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A Wall Between Us
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Vous avez sélectionné:
A Wall Between Us
Partitions à imprimer
8 partitions trouvées
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1
A Wall Between Us
A Wall Between Us
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Piano, Voix
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Contemporain
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Adam Smith, Josiah Ben Rozencw
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William Macquisten
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A Wall Between Us
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William Macquisten
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SheetMusicPlus
Piano,Vocal,Voice - SKU: A0.1032762 Composed by Adam Smith, Josiah Ben Rozencwajg, and Michael Fitzgerald. Arranged by William Macquisten. Contemporary....
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Piano,Vocal,Voice - SKU: A0.1032762 Composed by Adam Smith, Josiah Ben Rozencwajg, and Michael Fitzgerald. Arranged by William Macquisten. Contemporary. Score. 5 pages. William Macquisten #5318825. Published by William Macquisten (A0.1032762).
$4.99 ≈
¥35.35
touch me hear: a collection of conceptual compositions
touch me hear: a collection of conceptual compositions
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Igor Korneitchouk, Chad Mealey
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touch me hear: a collection of
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Studio at the Post
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SheetMusicPlus
Level 2 - SKU: A0.1128114 Composed by Igor Korneitchouk, Chad Mealey. 20th Century,Comedy,Contemporary,Spiritual. 28 pages. Studio at the Post #728730. ...
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Level 2 - SKU: A0.1128114 Composed by Igor Korneitchouk, Chad Mealey. 20th Century,Comedy,Contemporary,Spiritual. 28 pages. Studio at the Post #728730. Published by Studio at the Post (A0.1128114). Duration: variable for each piece, 18 pp. Description: Seven works by the group touch me hear. Feel the art hear the art be the art. At the turn of the century (20th to 21st century, for you music history buffs) Igor Korneitchouk and Chad Mealey formed the group touch me hear with friends Dennis Aman and Jim Soe Nyun, and, with technical and musical assistance of various music faculty and students of San Diego Mesa College, presented concerts of new conceptual music/conceptual art/performance art. (The taxonomy and distinctions between such categories can be debated; we leave it to those who like to create new theory to follow our new practice.) The group was dedicated to the idea that such new music can and should be presented to an appreciative yet unsuspecting audience that rises to the challenge when put to the test. Indeed, a major feature of many of the works exhibited relies on the performance by the audience to entertain us and themselves. Thus, down comes the fourth wall. If you truly listen, as John Cage would encourage, the conceptual can sound just as fascinating, the visual display just as spectacular, the serendipitous theater just as dramatic, as the idea is imaginative. “Music is all around us, if only we have ears...†(to quote John Cage). Here are some of the original works of those concerts. Ironically, one in particular dispenses with the idea of an “audienceâ€. It is the tree that falls in the forest (or desert) no one hears. NO RECORDINGS OF ANY OF THESE PIECES EXIST; BE THE FIRST TO RECORD THESE!
$5.02 ≈
¥35.56
John Cage I-VI (2023) piano-vocal score
John Cage I-VI (2023) piano-vocal score
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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John Cage I-VI
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Thomas Oboe Lee
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1180574 Composed by Thomas Oboe Lee. 20th Century,Chamber,Contemporary. Score. 24 pages. Thomas Oboe Lee #780478. ...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1180574 Composed by Thomas Oboe Lee. 20th Century,Chamber,Contemporary. Score. 24 pages. Thomas Oboe Lee #780478. Published by Thomas Oboe Lee (A0.1180574). John Cage and I share the same birthday: September 5th. He was born in 1912 and my birth year is 1945. There must be some cosmological link between us because he has always intrigued me - philosophically and musically. Recently I was in my colleague Prof. Jeremiah McGrann's office waiting for him to join me for a martini lunch after a day of teaching. I noticed on his desk a hardcover copy of John Cage I-VI. I asked what it was and he said it is John Cage's Charles Elliot Norton Lecture he gave at Harvard University in 1988-89. I looked inside and there were these mesostics. Very sparsely distributed on each page, and it looked fascinating, like some hieroglyphic art. I was immediately intrigued by it and thought right on the spot that I should buy a copy and maybe create a song cycle from the texts. Upon further research, I found out that John Cage compiled the content for his lecture using excerpts from works by Thoreau, Emerson, Wittgenstein, McLuhan, Buckminster Fuller, plus passages from The Wall Street Journal, The Christian Science Monitor and The New York Times. He then created the final text for his lecture by using chance operations with the assistance of a computer program that he created. And so I did the unthinkable, create a song cycle of words that has no meaning nor narrative in the traditional sense. Quoting John Cage: I have nothing to say, I am saying it, and that is poetry. John Cage I-VI (2023) is in six movements, scored for soprano and piano.
$9.99 ≈
¥70.77
John Cage I-VI (2023)
John Cage I-VI (2023)
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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John Cage I-VI
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Thomas Oboe Lee
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1180571 Composed by Thomas Oboe Lee. 20th Century,Chamber,Contemporary. Score. 44 pages. Thomas Oboe Lee #780475. ...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1180571 Composed by Thomas Oboe Lee. 20th Century,Chamber,Contemporary. Score. 44 pages. Thomas Oboe Lee #780475. Published by Thomas Oboe Lee (A0.1180571). John Cage and I share the same birthday: September 5th. He was born in 1912 and my birth year is 1945. There must be some cosmological link between us because he has always intrigued me - philosophically and musically. Recently I was in my colleague Prof. Jeremiah McGrann's office waiting for him to join me for a martini lunch after a day of teaching. I noticed on his desk a hardcover copy of John Cage I-VI. I asked what it was and he said it is John Cage's Charles Elliot Norton Lecture he gave at Harvard University in 1988-89. I looked inside and there were these mesostics. Very sparsely distributed on each page, and it looked fascinating, like some hieroglyphic art. I was immediately intrigued by it and thought right on the spot that I should buy a copy and maybe create a song cycle from the texts. Upon further research, I found out that John Cage compiled the content for his lecture using excerpts from works by Thoreau, Emerson, Wittgenstein, McLuhan, Buckminster Fuller, plus passages from The Wall Street Journal, The Christian Science Monitor and The New York Times. He then created the final text for his lecture by using chance operations with the assistance of a computer program that he created. And so I did the unthinkable, create a song cycle of words that has no meaning nor narrative in the traditional sense. Quoting John Cage: I have nothing to say, I am saying it, and that is poetry. John Cage I-VI (2023) is in six movements, scored for soprano and piano.
$9.99 ≈
¥70.77
Dancing Queen
Dancing Queen
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ABBA
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Daniel Luna de Menezes
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Dancing Queen
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Daniel Luna de Menezes
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SheetMusicPlus
Small Ensemble Drum Set,Guitar,Piano Accompaniment,Violin,Voice - Level 2 - SKU: A0.914010 By ABBA. By Benny Andersson, Bjorn Ulvaeus, and Stig Anderson...
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Small Ensemble Drum Set,Guitar,Piano Accompaniment,Violin,Voice - Level 2 - SKU: A0.914010 By ABBA. By Benny Andersson, Bjorn Ulvaeus, and Stig Anderson. Arranged by Daniel Luna de Menezes. Film/TV,Pop. Score and parts. 17 pages. Daniel Luna de Menezes #3563077. Published by Daniel Luna de Menezes (A0.914010). 2018 New ArrangeMe Song Contest EntryDancing Queen is a Europop song by the Swedish group ABBA, and the lead single from their fourth studio album, Arrival. It was written by Benny Andersson, Björn Ulvaeus and Stig Anderson. Andersson and Ulvaeus also produced the song. Dancing Queen was released as a single in Sweden on 15 August 1976, followed by a UK release and the rest of Europe a few days later. It was a worldwide hit. It became ABBA's only number one hit in the United States, and topped the charts in Australia, The Netherlands, Belgium, Ireland, Mexico, New Zealand, Norway, South Africa, Spain, Sweden, the United Kingdom, Germany and Zimbabwe. Dancing Queen also reached the Top 5 in many other countries.Musically, Dancing Queen is a Europop version of American disco music. As disco music dominated the US charts, the group decided to follow the trend, replicating Phil Spector's Wall of Sound arrangements. The song alternates between languid yet seductive verses and a dramatic chorus that ascends to heart-tugging high notes. It features keyboard lines by Andersson, which accentuate the melody's sophistication and classical complexity, while Ulvaeus and Andersson interlace many instrumental hooks in and out of the mix. Anni-Frid Lyngstad and Agnetha Fältskog's layered vocals have been noted for their dynamism, [negotiating] the melody's many turns flawlessly. Lyrically, the song concerns a visit to the discotheque, but approaches the subject from the joy of dancing itself.For the soundtrack of the 1994 Australian film Muriel's Wedding, songwriters Ulvaeus and Andersson allowed the use of Dancing Queen and other ABBA hits. Dancing Queen was among the ABBA songs included in Mamma Mia!, the jukebox musical first produced in 1999 and adapted into a movie released in 2008.
$15.99 ≈
¥113.27
Too Much For Our Thirst (Trombone and Piano)
Too Much For Our Thirst (Trombone and Piano)
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Trombone et Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alexander Burdiss
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Too Much For Our Thirst
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Ars Nova Press
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SheetMusicPlus
Piano,Tenor Trombone - Level 4 - SKU: A0.1335564 Composed by Alexander Burdiss. Contemporary. Score and part. 12 pages. Ars Nova Press #921400. Publishe...
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Piano,Tenor Trombone - Level 4 - SKU: A0.1335564 Composed by Alexander Burdiss. Contemporary. Score and part. 12 pages. Ars Nova Press #921400. Published by Ars Nova Press (A0.1335564). Too Much For Our Thirstby Alexander BurdissArranged for Trombone and PianoDedicated to Courtney CarmackPerformance Time: approx. 7:00This is an adaptation for trombone of a piece originally written for tuba. The Eyes of the Poor from Paris SpleenWritten by Charles Baudelaire, Translated by Arthur Symons Ah! you want to know why I hate you to-day. It will probably be less easy for you to understand than for me to explain it to you; for you are, I think, the most perfect example of feminine impenetrability that could possibly be found. We had spent a long day together, and it had seemed to me short. We had promised one another that we would think the same thoughts and that our two souls should become one soul; a dream which is not original, after all, except that, dreamed by all men, it has been realised by none. In the evening you were a little tired, and you sat down outside a new café at the corner of a new boulevard, still littered with plaster and already displaying proudly its unfinished splendours. The café glittered. The very gas put on all the fervency of a fresh start, and lighted up with its full force the blinding whiteness of the walls, the dazzling sheets of glass in the mirrors, the gilt of cornices and mouldings, the chubby-cheeked pages straining back from hounds in leash, the ladies laughing at the falcons on their wrists, the nymphs and goddesses carrying fruits and pies and game on their heads, the Hebes and Ganymedes holding out at arm's-length little jars of syrups or parti-coloured obelisks of ices; the whole of history and of mythology brought together to make a paradise for gluttons. Exactly opposite to us, in the roadway, stood a man of about forty years of age, with a weary face and a greyish beard, holding a little boy by one hand and carrying on the other arm a little fellow too weak to walk. He was taking the nurse-maid's place, and had brought his children out for a walk in the evening. All were in rags. The three faces were extraordinarily serious, and the six eyes stared fixedly at the new café with an equal admiration, differentiated in each according to age. The father's eyes said: How beautiful it is! how beautiful it is! One would think that all the gold of the poor world had found its way to these walls. The boy's eyes said: How beautiful it is! how beautiful it is! But that is a house which only people who are not like us can enter. As for the little one's eyes, they were too fascinated to express anything but stupid and utter joy. Song-writers say that pleasure ennobles the soul and softens the heart. The song was right that evening, so far as I was concerned. Not only was I touched by this family of eyes, but I felt rather ashamed of our glasses and decanters, so much too much for our thirst. I turned to look at you, dear love, that I might read my own thought in you; I gazed deep into your eyes, so beautiful and so strangely sweet, your green eyes that are the home of caprice and under the sovereignty of the Moon; and you said to me: Those people are insupportable to me with their staring saucer- eyes! Couldn't you tell the head waiter to send them away? So hard is it to understand one another, dearest, and so incommunicable is thought, even between people who are in love!
$9.99 ≈
¥70.77
Pure Imagination
Pure Imagination
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Chorale TTBB
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AVANCÉ
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Mormon Tabernacle Choir
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Timorell
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Pure Imagination
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Timorell
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SheetMusicPlus
Choral Choir,Choral (TTBB) - Level 5 - SKU: A0.1357674 By Mormon Tabernacle Choir. By Anthony Newley and Leslie Bricusse. Arranged by Timorell. A Cappel...
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Choral Choir,Choral (TTBB) - Level 5 - SKU: A0.1357674 By Mormon Tabernacle Choir. By Anthony Newley and Leslie Bricusse. Arranged by Timorell. A Cappella,Barbershop,Christmas,Film/TV,Standards. 16 pages. Timorell #942213. Published by Timorell (A0.1357674). As performed by TONEWALL, the charismatic queer a cappella band of the New York City Gay Men's Chorus. Follow us! @tonewallnyc Instagram | Facebook | Tiktok | Youtube | email | website #queeracappella . Questions for the arranger? Volume pricing? Contact Timorell at tonewallnyc@gmail.com. An advanced level, TTTBB cover of the popular original song from the 70's movie, Willy Wonka & the Chocolate Factory. Intended to be earnest and magical, and even slightly worrisome in later sections, just like our imaginations can be. It is not sad or pensive, though. Multiple meters: 4|4 5|4 6|4 Opening melody could be cast as a solo through measure 16. Run time is 2:45. Note the third verse from the original song is not included in this arrangement. A piano reduction is provided for rehearsals as the chord structure is heavily jazz influenced (6ths, 9ths, 11ths and cluster chords abound). Vocal percussion, a key component, is not notated but encourage between measures 17 & 48. Range: low - (tessitura) - highT1: F3 - (G4) - D5T2: C3 - (F4) - Bb4T3: C3 - (D4) - Bb4Bari: C3 - (A3) - F4Bass: Eb2 - (D3) -Bb3
$2.00 ≈
¥14.17
Yemanya (for Symphonic Band)
Yemanya (for Symphonic Band)
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Becca Schack
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Yemanya
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Ingenue Music
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1028006 Composed by Becca Schack. 20th Century,Contemporary,Jazz. Score and parts. 123 pages. Ingenue Music #3140879. P...
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Concert Band - Level 4 - SKU: A0.1028006 Composed by Becca Schack. 20th Century,Contemporary,Jazz. Score and parts. 123 pages. Ingenue Music #3140879. Published by Ingenue Music (A0.1028006). Commissioned by the International School Of Luxembourg (ISL). Premiered in Luxembourg, in December 2010, conducted by Dimosthenis Dimitrakoulakos.Program Notes:This piece is named for Yemanya (pronounced Yeh-MAHN-jah or Yeh-MAHN-jee), the Brazilian/African nurturing mother goddess of the ocean. She's known as a protector, supplier, and one who grants wishes. Every December 31st, Brazilians celebrate Yemanya by casting white flowers and miniature boats into the sea. If Yemanya grants your wish, her waves will swallow the boat and if she denies the wish the boat will wash up on shore. Yemanya teaches us to dive in at the very moment of golden opportunity, to enjoy the rhythms of life, and to allow all doubts to be washed away. The fluid, oceanic themes of the instruments represent the flow of the water and magic of Yemanya. The piece starts off with a soft wind chime accompanied by gong/tam-tam. Then the vibraphone enters mysteriously as the main theme that drives the whole piece as it subtly changes. The double bass creates a rhythmic pulse beneath the other sections. The gentle melodies in the flute dance around jazzy articulations in the trumpets and saxophones. There's an interplay of Afro-Cuban beats in the marimba and a bossa nova rhythm between the temple blocks and xylophone. Throughout the piece I have tried to capture the water's motion and the ever-changing face of the sea. As the vibraphone returns to the original melody, we are reminded of Yemanya's eternal beauty and peaceful nature.
$60.00 ≈
¥425.02
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A Wall Between Us
