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Black And White Opera
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1
Aria for 8-note Bells and Boomwhackers® (with Color Coded Notes)
Aria for 8-note Bells and Boomwhackers® (with Color Coded Notes)
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Sharon Wilson
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Sharon Wilson
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Aria for 8-note Bells and Boom
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Sharon Wilson
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SheetMusicPlus
Large Ensemble Bells,Boomwhackers,Glockenspiel,Handbell,Handchime,Orff Instrument,Xylophone - Level 1 - SKU: A0.565033 By Sharon Wilson. By Giuseppe Ver...
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Large Ensemble Bells,Boomwhackers,Glockenspiel,Handbell,Handchime,Orff Instrument,Xylophone - Level 1 - SKU: A0.565033 By Sharon Wilson. By Giuseppe Verdi. Arranged by Sharon Wilson. Children,Classical,Instructional,Multicultural,Romantic Period,World. Score and parts. 7 pages. Sharon Wilson #3243825. Published by Sharon Wilson (A0.565033). This Aria from Verdi's opera Rigoletto is notated for 8-note (one octave, C major diatonic scale) instruments with handbells on one staff and Boomwhackers® on a second staff creating an instrumental ensemble (requires one set of each instrument). Included in this set of scores is a 2-page combined score with both parts on a grand staff plus a separate 1-page, 1-staff score for each instrument. This set of scores uses colored noteheads corresponding to the Boomwhackers® color scheme. Handbells sold by Rhythm Band or KidsPlay also use this same color scheme (other brands may use different color schemes). Using color coded notes helps beginning musicians learn to read standard sheet music notation. This set of scores is also available (separate purchase) in black and white which will print clearer if you do not have access to a color printer.Each instrument part uses all 8 notes: C D E F G A B C* where C* is one octave above middle C. The two parts are interchangeable. Though this sheet music is notated for handbells and Boomwhackers®, this arrangement is playable by any 8-note, C major diatonic scale (one octave) instrument such as a xylophone or glockenspiel (though the color coding may not match).The number of ringers and whackers needed will vary depending on the skill level of the participants. For more advanced players, each person could be assigned two notes for a total group size of 8 players. For beginners, it is best to assign one note to each person. At one note per person, a group of 16 players would be required. Note assignment suggestions are included.Other suggestions and uses:* have both parts played by bells or both parts played using only Boomwhackers®* form a choir using multiple sets of bells and/or Boomwhackers® (this would amplify the sound and allow more people to participate) * use as part of the music education for children at school, home, or church:* these colorful, inexpensive instruments can be enjoyed by all ages and add a fun, unique element to activities and programs: senior centers, family reunions, church retreats, home school groups, just to name a few:Permission is granted to make up to 10 copies of each score. For more than 10 copies, please purchase additional sets. This song is one of ten in the collection Ten Classical Favorites for 8-note Bells and Boomwhackers®. Boomwhackers® is a registered trademark of Rhythm Band Instruments, LLC. Used by permission.Visit Sharon Wilson’s website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99 ≈
5.50€
"A Dome of Many-Coloured Glass" - for Tenor and Piano [Performance Score]
"A Dome of Many-Coloured Glass" - for Tenor and Piano [Performance Score]
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Voix Tenor, Piano
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INTERMÉDIAIRE/AVANCÉ
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Lior Navok
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"A Dome of Many-Coloured
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Lior Navok Music
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SheetMusicPlus
Small Ensemble High Voice,Piano Accompaniment - Level 4 - SKU: A0.976030 Composed by Lior Navok. 20th Century,Contemporary,Opera,World. Score and parts....
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Small Ensemble High Voice,Piano Accompaniment - Level 4 - SKU: A0.976030 Composed by Lior Navok. 20th Century,Contemporary,Opera,World. Score and parts. 50 pages. Lior Navok Music #4719265. Published by Lior Navok Music (A0.976030). A DOME OF MANY-COLOURED GLASS - for Tenor and Piano (2000) DURATION: 20 minutes. POEMS BY: Amy Lowell POEMS INCLUDED: 1. The Painted Ceiling 2. The Traut 3. The Crescent Moon 4. Climbing 5. The Pleiades PROGRAM NOTES: The composer writes about his work: Amy Lowell's verses for children brought up many flashbacks from my childhood - a period of exploring, discovering and achieving little victories which we as adults take for granted. My approach, while composing the songs was to shift constantly between the way a child and an adult would view the given situation. The music tries to portray the psychological state of the poems' hero and sometimes uses an over-dramatic statement, just like a kid would experience the situation. Sometimes on the other hand, things are softened, as viewed through the glasses of an adult. A Dome of Many-Coloured Glass was commissioned by Joe Dan Harper and Anne Kissel Harper and was made possible by a grant from the St. Botolph Club Foundation. INFO: Item: Full Score Edition: 2nd Edition Copyright: Lior Navok Publisher: Lior Navok Music Pages: 50 Ink: Black & White Paper Size: DIN A4 / Letter.
$20.00 ≈
18.37€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.03€
March of the Toreadors
March of the Toreadors
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Piano Facile
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DÉBUTANT
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Georges Bizet
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Jane Stavrinoudis
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March of the Toreadors
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Jane Stavrinoudis
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.1425855 Composed by Georges Bizet. Arranged by Jane Stavrinoudis. 19th Century,20th Century,Classical,Opera. Score. 3 pag...
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Easy Piano - Level 1 - SKU: A0.1425855 Composed by Georges Bizet. Arranged by Jane Stavrinoudis. 19th Century,20th Century,Classical,Opera. Score. 3 pages. Jane Stavrinoudis #1006620. Published by Jane Stavrinoudis (A0.1425855). A piano solo of this famous work March of the Toreadors from the Opera Carmen arranged by Jane Stavrinoudis in C Major and in four four time for the lower elementary (Grade 0) piano players. Download includes a black and white pdf, a colour coded pdf for reluctant music readers, and a short history and analysis of the piece.Listen here https://youtu.be/BtLmTaeOTTw
$5.99 ≈
5.50€
Uptown Funk
Uptown Funk
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Bruno Mars
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MAJOR SCORE PUBLISHING TM
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Uptown Funk
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Major Score Publishing
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SheetMusicPlus
Easy Guitar (with TAB) - Level 3 - SKU: A0.1108131 By Bruno Mars. By Bruno Mars, Charles Wilson, Devon Gallaspy, Jeff Bhasker, Lonnie Simmons, Mark Rons...
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Easy Guitar (with TAB) - Level 3 - SKU: A0.1108131 By Bruno Mars. By Bruno Mars, Charles Wilson, Devon Gallaspy, Jeff Bhasker, Lonnie Simmons, Mark Ronson, Nicholaus Williams, Philip Lawrence, Robert Wilson, Ronnie Wilson, and Rudolph Taylor. Arranged by MAJOR SCORE PUBLISHING TM. Disco,Funk,Instructional,Pop. Tablature. 8 pages. Major Score Publishing #710755. Published by Major Score Publishing (A0.1108131). Uptown Funk Guitar tab sheet music This super funky and highly detailed guitar tab sheet music for uptown funk is designed to set you up for success! This highly detailed Guitar tab chart includes all the important details you are looking for a highly authentic performance! A fantastic resource for working professionals, high profile entertainment operations, tribute bands, wedding bands as well as guitar teachers and guitar students. Be sure to check out our Youtube video demo preview of this chart! Looking for online guitar lessons from our highly experienced instructors? Reach out today via our website link below! Guitar tab (All) Back in Black (AC/DC)Battle Without Honor (Kill Bill)Blackbird (The Beatles)Easy (Commodores)Dust in the Wind (Kansas)Hotel California (Eagles)Seven Nation Army (White Stripes)Smoke on the Water (Deep Purple)Sweet Child O' Mine (Guns N' Roses)Sweet Home Alabama (Lynyrd Skynyrd)Top Gun Anthem (Steve Stevens)Tears in Heaven (Eric Clapton) Follow us today! Instagram @majorscorepublishing YouTube @majorscorepublishing Website https://www.majorscorepublishing.com/guitartabsheetmusic
$5.99 ≈
5.50€
Battle Without Honor Or Humanity
Battle Without Honor Or Humanity
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Tomoyasu Hotei
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MAJOR SCORE PUBLISHING TM
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Battle Without Honor Or Humani
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Major Score Publishing
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1112983 Composed by Tomoyasu Hotei. Arranged by MAJOR SCORE PUBLISHING TM. Film/TV,Instructional,Rock. Guitar Tab. 10 pages. ...
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Guitar - Level 3 - SKU: A0.1112983 Composed by Tomoyasu Hotei. Arranged by MAJOR SCORE PUBLISHING TM. Film/TV,Instructional,Rock. Guitar Tab. 10 pages. Major Score Publishing #714935. Published by Major Score Publishing (A0.1112983). Battle Without Honor or Humanity Guitar sheet music Learn how to play Battle Without Honor or Humanity today! This epic Guitar feature from Kill Bill Volume 1 is now available! We have included parts for Guitar 1(solo line) & Guitar 2 (main groove) in our guitar tab sheet music arrangement of Battle WIthout Honor! All of the lines and important information you are looking for is highly detailed and ready to go! Our guitar tab sheet music arrangement is designed for professionals, enthusiasts, tribute bands, high profile entertainment operations to a fantastic resource for Guitar Teachers and Guitar Students! Be sure to check out our YouTube video demo lesson of this chart with Luigi Leoni! Looking for ONLINE GUITAR LESSONS? Reach our and connect with Luigi today via our website below! Guitar tab (All) Back in Black (AC/DC)Battle Without Honor (Kill Bill)Blackbird (The Beatles)Bohemian Rhapsody (Queen)Easy (Commodores)Hotel California (Eagles)I'm Tore Down (Eric Clapton)Old Time Rock N' Roll G (Bob Seger)Old Time Rock N' Roll Gb (Bob Seger)Seven Nation Army (White Stripes)Smoke on the Water (Deep Purple)Sweet Child O' Mine (Guns N' Roses)Sweet Home Alabama (Lynyrd Skynyrd)Top Gun Anthem (Steve Stevens)Tears in Heaven (Eric Clapton)Uptown Funk (Bruno Bars) Follow us today! Instagram @majorscorepublishingYouTube @majorscorepublishingWebsite https://www.instagram.com/majorscorepublishing/
$6.99 ≈
6.42€
Bohemian Rhapsody
Bohemian Rhapsody
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Queen
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MAJOR SCORE PUBLISHING TM
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Bohemian Rhapsody
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Major Score Publishing
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1163039 By Queen. By Freddie Mercury. Arranged by MAJOR SCORE PUBLISHING TM. Film/TV,Opera,Rock,Singer/Songwriter. Guitar Tab...
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Guitar - Level 3 - SKU: A0.1163039 By Queen. By Freddie Mercury. Arranged by MAJOR SCORE PUBLISHING TM. Film/TV,Opera,Rock,Singer/Songwriter. Guitar Tab. 11 pages. Major Score Publishing #763361. Published by Major Score Publishing (A0.1163039). Bohemian Rhapsody Guitar Solo(Guitar tab sheet music) Calling all Brian May & Queen Fans! Learn how to play the guitar solo in Bohemian Rhapsody just like Brian May! Our arrangement of Bohemian Rhapsody contains the full guitar solo with all of the important details your are looking for. This arrangement is designed for working professionals, tribute bands, high profile performances to an excellent resource for guitar teachers and guitar students. Looking for online Guitar Lessons? Get in touch with Luigi Leoni today via our website link! Guitar Tab (All) Back in Black (AC/DC)Battle Without Honor (Kill Bill)Blackbird (The Beatles)Easy (Commodores)Hotel California (Eagles)I'm Tore Down (Eric Clapton)Seven Nation Army (White Stripes)Smoke on the Water (Deep Purple)Sweet Child O' Mine D (Guns N' Roses)Sweet Child O' Mine Db (Guns N' Roses)Sweet Home Alabama (Lynryrd Skynyrd)Top Gun Anthem (Steve Stevens)Tears in Heaven (Eric Clapton)Uptown Funk (Bruno Mars) Follow Us today! Instagram @majorsscorepublishingYouTube @majorscorepublishingWebsite https://www.majorscorepublishing.com/guitartabsheetmusic
$6.99 ≈
6.42€
New Year
New Year
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Sir Michael Tippett
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New Year
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Schott Music - Digital
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SheetMusicPlus
SKU: S9.Q3655 Opera in 3 acts. Composed by Sir Michael Tippett. This edition: vocal/piano score. Downloadable, Piano reduction. Duration 102' 0. ...
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SKU: S9.Q3655 Opera in 3 acts. Composed by Sir Michael Tippett. This edition: vocal/piano score. Downloadable, Piano reduction. Duration 102' 0. Schott Music - Digital #Q3655. Published by Schott Music - Digital (S9.Q3655). English.The wildest and most open of his operas, New Year is an extraordinarily youthful conception for a composer in his mid-eighties, a work that spins his lyrical ecstasy and rhythmic vitality into a new world on the point of disintegration. Unlike its four predecessors, all of which had been written for the Royal Opera House, this one was composed for Houston Grand Opera, a relocation that encouraged Tippett to veer from opera to musical, evenrock musical, giving space to pop song, spoken dialogue, joke and, above all, dance—the communal movement of bodies that would, as in The MidsummerMarriage but now within a much looser framework, with music say what words could not. Jo Ann and Donny—young woman and youngman, white and black, both orphans—cannot join the dance, isolated as they are inside their personal fears and fantasies. And the dance itself is imperilled by social unease in this city that is ‘Somewhere and Today’.To it come visitors from ‘Nowhere and Tomorrow’: the captain (Regan), pilot (Pelegrin) and computer wizard (Merlin) of a space vessel—though thesescience-fiction characters turn out to be ritual agents (and to have human problems of their own). Donny undergoes a magical transformation; Jo Ann, through love, gains the courage to leave the room in which she has been hiding.(Paul Griffiths)3 (3pic).2.ca.1.bcl.3sax.1.cbn-4.2.3.1-perc (s.d., t.d., b.d., jazz kit, slit dr., 2 steel dr. (high/low), brake dr., 5 tom-toms, cym., sus.cym., hi-hat, hand cym. played with mallet/steel bar, 2w.bl., wh., large tri., large tam-tam, small tam-tam, c.b., xyl., vib., glock., tub.bells, claves, guiro)-hp.egtr.bgtr-str (4.4.4.4.2min) - electronic tape - sampler kybd.
$69.99 ≈
64.27€
My Shepherd Will Supply My Need
My Shepherd Will Supply My Need
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Piano seul
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INTERMÉDIAIRE
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Musique Sacrée
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Gospel Spirituel
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Southern Harmony
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Paul Thurmond
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My Shepherd Will Supply My Nee
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Paul Thurmond
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.828225 Composed by Southern Harmony. Arranged by Paul Thurmond. Christian,Gospel,Jazz,Sacred. Score. 3 pages. Paul Thurmo...
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Piano Solo - Level 3 - SKU: A0.828225 Composed by Southern Harmony. Arranged by Paul Thurmond. Christian,Gospel,Jazz,Sacred. Score. 3 pages. Paul Thurmond #4968921. Published by Paul Thurmond (A0.828225). Tune: RESIGNATIONUse: Prelude, Offertory, PostludeA couple of years ago I read an interview with director Ridley Scott about his first commercially successful film, Alien. It’s a terrific science fiction/horror movie set on a large spaceship, with a predatory creature who is hunting down the human crew one by one. In the interview, Scott talked about the fact that there were scenes he wanted to film and effects he wanted to use, but his small budget prevented him from doing so. Instead, he was forced to make do with limited time and materials. Alien became a hit, and Scott went on to direct blockbusters like Gladiator and Hannibal.What stuck with me was what Scott said about creativity. It is his opinion that the budgetary constraints under which he operated when making Alien forced him to explore ideas and methods he wouldn’t have otherwise considered. Even though he would later make movies with ten times the budget, he’s extremely proud of what he and his team did with far more limited resources.When I started writing My Shepherd Will Supply My Need, I decided to give myself a big constraint: I would only be allowed to use the white keys of the piano. This is very different for me; I usually throw in some juicy harmonies. It was an interesting process, and I have to say that I agree with Ridley Scott: limits spark creativity. I’m going to look for other ways to apply this principle.I did go over budget slightly, and used one black key. Every flock has its black sheep, right?
$4.99 ≈
4.58€
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Black And White Opera
