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Create In Me a Clean Heart ~ Psalm 51 (for SA Duet with Piano accompaniment)
Create In Me a Clean Heart ~ Psalm 51 (for SA Duet with Piano accompaniment)
$5.99
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Vocal duet, Piano
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Sharon Wilson
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Sharon Wilson
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ALTO ~ B3 to B4
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Sharon Wilson
Away in a Manger - alternate tune for Easy SSA + piano
Away in a Manger - alternate tune for Easy SSA + piano
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Piano, Voice
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Traditional
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Hannah Wickham
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Hannah Wickham
Clean Hands Tainted Gold
Clean Hands Tainted Gold
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Piano, Voice
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Alfred Solman
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Maclean, Ha Two Little Songs Voice And Piano
Piano, Voice
Chester
Vocal and Piano SKU: HL.14020247 Composed by H.A. Maclean. Music Sales Am...
(+)
Vocal and Piano
SKU: HL.14020247
Composed by H.A. Maclean. Music Sales America. Classical. Book Only. Chester Music #CT00102. Published by Chester Music (HL.14020247).
$12.95 - See more - Buy online
Pre-shipment lead time:
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The Best Praise and Worship Songs Ever
Piano, Voice
[Sheet music]
-
Easy
Hal Leonard
By Various Composers. Easy Piano Songbook (Easy arrangements for piano and voice...
(+)
By Various Composers. Easy Piano Songbook (Easy arrangements for piano and voice). Size 9x12 inches. 270 pages. Published by Hal Leonard.
(5)
$24.99 - See more - Buy online
Pre-shipment lead time:
24 hours - In Stock
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Create in Me a Clean Heart
Piano, Voice
[Set of Parts]
Darcey Press
By Robert J Powell. For voice and piano. 2 performance parts
$5.00 - See more - Buy online
Pre-shipment lead time:
4 to 6 weeks
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Four Walls
Piano, Voice
Peters
By John Cage. For piano solo, voice. This edition: Photoprint Edition. Photoprin...
(+)
By John Cage. For piano solo, voice. This edition: Photoprint Edition. Photoprint editions are made to order. Printed on high quality paper and cover stock, they are made on a Canon digital printer from clean digital masters. Most of the photoprint editions are saddle stitched, but larger books have wire spiral binding. Duration ca.40'. Published by C.F. Peters.
$75.00 - See more - Buy online
Pre-shipment lead time:
4 to 6 weeks
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Three Encores
Piano, Voice
[Score]
Peters
By Rakowski. For voice, piano. This edition: Photoprint Edition. Photoprint edit...
(+)
By Rakowski. For voice, piano. This edition: Photoprint Edition. Photoprint editions are made to order. Printed on high quality paper and cover stock, they are made on a Canon digital printer from clean digital masters. Most of the photoprint editions are saddle stitched, but larger books have wire spiral binding. Duration ca.6'. Published by C.F. Peters.
$31.95 - See more - Buy online
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1 to 2 weeks
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Today's Worship Hits
Piano, Voice
[Sheet music]
Hal Leonard
By Various. Piano/Vocal/Guitar Songbook. Softcover. Published by Hal Leonard
$17.99 - See more - Buy online
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24 hours - In Stock
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The Ave Maria Collection
Piano, Voice
[Sheet music]
FJH
By Franz Schubert; J.S. Bach, Charles Gounod. Edited by Edwin Mclean. For Voice ...
(+)
By Franz Schubert; J.S. Bach, Charles Gounod. Edited by Edwin Mclean. For Voice with Piano. The Ave Maria Collection. Sacred. Book. Published by The FJH Music Company Inc.
(1)
$7.95 - See more - Buy online
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4 to 6 weeks
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America, the Beautiful
Piano, Voice
[Singles]
FJH
By Katharine Lee Bates / Samuel A. Ward. Arranged by Edwin Mclean. For voice and...
(+)
By Katharine Lee Bates / Samuel A. Ward. Arranged by Edwin Mclean. For voice and piano. The FJH Piano Vocal Series. Single sheet
$2.50 - See more - Buy online
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Working - Vocal Selections
Piano, Voice
[Sheet music]
Alfred Publishing
Songbook for voice and piano. From the Broadway musical "Working". 113 pages. Pu...
(+)
Songbook for voice and piano. From the Broadway musical "Working". 113 pages. Published by Alfred Publishing.
(1)
$21.95 - See more - Buy online
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28 Italian Songs & Arias (Complete all keys): Voice: Vocal Album
Piano, Voice
Schirmer
of the 17th & 18th Centuries-Most voice teachers and singers still prefer the pi...
(+)
of the 17th & 18th Centuries-Most voice teachers and singers still prefer the pianistic wonderfully gratifying editions made by Alessandro Parisotti (1853-1913) of early Italian arias. This newly researched edition with updated composer attributions features new clean music engravings. The collection includes the original contents of 24 Italian Songs and Arias of the Seventeenth and Eighteenth Centuries plus four additional Parisotti editions. Also includesinternational phonetic alphabet for each song text word for word translations for study historical introduction for each aria and a preface on Parisotti and his approach to this music. This compilation includes the High MediumHigh Medium Medium Low and Low editions in one book perfect for teacher reference.
44.99 GBP - Sold by Musicroom UK
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Charles Villiers Stanford: The Pibroch Op. 157 No. 1 In B Minor: Voice: Single
Piano, Voice
[Sheet music]
-
Intermediate
Edwin Ashdown
Taken from the original collection Songs Of A Roving Celt this is Stanford's se...
(+)
Taken from the original collection Songs Of A Roving Celt this is Stanford's setting of a folk text by Murdoch Maclean for Voice and Piano.
7.99 GBP - Sold by Musicroom UK
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Jakob Lenz (RIHM WOLFGANG)
Piano, Voice
Universal Edition
Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera...
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Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano
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