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Sacred Places Harp
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Vous avez sélectionné:
Sacred Places Harp
Partitions à imprimer
11 partitions trouvées
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1
Sacred Places - Harp
Sacred Places - Harp
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Harpe (partie séparée)
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Sacred Places - Harp
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Hal Leonard - Digital
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SheetMusicPlus
SKU: HX.369036 This edition: scorch. Easter,Sacred. Choral Instrumental Pak. 18 pages. Hal Leonard - Digital #205787. Published by Hal Leonard - Digital...
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SKU: HX.369036 This edition: scorch. Easter,Sacred. Choral Instrumental Pak. 18 pages. Hal Leonard - Digital #205787. Published by Hal Leonard - Digital (HX.369036).
$25.00 ≈
23.05€
Pie Jesu from Requiem by Faure for solo harp in C (only two lever changes)
Pie Jesu from Requiem by Faure for solo harp in C (only two lever changes)
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Harpe
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FACILE
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Classique
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Gabriel Faure
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Kim Kirkman
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Pie Jesu from Requiem by Faure
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Kim Kirkman
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SheetMusicPlus
Harp - Level 2 - SKU: A0.779548 Composed by Gabriel Faure. Arranged by Kim Kirkman. Christian,Concert,Easter,Romantic Period,Sacred. Score. 2 pages. Kim...
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Harp - Level 2 - SKU: A0.779548 Composed by Gabriel Faure. Arranged by Kim Kirkman. Christian,Concert,Easter,Romantic Period,Sacred. Score. 2 pages. Kim Kirkman #5289705. Published by Kim Kirkman (A0.779548). Pie Jesu from Requiem by Faure arranged for solo harp by Kim KirkmanIn key of CHas only two lever changes, an F# up then a few bars later it comes down.I have changed the harmony in places to allow this.Have a listen to the sample to get a feel for this simplified and accessible arrangement.
$1.99 ≈
1.83€
In Christ Alone
In Christ Alone
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Harpe
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INTERMÉDIAIRE
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Musique Sacrée
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The Newsboys
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Rebekah Lanier
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In Christ Alone
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Muletown Music
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SheetMusicPlus
Harp - Level 3 - SKU: A0.862048 By The Newsboys. By Keith Getty and Stuart Townend. Arranged by Rebekah Lanier. Celtic,Contemporary,Irish,Praise & Worsh...
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Harp - Level 3 - SKU: A0.862048 By The Newsboys. By Keith Getty and Stuart Townend. Arranged by Rebekah Lanier. Celtic,Contemporary,Irish,Praise & Worship,Sacred,Spiritual. Score. 3 pages. Muletown Music #3511651. Published by Muletown Music (A0.862048). An intermediate level arrangement of the modern hymn In Christ Alone by Keith Getty and Stuart Townend, arranged for solo lever or pedal harp by Rebekah Lanier. This is an appropriate selection for church services, weddings, recitals, and more.This arrangement is in the key of Eb major. There are very few pedal changes. It is also playable by lever harps (the only modification needed is to leave out a Db in two different places).To view a complete list of arrangements and original compositions by Rebekah Lanier, visit http://bit.ly/Catalog-RebekahLanier-SheetMusic
$5.49 ≈
5.06€
Perspectives (for Vibraphone Solo)
Perspectives (for Vibraphone Solo)
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Vibraphone
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INTERMÉDIAIRE
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Adam Lenhart
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Perspectives
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Adam Lenhart
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SheetMusicPlus
Vibraphone Solo - Level 3 - SKU: A0.1436071 Composed by Adam Lenhart. 21st Century,Contemporary,Contest,Early Music,Festival,Instructional. Individual p...
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Vibraphone Solo - Level 3 - SKU: A0.1436071 Composed by Adam Lenhart. 21st Century,Contemporary,Contest,Early Music,Festival,Instructional. Individual part. 9 pages. Adam Lenhart #1016230. Published by Adam Lenhart (A0.1436071). “I grew up in the small town of Ottawa Lake, Michigan. My perspective of life in the rural midwest of the United States was quite pastoral, peaceful and quiet, but in 2020 I moved to Ann Arbor, Michigan and suddenly had opportunities as well as challenges I had never experienced before. However, many other new music students I spoke to stated how much smaller the city felt to them than their hometown. It was so interesting to see how the places we were raised impacted our view of how we live and communicate as a human race. I began imagining all the places in the universe where my small town would appear to be booming with life from its perspective–a lone farmhouse, the depths of the ocean, the edges of outer space, etc. One incredible thing about perspectives is that they are always changing, just as we are. The unfamiliar can always become familiar, and the familiar can always become unfamiliar.”-Adam Lenhart, 2024---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Associations Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Mens Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$5.99 ≈
5.52€
Perspectives (for Carillon)
Perspectives (for Carillon)
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Adam Lenhart
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Perspectives
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Adam Lenhart
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SheetMusicPlus
Carillon,Instrumental Solo - Level 2 - SKU: A0.1437508 Composed by Adam Lenhart. 21st Century,Contemporary,Contest,Early Music,Festival,Instructional. I...
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Carillon,Instrumental Solo - Level 2 - SKU: A0.1437508 Composed by Adam Lenhart. 21st Century,Contemporary,Contest,Early Music,Festival,Instructional. Individual part. 14 pages. Adam Lenhart #1017616. Published by Adam Lenhart (A0.1437508). “I grew up in the small town of Ottawa Lake, Michigan. My perspective of life in the rural midwest of the United States was quite pastoral, peaceful and quiet, but in 2020 I moved to Ann Arbor, Michigan and suddenly had opportunities as well as challenges I had never experienced before. However, many other new music students I spoke to stated how much smaller the city felt to them than their hometown. It was so interesting to see how the places we were raised impacted our view of how we live and communicate as a human race. I began imagining all the places in the universe where my small town would appear to be booming with life from its perspective–a lone farmhouse, the depths of the ocean, the edges of outer space, etc. One incredible thing about perspectives is that they are always changing, just as we are. The unfamiliar can always become familiar, and the familiar can always become unfamiliar.”-Adam Lenhart, 2024---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Associations Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Mens Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$5.99 ≈
5.52€
Laudate Dominum in sanctis eius (Canali)
Laudate Dominum in sanctis eius (Canali)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Floriano Canali
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Aristotle A
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Laudate Dominum in sanctis eiu
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CantemusDomino.Net
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1003353 Composed by Floriano Canali. Arranged by Aristotle A. Esguerra. Christian,Classical,Renaissance,Sacred,W...
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Choral Choir (SATB) - Level 4 - SKU: A0.1003353 Composed by Floriano Canali. Arranged by Aristotle A. Esguerra. Christian,Classical,Renaissance,Sacred,World. Octavo. 2 pages. CantemusDomino.Net #3535817. Published by CantemusDomino.Net (A0.1003353). A setting of Psalm 150 for SATB choir by Floriano Canali (c.1550–c.1630).Total length: ~2:45Key: F majorMode: Mode VIRange requirements (middle C = C4):· Cantus [Soprano]: D4–D5· Altus [Alto]: F3–A4· Tenor: D3–F4· Bassus [Bass]: F2–C4Pages: 2 8.5x11 sheetsSystems per page: 4Accompaniment: noneEnglish Translation (Douay-Rheims 1609):Praise ye the Lord in his holy places: praise ye him in the firmament of his power.Praise ye him for his mighty acts: praise ye him according to the multitude of his greatness.Praise him with sound of trumpet: praise him with psaltery and harp.Praise him with timbrel and choir: praise him with strings and organs.Praise him on high sounding cymbals: praise him on cymbals of joy: let every spirit praise the Lord.Possible uses: Liturgical prelude; postcommunion psalm of praise
$3.00 ≈
2.77€
The Gift to Sing - SATB choir
The Gift to Sing - SATB choir
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Chorale SATB
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Gospel Spirituel
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Musique Sacrée
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Francis Kayali
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The Gift to Sing - SATB choir
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Francis Kayali
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.973048 Composed by Francis Kayali. 20th Century,Contemporary. Octavo. 19 pages. Francis Kayali #6230277. Published by Fran...
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Choral Choir (SATB) - SKU: A0.973048 Composed by Francis Kayali. 20th Century,Contemporary. Octavo. 19 pages. Francis Kayali #6230277. Published by Francis Kayali (A0.973048). The Gift to Sing is a poem by James Weldon Johnson (1871-1938) published in 1917. The central theme of the text is one of optimism and resilience, using the power of song – meaning, more broadly, art or any kind of artful, heightened expression – to overcome adversity. Although the poem can be interpreted broadly to pertain to any kind of struggle, it is likely that Johnson, as a civil-rights activist was alluding more specifically to the oppression African-Americans in the United States, a struggle that continues to this day, in 2020. I composed this setting in September of 2020, right after the Black Lives Matter protests that took place that summer, so current events played a role in this interpretation on my part as well. If one reads the poem as pertaining the continued struggle of African Americans, some passages may come across as ambiguous. For instance, I brood not over the broken past should not be taken as suggesting that the horrors of the past should be forgotten, but as an injunction that the memory of these horrors should not discourage us or diminish our resolve to work toward overcoming the injustices. The musical inspiration for the opening of the piece comes from the song Lonesome Valley, which starts with a pentatonic melodic gesture. The pentatonic scale is often used in African American Spirituals, Christian hymns, and folksongs (e.g., Swing Low, Sweet Chariot, Amazing Grace, How Can I Keep from Singing?, Red River Valley, Oh Shenandoah). The more rhythmic parts take inspiration from the African-American spiritual tradition, as found for instance in the choral music of Moses Hogan (1957-2003). Meanwhile, the tenor solo at the end, is intended to be very loud, bright, and without the pronounced vibrato one would find in a Western operatic style. This kind of bright and intense vocal sound is not unfamiliar to most listeners, who may have encountered it in places as varied as Sacred Harp singing, the opening of the Lion King soundtrack, or the Muslim call to prayer.
$1.99 ≈
1.83€
Sonata Hymnica No. 1
Sonata Hymnica No. 1
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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James Siddons
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Sonata Hymnica No. 1
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.972645 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk,Gospel,Jazz. Sc...
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Piano Solo - Level 4 - SKU: A0.972645 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk,Gospel,Jazz. Score. 19 pages. James Siddons Music and Writings #4350561. Published by James Siddons Music and Writings (A0.972645). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp. Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. All three pedals on an American piano (damper, sostenuto, and sustain) are needed. The orchestral and cinematic structure of this music requires extensive use of three staffs, which may consist of two treble and one bass staff, or one treble and two bass staffs. In basic grand-staff passages, the two staffs may both be treble or both bass. The musical influences in these sonatas include religious song in rural America, the chromaticism and Expressionism of Arnold Schoenberg and his followers, and the tone colors of the music of Japanese composer Toru Takemitsu.DurationsSonata Hymnica No. 1 --- 15 minutes.Sonata Hymnica No. 2 --- 11 minutes. Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.
$9.50 ≈
8.76€
Sonata Hymnica No. 2
Sonata Hymnica No. 2
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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James Siddons
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Sonata Hymnica No. 2
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.972646 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk,Gospel,Jazz. Sc...
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Piano Solo - Level 4 - SKU: A0.972646 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk,Gospel,Jazz. Score. 17 pages. James Siddons Music and Writings #4350577. Published by James Siddons Music and Writings (A0.972646). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp. Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. All three pedals on an American piano (damper, sostenuto, and sustain) are needed. The orchestral and cinematic structure of this music requires extensive use of three staffs, which may consist of two treble and one bass staff, or one treble and two bass staffs. In basic grand-staff passages, the two staffs may both be treble or both bass. The musical influences in these sonatas include religious song in rural America, the chromaticism and Expressionism of Arnold Schoenberg and his followers, and the tone colors of the music of Japanese composer Toru Takemitsu. Durations Sonata Hymnica No. 1 --- 15 minutes.Sonata Hymnica No. 2 --- 11 minutes. Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.
$9.50 ≈
8.76€
Sonata Hymnica No. 3
Sonata Hymnica No. 3
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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James Siddons
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Sonata Hymnica No. 3
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.972647 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Blues,Concert,Jazz,Spiritual...
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Piano Solo - Level 4 - SKU: A0.972647 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Blues,Concert,Jazz,Spiritual. Score. 12 pages. James Siddons Music and Writings #4350581. Published by James Siddons Music and Writings (A0.972647). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp. Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Sonata Hymnica No. 3 draws on two melodies from the African-American experience. One, Were You There (When They Crucified My Lord)? was first published in 1899 in W. E. Barton’s Old Plantation Hymns but existed earlier as a folk hymn. It became the first spiritual to be included in a major hymnal, The Hymnal 1940 of the Episcopal Church in the U.S.A. Sometimes I Feel Like a Motherless Child was sung by the Jubilee Singers of Fisk University from 1870 on, and was published in the Rev. Dr. Barton’s Old Plantation Hymns in 1899. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. Duration --- . Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.
$9.50 ≈
8.76€
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