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Now I Can See the Light!
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You've selected:
Now I Can See the Light!
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556 sheet music found
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551
The Story Of Reuben Clamzo & His Strange Daughter
The Story Of Reuben Clamzo & His Strange Daughter
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Choral TTBB
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EASY
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo & H
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octa...
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99 ≈
£3.05
Now I Can See the Light! (Downloadable)
Now I Can See the Light! (Downloadable)
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Contemporary
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Henry Mollicone
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Now I Can See the Light!
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Soprano voice and baritone voice soli, SATB choir, and piano - Medium - Digital Download SKU: MQ.8180-E Composed by Henry Mollicone. 21st Century. 16 pag...
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Soprano voice and baritone voice soli, SATB choir, and piano - Medium - Digital Download SKU: MQ.8180-E Composed by Henry Mollicone. 21st Century. 16 pages. Duration 3 minutes, 5 seconds. E. C. Schirmer Music Company - Digital #8180-E. Published by E. C. Schirmer Music Company - Digital (MQ.8180-E). English.Henry Mollicone wrote Now I Can See the Light! for the Choir of the Stone Church of Willow Glen, Nancy Wait Kromm, director. Walter Roach, the parishioner who commissioned the piece, asked Mollicone to compose a work in a gospel style. Set to a text by the pastor at Stone Church, Rev. Ken Henry, this anthem is ebullient and spirited. The choral writing is straightforward and accessible, and a high-voice and low-voice soloist are required. Duration: 3:05.
$2.85 ≈
£2.18
The Christmas Wish (Vocal Solo)
The Christmas Wish (Vocal Solo)
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Choral Unison
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INTERMEDIATE/ADVANCED
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Carol Troutman Wiggins [ASCAP]
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The Christmas Wish
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Carol Troutman Wiggins
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SheetMusicPlus
Choral Choir (Unison) - Level 4 - Digital Download SKU: A0.727123 Composed by Carol Troutman Wiggins [ASCAP], Mary White Pustrom. Christmas,Contemporary,...
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Choral Choir (Unison) - Level 4 - Digital Download SKU: A0.727123 Composed by Carol Troutman Wiggins [ASCAP], Mary White Pustrom. Christmas,Contemporary,Holiday,Pop,Singer/Songwriter. Octavo. 11 pages. Carol Troutman Wiggins #2907289. Published by Carol Troutman Wiggins (A0.727123). The Christmas WishVocal Solo for AltoWould you like a different kind of Christmas wish this year? Here it is!This song is based on the poem Christmas Wishes written by contemporary author and poet Mary White Pustrom. Mary wrote many poems with the theme of Christmas, including what she thought people should wish for at Christmas. While so many adults wish for a new car, a sparkling diamond ring, or celebrating with a nice vacation in the tropics, she believes that Christmas wishes should be taken a step further by considering the wishes and needs of others more so than our own. In her poem Christmas Wishes, her desire for reaching out to others and granting them their wishes for the simple things in life take on great meaning: Christmas Wishes by Mary White Pustrom Now that Christmas is drawing near I cannot help but seeAll the poor and needy people who are reaching out to me. It seems that everywhere I look there is a need to fill; I feel so inadequate when their wishes I can't fill. Among the lights and decorations, there is hunger and despair, Faces filled with sadness while bright carols fill the air; Little children who are cold and hungry wait for Santa Claus, Wishing that he would bring them food, for that's a worthy cause. Others laughing, smiling, singing - so completely unaware Of all the pain and suffering that's around them everywhere; They wish for generosity in our thoughts, time, and deeds, And wish that here at Christmas time, someone could fill their needs. My wish is that we reach out to our sisters and our brothers, Who depend on us for kindness from one to another; Fill our hearts with Christmas cheer, and teach us how to share, So that Christmas wishes will be fulfilled all throughout the year. It sounds like she might have the right idea. At this time of year, it is so easy to get caught up in buying and receiving presents, the lights, and the Christmas tree, without considering the simple needs of others. Maybe this year, these simple wishes will come true for some: · Sick little children to be healed · Homeless people and children to find a family · For the less fortunate to have enough food, clothing, shelter, and shoes on their feet · That no one spends Christmas lonely and alone, and spent the way it should be, with loving family and friends. Most of all, wish that by caring for one another, Christmas wishes would come true all year long. ~ Carol Troutman Wiggins
$5.95 ≈
£4.55
We Must Learn to Walk Together
We Must Learn to Walk Together
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Piano, Vocal and Guitar
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EASY
#
Sacred music
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Lisa Waites
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Lisa Waites
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We Must Learn to Walk Together
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Servant Song Music and Ministry
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural...
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
$3.99 ≈
£3.05
Little Seeds
Little Seeds
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Little Seeds
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SheetMusicPlus
In Little Seeds you will find new hymns from my heart. My devotional life is given to you in my hymnwriting. During the past three years I have been writing son...
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In Little Seeds you will find new hymns from my heart. My devotional life is given to you in my hymnwriting. During the past three years I have been writing songs for the unity of the church - songs reminding us of our baptism. I have been writing biblical story hymns for lesser-known characters. I have written paperless songs that may be easily memorized. I set a Rumi poem. There are new hymns for Christian missions from everywhere to everywhere. You will find new texts and musical settings for folk songs from around the world. I hope I have treated these with the love and respect they deserve. You will find alternate arrangements of some songs that may be useful in different settings. Lim Swee Hong composed three tunes for this collection at my request. I am also pleased to include Lianne Tan's first published hymn tune in Little Seeds
Song List
: A Babe Was Born A Blood Red Rose Reminds Us Still A Garden You Once Made A God of Surprises, Beyond Expectation A Man Lay Beaten, Left for Dead A Rabbi Sat Against a Wall A Woman Stood Accused Ain't No Grave All People Need a Home As at Pentecost You Came As Children, We May learn to Love As Colors in the Sky Beside the Great Cathedrals Can You See Christ Can You See the Living Christ Chill of the Nightfall Each Seeking Faith Is Seeking Light Elijah Bowed Down on the Earth Fair Wind and the Sky Is Clear God, Help the Weary Travelers God, Help Your Church to Learn God, You Are Like a Place Remembered Guide My Canoe, Spirit Wind He Is The Way He Will Never Let Go My Hand Hope of the Earth I Saw an Angel in the Road I Will Not Always Walk This Earth In Every Changing State of Mind In the Stillness of This Hour Jesus, Live in Us Jesus Lives! Jesus, Partner, Lover, Friend Jesus, We Come to the Table Justice Like a River Lead Us to Still Waters Let Flow Our Tears in Grief for This Lilies Of The Field Look: Such Horror, Torn, then Tortured Mother, Child, and Birthing Spirit Much Brighter than a Thousand Suns My Child Is a Flower New Every Morning Is Your Grace No Obvious Angels Our God Is a Rock Our Life in the Spirit Out of Joy and Out of Need Peace Child Planter of Gardens, Sender of Rain Prayer Is the Cry of the Heart Remember the Rock that Bore You Samuel, Samuel, I Am Calling Startle Us with Joy The Earth Is Like a Burning Bush The Grass Will Green Again The Road to Capernaum The Saints of Old Cry Out There Is No Smell Like Fresh-Baked Bread This Hurt Is Not the Final Word True Union Is a Gift of God We Are People, Made by God We Are Your Children We Are Your People We Give You Thanks for Every Faith When Human Life Is Bought and Sold When I See the Rain With the People We Have You Give Rest to All Who Come to You You Set Your Seal upon Each Heart You Walk This Earth
$11.95 ≈
£9.13
I See You
I See You
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Choral SATB
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INTERMEDIATE
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Michelle Willis
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I See You
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Teton Music
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.887281 Composed by Michelle Willis. A Cappella,Contemporary. Octavo. 10 pages. Teton Music #5033...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.887281 Composed by Michelle Willis. A Cappella,Contemporary. Octavo. 10 pages. Teton Music #5033147. Published by Teton Music (A0.887281). SATB, a cappellaWritten for the Early Light Academy Spotlight Singers (South Jordan, UT) and taken from actual responses from the students they were asked, when people look at you, what do you want them to see? This song is intended to be a very personal expression for the singers as well as for the audience.Text:I see: eyes and a face, hands and feetYou see: the sameI see: tears and a smile, working, movingYou see: the sameI see: pain, joy, strength, enduranceYou see, you think you see-but you can’t name it.I see you, please see me.When you look at me, see a person who isn’t afraid to be-- just be.I am tall or I am small, but I am happy to be me.I may be confident or meek, I may be really strong or weak,And if it changes week to week, it doesn’t matter.What matters is that you see me.When you listen, notice that my voice may sometimes raise the roofAnd other times it may seem aloof when I cannot find the proofOf what is truth and what is fair, but listen ‘til you hear me shareAnd know deep down I really care, because it matters.It matters that you see me.I see: someone who is strong and kind, someone who knows their mind, Someone who struggles just like me, but keeps fighting endlesslyI see you, please see me.I see: a soul who fin’ly knows I’m hereAnd doesn’t judge if I bow down to smallish fearsYou see me, and I see you, there’s nothing greater we can doThan to acknowledge we’re all trav’ling down this road,But not alone.It matters-That I see you-and you see me.
$2.49 ≈
£1.90
Grey Light of Dawn PVG
Grey Light of Dawn PVG
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Piano, Voice
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INTERMEDIATE
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Pop music
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Steven H
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Ashley Ivers
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Grey Light of Dawn PVG
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Boothe Publishing
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.983996 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop. Score. 6 pages. Boothe Publish...
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.983996 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop. Score. 6 pages. Boothe Publishing #4360839. Published by Boothe Publishing (A0.983996). In the early morning light it's hard to see exactly what is and what isn't there. Objects that are seen clearly in the light of day are elusive and can't be seen directly in the grey light of the morning. In the grey light of life it is unclear if relationships are strong or weak. Many times the feelings I have had for other people exist because I really do not know them. I imagine that they are better or more wonderful than they really are because of my lack of knowledge about them. Sometimes it seems that I want what might have been or what might be more than I want reality. In the light of day all shadows disappear.
$3.99 ≈
£3.05
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
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Various
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Alastair Lodge
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Chording to the Dance Masters
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Wold Meridian
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SheetMusicPlus
Level 3 - Digital Download SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phale...
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Level 3 - Digital Download SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman Susato. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733808. Published by Wold Meridian (A0.1133711). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00 ≈
£9.17
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
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Various
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Alastair Lodge
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Chording to the Dance Masters
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Wold Meridian
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SheetMusicPlus
Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, ...
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Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Phalese, Thoinot Arbeau, Tielman Susato, and William Cornysh. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733832. Published by Wold Meridian (A0.1133721). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances.  You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00 ≈
£9.17
I Beseech More Earnestly, a sacred hymn
I Beseech More Earnestly, a sacred hymn
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Choral SATB
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INTERMEDIATE/ADVANCED
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Sacred music
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Kevin G
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I Beseech More Earnestly, a sa
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Kevin G. Pace
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1472492 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & ...
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Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1472492 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. 2 pages. Kevin G. Pace #1050138. Published by Kevin G. Pace (A0.1472492). A beautiful, sacred hymn with music by Kevin G. Pace and text by Mary Ann W. Snowball.Text:Like the fog in a storm and the sun who hides its face,Like pure shadows at noon, or a star out of place,Like the moon overhead in a dark and unclear night,I beseech more earnestly, seeking God’s pure light.Like bold sighs braving pain in Gethsemane’s lone space,Like the rock placed therein meant for grief’s leaning place,As blood dripping like rain for the pain is far too great,I beseech more earnestly, seeking God’s own traits.Like a child asking “How?” to his Father up above,Like each step to ascend on his ladder of love,Like each stretch sure to reach far beyond what I now know,I beseech more earnestly, trusting God to show.All at once I see light like a ray in shadowed sky,And it peers through each sphere as God’s voice in reply.Then more light, as if day, sheds its warmth into my soul . . .I still ask more earnestly, trusting to be whole.Perfect light comes from Him as He answers from his sky;From my bowed, lowered head, I can know Him on high.Perfect love shines below, from his ever-holy form,Right into my mended soul . . . his love to adorn.
$1.99 ≈
£1.52
Back to the Heart
Back to the Heart
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Alto voice, Piano
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INTERMEDIATE
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Sydney Stevens
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Back to the Heart
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Sydney Stevens, Water Music
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SheetMusicPlus
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859668 Composed by Sydney Stevens. Folk,New Age,Pop. 7 pages. Sydney Stevens, Water Music #295...
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Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859668 Composed by Sydney Stevens. Folk,New Age,Pop. 7 pages. Sydney Stevens, Water Music #2959571. Published by Sydney Stevens, Water Music (A0.859668). Contact: sydneystevenspianostudio@gmail.comBack to the Heart: Emotional, heartfelt piano/vocal composed by Sydney Stevens (ASCAP). Sheet music arrangement is for piano/vocal/chords. From Album: Cycles of Life Theme: Going away, the sister that I know. Estrangement from someone who was once close. Mood: Serious, reflective, sad, emotionally moving. Musical Traits: Simple left hand piano, right hand reflects vocal part. Performance Time: 3:50 Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusic More Links: www.sydneystevenswatermusic.comhttp://www.linkedin.com/in/sydney-stevens-532a113a BIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to accompany them.In addition to being a prolific.
$4.95 ≈
£3.78
That they may rest in peace (voice with piano acc.)
That they may rest in peace (voice with piano acc.)
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Choral SATB
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INTERMEDIATE
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Hubert Parry
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Brock Lupton (1948-)
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That they may rest in peace
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Brock Lupton
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SheetMusicPlus
Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.942423 Composed by Hubert Parry (1848-1918). Arranged by Brock Lupton (1948-). Christian,Contem...
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Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.942423 Composed by Hubert Parry (1848-1918). Arranged by Brock Lupton (1948-). Christian,Contemporary,Romantic Period,Sacred. Octavo. 6 pages. Brock Lupton #4764195. Published by Brock Lupton (A0.942423). This setting is ideal for Remembrance Day: it is also suitable for a funeral or celebration of life. It is singable as a congregation hymn, as an anthem for unison voices, or as a vocal solo (range A below middle C to D a ninth above middle C). The text is by Canadian poet Frederick George Scott (1861-1944). The original title is Requiescant (Let them rest). The source is Christian Poetry in Canada (ed David A. Kent ed, Anglican Book Center and ECW Press, Toronto, Canada, 1993) page 54. Scott was a military chaplain during World War I. This poem was, in the poet’s own words, [b]egun while I was lying awake in a sleeping-bag under a tarpaulin at Brielen, near Ypres…. during the gas attack on April 22nd, 1915…. As I lay awake, I wondered what all our comrades who had passed over were doing now…. I finished the poem at a little village called Robec. As I wrote it, I could see through the window, my host, who was a carpenter, making a baby’s coffin. (http://www.canadianpoetry.ca/confederation/FGScott/collected_poems/notes.htm) I have made a few slight changes: awful has become awe-filled Dear Christ became O Christ, and the line A weary road these men have trod has been altered to A weary road these warriors trod. Both the music and the original text are in the public domain in Canada, where copyright expires 50 years after the death of the author or composer.A brass quintet arrangement compatible with the voice part is available separately.
$5.00 ≈
£3.82
When the World Drops In to Town
When the World Drops In to Town
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Piano, Vocal and Guitar
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INTERMEDIATE
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David Kai
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When the World Drops In to Tow
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David Kai
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893864 Composed by David Kai. Celtic,Folk,Pop. Score. 5 pages. David Kai #6100233. Publishe...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893864 Composed by David Kai. Celtic,Folk,Pop. Score. 5 pages. David Kai #6100233. Published by David Kai (A0.893864). A song celebrating the people of Gander, Newfoundland & Labrador in Canada who helped close to 7,000 stranded airline passengers after September 11, 2001. The story of Gander and the surrounding towns has been immortalized in the Broadway show, Come From Away. The song is written in a Celtic/Newfoundland style. This song is dedicated to my spouse Marly's parents, Isaac and Sybil who were a part of the crew who helped the plane people in Gander through their involvement in the Anglican church. WHEN THE WORLD DROPS IN TO TOWN Words and music by David Kai ©2020 On the 11th of September, in a quiet little town In a place that they call Newfoundland, all the planes were coming down Just how many were arriving, it was hard to know or tell In a quiet town in Newfoundland on the day the towers fell. With ten thousand waiting on the ground, seven thousand on their way The schools and halls and churches were preparing for their stay And not only in Gander, but in places all around ‘Cause you’ve got to pull together when the world drops into town. Chorus: So raise a glass to them, let’s sing a song to cheer For all the workers, cooks and clerks, for all the volunteers Who showed such kindness, who stepped up when chips were down ‘Cause you’ve got to pull together when the world drops into town All the stores they opened up their doors, the supplies, how fast they flew! Take it all to help the plane people, it’s the least that we can do! Aunt Winnie baked two dozen of her partridgeberry pies She said, I think those plane people will be in for some surprise! So the people were all settled, and much to their delight There were home-cooked meals and showers in homes, even trips to see the sights Though they came from countries ‘round the world, they did seem to all fit in And in kitchen parties here and there, new found friends were being screeched in. Chorus: Soon the skies, they were reopened, just a week and they were gone Though the planes took off into the skies all the memories lingered on For what they all remember, and what’s talked of to this day Is how townsfolk cared for people who had come from far away. So let’s sing and let’s be thankful, for each and every one Who showed us how to live together in the year two-thousand one, Let’s celebrate their kindness, for we never will forget, That in Newfoundland a stranger’s just a friend you haven’t met. Chorus:
$3.00 ≈
£2.29
The Volcano`s Lake
The Volcano`s Lake
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Harp
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EASY
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Luis Anjos Teixeira
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The Volcano`s Lake
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Luis Anjos Teixeira
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SheetMusicPlus
Harp - Level 2 - Digital Download SKU: A0.889438 Composed by Luis Anjos Teixeira. Christmas,Concert,Contemporary,Standards. Score. 6 pages. Luis Anjos Te...
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Harp - Level 2 - Digital Download SKU: A0.889438 Composed by Luis Anjos Teixeira. Christmas,Concert,Contemporary,Standards. Score. 6 pages. Luis Anjos Teixeira #4758665. Published by Luis Anjos Teixeira (A0.889438). The piece is thou very simple and easy to perform. It is appropriate for the harp and it sounds great on any kind of harp. When using a little lap harp, one can easily transpose the bass voice an octave higher. It is a flexible piece, you can play it slower or a little faster and even the arpeggio in the end that becomes quite easy after some practice could be replaced by a simple glissando. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Your Soul. It is a piece that can be used in many different kinds of situations, from the serious concert hall to a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events or even joyful social meetings. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira „Now comes the Little Story The Volcano`s Lake was composed on a volcano called Pico that stands out about 2000 meters above see level right in the middle of the Atlantic ocean. From the bottom of the ocean to its pick it is higher than mount Everest. I like to know that there are an enormous amount of different species of whales that live in this area and many others that go there strictly for romance. I went there to perform with the harp but was at the same time deeply morning the death of my Dear Cat Mary Jane that tragically passed away the day before the flight. In this isle I was having at night strange dreams of epic battles and fights between flying Angels and Demons. In one of these dreams „Time and Matter were a byproduct of „Music itself. The wind was blowing, the volcano was dancing and the water on the lake was whispering enchanting melodies. As soon as I woke up I wrote some notes before they vanished away, just a fragment of an idea of what I was listening in the dream. I named it „The Volcano`s Lake, because the „Lake was comforting me with its melodies, I realized that my tears were also becoming the lake itself and in this lake I was becoming one with Mary Jane and all the rest of the Universe. Thanks to Claudia Eppelt for the all the Love the wonderful painting and cover design. Special Thanks to Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Mary Jane, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira Disclaimer: The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score.
$6.79 ≈
£5.19
The Water is Wide for Viola & Piano
The Water is Wide for Viola & Piano
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Viola, Piano
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EASY
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Contemporary
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Traditional Scottish
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James M
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The Water is Wide for Viola &
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jmsgu3
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SheetMusicPlus
Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoire, Technique Training, Easter, Lent. Score, Set of Parts. 17 pag...
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Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoire, Technique Training, Easter, Lent. Score, Set of Parts. 17 pages. Published by jmsgu3
The Water Is Wide (O Waly Waly)
Duration: 5:24
Score: 10 pg. 121 ms., MM quarter = 94, final verse MM quarter = 80, common time
Solo part: 3 pg.
Piano part: 4 pg.
A thought-provoking arrangement of a Traditional Scottish Folksong. Probably most widely known as "The Water Is Wide,"
it is also well known by it's more ancient title: "O Waly Waly." The tune is also known as " When I Survey the Wondrous Cross," and "The Gift of Love."
This is an original arrangement from the ground up.
Programming:
If you are looking for something with new contrapuntal and harmonic adventures for a Lenten prelude or a meditation during Holy Week, this will fit the bill.
It could also work well in a recital setting because it fits well on the instrument, and provides a chance to show off long, sensitive musical phrases.
Some of the figures in the descant verse are a wee-bit more advanced so, this is for intermediate players rather than beginners.
Keep in mind these performance ideas:
1. It's a simple tune that needs to unfold in the due course of time, so don't rush it. A slight ritardando at the end of each verse may help if you want to further delineate the verses.
2. There is a lot of interesting counterpoint here, so be prepared to give-and-take on the dynamics more than what I have indicated.
3. The final verse is much slower and more mysterious, and the dynamics are crucial - the quieter the better. Piano - the last chord: take your time on the roll, make it nice and slow.
Synopsis of the arrangement:
verse 1: Simple quiet duet with the melody in the solo instrument.
verse 2: Melody in the solo instrument accompanied by a 2-part canon in the piano.
verse 3: Melody in the piano in 4-part harmony.
verse 4: 3-part canon on the melody (with a free accompaniment voice).
verse 5: 2-part canon with a free accompaniment in the solo part
verse 6: Melody in octaves with free bass in octaves; descant in the solo part - loudest verse.
verse 7: Very quiet ending verse - Modulates down a fourth, melody in the solo part accompanied by simple quartal/quintal
piano clusters over bass chords that suggest submerged church bells.
For better insight into the performance of this music: express the emotion indicated by the lyrics:
The Water Is Wide:
The water is wide, I cannot get over
Neither have I wings to fly
Give me a boat that can carry two
And both shall row, my love and I
A ship there is and she sails the sea
She's loaded deep as deep can be
But not so deep as the love I'm in
I know not if I sink or swim
I leaned my back against an oak
Thinking it was a trusty tree
But first it bent and then it broke
So did my love prove false to me
I reached my finger into some soft bush
Thinking the fairest flower to find
I pricked my finger to the bone
And left the fairest flower behind
Oh love be handsome and love be kind
Gay as a jewel when first it is new
But love grows old and waxes cold
And fades away like the morning dew
Must I go bound while you go free
Must I love a man who doesn't love me
Must I be born with so little art
As to love a man who'll break my heart
When cockle shells turn silver bells
Then will my love come back to me
When roses bloom in winter's gloom
Then will my love return to me
The lyrics for "Waly, Waly, Gin Love Be Bonny" from Ramsay's Tea Table Miscellany (1724).
O Waly, waly (a lament – "woe is me") up the bank,
And waly, waly doun the brae (hill),
And waly, waly, yon burn-side (riverside),
Where I and my love wont to gae.
I lean'd my back into an aik (oak),
I thocht it was a trusty tree;
But first it bow'd, and syne (soon) it brak (broke),
Sae my true love did lightly me.
O waly, waly, but love be bonnie (beautiful),
A little time while it is new,
But when 'tis auld (old), it waxeth cauld (cold),
And fades away like the morning dew.
O wherefore should I busk my heid (adorn my head)?
Or wherefore should I kame (comb) my hair?
For my true love has me forsook,
And says he'll never love me mair (more).
Now Arthur Seat shall be my bed,
The sheets shall ne'er be fyl'd by me,
Saint Anton's well shall be my drink,
Since my true love has forsaken me.
Martinmas wind, when wilt thou blaw (blow),
And shake the green leaves off the tree?
O gentle death, when wilt thou come?
For of my life I am weary.
'Tis not the frost, that freezes fell,
Nor blawing snaws (snow) inclemency,
'Tis not sic cauld (such cold) that makes me cry,
But my love's heart grown cauld to me.
When we cam in by Glasgow town,
We were a comely sight to see;
My love was clad in the black velvet,
And I my sell in cramasie (crimson).
But had I wist (known), before I kiss'd,
That love had been sae ill to win,
I'd lock my heart in a case of gold,
And pin'd it with a silver pin.
Oh, oh! if my young babe were born,
And set upon the nurse's knee,
And I my sell were dead and gane,
For a maid again I'll never be.[4]
(Lyrics courtesy of Wikipedia)
For more information, please feel free to contact me at: jmsgu3 "at" gmail.com
James M. Guthrie, ASCAP
jmsgu3 publications
$32.95 ≈
£25.17
Paul Wehage: To You for baritone, tenor saxophone and piano
Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary...
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95 ≈
£22.88
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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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 - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download 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 ≈
£18.33
Americana Collection For Band - 1st Alto Saxophone
Americana Collection For Band - 1st Alto Saxophone
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Concert band
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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 ≈
£3.05
Today I Will Trust, sacred music for vocal solo
Today I Will Trust, sacred music for vocal solo
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Piano, Voice
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INTERMEDIATE/ADVANCED
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Sacred music
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Kevin G
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Today I Will Trust, sacred mus
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Kevin G. Pace
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1329588 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Contemporary,Religious,...
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1329588 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Contemporary,Religious,Sacred,Spiritual. Score. 7 pages. Kevin G. Pace #917571. Published by Kevin G. Pace (A0.1329588). A beautiful, sacred vocal solo with music by Kevin G. Pace and text by Mary Ann W. Snowball.Text:When I can’t be sure what the world speaks,I will choose to follow what my conscience seeks.When temptations come and endurance dims,I will trust my Savior and the strength He gives.When the day seems long and I feel alone,I will turn to Jesus, trusting I am known.I will kneel to pray in His holy Name;I will seek for blessings I was born to claim.Chorus:Today I will trust in heavenly care,rememb’ring my calling as God’s faithful heir.I will remember to trust in His care,For He is always . . . always He’s there.When my life seems dark, I can’t see Christ’s face,yet I’ll keep my vision on His promised grace.I will choose to trust in God’s holy lightand remember always, I am in His sight.Chorus:
$3.99 ≈
£3.05
Behold, I Am the Light, a sacred hymn
Behold, I Am the Light, a sacred hymn
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Choral SATB
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INTERMEDIATE/ADVANCED
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Sacred music
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Kevin G
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Behold, I Am the Light, a sacr
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Kevin G. Pace
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1379122 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worsh...
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1379122 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. 3 pages. Kevin G. Pace #963800. Published by Kevin G. Pace (A0.1379122). A dramatic, beautiful, sacred hymn with music by Kevin G. Pace and text by Mary Ann W. Snowball.Text:Behold, I Am the Light“Behold, I am the light; I have set an example for you.†(3 Nephi 18:16)Storms of darkness may descend like a winter sky.Clouds of gloom may dominate; sun may be disguised.Walking step by step with Me through mortalityLessens shadows flawlessly; trusting is my plea:Behold, I am the Light . . . a light that has no end.I will lend my power; I will be thy Friend.I can brighten ev’ry path like a blazing torch.I can lighten loads because Father is my source.Behold, I am God’s Light; His love shines through Me.Never to be darkened, feel this love and see.I will faithful be . . . trust Me perfectly.Days of trial might seem long like the darkest night.Tests of patience may endure ev’n in Father’s sight.Trusting in each morning sun is a blessed choice,for bright truth will ever shine. Hear my faithful voice:Behold, I am the Light . . . a light that has no end.I will lend my power; I will be thy Friend.I can brighten ev’ry path like a blazing torch.I can lighten loads because Father is my source.Behold, I am God’s Light; His love shines through Me.Never to be darkened, feel this love and see.God’s light shines through Me, shining endlessly.
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Now I Can See the Light!
