| I Could Write a Book Ensemble Jazz [Conducteur] Alfred Publishing
By New York Voices. Composed by Rodgers and Hart. For Jazz Ensemble. Jazz Vocal ...(+)
By New York Voices.
Composed by Rodgers and
Hart. For Jazz Ensemble.
Jazz Vocal Series. Level:
4 (Medium Advanced /
Difficult). Score. 32
pages. Published by
Alfred Publishing.
$11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| I Could Write a Book (as recorded by the New York Voices) Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire/avancé Alfred Publishing
By Lorenz Hart, Music By Richard Rodgers. Arranged by Darmon Meader. For Jazz En...(+)
By Lorenz Hart, Music By
Richard Rodgers. Arranged
by Darmon Meader. For
Jazz Ensemble. Jazz
Ensemble. Jazz Vocal
Series. Swing. Level: 4
(Medium Advanced /
Difficult) (grade 4).
Conductor Score and
Parts. 90 pages.
Published by Alfred
Publishing.
(1)$62.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pal Joey Piano, Voix [Vocal Score] Hal Leonard
By Richard Rodgers, Lorenz Hart. Vocal Score. Size 9x12 inches. 184 pages. Publi...(+)
By Richard Rodgers,
Lorenz Hart. Vocal Score.
Size 9x12 inches. 184
pages. Published by Hal
Leonard.
$70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Arion and the Dolphin (Vocal Score) Peters
Choir Secular Countertenor Solo - Children's Chorus - SATB choir- 2 piano - perc...(+)
Choir Secular
Countertenor Solo -
Children's Chorus - SATB
choir- 2 piano -
percussion SKU:
PE.EP72698A
Cantata for Solo
Countertenor, Children's
Chorus, Adult Mixed
Chorus, Two Pianos and
Percussion. Composed
by Jonathan Dove. Choral
Works (inc. Oratorios).
Edition Peters. Book. 92
pages. Duration 00:25:00.
Edition Peters
#98-EP72698A. Published
by Edition Peters
(PE.EP72698A). ISBN
9790577010519. 210 x
297mm inches.
English. Commiss
ioned by Making Music
with funds from the
Nicholas Berwin
Charitable
Foundation First
performance: 12th March
2016, Waltham Singers,
conducted by Andrew
Fardell, King Edward's
Grammar School,
Chelmsford. Mus
ic runs through the story
of Arion, which begins
with a singing
competition in Sicily.
Arion wins the prize, and
this puts his life in
danger: his newfound
wealth excites the Greed
of the sailors who are
supposed to be bringing
him back to Corinth, and
they threaten to kill
him. They allow
Arion to sing one last
song, and the power of
his singing attracts
dolphins to the ship.
At The End of his
song, he jumps overboard,
and one of the dolphins
carries him to safety.
So Arion’s
musical gift gets him
into trouble, but it is
also his
salvation. The idea of
being rescued by a
music-loving dolphin is
very appealing. In
Robert Graves’
account of the myth, the
dolphin could not bear to
be parted from Arion, and
accompanied him back to
court, where “it
soon succumbed to a life
of luxury.”
However, Herodotus
says that, after his
rescue and return to
Corinth, Arion failed to
return the dolphin to the
sea, and it died there.
Apollo placed the
dolphin among the stars,
and next to it,
Arion’s lyre, in
recognition of his
musical skill. This
is one of the mythical
explanations of the
origins of the
constellations Delphinus
and
Lyra. It
seems natural to sing a
story that has singing at
its heart. When I
was asked by the Nicholas
Berwin Charitable Trust
to write a choral work
for Making Music,
something that would be
within reach of many
choirs, and involve
children, this story
struck me as ideal: the
men of the chorus could
be the bloodthirsty
sailors, and the women
could create an
atmosphere of mystery for
the arrival of the
dolphins, represented by
children’s voices.
There would be one
solo voice: Arion, the
marvellous singer.
Andrew Fardell, the
conductor who was advisor
to this commission, had
suggested that I might
use the same
instrumentation as a
popular arrangement of
Orff’s Carmina
Burana, a work that, as
well as using
children’s chorus,
features a solo
countertenor. I
thought the magical,
otherworldly quality of
this voice would help to
convey the extraordinary
effect Arion’s
singing had on all who
heard
it. - Jonathan
Dove $18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1 Piano seul Musik Fabrik
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A.
Published
by Musik Fabrik
$48.69 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2 Piano seul - Avancé Musik Fabrik
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5 SKU:
FA.MFCD017B By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B). 8.27 x
11.69
inches. Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher. $48.69 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Children, Go Where I Send Thee Carl Fischer
Choral Percussion, Piano, alto voice, bass Guitar, bass voice, soprano voice, te...(+)
Choral Percussion, Piano,
alto voice, bass Guitar,
bass voice, soprano
voice, tenor voice
SKU: CF.CM9743IN
Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson.
Set of Score and Parts.
44+32+2 pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743IN.
Published by Carl Fischer
Music (CF.CM9743IN).
ISBN 9781491162231.
UPC: 680160920990. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem: This refers
to the infant Jesus. Two
for Paul and
Silas: This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.ÂÂ
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door: Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂÂ
stars in the
right hand of Ch
rist mentioned inÂ
 the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun! $50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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