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Who Built The Ark
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Vous avez sélectionné:
Who Built The Ark
Partitions à imprimer
53 partitions trouvées
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Who Built the Ark?
Who Built the Ark?
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Chorale Unison
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Musique Sacrée
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Jeff Reeves
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Who Built the Ark?
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Chorister's Guild - Digital
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SheetMusicPlus
Unison chorus - SKU: C7.CGA1100 Composed by Jeff Reeves. General. Rote to Note. With Wood block, sand blocks. Sacred Anthem. Octavo. 12 pages. Chorister...
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Unison chorus - SKU: C7.CGA1100 Composed by Jeff Reeves. General. Rote to Note. With Wood block, sand blocks. Sacred Anthem. Octavo. 12 pages. Chorister's Guild - Digital #CGA1100. Published by Chorister's Guild - Digital (C7.CGA1100). UPC: 749193012284.Children of all ages will love this light-hearted anthem that spotlights one of the Old Testament's most popular stories: Noah and the Ark. Repetition of text and melody make the piece make an ideal choice for early elementary choirs or choirs that combine younger and older children. Use of woodblocks and sand blocks add to the anthem's playful spirit as they imitate the sound of hammers and saws. A reproducible Noah's Ark coloring page is also included in the anthem that can be used for an early-arriver activity or visual aid in teaching the piece. (From the collection Can't Wait to Sing! - CGC50).
$1.85 ≈
¥13.42
Who Built the Ark? - Piano Trio (1 Piano, 6 Hands)
Who Built the Ark? - Piano Trio (1 Piano, 6 Hands)
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1 Piano, 6 mains
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Gospel Spirituel
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Mary Elizabeth Clark
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Who Built the Ark? - Piano Tri
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Arranged by Mary Elizabeth Clark. Gospel/Sacred. 9 pages. Alfred Music - Digital Sheet Music #00-PB-0000668. Published by Alfred Music - Digital Sheet...
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Arranged by Mary Elizabeth Clark. Gospel/Sacred. 9 pages. Alfred Music - Digital Sheet Music #00-PB-0000668. Published by Alfred Music - Digital Sheet Music
$5.50 ≈
¥39.88
Aardvarks on the Ark (Or How Did Noah Stand It?)
Aardvarks on the Ark (Or How Did Noah Stand It?)
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Chorale 2 parties
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Musique Sacrée
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Mary Val Marsh
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Choral Octavo
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Aardvarks on the Ark
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Jubilate Music Group - Digital
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SheetMusicPlus
Choir Sacred (2-Part choir) - Grade 1 - SKU: JX.00-6891 Incorporating Who Built the Ark?. Arranged by Mary Val Marsh. Choral (Sacred); Choral Oct...
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Choir Sacred (2-Part choir) - Grade 1 - SKU: JX.00-6891 Incorporating Who Built the Ark?. Arranged by Mary Val Marsh. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Archive Edition: Alfred Church Choral Series. Children; Sacred; Spiritual. Choral Octavo. 8 pages. Jubilate Music Group - Digital #00-6891. Published by Jubilate Music Group - Digital (JX.00-6891). English. Genesis 6, Genesis 7, Genesis 8.A delightful partner song incorporating the traditional spiritual Who Built the Ark? Animated speech song and improvised animal sounds add to the charm. Your choir will LOVE Alan Billingsley's adorable orchestrated performance / accompaniment track. Opt. percussion included in the score. Great fun for school spring concerts and worship throughout the year.
$2.25 ≈
¥16.32
THE BACH JAZZ SONATA FROM THE 3RD MOVEMENT OF THE FLUTE/VIOLIN SONATA II IN Eb* FOR Eb INSTRUMENTS A
THE BACH JAZZ SONATA FROM THE 3RD MOVEMENT OF THE FLUTE/VIOLIN SONATA II IN Eb* FOR Eb INSTRUMENTS A
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Ensemble Jazz
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INTERMÉDIAIRE
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Classique
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Joe Procopio These arrangement
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Johann Sebastian Bach
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Joe Procopio
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THE BACH JAZZ SONATA FROM THE
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JoeCopio Music LLC
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.876417 Composed by Johann Sebastian Bach. Arranged by Joe Procopio. Baroque,Jazz. Score and parts. 42 pa...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.876417 Composed by Johann Sebastian Bach. Arranged by Joe Procopio. Baroque,Jazz. Score and parts. 42 pages. JoeCopio Music LLC #2032001. Published by JoeCopio Music LLC (A0.876417). THE BACH JAZZ SONATA FROM THE 3RD MOVEMENT OF THE FLUTE/VIOLIN SONATA II IN Eb* FOR Eb INSTRUMENTS Arr. By Joe Procopio These arrangements by Joe Procopio from J.S. Bach’s Flute/Violin Sonata II in Eb are special in many ways. Firstly, it fills the need for the very best in music combining the genres of both Classical and Jazz. In addition, it is also importantly unique because it may be performed by a variety of musicians. For example, the arrangement in C may be performed by 2 or more C Instruments including Flute, Piccolo, Oboe and Violin with a small band accompaniment (Piano, Guitar, Bass, and Drums - Guitar is optional). The work may also be performed with just the Piano and/or Guitar for accompaniment. What’s more, the Rhythm Track Accompaniment is available without the solo instruments adding to the already many attributes of this music that enhance its inherent genuine global appeal. This is critical because teachers, students and musicians worldwide are constantly seeking music of the highest quality that can be skillfully presented to the public while having, at the same time, built-in qualities both pleasing to the listener and the performer alike. Bach’s melodies have certainly stood the test of time and Jazz is without question internationally popular. That makes these arrangements truly worthy of attention from people, artists and publishers throughout the world. The composer personally has had great success with this work in many major concerts including its premier performance using a Flute Choir at a Civic Center Concert held in Syracuse, NY before several thousand people who triumphed the young musicians with a standing ovation. The melody by J.S. Bach used in this work is taken from the Bach-Gesellschaft Ausgabe Band 9 and 1 Kammermusik BWV 1031- known as the complete works of Johann Sebastian Bach which was published in 46 volumes from 1851-1899. A single volume was issued in 1926. The last surviving editor of the series died in 1928, and these volumes are now public domain worldwide. They are also held in acclaim because there are no articulation or expression marks in the Gesellshaft. Therefore, the articulation and expression marks written in these arrangements by the arranger are suggestions only. Musicians may perform the works in any manner best suited to the betterment of their own performance.
$5.99 ≈
¥43.44
Stories of the Early Days (accompaniment and lead sheet)
Stories of the Early Days (accompaniment and lead sheet)
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Piano, Voix et Guitare
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David Kai
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by David Kai ©2000
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Stories of the Early Days
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David Kai
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - SKU: A0.893851 Composed by David Kai. Children,Christian,Sacred. Score. 3 pages. David Kai #5322227. Published by David Kai (...
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Guitar,Piano,Vocal,Voice - SKU: A0.893851 Composed by David Kai. Children,Christian,Sacred. Score. 3 pages. David Kai #5322227. Published by David Kai (A0.893851). This song teaches the stories from the first chapters of the book of Genesis.With the purchase of this music, you may make copies of the lead sheet or lyrics for your church school or choir. Please report any congregational use to One License or CCLI.Stories of the Early Days by David Kai ©2000 (with thanks and apologies to W.A. Mozart)1. Creating, creating, a thing that God does well, God planted a garden, and everything was swellStories of the early days, people learning of God’s ways, Creating, creating, a thing that God does well.2. A garden and creatures, just when the world began, The first of the humans, according to God’s plan,Stories of the early days, people learning of God’s ways, A garden and creatures, just when the world began.3. With Noah, and fam’ly, a covenant was made, They built a great ark and his family was saved, Stories of the early days, people learning of God’s ways, With Noah, and fam’ly, a covenant was made.4. A rainbow, a rainbow, the sign God sent to show, That there was a cov’nant, there’d be a flood no more,Stories of the early days, people learning of God’s ways, A rainbow, a rainbow, the sign God sent to show.5. Oh Abram and Sarai, went to the Promised Land, God changed both their names and God changed all of their plans.Stories of the early days, people learning of God’s ways, Oh Abram and Sarai, went to the Promised Land.6. Oh Sarah, oh Sarah, though she was very old, Gave birth to her Isaac, just as she had been told,Stories of the early days, people learning of God’s ways, Oh Sarah, oh Sarah, though she was very old.7. Rebecca, Rebecca, her well of kindness showed that she was the right one, and so she chose to go,Stories of the early days, people learning of God’s ways, Rebecca, Rebecca, her well of kindness showed.8. Old Isaac, gave Jacob, the blessing that was saved for Esau, his brother, who then began to rage,Stories of the early days, people learning of God’s ways, Old Isaac, gave Jacob, the blessing that was saved.9. Oh Jacob, and Esau, they met again at last, And all was forgiven, the feud was in the past,Stories of the early days, people learning of God’s ways, Oh Jacob, and Esau, they met again at last.
$4.00 ≈
¥29.01
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 ≈
¥173.96
Bell Tree Descants-Digital Download
Bell Tree Descants-Digital Download
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Bell Tree Descants-Digital Dow
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SheetMusicPlus
45 Selections to Enhance Hymn Singing For each of these 45 descants to familiar hymns there is an intermediate and a more advanced setting for bell tree ringers...
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45 Selections to Enhance Hymn Singing For each of these 45 descants to familiar hymns there is an intermediate and a more advanced setting for bell tree ringers. Many of the tunes are offered in more than one key to make this collection compatible with most hymnals. Common title and tune indexes are provided for easy reference. Adding the sparkle of bells is sure to enhance and enliven your congregational hymn singing
Song List
: O Come, All Ye Faithful Joy to the World Let All Things Now Living Blessed Assurance The Church's One Foundation (D & Eb) Glorious Things of Thee Are Spoken Come and Find the Quiet Center Love Divine, All Loves Excelling (A & Bb) All Hail the Power of Jesus' Name Lift High the Cross Fairest Lord Jesus God of Grace and God of Glory Rejoice, the Lord is King! (C & D) For the Beauty of the Earth Jesus Shall Reign (D & Eb) Christ the Lord Is Risen Today A Mighty Fortress Is Our God Hosanna, Loud Hosanna (A, Ab & Bb) Great Is Thy Faithfulness Be Still My Soul (Eb & F) I Sing the Mighty Power of God My Jesus, I Love Thee When I Survey the Wondrous Cross He Leadeth Me (C & D) God, Who Stretched the Spangled Heavens Joyful, Joyful, We Adore Thee Come, Thou Almighty King (F & G) To Mock Your Reign We Gather Together (C & D) Lead On, O King Eternal (C & Db) Praise to the Lord, the Almighty O Worship the King Come, Christians, Join to Sing (A & G) Eternal Father, Strong to Save Come, Thou Fount of Every Blessing (D & Eb) Holy, Holy, Holy Praise God from Whom All Blessings Flow Be Thou My Vision All Glory, Laud and Honor My Hope Is Built on Nothing Less To God Be the Glory (Ab & G) Lift Up Your Heads, O Mighty Gates (C & D) It Is Well with My Soul (C & Db) What Wondrous Love Is This Just As I Am (D & Db)
$46.95 ≈
¥340.45
"The Sea of Sunset" - for Soprano, Trombone, Double Bass and Piano [Performance Score]
"The Sea of Sunset" - for Soprano, Trombone, Double Bass and Piano [Performance Score]
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Contemporain
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Lior Navok
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"The Sea of Sunset"
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Lior Navok Music
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SheetMusicPlus
Small Ensemble Double Bass,High Voice,Piano,Trombone - Level 4 - SKU: A0.976037 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 18 p...
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Small Ensemble Double Bass,High Voice,Piano,Trombone - Level 4 - SKU: A0.976037 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 18 pages. Lior Navok Music #4719307. Published by Lior Navok Music (A0.976037). THE SEA OF SUNSETfor Soprano, Trombone, Double Bass and Piano (1997) DURATION: 8 Minutes POEM BY: Emily Dickinson PROGRAM NOTES: The composer writes about his work: The poems of Emily Dickinson are very unique work of art. Most of her poems are full with detailed descriptions, transferring the poems to a medium of picture, carefully painted and calculated. Yet, it is quiet amazing that these poems came from the hand of a woman who lived secluded life, in her hometown Amherst, Massachusetts. A clue may be finds in one of Dickinson's saying: To shut our eyes is to travel. As I approached Dickinson's poems (which are close to 2000), I found that most of them, even the short ones, are built into a large space. Each poem needs its development time and cannot be rushed or squeezed to a regular song form. In The Sea of Sunset, I have let the words, the nature description, and the lazy mood of the poem take me to the picture medium. Adding the murmur of the sea, and the whisper of the wind, I tried to get as close as possible to the picture I saw through the poem. INFO: Item: Full Score Edition: 2nd Edition Copyright: Lior Navok Publisher: Lior Navok Music Pages: 18 Ink: Black & White Paper Size: Folio (Europe) / Legal (USA) Remarks: All performers read from score.
$18.00 ≈
¥130.52
The Last Supper
The Last Supper
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Orchestre
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AVANCÉ
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Contemporain
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Kevin Longley
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The Last Supper
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Kevin Longley
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1019350 Composed by Kevin Longley. Contemporary. Score and parts. 105 pages. Kevin Longley #3248395. Published by Kev...
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Full Orchestra - Level 5 - SKU: A0.1019350 Composed by Kevin Longley. Contemporary. Score and parts. 105 pages. Kevin Longley #3248395. Published by Kevin Longley (A0.1019350). The Last Supper, scored for Symphony Orchestra was conceived in 1984, completed in 1986 and later revised in 2017. The work is built around the idea of a visitor who is transported back in time to the events of the Last Supper. This visitor is only an observer to the event; having no effect upon what he sees. The piece opens with a dark theme, signifying the visitor walking through the shadowy streets of Jerusalem. As the theme comes to an end an oboe, high above, signals the visitors first view of the Last Supper. The music takes the listener from the Passover Meal to the Mount of Olives and finally to the Betrayal of Lord Jesus. Throughout the score are written biblical passages, meant to inspire the performer and give context to the music. They may optionally be spoken as part of the performance. Orchestra (1 piccolo, 2 flutes, 2 oboes, 1 english horn, 2 clarinets, 1 bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, 1 tuba, timpani, bass drum, suspended cymbal, tam-tam, snare drum, triangle, harp, strings) Composed by Kevin Longley (1958-). Full score. 55 pages. Duration 15 minutes.
$15.50 ≈
¥112.40
Audibly Exhale describes the experience of a crystal meth addict
Audibly Exhale describes the experience of a crystal meth addict
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Clark, Bethan
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Audibly Exhale describes the e
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Bethan Clark
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 4 - SKU: A0.1028156 Composed by Clark, Bethan. 20th Century,A Cappella,Contemporary. Octavo. 20 pages. Bethan Clark #...
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Choral Choir (SATB divisi) - Level 4 - SKU: A0.1028156 Composed by Clark, Bethan. 20th Century,A Cappella,Contemporary. Octavo. 20 pages. Bethan Clark #3400573. Published by Bethan Clark (A0.1028156). Crystal Methamphetamine (aka Crystal, Tina, X) is quite possibly the most addictive substance in existence. Addiction can be fast to take hold and virtually impossible to shake off. If you are looking to program something edgy, contemporary and thought-provoking for your choir, Audibly Exhale is a challenging 6-minute work inspired by the blog entry of an crystal meth addict. In combination with research and friendship with an addict who disappeared down the rabbit hole, Audibly Exhale is my attempt to touch on some of the physical, mental and external effects of this most evil of drugs: paranoia, heart palpitations, panic attacks and auditory hallucinations. The harmony is built around the chemical compound of crystal methamphetamine, and the principal melodic motif is inspired by an addict's identity number whilst on remand for possession. Appropriate for older singers. Less so for church, I would suggest...www.bethanclark.com
$1.99 ≈
¥14.43
Portals of Catedral de Orihuela.
Portals of Catedral de Orihuela.
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Dr Anthony Costandius
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Portals of Catedral de Orihuel
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Anthony Costandius Music
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SheetMusicPlus
Small Ensemble Cello,Double Bass,Saxophone,Viola,Violin - Level 5 - SKU: A0.938331 Composed by Dr Anthony Costandius. Christian,Contemporary,Sacred. Sco...
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Small Ensemble Cello,Double Bass,Saxophone,Viola,Violin - Level 5 - SKU: A0.938331 Composed by Dr Anthony Costandius. Christian,Contemporary,Sacred. Score and parts. 72 pages. Anthony Costandius Music #14899. Published by Anthony Costandius Music (A0.938331). A piece for solo Alto Saxophone and String Orchestra. The church was made a cathedral in 1564 when the city was granted its bishopric. The cathedral was built on the site of the Aljama Mosque in the first third of the 14th century. The name of this structure, El Salvador Cathedral, literally means the Cathedral of the Transfiguration. The cathedral has three portals: the Puerta de las Cardenas (Portal of the Chains, 14th century) is in Islamic style, the Puerta de Loreto (mid-15th century) is Gothic, and Puerta de la Anunciación (Portal of the Annunciation, built in 1588 by Juan Inglés), which has a Renaissance-style triumphal arch-shape. Part 1: Introitis. The saxophone mimics a chant based on the metre of the Introitis: Rorate, caeli, desuper, et nubes pluant iustum: aperiatur terra, et germinet Salvatorem (Bedew us, heavens, from above; ye clouds, rain down the Just One. Let the earth be opened up, and produce the Saviour. The intervals 1 (tonic), 5 (dominant), 6 (super-dominant) and 4 (subdominant), based on the year 1564 referred to in the section above, are used as the basis for the harmony progression for the string section. Part 2: Puerta de las Cardenas Acts 12:3–19 says that Peter was put into prison by King Herod, but the night before his trial an angel appeared to him, and told him to leave. Peter's chains fell off, and he followed the angel out of prison, thinking it was a vision (verse 9). The prison doors opened of their own accord, and the angel led Peter into the city. The visit from the angel, release from the chains and the prison, as well as the journey into the city is expressed against the background of the Islamic design of the portal, hence the referral to Arabian rhythms and scales in the music. Part 3: Puerta de Loreto The Puerta de Loreto is of gothic design. Loreto refers to the Italian city of Loreto in the province of Ancona. It is said that the holy house where the Mother Mary lived in Nazareth was translated miraculously to Loreto on December 19, 1294 - more than 700 years ago. The house did not go straight to Loreto, but in the year 1291 it was miraculously transported from Nazareth to the town of Tersatto in Dalmatia (Croatia). The local population, filled with astonishment, did not know how to explain its sudden appearance. Their Bishop, who was gravely ill, now appeared in their midst cured. He had prayed to the Virgin Mary that he might be strong enough to see the prodigy for himself, and the Mother of God appeared to him, surrounded by Angels, saying: My son, you have called for me, and here I am. I came to give you succor and to reveal to you the mystery [of the translation of the Holy House] you desire to know. The holy dwelling is the very house where I was born and raised. It was there that I received the good news brought by the Archangel Gabriel and I conceived the Divine Infant by the operation of the Holy Ghost. It was there that the Word was made flesh... For you to bear witness to all that I am telling you now, you will suddenly be cured and return to full health after the long illness you have borne, so that through you all will believe in this miracle. Part 4: Puerta de la Anunciación The Annunciation is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Jesus, meaning Saviour. Part 5: Exit The work ends with a re-interpretation of the first section, the Introitis. This is to bind the work together, but also to again reflect on the text, as stated: Rorate, caeli, desuper, et nubes pluant iustum: a periatur terra, et germinet Salvatorem, and to comtemplate how that gives meaning to the being, essence and history of the Catedral de Orihuela.
$10.00 ≈
¥72.51
Peace, Be Still - Choral Version
Peace, Be Still - Choral Version
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Musique Sacrée
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Stacey Plays Hymns
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Stacey Plays Hymns
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Peace, Be Still - Choral Versi
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Anastace
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SheetMusicPlus
Choral Choir - Level 2 - SKU: A0.1258028 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Stacey Plays Hymns. Christian,Praise & Worship,Religi...
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Choral Choir - Level 2 - SKU: A0.1258028 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Stacey Plays Hymns. Christian,Praise & Worship,Religious,Sacred,Spiritual. Octavo. 6 pages. Anastace #851264. Published by Anastace (A0.1258028). Written for the comfort of believers and as a perfect hymn to bring peace to the troubled and calm to the restless, this song is simple and easy for congregations and beginner choirs to pick up easily to sing along with right away. It is a good song selection for both every day church services to sad occasions such as funerals or other loss. In the dark, stormy times in our lives, Peace, Be Still will bring comfort and uplifting inspiration to those who hear it or sing it, since it is based strongly on the words of Christ Who spoke to the storm, calming the waves and also the hearts of His followers. If this choral version [a standard minimum 10 copies as set by sheet music stores] is purchased, it includes a built-in license to perform the song in a church service or gathering of up to 300 people. For a lead sheet version, search Peace, Be Still - Lead Sheet. Lead Sheet is for personal use only unless a license is obtained for use in church services or other gatherings by contacting staceyplayshymns@gmail.com.
$1.99 ≈
¥14.43
Stricken, Smitten, and Afflicted
Stricken, Smitten, and Afflicted
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Piano seul
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INTERMÉDIAIRE
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Sharon Wilson
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Sharon Wilson
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Stricken, Smitten, and Afflict
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Sharon Wilson
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1372287 By Sharon Wilson. By Traditional. Arranged by Sharon Wilson. Christian,Easter,Lent,Sacred,Traditional. Score. 5 p...
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Piano Solo - Level 3 - SKU: A0.1372287 By Sharon Wilson. By Traditional. Arranged by Sharon Wilson. Christian,Easter,Lent,Sacred,Traditional. Score. 5 pages. Sharon Wilson #956574. Published by Sharon Wilson (A0.1372287). Here is the deeply moving hymn Stricken, Smitten, and Afflicted arranged as an intermediate piano solo. The title was inspired by the words of Isaiah (53:4) -- Surely He has borne our griefs and carried our sorrows; Yet we esteemed Him stricken, smitten by God, and afflicted. This arrangement is very solemn throughout matching the powerful lyrics (see below) about the death of Christ and how our hope is built on him. If the song is presented during a church service, having the words read before (or projected on a screen) might be beneficial and then an excellent follow-up would be to play My Hope Is Built on Nothing Less or Christ the Lord Is Risen Today.Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusicLyrics by Thomas KellyVerse 1Stricken, smitten, and afflicted, See Him dying on the tree!This is Christ by man rejected; Here, my soul, your Savior see.He's the long-expected Prophet, David's Son, yet David's Lord;Proofs I see sufficient of it:He's the true and faithful Word.Verse 2Tell me, ye who hear Him groaning, was there ever grief like His?Friends thro' fear His cause disowning, foes insulting his distress;many hands were raised to wound Him, none would intervene to save;but the deepest stroke that pierced Him was the stroke that justice gave.Verse 3 You who think of sin but lightly nor suppose the evil greathere may view its nature rightly, here its guilt may estimate.Mark the sacrifice appointed, see who bears the awful load;It's the Word, the Lord's Anointed, Son of Man and Son of God.Verse 4Here we have a firm foundation; here the refuge of the lost;Christ, the Rock of our salvation, His the Name of which we boast.Lamb of God, for sinners wounded, sacrifice to cancel guilt!None shall ever be confounded who on him their hope have built.
$4.99 ≈
¥36.18
Carson Cooman: Concerto for Portatif Organ and Strings, score only
Carson Cooman: Concerto for Portatif Organ and Strings, score only
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Orchestre à Cordes
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AVANCÉ
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Carson Cooman
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Carson Cooman: Concerto for Po
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Orchestra - Level 5 - SKU: A0.533700 Composed by Carson Cooman. Baroque,Contemporary,Standards. Score and parts. 38 pages. Musik Fabrik Music Pub...
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String Orchestra - Level 5 - SKU: A0.533700 Composed by Carson Cooman. Baroque,Contemporary,Standards. Score and parts. 38 pages. Musik Fabrik Music Publishing #3038895. Published by Musik Fabrik Music Publishing (A0.533700). Concerto for Portatif Organ and Strings (2006) was commissioned by the HarvardBaroque Chamber Orchestra and its director, Robert Mealy. The work is dedicatedto organist Nancy Granert, for whom the solo part was written. The work wascommissioned in celebration of the von Clemm Chamber Organ at The MemorialChurch, Harvard University, built in 2006 by Klop Organ Builders.As with many of my works, relationships between old and new musical concepts areexplored. In this piece, musical aspects of the Baroque organ concerto tradition(and Baroque style string playing) co-exist with more contemporary musicalelements. In particular, the directness of expression found in many Baroqueconcertante works is present throughout. Musical material is shared between themovements in a motivic fashion.The title of the first movement, Bricolage, is defined as “something made or puttogether using whatever materials happen to be available.†Thus, the musicalmaterial for the movement is of varying characters; these elements are assembledtogether in ways that allow them to comment on and inform each other. Some ofthese musical elements include: a traditional “overture†texture, a Basse deTrompette texture (with an organ reed stop in the left hand) common in FrenchBaroque organ music, and the French keyboard toccata style.The second movement, Elegia, is dark and searching in tone. It begins with arageful roar before quieting down to introduce its basic musical material – a simple“lament†theme in a folk-inflected style. This material is used for further explorations,building to passionate climaxes. Finally, the opening music returns, but this timewith a whisper. The movement winds down to a sad conclusion.After the soul-searching of the second movement, the third movement, Rondeau, issprightly and energetic. The basic material is a set of Baroque and Classical-stylefigurations (with a few American gospel inflections thrown in), firmly grounded in Gmajor. After minor diversions, the original material continues to return and ends thework with unfettered joy.This item is the score only. The score and complete parts are available for sale as another item.
$25.95 ≈
¥188.17
Who Built The Ark
Who Built The Ark
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Piano, Voix et Guitare
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Hal Wright
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Hal Wright
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Who Built The Ark
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Twin Sisters IP, LLC.
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SheetMusicPlus
Composed by Hal Wright. Arranged by Hal Wright. Christian, Classroom, Children's Music. Score, Sheet Music Single. 2 pages. Published by Twin Sisters IP, LLC. (...
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Composed by Hal Wright. Arranged by Hal Wright. Christian, Classroom, Children's Music. Score, Sheet Music Single. 2 pages. Published by Twin Sisters IP, LLC. (S0.355991). - Score,Sheet Music Single - Christian,Classroom,Children's Music - Twin Sisters IP, LLC.
$2.99 ≈
¥21.68
Anonymous: Who Built the Ark? - Piano Trio (1 Piano, 6 Hands) - piano solo
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Piano seul
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INTERMÉDIAIRE
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Gospel Spirituel
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Anonymous
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Virtualsheetmusic
Instantly printable sheet music by Anonymous for piano solo of MEDIUM skill level. / gospel,sacred
Instantly printable sheet music by Anonymous for piano solo of MEDIUM skill level. / gospel,sacred
$9.48 ≈
¥68.74
Peace, Be Still - Lead Sheet
Peace, Be Still - Lead Sheet
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Instruments en Do
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FACILE
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Musique Sacrée
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Stacey Plays Hymns
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Stacey Plays Hymns
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Peace, Be Still - Lead Sheet
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Anastace
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SheetMusicPlus
C Instrument - Level 2 - SKU: A0.1258024 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Stacey Plays Hymns. Christian,Praise & Worship,Religi...
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C Instrument - Level 2 - SKU: A0.1258024 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Stacey Plays Hymns. Christian,Praise & Worship,Religious,Sacred,Spiritual. Lead Sheet / Fake Book. 2 pages. Anastace #851262. Published by Anastace (A0.1258024). Written for the comfort of believers and as a perfect hymn to bring peace to the troubled and calm to the restless, this song is simple and easy for congregations and beginner choirs to pick up easily to sing along with right away. It is a good song selection for both every day church services to sad occasions such as funerals or other loss. In the dark, stormy times in our lives, Peace, Be Still will bring comfort and uplifting inspiration to those who hear it or sing it, since it is based strongly on the words of Christ Who spoke to the storm, calming the waves and also the hearts of His followers. This is the lead sheet version, for personal use only. For a license to use in church services, please contact staceyplayshymns@gmail.com for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. If the choral version [minimum 10 copies as set by sheet music stores] is purchased, it includes a built-in license to perform in a church or gathering of up to 300 people. See my profile for choral arrangement for 2-4 voices plus piano accompaniment.
$3.00 ≈
¥21.75
Sonata #5 in B-flat minor
Sonata #5 in B-flat minor
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Piano seul
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AVANCÉ
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Contemporain
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James Domine
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Sonata #5 in B-flat minor
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Earth Music, Ltd.
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.976507 Composed by James Domine. 20th Century,Concert,Contemporary. Score. 31 pages. Earth Music, Ltd. #2081747. Publishe...
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Piano Solo - Level 5 - SKU: A0.976507 Composed by James Domine. 20th Century,Concert,Contemporary. Score. 31 pages. Earth Music, Ltd. #2081747. Published by Earth Music, Ltd. (A0.976507). This sonata is a solo transcription of the first movement of Domine’s Piano Concerto #1 in B-flat minor. The sonata begins with a slow introduction that juxtaposes two opposite harmonic realms represented by the interval of a diminished fifth. As the opening sequence drifts aimlessly through a cloud of amorphous sonorities, the principal theme is suddenly and aggressively thrust center stage by an angry theme marked Agitato. This theme wends its torturous way to the contrastingly quiet subordinate theme. An episode of melancholic discourse ensues, creating an air of confidential intimacy. The exposition ends with an elided dominant cadence which is left unresolved and that leads directly to the development section. Chord clusters built on hexachords provide a serialized variation on the principal theme. This tripartite antiphonal sequence works toward a culmination as the theme is expanded in rhythmic layers, finally reaching a cacophonic explosion. A retransition based on the slow introduction leads to the recapitulation, this time with alternating variations on the principal theme. After the lyrical restatement of the subordinate theme, the coda confronts us with a starkly bleak musical atmosphere that concludes with a fiery flourish. This transcription was made at the request of piano pedagogue Joanna Ezrin for Vera Weber, who has played it to great acclaim in numerous competitions and recitals.
$8.95 ≈
¥64.90
Carson Cooman: Concerto for Portatif Organ and Strings (2006), score and complete parts
Carson Cooman: Concerto for Portatif Organ and Strings (2006), score and complete parts
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Orchestre à Cordes
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AVANCÉ
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Carson Cooman
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Carson Cooman: Concerto for Po
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Orchestra - Level 5 - SKU: A0.533701 Composed by Carson Cooman. Baroque,Contemporary,Standards. Score and parts. 77 pages. Musik Fabrik Music Pub...
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String Orchestra - Level 5 - SKU: A0.533701 Composed by Carson Cooman. Baroque,Contemporary,Standards. Score and parts. 77 pages. Musik Fabrik Music Publishing #3038897. Published by Musik Fabrik Music Publishing (A0.533701). Concerto for Portatif Organ and Strings (2006) was commissioned by the Harvard Baroque Chamber Orchestra and its director, Robert Mealy. The work is dedicated to organist Nancy Granert, for whom the solo part was written. The work was commissioned in celebration of the von Clemm Chamber Organ at The Memorial Church, Harvard University, built in 2006 by Klop Organ Builders.As with many of my works, relationships between old and new musical concepts are explored. In this piece, musical aspects of the Baroque organ concerto tradition (and Baroque style string playing) co-exist with more contemporary musical elements. In particular, the directness of expression found in many Baroque concertante works is present throughout. Musical material is shared between the movements in a motivic fashion.The title of the first movement, Bricolage, is defined as “something made or put together using whatever materials happen to be available.†Thus, the musical material for the movement is of varying characters; these elements are assembled together in ways that allow them to comment on and inform each other. Some of these musical elements include: a traditional “overture†texture, a Basse de Trompette texture (with an organ reed stop in the left hand) common in French Baroque organ music, and the French keyboard toccata style.The second movement, Elegia, is dark and searching in tone. It begins with a rageful roar before quieting down to introduce its basic musical material – a simple “lament†theme in a folk-inflected style. This material is used for further explorations, building to passionate climaxes. Finally, the opening music returns, but this time with a whisper. The movement winds down to a sad conclusion.After the soul-searching of the second movement, the third movement, Rondeau, is sprightly and energetic. The basic material is a set of Baroque and Classical-style figurations (with a few American gospel inflections thrown in), firmly grounded in G major. After minor diversions, the original material continues to return and ends the work with unfettered joy.
$64.95 ≈
¥470.98
Americana Collection For Band - 1st Alto Saxophone
Americana Collection For Band - 1st Alto Saxophone
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Orchestre d'harmonie
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Various
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Americana Collection For Band
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Rubank Publications
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SheetMusicPlus
Concert Band - Difficulty: medium SKU: HL.4476008 1st Alto Saxophone. Composed by Various. Band Folio. Americana. Alto saxophone songbook. 32 page...
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Concert Band - Difficulty: medium SKU: HL.4476008 1st Alto Saxophone. Composed by Various. Band Folio. Americana. Alto saxophone songbook. 32 pages. Rubank Publications #3. Published by Rubank Publications (HL.4476008). UPC: 073999760088. 5.3x6.8 inches.Rubank (with optional Strings) Grades 2-3. Can be played solo or with other books in the series.
Song List
: Abide with Me All Through The Night Alma Mater Aloha Oe My Country, 'Tis Of Thee (America) America, the Beautiful The Band Played On Battle Hymn Of The Republic Beautiful Dreamer A Bicycle Built for Two (Daisy Bell) Blow the Man Down Carry Me Back To Old Virginny Columbia, The Gem Of The Ocean (The Red, White And Blue) Come, Ye Thankful People, Come Cradle Song Deck the Hall (I Wish I Was In) Dixie Fairest Lord Jesus Farewell To Thee Finlandia The First Noel For He's a Jolly Good Fellow God Of Our Fathers Good Night Ladies Hail, Columbia Hail, Hail, The Gang's All Here Hail To The Chief Hark! The Herald Angels Sing HOme Sweet Home In the Gloaming It Came Upon the Midnight Clear Jeanie With The Light Brown Hair Jingle Bells Jolly Old St. Nicholas Joy To The World The Last Rose Of Summer Lead, Kindly Light Little Brown Jug Loch Lomond (Deis) Love's Old Sweet Song The Man On The Flying Trapeze Marine's Hymn Maryland, My Maryland A Mighty Fortress Is Our God My Faith Looks Up To Thee My Old Kentucky Home Nearer, My God, to Thee Nobody Knows The Trouble I've Seen Now The Day Is Over O Come, All Ye Faithful (Adeste Fideles) O Little Town of Bethlehem Oh! Susanna Old Black Joe Old Folks At Home (Swanee River) Old Hundred Onward, Christian Soldiers Praise God, from Whom All Blessings Flow Rock Of Ages Sailing Short'nin' Bread Silent Night Silver Threads Among The Gold Sweet and Low Swing Low, Sweet Chariot Tramp! Tramp! Tramp! Viennese Refrain When Johnny Comes Marching Home While Shepherds Watched Their Flocks Yankee Doodle Taps Crusaders' Hymn Forgotten Yesterdays The Star Spangled Banner Camptown Races Auld Lang Syne Home on the Range
$3.99 ≈
¥28.93
Supercollider
Supercollider
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Christine Southworth
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Supercollider
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Airplane Ears Music
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.1013056 Composed by Christine Southworth. 20th Century,Contemporary,World. Score and parts. 35 pages. ...
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String Quartet String Quartet - Level 3 - SKU: A0.1013056 Composed by Christine Southworth. 20th Century,Contemporary,World. Score and parts. 35 pages. Airplane Ears Music #5802093. Published by Airplane Ears Music (A0.1013056). Super Collider (2010, 18 minutes) Kronos Quartet and electronic gamelanComposed for Kronos Quartet & Gamelan Elektrika. Premiered at Lincoln Center Out of Doors Festival, August 13, 2010 by Kronos Quartet and Gamelan Elektrika: Evan Ziporyn, kendang; Sean Mannion, kempli; Balaji Mani, ceng-ceng; Laurel Pardue & Sachi Sato, pemade; Katie Puckett & Sam Schmetterer, kantilan; Mark Buckles, Ramon Castillo, Elizabeth Johansen, Julie Strand, reong; Beth Mullins & Po-Chun Wang, pokokGamelan Elektrika is an electronic virtual gamelan designed and developed by Alex Rigopulos (founder and CEO of Harmonix Music, inventors of video games Guitar Hero and Rock Band). The piece is inspired by the Large Hadron Collider at CERN - the largest machine ever built, that's purpose is to change science forever, recreating the beginning of the universe in a tube and proving (or disproving) the theories of particle physics of the last half-century.Particle physics is the unbelievable in pursuit of the unimaginable. To pinpoint the smallest fragments of the universe you have to build the biggest machine in the world. To recreate the first millionths of a second of creation you have to focus energy on an awesome scale. - The GuardianSuper Collider will explore two obverse sound worlds and traditions, the vast culture of the string quartet juxtaposed with the ancient performance methods of a gamelan, unleashed through the unlimited sonic universe of electronics. In our own test-tube experiment, this musical moment of collision will hopefully achieve similarly unparalleled results.What does particle physics have to do with music and art? String theory, which the CERN facility hopes to verify or disprove, presumes that matter itself is the manifestation of resonant vibrations, that the world itself is a universal harmony. This post-modern notion - which Kronos embodies with every performance - itself resonates with the ancient Hindu notion of om, the absolute manifest, which is the basis of Indonesian gamelan. We will bring these two ideas of resonance together by combining Kronos with a gamelan - even a virtual one.The behavior of subatomic particles is probabilistic, group-oriented: the motion of any one particle is unpredictable and unknowable: it's what the group does that counts. This could also be a description of the Balinese gamelan, where individual virtuosity is subsumed to interlocking patterns, composite melodies, the sound of the whole. This is also the spirit of Kronos.When Robert Moog developed his synthesizer in the 1960s, he modeled its functionality on the piano and on western music in general - a single person, sitting at a keyboard. This is one reason why it was popularized by Wendy Carlos' Swtiched On Bach. Gamelan Elek Trika takes a similar approach to the very distinctive musical practices of Indonesia. Like the great gamelans of Bali and Java, Gamelan Elek Trika works as a single unit, played by a complete ensemble. The instruments are played like a gamelan - metallophones, drums, and gongs, playing interlocking patterns - but all are channeled through a central 'brain', a single processing unit which controls their sound, tuning, and timbre. The composer can thus alter the sonic environment globally, not just for one instrument at a time but for the complete ensemble.Super Collider is made possible by generous support from Alex Rigopulos and Sachi Sato, MIT, and the MIT Media Lab. Gamelan Elektrika instruments produced by Alex Rigopulos; sensors, electronics, and interface design by Andrew Boch, Matt Boch, and Laurel Pardue; technical assembly by Stéphanie Bouchard; frame design and assembly by Quentin Kelly.About the ComposerChristine Southworth (b. 1978) is a composer and video artist based in Lexington, Massachusetts, dedicated to creating music born from a cross-pollination of sonic.
$35.00 ≈
¥253.80
Miscellany, 7 Short Movements For Piano Solo
Miscellany, 7 Short Movements For Piano Solo
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Piano seul
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AVANCÉ
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PIano - Sebastian Kurz
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Miscellany, 7 Short Movements
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Geraldine
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1314290 By PIano - Sebastian Kurz. By Geraldine (Denny) Green. 21st Century,Chamber,Classical,Contemporary,Romantic Perio...
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Piano Solo - Level 5 - SKU: A0.1314290 By PIano - Sebastian Kurz. By Geraldine (Denny) Green. 21st Century,Chamber,Classical,Contemporary,Romantic Period. Score. 27 pages. Geraldine (Denny) Green at Oakmountmusic #903031. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1314290). Written in 2008, Miscellany, 7 short movements for solo piano, was Commissioned by conductor/pianist Anthony Davie.Duration: approx 15 minutes in total.Inspired by friends, family and general life experiences, this set of short pieces encompasses a range of moods; from Romantic and melodic to comical and dissonant.Movement 1. Didi – Didi was a very unique and special friend for many years. She gave out great spiritual strength and insight into this very confusing world in which we all live. She was a real tower of quiet, gentle strength.Movement 2. Brew! – This movement was inspired directly by the Brewing Industry. It strives to depict the hustle and bustle of a busy, working brewery and the the many hilarious, fabulous people I met during my three years in the beer-making industry.Movement 3 – Convent Cherub – This little piece began life as the opening title music of a film score I worked on while at college. The film itself, entitled My Brother Rob, was made by Alison Hilder, a student director at the Harrow School of Film. The story told of a young boy traumatised by a convent boarding school up-bringing. I have felt for many years that this little main theme has needed an alternative home, as much film music is never played again.Movement 4 – Megan – This movement comes directly from my wonderful and beautiful daughter, who was 5 years old at the time of the writing of this piece. It seeks to express her wild vibrance, eternal cheekiness, infinite energy, sparkle and the utter fearlessness of youth.Movement 5 – Edward – This music is for my gorgeous little son, who has Down’s Syndrome, and was only 3 at the time of the writing of this piece. The opening came to me moments after the doctor had confirmed Edward had Down’s, when he was only 6 hours old. The music tries to convey the fear of the unknown, huge unconditional love and moments of uncertainty alternated by washes of strength. And yet, all through the fear the resolve to forever love and stay strong always wins.Movement 6 – Indifference – The opening 4 notes are the core of this movement, and the piece is built around and from them. This music is an observation of deep, rumbling frustration at the indifference growing in our fast moving, modern society.Movement 7 – “Wee Us†– This movement expresses family triumph, the gifts of life and love, and the glory of boundless, wild, youthful energy. This tune has not yet run its course. It will be back!
$12.00 ≈
¥87.02
Lux in tenebris (Downloadable)
Lux in tenebris (Downloadable)
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Chorale SATB
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INTERMÉDIAIRE
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Zebulon M
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Lux in tenebris
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
SATB choir (choir divisi) unaccompanied - Medium - SKU: MQ.8705-E Composed by Zebulon M. Highben. Lent, Funeral, Tenebrae. Instrument part. 8 pages. Dur...
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SATB choir (choir divisi) unaccompanied - Medium - SKU: MQ.8705-E Composed by Zebulon M. Highben. Lent, Funeral, Tenebrae. Instrument part. 8 pages. Duration 4 minutes, 30 seconds. E. C. Schirmer Music Company - Digital #8705-E. Published by E. C. Schirmer Music Company - Digital (MQ.8705-E). Latin. John 1:5.The text of Lux in tenebris—a single verse from the prologue to the gospel of John—was chosen in conjunction with the commissioning party, who requested a sacred text with universal appeal that could address the hopes and fears that all people share. The composition elaborates on the text's juxtaposition between the darkness of despair and the light of hope. Dissonant, layered ostinati built on fragments of the text illustrate the omnipresent darkness (mm. 1-25). The second half of the piece (m. 29ff.) changes key and meter, employing the entire text to emphasize the persistent shining and eternal triumph of the light. Duration: 4:30Lux in tenebris was premiered in December 2016 by the Chamber Singers of First Community Church (Columbus, Ohio) at the church’s annual Candlelight Christmas concert, and reprised for the Holy Week Tenebrae service in April 2017.
$2.25 ≈
¥16.32
Happy Now
Happy Now
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Chorale SSAA
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INTERMÉDIAIRE
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Pentatonix
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Karen Wilson
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Happy Now
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Karen Wilson
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SheetMusicPlus
Choral Choir (SSAA) - Level 3 - SKU: A0.1259181 By Pentatonix. By Johan Carlsson, Johan Jens Erik Carlsson, John Bellion, Jon Bellion, Jonathan David Be...
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Choral Choir (SSAA) - Level 3 - SKU: A0.1259181 By Pentatonix. By Johan Carlsson, Johan Jens Erik Carlsson, John Bellion, Jon Bellion, Jonathan David Bellion, Kevin Olusola, Kristin Maldonado, Mark Williams, Matt Sallee, Matthew Sallee, Mitchell Grassi, Raul Cubina, Ross Golan, Scott Hoying, Sean Meier, and Sean Myer. Arranged by Karen Wilson. 21st Century,A Cappella,Contemporary,Pop. Octavo. 9 pages. Karen Wilson #852451. Published by Karen Wilson (A0.1259181). This is a fabulous song by Pentatonix which I have arranged for four-part (SSAA) a cappella voices. It can be sung with or without the body percussion as I know it's sometimes difficult to do both at the same time!Whilst in the original Pentatonix song, Scott Hoying has most of the solos, I have arranged this so that all voices get the chance to sing the main melody. The bass part is not the most interesting(!) as the whole song is built over a repeating two-bar phrase (four chords). However, in this arrangment, I have managed to give them the main melody at bar 30 and at bar 61 they are the only voice-part to sing Mitch's parting tune - it's the basses' time to shine!I have two versions of this song available. The other version (Product Number 1356139) is closer to the original Pentatonix one. It is more rhythmic and slightly more difficult to sing, so if you like a challenge, then go and check out that one. But this version is equally enjoyable and will keep a smile on your face and your toes a tappin!!
$1.99 ≈
¥14.43
Prelude and Cherubic Hymn, incorporating "Let all mortal flesh keep silence"
Prelude and Cherubic Hymn, incorporating "Let all mortal flesh keep silence"
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Gordon Thornett
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Prelude and Cherubic Hymn, inc
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Gordon John Thornett
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.821201 Composed by Gordon Thornett. Christian,Christmas,Praise & Worship,Sacred. Octavo. 14 pages. Gordon John T...
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Choral Choir (SATB) - Level 3 - SKU: A0.821201 Composed by Gordon Thornett. Christian,Christmas,Praise & Worship,Sacred. Octavo. 14 pages. Gordon John Thornett #3861793. Published by Gordon John Thornett (A0.821201). Prelude and Cherubic Hymn was commissioned by the John F. Kennedy School in Berlin, to mark the 25th anniversary of their annual Advent services held in Berlin Cathedral. It was performed by joint choirs, drawn from students, parents and faculty, and choir members of the American Church in Berlin on 29 November 2017.The piece is built around the ancient hymn, Let all mortal flesh keep silence. I was asked to write an organ prelude, to serve as a processional as the choirs assembled. This may be ordered separately through SwirlyMusic.org - and now also through SheetMusicPlus.After an opening fanfare-like section, the hymn setting starts gently, with sopranos singing in unison, with successive verses using contrasting choral forces to reflect the words, and the music builds to a big climax, with a return of the fanfare opening, for the final verse, At his feet the six-winged seraph, ending with joyful Alleluias. Although originally conceived for a large chorus with orchestral accompaniment, the setting may be performed with just organ or piano.There's a youtube video at https://youtu.be/HQwYDJRdmcc - this is an extract from the first performance in the magnificent setting of Berlin Cathedral, which was packed to capacity. The quality of both sound and picture isn't great, but it will provide you with an idea of the atmosphere and impact of the piece. The sound recording covers the whole piece, using Sibelius sounds. (You may also like to hear a computer generated recording of the whole piece.)Dr. Joseph R. Curtis, Choral Director at the JFK School, writes:Prelude and Cherubic Hymn is a grand arrangement of the timeless carol 'Let All Mortal Flesh Keep Silence'. Utilizing choir, full orchestra and organ, it is sure to please and impress performers and audience alike. At a recent performance in the Berlin Cathedral, the piece received spontaneous applause (which was a first for this kind of event).NOTE - Although originally scored for orchestra, the piece would work well with just choir and organ - in which case the fanfare sections at the beginning and the first 6 measures at letter F could be omitted. If orchestral score and parts are needed, please go to https://www.swirlymusic.org/music/choral-music/gordon-thornett-cherubic-hymn/.]
$2.50 ≈
¥18.13
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Who Built The Ark
