, it's gratitude for serving a higher purpose. I slaughtered it over the sink, to avoid any evidence of what had happen there. The remaining outer sell, I placed it on the stove top and lighted up with fire, as my mother use to do, to release the heavenly smell and there it was. Evaporated everywhere! I inhale it, It became totally a part of me. Today, I slaughtered an orange over the sink and I didn’t say thank you! Apostolos Paraskevas is a classical guitarist and composer as well as an award-winning film director and producer. He has received multiple international awards for his compositions and was nominated for a Grammy Award. He is the only guitarist ever to have a major orchestral piece performed at Carnegie Hall under the direction of Lukas Foss––and the only musician who has performed there in a Grim Reaper outfit. He was the founder and served for 16 years as the artistic director of the International Guitar Congress-Festival of Corfu, Greece. He is a voting member of the Recording Academy (Grammys). After his undergraduate music studies in Volos he pursued advanced studies in classical guitar with Costas Cotsiolis (diploma, 1990) and Leo Brouwer (Havana 1984, 1988), as well as postgraduate studies in composition with Lukas Foss and Theodore Antoniou (DMA in composition, Boston University, 1998). Paraskevas embarked on a successful career as a guitar soloist and contemporary composer, achieving distinctions in both disciplines: Grammy nomination for Chase Dance (Bridge Records, 1999); first prize for Night Wanderings (Lukas Foss Composition Competition, 2000); first prize for Phygein Adynaton (National Composers Conference, 1997); and numerous prestigious commissions, performances, and publications. Following teaching posts at Northeastern and Boston Universities, Paraskevas has taught since 2001 at the Berklee College of Music in Boston (professor of composition and classical guitar). His eclectic compositional style arises as an idiosyncratic integration of seemingly conflicting influences – from avant-garde approaches to harmonic structure, form, and timbre, to pop-folk modal and rhythmical concepts – amalgamated into a personal evocative musical language, characterized by rhythmic verve, melodic grace, dramatic (and sometimes unexpectedly humorous) gestures, and ritualistic or theatrical elements. The latter feature has also led Paraskevas to the creation of films, notably the acclaimed I Finally Did It (Gold award, California Film Awards 2010), dealing wittily with Death, a recurring extra-musical theme in his music. The Groves Dictionary of Music Costas.
$8.99
8.18 €
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Piano, Voice
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Apostolos Paraskevas
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An Orange for Soprano/Tenor and Piano
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Silver Sickle Publications
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SheetMusicPlus
Paisley's Sonata
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1030831 Composed by Michael C. Brow…
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Piano Solo - Level 4 - Digital Download SKU: A0.1030831 Composed by Michael C. Brown. 20th Century,Romantic Period. Score. 23 pages. Michael C. Brown #4051. Published by Michael C. Brown (A0.1030831). This piece celebrates the life and mourns the loss of my granddaughter, Paisley Gladys Hogan, who was but 2 months old when she was called to Heaven. These are the words I wrote just before her funeral.... I. The Presence - She was here. I held her the day she was born. I held her and watched her smile at me less than 24 hours before she departed. She only knew love. No one around her ever showed her anything else that humanity had to offer; like hatred, heartache, pain, control, or anger. II. The Shock - She feels a Hand beckon her to leave her mortal coil, and she enters into a world we cannot yet reach.. With no one home, her former body ceases to wake. The unimaginable has happened and we struggle to reverse it. Finally, it becomes clear that we cannot. She sees us cry and she wonders what is happening. Having never known sorrow, she only sees that love didn't cause this response. She wants to comfort us with the love she knows, but we do not yet sense it. III. The Questions - One word has confounded mankind from its creation; Why? We have never found an acceptable answer. We ask, Why did this happen? and What did I do? and What didn't we do right? and Why couldn't it have been me? among others. We only know that her absence has carved holes in our hearts shaped like her. She tries to tell us, You can still love me. I just cannot be seen by you now. It does not mean your love cannot make me happy. I still want it. I still feel it. Please feel my love for you. IV. Letting Go - The day comes to bid farewell to the vehicle by which she came to us. We struggle to cope that we will see her face no more except in pictures. Because of the brevity of her life, memories are few to relive, but to do so is to recall happiness. In sorrow, we return her to the earth. All that is left is to return to recall, to talk to her, to bring flowers and other gifts, and to await the day we follow her. V. Remembering - The days and years follow. Normalcy slowly sets back into our lives. The holes in our hearts will never fully heal. But the salve of her love and her memory help to soothe the ache. We still return to where we placed her mortal home, where we laugh and cry in tandem, where our hearts ache to fill the void left by her departure. It will never really get better, but it will become easier for her love to dull the sting of her absence. VI. The Reunion - One by one, we will feel the same Hand bid us to come. The same events will befall those left behind each time. One by one, she will greet us as we reunite with her. We marvel at how she has stayed with us as we stay to comfort those we had just bidden farewell. The rest cannot be imagined by we that remain..........
$4.99
4.54 €
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Piano solo
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Michael C
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Paisley's Sonata
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Michael C. Brown
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SheetMusicPlus
Guitar Finger Independence Method
Guitar
Guitar - Intermediate - Digital Download SKU: M0.30969MEB Folk. Ebook and online au…
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Guitar - Intermediate - Digital Download SKU: M0.30969MEB Folk. Ebook and online audio. 137 pages. Mel Bay Publications - Digital Sheet Music #30969MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.30969MEB). ISBN 9781513472911. 8.75X11.75 inches.As a guitarist, have you ever dreamed of playing contrapuntal bass lines and melodies? Or maybe you would like to sound more like a pianist, able to perform fluently with independent right and left hands.Playing multiple lines simultaneously can be one of the most physically and mentally demanding challenges posed by the guitar. Using the concept of planted notesùa fretting-hand finger that remains in place while the other fingers play scale-like passages or arpeggiosù this book will methodically guide you towards right and left-hand finger independence.Written in standard notation and tablature, this no-nonsense revolutionary method is the first of its kind. Together with 95 online audio recordings, it will help you build finger independence in both hands, approaching that of a pianist. Includes access to online audio.
$24.99
22.73 €
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Guitar
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Guitar Finger Independence Method
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Illumine le tenebre
Choral SATB
Choral Choir,Choral (SATB divisi) - Level 5 - Digital Download SKU: A0.900166 By Sa…
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Choral Choir,Choral (SATB divisi) - Level 5 - Digital Download SKU: A0.900166 By Sarah Labrie, Conductor - Chamber Choral Conducting Workshop, Sarteano, Italy. By Mary Ellen Haupert. Easter,Sacred,Spiritual. 5 pages. Mary Ellen Haupert #3031789. Published by Mary Ellen Haupert (A0.900166). ILLUMINE LE TENEBRE (SSAATTBB) For Jean Saladino and the Viterbo University Concert Choir TRANSLATION of TEXT: Most High, glorious God, enlighten the darkness of my heart and give me true faith, certain hope and perfect charity, sense and knowledge, Lord, that I may carry out your holy and true command. Amen. - St. Francis of Assisi's Prayer before the Crucifix NOTES from the composer: One year ago, I had the privilege of participating in the Leadership Pilgrimage to Assisi and Rome (2011) sponsored by the Franciscan Sisters of Perpetual Adoration, Franciscan Healthcare, and Viterbo University. I carried with me, not only the responsibility of bringing back a hint of Francis’ lived experience to my students, but the desire to compose something wholly Franciscan. The San Damiano Cross is one of the most distinctive Franciscan images we have on campus. The gentle Jesus that hangs on this 12th-century icon will forever be linked to Francis’ dramatic step from citizen to sainthood-welcoming his earnest prayer to enlighten the darkness of his heart. The Basilica of Santa Chiara in Assisi holds both the San Damiano Cross and the remains of his confidante, St. Clare. It seemed a good place to start getting serious. Copying the prayer in at least six different languages, I tucked it away in my travel books, not digging it out again until the following summer (2012). The opening phrases in the piece came easily enough (Altissimo, glorioso Dio), but I stumbled through a handful of ideas before coming up with the mantra (illumine le tenebre…). It made sense that Francis would joyfully address God singing forte (Altissimo and Signore), while quietly chanting his humble prayers for faith, hope, charity, and knowledge. The friendship between Francis and Clare can’t be missed, not only in the intermingling of SATB voices, but in the setting of che faccia lo tuo santo e verace comadamento (that I may carry out your holy and true command). The phrase is sung only once by the women before the final return of the illumine chant (which is repeated throughout by the men). Maybe I chanced on weaving some of Clare’s courage with Francis’ persistence into Illumina le tenebre, all while trying to compose something wholly Franciscan?  ---Mary Ellen Haupert, October 2012. Â
$3.99
3.63 €
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Choral SATB
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Sarah Labrie, Conductor - Chamber Choral Conducting Workshop, Sarteano, Italy
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Illumine le tenebre
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Mary Ellen Haupert
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SheetMusicPlus
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