PARTITIONS GRATUITES : HARPE
- I Lived - Synthesizer

By Various. For Piano. Contents include: Morning Has Broken (Massoud); My First Halloween at the Piano (Scherk); Parade of the Ants (Greenleaf); Locomotive Boogie (Greenleaf); Squeaky Sneakers (Greenleaf); Buglers at Sunrise (Holmes); Chihuahua Cha-Cha (Greenleaf); The Great Bike Race (Greenleaf); If I Lived Under the Sea (Matz). Level: Early Elementary/Elementary. Book. Published by The FJH Music Company, Inc.

By OneRepublic. By Noel Zancanella, Ryan Tedder. Arranged by Deke Sharon. Pop Choral Series. Female Voices, A Cappella, Show Choir, Pop. Octavo. 16 pages. Published by Hal Leonard (HL.216562).

By OneRepublic. By Noel Zancanella and Ryan Tedder (1979-). Arranged by Deke Sharon. Pop Choral Series. Octavo. 16 pages. Published by Hal Leonard (HL.216561).

By Janice Kapp Perry / Steven Kapp Perry / Lynne Perry Christofferson. Text: Janice Kapp Perry / Steven Kapp Perry / Lynne Perry Christofferson / Joy Saunders Lundberg / Michaelene P. Grassli. For Vocal Songbook. Published by Jackman Music Corporation.
Level: Medium.

Guitar Chords with Lyrics Guitar

SKU: HL.1477747

By Taylor Swift. Guitar. Pop. Softcover. Published by Hal Leonard (HL.1477747).

ISBN 9798350128512. UPC: 196288215035. 9.0x12.0x0.277 inches.

You've memorized all the songs from the double album, now it's time to play them for yourself! Our matching folio to The Tortured Poets Department: The Anthology features all 31 tracks meticulously arranged for guitar, with chord symbols, guitar chord frames, and full lyrics. Dive into the emotional depth of Swift's music and play along with your favorite tracks from “Fortnight” to “The Manuscript,” to “So Long, London” to “So High School,” and all the others. Immerse yourself in the storytelling prowess of Taylor Swift and bring her songs to life with your own unique voice and talent! Songs include: The Albatross • The Alchemy • The Black Dog • The Bolter • But Daddy I Love Him • Cassandra • Chloe or Sam or Sophia or Marcus • Clara Bow • Down Bad • Florida!!! • Fortnight • Fresh Out the Slammer • Guilty as Sin? • How Did It End? • I Can Do It with a Broken Heart • I Can Fix Him (No Really I Can) • I Hate It Here • I Look in People's Windows • Imgonnagetyouback • Loml • The Manuscript • My Boy Only Breaks His Favorite Toys • Peter • The Prophecy • Robin • The Smallest Man Who Ever Lived • So High School • So Long, London • thanK you aIMee • The Tortured Poets Department • Who's Afraid of Little Old Me?

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, String Bass, Trombone 1, Trombone 2, Trombone 3, Trumpet 1 and more. - Grade 4

SKU: CF.SPS87

Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+4+2+2+2+8+8+4+2+4+4+2+2 +2+2+3+3+3+4+4+4+4+3+3+3+ 6+4+4+2+2+1+1+1+1+4+24 pages. Duration 6 minutes, 28 seconds. Carl Fischer Music #SPS87. Published by Carl Fischer Music (CF.SPS87).

ISBN 9781491156445. UPC: 680160914982. 9 x 12 inches.

About the Work In the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty. Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring. Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost organ-like); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes.
About the WorkIn the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty.Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring.Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost “organ-like”) ; be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Oboe 1, Oboe 2, Percussion and more. - Grade 4

SKU: CF.SPS87F

Composed by Jeremy Martin. Sws. Sps. Full score. 24 pages. Duration 6 minutes, 28 seconds. Carl Fischer Music #SPS87F. Published by Carl Fischer Music (CF.SPS87F).

ISBN 9781491156452. UPC: 680160914999. 9 x 12 inches.

About the Work In the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty. Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring. Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost organ-like); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes.
About the WorkIn the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty.Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring.Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost “organ-like”) ; be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes.

SATB Choir

SKU: BT.MUSM570368679

For choir and fixed media. Composed by Evis Sammoutis. Score Only. Composed 2019. 14 pages. University of York Music Press #MUSM570368679. Published by University of York Music Press (BT.MUSM570368679).

Isthmus denotes a narrow strip of land with sea on either side, forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus, my birthplace, and in the USA, my recently adopted homeland. Having lived in a small, partitioned island for my formative years and in England for eleven years, water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border, a violent and absolute interruption of a continuum. While in the USA, or indeed in a now connected Europe, it is possible to travel on land for days without having to encounter a border, in the countries where I lived for most of my life, that was not possible. As an artist, this notion of establishing boundaries and consciously trying to break them is very close to me, as my music deals both with modernity but also with tradition and, similarly, with metaphor and reality. As a Cypriot, the sea, the world of antiquity, the mysteries of the oracles, the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus, different layers of history are frequently superimposed on a single building that might still preserve its Roman, Byzantine, Venetian and Ottoman features in its layers of stone and architecture. Similarly, ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus, therefore, can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus, in this short piece, I connect these experiences with the purpose of creating a distinct and unique sonic context, connecting technology and tradition, the pastoral with the urban, the musical with the extra-musical and the abstract with the concrete. For example, the choir does not always sing in the traditional sense, but the singers imitate various natural sounds, such as water, air, crickets or birds, to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York, communicated within clearly defined, singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic, articulating an imaginary language, but also literal, with a setting of the poem, “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery, creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich, without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers is sought with 4 additional soloists (2 Sopranos and 2 Altos). Each singer must have their own wireless speaker, secured either in the music folder or as a strap inside their shirts. All sounds must match in volume the sound from the speakers, creating one unified timbre. The speakers should not be noticeable to the public. The four soloists are placed offstage at the beginning of the work. From 1:35’ onwards they enter the hall and take their positions, ideally at the four corners of the hall. If the hall is too large, the singers can find alternate positions, but these should always be antiphonal. The four soloists sing predominantly in the “kulning” style and the antiphonal aspect is very important to the work. There are two sound files for each section (SATB) that are triggered by each singer’s mobile device. The first occurs at the start of the piece, and the second, about a minute before the end. The sound files are able to be purchased separately, on CD, or are available directly from UYMP.