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Crossing Jordan: Three Spirituals for soprano, piano and cello
Crossing Jordan: Three Spirituals for soprano, piano and cello
#
Piano, Voix
#
AVANCÉ
#
Musique Sacrée
#
Maria Thompson Corley
#
Maria Thompson Corley
#
Crossing Jordan: Three Spiritu
#
Maria Thompson Corley
#
SheetMusicPlus
Piano,Vocal,Voice - Level 5 - SKU: A0.1272498 By Maria Thompson Corley. By Spiritual. Arranged by Maria Thompson Corley. 21st Century,Christian,Religiou...
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Piano,Vocal,Voice - Level 5 - SKU: A0.1272498 By Maria Thompson Corley. By Spiritual. Arranged by Maria Thompson Corley. 21st Century,Christian,Religious,Sacred,Spiritual. Score. 28 pages. Maria Thompson Corley #864723. Published by Maria Thompson Corley (A0.1272498). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.
$27.00 ≈
24.35€
"His Name So Sweet" from Crossing Jordan, for soprano, piano and cello
"His Name So Sweet" from Crossing Jordan, for soprano, piano and cello
#
Piano, Voix
#
AVANCÉ
#
Spiritual
#
Maria Thompson Corley
#
"His Name So Sweet"
#
Maria Thompson Corley
#
SheetMusicPlus
Piano,Vocal,Voice - Level 5 - SKU: A0.1284047 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Christian,Sacred,Spiritual,Traditio...
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Piano,Vocal,Voice - Level 5 - SKU: A0.1284047 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Christian,Sacred,Spiritual,Traditional. Score. 15 pages. Maria Thompson Corley #875219. Published by Maria Thompson Corley (A0.1284047). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.
$12.99 ≈
11.72€
Crossing Jordan: Three Spirituals for flute, piano and cello
Crossing Jordan: Three Spirituals for flute, piano and cello
#
Musique Sacrée
#
Maria Thompson Corley
#
Maria Thompson Corley
#
Crossing Jordan: Three Spiritu
#
Maria Thompson Corley
#
SheetMusicPlus
Instrumental Duet,Piano Cello,Flute,Instrumental Duet,Piano - Level 5 - SKU: A0.1272503 By Maria Thompson Corley. By Anonymous. Arranged by Maria Thomps...
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Instrumental Duet,Piano Cello,Flute,Instrumental Duet,Piano - Level 5 - SKU: A0.1272503 By Maria Thompson Corley. By Anonymous. Arranged by Maria Thompson Corley. 21st Century,Classical,Religious,Sacred,Spiritual. 31 pages. Maria Thompson Corley #864728. Published by Maria Thompson Corley (A0.1272503). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.The first instrumental version of “Deep River†was for trumpet and piano, performed by my sister, Alicia Thompson, and her son, Justin Griffin, during a church service in Atlanta shortly after I arranged it. After hearing a recording, I took borrowed her idea of adding a repeat (which she did to allow enough time for the ushers to take up collection). The clarinet, cello and piano version was premiered by the Isosceles Trio (Doris Hall-Gulati (clarinet), Sara Male (cello), and me (piano)). When Naima Burrs, violinist and conductor of the Petersburg Symphony, asked if I had any pieces for trio, I created a version for violin, piano and cello. The flute/piano/cello version may have been performed, but if so, nobody has mentioned it to me. Please note that the YouTube version uses a clarinet. The flute version is slightly different, to accommodate the difference in range.P.S. I’d love to hear that version, if you have a recording of it.
$30.00 ≈
27.06€
"His Name So Sweet" from Crossing Jordan for clarinet, piano and cello
"His Name So Sweet" from Crossing Jordan for clarinet, piano and cello
#
Spiritual
#
Maria Thompson Corley
#
"His Name So Sweet"
#
Maria Thompson Corley
#
SheetMusicPlus
Instrumental Duet,Piano B-Flat Clarinet,Cello,Instrumental Duet,Piano - Level 5 - SKU: A0.1284045 Composed by Spiritual. Arranged by Maria Thompson Corl...
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Instrumental Duet,Piano B-Flat Clarinet,Cello,Instrumental Duet,Piano - Level 5 - SKU: A0.1284045 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Christian,Sacred,Traditional. 17 pages. Maria Thompson Corley #875217. Published by Maria Thompson Corley (A0.1284045). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.The first instrumental version of “Deep River†was for trumpet and piano, performed by my sister, Alicia Thompson, and her son, Justin Griffin, during a church service in Atlanta shortly after I arranged it. After hearing a recording, I took borrowed her idea of adding a repeat (which she did to allow enough time for the ushers to take up collection). The clarinet, cello and piano version was premiered by the Isosceles Trio (Doris Hall-Gulati (clarinet), Sara Male (cello), and me (piano)). When Naima Burrs, violinist and conductor of the Petersburg Symphony, asked if I had any pieces for trio, I created a version for violin, piano and cello. The flute/piano/cello version may have been performed, but if so, nobody has mentioned it to me.
$15.00 ≈
13.53€
Crossing Jordan: Three Spirituals for violin, piano and cello
Crossing Jordan: Three Spirituals for violin, piano and cello
#
Piano Quatuor: piano, 2 violons, violoncelle
#
AVANCÉ
#
Musique Sacrée
#
Maria Thompson Corley
#
Maria Thompson Corley
#
Crossing Jordan: Three Spiritu
#
Maria Thompson Corley
#
SheetMusicPlus
Instrumental Duet,Piano Cello,Instrumental Duet,Piano,Violin - Level 5 - SKU: A0.1272508 By Maria Thompson Corley. By Anonymous. Arranged by Maria Thomp...
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Instrumental Duet,Piano Cello,Instrumental Duet,Piano,Violin - Level 5 - SKU: A0.1272508 By Maria Thompson Corley. By Anonymous. Arranged by Maria Thompson Corley. 21st Century,Classical,Religious,Sacred,Spiritual. 35 pages. Maria Thompson Corley #864733. Published by Maria Thompson Corley (A0.1272508). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.The first instrumental version of “Deep River†was for trumpet and piano, performed by my sister, Alicia Thompson, and her son, Justin Griffin, during a church service in Atlanta shortly after I arranged it. After hearing a recording, I took borrowed her idea of adding a repeat (which she did to allow enough time for the ushers to take up collection). The clarinet, cello and piano version was premiered by the Isosceles Trio (Doris Hall-Gulati (clarinet), Sara Male (cello), and me (piano)). When Naima Burrs, violinist and conductor of the Petersburg Symphony, asked if I had any pieces for trio, I created a version for violin, piano and cello. Please note that the YouTube version for clarinet is slightly different than the one with violin, to accommodate the differences in range.
$30.00 ≈
27.06€
Crossing Jordan: Three Spirituals for clarinet, piano and cello
Crossing Jordan: Three Spirituals for clarinet, piano and cello
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Musique Sacrée
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Maria Thompson Corley
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Maria Thompson Corley
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Crossing Jordan: Three Spiritu
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Maria Thompson Corley
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SheetMusicPlus
Instrumental Duet,Piano B-Flat Clarinet,Cello,Instrumental Duet,Piano - Level 5 - SKU: A0.1272500 By Maria Thompson Corley. By Anonymous. Arranged by Ma...
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Instrumental Duet,Piano B-Flat Clarinet,Cello,Instrumental Duet,Piano - Level 5 - SKU: A0.1272500 By Maria Thompson Corley. By Anonymous. Arranged by Maria Thompson Corley. 21st Century,Classical,Religious,Sacred,Spiritual. 31 pages. Maria Thompson Corley #864725. Published by Maria Thompson Corley (A0.1272500). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.The first instrumental version of “Deep River†was for trumpet and piano, performed by my sister, Alicia Thompson, and her son, Justin Griffin, during a church service in Atlanta shortly after I arranged it. After hearing a recording, I took borrowed her idea of adding a repeat (which she did to allow enough time for the ushers to take up collection). The clarinet, cello and piano version was premiered by the Isosceles Trio (Doris Hall-Gulati (clarinet), Sara Male (cello), and me (piano)). When Naima Burrs, violinist and conductor of the Petersburg Symphony, asked if I had any pieces for trio, I created a version for violin, piano and cello. The flute/piano/cello version may have been performed, but if so, nobody has mentioned it to me.P.S. I’d love to hear that version, if you have a recording of it.
$30.00 ≈
27.06€
Joy to the World! Hark! the Herald Angels Sing (A mashup for Piano Duet)
Joy to the World! Hark! the Herald Angels Sing (A mashup for Piano Duet)
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1 Piano, 4 mains
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AVANCÉ
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George F
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Renee Hyche McKee
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Joy to the World! Hark! the He
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Renee H. McKee
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.835645 Composed by George F. Handel, Felix Mendelssohn. Arranged by Renee Hyche McKee. Chr...
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Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.835645 Composed by George F. Handel, Felix Mendelssohn. Arranged by Renee Hyche McKee. Christian,Christmas,Concert,World. Score and parts. 11 pages. Renee H. McKee #6189565. Published by Renee H. McKee (A0.835645). A crowd pleaser! In this rhythmic toe-tapper both Joy to the World! and Hark! the Herald Angels Sing are given time in the spotlight and are also mashed into action together. Secondo’s opening first four notes of Joy to the World! are answered by the first phrase of Primo’s lively, syncopated Hark! the Herald Angels Sing. A compelling rhythmic drive (lucky Secondo player) pushes the piece into high gear while Joy to the World shines, then the syncopation dissolves into a Primo-frosted Hark! the Herald Angels Sing while Secondo brings its melody forward in a new key. Before you know it, the two songs swing back together and close out the piece with a spirited syncopated flair. Fingerings are added to help facilitate reading but are merely suggestions. Pedaling is to be used at the performers’ discretion. This piece is great for any Christmas event in churches, civic gatherings, or recitals. It is an exciting way to open or close a Holiday program!
$5.50 ≈
4.96€
Sing We Now of Christmas
Sing We Now of Christmas
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Orchestre de chambre
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AVANCÉ
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French carol
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Kyra Beacock
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Sing We Now of Christmas
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Kyra Beacock
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.963820 Composed by French carol. Arranged by Kyra Beacock. Christmas,Classical,Renaissance,Sacred,World. Score and...
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Chamber Orchestra - Level 5 - SKU: A0.963820 Composed by French carol. Arranged by Kyra Beacock. Christmas,Classical,Renaissance,Sacred,World. Score and parts. 34 pages. Kyra Beacock #4841145. Published by Kyra Beacock (A0.963820). The idea behind my arrangements is for a group of keyboard, digital piano, or acoustic piano players to come together and be able to play in a piano band. Students learn how to listen, sight read, follow a conductor and play an individual part within an ensemble setting. It brings pianists together to make music and enjoy the camaraderie of group participation.
$24.95 ≈
22.50€
Wade in the Water - You Gotta Sing (medley)
Wade in the Water - You Gotta Sing (medley)
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Piano seul
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AVANCÉ
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Musique Sacrée
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Bradley Sowash
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Bradley Sowash
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Wade in the Water - You Gotta
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Bradley Sowash
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SheetMusicPlus
Piano - Level 5 - SKU: A0.1266284 By Bradley Sowash. By Traditional. Arranged by Bradley Sowash. Christian,Jazz,Praise & Worship,Sacred,Spiritual. Full ...
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Piano - Level 5 - SKU: A0.1266284 By Bradley Sowash. By Traditional. Arranged by Bradley Sowash. Christian,Jazz,Praise & Worship,Sacred,Spiritual. Full Performance. Duration 218. Bradley Sowash #834750. Published by Bradley Sowash (A0.1266284). From Bradley Sowash’s “We Gather Together†solo piano recorded album and associated sheet music (also available here).A big sound!A huge stride arrangement of this classic spiritual that moves into You Gotta Sing When the Spirit Says Sing over a jazzy walking bass line. Play this when you need to make a big statement.Learn more about this artist at https://bradleysowash.com.
$1.99 ≈
1.79€
Etude 2.0 + 3.0 for Piano Solo from 25 Etudes using Symmetry, Mirroring and Intervals
Etude 2.0 + 3.0 for Piano Solo from 25 Etudes using Symmetry, Mirroring and Intervals
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Piano seul
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AVANCÉ
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Michael Bomier
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Etude 2.0 + 3.0 for Piano Solo
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Michael Butkus-Bomier
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.862554 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 4 pages. Michael Butkus-Bomier #2034471. ...
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Piano Solo - Level 5 - SKU: A0.862554 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 4 pages. Michael Butkus-Bomier #2034471. Published by Michael Butkus-Bomier (A0.862554). A major third and a tritone together create a quintessentially modern-sounding cluster. And so, this unit is used in its unadulterated state throughout. The rhythm is divided into groups of three, deliberately set within a 4/4 time signature, so as to create an effect of hemiola and of syncopation that would not be evident were it set in a triple meter. The clusters play as solid blocks, then divide into two parts, then three. Then the note-values are made twice as small, and the music really takes off ! This is by FAR the most typically modern of all the etudes in the set, as far as rhythmic complexity, percussiveness, and a lack of traditional melody. Running time is just over 2 mins. MBB.
$2.00 ≈
1.80€
Etude 2.0 + 2.5 for Piano Solo from 25 Etudes using Symmetry, Mirroring and Intervals
Etude 2.0 + 2.5 for Piano Solo from 25 Etudes using Symmetry, Mirroring and Intervals
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Piano seul
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AVANCÉ
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Michael Bomier
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Etude 2.0 + 2.5 for Piano Solo
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Michael Butkus-Bomier
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.862553 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 4 pages. Michael Butkus-Bomier #2034459. ...
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Piano Solo - Level 5 - SKU: A0.862553 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 4 pages. Michael Butkus-Bomier #2034459. Published by Michael Butkus-Bomier (A0.862553). The major third and perfect fourth go majorly forth together to create music that is totally symmetrical and mirrored. This creates some contrasts of color and motion, as each measure's first music is often mirrored and inverted within that very measure. The piece can be played fast-ish, at the suggested tempo, or it can go slower, to bring out the shifts in colors that are happening right under your finger's nose (?) 12/8 time. MBB.
$2.50 ≈
2.25€
En Face Du Miroir (Facing The Mirror)
En Face Du Miroir (Facing The Mirror)
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Piano seul
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AVANCÉ
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Jazz
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Isadar
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En Face Du Miroir
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Mainya Music Publishing
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SheetMusicPlus
Piano Solo - Advanced - Composed by Isadar. Contemporary Classical, Jazz, Recital, Americana, New Age. Sheet Music Single. 11 pages. Published by Ma...
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Piano Solo - Advanced - Composed by Isadar. Contemporary Classical, Jazz, Recital, Americana, New Age. Sheet Music Single. 11 pages. Published by Mainya Music Publishing (BMI)
Contains:
"En Face Du Miroir (Facing The Mirror)"
- taken from the Isadar solo piano complete collection, "Red" (also available on SMP)
Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artists
Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording
Album & Songbook Review by: Kathy Parsons
Red is pianist/composer Isadar?s genre-defying tenth solo piano album and seventeenth independent release from the past twenty years. It is also the third installment in a trilogy of solo piano albums released in the past year - Reconstructed, a Will Ackerman-produced anthology of some of Isadar?s best piano pieces; O Christmas, Isadar?s second piano Christmas album; and now Red, a bittersweet love-themed album that took seven years to produce and that consists of the first new original solo piano material Isadar has released in more than ten years.
I have been reviewing and thoroughly enjoying Isadar?s releases since his second piano album, 1999?s Active Imagination, which still stands as one of my favorite recordings. Even though I have been a big fan for many years, I was still blown away by Isadar?s live performance in my house concert series in July 2010. The man has magic fingers and an extraordinary piano touch that are perfectly suited to express his imaginative, distinctive, and emotionally powerful music.
Isadar is also a singer/songwriter and an electronic musician who creates the music videos for much of his music, dramatizing the stories that inspired the songs. I will always be partial to Isadar?s piano albums because his voice and vision are unique, incorporating jazz, new age, pop, and classical stylings into a musical language all his own.
Red opens with ?Broken Valentine,? a free-flowing expression of heartbreak and the broad range of emotions that go with it, alternating between grief and confusion then shifting to perhaps anger and resignation - a great beginning. The title track conveys the freedom of an improvisation while weaving together a variety of upbeat themes. ?The Man Who Broke My Heart? is energetic and in constant swirling motion - also very free and from deep within. ?The Stairwell? is darker and much more mysterious, overflowing with Isadar?s intriguing accented rhythms and picturesque compositional style. My favorite track is the almost nine-minute ?Letting Go,? a piece that intertwines a series of musical vignettes into a powerful, colorful musical collage. I love the way Isadar seamlessly goes from flowing and smooth to a bouncy jazz style to high drama without missing a beat. Great stuff! ?En Face Du Miroir (Facing the Mirror)? is much lighter, with fingers dancing nimbly around the piano keyboard. The album closes with ?Blood ... Thicker Than Water,? again a combination of changing themes that could well be a musical family portrait - different personalities working separately and as a unit, bound together by the unseen ties that keep families together through thick and thin.
Isadar has created another piano masterpiece that should be more widely heard than his previous releases due to the success of Reconstructed. I hope so, anyway! Red is available from isadar.com, Amazon, iTunes, and CD Baby. Very highly recommended!
Isadar?s Red: Solo Piano Sheet Music Collection is a note-for-note transcription of all seven pieces from Isadar?s 2013 CD/download release by the same name. The music was transcribed by David Shenton (shentonmusic.com) with clear, concise notation that includes dynamics, pedaling and metronome settings.
Isadar is an amazing pianist with a style all his own, so this isn?t a book that most pianists will be able to just sit down and play. It will take some work and attention to detail to get this music right, but it will be well worth the effort. Having the recording for handy reference would be a big help.
Rhythms are often complex and syncopated, but are usually repeated within each piece, so once you have them, the rest will follow fairly easily. There are only a few chords with a reach of more than an octave and none of the key signatures are terribly difficult. The layout and spacing of the music is excellent, and the paper stock is a bright white 9?x12? format with a stapled binding.
If you enjoy listening to Isadar?s music, I?m sure you will enjoy playing it, too! This songbook is available from isadar.com. Recommended!
The songs with their key signatures and the number of pages is listed below:
Broken Valentine - C minor (3 flats) - 4 pages
Red - A minor (0 sharps or flats) - 5 pages
The Man Who Broke My Heart - A minor - 6 pages
The Stairwell - F# minor (3 sharps) - 7 pages
Letting Go - F minor (4 flats) / C minor (3 flats) - 8 pages
En Face Du Miroir (Facing the Mirror) - Ab (4 flats) / F minor/ Bb minor (5 flats) / Db (5 flats) - 7 pages
Blood ... Thicker Than Water - A Minor/ C (0) / F (1 flat) - 7 pages
Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...
Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.
For more information, visit his website at: http://www.isadar.com
$5.99 ≈
5.40€
A Game of Hearts, Vocal Score
A Game of Hearts, Vocal Score
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Douglas Pew
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A Game of Hearts, Vocal Score
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Blue Shore Music
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SheetMusicPlus
Vocal Solo,Voice - Level 5 - SKU: A0.938580 Composed by Douglas Pew. Contemporary,Opera. 42 pages. Blue Shore Music #13037. Published by Blue Shore Musi...
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Vocal Solo,Voice - Level 5 - SKU: A0.938580 Composed by Douglas Pew. Contemporary,Opera. 42 pages. Blue Shore Music #13037. Published by Blue Shore Music (A0.938580). An Opera in one-act. Piano-Vocal Score. BSM0029a. Libretto by Dara Weinberg. Duration: 20:00. Commissioned by Washington National Opera at the John F. Kennedy Center for the Performing Arts. Premiered by the WNO, Domingo-Cafritz Young Artists at the Kennedy Center. Conductor, Anne Manson. Mr. Pew’s score-mirabile dictu-soars into a beautiful, Romantic vocal triptych. It was stunning. The audience greeted the singers, the musicians, and above all the composer-librettist team with a vigorous and appreciative round of applause. They noticed this little bit of magic, too. - The Washington Times. Synopsis: March 2001. Jean Bierbaum moves into Sunset Terrace, where her sister Sylvia and Sylvia's friend Harriet live. Dr. Vergara accidentally calls Jean Mrs. Bierbaum. Jean sings about her fiance, who died in WWII. She has never married. Sylvia and Harriet also sing about their experiences during WWII. Another resident, Jerry Rosenberg, whose wife is dying, enters and sings a song about his longing to see Poland again. His wife's illness prevents him from traveling. Jerry sympathizes with Jean's situation--he too is in love with someone who is unreachable. They sing a duet together. Jean begins to develop an interest in Jerry. For more information, please visit douglaspew.com.
$29.99 ≈
27.05€
Vistas (score - vln, vla, cel)
Vistas (score - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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Vistas
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861811 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 24 pages. Mark O'Conn...
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String Ensemble,String Trio - Level 5 - SKU: A0.861811 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 24 pages. Mark O'Connor Musik International #6202301. Published by Mark O'Connor Musik International (A0.861811). Vistas (score – vln, vla, cel) MO143AScore (parts available)Music by Mark O’Connor20 pages - 10:20 minutes in length Vistas for violin, viola and cello (1999), was composed by Mark O’Connor and is featured on the Appalachian Journey album, recorded with Yo-Yo Ma and Edgar Meyer. In describing Vistas, Mark O’Connor explains the works initial inspiration came from his home studio in Vista, California. From his studio he has three magnificent views. In composing the piece he contemplated the three different views of the musicians, their three personalities and how they come together to speak the same language to say the same thing. In his liner notes for the album, respected classical producer and author John Schaefer describes the work as sprawling, almost narrative. A very small theme is explored separately by all three instruments, each arriving at the same melodic conclusion but at different points. Put together in almost a symphonic form, Vistas suggests a journey beneath big skies and far-off horizons, and finally, a return home. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalVistas can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridgesAlso on The Essential Mark O’Connor Sony ClassicalCatalogue Number MO143ACopyright © 1999 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$7.50 ≈
6.76€
Vistas (viola part - vln, vla, cel)
Vistas (viola part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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Vistas
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861809 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Conn...
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String Ensemble,String Trio - Level 5 - SKU: A0.861809 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Connor Musik International #6202313. Published by Mark O'Connor Musik International (A0.861809). Vistas (viola – vln, vla, cel) MO143CViola Part (score and parts available)Music by Mark O’Connor7 pages - 10:20 minutes in length Vistas for violin, viola and cello (1999), was composed by Mark O’Connor and is featured on the Appalachian Journey album, recorded with Yo-Yo Ma and Edgar Meyer. In describing Vistas, Mark O’Connor explains the works initial inspiration came from his home studio in Vista, California. From his studio he has three magnificent views. In composing the piece he contemplated the three different views of the musicians, their three personalities and how they come together to speak the same language to say the same thing. In his liner notes for the album, respected classical producer and author John Schaefer describes the work as sprawling, almost narrative. A very small theme is explored separately by all three instruments, each arriving at the same melodic conclusion but at different points. Put together in almost a symphonic form, Vistas suggests a journey beneath big skies and far-off horizons, and finally, a return home. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony Classical Vistas can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridgesAlso on The Essential Mark O’Connor Sony Classical Catalogue Number MO143CCopyright © 1999 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
4.06€
Vistas (violin part - vln, vla, cel)
Vistas (violin part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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Vistas
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861810 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Conn...
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String Ensemble,String Trio - Level 5 - SKU: A0.861810 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Connor Musik International #6202307. Published by Mark O'Connor Musik International (A0.861810). Vistas (violin part – vln, vla, cel) MO143BViolin Part (score and parts available)Music by Mark O’Connor6 pages - 10:20 minutes in length Vistas for violin, viola and cello (1999), was composed by Mark O’Connor and is featured on the Appalachian Journey album, recorded with Yo-Yo Ma and Edgar Meyer. In describing Vistas, Mark O’Connor explains the works initial inspiration came from his home studio in Vista, California. From his studio he has three magnificent views. In composing the piece he contemplated the three different views of the musicians, their three personalities and how they come together to speak the same language to say the same thing. In his liner notes for the album, respected classical producer and author John Schaefer describes the work as sprawling, almost narrative. A very small theme is explored separately by all three instruments, each arriving at the same melodic conclusion but at different points. Put together in almost a symphonic form, Vistas suggests a journey beneath big skies and far-off horizons, and finally, a return home. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalVistas can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridgesAlso on The Essential Mark O’Connor Sony Classical Catalogue Number MO143BCopyright © 1999 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
4.06€
Vistas (cello part - vln, vla, cel)
Vistas (cello part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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Vistas
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861812 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 12 pages. Mark O'Conn...
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String Ensemble,String Trio - Level 5 - SKU: A0.861812 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 12 pages. Mark O'Connor Musik International #6202317. Published by Mark O'Connor Musik International (A0.861812). Vistas (cello – vln, vla, cel) MO143DCello Part (score and parts available)Music by Mark O’Connor8 pages - 10:20 minutes in length Vistas for violin, viola and cello (1999), was composed by Mark O’Connor and is featured on the Appalachian Journey album, recorded with Yo-Yo Ma and Edgar Meyer. In describing Vistas, Mark O’Connor explains the works initial inspiration came from his home studio in Vista, California. From his studio he has three magnificent views. In composing the piece he contemplated the three different views of the musicians, their three personalities and how they come together to speak the same language to say the same thing. In his liner notes for the album, respected classical producer and author John Schaefer describes the work as sprawling, almost narrative. A very small theme is explored separately by all three instruments, each arriving at the same melodic conclusion but at different points. Put together in almost a symphonic form, Vistas suggests a journey beneath big skies and far-off horizons, and finally, a return home. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalVistas can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridgesAlso on The Essential Mark O’Connor Sony ClassicalCatalogue Number MO143DCopyright © 1999 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
4.06€
The Weight
The Weight
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Chorale SATB
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AVANCÉ
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The Band
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Eric Hagmann
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The Weight
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Eric Hagmann
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 5 - SKU: A0.796815 By The Band. By J.R. Robertson. Arranged by Eric Hagmann. A Cappella. Octavo. 14 pages. Eric Hagma...
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Choral Choir (SATB divisi) - Level 5 - SKU: A0.796815 By The Band. By J.R. Robertson. Arranged by Eric Hagmann. A Cappella. Octavo. 14 pages. Eric Hagmann #3911445. Published by Eric Hagmann (A0.796815). An SSATB + duet vocal jazz arrangement of The Weight (Take a Load Off, Annie) by The Band. This chart reimagines The Band's original song as an a cappella swing tune straight out of the 1940's. The bottom voice thumps along on neutral syllables of your choosing just as an upright bassist would in the big band. If you don't have any singers who can take on this part, an actual bass instrument could be substituted. The guitar accompaniment of the original song is now replaced by complex jazz harmonies and rhythms sung by your upper voices to compliment your soloists. The last 1/3rd of the song has a breakdown that layers and overlaps your voices one by one until they come together for a final build into the last chorus. This section also offers an opportunity for a small quartet to sing an optional harmony part. While this piece is challenging, it offers a unique spin on an old classic that will surely hold your audience's attention if performed well. .
$2.25 ≈
2.03€
Piano Trio No. 1 "Poets and Prophets" (piano score - pno, vln, cel)
Piano Trio No. 1 "Poets and Prophets" (piano score - pno, vln, cel)
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets a
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Connor Musik International #6206157. Published by Mark O'Connor Musik International (A0.861898). Piano Trio No. 1 Poets and Prophets (piano score – piano, vln, cel) MO160APiano Score (parts available)Music by Mark O’Connor51 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160A
$22.50 ≈
20.29€
Piano Trio No. 1 "Poets and Prophets" (violin part - pno, vln, cel)
Piano Trio No. 1 "Poets and Prophets" (violin part - pno, vln, cel)
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets a
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Connor Musik International #6206159. Published by Mark O'Connor Musik International (A0.861899). Piano Trio No. 1 Poets and Prophets (violin part – piano, vln, cel) MO160BViolin Part (score and parts available)Music by Mark O’Connor20 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160.
$15.00 ≈
13.53€
Piano Trio No. 1 "Poets and Prophets" (cello part - pno, vln, cel)
Piano Trio No. 1 "Poets and Prophets" (cello part - pno, vln, cel)
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets a
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Connor Musik International #6206161. Published by Mark O'Connor Musik International (A0.861901). Piano Trio No. 1 Poets and Prophets (cello part – piano, vln, cel) MO160CCello Part (score and parts available)Music by Mark O’Connor18 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number.
$15.00 ≈
13.53€
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
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Orchestre de chambre
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AVANCÉ
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Carson Cooman
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Carson Cooman: The Acts of the
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music...
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Chamber Orchestra - Level 5 - SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
$25.95 ≈
23.41€
Strangers In The Night
Strangers In The Night
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Piano seul
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AVANCÉ
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Frank Sinatra
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Timothy Stapay/Liberace
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Strangers In The Night
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1342176 By Frank Sinatra. By Bert Kaempfert, Charles Singleton, and Eddie Snyder. Arranged by Timothy Stapay/Liberace. Br...
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Piano Solo - Level 5 - SKU: A0.1342176 By Frank Sinatra. By Bert Kaempfert, Charles Singleton, and Eddie Snyder. Arranged by Timothy Stapay/Liberace. Broadway,Film/TV,Musical/Show,Pop,Singer/Songwriter,Standards. Score. 10 pages. Timothy Stapay #927698. Published by Timothy Stapay (A0.1342176). Strangers In The Night is here arranged as performed by famous piano artist, Liberace. He played this in concerts around the world and on his piano albums. This piano solo arrangement has all of the sparkle and fiery improvisations that made Liberace famous. Now for the first time, here is the sheet music as played by Liberace.On a personal note: I saw Liberace perform this live at a concert in Chicago, when I was a very, very young piano student. My parents were both Liberace fans and took me to one of his concerts. The memory stayed with me for a lifetime!Lyrics:[Verse 1]Strangers in the night exchanging glancesWondering in the night, what were the chances?We'd be sharing love before the night was through[Verse 2]Something in your eyes was so invitingSomething in your smile was so excitingSomething in my heart told me I must have you[Chorus]Strangers in the nightTwo lonely people, we were strangers in the nightUp to the moment when we said our first hello, little did we knowLove was just a glance away, a warm embracing dance away and[Verse 3]Ever since that night we've been togetherLovers at first sight, in love foreverIt turned out so right for strangers in the night[Bridge]Love was just a glance away, a warm embracing dance away[Verse 3]Ever since that night we've been togetherLovers at first sight, in love foreverIt turned out so right for strangers in the night [Outro]Dooby-doooby-dooDoob-dooob-doob-dee-daaDaaa-daaa-daaa-daaa-daaa.
$8.99 ≈
8.11€
Robert Orledge: A Night in the House of Usher for organ, based on themes from Debussy's "La Chute de
Robert Orledge: A Night in the House of Usher for organ, based on themes from Debussy's "La Chute de
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Orgue
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AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Robert Orledge: A Night in the
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Musik Fabrik Music Publishing
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SheetMusicPlus
Organ - Level 5 - SKU: A0.534661 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Halloween. Score. 16 pages. Musik Fabrik Music Publishi...
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Organ - Level 5 - SKU: A0.534661 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Halloween. Score. 16 pages. Musik Fabrik Music Publishing #5739561. Published by Musik Fabrik Music Publishing (A0.534661). Over the years 1908–16, Debussy had produced a viable scenario for Usher on his third attempt. But when he came to making a complete draft of the music, he seems to have lost interest during Roderick Usher’s long monologue, even though he was setting his own text. As in No-ja-li he jumped to the next passage that interested him, in this case the exciting final melodrama and the collapse of the Usher house itself.In the process of completing the missing half of the score, I discovered that by reusing Debussy’s material for similar psychological situations across the opera, and by metamorphosing existing ideas (as Debussy does with Mélisande’s theme in his opera Pelléas et Mélisande), the only things I really needed to add were linking material and any passages where fast music was required. So the ‘nightmare scherzo’, and Lady Madeline’s escape from her coffin and her final bloody revenge on her brother are all mine, but most of the rest is existing Debussy in changing contexts (in which the Russian technique of ‘changing backgrounds’, both harmonic and textural, proved extremely useful, as it did to Debussy in his Prélude à l’après-midi d’un faune). Eventually, both my completed ballet No-ja-li and the House of Usher were successfully premiered in 2006 and the latter soon began to find its way into the established repertoire in Europe and the US. To further support this, I transcribed some of the highlights of Debussy’s score as A Night in the House of Usher for organ, and subsequently piano—with a focus on Scene 2 and the final, horrific and maca-bre melodrama. This climaxes in the double deaths of Roderick Usher and his Sister Madeline, together with the disintegration of the ill-fated House of Usher into the stagnant lake-all beneath a blood-red moon.In this form it was first performed by Ian Buckle in the Howard Assembly Rooms, Leeds in 2010.
$12.95 ≈
11.68€
Sync
Sync
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Contemporain
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Will Phillips
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the final sync point.
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Sync
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Will Phillips Music
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SheetMusicPlus
Small Ensemble Cello,Double Bass,Flute - Level 5 - SKU: A0.1024747 Composed by Will Phillips. 20th Century,Contemporary. Score and parts. 13 pages. Will...
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Small Ensemble Cello,Double Bass,Flute - Level 5 - SKU: A0.1024747 Composed by Will Phillips. 20th Century,Contemporary. Score and parts. 13 pages. Will Phillips Music #3465398. Published by Will Phillips Music (A0.1024747). Sync, for flute, cello, and bass trio, is a complex piece which includes a variety of time signatures, virtuosic flute lines, driving cello rhythms, and jazz-influenced pizzicato bass lines. The title derives from the phasing that occurs as a result of multiple pulses that align, dis-align, and re-align throughout. The rhythms that drive the piece are heavily syncopated, yet often times, even non-syncopated rhythms are perceived as such as a result of the offsetting phasing of the pulse. The rhythmic figures are constructed as not just a variety of attacks, but also note lengths, which alternate between combinations of accents, legato, and staccato phrases. Each section is glued together using transitions which guide the individual pulses to their next point of alignment. Throughout the bridge sections, all three instruments take on differing roles: the flute plays ethnically influenced over-arching melodies, while the cello underscores the flute with double and triple-stop chords, and the bass maintains a steady but syncopated pulse. Finally, the piece comes to a close with each instrument rallying together as one; the final sync point.
$19.99 ≈
18.03€
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