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1 Piano Quatuor: piano, 2 violons, violoncelle 1 Vents Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 189 Flûte traversière 174 Flûte traversière et Piano 158 Clarinette 135 Clarinette et Piano 133 Quatuor de Saxophones: 4 saxophones 130 Saxophone Alto 117 Saxophone Tenor 116 Hautbois, Piano (duo) 115 2 Saxophones (duo) 106 Saxophone Alto et Piano 92 Quatuor de Clarinettes: 4 clarinettes 89 Flûte, Hautbois, Clarinette, Basson 88 Ensemble de saxophones 85 Quintette de Saxophone: 5 saxophones 85 Saxophone Tenor et Piano 76 2 Flûtes traversières (duo) 68 Ensemble de Clarinettes 65 Saxophone (partie séparée) 59 2 Clarinettes (duo) 45 Quatuor de Flûtes : 4 flûtes 39 Ensemble de Flûtes 37 Saxophone 36 Hautbois (partie séparée) 28 3 Saxophones (trio) 28 Saxophone Soprano et Piano 24 3 Clarinettes (trio) 22 Quintette de Clarinettes: 5 clarinettes 21 Trio de Flûtes: 3 flûtes 20 Flûte et Guitare 18 2 Hautbois (duo) 17 Quintette de Flûte : 5 flûtes 15 Clarinette, Guitare (duo) 15 Flûte, Clarinette (duo) 13 Hautbois, Basson (duo) 10 Saxophone Baryton, Piano 10 Flûte à Bec 9 Clarinette, Basson (duo) 8 Flûte, Hautbois, Basson 8 2 Cors Anglais Et Pianoforte 7 Clarinette (partie séparée) 7 Hautbois 7 Saxophone Soprano 7 Flûte, Clarinette et Basson 7 Flûte, Hautbois, Clarinette (trio) 6 Quatuor de Flûtes à bec 6 Flûte, Violoncelle 5 Saxophone, Clarinette (duo) 4 5 Flûtes à bec 4 Flûte, Violon et Violoncelle 4 Flûte, Alto (duo) 3 2 Flûte à bec (duo) 3 Cor anglais, Piano 3 Quintette de Clarinette: Clarinette, Quatuor à Cordes 3 Clarinette, Violoncelle (duo) 3 Clarinette, Trombone (duo) 3 3 Hautbois 2 Saxophone et Orgue 2 Saxophone et Guitare 2 Flûte, Clarinette, Piano (trio) 2 Cornemuse 2 Flûte, Trombone (duo) 2 Flûte à bec Tenor 2 Flute (partie séparée) 2 Piccolo 2 Flûte, Violon 2 Hautbois, Flûte 2 Flûte, Hautbois (duo) 2 Hautbois, Guitare (duo) 2 Clarinette, Violoncelle, Piano (trio) 2 Hautbois, Clarinette (duo) 2 Ensemble De Flûte à bec 1 Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle 1 Flûte, Clarinette, Violon (trio) 1 Hautbois, Clarinette, Basson (trio d'anches) 1 Clarinette, Violon (duo) 1 Piccolo, Piano 1 Clarinette, Orgue 1 Flûte et Quatuor à Cordes 1 Clarinette et Alto 1 Hautbois, Violon, Piano 1 Cor anglais, Guitare (duo) 1 Flûte à bec Soprano 1 2 Flûtes traversières, Piano 1 Flûte, Alto et Piano 1 4 Hautbois 1 Clarinette, Tuba 1 Flûte, Violoncelle, Guitare 1 Flûte, Clarinette, Cor, Basson (Quartet) 1 Flûte, Harpe et Violoncelle 1 Cuivres Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 183 Trompette 154 Quatuor de Cuivres : 2 trompettes, trombone, tuba 118 Trombone 105 Trombone et Piano 95 Trompette, Piano 65 Trompette (partie séparée) 62 Quatuor de Cuivres: 2 trompettes, Cor, trombone 38 Quatuor de cuivres: 4 trombones 36 Ensemble de Trombones 33 Trombone (partie séparée) 31 Quatuor de Cuivres 29 Ensemble de Trompettes 28 Cor 24 Cor et Piano 23 2 Cors (duo) 22 2 Trombones (duo) 22 2 Trompettes (duo) 21 Quatuor de cuivres: 4 cors 15 2 Euphoniums (duo) 15 Ensemble de Cors 12 2 Euphoniums et 2 Tubas 11 Trompette, Trombone (duo) 9 Trio de Cuivres 9 Cor (partie séparée) 8 3 Trombones (trio) 8 Tuba et Piano 8 2 Cors Anglais Et Pianoforte 7 Tuba 7 Euphonium 6 2 Tubas (duo) 5 Clarinette, Cor (duo) 4 Quintette de Cuivres: 2 trompettes, Cor, 2 trombones 3 Trombone, Tuba (duo) 3 Cor anglais, Piano 3 3 Trompettes (trio) 3 Tuba (partie séparée) 2 Trompette, Saxophone (duo) 2 Trompette, Cor (duo) 2 Trombone basse 2 Trompette, Violoncelle et Piano 2 Trompette, Tuba (duo) 2 4 Tubas 2 Euphonium, Piano (duo) 2 Trombone basse et Piano 2 Quatuor de cuivres: 4 trompettes 1 Trombone, Cor (duo) 1 Cor, Violoncelle (duo) 1 Cor anglais, Guitare (duo) 1 3 Cors (trio) 1 Tuba et Orgue 1 Trombone, Violon (duo) 1 Euphonium, Tuba (duo) 1 Bass Clef Instruments 1 Cordes Quatuor à cordes: 2 violons, alto, violoncelle 654 Violon et Piano 218 Violon 156 Violoncelle, Piano 120 Violoncelle 114 Violon, Violoncelle (duo) 112 Alto, Piano 109 Trio à Cordes: violon, alto, violoncelle 99 Harpe 81 2 Violons (duo) 54 2 Violoncelles (duo) 52 Alto seul 50 Trio à Cordes: 2 violons, violoncelle 38 Violon, Alto (duo) 27 2 Altos (duo) 26 2 Harpes (duo) 22 Alto, Violoncelle (duo) 21 Contre Basse 19 Quintette à cordes: 2 violons, alto, violoncelle, basse 19 Violon (partie séparée) 18 Violon, Guitare (duo) 17 Alto (partie séparée) 16 Ensemble d'Altos 13 Violoncelle , Guitare (duo) 13 Ensemble de Violons 13 Contrebasse, Piano (duo) 12 4 Violoncelles 12 Trio à Cordes: 3 violoncelles 11 2 Contrebasses (duo) 10 Trio à cordes: 3 violins 8 Alto et Harpe 7 Alto, Guitare (duo) 7 Violoncelle, Contrebasse (duo) 6 4 Contrebasses 6 Quintette à cordes: 2 violons, 2 altos, violoncelle 6 Trio à Cordes: 2 violons, alto 6 Harpe, Violoncelle (duo) 5 Harpe, Violon (duo) 5 Harpe, Voix 5 Quatuor à cordes: 4 violons 5 Harpe, Flûte (duo) 5 Trio à cordes: 3 altos 4 Ensemble de Violoncelles 3 Piano Trio: Violon, Alto, Piano 2 Trio à cordes 2 Quatuor à cordes : 4 altos 1 Violon, Tuba (duo) 1 Harpe et Piano 1 3 Contrebasses 1 Violon, Clarinette, Piano (trio) 1 Alto et Basson 1 Harpe, Violon, Violoncelle 1 Quintette à cordes : 2 violons, alto et 2 violoncelles 1
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I am worth nothing (PÄ«ntci nakÄmmam axÄm) for soprano and piano
# Voix Soprano, Piano# INTERMÉDIAIRE/AVANCÉ# Adrienne Inglis # I am worth nothing# Adrienne Inglis# SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.953635 Composed by Adrienne Inglis (ASCAP). Contemporary,Sacred,World. 16 pages. Adrienne Inglis (ASCAP) #6...(+)
Soprano voice,Vocal Solo - Level 4 - SKU: A0.953635 Composed by Adrienne Inglis (ASCAP). Contemporary,Sacred,World. 16 pages. Adrienne Inglis (ASCAP) #6883999. Published by Adrienne Inglis (ASCAP) (A0.953635). Hot off the press! Dramatic, almost operatic song for soprano and piano (with rattle and mallet) that brings to life the tragic story of two Coahuilteco sisters sold into slavery during the Spanish mission era in Texas I am worth nothing (2022), a song for soprano and piano by Adrienne Inglis (ASCAP)Commissioned by Inversion Ensemble for Eternal Graffiti April 9, 2022, Austin, TexasProgram note: Commissioned by Inversion Ensemble and composed by Adrienne Inglis, I am worth nothing sets a stunning Coahuilteco/English poem by Texas poet Lisa Kay Adam. From the phrase PÄ«ntci nakÄmmam axÄm (I am worth nothing), Adam creates a vivid story of two young Coahuiltecan sisters and their encounters with newly arrived Spanish settlers and mission priests in the eighteenth century. Musically, the florid phrases and haunting modalities join with the sounds of drums and melancholic bells to paint a picture of exploitation, early death, and a lost way of life in the western gulf coastal plains.Text: I am not worthy - PÄ«ntci nakÄmmam axÄm, poem by Lisa Kay Adam from her book xuÄi: mission, house, village, town, published in 2018 by Lamar University Literary Press, used with permissionDuration: 9:06 (at most)World premiere: Eternal Graffiti with soprano Katrina Saporsantos and pianist Benjamin Dia April 9, 2022 Austin, Texashttps://www.chaskimusic.com/adrienne
Pictures at an exHERbition
# Voix Soprano, Piano# INTERMÉDIAIRE/AVANCÉ# Contemporain# Sally Whitwell# Pictures at an exHERbition# Sally Whitwell# SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.873044 Composed by Sally Whitwell. Contemporary. 12 pages. Sally Whitwell #6130719. Published by Sally Whit...(+)
Soprano voice,Vocal Solo - Level 4 - SKU: A0.873044 Composed by Sally Whitwell. Contemporary. 12 pages. Sally Whitwell #6130719. Published by Sally Whitwell (A0.873044). If you really pushed me to make a call, Mussorsgky’s Pictures at an Exhibition would be one of my favourite pieces in the classical repertoire. Somewhat outrageously, for a pianist, I prefer the colours and textures of the orchestrated version. I reasonably regularly listen to it, especially in transit. But to be honest, it’s not the kind of music that I perform all that often i.e. music by dead, white, male composers. I mean, it’s 2020 and as the meme says I can’t believe I still have to protest this sh*t. And I feel it too for those in the visual art world. I mean, things are a good deal better over there in contemporary art world, where women are exhibited regularly and everyone seems to embrace it without a fuss. As for women artists from centuries gone by, it’s less good news but they’re working on it. I’m reminded of the situation daily as my older brother, who is excellent at choosing gifts thoughtfully, gave me some Guerrilla Girls merchandise which I use as an iPad cover. Entitled Advantages of Being a Woman Artist, it’s a list of truths that’s pretty relatable for any creative woman. My favourite bit - Being reassured that whatever kind of art you make it will be labeled feminine. Ooft. Too real. And so I conceived of this song cycle as a kind of gift for those fighting the traditional, patriarchal structures of the entire creative sector. Three songs, inspired by three works by three wonderful Australian women artists of last century. All are depictions of scenes around Sydney Harbour. In-curve is inspired by Grace Cossington Smith’s The Bridge in-curve, a depiction of an unfinished Sydney Harbour Bridge, painted in 1930 The Code is inspired by Thea Proctor’s woodcut print Women with fans. It is thought to be a portrait of two other artists, printmakers Ethel Spowers and Eveline Syme, sitting above Rushcutters Bay. Where would we sail? is inspired by a very different view of the same location Still life and Rushcutters Bay by Margaret Olley.
Three Songs
# Voix Soprano, Piano# INTERMÉDIAIRE/AVANCÉ# Classique# Dominique Le Gendre# Three Songs# Schott Music - Digital# SheetMusicPlus
Soprano voice and piano - intermediate to advanced - SKU: S9.Q585120 For soprano and piano. Composed by Dominique Le Gendre. Federico garcÃa l...(+)
Soprano voice and piano - intermediate to advanced - SKU: S9.Q585120 For soprano and piano. Composed by Dominique Le Gendre. Federico garcÃa lorca - flamenco - love - nature - shakespeare - water. Downloadable, Score. Duration 5'. Schott Music - Digital #Q585120. Published by Schott Music - Digital (S9.Q585120). English â?¢ Spanish.Four Arms, Two Necks is a setting of a 17th century anonymous poem. The timelessness of the words in the love poem struck me and I set it to music, later dedicating the song to two friends, Anda and Bill Winters, in celebration of a wedding anniversary. Orpheus is from William Shakespeareâ??s play The Life of King Henry VIII. Between 1996-2000, I composed and produced the music for audio recordings of all 38 Shakespeare plays in the Complete Arkangel Shakespeare collection. This song from the play was originally written for lute accompaniment and I later arranged the lute part for piano. Agua, Dónde Vas? is a setting of a poem by Federico GarcÃa Lorca. In 1998, I visited Barcelona to renew with a dear friend, Lucia from an illustrious family of flamenco musicians and dancers. We had met in 1985 when I first visited Granada and was hanging out in the flamenco tablaoâ??s of the Albaicin and Granada proper. Through Lucia I got a glimpse of a world in which Lorcaâ??s poetry vibrated daily and as casually as the music, songs and rhythms that peppered and punctuated conversations, discussions, exchanges of opinions, mealtimes in homes and bars and the precious moments of just hanging out. © 2023 Dominique Le Gendre.
IN THE BEGINNING. For soprano and piano
# Voix Soprano, Piano# INTERMÉDIAIRE/AVANCÉ# Gabriel Ruiz-Bernal# IN THE BEGINNING. For soprano # Gabriel Ruiz-Bernal# SheetMusicPlus
High Voice,Vocal Solo - Level 4 - SKU: A0.893973 Composed by Gabriel Ruiz-Bernal. Contemporary,Holiday,Musical/Show. 14 pages. Gabriel Ruiz-Bernal #6331...(+)
High Voice,Vocal Solo - Level 4 - SKU: A0.893973 Composed by Gabriel Ruiz-Bernal. Contemporary,Holiday,Musical/Show. 14 pages. Gabriel Ruiz-Bernal #6331901. Published by Gabriel Ruiz-Bernal (A0.893973). Commissioned by Colleen Daly for the St. Louis Concert seriesText by Rabindranath TagoreWhere have I come from, where did you pick me up? the baby asked its mother.She answered, half crying, half laughing, and clasping the baby to her breast-You were hidden in my heart as its desire, my darling.You were in the dolls of my childhood's games; and when with clay I made the image of my god every morning, I made the unmade you then.You were enshrined with our household deity, in his worship I worshipped you.In all my hopes and my loves, in my life, in the life of my mother you have lived.In the lap of the deathless Spirit who rules our home you have been nursed for ages.When in girlhood my heart was opening its petals, you hovered as a fragrance about it.Your tender softness bloomed in my youthful limbs, like a glow in the sky before the sunrise.Heaven's first darling, twain-born with the morning light, you have floated down the stream of the world's life, and at last you have stranded on my heart.As I gaze on your face, mystery overwhelms me; you who belong to all have become mine.For fear of losing you I hold you tight to my breast. What magic has snared the world's treasure in these slender arms of mine? ​
The Birds
# Voix Soprano, Piano# INTERMÉDIAIRE/AVANCÉ# Sally Whitwell# The Birds# Sally Whitwell# SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.873025 Composed by Sally Whitwell. Contemporary. 14 pages. Sally Whitwell #3867185. Published by Sally Whit...(+)
Soprano voice,Vocal Solo - Level 4 - SKU: A0.873025 Composed by Sally Whitwell. Contemporary. 14 pages. Sally Whitwell #3867185. Published by Sally Whitwell (A0.873025). Composer’s Note - The BirdsI lived for a couple of years in a little top floor Art Deco apartment in Sydney’s Kings Cross. There were always birds sitting on my window sill because of the huge Jacaranda tree outside. I was at a bit of a crossroads in my life at that time, and would spend at least an hour daily walking in the neighbourhood, along those twisting, sloping streets and slowly eroding sandstone staircases so typical of Sydney’s harbourside suburbs. On the wall by such a staircase very close to my home was a tiny red spray painted bird with little music notes emanating from his beak. His was a constant presence in my life, I really rather liked him.Birds seemed to be making appearances everywhere in my life at that time, which I took as some kind of message from the universe. I was reading quite a lot of Christina Rossetti that year too, enjoying her writings about birds and all that they symbolised for her; beauty and sadness, hope and joy. There was a quiet optimism in her words, sometimes veiled but always present, which propelled me to write this song cycle T​ he Birds.​-- Sally Whitwell
Sappho ... Five Poems by H.D. (2019) for soprano and piano
# Voix Soprano, Piano# INTERMÉDIAIRE/AVANCÉ# Thomas Oboe Lee# Sappho ... Five Poems by H.D.# Thomas Oboe Lee# SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.869598 Composed by Thomas Oboe Lee. 20th Century,Contemporary. 51 pages. Thomas Oboe Lee #4629791. Publishe...(+)
Soprano voice,Vocal Solo - Level 4 - SKU: A0.869598 Composed by Thomas Oboe Lee. 20th Century,Contemporary. 51 pages. Thomas Oboe Lee #4629791. Published by Thomas Oboe Lee (A0.869598). Sappho ... Five Poems by H.D. (2019) is dedicated to Öznur Hasibe Tülüoğlu. I heard her sing at her senior recital at the New England Conservatory of Music this spring and I immediately thought I should write a song cycle for her. I love the poetry of H.D. (aka Hilda Doolittle). My first attempt at setting her poems to music was in 2015. The poems in that song cycle focused on several figures from Greek mythology: Adonis, Circe, Lethe, Daphne, Evadne, etc.The words in this cycle are Ms. Doolittle's poetic musings on fragments left behind by the ancient Greek poet Sappho.1. Fragment 41a ... thou flittest to Andromeda.2. Fragment 41c3. Fragment 40 Love ... bitter sweet4. Fragment 113 Neither honey nor bee for me.5. Fragment 68 ... even in the house of Hades.Music by Thomas Oboe LeePoems by H.D.© Hilda Doolittle, from Collected Poems, 1912-1944, copyright © 1982 by the Estate of Hilda Doolittle. Reprinted by permission of New Directions Publishing Corp. © Departed Feathers Music, Inc. - BMI Audio link: https://thomasoboelee.bandcamp.com/album/sappho-five-poems-by-h-d-2019Video link: https://youtu.be/NH8baTZxRzg
Sifting the Stars
# Voix Soprano, Piano# INTERMÉDIAIRE/AVANCÉ# Sally Whitwell# Sifting the Stars# Sally Whitwell# SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.873028 Composed by Sally Whitwell. Contemporary,Musical/Show. 8 pages. Sally Whitwell #3867233. Published b...(+)
Soprano voice,Vocal Solo - Level 4 - SKU: A0.873028 Composed by Sally Whitwell. Contemporary,Musical/Show. 8 pages. Sally Whitwell #3867233. Published by Sally Whitwell (A0.873028). Composer’s Note - Sifting the StarsIn 2015 I was commissioned by Sydney Philharmonia Choirs to create a Christmas show for kids. Being me, I decided that I wanted to make it a narrative show because I’m ambitious that way. It was called Cog in the Machine (a family Christmas tale with a twist) and alongside the carols was a gentle commentary on the commercialisation of the festive season, and how our priorities of family celebration are often overshadowed by the extravagance of gift giving.One of the main characters in the story is a smart, sassy teenage girl called Stella. She loves science, particularly astronomy (hence the name!) and it was therefore a family tradition for her to put the star on the top of the Christmas tree each year. This particular Christmas, she has a bit of a disagreement with her mother and as she’s putting the star on the tree, she goes into a kind of dream sequence, floating about the galaxies inside her head, trying to process her adolescent need for independence and protection in equal amounts. It’s a coming of age song.-- Sally Whitwell
Huit Études Latines (2022) piano vocal score
# Voix Soprano, Piano# INTERMÉDIAIRE/AVANCÉ# Thomas Oboe Lee# Huit Études Latines# Thomas Oboe Lee# SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.869877 Composed by Thomas Oboe Lee. 20th Century,Contemporary. 32 pages. Thomas Oboe Lee #6744419. Publishe...(+)
Soprano voice,Vocal Solo - Level 4 - SKU: A0.869877 Composed by Thomas Oboe Lee. 20th Century,Contemporary. 32 pages. Thomas Oboe Lee #6744419. Published by Thomas Oboe Lee (A0.869877). I recently discovered Reynaldo Hahn via the superb soprano Veronique Gens' album Néère. She included in her album selections from Reynaldo Hahn's song setting of poems by Charles Marie René Leconte de Lisle called Études Latines. There are eighteen of these very enigmatic and fanciful poems about Greek or Latin gods and goddesses: Apollo, Venus, Lydia, Bacchus, Diane, Phoebe, Phyllis, Glycère, Naiads, Pyrrha, etc. Hahn set ten of these poems in an array of vocal settings: choral, solo male or female voices. For my song cycle I chose the remaining eight that Hahn did not use. I. Licymnie II. Glycère III. Hymne 01 IV. (sans titre) V. Hymne 02 VI. Pyrrha VII. Lydia VIII. Envoi.
Si yo nunca desapareciera (HIGH VOICE)
# Voix Soprano, Piano# INTERMÉDIAIRE/AVANCÉ# Kristian S Rodriguez# Si yo nunca desapareciera# Kristian S. Rodriguez# SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.1023335 Composed by Kristian S Rodriguez. 20th Century,Contemporary,Latin. 10 pages. Kristian S. Rodriguez ...(+)
Soprano voice,Vocal Solo - Level 4 - SKU: A0.1023335 Composed by Kristian S Rodriguez. 20th Century,Contemporary,Latin. 10 pages. Kristian S. Rodriguez #5191597. Published by Kristian S. Rodriguez (A0.1023335). I composed this piece as part of a larger song cycle, Colores mexicanos, which I wrote as part of an undergraduate thesis, Colores mexicanos: The Mexican Art Song and Setting Mexican Texts to Music (2016). This cycle explores various texts from various perspectives throughout Mexican history, culture, and society, while reflecting influences from Mexican folk and academic music within the composition. Si yo nunca... is the second piece in the cycle, and like the first, it features text from the Cantares mexicanos, written by Mexica authors during the beginning of the Spanish viceroyalty period in the 16th century. This text uses vague, abstract language to emphasize the idea that human culture never truly disappears, and it’s fitting for a state freshly defeated by another civilization. The musical setting features the Andulusian cadence, a compositional device frequently used in Latin American music, distorted across various octaves and in various figures, as the singer suggests that there is more after death, a fitting metaphor for an ancient yet very active culture that still pervades Mexican society today.
Civility
# Voix Soprano, Piano# INTERMÉDIAIRE/AVANCÉ# Melanie B# Civility# Melanie B Guerin# SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.854332 Composed by Melanie B. Guerin. Broadway,Contemporary,Musical/Show. 7 pages. Melanie B Guerin #611066...(+)
Soprano voice,Vocal Solo - Level 4 - SKU: A0.854332 Composed by Melanie B. Guerin. Broadway,Contemporary,Musical/Show. 7 pages. Melanie B Guerin #6110663. Published by Melanie B Guerin (A0.854332). Comedic song for a soprano who has decided this is no time to be nice! This is an uptempo song with some challenging modulations and a wide range (G3-B5), but a catchy tune and lyrics that poke fun of the belligerence of modern society.The world today’s gone mad, they say,And I feel it’s a fitting rebuke,No sooner you’re meeting a stranger,Than he’s telling you Put up your dukes, There’s no longer a role for a peaceful soul,When you’re caught between muscle and might,If you’re gonna get through,There’s just one thing to do,So you take a deep breath,And you join in the fight! Hit ‘em again,If it’s rough, make it rougher,Someone’s gotta suffer,But you’ll be the one who survives,When they’re aiming to give you the worst,You can beat ‘em by hitting ‘em first!Then hit ‘em again,Hit ‘em again,Hit ‘em again. Hit ‘em again,Make it long, make it lasting,They’re practically askingFor a pummeling right in the puss,They’ll remember how right you areWhen you leave ‘em a permanent scar,Hit ‘em again,Hit ‘em again,Hit ‘em again. A swine who would sooner cut you than concede,But he won’t look half as tough when his nose is bleeding,You can spout your facts and figures but eventually you findIt’s better to make him have to change his pants than change his mind. Hit him again,Make him dance, make him dizzy,Sure it’s brutal, but is heNot a villain deserving of grief?He’s a louse and unless I’m mistook,All his geese should be thoroughly cooked!So hit him again,And then… Hit him again,Make him shake, make him shudder,When he’s starting to sputter,It’s then you go in for the kill,Leave him all in a heap on the pitch,‘Til he’s crying like some little bitch!Hit him again,Hit him again,Hit him again, and then again!
Warm Where Snowflakes Lie
# Voix Soprano, Piano# INTERMÉDIAIRE/AVANCÉ# Contemporain# Sally Whitwell# Warm Where Snowflakes Lie# Sally Whitwell# SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.873026 Composed by Sally Whitwell. Contemporary. 6 pages. Sally Whitwell #3867191. Published by Sally Whitw...(+)
Soprano voice,Vocal Solo - Level 4 - SKU: A0.873026 Composed by Sally Whitwell. Contemporary. 6 pages. Sally Whitwell #3867191. Published by Sally Whitwell (A0.873026). Composer’s Note - Warm Where Snowflakes LieThrough my music, I try to bring to people a sense of optimism about the world. Music has the power to uplift, to exalt, to fill people with joy and hope, so I am drawn to texts that do a similar thing. Christina Rossetti’s poem ​The Key-Note​ has this optimism, even with a gentle sting in the proverbial tail. She appreciated that everything has a season, that life happens in cycles, that in the face of the darkest Winter there is always the hope of Spring, a hope made real by the appearance of the red-breasted robin in the snow. This song is for anyone who has ever felt hopeless, disenfranchised, or unable to see the light at the end of the tunnel.-- Sally Whitwell
