PARTITIONS GRATUITES :
- Night Shadows

Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Library. Softcover. Size 8.5x11 inches. 373 pages. Published by Hal Leonard.

Piano

SKU: HL.14030976

Piano. Composed by Bent Sorensen. Music Sales America. Classical. Book [Softcover]. 24 pages. Edition Wilhelm Hansen #KP01588. Published by Edition Wilhelm Hansen (HL.14030976).

ISBN 9788759853757. 9.5x14.25x0.086 inches. English.

The composer writes, 'Quite some time ago I heard - through a conversation in a mobile phone - a wonderful concert of ringing church bells from an European capital. I found it very hard to concentrate about the conversation, because I was so engrossed by the chaotic world of bell sound. The night after, I dreamt that the sound of those low singing bells was rising up from a piano in a huge empty concert hall. That experience became the starting point for my piano piece, 'The Shadows of Silence'. But before the piece gets to the ringing bells it moves through a landscape of shadows - Shadows of the silence before the bells - Silence before the storm - Shadows of melodies which all the time leaves traces even in the short passages of storm. After the passage with the low ringing bells the shadows of silence returns melted in to a lament, which are sending two regards. One to two small beautiful - not very well known - bars by Mozart, and one to the sextet in my own opera, 'Under the Sky'.

Piano Solo - Easy-Intermediate

SKU: FP.FBS02

Composed by Sarah Baker. Sheet Music and Books. Eight pieces on a night theme for solo piano, by Sarah Baker. Suggested grade 4-5. Classical. Collection. Forsyths Publications #FBS02. Published by Forsyths Publications (FP.FBS02).

ISBN 9790570500192.

Sara h Baker is Vocal Composer in Residence at Education Music Services, an ABRSM examiner and a well known composer of songs and musicals for primary schools and massed-choral events.

All this experience has come together in the creation of this first published album of piano pieces, inspired by the sounds heard at night from the woodland just beyond Sarah’s childhood home.

Suitable for players of around grade 4-5 standard, her evocative sound pieces begin at the tranquillity of dusk and end with the exuberant dawn chorus.

The composer writes:

'I grew up with woods behind my house, and the nocturnal noises and images that I remember were the inspiration for these eight short sound pictures on the theme of night. The music moves first from the tranquility of dusk and evening mists, to the emerging starlight of twilight. As night falls it takes on on a darker quality with shadows and dreams disturbing peace and calm.The night birds and bats swoop and flit past as they seek their prey, but gradually dawn approaches and peaceful sleep is restored. The morning is heralded in the joyful exuberance of the dawn chorus.'.

C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Eb Edition. By Various. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, chord names, leadsheet notation and guitar chord chart. Series: Hal Leonard Fake Books. 813 pages. Published by Hal Leonard.

Piano

SKU: HL.14043546

Piano Solo. Composed by Judith Weir. Music Sales America. Classical, Contemporary. Book [Softcover]. 20 pages. Chester Music #CH82709. Published by Chester Music (HL.14043546).

9.0x12.0x0.088 inches.

Judith Weir 'S Day Break Shadows Flee For Solo Piano. This 10 Minute Work Was Commissioned By Bbc Radio 3. It Was First Performed By Benjamin Grosvenor On 1St September 2014, As Part Of The Proms Chamber Music Series At Cadogan Hall. ' Day Break Shadows Flee , Written For Benjamin Grosvenor, Is A Two-Part Invention, A Piano Solo Composition In Which The Two Hands Work In Close Co-Ordination But Independently. My Intention Was Generally To Avoid Using Thick Chords (Although Octaves And Other Clear Sonorities Are Included) While Allowing Both The Right And Left-Hand Lines To Be Free, Mobile And Expressive. The Treble And Bass Sectors Of The Keyboard Are Clearly Contrasted AndOften Widely Separated. In Atmosphere And Expression The Music Is Another Kind Of Two-Part Invention, Contrasting Bright, Upwards-Arching Phrases (Heard At The Opening And Evoking The Arrival Of Light At The Beginning Of The Day) With Veiled, Mysterious Scurryings, Suggesting The Stranger, More Nervous Life Lived At Night And In The Early Morning. ' - Judith Weir.