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Vous avez sélectionné:
Stand Out Fit In
intermédiaire
Chorale SATB
Partitions à imprimer
7 partitions trouvées
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1
Together We Stand
Together We Stand
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Chorale SATB
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INTERMÉDIAIRE
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Leif Ingvald Skaug
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Together We Stand
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Leif Ingvald Skaug
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SheetMusicPlus
Choral Choir (Mixed) - Level 3 - SKU: A0.922605 Composed by Leif Ingvald Skaug. Arranged by Leif Ingvald Skaug, JC Vesttun. Gospel,Pop. Octavo. 5 pages....
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Choral Choir (Mixed) - Level 3 - SKU: A0.922605 Composed by Leif Ingvald Skaug. Arranged by Leif Ingvald Skaug, JC Vesttun. Gospel,Pop. Octavo. 5 pages. Leif Ingvald Skaug #5710009. Published by Leif Ingvald Skaug (A0.922605). Produced as a response to Covid19, and after 5 days, it was viewed by 1 million on Facebook and shared over 20.000 times.It started as a choir project by the composer, Leif Ingvald Skaug, who started live global gospel choir practices online. Several thousands have joined, and the production has singers from over 70 countries.Perfect for all choirs, young and old. Easy and catchy harmonies. Fits on big concerts, and smaller venues. In church as well.Spotify:https://open.spotify.com/track/6R40JrudJOniseVMxns186…Itunes:https://music.apple.com/…/gospel-explosion-feat-…/1508176870Youtube:https://www.youtube.com/watch?v=OIaHb81JhT0
$4.99 ≈
4.61€
To Sleep! To Sleep! (SATB)
To Sleep! To Sleep! (SATB)
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Chorale SATB
#
INTERMÉDIAIRE
#
Christopher Kalstad
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Christopher Kalstad
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To Sleep! To Sleep!
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Christopher Kalstad
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.793274 Composed by Christopher Kalstad. Arranged by Christopher Kalstad. Contemporary,Standards. Octavo. 4 pages...
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Choral Choir (SATB) - Level 3 - SKU: A0.793274 Composed by Christopher Kalstad. Arranged by Christopher Kalstad. Contemporary,Standards. Octavo. 4 pages. Christopher Kalstad #6657885. Published by Christopher Kalstad (A0.793274). Here is Alfred Tennyson's poem To sleep! to sleep! in a warm and lush setting for SATB choir. Tennyson's poem is about how all the highs and lows of human experience are leveled and equalized by sleep. This lovely two-minute work fits in well into any mixed choir program.
$2.05 ≈
1.89€
Valentine's Day Choral Activity/Game Sight Singing
Valentine's Day Choral Activity/Game Sight Singing
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Chorale SATB
#
INTERMÉDIAIRE
#
J
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Valentine's Day Choral Activit
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J. Gallagher
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.978029 Composed by J.C. Baker, Fermata Nowhere. Instructional,Standards. Octavo. 1 pages. J. Gallagher #5034151....
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Choral Choir (SATB) - Level 3 - SKU: A0.978029 Composed by J.C. Baker, Fermata Nowhere. Instructional,Standards. Octavo. 1 pages. J. Gallagher #5034151. Published by J. Gallagher (A0.978029). For a whole week of Valentine's Day have your students use this fun and engaging sight reading practice with love songs THEY WILL KNOW! I use it as a warm up/ do now at the start of band and choral classes for the first 5-10 minutes or so.These are quick 2, 4, and 8 measure examples totaling 10 songs for the students to practice sight reading using solfege.There are some tricky syncopated rhythms involved as well as key changes (C, G, F, D, Bb).The songs included in the 10 examples are, in order:1. Can't Help Falling In Love - Elvis2. Thinking Out Loud - Ed Sheeran3. We Found Love - Rhianna4. Just The Way You Are - Bruno Mars5. She Loves You - The Beatles6. I Will Always Love You - Whitney Houston7. Shallow - A Star Is Born8. All Of Me - John Legend9. Can You Feel The Love Tonight - Elton John/Lion King10. Love Is An Open Door - FrozenThis is a great warm up exercise at the start of class or rehearsal to get the students focused and their brains warmed up for singing, sight singing, reading, and learning new music.Typically students can take either the whole sheet down in one day and we spend a good majority of a day on it OR spread it out over the week and do 1 or 2 a day.Structure it as best you see fit.The students love competing with each other to see who can figure out the solfege and the song first!Bonus points if they can name the song, artist, and the correct lyrics!
$1.99 ≈
1.84€
Royals
Royals
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Chorale SATB
#
INTERMÉDIAIRE
#
Pop musique
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Lorde
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Eric Hagmann
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Royals
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Eric Hagmann
#
SheetMusicPlus
SATB, A Cappella, SATB w/ divisi - Intermediate - By Lorde. Arranged by Eric Hagmann. Score. 9 pages. Published by Eric Hagmann ...
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SATB, A Cappella, SATB w/ divisi - Intermediate - By Lorde. Arranged by Eric Hagmann. Score. 9 pages. Published by Eric Hagmann
This a cappella SATB w/ divisi + solo arrangement of ?Royals? by Lorde sticks closely to the original form but adds subtle changes to stand out from more traditional versions of the tune. Most notably, certain sections are fully reharmonized and will provide a fresh take for ears who heard the song on repeat during the summer of 2013. Additionally, the bass line follows a simple pattern that can be picked up by singers of all levels. Finally, vocal percussion can be utilized but it is not required. This arrangement would be great for both high school and college ensembles, and it would fit well as an opener in a competition set.
Ranges
Solo: F#3 - A4
Soprano: F#3 - D5
Alto: F#3 - G4
Tenor: D3 - F4
Bass: (D2 opt.) F#2 - A3
Performance time approx. 4:00
Feel free to reach out to me on my Facebook page:
https://www.facebook.com/erichagmannmusic/
$2.25 ≈
2.08€
THE ICON OF THE INVISIBLE GOD (SATB) – Colossians 1:15-20
THE ICON OF THE INVISIBLE GOD (SATB) – Colossians 1:15-20
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Michael A
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THE ICON OF THE INVISIBLE GOD
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M.A. Morizio
#
SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.926661 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 15 pages. M.A. Morizio #3588399. Published by M...
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Choral Choir (SATB) - Level 3 - SKU: A0.926661 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 15 pages. M.A. Morizio #3588399. Published by M.A. Morizio (A0.926661). In the first chapter of Paul’s letter to the Colossians, we discover the next known Hymn to Christ right after his introductory passages, beginning at the 15th verse. Paul opens this letter with a blessing, then immediately flows to one of the 1st century hymns, which I have called, The Icon of the Invisible God. The lyrics of this hymn are declarative, bold and illuminating as to whom the Christ figure is-the icon, the very image of the invisible God, the firstborn of all creation. The text makes it abundantly clear that Jesus is the authority; that He was there before all things, that He created all things, and that through Him all things hold together. This anthem is composed for SATB choir with Pipe Organ accompaniment. The meter is set to 6/8 time, with a rhythm tempo of Totally Alive; which is one actual definition of the word Holy. The anthem starts at a good clip (♪=100). The key is G Major, with an incidental and occasional flatted 5th (Dâ™) as a surprise-landing befitting to the text presented, as if to say, This is so amazing, how can it be? The flatted 5th gives the piece it's own identity and causes the listener to stand up and take notice whenever it occurs. When the hymn's lyrics glide into the all-important resolution, having made peace through the blood of the cross, the song retards and lands on a surprising musical cadence, the sixth chord (E Major). In this piece, the pipe organ is boldly featured as it supports and under girds the musical line, occasionally trumpeting its own victorious motifs and adding some contrapuntal elements, such as this duplet motif, in the pedal line. The final lyrics about Christ having reconciled everything to Himself, whether things on the earth or in the heavens, finish the piece with a great, ‘High-Church’ choral ending.
$1.99 ≈
1.84€
Song of the Mountains
Song of the Mountains
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Chorale SATB
#
INTERMÉDIAIRE
#
Greg Bartholomew
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Song of the Mountains
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Burke & Bagley
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.787250 Composed by Greg Bartholomew. Concert,Contemporary,Folk,Patriotic,Standards. Octavo. 16 pages. Burke & Ba...
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Choral Choir (SATB) - Level 3 - SKU: A0.787250 Composed by Greg Bartholomew. Concert,Contemporary,Folk,Patriotic,Standards. Octavo. 16 pages. Burke & Bagley #49747. Published by Burke & Bagley (A0.787250). SONG OF THE MOUNTAINS is a setting for mixed (SSAATB) choir with piano accompaniment of text adapted from prose by American naturalist John Muir (1838-1914). Commissioned for the Combined Choirs of St. Joseph's School, Seattle, directed by Rick Boyle, who premiered the piece at Benaroya Hall's Nordstrom Recital Hall on May 6, 2004, in the second annual New Works New Hope concert for the benefit of Gilda's Club Seattle. The piece was revised in 2007 and the premiere of the revised score was given on November 16, 2007, by the Queens College Chorus, Cindy Bell conducting, at the Aaron Copland School of Music in New York. It was selected by the Portland Vocal Consort for their 2013 Best of the Northwest program. Duration ca. 6 minutes. Conductor Cindy Bell says, Driven by a refreshing text of American naturalist John Muir, Bartholomew has created an accessible work that flows easily through both key and meter changes, and features expressive, lyric melodies contrasted by exciting rhythmic drive. Song of the Mountains is almost cantata-like, or through-composed, in that each line of Muir's text receives equal and interesting interpretation. Occasional use of the triplet rhythm creates both a relaxing effect (grasses cease waving) and driving sense of forward motion (Vibrating!). Effective use of dynamics and interweaving of choral parts make for each section having a musical life of its own. Follow along in the score as you listen to a performance in this video: https://www.youtube.com/watch?v=5VVW1Ah6kqE SONG OF THE MOUNTAINS Climb the mountains and get their good tidings. Nature's peace will flow into you as sunshine flows into trees. The winds will blow their freshness into you, and the storms their energy, while cares drop off like autumn leaves. Here is calm so deep, grasses cease waving. Everything in wild nature fits into us, as if truly part and parent of us. The sun shines not on us but in us. The rivers flow not past, but through us, thrilling, tingling, vibrating every fiber and cell of the substance of our bodies, Making them glide and sing. The trees wave and the flowers bloom in our bodies as in our souls, and every bird song, wind song, and tremendous storm song of the rocks in the heart of the mountain, is our song, our very own, and sings our love.
$2.50 ≈
2.31€
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Chorale SATB
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INTERMÉDIAIRE
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 2 - Eighths
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Dots and Beams
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #47...
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Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #4776187. Published by Dots and Beams (A0.931836). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00 ≈
9.24€
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