Matériel : Partition
/ Bugle Et Piano / Partition
SKU: HL.35032570
ISBN 9781540041913. UPC: 888680901738. 5.0x5.0x0.15 inches.
Burt Bacharach and Rudy Perez wrote this anthem dedicated to the survivors, victims and families affected by school violence. It's powerful in both lyric and melody and will certainly move your singers, audience and community when performed. We can't live like this forever, gotta have a change of heart. We can live in peace together. Why is it always a fight? If we just respect each other, though we don't see eye to eye, if we do that, love will finally start..
SKU: HL.224342
ISBN 9781495090172. UPC: 888680671600. 9.0x12.0x0.024 inches. Old Dominion.
This sheet music features an arrangement for piano and voice with guitar chord frames, with the melody presented in the right hand of the piano part as well as in the vocal line.
SKU: HL.329538
UPC: 840126906035. 5.0x5.0x0.15 inches.
The Latin, Jazz style with a killer horn line and lots of percussion are faithfully captured in the great song by Stevie Wonder. From one of the most important albums in the history of pop music--Songs In The Key of Life--this final song of the double album is a perfect closer for any concert.
SKU: GI.G-CD-632
UPC: 785147063223.
From the first glorious note, Liam Lawton's Another World draws you in and whisks you away to a place of peace and contentment. Haunting melodies and hypnotic rhythms reach into the heart to unveil the ethereal nature of the soul. The plaintive timbres of crystal clear voices tell inspired tales of love, friendship, and hope. Each song is a story not to be forgotten, but carried on the wind to another time and another place. This recording of music in the Celtic tradition beckons you to take the journey to Another World. Â .
SKU: GI.G-CD-648
High voltage electricity - unplugged! Tony Alonso and Michael Mahler cross currents on their exciting new recording Songs from Another Room. The range and versatility between these two young GIA artists surges with a palpable energy that only this kind of chemistry creates. Armed with only acoustic instruments, Alonso and Mahler deliver electric performances on songs like My Savior, Your Son, and Te Ensalzaré. The beautifully crafted lyrics of My Love Will Be Waiting for You tells the compelling story of the prodigal son while the emotional musical setting of And Jesus Said paints Shirley Erena Murray's gorgeous text in passionate colors of consolation. The pinnacle of this recording is surely Were I the Perfect Child of God. John Bell's provocative poetry is perfectly fused with an exquisite tune from an old Scottish love song. Songs from Another Room is a must have. It's acoustic music with a positive charge!
SKU: KN.63022
UPC: 822795630220.
This swing original for beginning groups based on the chord changes to There Will Never Be Another You by Warren and Gordon. Brass ranges are very accessible with trumpet up to F5 and F4 for trombone. Rhythm section parts provide the drummer with a great concept of what to play, and notated piano voicings and bass lines are provided. The solo section is written out with solo sheets provided in all keys along with scales to assist students in improvisation. Featuring Kendor Konvertible scoring for 9-17 players, each set includes a guitar chord chart by Jim Greeson and optional flute, clarinet, horn in f, tuba and vibes parts. Duration 3:45.
SKU: KN.63022S
SKU: BR.EB-9387
ISBN 9790004188576. 0 x 0 inches.
Commissione d by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)World premiere: Paris, Cite de la musique, January 14, 2020.
