Freedom Come

for String Quartet. Par . Jonathan Batiste's GRAMMY Award-winning anthem to freedom comes to life in this sparkling G major string quartet arrangement by Paul Murtha. With all the verve and spirit of the original, you'll soon have students doing Batiste's famous dance moves as part of the performance! / Date parution : 2023-01-24/ Répertoire / Quatuor à Cordes

Arrangeur: Alexander L'Estrange. Par L'ESTRANGE ALEXANDER. More Songs of a Rainbow Nation brings you four more songs from South Africa for mixed voices, in beautifully crafted arrangements by Alexander L'Estrange. The selection opens with Freedom is Coming, a joyful, infectious celebration of hope and freedom from oppression, and the hugely popular Siyahamba is also featured. Both songs form part of L’Estrange's hit cantata Zimbe! Come sing the songs of Africa. Part of the Choral Basics series, the four songs are arranged for soprano and alto with combined men's voices - ideal for beginner choirs and those in which the male singers are few or at the stage when their voices are changing. All Choral Basics publications feature a straightforward piano accompaniment to support the singers. More Songs of a Rainbow Nation brings you four more songs from South Africa for mixed voices, in beautifully crafted arrangements by Alexander L'Estrange. The selection opens with Freedom is Coming, a joyful, infectious celebration of hope and freedom from oppression, and the hugely popular Siyahamba is also featured. Both songs form part of L'Estrange's hit cantata Zimbe! Come sing the songs of Africa. Part of the Choral Basics series, the four songs are arranged for soprano and alto with combined men's voices - ideal for beginner choirs andthose in which the male singers are few or at the stage when their voices are changing. All Choral Basics publications feature a straightforward piano accompaniment to support the singers. / Niveau : Débutant / Répertoire / Choeur

Here's an ideal way to close a music festival or spring concert. Combining choir and band this powerful setting traces America's roots through song portraying the struggle for freedom and the pursuit of a dream. Using some ofour most treasured folk songs it paints a vivid picture of America's heritage. This dramatic finale will be a standard for your library for years to come. Includes: Shenandoah Yankee Doodle Cumberland Gap The Banks of theSacramento Follow The Drinking Gourd The Battle Cry of Freedom The British Grenadiers Chester Old Joe Clark The Yellow Rose of Texas Deep River America The Beautiful. Available: SATB SAB 2-Part Concert Band. PerformanceTime: Approx. 7:00.

The ultimate resource for experiencing the Guitar stylings of Jimi Hendrix. For C instruments.This Omnibook edition features over 65 note-for-note transcriptions of his recorded solos in standard notation and tablature for: All Along the Watchtower - Born Under a Bad Sign - Come On, Pt. 1 - Everlasting First - Foxey Lady - Hey Joe - I Don't Live Today - Jam 292 - Love or Confusion - Machine Gun - Once I Had a Woman - Purple Haze - Room Full of Mirrors - Star Spangled Banner (Instrumental) - Stone Free - Third Stone from the Sun - Voodoo Child (Slight Return) - The Wind Cries Mary and many more. Spiral bound. / Instruments En C

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Liberate yourself from the tyranny of TAB and become a more creative player in 90 minutes with Toby Walker's DVD Blues Fingerpicking Freedom. Packed with fingerpicking techniques licks songs musical ideas and just enough guitar theory to help novices move freely around the fingerboard.Toby Walker is a guy who puts joy excitement and passion into every blues note he plays. His enthusiasm is contagious on this follow-up to his first Homespun DVD.

In Christmas Extravaganza, Book 3 Robert Vandall takes familiar songs and carols to a new level of pianism and creativity. The arrangements combine both fresh and familiar harmonies, unique melodic treatments, and interesting rhythms. Each piece is arranged with pianistic freedom appropriate to the song, yet stays comfortable in the hands while sounding impressive. / Piano

A Gathering of Voices for Freedom-All Aboard! This train is going to freedom land and everyone's welcome! In the 1950s and 1960s thousands of Americans decided to stand up for freedom. Each made the decision on their own and climbed on board a train of freedomthat changed the face of this country. Not just adults but young people led the march to freedom. Wherever they struggled for freedom people sang songs about their hopes and dreams. They had to stand up to people that didn'twant them to have equal rights and songs helped them do it.This musical by nationally-renowned singer and storyteller Bill Harley chronicles the Civil Rights movement. With an entertaining and informative script andeight authentic songs arranged by Emily Crocker and John Higgins today's children can experience the drama and power of this critical period in our nation's history. Ideal for school and community functions this 30-minutemusical is easily adapted to groups of any size and Bill Harley's classroom enrichment activities suggested bibliography and teaching notes will make this a production that can truly involve your whole school.Available:Teacher's Manual Singer's Edition (5-Pak) Preview Cassette Performance/Accompaniment CD. Performance Time: 30 minutes. For Grades K-8.