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Vous avez sélectionné:
Voices From the South
Partitions à imprimer
72 partitions trouvées
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The Story of a Leader
The Story of a Leader
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Chorale SATB
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AVANCÉ
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Classique
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Igor Korneitchouk
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The Story of a Leader
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Studio at the Post
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio ...
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Choral Choir (SATB) - Level 5 - SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio at the Post #744209. Published by Studio at the Post (A0.1143904). Duration: 16 minutes, 33 pp. Description: Exodus is a great story that belongs to everyone. Not only is it central to Judaism, not only is it integral to the Christian Bible, it is an immortal story that has been, and continues to be, an inspiration to oppressed peoples everywhere on this planet. It is relevant not just as ancient scripture but as living text, to be rediscovered by each new generation of an ever-widening Family of Man. The theme of struggle against oppression and slavery was just as relevant to the early Christians persecuted in Ancient Rome as it was relevant to the American Civil Rights movement of the 1960's, just as relevant to the Soviet Jews wishing to emigrate as it is to the South African Blacks resisting Apartheid. From the Dark Ages and the Spanish Inquisition, to Ghandi's emancipation of India, to the Holocaust, to, full-circle, the ongoing struggles in Palestine today, the story of Exodus is a guiding light in a dim and often grim world. According to the composer: The Story of a Leader is a collection of ‘re-chorales’ I created one summer when I was totally immersed in a post-educational obsession with the 371 Chorales by Johann Sebastian Bach. We used to study these to learn the rules of harmony and voice-leading (no parallel fifths, avoid crossed voices, etc.) at the Cleveland Institute of Music where I began my compositional career. That summer, now a professor of music in my own right, I discovered many broken and bent rules by the master himself and, along with the glory of being able to work through these Chorales myself at the piano, I felt an incredible feeling of liberation and possibilities unmediated by instructors of music theory. I began by stripping away all that Bach wrote, leaving only the hymn tunes which were not his to begin with. These tunes existed long before Bach used them for his tonal experiments, some attributed to Martin Luther, or someone else, others simply listed as ‘anonymous’. The same is true for the texts, which were then translated into English mostly in the 19th century (the provenance of each can be found herein on the first page of each of my reharmonizations). In some cases I modified the text to fit the context. I selected 12 of these ‘re-chorales,’ linking them together based on their texts in a kind of logic that worked for me, and created a narrative that told The Story of a Leader (Moses). This story is highlighted in the music with such techniques as cross-modal harmonies, points of imitation, a beer drinking song in one instance, and in another, to symbolize the parting of the seas for Moses’ people, an inversion of the soprano line in the bass..
$15.04 ≈
13.61€
Voices From the South
Voices From the South
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Piano seul
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a Southern Lady
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Voices From the South
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano - SKU: LV.22862 Civil war--Confederate, Military officers. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libr...
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Piano - SKU: LV.22862 Civil war--Confederate, Military officers. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.22862). Voices From the South. Composed by a Southern Lady. Published 1866 by George Willig & Co., No. 1 N. Charles Street in Baltimore. Composition of three sectional waltzes with piano instrumentation. Subject headings for this piece include Civil war--Confederate, Military officers. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99 ≈
5.42€
Shosholoza (South African)
Shosholoza (South African)
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Chorale SATB
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DÉBUTANT
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Public Domain
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Noemi Bretas
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Shosholoza
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Marcelo Borba
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SheetMusicPlus
Choral Choir (SATB) - Level 1 - SKU: A0.1273068 By Public Domain. By Public Domain. Arranged by Noemi Bretas. Country,Folk,Historic,Pop,Traditional. Oct...
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Choral Choir (SATB) - Level 1 - SKU: A0.1273068 By Public Domain. By Public Domain. Arranged by Noemi Bretas. Country,Folk,Historic,Pop,Traditional. Octavo. 15 pages. Marcelo Borba #865257. Published by Marcelo Borba (A0.1273068). Arrangement for 4 voices choir. Shosholoza is a popular South African folk song that has a rich history and cultural significance. The origins of the song can be traced back to the late 1800s and early 1900s, during the time of the South African gold and diamond mining boom.The word Shosholoza is believed to have been derived from the Ndebele and Zulu languages and translates roughly to go forward or make way for the next person. It was initially a call used by train drivers and mine workers to synchronize their movements while pushing and pulling railway cars or working in the mines.The song's lyrics and melody evolved over time through oral tradition, passed down among the workers as a form of communication, motivation, and solidarity. The rhythm and repetitive chanting helped the workers maintain a sense of unity and cooperation during physically demanding and often harsh conditions.During the era of racial segregation and oppression in South Africa, Shosholoza became an anthem of resilience and hope for the black South African population. It symbolized their spirit of endurance and unity in the face of adversity, and it came to be associated with the struggle against apartheid.With time, Shosholoza gained popularity beyond the confines of the mines and railway yards. It became a well-known folk song, performed by choirs, musicians, and cultural groups across South Africa and around the world. It embodies the spirit of ubuntu (the belief in the interconnectedness of all humanity) and has been used as a symbol of South African identity and pride.In modern times, Shosholoza continues to be celebrated as a cherished piece of South African musical heritage. It is often performed during sporting events, cultural festivals, and gatherings as a way to celebrate unity, strength, and resilience.Overall, Shosholoza remains a powerful reminder of South Africa's history, the struggles its people endured, and the enduring spirit of hope and solidarity that transcends adversity.
$1.99 ≈
1.80€
Whiter Than the Snow
Whiter Than the Snow
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Chorale SATB
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FACILE
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Text: Eden Reeder Latta
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Ken Litton
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Whiter Than the Snow
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Artist of Note, Inc.
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 2 - SKU: A0.1490010 Composed by Text: Eden Reeder Latta (1839 - 1915) Tune: Henry Southwick Perkins (1833 -1914....
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Choral Choir,Choral,SATB Chorus - Level 2 - SKU: A0.1490010 Composed by Text: Eden Reeder Latta (1839 - 1915) Tune: Henry Southwick Perkins (1833 -1914. Arranged by Ken Litton. Christian,Lent,Religious,Sacred. 11 pages. Artist of Note, Inc. #1066874. Published by Artist of Note, Inc. (A0.1490010). Whiter Than the Snow/Eden Reeder Latta - Henry Southwick Perkins BLESSED BE THE FOUNTAIN arr. Ken Litton (ASCAP)As an SBC music missionary active in Brazil I quickly discovered the hymns missionaries had taken with them as the work gained impetus from the 1890s when the Bagbys arrived to build on the foundation laid by early pioneers like Solomon Ginsburg. I found myself leading those hymns from the nearly 100 year old Cantor Cristão (Christian Singer) in the strongly attended evening services at the Igreja Batista Rio Doce (Sweet River Baptist Church) in Recife, with people literally leaning in through the windows from outside to sing along. Just a normal p.m. attendance or... curiosity about the missionary leading? No, certainly it was the message of the gospel in these great hymns and in the Brazilians’ creative work as well. I mainly remember holding that small print hymnal in one hand and leading with the other (shaking badly) and singing in Portuguese!From that kind of congregational participation I vividly remember the hymn Blessed be the Fountain by Eden Reeder Latta (1839 - 1915) and Henry Southwick Perkins (1833 -1914) with it’s energetic dotted eighth and sixteenth rhythm figures and text of confession based on Zechariah 13:1. That text was very important in the lives of disciples in Brazil and in my own heart. Here I have used only the verses of the text and tune, simply smoothing out the rhythm and adjusting the lyric to more modern usage (yet preserving the devotional pronouns Thee, Thy and Thine).The tune BLESSED BE THE FOUNTAIN is altered in rhythm, tempo and one descending interval from the original. The arrangement is by me, having built the intro, interlude and key change as well as the ending from the material that constituted the refrain in the origina. As a bridge and additional textual/musical impulse into the key change and final verse I’ve interpolated the refrain from the well-known gospel hymn Whiter than Snow (FISCHER) by James Nicholson and William G. Fischer.The voices include a wide variety of unison, two-part and four-part passages that are well within the capability of the average church choir. The accompaniment difficulty level is about as minimal as it can be I hope, while still reflecting support for the voices, a measure of variety as well as some real independence.I certainly think choirs of some ability and their dedicated accompanists will enjoyWhiter Than the Snow as much as I have in developing it.
$2.99 ≈
2.71€
La ciudad sumergida (The Submerged City) for SSAA treble voices and nature soundtrack
La ciudad sumergida (The Submerged City) for SSAA treble voices and nature soundtrack
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Chorale SSAA
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INTERMÉDIAIRE
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Adrienne Inglis
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La ciudad sumergida
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Adrienne Inglis
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SheetMusicPlus
Choral Choir (SSAA) - Level 3 - SKU: A0.953625 Composed by Adrienne Inglis (ASCAP). Contemporary,Latin. Octavo. 5 pages. Adrienne Inglis (ASCAP) #640560...
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Choral Choir (SSAA) - Level 3 - SKU: A0.953625 Composed by Adrienne Inglis (ASCAP). Contemporary,Latin. Octavo. 5 pages. Adrienne Inglis (ASCAP) #6405603. Published by Adrienne Inglis (ASCAP) (A0.953625). La ciudad sumergida (The Submerged City) for four-part treble chorus and nature soundtrack by Adrienne Inglis (ASCAP) Commissioned for Dr. Ramona M. Wis and the North Central College Women’s Chorale A setting of an excerpt of RÃo de La Plata en lluvia from Mascarilla y Trébol (1938) by Alfonsina Storni (1938) Copyright © 2020 Adrienne Inglis Founder, composer, and singer with Inversion Ensemble of Austin, Texas, Adrienne Inglis also serves as principal flute with the Central Texas Philharmonic, flute instructor at Southwestern University, and flutist with flute/harp duo Chaski. She has music degrees from Lewis and Clark College and the University of Texas at Austin. An avid birder and environmentalist, she lives in the rural hill country of Central Texas. Poet Alfonsina Storni began writing during a tumultuous childhood fraught with economic hardships, many disruptive moves, and an alcoholic father. She danced with a theatrical troupe and then became a teacher and journalist. She bore a child out of wedlock and found herself working as a single mother during socially oppressive times. In Buenos Aires she joined the emerging world of women’s rights, becoming an important literary voice in the movement. When her breast cancer returned, her lifelong passion for the sea culminated in her suicide off of the coast of Argentina. RÃo de La Plata en lluvia from Mascarilla y Trébol (1938) lines 1-4 by Alfonsina Storni in the public domain Ya casi el cielo te apretaba, ciego, y sumergida una ciudad tenÃas en tu cuerpo de grises heliotropos neblivelado en su copón de llanto. [The sky was about to embrace you, blind, and you had in your body of gray heliotropes a submerged city, with the misty sky like a chalice about to overflow with tears.] Program note: Commissioned for Dr. Ramona M. Wis and the North Central College Women’s Chorale of Naperville, Illinois, La ciudad sumergida (The Submerged City) by Adrienne Inglis for four-part treble chorus with nature soundtrack captures the mood of a river, a city, the cloudy sky, and the poet’s own profound melancholy. The sound of rain creates both the ambiance of a misty day on the river and the sensation of cathartic crying from great sadness and pain. The city’s reflection on the river’s surface gives the illusion that the city is submerged in the water. The reflection of the clouds hovering low over RÃo de La Plata looks like gray heliotrope flowers. The apocalyptic images of a submerged city and of tears overflowing from the chalice-sky eerily foreshadow rising sea levels due to anthropogenic global warming. The nature soundtrack of rain was recorded by the composer in the hill country of central Texas, July 2020. Performance note: This aleatoric, asynchronous composition is suitable for remote singing along with the video score and nature soundtrack. Observe the order of entrances, but know that it’s not meant to line up exactly. Finish a phrase even if another phrase has started. Diphthongs move immediately to the second vowel sound. Ya begins with the [dÊ’] sound and llanto begins with the [Ê’] sound, both typical of the Buenos Aires accent. Sing quite expressively except for the neblivelado section which is misty and veiled. The director may wish to indicate the rehearsals numbers or the singers may follow the time on the video-or both. Duration: 3:08 Link to video with soundtrack is available from the composer (http://adrienneinglis.com). Acknowledgements: The composer warmly thanks Pablo and Diana Donatti, Ãngeles RodrÃguez Cadena, and Emilio Torres for their contributions to this project and to Dr. Ramona M. Wis and the North Central College Women’s Chorale for the generous commission. Copyright © 2020 Adrienne Inglis | http://adrienneinglis.com
$3.99 ≈
3.61€
Organ Voluntary (Ite Missa Est) from the Mass setting for men's voices and organ.
Organ Voluntary (Ite Missa Est) from the Mass setting for men's voices and organ.
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Orgue
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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David Warin Solomons
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Organ Voluntary
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David Warin Solomons
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SheetMusicPlus
Instrumental Solo,Pipe Organ - Level 4 - SKU: A0.1297453 Composed by David Warin Solomons. 20th Century,Contemporary. Individual part. 7 pages. David Wa...
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Instrumental Solo,Pipe Organ - Level 4 - SKU: A0.1297453 Composed by David Warin Solomons. 20th Century,Contemporary. Individual part. 7 pages. David Warin Solomons #887510. Published by David Warin Solomons (A0.1297453). The music of this Mass has a ring of oriental promise according to one appreciative member of the congregation. It has been sung in Cathedrals in Manchester, Southwell and Dublin. However the only performance that included the Ite Missa Est was at Manchester Cathedral, and this was not recorded.You might like to hear the Mass, sung by the Manchester Cathedral Voluntary Choir, since the Ite Missa est uses many of the themes from the various sung movements.
$9.00 ≈
8.14€
Song of the Sky Loom (Downloadable)
Song of the Sky Loom (Downloadable)
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Chorale SATB
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AVANCÉ
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Frank Ferko
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Song of the Sky Loom
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
SATB choir (choir divisi) unaccompanied - Difficult - SKU: MQ.8452-E Composed by Frank Ferko. Advanced/Collegiate. Secular, 21st Century, Creation/Natur...
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SATB choir (choir divisi) unaccompanied - Difficult - SKU: MQ.8452-E Composed by Frank Ferko. Advanced/Collegiate. Secular, 21st Century, Creation/Nature. Instrument part. 20 pages. Duration 6 minutes, 7 seconds. E. C. Schirmer Music Company - Digital #8452-E. Published by E. C. Schirmer Music Company - Digital (MQ.8452-E). English.In the summer of 2011, while I was visiting my friends Don and Sally Roberts in Santa Fe, Sally asked me if I would be interested in writing a new choral work for Don in celebration of his upcoming 75th birthday. The idea appealed to me very much, so I readily agreed to write the piece. Since Don has enjoyed a lifelong interest in the American Southwest Pueblo people and their customs, Sally provided me with several Tewa texts, in English translation, to consider for musical setting. I was particularly drawn to the imagery of Song of the Sky Loom, so that poem became the basis for the new work. The music begins with two baritone soloists singing an introductory 'call-and-response' to which the entire chorus eventually responds. The opening line of text is first presented in fragmented form, as if voices from all areas of nature gradually rise up and then merge into a unified chordal texture. As the text turns to the imagery of weaving, the musical texture, accordingly, becomes contrapuntal: individual melodic lines, sung by solo voices or small groups (the 'weft'), intertwine with each other and also with the main chorus, which provides the overall harmonic structure (the 'warp'). The following chorale section, infused with occasional chromatic inflections, represents the massive 'rainbow' in the text and brings the work to a unified conclusion. Song of the Sky Loom was first performed by the Santa Fe Desert Chorale, under the direction of Joshua Habermann, on July 19, 2016 with three subsequent performances during the following two weeks. -Frank Ferko Duration: 6:07.
$3.15 ≈
2.85€
Listen to the Mockingbird
Listen to the Mockingbird
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Chorale SATB
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INTERMÉDIAIRE
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Richard Milburn and Septimus W
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Ren Challacombe
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Listen to the Mockingbird
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Ren Challacombe
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1073221 Composed by Richard Milburn and Septimus Winner. Arranged by Ren Challacombe. A Cappella,Folk,Multicultu...
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Choral Choir (SATB) - Level 3 - SKU: A0.1073221 Composed by Richard Milburn and Septimus Winner. Arranged by Ren Challacombe. A Cappella,Folk,Multicultural,Traditional,World. Octavo. 6 pages. Ren Challacombe #677483. Published by Ren Challacombe (A0.1073221). Listen to the Mockingbird is hails from the southern US and was written in the mid 19th century. This song contemplates love and loss as voices wind in and out of the music.
$1.99 ≈
1.80€
Romeo and Juliet's Love Theme (Tschaikovsky)
Romeo and Juliet's Love Theme (Tschaikovsky)
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Piano seul
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INTERMÉDIAIRE
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Classique
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Peter Ilyich Tchaikovsky
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Paul Taylor
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Romeo and Juliet's Love Theme
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Paul Taylor
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1225431 Composed by Peter Ilyich Tchaikovsky. Arranged by Paul Taylor. 19th Century,Film/TV,Romantic Period. Score. 4 pag...
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Piano Solo - Level 3 - SKU: A0.1225431 Composed by Peter Ilyich Tchaikovsky. Arranged by Paul Taylor. 19th Century,Film/TV,Romantic Period. Score. 4 pages. Paul Taylor #821497. Published by Paul Taylor (A0.1225431). This is perhaps the most illustrious melody from the Tschaikovsky's Romeo and Juliet suite arranged for piano solo. This melody was featured prominently in the movie Moonraker , Columbo, The Jazz Singer (1927), Wayne's World, Animaniacs, Taz-Mania, Tiny Toon Adventures, Scrubs, Seeing Double, The Simpsons, South Park, Clueless, A Christmas Story, The Fresh Prince of Bel-Air, etc. The harmony has traditionally been an issue facing arrangers of this work. The spacing of the chords in the orchestral format were too wide to effectively render the work pianistically. However, this arranger seems to have solved the problem with some octave transposition and novel treatment of the inner voices.
$1.99 ≈
1.80€
The Skye Boat Song (SAB choir and piano)
The Skye Boat Song (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 Skye Boat Song
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Colin Kirkpatrick Publications
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SheetMusicPlus
Choral Choir,Choral (SAB) - Level 2 - SKU: A0.1279446 Composed by Traditional. Arranged by Colin Kirkpatrick. Celtic,Folk,Irish,Multicultural,Patriotic,...
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Choral Choir,Choral (SAB) - Level 2 - SKU: A0.1279446 Composed by Traditional. Arranged by Colin Kirkpatrick. Celtic,Folk,Irish,Multicultural,Patriotic,World. 10 pages. Colin Kirkpatrick Publications #870928. Published by Colin Kirkpatrick Publications (A0.1279446). This is one of the most well-known of all British folksongs and refers to real historical events. It has been used in film and television programs and known to almost everyone in Britain. Skye (also known as “The Isle of Skyeâ€) is the largest island of the Inner Hebrides. With an area of about 640 square miles, the island is about sixty miles long and lies close to the Scottish mainland.  The boat in the song (“Speed bonny boatâ€) refers to a small sailing ship that in 1746 “carried the lad who was born to be king†to the Isle of Skye. The lad in question was Prince Charles Edward Stuart known affectionately as “Bonnie Prince Charlie.†The song also refers to the Battle of Culloden of April 1746, the last ever battle on British soil, fought between the British Army and the army of Bonnie Prince Charlie.  In June 1746 and disguised as a maid-servant, Charles was secretly transported from the Hebridean island of Benbecula to the more southerly Isle of Skye. This is the event to which the song refers. The Skye Boat Song has its roots in a traditional Gaelic melody. The lyrics in this arrangement are the familiar ones written in the 1870s by Sir Harold Edwin Boulton. This is an easy arrangement, with all vocal parts well within range and difficult leaps avoided. There are no divisi sections. The keyboard part also avoids technical hurdles. Your singers will surely enjoy this joyful melody, with its contrasting verse and attractive counter-melodies. It would be ideal for choirs in which lower male voices are few in number. Vocal ranges are Soprano: D4 – D5; Alto: A3 (only once) – B4; Baritone: G2 (only once, with 8ve option) – D3.
$2.50 ≈
2.26€
Gabriel's Message (The Angel Gabriel to Heaven Came) - brass quintet, hand percussion
Gabriel's Message (The Angel Gabriel to Heaven Came) - brass quintet, hand percussion
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE
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Traditional Basque Carol
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Todd Marchand
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Gabriel's Message
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Con Spirito Music
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.726091 Composed by Traditional Basque Carol. Arranged by Todd Marchand. Christmas,Holiday,...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.726091 Composed by Traditional Basque Carol. Arranged by Todd Marchand. Christmas,Holiday,Sacred,Traditional. Score and parts. 18 pages. Con Spirito Music #4798963. Published by Con Spirito Music (A0.726091). Gabriel's Message (The Angel Gabriel to Heaven Came) is a folk carol from the Basque Country, the region that straddles the westernmost Pyrenees Mountains in adjacent parts of northern Spain and southwestern France. A vernacular paraphrase of the 13th/14th-century Latin carol, Angelus ad virginem, the text was translated from Basque and paraphrased into English by the Anglican priest and scholar Sabine Baring-Gould (1834-1924). Commonly sung at Advent and Christmas, Gabriel's Message quotes the biblical account of the Annunciation (Luke 1:26-38) and the Magnificat (Luke 1:46-55) in its opening lines:The angel Gabriel from heaven came,his wings as drifted snow, his eyes as flame;All hail, said he, thou lowly maiden Mary,most highly favoured lady. Gloria!The Basque tune was collected and published by the French composer Charles Bordes (1863-1909) in Archives de la tradition basque (1890) and was arranged and published by the English organist/choirmaster Edgar Pettman (1866-1943) in his 1892 collection, Modern Christmas Carols. Pettman's setting remains a favorite among choirs to this day. This arrangement features each of the voices of the brass quintet on the tune and augments the ensemble with optional finger cymbals and tambourine. ©Copyright 2019 Todd Marchand / ConSpiritoMusic. Visit www.conspiritomusic.com
$15.00 ≈
13.57€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
21.71€
On the Wings of the Scarlet Messenger Opera Instrument Parts Part 2 of 2 (Strings, Harp, Timpani, Pe
On the Wings of the Scarlet Messenger Opera Instrument Parts Part 2 of 2 (Strings, Harp, Timpani, Pe
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Ensemble de Percussions
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AVANCÉ
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James Nathaniel Holland
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On the Wings of the Scarlet Me
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James Nathaniel Holland
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.730477 Composed by James Nathaniel Holland. Contemporary,Musical/Show,Opera. Score and parts. 284 pages. James N...
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Percussion Ensemble - Level 5 - SKU: A0.730477 Composed by James Nathaniel Holland. Contemporary,Musical/Show,Opera. Score and parts. 284 pages. James Nathaniel Holland #4108107. Published by James Nathaniel Holland (A0.730477). On the Wings of the Scarlet Messenger by American composer James Nathaniel Holland. This is part 2 of 2 publications of the individual instrument parts for the opera. Full Score (in concert pitch), Piano Vocal Score, and Instruments Part 1 (woodwinds and brass) sold separately. The instrumental parts included in part 2 publication are (strings, harp, timpani and percussion) and this part can be used to enhance a production with the piano/vocal score. Opera synopsis: This 21st Century opera or musical drama is adapted from the classic novel of Henry James, On the Wings of a Dove except it is set in the mythical South Pacific island of Soon Rafa. Leads include soprano, mezzo soprano, tenor, and bass with chorus, Asian dance and minor roles. One of the few operas with a love duet between a soprano and bass. Great ensemble scenes. Great for university productions and young voices. Dramatic and beautiful orchestration. Yet to be premiered.YouTube Demo playlist presentation: https://www.youtube.com/playlist?list=PLEcbVsA36MCvHG_MTBdv7x2UNjwG27sMaComposer website: http://lacoronadelossantos.net/jamesnathanielholland.html
$48.95 ≈
44.30€
On the Wings of the Scarlet Messenger Opera Instrument Parts Part 1 of 2 (Woodwinds and Brass)
On the Wings of the Scarlet Messenger Opera Instrument Parts Part 1 of 2 (Woodwinds and Brass)
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James Nathaniel Holland
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On the Wings of the Scarlet Me
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James Nathaniel Holland
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SheetMusicPlus
Large Ensemble Bassoon,Clarinet,English Horn,Flute,Oboe,Tenor Saxophone,Trombone,Trumpet - Level 4 - SKU: A0.730474 Composed by James Nathaniel Holland....
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Large Ensemble Bassoon,Clarinet,English Horn,Flute,Oboe,Tenor Saxophone,Trombone,Trumpet - Level 4 - SKU: A0.730474 Composed by James Nathaniel Holland. Contemporary,Musical/Show,Opera. Score and parts. 382 pages. James Nathaniel Holland #4108081. Published by James Nathaniel Holland (A0.730474). On the Wings of the Scarlet Messenger by American composer James Nathaniel Holland. This is part 1 of 2 publications of the individual instrument parts for the opera. Full Score (in concert pitch), Piano Vocal Score, and Instruments Part 2 sold separately. The instrumental parts included in part 1 publication is (picc, fl, ob, eh, Bbcl 12, bcl, tsax, bsn 12, hrns 12, hrns 34, tpt12, trmb, btrmb)Opera synopsis: This 21st Century opera or musical drama is adapted from the classic novel of Henry James, On the Wings of a Dove except it is set in the mythical South Pacific island of Soon Rafa. Leads include soprano, mezzo soprano, tenor, and bass with chorus, Asian dance and minor roles. One of the few operas with a love duet between a soprano and bass. Great ensemble scenes. Great for university productions and young voices. Dramatic and beautiful orchestration. Yet to be premiered.Duration: 2.5 hoursYouTube Demo playlist presentation: https://www.youtube.com/playlist?list=PLEcbVsA36MCvHG_MTBdv7x2UNjwG27sMaComposer website: http://lacoronadelossantos.net/jamesnathanielholland.html
$80.25 ≈
72.62€
Kyrie from the mass for men's voices (mp3)
Kyrie from the mass for men's voices (mp3)
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David Warin Solomons
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Kyrie from the mass for men's
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David Warin Solomons
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SheetMusicPlus
Choir - SKU: A0.1060153 Composed by David Warin Solomons. 20th Century,Christian,Contemporary,Sacred. Full Performance. Duration 43. David Warin Solomon...
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Choir - SKU: A0.1060153 Composed by David Warin Solomons. 20th Century,Christian,Contemporary,Sacred. Full Performance. Duration 43. David Warin Solomons #6506677. Published by David Warin Solomons (A0.1060153). This is a section from our recordings of a Mass at Southwell Minster
$2.00 ≈
1.81€
Sanctus and Benedictus from the mass for men's voices (mp3)
Sanctus and Benedictus from the mass for men's voices (mp3)
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David Warin Solomons
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Sanctus and Benedictus from th
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David Warin Solomons
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SheetMusicPlus
Choir - SKU: A0.1060154 Composed by David Warin Solomons. 20th Century,Christian,Contemporary,Sacred. Full Performance. Duration 138. David Warin Solomo...
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Choir - SKU: A0.1060154 Composed by David Warin Solomons. 20th Century,Christian,Contemporary,Sacred. Full Performance. Duration 138. David Warin Solomons #6506679. Published by David Warin Solomons (A0.1060154). This is a section from our recordings of a Mass at Southwell Minster
$2.00 ≈
1.81€
Agnus Dei from the mass for men's voices (mp3)
Agnus Dei from the mass for men's voices (mp3)
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David Warin Solomons
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Agnus Dei from the mass for me
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David Warin Solomons
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SheetMusicPlus
Choir - SKU: A0.1060151 Composed by David Warin Solomons. 20th Century,Christian,Contemporary,Sacred. Full Performance. Duration 183. David Warin Solomo...
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Choir - SKU: A0.1060151 Composed by David Warin Solomons. 20th Century,Christian,Contemporary,Sacred. Full Performance. Duration 183. David Warin Solomons #6506671. Published by David Warin Solomons (A0.1060151). This is a section from our recordings of a Mass at Southwell Minster
$2.00 ≈
1.81€
Gloria from the mass for men's voices (mp3)
Gloria from the mass for men's voices (mp3)
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David Warin Solomons
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Gloria from the mass for men's
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David Warin Solomons
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SheetMusicPlus
Choir - SKU: A0.1060152 Composed by David Warin Solomons. 20th Century,Christian,Contemporary,Sacred. Full Performance. Duration 227. David Warin Solomo...
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Choir - SKU: A0.1060152 Composed by David Warin Solomons. 20th Century,Christian,Contemporary,Sacred. Full Performance. Duration 227. David Warin Solomons #6506675. Published by David Warin Solomons (A0.1060152). This is a section from our recordings of a Mass at Southwell Minster
$2.50 ≈
2.26€
The Yellow Rose Of Texas (with "Dixie") (for 2-part choir)
The Yellow Rose Of Texas (with "Dixie") (for 2-part choir)
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Chorale 2 parties
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FACILE
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Anonymous, Daniel D
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Stephen DeCesare
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The Yellow Rose Of Texas
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Exultet Music
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SheetMusicPlus
Choral Choir (2-Part) - Level 2 - SKU: A0.624131 Composed by Anonymous, Daniel D. Emmett. Arranged by Stephen DeCesare. Folk,Instructional,Standards,Tra...
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Choral Choir (2-Part) - Level 2 - SKU: A0.624131 Composed by Anonymous, Daniel D. Emmett. Arranged by Stephen DeCesare. Folk,Instructional,Standards,Traditional. Octavo. 8 pages. Exultet Music #4633323. Published by Exultet Music (A0.624131). Two of the most popular Southern American folk songs from the Civil War have been combined and arranged for a 2-part choir (Part 1: High Voices (Sop. & Ten), Part 2: Low Voices (Alto & Bass) with Piano accompaniment. Accessible and appropriate for any school or concert setting. .
$3.99 ≈
3.61€
The Yellow Rose Of Texas (for 2-part choir)
The Yellow Rose Of Texas (for 2-part choir)
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Chorale 2 parties
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FACILE
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Anonymous
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Stephen DeCesare
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The Yellow Rose Of Texas
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Exultet Music
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SheetMusicPlus
Choral Choir (2-Part) - Level 2 - SKU: A0.624210 Composed by Anonymous. Arranged by Stephen DeCesare. Folk,Instructional,Standards,Traditional. Octavo. ...
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Choral Choir (2-Part) - Level 2 - SKU: A0.624210 Composed by Anonymous. Arranged by Stephen DeCesare. Folk,Instructional,Standards,Traditional. Octavo. 6 pages. Exultet Music #4716269. Published by Exultet Music (A0.624210). One of the most popular Southern American folk songs from the Civil War has been freshly arranged for a 2-part choir (Part 1: High Voices (Sop. & Ten), Part 2: Low Voices (Alto & Bass) with Piano accompaniment. Accessible and appropriate for any school or concert setting.
$3.99 ≈
3.61€
South American Suite
South American Suite
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Heinz Geese
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Rolf Granderath
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Singstimme ad lib
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South American Suite
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Schott Music - Digital
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SheetMusicPlus
(2 Fl, 2 Ob [ad lib.], 2 Fag [ad lib.], Klar-es, 3 Klar-b, 2 A-Sax-es [ad lib.], 2 T-Sax-b [ad lib.], Bar-Sax-es [ad lib.], 4 Hn-es [3., 4. ad lib.], Trp-b, 3 P...
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(2 Fl, 2 Ob [ad lib.], 2 Fag [ad lib.], Klar-es, 3 Klar-b, 2 A-Sax-es [ad lib.], 2 T-Sax-b [ad lib.], Bar-Sax-es [ad lib.], 4 Hn-es [3., 4. ad lib.], Trp-b, 3 Pos, 2 Flg-Hn-b, 3 T-Hn-b [3. ad lib.], Bar, 2 Tb, Pk, Schlgz); Singstimme ad lib. Voice - SKU: S9.Q5961 Aus Seefahrt nach Rio. Composed by Heinz Geese. Arranged by Rolf Granderath. This edition: separate part. Schott Harmony Series. Downloadable, Individual part. Schott Music - Digital #Q5961. Published by Schott Music - Digital (S9.Q5961). Rolf Granderath has put together a sequence of the most spirited tunes and stirring Latin American rhythms from Heinz Geese’s popular children’s musical “the boat trip to Rio†(ED 6585 / ED 6586) and arranged them for (youth) wind band. (Children’s) voices may be added ad libitum.
$2.99 ≈
2.71€
South American Suite
South American Suite
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Orchestre d'harmonie
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Heinz Geese
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Rolf Granderath
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Singstimme ad lib
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South American Suite
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Schott Music - Digital
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SheetMusicPlus
(2 Fl, 2 Ob [ad lib.], 2 Fag [ad lib.], Klar-es, 3 Klar-b, 2 A-Sax-es [ad lib.], 2 T-Sax-b [ad lib.], Bar-Sax-es [ad lib.], 4 Hn-es [3., 4. ad lib.], Trp-b, 3 P...
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(2 Fl, 2 Ob [ad lib.], 2 Fag [ad lib.], Klar-es, 3 Klar-b, 2 A-Sax-es [ad lib.], 2 T-Sax-b [ad lib.], Bar-Sax-es [ad lib.], 4 Hn-es [3., 4. ad lib.], Trp-b, 3 Pos, 2 Flg-Hn-b, 3 T-Hn-b [3. ad lib.], Bar, 2 Tb, Pk, Schlgz); Singstimme ad lib. wind band - SKU: S9.Q5960 Aus Seefahrt nach Rio. Composed by Heinz Geese. Arranged by Rolf Granderath. This edition: condensed score. Schott Harmony Series. Downloadable, Conductor reduction. Schott Music - Digital #Q5960. Published by Schott Music - Digital (S9.Q5960). Rolf Granderath has put together a sequence of the most spirited tunes and stirring Latin American rhythms from Heinz Geese’s popular children’s musical “the boat trip to Rio†(ED 6585 / ED 6586) and arranged them for (youth) wind band. (Children’s) voices may be added ad libitum.
$15.99 ≈
14.47€
South American Suite
South American Suite
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Heinz Geese
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Rolf Granderath
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Singstimme ad lib
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South American Suite
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Schott Music - Digital
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SheetMusicPlus
(2 Fl, 2 Ob [ad lib.], 2 Fag [ad lib.], Klar-es, 3 Klar-b, 2 A-Sax-es [ad lib.], 2 T-Sax-b [ad lib.], Bar-Sax-es [ad lib.], 4 Hn-es [3., 4. ad lib.], Trp-b, 3 P...
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(2 Fl, 2 Ob [ad lib.], 2 Fag [ad lib.], Klar-es, 3 Klar-b, 2 A-Sax-es [ad lib.], 2 T-Sax-b [ad lib.], Bar-Sax-es [ad lib.], 4 Hn-es [3., 4. ad lib.], Trp-b, 3 Pos, 2 Flg-Hn-b, 3 T-Hn-b [3. ad lib.], Bar, 2 Tb, Pk, Schlgz); Singstimme ad lib. wind band - SKU: S9.Q5962 Aus Seefahrt nach Rio. Composed by Heinz Geese. Arranged by Rolf Granderath. This edition: set of parts. Schott Harmony Series. Downloadable, Set of parts. Schott Music - Digital #Q5962. Published by Schott Music - Digital (S9.Q5962). Rolf Granderath has put together a sequence of the most spirited tunes and stirring Latin American rhythms from Heinz Geese’s popular children’s musical “the boat trip to Rio†(ED 6585 / ED 6586) and arranged them for (youth) wind band. (Children’s) voices may be added ad libitum.
$67.99 ≈
61.53€
The Garden Hymn (Downloadable)
The Garden Hymn (Downloadable)
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Chorale SATB
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FACILE
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David W
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The Garden Hymn
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
SATB choir and Piano - Moderately Easy - SKU: MQ.50-8965-E Composed by David W. Music. 21st Century, Folk Song. Instrument part. 7 pages. MorningStar Mu...
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SATB choir and Piano - Moderately Easy - SKU: MQ.50-8965-E Composed by David W. Music. 21st Century, Folk Song. Instrument part. 7 pages. MorningStar Music Publishers - Digital Sheet Music #50-8965-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-8965-E). English.This 1835 text and tune from Southern Harmony is in a lilting 6/8. The arrangement is mostly four-part, but it does feature the men's voices for half a verse. Direct and simple, this Garden Hymn is not to be confused with I come to the garden alone… which came almost 80 years later. This one is not quite as I focused but has a similarly sweet tone, ending with, The desert blossoms as the rose when Jesus conquers all his foes and makes his people one..
$2.25 ≈
2.04€
The Flower Duet from Lakmé for Solo Guitar
The Flower Duet from Lakmé for Solo Guitar
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Guitare notes et tablatures
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Leo Delibes
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Dan Jones (www
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The Flower Duet from Lakmé fo
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SheetMusicPlus
Guitar - Advanced Intermediate - Digital Download Composed by Leo Delibes (1836-1891). Arranged by Dan Jones (www.danjonesguitarist.com). Romantic ...
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Guitar - Advanced Intermediate - Digital Download Composed by Leo Delibes (1836-1891). Arranged by Dan Jones (www.danjonesguitarist.com). Romantic Period. Score, Tablature. 5 pages. Published by danjonesguitarist.com
The Flower Duet From the opera Lakm
By Lo Delibes (Arranged for Guitar Solo by Dan Jones)
www.danjonesguitarist.com
TheFlower Duet was writtenby the French composer Lo Delibes. It is set for two voices (sopranoand mezzo-soprano) and occurs during act one of Delibes? opera Lakm whichwas premiered in Paris in 1883.
Your single download will provide you with the score in notes and TAB and also in a notes-alone version.
The work is one ofthe best-loved arias of all time. It has become iconic due to its use in TV, film,and advertising. Most recently, it is known as the soundtrack to a BritishAirways commercial.
The aria makes an ideal piece of repertoire foradvanced-intermediate and professional guitarists. It is perfect for thoseplaying gigs, in restaurants, at weddings and as a piece of popular repertoirein a recital.
My arrangement is inspired by one made by thefantastic guitarist and arranger Bridget Mermikides. I am grateful to Bridgetfollow allowing me to develop the arrangement to create something which is moresuited to the advanced-level player.
Fora huge range of arrangements, lessons, videos and scores for guitar solo, andin ensemble, please visit www.danjonesguitarist.com.
To read of life as a guitarist in a sleepyvillage in South West France, check out Dan?s much-loved book, Extracting Goatsfrom Jean-Claude?s Kitchen at www.danjonesauthor.com
I will upload a film and recording of this work before the end of May 2021
$4.95 ≈
4.48€
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