| 12 Soundscapes Piano seul Breitkopf & Härtel
Inside the Piano. Composed by Steffen Schleiermacher. Edition Breitkopf. Wor...(+)
Inside the Piano.
Composed by
Steffen Schleiermacher.
Edition Breitkopf.
World premiere: Leipzig,
Mendelssohn-Haus, May 18,
2001
Awarded the German Music
Edition Prize 2002
20th Century (after
1950).
Breitkopf and Haertel
#EB-
9137. Published by
Breitkopf
and Haertel
$55.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Two Landscapes of Song for Treble Voices Carl Fischer
Choral SA choir, piano SKU: CF.CM9576 1. Who Robbed the Woods 2. Cool ...(+)
Choral SA choir, piano
SKU: CF.CM9576
1. Who Robbed the
Woods 2. Cool is the
Valley Now. Composed
by Paul David Thomas.
Sws. Performance Score.
16 pages. Carl Fischer
Music #CM9576. Published
by Carl Fischer Music
(CF.CM9576). ISBN
9781491153987. UPC:
680160912483. 6.875 x
10.5 inches. Key: G
minor. English. Emily
Dickinson (1830-1886) ,
Walt Whitman
(1819-1892). The
two pieces, Who Robbed
the Woods? and O Cool is
the Valley Now, combine
to create a set that both
explores the subtle
beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinsons poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees behalf, who
would do such a thing?
Whitman ponders a trees
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 712. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 3953). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modes lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
910, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39-53). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning a
cappella section should
be hushed yet intense; a
richer, fuller sound may
be brought out in the
middle section where the
key shifts to Bb major
and the choir sings of
the many noble qualities
of trees (mm. 39-53). O
Cool is the Valley Now
also makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
“Who Robbed the
Woods?†and
“O Cool is the
Valley Now,â€
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around
us.The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson’s poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees’ behalf,
who would do such a
thing? Whitman ponders a
tree’s silent
majesty and power and its
ability to be “yet
say nothing at
all.â€The musical
setting begins and ends
in the mode of G-Dorian
while moving briefly in
the middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7–12. The
beginning a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm.
39–53).O Cool is
the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode’s lack
of a leading tone gives
the melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9–10, imitating
the rolling hills and
valleys evoked in the
text. The phrases of the
vocal lines should also
be flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p. 14. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Marsden Moor [Conducteur et Parties séparées] - Intermédiaire Forton Music
Eb. 3Bbcl. Bbcl/Acl. Acl. Acl/Bcl. 2Bcl. Cbcl (Eb clarinet, 3 Bb clarinets, Bb o...(+)
Eb. 3Bbcl. Bbcl/Acl. Acl.
Acl/Bcl. 2Bcl. Cbcl (Eb
clarinet, 3 Bb clarinets,
Bb or alto clarinet, alto
clarinet, alto clarinet
or bass clarinet, 2 bass
clarinets, contrabass
clarinet) - Intermediate
SKU: FT.FM360
Composed by Keiron
Anderson. Clarinet
Ensemble/Choir - Eb
clarinet, 3 Bb Clarinets,
Bb or Alto Clarinet, Alto
Clarinet, Alto Clarinet
or Bass Clarinet, 2 Bass
Clarinets, Contrabass
Clarinet. Score and
Parts. Forton Music
#FM360. Published by
Forton Music (FT.FM360).
ISBN
9790570482597. Mars
den Moor – Clarinet
Ensemble (Eb Clarinet,
3Bb Clarinets, Bb or Alto
Clarinet, Alto Clarinet,
Alto or Bass Clarinet, 2
Bass Clarinets,
Contrabass Clarinet.)
Written to evoke the open
spaces, serenity and yet
power of the Moors,
Marsden Moor is based on
a motif built from two
major seconds a fourth
apart. The motif is
develped and imitated as
the pieces progresses
giving a rather solitary
feeling to the music. A
second themes carries the
journey until a
sequential progression
lifts the music to a
dignified but powerful
climax. When the music
appears to resolve to a
more relaxed tonality the
second theme carries it
off modally to reiterate
the power which gradually
dies away to leave the
landscape intact and
silent again. Written
originally for String
Orchestra, the work is
available for Clarinet
Choir, Brass Ensemble,
and Brass Band the wind
versions are particularly
effective in describing
this landscape. $35.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Silent Night (Two-Part) Chorale 2 parties 2 parties - Facile Pinkzebra
Choral Two-Part chorus - early intermediate SKU: XC.1903014 Composed by P...(+)
Choral Two-Part chorus -
early intermediate
SKU: XC.1903014
Composed by Pinkzebra.
Arranged by Pinkzebra.
Octavo. Pinkzebra
#1903014. Published by
Pinkzebra (XC.1903014).
9 x 12
inches. Reverent
and peaceful, this
arrangement of the
beloved carol begins with
tender simplicity and
slowly weaves additional
cascading layers to
create a lush landscape
of drama and
contemplative beauty. The
fresh harmonization and
lovely vocal lines will
create a delightful
moment in your concert or
service. Help your choir
members rehearse with the
part-dominant MP3
practice tracks,
available in a multi-user
bundle to share with your
whole choir. $2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Silent Night SAB Chorale 3 parties SAB - Facile Pinkzebra
Choral SAB chorus - early intermediate SKU: XC.1903012 Composed by Pinkze...(+)
Choral SAB chorus - early
intermediate SKU:
XC.1903012 Composed
by Pinkzebra. Arranged by
Pinkzebra. Octavo.
Pinkzebra #1903012.
Published by Pinkzebra
(XC.1903012). 9 x 12
inches. Reverent
and peaceful, this
arrangement of the
beloved carol begins with
tender simplicity and
slowly weaves additional
cascading layers to
create a lush landscape
of drama and
contemplative beauty. The
fresh harmonization and
lovely vocal lines will
create a delightful
moment in your concert or
service. Help your choir
members rehearse with the
part-dominant MP3
practice tracks,
available in a multi-user
bundle to share with your
whole choir. $2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Silent Night SSA Chorale 3 parties SSA - Facile Pinkzebra
Choral SSA chorus - early intermediate SKU: XC.1903013 Composed by Pinkze...(+)
Choral SSA chorus - early
intermediate SKU:
XC.1903013 Composed
by Pinkzebra. Arranged by
Pinkzebra. Octavo.
Pinkzebra #1903013.
Published by Pinkzebra
(XC.1903013). 9 x 12
inches. Reverent
and peaceful, this
arrangement of the
beloved carol begins with
tender simplicity and
slowly weaves additional
cascading layers to
create a lush landscape
of drama and
contemplative beauty. The
fresh harmonization and
lovely vocal lines will
create a delightful
moment in your concert or
service. Help your choir
members rehearse with the
part-dominant MP3
practice tracks,
available in a multi-user
bundle to share with your
whole choir. $2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Silent Night SATB Chorale SATB - Facile Pinkzebra
Choral SATB chorus - early intermediate SKU: XC.1903011 Composed by Pinkz...(+)
Choral SATB chorus -
early intermediate
SKU: XC.1903011
Composed by Pinkzebra.
Arranged by Pinkzebra.
Octavo. Pinkzebra
#1903011. Published by
Pinkzebra (XC.1903011).
9 x 12
inches. Reverent
and peaceful, this
arrangement of the
beloved carol begins with
tender simplicity and
slowly weaves additional
cascading layers to
create a lush landscape
of drama and
contemplative beauty. The
fresh harmonization and
lovely vocal lines will
create a delightful
moment in your concert or
service. Help your choir
members rehearse with the
part-dominant MP3
practice tracks,
available in a multi-user
bundle to share with your
whole choir. $2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lutz Gerlach Piano Solo Piano seul - Facile AMA Verlag
A Kind of Miniatures / Panta Rhei. By Lutz Gerlach. For Piano. Solos. AMA Verlag...(+)
A Kind of Miniatures /
Panta Rhei. By Lutz
Gerlach. For Piano.
Solos. AMA Verlag.
Contemporary. Level:
Beginning-Intermediate.
Book. Size 9x12. 144
pages. Published by AMA
Verlag. ISBN 3899220102.
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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