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Let Them Come to Me for SSA and piano
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Vous avez sélectionné:
Let Them Come to Me for SSA and piano
Partitions à imprimer
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Let Them Come to Me for SSA and piano
Let Them Come to Me for SSA and piano
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Chorale 3 parties
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Musique Sacrée
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Alan Beyel
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Let Them Come to Me for SSA an
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Alan Beyel
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SheetMusicPlus
Choral Choir (SSA) - SKU: A0.847423 Composed by Alan Beyel. Sacred. Octavo. 22 pages. Alan Beyel #4611225. Published by Alan Beyel (A0.847423).
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Choral Choir (SSA) - SKU: A0.847423 Composed by Alan Beyel. Sacred. Octavo. 22 pages. Alan Beyel #4611225. Published by Alan Beyel (A0.847423). Based on the familiar text from Mark 10: 14-15 where Jesus welcomes the little children, this SSA anthem would be a meaningful addition to your Children's Sunday, Baptism, or General Worship service. The original anthem briefly quotes the melody O Come, Little Children, by J.A.P. Schultz. Easy to learn by your choir, the product includes a bonus separate piano part to minimize page turns during performance. See also SATB version: ITEM ID: S0.415297
$2.50 ≈
2.31€
Let It Be
Let It Be
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Noël
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The Beatles
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Jeremy Nafziger
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Let It Be
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Jeremy Nafziger
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SheetMusicPlus
Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viola,Violin - Level 3 - Interactive Download SKU: A0.481914 By The...
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Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viola,Violin - Level 3 - Interactive Download SKU: A0.481914 By The Beatles. By John Lennon and Paul McCartney. Arranged by Jeremy Nafziger. This edition: Interactive Download. Christmas. Octavo. Duration 286. Jeremy Nafziger #6Re335EyhndYxZ7ALSuj10. Published by Jeremy Nafziger (A0.481914). Key: C major.The Beatles classic with the Advent hymn, In Dulci Jubilo. Both texts come from dreams, and this winds up a meaningful combination. In Dulci was written in the 14th century by German monk and teacher Heinrich Suso (or Seuse), who writes in his third-person autobiography about a dream he had: Now this same angel came up to the Servant [Suso] brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth began a joyous song about the infant Jesus, which runs thus: In dulci jubilo... About 650 years later, in 1968, Paul McCartney was staying out late, drinking too much, and thinking that the Beatles were probably going to break up soon. Then one night, somewhere between deep sleep and insomnia, I had the most comforting dream about my mother, who died when I was only 14. She had been a nurse, my mum, and very hardworking, because she wanted the best for us.... At night when she came home, she would cook, so we didn’t have a lot of time with each other. But she was just a very comforting presence in my life. And when she died, one of the difficulties I had, as the years went by, was that I couldn’t recall her face so easily.... So in this dream twelve years later, my mother appeared, and there was her face, completely clear, particularly her eyes, and she said to me very gently, very reassuringly: “Let it be.†It was lovely. I woke up with a great feeling. It was really like she had visited me at this very difficult point in my life and gave me this message: Be gentle, don’t fight things, just try and go with the flow and it will all work out. His mother's name was Mary, or course. He wrote the song in the next few days, and it was released on the album on the same name in 1970, a month after the Beatles split up. As for the actual texts, they're very different. In Dulci is macaronic (alternating between two languages, in this case Latin and a translation from Medieval German) and ecstatic; Let It Be is English and more subdued. In this version, we alternate between the two but keep the Let It Be structure, except for a diversion in the middle where the well-known Bach setting is adopted as kind of an interlude. The two texts and melodies are sung together in the last verse (the fourth In Dulci verse and the third Let It Be verse), where both are talking about music.
$3.99 ≈
3.68€
O Come Let Us Adore Him, Christ the Lord - SSAA Cantata with optional instruments
O Come Let Us Adore Him, Christ the Lord - SSAA Cantata with optional instruments
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Noël
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Connie Boss
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Connie Boss
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O Come Let Us Adore Him, Chris
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Connie Boss
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SheetMusicPlus
Alto Voice,Cello,Flute,Piano,Soprano voice,Violin - Level 2 - SKU: A0.1116938 Composed by Connie Boss. Arranged by Connie Boss. Christmas,Holiday. 121 p...
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Alto Voice,Cello,Flute,Piano,Soprano voice,Violin - Level 2 - SKU: A0.1116938 Composed by Connie Boss. Arranged by Connie Boss. Christmas,Holiday. 121 pages. Connie Boss #718585. Published by Connie Boss (A0.1116938). This is an SSAA version of a Christmas cantata that I also have in SATB. This cantata includes speaking parts before each song. It also has an optional instrument (flute, cello or violin) with parts included for all of the songs included with the download. While optional, the instruments add so much to each song. There is also piano accompaniment includes in each score. The cantata includes some oldies as well as some new compositions by me. To hear all of the songs, click on the YouTube attachment below. For any questions or requests, email cdboss@cvalley.net. If you do record the cantata, I'd love for you to email to me as well as I would love to hear it. I have background accompaniment to these songs. If you purchase a book and would like them, please email me with proof of purchase and I will email them back to you or you can purchase background accompaniment mp3s to sing with on here.Song Titles 1. Baby, Jesus, Was Born Unto This Earth2. Christ Child’s Lullaby3. Bring a Torch Jeanette, Isabella4. Christmas Carols5. Good Christian Men Rejoice6. O Come Let Us Adore Him, Christ the Lord7. Peace on Earth8. Sing We Now of Christmas
$8.00 ≈
7.38€
Nick & Charlie
Nick & Charlie
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Piano seul
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INTERMÉDIAIRE
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JohnWillard Utuk
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Nick & Charlie
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JohnWillard Utuk
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1217376 Composed by JohnWillard Utuk. Contemporary,Film/TV,Instructional,Pop,Singer/Songwriter. Score. 10 pages. JohnWill...
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Piano Solo - Level 3 - SKU: A0.1217376 Composed by JohnWillard Utuk. Contemporary,Film/TV,Instructional,Pop,Singer/Songwriter. Score. 10 pages. JohnWillard Utuk #813922. Published by JohnWillard Utuk (A0.1217376). Do you or someone you know like the Heartstopper webcomic characters Nick Nelson and Charlie Spring? Here's a charming piano solo inspired by Alice Oseman's series that literally has music bringing them both together! Using each letter from their names, two distinct melody lines were created as a musical cryptogram (hidden words matched to musical pitches). Both themes are simple, and I wanted this piece to capture the optimism portrayed in the first two volumes of the graphic novel (and season 1 of the Netflix adaptation). Overall this solo has a light-hearted pop feel and a driving rhythm that can appeal to tweens, teens, and adults alike. Written in the key of C major, players get to explore varied musical elements and techniques: left hand syncopation, simple rhythms of mostly quarter, eighth, and half notes (crochet, quaver, and minums for our UK Friends!), triplets, alternating legato and staccato passages, tempo changes and different dynamic markings (p, mp, mf, f, ff). Musical phrases are 4-8 measures long, which makes recognizing patterns and form easy for students. With performance directions of hopeful, happily, and relaxed, interpretation beyond just notes and rhythms is an advanced concept teachers can explore with students. This solo piece can be played for fun, talent shows, recitals, sight reading, or (for fans of the series) entertainment during Heartstopper episode marathons! This piece celebrates the essence of youth, adventure, and hope of what's to come. Total performance time: 4:35. Key: C Major Musical Elements explored: syncopation, staccato, legato, simple rhythms, dotted quarter notes, triplets, sensitivity to musical interpretation, dynamic contrast, tempo changes, pedaling. Teachers can spark imagination with students by asking, What are the characters doing in this passage? How would they feel in this part? Who or what else can represent the two melodies? to experiment with musical storytelling. If you enjoyed this piece, leave a review below! You can also connect with me on IG @jwupiano or my YouTube Channel, JwuPiano.
$7.00 ≈
6.46€
The Spear of Destiny
The Spear of Destiny
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Violon et Piano
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AVANCÉ
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Contemporain
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Jesus J
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The Spear of Destiny
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Jesus Martinez Music
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano,Violin - Level 5 - SKU: A0.1030742 Composed by Jesus J. Martinez. Contemporary. Score and parts. 1 pages. Jesu...
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Instrumental Duet Instrumental Duet,Piano,Violin - Level 5 - SKU: A0.1030742 Composed by Jesus J. Martinez. Contemporary. Score and parts. 1 pages. Jesus Martinez Music #2019881. Published by Jesus Martinez Music (A0.1030742). PROGRAM NOTES: The Spear of Destiny is titled and inspired by the supposed spear that was used to kill Jesus Christ. The spear is said to have extraordinary powers. He who possesses it will rule the world and he who loses it thereafter will die an untimely death. The last person recorded to have had it was Adolf Hitler. This musical composition journeys through the time of Hitler and his obsession to obtain the spear, his atrocious acts during his tenure of the spear, and the loss of the spear. The spears main thematic motions are the glissandos in the violin that represent the spears anger and tortuous ways. I. Spear Found takes place during his times as an understudy of Dietrich Eckart, a dedicated satanist and figure in the Occult Thule Society and founding member of the Nazi party. Dietrich said: Follow Hitler! He will dance, but it is I who have called the tune! I have initiated him into the Secret Doctrine' opened his centres in vision and given him the means to communicate with the Powers. Do not morn for me; I shall have influenced history more than any other German. Hitler became enamored with the Spear of Destiny, which claimed it called to him. Spear Found, is Hitler's journey to capturing the spear to rule the world. II. Spear Possessed begins with no time meter or key signature. It is ad liberty of the performers and is a musical representation of the spears possessive powers towards evil. This movement takes place during the time of the Holocaust and the actions committed during Hitler's reign of world domination. The movement infers a jewish folk song titled, Dayeinu, a jewish Passover song meaning it would have been enough. This song is set in context of freedom. The movement goes through variations of Dayeinu and the spears version of a possessed Dayeinu. The violin has fast and rapid rhythms with small thematic material of the folk tune. At the end of the movement, the piano strikes the low end of the piano with a soft yarn mallet to symbolize the bombs dropping and the start of World War II. III. Spear Lost takes place during WWII and the Marines efforts to take down Hitler's reign. During the 3rd movement, the Marine Corps music comes to life as they take control of the spear and ultimately end the war. The Spear however, takes its last stand as the spears motif soars over the possessed marine tune. At the end of the movement, the spear is once again screeching as it survives and goes missing once again.
$32.99 ≈
30.45€
Introduction, Theme and Variations
Introduction, Theme and Variations
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Gioachino Rossini
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Sean Brennan
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Introduction, Theme and Variat
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bl_music
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SheetMusicPlus
Instrumental Duet,Piano Baritone Horn TC,Euphonium,Instrumental Duet,Piano - Level 5 - SKU: A0.842571 Composed by Gioachino Rossini. Arranged by Sean Br...
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Instrumental Duet,Piano Baritone Horn TC,Euphonium,Instrumental Duet,Piano - Level 5 - SKU: A0.842571 Composed by Gioachino Rossini. Arranged by Sean Brennan. Classical,Concert,Graduation,Romantic Period. Score and parts. 19 pages. Bl_music #6643225. Published by bl_music (A0.842571). Theme and Variations by G. Rossini, arr. Brennan for Solo Euphonium/Baritone with Piano accompaniment This edition is the theme and variations from Rossini's Introduction, Theme and Variations originally for clarinet and orchestra. This version has been performed and recorded by a number of internationally renowned Euphonium soloists. We first published the complete Introduction, Theme and Variations for Euphonium in 1991 and performed it on a 1830s ophicleide and a 1840s square piano in 1993. This edition comes with a shortened introduction,theme and variations. Duration around 8 ½ min. Solo part in treble and bass clef.Message from Sean Brennan:This arrangement, or more correctly transcription, was first published by us in 1991, although its origins go back much further than that. I do remember being transfixed in the 1970s by Richard Stoltzman’s recording of the original form of the work for clarinet and orchestra. I was convinced it would work for Euphonium and that one day there would be players with the technique, and above all musicality, to bring it off. For me, this vision came true in 1994 when we first performed the piece in Birmingham in 2004, and then again 10 years later when David Thornton and the Black Dyke Band recorded the Theme and Variations. Rossini composed the Introduction, Theme and Variations for clarinet and orchestra in 1810 at the request of a fellow student at the Conservatorio di Bologna. Although the autograph score has been lost, and some musicologists have questioned the authenticity of the work, I find no reason for doubt since Rossini recycled some of the material in later works, and apart from that his evervascent musical personality is abundant from beginning to end.
$18.99 ≈
17.53€
Profecías mayas: La nueva era
Profecías mayas: La nueva era
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Piano seul
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FACILE
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Darío Estrella
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Profecías mayas: La nue
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Editorial Copistas Acuario
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.1460309 Composed by Darío Estrella. 21st Century,Chamber,Classical,Jazz,Multicultural,World. Score. 108 pages. Editorial...
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Piano Solo - Level 2 - SKU: A0.1460309 Composed by Darío Estrella. 21st Century,Chamber,Classical,Jazz,Multicultural,World. Score. 108 pages. Editorial Copistas Acuario #1039240. Published by Editorial Copistas Acuario (A0.1460309). En 2012 se habló bastante del calendario maya y de una interpretación que causó un gran impacto a nivel mundial por sus presagios fatalistas. Sin embargo, entendí que estas Profecías Mayas, más allá de predicar destrucción, enunciaban el inicio de un mundo nuevo, uno que todos nosotros debemos construir. Me inspiré en el tema y decidí escribir 31 composiciones, una por cada día del mes de diciembre —práctica que desde entonces mantengo, siendo el pasado diciembre mi 11o año consecutivo. Ahora, en 2024, el equipo de la Fundación Copistas Acuario —presidida por mi amigo y discípulo Samuel Beethoven—, me honra con la siguiente edición de composiciones para piano, luego de haber también publicado mi libro «A ti Estudiante» en 2019. En cada una de las piezas se presenta una propuesta distinta y diferenciada. Cada título es alusivo al día correspondiente según los almanaques y muchas veces en conexión con la numerología. Es un libro interesante para estudiarlo y ampliar el repertorio, pero que sobre todo busca elevar la capacidad interpretativa. Siempre he tratado de enviar un mensaje de vida a través de mi música y en esta obra, además, quise expresar la fascinación y el asombro que este pueblo antiguo y misterioso me causa. Se dice que este pueblo desapareció, pues decían venir de las estrellas, específicamente de las Pléyades; tal vez regresaron a su origen cósmico de la misma manera en que vinieron. ¡Embárquemonos, pues, nosotros también en este fascinante viaje musical que hoy presentamos ante ustedes! --------------------------------------------------------------------------------------------------In 2012, there was a lot of talk about the Mayan calendar and an interpretation that caused a great impact worldwide for its fatalistic omens. However, I understood that these Mayan Prophecies, beyond preaching destruction, enunciated the beginning of a new world, one that all of us must build. I was inspired by the theme and decided to write 31 compositions, one for each day of the month of December —a practice I have maintained ever since, this past December being my 11th consecutive year. Now, in 2024, the team of the Fundación Copistas Acuario —chaired by my friend and disciple Samuel Beethoven,— honors me with the next edition of piano compositions, after having also published my book “A ti Estudiante” in 2019. Each of the pieces presents a distinct and different proposal. Each title is allusive to the corresponding day according to the almanacs and often in connection with numerology. It is an interesting book to study and expand the repertoire, but above all it seeks to raise the interpretative capacity. I have always tried to send a message of life through my music, and in this work I also wanted to express the fascination and amazement that this ancient and mysterious people cause me. It is said that this people disappeared, given they claimed to come from the stars, specifically from the Pleiades; perhaps they returned to their cosmic origin in the same way they came. Let us, then, also be embarked in this fascinating musical journey that we present to you today!
$5.99 ≈
5.53€
THE CROWN - FOR STRING QUARTET
THE CROWN - FOR STRING QUARTET
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Film/TV
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Zimmer, Gregson-Williams, Ba
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Helen Marple-Horvat
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THE CROWN - FOR STRING QUARTET
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Helen Marple-Horvat
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SheetMusicPlus
Violin, Viola, Cello, String Quartet - Advanced Intermediate - Digital Download By Zimmer, Gregson-Williams, Balfe. Arranged by Helen Marple-Horvat. ...
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Violin, Viola, Cello, String Quartet - Advanced Intermediate - Digital Download By Zimmer, Gregson-Williams, Balfe. Arranged by Helen Marple-Horvat. Score, Set of Parts. 22 pages. Published by Helen Marple-Horvat
'The Crown' is an award winning Netflix series that has won the hearts of many people around the world. Hans Zimmer wrote the theme for the main title with Rupert Gregson-Williams, from Wiltshire, composing music for the first series, joined by Lorne Balfe, a Scottish composer for series two.
I have made an arrangement for String Quartet and hope to make more for different combinations of instruments and piano in the future.
As usual my arrangement can be played by professionals for concerts, weddings and events but also tackled by young people. The key is the original one, D minor, which is easy for strings, and younger players can make use of open strings and take as many bows as they need. I have included some bowing as a guide. Most of the double stopping includes one open string but less experienced players can leave out one of the notes where necessary, especially of it is doubled by one of the other players. I have included some 'commas' in this arrangement and recommend recovering the bow and watching the leader like a hawk!
The long ?piano? sections will need lots of crescendo and decrescendo markings to sound effective. I put down some ideas, but feel free to experiment. The main thing is that they grow and decay again, to keep up the tension. Without that movement, those soft passages might sound boring, albeit the chords are gorgeous.
I have included a crescendo in the penultimate bar before each new dynamic, but ideally a long crescendo is needed between each new dynamic marking. The texture becomes gradually thicker, which will help, but I am looking forward to Capriccio Quartet recording this one as they are so good at building up excitement.
There must be a great deal of drama at letters D and O. After a massive increase in dynamic I am hoping for a ?breath? at the comma, and a very sudden softness for the chords that follow. I also like harmonics for the viola at bars 21-22, giving way to a natural note on the fourth beat of 22. I would like the harmonic in viola to be almost imperceptible as the piece closes out. I haven?t marked it as such, and I couldn?t write a ?simile? on the page without clashes of staves or an extra page. I intended it to be a harmonic to the end though.
Please send me any recordings you make because I love to hear people playing my arrangements, even if it is a phone recording, and especially younger players! I am on facebook and I have a Youtube Channel too. Helen Marple-Horvat Songwriter, Arranger, Composer.
$20.00 ≈
18.46€
Lorelei from Romanzen und Balladen III, op. 53, Low Voice Transposition in C major
Lorelei from Romanzen und Balladen III, op. 53, Low Voice Transposition in C major
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Classique
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Robert Schumann
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Nicole Elyse DiPaolo
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Lorelei from Romanzen und Ball
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Nicole Elyse DiPaolo
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SheetMusicPlus
Low Voice,Vocal Solo - Level 3 - SKU: A0.799605 Composed by Robert Schumann. Arranged by Nicole Elyse DiPaolo. Romantic Period. 2 pages. Nicole Elyse Di...
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Low Voice,Vocal Solo - Level 3 - SKU: A0.799605 Composed by Robert Schumann. Arranged by Nicole Elyse DiPaolo. Romantic Period. 2 pages. Nicole Elyse DiPaolo #3455867. Published by Nicole Elyse DiPaolo (A0.799605). A low-voice-friendly transposition of this relatively little-known Schumann song about the Lorelei (a mythical mermaid-like creature from the Rhine river). It has a one-octave range from C3-C4 as written, so it’s great for an undergraduate singer still sorting out technique. If you would like to commission a customized transposition in another key, please contact me through my website (linked below).About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo is a versatile pianist, composer, and scholar currently based in Bloomington, Indiana. She holds a B.Mus in Music Theory from the University of Michigan-Ann Arbor, where she studied piano under Michele Cooker and Louis Nagel; she also studied composition with Bright Sheng and basso continuo/harpsichord accompaniment with Edward Parmentier. In 2006 and 2007, Nicole appeared as a concerto soloist with the Ambassador Chamber Players, featuring works of J. S. Bach and Mozart alongside two performances of her own Piano Trio in C minor. Following her graduation from Michigan, Nicole completed an MM in Music Theory from Indiana University-Bloomington, where she has recently become a PhD candidate in the same field; her dissertation research will explore relationships between selected early partimenti (instructional sketches used by Italian composition teachers) and George Frideric Handel’s compositional techniques. Currently, Nicole is a sought-after private instructor of piano, music theory, and composition on the IU campus, where she is also an active mostly-vocal accompanist. Nicole continues to enjoy musical partnerships with students of nearly every current IU voice department faculty member (and she unashamedly absorbs and borrows teaching/coaching/performing tips from all these professors). In addition, she has taken French and German diction courses with Prof. Gary Arvin. Notable recent engagements include the 2016 National Society of Arts and Letters Vocal Competition (multiple entrants); the Opera Night at North benefit concert with students of IU's top-ranked opera program (among them Accidental Tenor Andrew Lunsford); and two long-term cruise ship performing contracts with violinist Amy Schlicher as the Duo del Mare.When not working on one of her many concurrent musical projects, Nicole might be found maintaining The Collaborative Pianists’ Community on Facebook, cuddling the nearest dog, looking for opportunities to maintain her Spanish and Italian language skills, and raising and releasing monarch butterflies. To learn more about Nicole’s many and varied performing, teaching, research, and publishing pursuits, please visit her website at http://ndipaolo.musicaneo.com .
$4.95 ≈
4.57€
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Let Them Come to Me for SSA and piano
