| Break, Break, Break Chorale SSATB SSATB, Piano [Octavo] Alfred Publishing
By Sir Alfred Lord Tennyson, Music By Ruth Morris Gray. For Choir. (SSATB). Cho...(+)
By Sir Alfred Lord
Tennyson, Music By Ruth
Morris Gray. For Choir.
(SSATB). Choral Octavo.
Choral Designs. Choral
Octavo. 12 pages.
Published by Alfred
Publishing.
$1.75 $1.6625 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| There is Sweet Music Here Carl Fischer
Choral TBB choir, piano SKU: CF.CM9594 Composed by Greg Gilpin. Fold. Per...(+)
Choral TBB choir, piano
SKU: CF.CM9594
Composed by Greg Gilpin.
Fold. Performance Score.
8 pages. Duration 2
minutes, 50 seconds. Carl
Fischer Music #CM9594.
Published by Carl Fischer
Music (CF.CM9594).
ISBN 9781491154168.
UPC: 680160912667. 6.875
x 10.5 inches. Key: Bb
major. English. Alfred
Tennyson. Alfred, Lord
Tennyson
(1809-1892). The
text of Alfred, Lord
Tennyson's There is
Sweet Music Here is
a wonderful example of
word painting. Keep this
in mind while learning to
sing the music and try to
capture the different
scenes created through
these famous words. The
first two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 710, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 1417
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
2225, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 3336. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 3738
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson'sA
There is Sweet Music
HereA is a wonderful
example of word painting.
Keep this in mind while
learning to sing the
music and try to capture
the different scenes
created through these
famous words. The first
two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7a10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14a17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22a25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33a36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37a38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson'sA
There is Sweet Music
HereA is a wonderful
example of word painting.
Keep this in mind while
learning to sing the
music and try to capture
the different scenes
created through these
famous words. The first
two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7a10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14a17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22a25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33a36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37a38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson's
There is Sweet Music
Here is a wonderful
example of word painting.
Keep this in mind while
learning to sing the
music and try to capture
the different scenes
created through these
famous words. The first
two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7-10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14-17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22-25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33-36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37-38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson's
There is Sweet Music Here
is a wonderful example of
word painting. Keep this
in mind while learning to
sing the music and try to
capture the different
scenes created through
these famous words. The
first two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7-10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14-17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22-25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33-36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37-38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord
Tennyson's There is
Sweet Music Here is a
wonderful example of word
painting. Keep this in
mind while learning to
sing the music and try to
capture the different
scenes created through
these famous words.The
first two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm.
7–10, the vocals
cascade gently into a
dissonance that develops
into a full, rich sound.
Allow the piano to
support the unison lines
in mm. 14–17 as
well as those that
contain three-part
singing.The piano
establishes a consistent
undulating tempo in mm.
22–25, as if
lulling someone to sleep.
Be intentional with
word/syllabic stress when
singing through the
quarter notes.Maintain a
consistent tempo when
singing the eighth notes
in mm. 33–36. The
chord progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm.
37–38 reflecting
the craggy ledge and
hanging poppy followed by
the unison sleep which
ushers in the return of
the original melody
within the
accompaniment.Linger with
quiet, full and supported
singing during the last
three measures. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Crossing the Bar Chorale SATB SATB, Piano Carl Fischer
Choral SATB choir, piano SKU: CF.CM9608 Composed by Jamey Ray. Fold. Perf...(+)
Choral SATB choir, piano
SKU: CF.CM9608
Composed by Jamey Ray.
Fold. Performance. 12
pages. Duration 3
minutes, 33 seconds. Carl
Fischer Music #CM9608.
Published by Carl Fischer
Music (CF.CM9608).
ISBN 9781491154304.
UPC: 680160912803. 6.875
x 10.5 inches. Key: E
major. English. Alfred,
Lord Tennyson
(1809-1892). The
beauty in Alfred, Lord
Tennysons poem is
reflected by the music
with the use of text
painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 5764,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennysonas
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m.A 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word adeepa in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word adarka in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word aembark,a
which is to be an ascent
to Heaven. The melody
moves between voice
parts, even as early as
m. 14 where the altos
have the melody for only
a single measure; it is
then handed back to the
sopranos. From mm. 57a64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word awhen.a Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennyson's
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 57-64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennyson's
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 57-64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing Crossing
the Bar as much as I
enjoyed writing it.
~Jamey Ray. The beauty
in Alfred, Lord
Tennyson’s poem is
reflected by the music
with the use of text
painting. The piano
creates the sound of
moving water in m.Â
19, providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word
“deep†in m.
27 gives another instance
of text painting.Take
advantage of the minor
second suspension on the
word “darkâ€
in m. 38 in order to
achieve a feeling of
suspense. The entrance at
m. 41 is full, and while
still minor, the text
gives us hope for a
change. The change comes
in m. 45 with the
staggered entrances
creating a sense of
building and ascent until
the climax of this moment
at m. 47 on the word
“embark,â€
which is to be an ascent
to Heaven.The melody
moves between voice
parts, even as early as
m. 14 where the altos
have the melody for only
a single measure; it is
then handed back to the
sopranos. From mm.
57–64, the altos
trade the melody back and
forth with the sopranos.
Take note that the alto
melody should be brought
out, but the line does
not actually begin until
the word
“when.â€Lastly
, be intentional with
syllabic stress (no two
eighth notes or quarter
notes alike) and to give
direction to any note
longer than a quarter.I
hope you enjoy learning
and performing Crossing
the Bar as much as I
enjoyed writing it.~Jamey
Ray. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A cycle of songs [Conducteur] Noten Roehr
Quartet of solo voices with piano SKU: NR.91275 From The Princess of A...(+)
Quartet of solo voices
with piano SKU:
NR.91275 From The
Princess of Alfred, Lord
Tennyson : for.
Composed by Sir Charles
Villiers Stanford. Vocal
music. Score. With
Language: English. Noten
Roehr #91275. Published
by Noten Roehr
(NR.91275). Text:
Alfred Lord
Tennyson. Accompani
ment, op. 68, 1897, Score
(en), Tennyson, Alfred,
First Baron Tennyson,
1809-1892,, text, As
throu the land, Sweet and
low, The splendour falls,
Tears idle tears, O
swallow swallow, Thy
voice is heard, Home they
brought her warrior dead,
Our enemies have falln,
Ask me no more. $55.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| I Heard the Bells on Christmas Day with Ring Out Wild Bells - SATB Chorale SATB Jackman Music Corporation
SATB chorus and piano SKU: JK.00423 Composed by Alfred Tennyson and Crawf...(+)
SATB chorus and piano
SKU: JK.00423
Composed by Alfred
Tennyson and Crawford
Gates. Arranged by Jackie
Frost Halversen. Choral
SATB, Difficulty Medium,
Piano Choir, Seasonal
Music Christmas,
Christmas. Christian,
Inspirational. Duration
5:45. Jackman Music
Corporation #00423.
Published by Jackman
Music Corporation
(JK.00423). Luke 2:14,
Doctrine and Covenants
3:1-3. A carol
medley for mixed chorus
(SATB), piano and
congregation. Composer
: Alfred Tennyson and
Crawford Gates
Arranger: Jackie Frost
Halversen Lyricist:
Henry Wadsworth
Longfellow and John
Baptiste
Calkin Performance
time: 5:45 Reference:
Luke 2:14, Doctrine and
Covenants 3:1-3. $1.60 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Crossing the Bar Chorale TTBB [Octavo] Schirmer
(No. 3 from Love Was My Lord and King ). By Gwyneth W. Walker (1947-). For TTBB...(+)
(No. 3 from Love Was My
Lord and King ). By
Gwyneth W. Walker
(1947-). For TTBB choir,
chamber Orchestra or
Piano. Choral, general.
Octavo. 12 pages.
Published by E.C.
Schirmer Publishing
$2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sweet and Low Chorale 3 parties SSA, Piano Alfred Publishing
Choir Secular (Women's Choir) SKU: AP.45596 Composed by John Leavitt. Per...(+)
Choir Secular (Women's
Choir) SKU:
AP.45596 Composed by
John Leavitt. Performance
Music Ensemble; Single
Titles. Alfred Choral
Designs. Secular. Choral
Octavo. 12 pages. Alfred
Music #00-45596.
Published by Alfred Music
(AP.45596). UPC:
038081513355. English.
Alfred Lord
Tennyson. Alfred,
Lord Tennyson's
comforting text is
beautifully set as a
lullaby for SSA voices.
The natural rocking
motion suggests not only
cradling the little one,
but also the waters of
the western sea, from
which father may one day
return. Arch-shaped
phrases and carefully
tuned cadences will
highlight the stress and
release of the musical
line.
About Alfred
Choral
Designs Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests. $1.90 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Crossing The Bar - Intermédiaire Walton Music
TTBB choir, divisi - Intermediate SKU: GI.WW1533 Composed by Daniel J. Ha...(+)
TTBB choir, divisi -
Intermediate SKU:
GI.WW1533 Composed by
Daniel J. Hall. Walton
Choral. Sacred. Octavo.
16 pages. Walton Music
#WW1533. Published by
Walton Music (GI.WW1533).
UPC: 888680005177.
English. Text by Alfred
Tennyson. The music
and text of Crossing the
Bar evoke maritime themes
of wind, waves, water,
and surf. The
accompaniment represents
the currents - both
physical and emotional -
that spirit us through
mortality and onward.
While several settings of
this well-loved Tennyson
text exist, the composer
has brought the poem to
new life through this
powerful new setting.
Length: 3:55. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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