Out In The Fields (Satb)

Par BEATLES THE. Strawberry Fields Forever was John Lennon's homage to the garden of a Salvation Army children's home in Liverpool. It gave The Beatles a psychedelic hit in 1967. The name was eventually adopted for a small memorial garden on the West Side of New York's Central Park opposite Lennon's final address, The Dakota apartment building. Here this evocative song is arranged for SATB with piano accompaniment by Jeremy Birchall. / Niveau : Intermédiaire / Recueil / Choeur Mixte (SATB) et Piano

In Flanders Fields was composed by Paul Mealor and first performed at the Festival of Remembrance 2014 at the Royal Albert Hall. This sheet music is the Vocal score for SATB Chorus. At its first performance the orchestra featured musicians from various Armed Forces divisions lending an emotional air of pathos to this already saddening song. Based on the incredible poem by John McCrae Paul Mealor has crafted a hauntingly beautiful piece of music that manages to enhances the tragedy of McCrae's lyrics. A solemn yet inspiring composition this is one of Mealor's best and is a joy to hear andperform.

Basé sur l'enregistrement poignante beauté d'Eva Cassidy, cette chanson de Sting dispose d'un accompagnement en arpèges délicats et purs, simples lignes vocales dans un arrangement magnifique par Roger Emerson. Disponible séparément: SATB, SAB, et SSA. ShowTrax CD également disponible. Temps de Performance: Env. 04:15 / Chant Et Piano

The Cambridge Singers Hymn Series-We Plough The Fields And Scatter arranged by John Rutter for SATB choir and Piano or Harp.In his setting of this German hymn Rutter keeps the voices largely in rhythmic unison skilfully bringing variety through changes of timbre and dynamic. The piece is part of a collection of hymn arrangements recorded by the Cambridge Singers directed by John Rutter on the Collegium CD Sing Ye Heavens (COLCD 126).

G.F. Handel's masterful L'Allegro Il Penseroso Ed Il Moderato have been expertly-edited by Donald Burrows to present this complete vocal score arranged for two Soprano Tenor and Bass Soli with an SATB Chorus and Orchestra. This complete edition of L'Allegro Il Penseroso Ed Il Moderato features the 1740 1741 and 1743 scores reflecting Handel's personal changes involving alternative and additional movements. The 1740 score is a complete reconstruction requiring two Soprano  a Tenor and a Bass soloists. For the longer 1741 score Handel added extra movements toaccommodate additional soloists the complete version of which is included here. Finally the 1743 score boasts a radical change from the previous years with a removal of part three and a significant rearrangement of other movements.  L'Allegro Il Penseroso Ed Il Moderato was first performed on the 27th of February 1740 at the Lincoln's Inn Fields theatre after just over a month of drafting. The work is a setting of a libretto by James Harris and Charles Jennens based on John Milton's two complementary yet contrasting poems about the relative virtues of happiness and melancholy.  This edition of L'Allegro Il Penseroso Ed Il Moderato presents practical versions of the score which are based on the musical schemes of Handel's performances in 1741 and 1743. For a complete vocal score of this masterpiece by one of the all-time great composers this Novello Handel Edition is authoritative.

This collection brings together eight hugely popular hits into one handy volume. Arranged for SATB choir and Piano accompaniment it will quickly bring your choir's repertoire up-to-date.From Snow Patrol's Run (a huge hit for Leona Lewis) to Leonard Cohen's Hallelujah (also covered by Jeff Buckley Rufus Wainwright Alexandra Burke amongst others) to Sting's Fields Of Gold (Famously recorded by Eva Cassidy) Take That's Rule The World and Bob Dylan's Make You Feel My Love (also covered by Billy Joel and Adele) there is not one song in this book which has not seen enormous success and broad appeal.A classic collection of hit songswhich are both completely contemporary and enduringly popular.

Three short choral settings of peoms by George Herbert commissioned by The Spitalfields Festival in memory of Peter Lerwill a generous supporter of the festival. The first performance of the set took place in June 2005 at ChristChurch Spitalfields by The Cardinall's Musick with Andrew Carwood. The textures of Weir's settings range from the clarity of the Madrigal and Hymn to more complex writing with the choir splitting into as many as eight parts.

The Vocal Score for Tarik O'Regan's 2004 composition Threnody forms a part of the larger cantata Triptych but works beautifully as a piece in its own right. Lasting around five minutes Threnody was commissioned with funds from The RVW Trust for the Choir of London's inaugural concert in Christ Church Spitalfields on the 18th of December 2004. The work is arranged for SATB Chorus and String Orchestra and this item is the Vocal Score. Taking the lyrics from a diverse range of literary sources including William Blake's Auguries of Innocence William Penn and Psalm133 the solemn beauty of these texts is matched by the dynamism of the vocal performances in conjunction with the staccato rhythms of the orchestra. Crescendos and diminuendos give a sense of urgency and excitement to the vocals the harmonies of which are expertly composed.

An unusual setting of the Magnificat And Nunc Dimittis by Tarik O'Regan written for a double chorus with Cello or Soprano Saxophone. The works were commissioned separately by Timothy Brown for the Choir of Clare College Cambridge. The Magnificat was premièred at the 2000 Spitalfields Winter Festival while the Nunc Dimittis was composed for a BBC broadcast in 2001. The full work is a large-scale setting designed to stand as a concert work in it's own right and feature an adaptation of the Renaissance technique of alternating between chant and polyphony.Separate parts for Cello and Soprano Saxophone are available from this site using item codes NOV200310-01 andNOV200310-02 respectively.

Cantata for string orchestra and chorus.Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church Spitalfields on 18th December 2004; the work premièred as Threnody was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December 2004. Movements II and III commissioned by Portsmouth Grammar School with financial support from the PRS Foundation were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by thePortsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy’s poem of the same name written at the signing of the Armistice on 11th November 1918; a couplet from which is set in a moment of tranquillity in the final movement.Relatively new to living in New York I am much more aware of the independent vibrant cultural plurality that exists today; it’s probably the single most dazzling facet of the City and is largely responsible for the infamous ‘edginess’ that pervades daily life there. With this in mind I set to work on Threnody (movement I here) in 2004; I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City ‘edge’. The texts in English are excerpted from a variety of sources: William Penn William Blake the Psalms of David and Muhammad Rajab Al-Bayoumi an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations this movement was the first composition that evolved entirely from my New York perspective.From the moment that the commission for And There Was a Great Calm (movements II & III here) was offered I knew the piece I was

Following Three jazz carols and Three more jazz carols is a pair of further innovative jazz arrangements of carols originally created in 2012 for a service of Jazz Carols at St Martin in the Fields London by Will Todd. Todd’s iconic rich harmonies and toe-tapping rhythm serve to bring new expression to familiar Christmas material which is written for SATB voices and piano with scope for optional congregational singing. They can be performed using the supplied piano part or embellished using the supplied chord symbols. Double bass may also be used in addition to piano again following the supplied chord symbols and parts for optional jazz ensemble (brass quintet and jazztrio) accompaniment are available for download.

Henry Purcell (1659-1695) held numerous appointments at the Royal Court and Westminster Abbey and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral ecclesiastical operatic theatrical incidental and chamber music were all enriched by his output. Written in 1683 Welcome To All The Pleasure (Z339) is the first of the three Odes that Purcell wrote for St Cecilia's Day. It was commissioned by the London Music Society for their first festival and sets a poem by Christopher Fishburn. It is scored for SATB Chorus; Alto Tenor and Bass soloists; and Strings.

Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes

Now The Fields Are Laughing is a song for unaccompanied SATB chorus by Richard Drakeford.