Spirit of Freedom

Jamais auparavant disponible à voix haute et basse des versions, cette nouvelle édition des arrangements de spirituelles classiques de Johnson présente des nouvelles gravures de musique, de Johnson original préface et notes sur les pièces, un guide pour les textes anglais modifiés pour les spirituals, et un CD d'accompagnements piano enregistré par Laura Ward. / Chant Et Piano

for String Quartet. Par . Jonathan Batiste's GRAMMY Award-winning anthem to freedom comes to life in this sparkling G major string quartet arrangement by Paul Murtha. With all the verve and spirit of the original, you'll soon have students doing Batiste's famous dance moves as part of the performance! / Date parution : 2023-01-24/ Répertoire / Quatuor à Cordes

Description A second collection of Spirituals by the late Moses Hogan that provides a wealth of repertoire for worship and concert performance. 28 wonderful gospel and religious songs, all set for SATB full mixed choir and the track list includes: Blind Man , Give Me Jesus and I Am A Poor Pilgrim . With a foreward by Mormon Tabernacle Choir Director, Craig Jessop, this new collection of Moses Hogan originals and arrangements is essential for every director's library and is a fitting tribute to to this great American composer and conductor. Songlist A Spiritual Reflection Cert'nly Lawd Climbin' Up The Mountain de Blin' Man Stood On The Road And Cried Deep River Give Me Jesus Glory, Glory, Glory To The Newborn King Hold On! I Am His Child I Got A Home In-A Dat Rock I'll Make The Difference Let The Light Of Heaven Shine On Me Lift Every Voice For Freedom Like A Mighty Stream Mister Banjo Music Down In My Soul My God Is So High No Hidin' Place O Magnify The Lord Old Time Religion Ride On, King Jesus Stand By Me Surely He Died On Cavalry Swing Low, Sweet Chariot There's A Man Goin' Round We Shall Walk Through The Valley In Peace Who Built The Ark?

Instrumentation : Pf Crossing Borders is a new progressive series of volumes designed to introduce the developing pianist to a broad range of popular music, including jazz, blues, rock and pop. Most of the pieces are original, written by Remo Vinciguerra, and the series as a whole is intended to be used as a lively and entertaining parallel to the standard classical training. The rhythmic, melodic and harmonic fingerprints of a wide range of popular styles are gradually introduced, yet a classical spirit or framework can also be recognised in much of the music. In accordance with the relative freedom typical of popular music, many interpretative decisions, especially concerning dynamics and pedalling, are left to the players. Tempo indications are for guidance only, and need not be taken too literally.

Par FORBES L'ESTRANGE JOANNA (Arr.). Wade in the Water is a lively and infectious spiritual. Its features include a call-and-response texture, jazz ‘scat’ vocalization and finger clicks on beats 2 and 4 of the measure. This arrangement by Joanna Forbes L’Estrange remains true to the spirit of Eva Cassidy’s well-loved version, adapting the instrumental improvisation on the recording to create a fun scat section.  Listen to Eva Cassidy’s version and aim for the same passion and commitment, allowing the voices as much freedom of expression as is possible in a choral texture. This piece is part of the Faber Choral Singles series, offering a selection of beautifully crafted arrangements in a diversity of musical styles. From Broadway, pop and folk to spirituals, gospel and original works, the series is arranged for 3-part choir (soprano, alto and a combined male-voice part) providing flexibility for any choir. Complete with straight-forward piano accompaniments supporting the vocal lines, the Faber Choral Singles series guarantees the perfect repertoire for every occasion – so get exploring and get singing! / Choral Music / Répertoire / Voix Mixtes et Piano

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

MOTOWN & POP CLASSICS Part-Time Love Bird Of Beauty Creepin' That Girl Too High What's Going On? I Heard It Through The Grapevine How Sweet It Is Knock On Wood Hold On, I'm Coming What's Love Got To Do With It Respect Dancing In The Street Heat Wave and many more!! BLUE NOTE & JAZZ CLASSICS Classic Blue Note Tunes by: Joe Henderson (Inner Urge, etc.) Art Blakey (Backstage Sally, etc.) Lee Morgan (Ceora, etc.) Jackie McLean (Kahlil The Prophet, etc.) Bobby Hutcherson (Herzog, etc.) Freddie Hubbard (Blue Spirits, etc.) Wayne Shorter (Black Nile, etc.) Herbie Hancock (Dolphin Dance, etc.) Horace Silver (Opus De Funk, etc.) Contemporary Jazz Tunes by: Chick Corea (Litha, Chick's Tune, etc.) John Coltrane (Grand Central, etc.) Bill Evans (Since We Met, Emily, etc.) Miles Davis (So Near, So Far, etc.) Yellowjackets (Freedomland, etc.) Kenny Kirkland (Midnight Silence, etc.) Maria Schneider (Gush, etc.) Bob Berg (Promise, etc.) Tom Harrell (Sail Away, etc.) and Many more!! CHOICE STANDARDS Gentle Rain Caravan You Must Believe In Spring I Fall In Love Too Easily I Hear A Rhapsody If You Could See Me Now Prelude To A Kiss Invitation In A Sentimental Mood Just Friends You Stepped Out Of A Dream The Lamp Is Low Moon And Sand On Green Dolphin Street The Second Time Around Laura This Is New Stompin' At The Savoy Sweet Lorraine For All We Know Spring Is Here Star Eyes Stars Fell On Alabama That Old Feeling You've Changed and many more!!

Variétés / Partition /Ce recueil format poche vous propose 20 Négro spirituals, avec accords et paroles. A emmener partout, pour chanter seul ou entre amis et s'accompagner au clavier ou à la guitare.

Cette édition est idéale pour les instrumentistes, chanteurs et chorales. Outre les symboles de la corde et la mélodie, chaque morceau inclut une deuxième partie de la voix qui est facile à chanter, donnant à chaque spirituel sa saveur authentique. Ce volume contient les spirituals plus populaires et le plus connus de tous les versets. / Voix Et Guitare