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The Counter of The Point
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Vous avez sélectionné:
The Counter of The Point
Partitions à imprimer
202 partitions trouvées
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The Counter of The Point
The Counter of The Point
#
directly contradicting the rul
#
Jonah Koppitz
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The Counter of The Point
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Jonah Koppitz
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 3 - SKU: A0.943859 Composed by Jonah Koppitz. 20th Century,Contemporary. Score and parts. 1 pages. Jon...
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Instrumental Duet Instrumental Duet,Piano - Level 3 - SKU: A0.943859 Composed by Jonah Koppitz. 20th Century,Contemporary. Score and parts. 1 pages. Jonah Koppitz #5748861. Published by Jonah Koppitz (A0.943859). The first thing that you should know about this piece is that it breaks nearly every rule of counterpoint that it can. To me, this composition represents the antithesis of how classical composers thought to compose. By directly contradicting the rules they follow and still creating music, it shows that stiff rule formats and limits on what makes good music are not necessary and oftentimes restrict creative composing. My only hope is that, if Johann Joseph Fux were alive today, he’d see my work as an abomination of all the rules he holds so dear.My Ruleset:1. In sixth species counterpoint (countercounterpoint/anticounterpoint), you may write as many notes as desired in your new melody for each note in the cantus firmus.2. The first note and the last note must not form either an octave, unison, or a fifth with the cantus firmus.3. The penultimate note of your melody should not be an even scale degree.4. Augmented Fourths must resolve down and Diminished Fifths must resolve up.5. You may use parallel motion very recklessly because it obscures the independence of the voices.6. The harmonic interval formed between the voices on the downbeat of every measure may not be a perfect/major consonance-unison, third, fifth, sixth or octave. Diminished, Augmented, and Minor are fine.7. The interval formed between the voices on the second beat of every measure may not be a major third or major sixth.8. The overall shape of your melody should have a single high-point, preferably as far from the middle as is reasonable.9. Except for on the first beat of a measure, Consonant intervals are only allowed if preceded by a dissonant interval on a strong beat.10. Every Chord is fair game.11. The interval between the first beat of each measure should alternate between even numbers and odd numbers.12. Leaps must prepare, leap, and resolve in the same direction and may be greater than a fifth.13. Functional Harmony is for cowards who let chords tell them what to do.
$1.99 ≈
1.80€
The Edmund Fitzgerald - Concerto for Piano and Strings
The Edmund Fitzgerald - Concerto for Piano and Strings
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Orchestre à Cordes
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AVANCÉ
#
Contemporain
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Geoffrey Peterson
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The Edmund Fitzgerald - Concer
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Geoffrey Peterson
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SheetMusicPlus
String Orchestra - Level 5 - SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Publishe...
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String Orchestra - Level 5 - SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Published by Geoffrey Peterson (A0.942953). Link to complete recording: https://soundcloud.com/geoffrey-peterson/sets/the-edmund-fitzgerald-concerto On November 9th, 1975, the S.S. Edmund Fitzgerald left port in Superior, Wisconsin. The 729-foot-long iron ore carrier, loaded with 26 thousand tons of taconite pellets for the auto industry, was bound for Detroit. Earlier that day, the weather service had issued a gale warning. This was not unusual, considering that gale storms are typical during November on Lake Superior. The Fitzgerald’s Captain, Ernest McSorley, and her 29-member crew headed northeast unaware of the maelstrom they would soon encounter. At around 2 a.m., Bernie Cooper, captain of the Arthur M. Andersen, another freighter which was following a few miles behind the Fitzgerald, radioed Captain McSorley to consult with him about the worsening storm. They had both decided to take a more northerly route along the Canadian shore, which they hoped would provide some shelter from the violent gale winds and waves. The Fitzgerald’s long-range radar stopped working the following day and was needed in order to avoid Six-Fathom Shoal, a shallow area of Lake Superior that could rupture the ship’s hull. McSorley soon radioed the Anderson to report that the Fitzgerald had sustained some topside damage...a fence rail down, two vents lost or damaged, and a starboard list. A list meant that the Fitzgerald was taking on too much water and was causing it to lean to one side. The short-range radar also stopped working, and the radio direction beacon from nearby Whitefish Point vanished. This would make it impossible for the Fitzgerald to reach the lee waters of Whitefish Bay and escape the 80 mph winds churning 20 to 30-foot waves. At 7:10 p.m. that night, First Mate Morgan Clark of the Andersen radioed the Fitzgerald to see how they were doing. Captain McSorley replied, We’re holding our own. This was the last contact anyone would have with the Fitzgerald. Shortly thereafter, the Edmund Fitzgerald disappeared from the Anderson’s radar screen. All 29 of her crew were lost on November 10th, 1975. The Edmund Fitzgerald chronicles the tragic final voyage of the well-known shipwreck in 4 movements; Embarkment, The Gales, Six-Fathom Shoal (We’re holding our own.) and Entombment-Dirge. The concerto makes use of several musical quotes. The first is Spanish Ladies, an English sea chantey, which appears in both the 1st and 3rd movements. The second is the funeral march theme from the 2nd movement of Beethoven’s 3rd Symphony which is heard in the 4th movement of the concerto. In addition, a chime is rung 29 times during the final bars of the concerto to memorialize the men who lost their lives. The Crew of the S.S. Edmund Fitzgerald: Michael E. Armagost, Frederick J. Beetcher, Thomas D. Bentsen, Edward F. Bindon, Thomas D. Borgeson, Oliver J. Champeau, Nolan S. Church, Ransom E. Cundy, Thomas E. Edwards, Russell G. Haskell, George J. Holl, Bruce L. Hudson, Allen G. Kalmon, Gordon F. MacLellan, Joseph W. Mazes, John H. McCarthy, Ernest M. McSorley, Eugene W. O'Brien, Karl A. Peckol, John J. Poviach, James A. Pratt, Robert C. Rafferty, Paul M. Riippa, John D. Simmons, William J. Spengler, Mark A. Thomas, Ralph G. Walton, David E. Weiss, Blaine H. Wilhelm.
$9.99 ≈
9.06€
Korsakov: Flight of the Bumblebee for Soprano Sax & Piano
Korsakov: Flight of the Bumblebee for Soprano Sax & Piano
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Saxophone Soprano et Piano
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AVANCÉ
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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James M
#
Korsakov: Flight of the Bumble
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jmsgu3
#
SheetMusicPlus
Piano,Soprano Saxophone - Level 5 - SKU: A0.549256 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,R...
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Piano,Soprano Saxophone - Level 5 - SKU: A0.549256 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 15 pages. Jmsgu3 #3473699. Published by jmsgu3 (A0.549256). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore! Korsakov: Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95 ≈
29.88€
Korsakov: Flight of the Bumblebee for Viola & Piano
Korsakov: Flight of the Bumblebee for Viola & Piano
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Alto, Piano
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AVANCÉ
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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James M
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Korsakov: Flight of the Bumble
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 5 - SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Peri...
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Piano,Viola - Level 5 - SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 17 pages. Jmsgu3 #3473581. Published by jmsgu3 (A0.549240). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 11 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but great recital encore! Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95 ≈
29.88€
Korsakov: Flight of the Bumblebee for Alto Sax & Piano
Korsakov: Flight of the Bumblebee for Alto Sax & Piano
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Saxophone Alto et Piano
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AVANCÉ
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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James M
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Korsakov: Flight of the Bumble
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jmsgu3
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SheetMusicPlus
Alto Saxophone,Piano - Level 5 - SKU: A0.549254 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Roma...
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Alto Saxophone,Piano - Level 5 - SKU: A0.549254 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 15 pages. Jmsgu3 #3473685. Published by jmsgu3 (A0.549254). Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Of course, Korsakov intended to portray a bumblebee's chaotic flying pattern musically. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears occasionally in popular culture. The piece appears notably in the opera at the close of Act III, Tableau 1. This is when the magic Swan-Bird changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive. Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions- Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite- are essential monuments of the standard music repertoire. Also comparatively very important are his suites and excerpts from his 15 operas. Korsakov used Russian folklore and fairy tales, such as Scheherazade, in his music. Nationalistic Style Like fellow outspoken composer Balakirev, Korsakov believed in creating a nationalistic, Russia-centric style of classical music. The new style was called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic, and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education. He mastered Western methods, incorporating them with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which heightened his orchestration capabilities. Legacy In due time, Korsakov contributed a significant number of Russian nationalist works. He also prepared, occasionally, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers as a music educator. Therefore, music historians consider Korsakov the foremost engineer of what the public considers the Russian composition style. He served as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95 ≈
29.88€
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00 ≈
6.35€
The Water is Wide (SSA choir and piano)
The Water is Wide (SSA choir and piano)
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Chorale 3 parties
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FACILE
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Traditional
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Colin Kirkpatrick
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The Water is Wide
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Colin Kirkpatrick Publications
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SheetMusicPlus
Choral Choir (SSA) - Level 2 - SKU: A0.1251832 Composed by Traditional. Arranged by Colin Kirkpatrick. Celtic,Folk,Irish,Multicultural,Wedding,World. Oc...
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Choral Choir (SSA) - Level 2 - SKU: A0.1251832 Composed by Traditional. Arranged by Colin Kirkpatrick. Celtic,Folk,Irish,Multicultural,Wedding,World. Octavo. 9 pages. Colin Kirkpatrick Publications #846048. Published by Colin Kirkpatrick Publications (A0.1251832). This lovely folksong is thought to have come from Scotland, though similar versions have been recorded in other parts of Britain. The song is also known as “O Waly, Waly†which means something like “woe is meâ€. For such an old song, it is not surprising that there are many variations of the lyrics. An early version of the modern lyrics was consolidated by the British folksong collector Cecil Sharp in 1906 using multiple older sources in southern England. There are many sets of lyrics with different story-lines. This was because performers would often create new lyrics for the song. This melody has attracted a family of lyrics many of which bear little relationship to each other. The words used in this choral arrangement reflect the popular and optimistic lyrics used during the twentieth century. The song was made popular by many folk singers notably Joan Baez and Bob Dylan. It has become one of the most popular folk songs today, largely because of its beautiful tune. But as with the lyrics, there are many variations on the melody with the result that no single variation can be considered the “correct†one.This SSA arrangement by Colin Kirkpatrick is ideal for boy choir, amateur choir, school or college choir. Each section of the choir as the melody line at some point and there are attractive and evocative counter-melodies. In the Soprano 1 part (which has one brief divisi section), the highest note is G5 (the G just above the staff) and the highest note in the Soprano 2 part is E5 (near the top of the treble staff). The Alto part has a range of G below Middle C (G4) up to B flat in the middle of the treble staff. The piano part is an integral part of the arrangement and therefore essential. The music begins in E flat and modulates to C major. Running at just over three minutes, the work is sure to be popular with choir and audiences alike. Note that the audio sample cannot yet render the words.
$2.99 ≈
2.71€
The Water is Wide (SAB choir and piano)
The Water is Wide (SAB choir and piano)
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Chorale 3 parties
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FACILE
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Traditional
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Colin Kirkpatrick
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The Water is Wide
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Colin Kirkpatrick Publications
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SheetMusicPlus
Choral Choir (SAB) - Level 2 - SKU: A0.1264866 Composed by Traditional. Arranged by Colin Kirkpatrick. Celtic,Folk,Irish,Wedding. Octavo. 9 pages. Colin...
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Choral Choir (SAB) - Level 2 - SKU: A0.1264866 Composed by Traditional. Arranged by Colin Kirkpatrick. Celtic,Folk,Irish,Wedding. Octavo. 9 pages. Colin Kirkpatrick Publications #857705. Published by Colin Kirkpatrick Publications (A0.1264866). This lovely folksong is thought to have come from Scotland, though similar versions have been recorded in other parts of Britain. The song is also known as “O Waly, Waly†which means something like “woe is meâ€. For such an old song, it is not surprising that there are many variations of the lyrics. An early version of the modern lyrics was consolidated by the British folksong collector Cecil Sharp in 1906, using multiple older sources in southern England. There are many sets of lyrics with different story-lines. This was because in the past, performers would often create new lyrics for the song. This melody has attracted an entire family of lyrics many of which bear little relationship to each other. The words used in this choral arrangement reflect the popular lyrics used during the twentieth century. The song was arranged for voice and piano in 1948 by British composer Benjamin Britten but in more recent times, was made popular by many folk singers notably The Seekers, Joan Baez and Bob Dylan. It has become one of the most popular folk songs today, largely because of its beautiful tune. But as with the lyrics, there are many variations on the melody with the result that no single variation can be considered the “correct†one.This SAB arrangement by Colin Kirkpatrick is ideal for high school or college choir. Each section of the choir as the melody line at some point and there are attractive and evocative counter-melodies. In the soprano part (which has one brief divisi section), the highest not is G5 which appears only once and is approached safely. The highest note in the alto part is C5 (in the middle of the treble staff). The baritone part lies between A flart 2 and D 3 (just above the staff) and well within the normal choral range. The piano part is an integral part of the arrangement and therefore essential. The music begins in E flat and modulates to C major. Running at just over three minutes, the work is sure to be popular with choir and audiences alike.
$2.99 ≈
2.71€
The Water is Wide (SAB choir and piano)
The Water is Wide (SAB choir and piano)
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Chorale 3 parties
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FACILE
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Traditional
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Colin Kirkpatrick
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The Water is Wide
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Colin Kirkpatrick Publications
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SheetMusicPlus
Choral Choir (SAB) - Level 2 - SKU: A0.1264867 Composed by Traditional. Arranged by Colin Kirkpatrick. Celtic,Early Music,Folk,Irish,Wedding. Octavo. 10...
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Choral Choir (SAB) - Level 2 - SKU: A0.1264867 Composed by Traditional. Arranged by Colin Kirkpatrick. Celtic,Early Music,Folk,Irish,Wedding. Octavo. 10 pages. Colin Kirkpatrick Publications #857706. Published by Colin Kirkpatrick Publications (A0.1264867). This lovely folksong is thought to have come from Scotland, though similar versions have been recorded in other parts of Britain. The song is also known as O Waly, Waly which means something like “woe is meâ€. For such an old song, it is not surprising that there are many variations of the lyrics. An early version of the modern lyrics was consolidated by the British folksong collector Cecil Sharp in 1906, using multiple older sources in southern England. There are many sets of lyrics with different story-lines. This was because in the past, performers would often create new lyrics for the song. This melody has attracted an entire family of lyrics many of which bear little relationship to each other. The words used in this choral arrangement reflect the popular lyrics used during the twentieth century. The song was arranged for voice and piano in 1948 by British composer Benjamin Britten but in more recent times, was made popular by many folk singers notably Joan Baez and Bob Dylan. It has become one of the most popular folk songs today, largely because of its beautiful tune. But as with the lyrics, there are many variations on the melody with the result that no single variation can be considered the “correct†one.This SAB arrangement by Colin Kirkpatrick is ideal for high school or college choir, especially if the tenor/bass section is a bit low on numbers. Each section of the choir has the melody line at some point and there are attractive and evocative counter-melodies. In the soprano part (which has one brief divisi section), the highest note is G5 (which occurs only once and safely approached) and the highest note in the alto part is C5 (in the middle of the treble staff). The bartione part lies between A flat 2 (bottom space in bass clef) and D3 (just above the staff). The piano part is an integral part of the arrangement and therefore essential. The music begins in E flat and modulates to C major. Running at just over three minutes, the work is sure to be popular with choir and audiences alike.
$2.99 ≈
2.71€
My Jesus, I Love Thee
My Jesus, I Love Thee
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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A
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Sueudo Fernandes
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My Jesus, I Love Thee
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Sueudo Fernandes
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.979368 Composed by A. Judson Gordon, W.R. Featherstone. Arranged by Sueudo Fernandes. A Cappella,Christian,Sacre...
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Choral Choir (SATB) - Level 4 - SKU: A0.979368 Composed by A. Judson Gordon, W.R. Featherstone. Arranged by Sueudo Fernandes. A Cappella,Christian,Sacred. Octavo. 6 pages. Sueudo Fernandes #4625155. Published by Sueudo Fernandes (A0.979368). This is an arrangement for mixed voices chorus (SATB) of the traditional christian hymn. The chorus sings in a flowing 6/4 tempo, in a slighty counterpointed harmony. Let your people to embrace the challenge of singing this arrangement at your church, school or contest. They'll love it!
$2.10 ≈
1.90€
Around the Bend (for Cello & Piano)
Around the Bend (for Cello & Piano)
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Violoncelle, Piano
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AVANCÉ
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Brian Strohmetz
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Piano.
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Around the Bend
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Brian Strohmetz
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SheetMusicPlus
Cello,Piano - Level 5 - SKU: A0.1280306 Composed by Brian Strohmetz. Chamber,Classical,Contemporary. Score and part. 46 pages. Brian Strohmetz #871769. ...
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Cello,Piano - Level 5 - SKU: A0.1280306 Composed by Brian Strohmetz. Chamber,Classical,Contemporary. Score and part. 46 pages. Brian Strohmetz #871769. Published by Brian Strohmetz (A0.1280306). Around the Bend is a journey of tranquility, adventure, and discovery down a section of the Monocacy Creek in Bethlehem, PA. The first section of the music that appears throughout the piece is a simple melody that is reminiscent of a simple art song. It represents the river flowing along peacefully on a beautiful day. Occasionally, we come across an area where the water hits a small obstacle that causes the water to change its path and speed. We hear this as violent 16th note interruptions in the music. The river then returns to its natural flow and pace. Further along we encounter a small waterfall area with rapids and obstacles. The music cascades and has a rhythmic drive representing the rapids and the swift moving waters. After we have traversed the rapids, we return to the calm waters of the river as it continuously flows peacefully. The next portion of our journey is inspired by a specific and unique section of the Monocacy, where we find the hidden ivy. Trees surround the creek. When looking into them, at a certain angle, you will find a tree covered in ivy hidden amongst the other trees. When we reach this point in our journey, the music starts off mysteriously as though looking through the trees. When we find the hidden ivy, we are greeted by a majestic melody that reflects this hidden beauty. The piano plays a rising arpeggio repeatedly, reflecting the ivy’s goal to grow higher and closer to the sky. Once we pass the ivy, we return to the peacefully flowing river. We approach a bend in the river that we cannot see beyond. There is a bit of trepidation, but as we start to go around the bend, everything ends peacefully, and we know everything will be fine. The river will keep moving and we will survive. For Cello & Piano.
$14.99 ≈
13.59€
Hope Prevails
Hope Prevails
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Ensemble de cuivres
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His Own Hand - 4:26 in length:
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Arwyn Bailey
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Hope Prevails
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Galactic Publishers Limited
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SheetMusicPlus
Brass Ensemble - SKU: A0.1028133 Composed by Arwyn Bailey. Christian,Gospel,Jewish,Sacred,Spiritual. Score and parts. 113 pages. Galactic Publishers Lim...
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Brass Ensemble - SKU: A0.1028133 Composed by Arwyn Bailey. Christian,Gospel,Jewish,Sacred,Spiritual. Score and parts. 113 pages. Galactic Publishers Limited #3382201. Published by Galactic Publishers Limited (A0.1028133). Hope PrevailsThe composition consists of six movements and is for a Brass Quintet with guest instrumentalists of Oboe, Violin, Viola and Soprano voice.The piece explores the moods that many encounter as they go through life from loneliness through to elation. the composers brother experienced these extreme emotions and it resulted in him taking his own life. This piece is dedicated to his memory.The MP3 contains a very short extract from each movement that is a direct download from computer composition software and is therefore not of great quality.The composer is looking for a group to record this piece. Please get in touch if you wish to be part fo a collaborative project perhaps as a school, college, university or other group.The Struggle of the night - 4:09 in length:The first movement commences with sonorous chord sequences and quickly moves to a lively section. The piece incorporates the tune of the Welsh National Anthem along with the hymn tune Cwm Rhondda. The movement moves between the despair and loneliness of the night that one can feel, even when sleeping next to a close partner, and the racing desperation of the mind, whereby patriotic affiliations will calm the soul at these times. the movement finishes with the tune of Land of my father's resonating but even this is of no comfort, and the troubled mind lies awake and the movement finishes with a flurry of discord.The Solitude - 5.34 in length:The movement begins with a haunting melody led by the Oboe. the Horn soon joins in as do other instruments of the quintet. A simple Gregorian type rhythm and chant passes through the quintet with the Oboe leading the movement.Crescendos and attacked notes give the piece a rise and fall showing the mood of the soul that alternates between a calm and a peak of mood as sleep is hard to come by and a restless state is invoked.It appears that the oboe will be leading the soul into peace yet, at the last moment, the quintet joins in with chords of attack and crescendo followed by a sharp diminuendo to end the piece.The soul has sought solace, yet, all they find is loneliness.Brad's Broadcast - 3:01 in length:The restless soul awakes after a restless night. The world is full of voices, advice, motivation and answers.In this lively movement, the soul searches for solace and finds sense from some sources, yet, the cacophony of contrary advice and the nature of some disciples of business and life coaches becomes confusing. there are some real gems of advice available, but, the noise of others drowns out the sense and sanity.The soul manages to find some humour in the forums and media, they smile, but the relief is short lived.The movement ends with all voices descending away in a glissando and silence is restored.By His Own Hand - 4:26 in length:This movement reflects the desperation of the soul. they have sought solace, humour has passed them by, they do not feel that they can continue to live.The piece starts with a cadenza played by a viola. A violin soon duets in this Jewish styled lament.Throughout the movement the brass are spartan, reflecting the confusion of the soul. The ability to cling onto the world and to continue living is a losing battle.The waves of the lament increase in their presence, but not velocity, for the depressed souul is reaching the point of no return and of no choice.They will soon depart from the world by their own hand. The end ofthe movement is a descent and a unifying discordant sound as the soul leaves.Dreaming of Heaven - 2:31 in length:The soul is now rising and an ancient Celtic tune accompanies the soul in the form of a Soprano voice singing words of hope and light.The soul's path is lit and the ancient bell of.
$5.00 ≈
4.53€
The Water is Wide (SAT choir and piano)
The Water is Wide (SAT choir and piano)
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Chorale 3 parties
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INTERMÉDIAIRE
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Traditional
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Colin Kirkpatrick
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The Water is Wide
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Colin Kirkpatrick Publications
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SheetMusicPlus
Choral Choir (SAT) - Level 3 - SKU: A0.1274487 Composed by Traditional. Arranged by Colin Kirkpatrick. Celtic,Contest,Festival,Folk,Irish,Wedding. Octav...
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Choral Choir (SAT) - Level 3 - SKU: A0.1274487 Composed by Traditional. Arranged by Colin Kirkpatrick. Celtic,Contest,Festival,Folk,Irish,Wedding. Octavo. 10 pages. Colin Kirkpatrick Publications #866631. Published by Colin Kirkpatrick Publications (A0.1274487). This lovely folksong is thought to have come from Scotland, though similar versions have been recorded in other parts of Britain. The song is also known as “O Waly, Waly†(it rhymes with daily) which means something like “woe is meâ€. For such an old song, it is not surprising that there are many variations of the lyrics. There are many sets of lyrics with different story-lines. This was because performers would often create new lyrics for the song. This melody has attracted a family of lyrics many of which bear little relationship to each other. The words used in this choral arrangement reflect the popular lyrics used during the twentieth century. The song was made popular by many folk singers notably Joan Baez and Bob Dylan. It has become one of the most popular folk songs today, largely because of its beautiful tune. But as with the lyrics, there are many variations on the melody with the result that no single variation can be considered the “correct†one.This SAT arrangement by Colin Kirkpatrick is ideal for school choir, amateur choir or college choir especially when there are few male voices. Each section of the choir as the melody line at some point and there are attractive and evocative counter-melodies. In the soprano part (which has one brief divisi section), the highest note is G5 (the G just above the staff, but only once). The alto part range is of B flat 3 to E5. The tenor range is D3 to D4. The music begins in E flat and modulates to C major. Running at just over three minutes, the work is sure to be popular with choir and audiences alike.Â
$2.99 ≈
2.71€
He Ain't Heavy, He's My Brother
He Ain't Heavy, He's My Brother
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Chorale SATB
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FACILE
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Contemporain
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Neil Diamond
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Matt Finch
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He Ain't Heavy, He's My Brothe
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Matt FINCH
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SheetMusicPlus
Choral Choir (Mixed) - Level 2 - SKU: A0.781455 By Neil Diamond. By Bob Russell and Bobby Scott. Arranged by Matt Finch. Contemporary. Octavo. 6 pages. ...
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Choral Choir (Mixed) - Level 2 - SKU: A0.781455 By Neil Diamond. By Bob Russell and Bobby Scott. Arranged by Matt Finch. Contemporary. Octavo. 6 pages. Matt FINCH #6232225. Published by Matt FINCH (A0.781455). This 2 part arrangement has lots of small counter melodies, and everyone gets the tune at some point! Every also enjoys singing the harmonica solo too!
$2.99 ≈
2.71€
God So Loved the World (SA version)
God So Loved the World (SA version)
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Chorale 2 parties
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INTERMÉDIAIRE
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Musique Sacrée
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contrast, the verse is almost
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Robert A
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God So Loved the World
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Robert A. Howard
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SheetMusicPlus
Choral Choir,Choral (SA) - Level 3 - SKU: A0.998833 Composed by Robert A. Howard. 21st Century,Easter,Lent,Praise & Worship,Sacred. 4 pages. Robert A. H...
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Choral Choir,Choral (SA) - Level 3 - SKU: A0.998833 Composed by Robert A. Howard. 21st Century,Easter,Lent,Praise & Worship,Sacred. 4 pages. Robert A. Howard #6129271. Published by Robert A. Howard (A0.998833). This is a simple E minor setting of the familiar Good Friday words, using a repeated binary structure, almost in the manner of an alternating verse/chorus form. The piece is a counterpart to Howard's own 2016 setting of the Ave Verum Corpus, with which it shares the same key (also available via Sheet Music Plus). The chorus displays a clearly morose yearning in its appoggiaturas, upward leap and consequent falling phrase. By contrast, the verse is almost a recitative, featuring tense repetitions on one tone above a series of chromatically descending triads and pedal point. The work is appropriate for most standards of 2-part choir, including school, student, community, church and cathedral choirs. The accompaniment can be on piano or organ. Versions of the work for solo voice, and for SATB choir, are also available via Sheet Music Plus.
$3.49 ≈
3.16€
God So Loved the World (SATB version)
God So Loved the World (SATB version)
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Chorale SATB
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INTERMÉDIAIRE
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contrast, the verse is almost
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Robert A
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God So Loved the World
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Robert A. Howard
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 3 - SKU: A0.998832 Composed by Robert A. Howard. 21st Century,Contemporary,Easter,Sacred,Standards. 5 pages. Robert A...
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Choral Choir,Choral (SATB) - Level 3 - SKU: A0.998832 Composed by Robert A. Howard. 21st Century,Contemporary,Easter,Sacred,Standards. 5 pages. Robert A. Howard #6129263. Published by Robert A. Howard (A0.998832). This is a simple E minor setting of the familiar Good Friday words, using a repeated binary structure, almost in the manner of an alternating verse/chorus form. The piece is a counterpart to Howard's own 2016 setting of the Ave Verum Corpus, with which it shares the same key (also available via Sheet Music Plus). The chorus displays a clearly morose yearning in its appoggiaturas, upward leap and consequent falling phrase. By contrast, the verse is almost a recitative, featuring tense repetitions on one tone above a series of chromatically descending triads and pedal point. The work is appropriate for most standards of 4-part choir, including schools, students, community, church and cathedral choirs. The accompaniment can be on piano or organ. Versions of the work for solo voice, and for SA choir, are also available via Sheet Music Plus.
$3.99 ≈
3.62€
The First Noel (SSAATTBB)
The First Noel (SSAATTBB)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Traditional
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Garrett Breeze
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The First Noel
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Lagom Music
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.723257 Composed by Traditional. Arranged by Garrett Breeze. Christmas,Praise & Worship,Sacred. Octavo. 12 pages....
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Choral Choir (SATB) - Level 4 - SKU: A0.723257 Composed by Traditional. Arranged by Garrett Breeze. Christmas,Praise & Worship,Sacred. Octavo. 12 pages. Lagom Music #5722357. Published by Lagom Music (A0.723257). This arrangement by composer Garrett Breeze tells the story of the shepherds who followed the Christmas star in search of the baby Jesus. It was written for the 2015 album, More Joyful Sounds of the Season, recorded by the Counterpoints of North Central High School in Indianapolis, IN (directed by Michael Raunick). The piece covers an extremely wide dynamic range as the song evolves and the choral texture becomes increasingly complex.Also available in:SATB: http://bit.ly/2LbN0ZESSAA: http://bit.ly/39chmU9Visit https://garrettbreeze.com to read my blog and discover new music!
$2.75 ≈
2.49€
The First Noel (SATB)
The First Noel (SATB)
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Traditional
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Garrett Breeze
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The First Noel
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Lagom Music
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.723258 Composed by Traditional. Arranged by Garrett Breeze. Christmas,Praise & Worship,Sacred. Octavo. 12 pages....
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Choral Choir (SATB) - Level 3 - SKU: A0.723258 Composed by Traditional. Arranged by Garrett Breeze. Christmas,Praise & Worship,Sacred. Octavo. 12 pages. Lagom Music #5722359. Published by Lagom Music (A0.723258). This arrangement by composer Garrett Breeze tells the story of the shepherds who followed the Christmas star in search of the baby Jesus. It was written for the 2015 album, More Joyful Sounds of the Season, recorded by the Counterpoints of North Central High School in Indianapolis, IN (directed by Michael Raunick). The piece covers an extremely wide dynamic range as the song evolves and the choral texture becomes increasingly complex.  Also available in:SSAATTBB: http://bit.ly/3hOGowaSSAA: http://bit.ly/39chmU9Visit https://garrettbreeze.com to read my blog and discover new music!
$2.75 ≈
2.49€
God So Loved the World (Solo voice version)
God So Loved the World (Solo voice version)
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Voix haute
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INTERMÉDIAIRE
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Musique Sacrée
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contrast, the verse is almost
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Robert A
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God So Loved the World
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Robert A. Howard
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SheetMusicPlus
High Voice,Vocal Solo - Level 3 - SKU: A0.998804 Composed by Robert A. Howard. 21st Century,Easter,Lent,Praise & Worship,Sacred. 3 pages. Robert A. Howa...
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High Voice,Vocal Solo - Level 3 - SKU: A0.998804 Composed by Robert A. Howard. 21st Century,Easter,Lent,Praise & Worship,Sacred. 3 pages. Robert A. Howard #6064397. Published by Robert A. Howard (A0.998804). This is a simple E minor setting of the familiar Good Friday words, using a repeated binary structure, almost in the manner of an alternating verse/chorus form. The piece is a counterpart to Howard's own 2016 setting of the Ave Verum Corpus, with which it shares the same key (also available via Sheet Music Plus). The chorus displays a clearly morose yearning in its appoggiaturas, upward leap and consequent falling phrase. By contrast, the verse is almost a recitative, featuring tense repetitions on one tone above a series of chromatically descending triads and pedal point. The piece is appropriate for most standards of solo soprano or tenor. The accompaniment can be on piano or organ. Two other versions of this piece, for SATB choir, and for SA choir, are also available from Sheet Music Plus.
$2.99 ≈
2.71€
Joy to the World by for Recorder Quintet
Joy to the World by for Recorder Quintet
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5 Flûtes à bec
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INTERMÉDIAIRE
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Isaac Watts and Lowell Mason
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Ander
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Joy to the World by for Record
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Woods Only, Arrangements
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SheetMusicPlus
Recorder - Level 3 - SKU: A0.1317759 Composed by Isaac Watts and Lowell Mason. Arranged by Ander. Chamber,Christian,Christmas. Recorder Ensemble. 14 pag...
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Recorder - Level 3 - SKU: A0.1317759 Composed by Isaac Watts and Lowell Mason. Arranged by Ander. Chamber,Christian,Christmas. Recorder Ensemble. 14 pages. Woods Only, Arrangements #906441. Published by Woods Only, Arrangements (A0.1317759). If you are looking for a sheet music of an arrangement of Joy to the World for Recorder Quintet, then you will love this version that we made, which brings a new look to this classic Christmas carol. Joy to the World is one of the most famous and oldest Christian songs, written by the poet, preacher, theologian and pedagogue Isaac Watts in 1719, based on Psalm 98 of the Bible. The melody that we know today was adapted by the American composer Lowell Mason in 1848, from a work by George Frideric Handel. In this arrangement, we have some fun with the melody, changing rhythms, harmonies and counterpoints, to give a new and magical air to the song, but without losing the essence of the original work. This arrangement is perfect for use in any Christmas event, such as chamber music in recitals, concerts, public shows, or as teaching material and incentive for music students. You will be amazed by the beauty and creativity of this arrangement, which will delight everyone who listens. Do not waste time and get your sheet music of Joy to the World, and be part of the history of this wonderful song.
$9.99 ≈
9.06€
Joy to the World by for String Quintet
Joy to the World by for String Quintet
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Isaac Watts and Lowell Mason
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Ander
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Joy to the World by for String
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Woods Only, Arrangements
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SheetMusicPlus
String Quintet - Level 3 - SKU: A0.1329702 Composed by Isaac Watts and Lowell Mason. Arranged by Ander. Chamber,Christmas. 14 pages. Woods Only, Arrange...
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String Quintet - Level 3 - SKU: A0.1329702 Composed by Isaac Watts and Lowell Mason. Arranged by Ander. Chamber,Christmas. 14 pages. Woods Only, Arrangements #917684. Published by Woods Only, Arrangements (A0.1329702). If you are looking for a sheet music of an arrangement of Joy to the World for String Quintet, then you will love this version that we made, which brings a new look to this classic Christmas carol. Joy to the World is one of the most famous and oldest Christian songs, written by the poet, preacher, theologian and pedagogue Isaac Watts in 1719, based on Psalm 98 of the Bible. The melody that we know today was adapted by the American composer Lowell Mason in 1848, from a work by George Frideric Handel. In this arrangement, we have some fun with the melody, changing rhythms, harmonies and counterpoints, to give a new and magical air to the song, but without losing the essence of the original work. This arrangement is perfect for use in any Christmas event, such as chamber music in recitals, concerts, public shows, or as teaching material and incentive for music students. You will be amazed by the beauty and creativity of this arrangement, which will delight everyone who listens. Do not waste time and get your sheet music of Joy to the World, and be part of the history of this wonderful song.
$9.99 ≈
9.06€
Joy to the World by for Viola Quintet
Joy to the World by for Viola Quintet
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Isaac Watts and Lowell Mason
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Ander
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Joy to the World by for Viola
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Woods Only, Arrangements
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SheetMusicPlus
String Quintet Viola - Level 3 - SKU: A0.1329704 Composed by Isaac Watts and Lowell Mason. Arranged by Ander. Chamber,Christmas. 14 pages. Woods Only, A...
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String Quintet Viola - Level 3 - SKU: A0.1329704 Composed by Isaac Watts and Lowell Mason. Arranged by Ander. Chamber,Christmas. 14 pages. Woods Only, Arrangements #917686. Published by Woods Only, Arrangements (A0.1329704). If you are looking for a sheet music of an arrangement of Joy to the World for Viola Quintet, then you will love this version that we made, which brings a new look to this classic Christmas carol. Joy to the World is one of the most famous and oldest Christian songs, written by the poet, preacher, theologian and pedagogue Isaac Watts in 1719, based on Psalm 98 of the Bible. The melody that we know today was adapted by the American composer Lowell Mason in 1848, from a work by George Frideric Handel. In this arrangement, we have some fun with the melody, changing rhythms, harmonies and counterpoints, to give a new and magical air to the song, but without losing the essence of the original work. This arrangement is perfect for use in any Christmas event, such as chamber music in recitals, concerts, public shows, or as teaching material and incentive for music students. You will be amazed by the beauty and creativity of this arrangement, which will delight everyone who listens. Do not waste time and get your sheet music of Joy to the World, and be part of the history of this wonderful song.
$9.99 ≈
9.06€
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The Counter of The Point
