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Vous avez sélectionné:
Voices With One Vision
Partitions à imprimer
51 partitions trouvées
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Fly Eagle Fly
Fly Eagle Fly
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Saxophone Alto et Piano
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DÉBUTANT
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Voices With One Vision
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Richard Nicks
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Fly Eagle Fly
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Rick Szpak
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SheetMusicPlus
Alto Saxophone,Piano - Level 1 - SKU: A0.1186632 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Richard Nick...
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Alto Saxophone,Piano - Level 1 - SKU: A0.1186632 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Richard Nicks. 20th Century,Chamber,Film/TV,Instructional,Patriotic. Score and part. 2 pages. Rick Szpak #786286. Published by Rick Szpak (A0.1186632). The Eagles' Victory Song, popularly known as Fly, Eagles Fly. is the fight song of the Philadelphia Eagles of the National Football League. Alto Sax and piano accompaniment.Â
$5.00 ≈
4.68€
I Did Not See Temple Spires - an original hymn for SATB voices
I Did Not See Temple Spires - an original hymn for SATB voices
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Kevin G
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I Did Not See Temple Spires -
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.701457 Composed by Kevin G. Pace, Kathryn W. Hales. Christian,Praise & Worship,Sacred. Octavo. 3 pages. Kevin G....
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Choral Choir (SATB) - Level 4 - SKU: A0.701457 Composed by Kevin G. Pace, Kathryn W. Hales. Christian,Praise & Worship,Sacred. Octavo. 3 pages. Kevin G. Pace #3125371. Published by Kevin G. Pace (A0.701457). An original hymn with text by Kathryn Hales below.YouTube video: https://youtu.be/w68JlvntMjcI did not see the vision, Nor dream a prophet’s dream, I only saw the barren desert Stretch forth upon the scene. I was not there when Brigham’s cane Touched the virgin ground Naming the spot the Lord had shown Where a temple would be found. I did not hear the Lord’s own voice As over ocean waves I tossed, Nor spared the death of loved ones dear As the vast plains I crossed. I only felt the Holy Spirit Telling me the work was true, So I obeyed the prophetic words Until my trek was through. I helped dig the rocky soil Before the foundation was laid Then with shovel filled the gaping hole Before Johnston’s army stayed. I did not see the temple’s spires I only saw the walls, I only shaped the granite stones With hammer, chisel, maul. I coaxed oxen through the mud To move stones down a mountain side, I watched our leaders grow old in years, No temple finished before they died. Now soon I too will join them Though I’ve labored oh so long, I’ll not see the rising spires Or sing praises in Hosanna song. I’m just a common earthly man, A laborer in a cause so great, To generations yet unborn, I’m not one you’ll appreciate. Through the years I’ve toiled and sweat, Shared blood and grief and tears, Obeyed the prophet’s call to serve Listened in faith, not fear. Please do not take for granted As you walk through these carved doors, Or hear the echo of carpenters From stairs or roof or floors The love and work that went into Many years of toil and prayer, Feel our spirits in the halls As you enter there. Though the structure’s end I’ll not see, To others who this path may trod, Go forth with diligence and faith Till we finish the work of God.
$1.99 ≈
1.86€
Oure Light in Oure Night for voices and nature soundtrack — now in Spanish/English!
Oure Light in Oure Night for voices and nature soundtrack — now in Spanish/English!
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Chorale Unison
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FACILE
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Adrienne Inglis
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Oure Light in Oure Night for v
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Adrienne Inglis
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SheetMusicPlus
Choral Choir,Choral (Unison) - Level 2 - SKU: A0.1108615 Composed by Adrienne Inglis (ASCAP). A Cappella,Christian,Classical,Instructional,Sacred. 4 pag...
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Choral Choir,Choral (Unison) - Level 2 - SKU: A0.1108615 Composed by Adrienne Inglis (ASCAP). A Cappella,Christian,Classical,Instructional,Sacred. 4 pages. Adrienne Inglis (ASCAP) #711261. Published by Adrienne Inglis (ASCAP) (A0.1108615). Perfect for a contemplative holiday occasion! Easy and satisfying for singers! Enjoy this Spanish/English bilingual to perform in one or both languages! Beautiful modal aleatoric setting of sacred text by Julian of Norwich suitable for any combination of voices accompanied by the nature soundtrack found at the YouTube link https://youtu.be/P3R2lLkAntE. A terrific introduction to aleatory, this gorgeous piece can include chimes or a pitched melodic instrument such as a flute. Text from The Shewings of Julian of Norwich, Part III LXXXIII lines 3362-3364Thus I saw and understode that our feith is oure light in our night, which light is God, our endless day. Asà vi y comprendà que nuestra fe es nuestra luz en nuestra noche, cuya luz es Dios, nuestro dÃa sin fin. Program note — Composed by Adrienne Inglis (ASCAP) while sheltering in place during the coronavirus pandemic, Oure Light in Oure Night (2020) sets text by Julian of Norwich for voices with a nature soundtrack. The video format is designed especially for use by choirs singing remotely on an online platform such as Zoom, Cleanfeed, Jamulus, or other. Text is from The Shewings of Julian of Norwich, Part I LXXXIII lines 3362-3364:  “Thus I saw and understode that our feith is oure light in our night, which light is God, our endless day.†The soundtrack of night sounds changing to dawn reflects the message of hope in Julian’s text. Beginning with the sounds of dusk, the whispered words blend with insect sounds. The modal aleatoric passages create an atmosphere of echoing bells as voices overlap. As night passes into day, the modality changes and the insect night sounds shift to the dawn chorus of birds. Born in about 1343 in Norwich, England, Julian survived the Black Plague as a girl of six. She became an anchoress at St. Julian’s Church in Norwich where she lived in prayerful seclusion. In 1373, she became very sick at age 30. When Julian was near the point of death, a curate showed her a crucifix for comfort. She then experienced a series of intense visions of Christ and recovered from her illness to write eloquently about her “shewings.†Her beautiful Medieval English words reassure us with the hope that our faith in God is our light in times of trouble. The composer donates all proceeds of this music to The Nature Conservancy at nature.org.https://www.youtube.com/@adrienneinglishttps://adrienneinglis.com/
$1.99 ≈
1.86€
Rock-a-My-Soul. - 3 part Choral with Soli
Rock-a-My-Soul. - 3 part Choral with Soli
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Chorale 3 parties
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INTERMÉDIAIRE
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Phil Beaman
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Rock-a-My-Soul. - 3 part Chora
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Phil Beaman
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SheetMusicPlus
Choral Choir (3-Part) - Level 3 - SKU: A0.844645 Composed by Phil Beaman. Folk,Jazz,Spiritual. Octavo. 13 pages. Phil Beaman #4719605. Published by Phil...
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Choral Choir (3-Part) - Level 3 - SKU: A0.844645 Composed by Phil Beaman. Folk,Jazz,Spiritual. Octavo. 13 pages. Phil Beaman #4719605. Published by Phil Beaman (A0.844645). This piece is a Showstopper! Rock-a-My-Soul is a Choral piece based on the traditional folk/gospel/spiritual. I originally envisioned this piece for a Middle School Choir, but it works well with any group that wants to have fun. It is written in 3 part Treble clef which the conductor may assign as they see fit for their choir and performance. (Part 3 works very well with male voices.) Parts all stay within an octave from Middle C to C above. This lively version uses many styles of jazz to drive this piece, yet there is also a recurring descending third ostinato which is the rocking comfort this piece imparts. The piano part plays an important role in driving this piece and setting the moods. Each of the seven sections shifts the mood and jazz style but maintains a level of energy. After completing the jazz arrangements of the traditional chorus I tried various ways to extend the piece. One day while working on this piece I saw a news clip about another school bullying incident. I immediately made the connection -- at its heart Rock-a-My-Soul is really about overcoming obstacles to find comfort and acceptance. So I wrote some additional lyrics to create an anti-bullying, anti-depression section. I have soloists deliver the main lines to make it personal and invitational then the choir backs them up, call and response style, with Everything's gonna be alright. Lyrics throughout are all carefully worded so that the song may be used for either secular or sacred purposes. The context and location where it is sung will flesh out the implied and intended meaning. If sung in school it means you have friends here who accept you; if sung in your place of worship then it means that your God accepts you.Simple power, beauty and meaning all wrapped in joyous jazz!13 page score, 4:00 minute performancerecording is various excerpts of the accompaniment to show different stylistic sections
$2.99 ≈
2.80€
A Vision Unfolding: A Five-Movement Work (Choral Score)
A Vision Unfolding: A Five-Movement Work (Choral Score)
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Chorale SATB
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Kyle Pederson
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A Vision Unfolding: A Five-Mov
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Galaxy Music Corporation - Digital
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SheetMusicPlus
SATB choir, piano, and Spoken word, with optional violin, B-flat trumpet, and snare drum - Moderately Difficult - SKU: MQ.1.3682-E Composed by Kyle Pede...
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SATB choir, piano, and Spoken word, with optional violin, B-flat trumpet, and snare drum - Moderately Difficult - SKU: MQ.1.3682-E Composed by Kyle Pederson. 9/11 Service, National Songs/Patriotic. 104 pages. Galaxy Music Corporation - Digital #1.3682-E. Published by Galaxy Music Corporation - Digital (MQ.1.3682-E). English.An exciting extended work by Kyle Pederson, centered around themes of social justice—inviting the choir and audience into a compelling vision of a world rooted in compassion, freedom, inclusivity and justice. This five-movement, genre-bending work is for SATB chorus, with piano, spoken word, and optional violin, snare drum, and trumpet. Texts by Langston Hughes, Walt Whitman, Robert Bode, Shanelle Gabriel, and Pederson invite the listener to reach out and build bridges of care and connection, that we might find a better way of being in community. That we might stand in solidarity with those whose voices are too often dismissed, regardless of their skin color, sexual orientation, faith background, or other characteristic. That we might not dismiss, disdain, and judge those whose politics are different from ours, but that we might make the uncomfortable effort to see them as people just as worthy of respect and dignity. Each of the five movements in the work can be performed as a stand-alone piece; and choirs are welcome to craft their own spoken word narration (poetry, speech excerpts, etc) throughout the work to explore themes and perspectives that most resonate for their community/audience.
$10.50 ≈
9.83€
Be My Vision
Be My Vision
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Chorale 3 parties
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INTERMÉDIAIRE
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Musique Sacrée
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David Lantz
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for my sins He will atone
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Be My Vision
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Lantz Choral Publications
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SheetMusicPlus
Choral Choir,Choral (SAB) - Level 3 - SKU: A0.1285840 Composed by David Lantz. Praise & Worship,Sacred. 9 pages. Lantz Choral Publications #876970. Publ...
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Choral Choir,Choral (SAB) - Level 3 - SKU: A0.1285840 Composed by David Lantz. Praise & Worship,Sacred. 9 pages. Lantz Choral Publications #876970. Published by Lantz Choral Publications (A0.1285840). Intended use: GeneralThemes: Undying love, forgiveness, SustainerWhile adapting some of the text from the traditional Irish hymn, this anthem uses original music and largely original text. The text speaks of the comfort that comes in being a follower and asks the Lord to be our vision by day and by night. The music reaches a dynamic peak with the words, Jesus, my Lord, is all forgiving; for my sins He will atone. Use for general worship throughout the year.Also available for SATB voices.NOTE: The recording is that of the SATB version.
$2.55 ≈
2.39€
Be Thou My Vision
Be Thou My Vision
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Cloches
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INTERMÉDIAIRE
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Noël
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Anna Laura Page
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Be Thou My Vision
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Chorister's Guild - Digital
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SheetMusicPlus
3, 4, or 5 octaves handbells - Level 3 - SKU: C7.CGB670 Composed by Anna Laura Page. Christmas. With 3 octaves handchimes, Flute. Score. 12 pages. Chori...
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3, 4, or 5 octaves handbells - Level 3 - SKU: C7.CGB670 Composed by Anna Laura Page. Christmas. With 3 octaves handchimes, Flute. Score. 12 pages. Chorister's Guild - Digital #CGB670. Published by Chorister's Guild - Digital (C7.CGB670). UPC: 749193015582.Level 2 * Peace is the theme of this meditative setting. Groups may choose to present it as a stand-alone bell piece or to enhance it with the addition of a flute and/or a solo singer or SATB voices. The inclusion of two different texts adds to the flexibility. Techniques include mallets or thumb damps and LV. With only a few bell changes, developing choirs will be able to prepare this piece with limited rehearsal time.
$4.95 ≈
4.63€
Fly Eagle Fly
Fly Eagle Fly
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Piano Facile
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DÉBUTANT
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Voices With One Vision
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Jhonata Lino
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Fly Eagle Fly
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Jhonata Lino
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SheetMusicPlus
C Instrument - Level 1 - SKU: A0.1179379 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Jhonata Lino. Contes...
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C Instrument - Level 1 - SKU: A0.1179379 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Jhonata Lino. Contest,Festival,March,Multicultural,Patriotic,Singer/Songwriter,World. Lead Sheet / Fake Book. 1 pages. Jhonata Lino #779348. Published by Jhonata Lino (A0.1179379). Sing to celebrate victory with The Eagles' Victory Song, (popularly known as Fly, Eagles Fly) is the fight song of the Philadelphia Eagles of the National Football League. The song is played following each Eagles touchdown during Eagles' home games at Lincoln Financial Field and as part of pre-game festivities before the playing of the national anthem.
$3.99 ≈
3.73€
Fly Eagle Fly
Fly Eagle Fly
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Violon, Alto (duo)
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DÉBUTANT
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Voices With One Vision
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Jhonata Lino
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Fly Eagle Fly
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Jhonata Lino
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SheetMusicPlus
Instrumental Duet,Viola,Violin - Level 1 - SKU: A0.1179358 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Jh...
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Instrumental Duet,Viola,Violin - Level 1 - SKU: A0.1179358 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Jhonata Lino. Contest,Festival,March,Patriotic,Traditional. 3 pages. Jhonata Lino #779332. Published by Jhonata Lino (A0.1179358). In this Violin and Viola duet you will get to celebrate victory with The Eagles' Victory Song, (popularly known as Fly, Eagles Fly) is the fight song of the Philadelphia Eagles of the National Football League. The song is played following each Eagles touchdown during Eagles' home games at Lincoln Financial Field and as part of pre-game festivities before the playing of the national anthem.
$4.99 ≈
4.67€
Fly Eagle Fly
Fly Eagle Fly
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Violon, Violoncelle (duo)
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DÉBUTANT
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Voices With One Vision
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Jhonata Lino
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Fly Eagle Fly
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Jhonata Lino
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SheetMusicPlus
Cello,Instrumental Duet,Violin - Level 1 - SKU: A0.1179341 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Jh...
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Cello,Instrumental Duet,Violin - Level 1 - SKU: A0.1179341 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Jhonata Lino. Contest,Festival,Instructional,March,Patriotic,Traditional. 3 pages. Jhonata Lino #779315. Published by Jhonata Lino (A0.1179341). In this Violin and Cello duet you will get to celebrate victory with The Eagles' Victory Song, (popularly known as Fly, Eagles Fly) is the fight song of the Philadelphia Eagles of the National Football League. The song is played following each Eagles touchdown during Eagles' home games at Lincoln Financial Field and as part of pre-game festivities before the playing of the national anthem.
$4.99 ≈
4.67€
Fly Eagle Fly
Fly Eagle Fly
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Violon
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DÉBUTANT
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Voices With One Vision
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Jhonata Lino
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Fly Eagle Fly
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Jhonata Lino
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SheetMusicPlus
Violin Solo - Level 1 - SKU: A0.1179365 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Jhonata Lino. Contest...
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Violin Solo - Level 1 - SKU: A0.1179365 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Jhonata Lino. Contest,Festival,March,Patriotic,Singer/Songwriter,Traditional. 1 pages. Jhonata Lino #779340. Published by Jhonata Lino (A0.1179365). In this Violin you will get to celebrate victory with The Eagles' Victory Song, (popularly known as Fly, Eagles Fly) is the fight song of the Philadelphia Eagles of the National Football League. The song is played following each Eagles touchdown during Eagles' home games at Lincoln Financial Field and as part of pre-game festivities before the playing of the national anthem.
$4.99 ≈
4.67€
Fly Eagle Fly
Fly Eagle Fly
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Trompette, Piano
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DÉBUTANT
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Voices With One Vision
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Richard Nicks
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Fly Eagle Fly
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Rick Szpak
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SheetMusicPlus
B-Flat Trumpet,Piano - Level 1 - SKU: A0.1186636 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Richard Nick...
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B-Flat Trumpet,Piano - Level 1 - SKU: A0.1186636 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Richard Nicks. 19th Century,Children,Historic,Patriotic,Traditional. Score and part. 2 pages. Rick Szpak #786290. Published by Rick Szpak (A0.1186636). The Eagles' Victory Song, popularly known as Fly, Eagles Fly. is the fight song of the Philadelphia Eagles of the National Football League.Trumpet Bb and piano accompaniment.
$4.99 ≈
4.67€
Fly Eagle Fly
Fly Eagle Fly
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Flûte traversière et Piano
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DÉBUTANT
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Voices With One Vision
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Richard Nicks
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Fly Eagle Fly
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Rick Szpak
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SheetMusicPlus
Flute,Piano - Level 1 - SKU: A0.1186634 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Richard Nicks. 20th C...
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Flute,Piano - Level 1 - SKU: A0.1186634 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Richard Nicks. 20th Century,Chamber,Contemporary,Patriotic,Traditional. Score and part. 2 pages. Rick Szpak #786288. Published by Rick Szpak (A0.1186634). The Eagles' Victory Song, popularly known as Fly, Eagles Fly. is the fight song of the Philadelphia Eagles of the National Football League.Flute and piano accompaniment.
$4.99 ≈
4.67€
Fly Eagle Fly
Fly Eagle Fly
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Violon et Piano
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DÉBUTANT
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Voices With One Vision
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Richard Nicks
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Fly Eagle Fly
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Rick Szpak
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SheetMusicPlus
Piano,Violin - Level 1 - SKU: A0.1186637 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Richard Nicks. Chamb...
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Piano,Violin - Level 1 - SKU: A0.1186637 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Richard Nicks. Chamber,Children,Instructional,Patriotic,Traditional. 2 pages. Rick Szpak #786291. Published by Rick Szpak (A0.1186637). The Eagles' Victory Song, popularly known as Fly, Eagles Fly. is the fight song of the Philadelphia Eagles of the National Football League.Violin and piano accompaniment.
$4.99 ≈
4.67€
Fly Eagle Fly
Fly Eagle Fly
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Piano Facile
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DÉBUTANT
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Voices With One Vision
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Richard Nicks
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Fly Eagle Fly
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Rick Szpak
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SheetMusicPlus
Piano - Level 1 - SKU: A0.1186640 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Richard Nicks. Children,Cou...
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Piano - Level 1 - SKU: A0.1186640 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Richard Nicks. Children,Country,Film/TV,Patriotic,Traditional. Score (Chords/Lyrics). 1 pages. Rick Szpak #786294. Published by Rick Szpak (A0.1186640). The Eagles' Victory Song, popularly known as Fly, Eagles Fly. is the fight song of the Philadelphia Eagles of the National Football League.Voice, Piano and Chords.
$1.99 ≈
1.86€
Fly Eagle Fly
Fly Eagle Fly
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Ligne De Mélodie, (Paroles) et Accords
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DÉBUTANT
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Voices With One Vision
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Richard Nicks
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Fly Eagle Fly
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Rick Szpak
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SheetMusicPlus
C Instrument - Level 1 - SKU: A0.1186642 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Richard Nicks. Chamb...
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C Instrument - Level 1 - SKU: A0.1186642 By Voices With One Vision. By Billy Smiley, Gordon Kennedy, and Mark Gersmehl. Arranged by Richard Nicks. Chamber,Children,Country,Patriotic,Traditional. Lead Sheet / Fake Book. 1 pages. Rick Szpak #786298. Published by Rick Szpak (A0.1186642). The Eagles' Victory Song, popularly known as Fly, Eagles Fly. is the fight song of the Philadelphia Eagles of the National Football League.Voice and Piano.
$3.99 ≈
3.73€
Gospel Songs: Come and Go with Me to That Land (Downloadable Piano/Choral Score)
Gospel Songs: Come and Go with Me to That Land (Downloadable Piano/Choral Score)
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Chorale SATB
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FACILE
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Gwyneth W
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Gospel Songs: Come and Go with
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
SATB choir, piano - Moderately Easy - SKU: MQ.8154-E Composed by Gwyneth W. Walker. 16 pages. E. C. Schirmer Music Company - Digital #8154-E. Published ...
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SATB choir, piano - Moderately Easy - SKU: MQ.8154-E Composed by Gwyneth W. Walker. 16 pages. E. C. Schirmer Music Company - Digital #8154-E. Published by E. C. Schirmer Music Company - Digital (MQ.8154-E). English.This new arrangement focuses on several, specific aspects of the lyrics, and of the journey. Envisioning that one is walking to that land, the piano introduction, in a swing rhythm, is marked At a strolling tempo. When the chorus enters, there is a bounce to their step, with the staccato dots coming each time on the word with- Come and go with me to that land...This is a jaunty expedition. One sees one's parents waiting in that land. Loving friends are there as well. A bit of scat singing and finger snapping adds to the energy.A slower middle section, in blues style, affirms that They'll be no slavery in that land. Shackles are thrown to the ground, and freedom breaks forth. This leads to a quick and energetic return to the gospel song, with a final refrain of They'll be singing in that land, voices ringing in that land!This is very American music, in a gospel, blues, and folk style.
$2.85 ≈
2.67€
Gospel Songs: Come and Go with Me to That Land (Downloadable Piano/Choral Score)
Gospel Songs: Come and Go with Me to That Land (Downloadable Piano/Choral Score)
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Chorale 3 parties
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FACILE
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Gwyneth W
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Gospel Songs: Come and Go with
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
SSA choir, Piano - Moderately Easy - SKU: MQ.8224-E Composed by Gwyneth W. Walker. 15 pages. E. C. Schirmer Music Company - Digital #8224-E. Published b...
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SSA choir, Piano - Moderately Easy - SKU: MQ.8224-E Composed by Gwyneth W. Walker. 15 pages. E. C. Schirmer Music Company - Digital #8224-E. Published by E. C. Schirmer Music Company - Digital (MQ.8224-E). English.This new arrangement focuses on several, specific aspects of the lyrics, and of the journey. Envisioning that one is walking to that land, the piano introduction, in a swing rhythm, is marked At a strolling tempo. When the chorus enters, there is a bounce to their step, with the staccato dots coming each time on the word with- Come and go with me to that land...This is a jaunty expedition. One sees one's parents waiting in that land. Loving friends are there as well. A bit of scat singing and finger snapping adds to the energy.A slower middle section, in blues style, affirms that They'll be no slavery in that land. Shackles are thrown to the ground, and freedom breaks forth. This leads to a quick and energetic return to the gospel song, with a final refrain of They'll be singing in that land, voices ringing in that land!This is very American music, in a gospel, blues, and folk style.
$2.80 ≈
2.62€
Gloria in excelsis Deo for Trombone or Low Brass Sedectet (16)
Gloria in excelsis Deo for Trombone or Low Brass Sedectet (16)
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Renaissance
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Eric Burger Music
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Gloria in excelsis Deo for Tro
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Eric Burger Music
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SheetMusicPlus
Brass Ensemble Euphonium,Trombone,Tuba - Level 3 - SKU: A0.508206 Arranged by Eric Burger Music. Renaissance. Score and parts. 43 pages. Eric Burger Mus...
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Brass Ensemble Euphonium,Trombone,Tuba - Level 3 - SKU: A0.508206 Arranged by Eric Burger Music. Renaissance. Score and parts. 43 pages. Eric Burger Music #3514919. Published by Eric Burger Music (A0.508206). From Concerti (published in Venice 1587) This beautiful work is over 4 minutes of low brass choir splendor! Voices in 4 quartets, you can envision how Andrea Gabrieli created a new reality in music with over-laping harmonies, dramatic cadences and beautiful lines. View the score with playback at:https://youtu.be/w-BKrWdCndo This quality work is published by Eric Burger Music: www.EricBurgerMusic.com Each of these Trombone and Low Brass Ensemble works is arranged and transcribed with the intent of provide the musician with an opportunity to play works from notable composers otherwise not available to them, using the construct and voicings the compose intended. Please review the video for questions on range and difficulty, or go to my website and download the spreadsheet with ranges, keys, tempos and other important information. If you need parts modified to different clefs or keys, please write me direct at: EricBurgerMusic@gmail.com Custom work also available. If you are unhappy with any of my works, write me directly for a replacement.
$17.00 ≈
15.91€
Reveille, for instruments in six parts - Score and Parts
Reveille, for instruments in six parts - Score and Parts
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Paul Burnell
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Reveille, for instruments in s
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Paul Burnell
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SheetMusicPlus
Level 4 - SKU: A0.1426124 Composed by Paul Burnell. 21st Century,Classical,Contemporary. 41 pages. Paul Burnell #1006920. Published by Paul Burnell (A0....
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Level 4 - SKU: A0.1426124 Composed by Paul Burnell. 21st Century,Classical,Contemporary. 41 pages. Paul Burnell #1006920. Published by Paul Burnell (A0.1426124). Reveille by Paul Burnell.Composed 2002, with minor revisions to the score in 2023.For instruments in six parts, reading treble clef.Optional: percussion (2 low drums, agogo bells, marimba or piano), six voices, drone on EDuration 7:00 approx.Score in CThe instrumental parts may be played with multiple performers on each part 1-6. Octave transpositions are allowed optionally at any point, in addition to those bars marked with ‘opt. 8’. If there are multiple performers on each part then have solo performers from rehearsal letter E to the end. The technique instructions in brackets (pizz., arco, con sord.) are not meant to indicate specific instruments, they are applicable only to those appropriate instruments who may be performing.Optional - Percussion instruments. Two low drums, agogo bells, marimba or piano.Optional - Voices. In the opening section, each voice in turn speaks the name of the subsequent instrumental performer at the beginning of the indicated bar (or any person if there are multiple players within the part). The subsequent rhythms are a guide and can be interpreted freely.The voices may characterise their delivery so that each person is distinguished from the other. For example - angry, loving, curious, frightened, strict, cynical.Optional - Drone on low E. The drone may be played on any instruments, taking breath or rests as necessary. The drone ends in the bar before rehearsal letter E. The drone may be doubled one or two octaves higher and/or an octave lower than written. If multiple instruments are playing the drone, the players may fade in and out of the drone texture ad lib.Any of the following also optional: Voices enter, three with folded bed sheets who unfold and shake them open; others recite list of night birds. Hang sheets to make a screen. Instrumentalists enter. Bird flying silhouettes or bird hand-shapes projected. Intermittent recorded sounds of flapping wings. At end voices fold sheets, exit with instrumentalists, flapping wings sound fades. Other instruments sustain low e from beginning to letter E.Bird names: barn owl, stone curlew, nightjar, long-eared owl, whip-poor-will, Japanese night heron, tawny owl, northern mockingbird, hermit thrush, black crowned night heron, great horned owl, shearwater, woodcock, common nighthawk, chuck-will’s-widow, Jerdon’s courser, corncrake.
$3.99 ≈
3.73€
Sedge Fen (3 Oboes Drifting), for instruments in three parts with optional drone - Score and Parts
Sedge Fen (3 Oboes Drifting), for instruments in three parts with optional drone - Score and Parts
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Paul Burnell
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Sedge Fen
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Paul Burnell
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SheetMusicPlus
Oboe/English Horn - Level 3 - SKU: A0.1423105 Composed by Paul Burnell. 21st Century,Classical,Contemporary. 20 pages. Paul Burnell #1004437. Published ...
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Oboe/English Horn - Level 3 - SKU: A0.1423105 Composed by Paul Burnell. 21st Century,Classical,Contemporary. 20 pages. Paul Burnell #1004437. Published by Paul Burnell (A0.1423105). Sedge Fen (3 Oboes Drifting) by Paul Burnell.Composed 2009 with minor revisions to the score in 2023. For instruments in three parts with optional drone.Duration 4:40 approx. When performed by three oboes only this piece is called ‘3 Oboes Drifting’ and begins at bar 2. When performed by a different or larger ensemble it is called ‘Sedge Fen’. Optional: when reading from the score, parts 1, 2 and 3 may change to different parts where indicated [ 1 ], [ 2], [ 3]. If performed this way players will need to read from the score. The part 4 drone on low G is optional and may be played an octave higher or lower. Part 4 reads from the score or is cued by the conductor. If played by a large ensemble some instruments may alternate between parts 3 and 4. Part 3 may be played an octave lower. If necessary reduce the number of players on part 3 at bar 58 to achieve a pianissimo dynamic. If voices are part of the ensemble, female voices may sing part 3 to ‘oo’ and male voices may sing part 4 with an open-lipped hum ‘nn’ or ‘uu’. Programme note ‘Sedge Fen (3 Oboes Drifting)’ is a companion piece to ‘Tricorder (3 Oboes Dancing)’ both of which can be performed by three oboes or by different or larger ensembles. Sedges are flowering plants that superficially resemble grasses or rushes. Members of the sedge family have triangular stems (with occasional exceptions), and their leaves are spirally arranged in three ranks. A fen is a type of wetland fed by surface and/or groundwater.Sedge Fen is a small village in Suffolk, a few miles from Lakenheath, close to the Cambridgeshire and Norfolk borders in England.
$2.99 ≈
2.80€
An Air of Expectancy, for piano(s) and/or other instruments/voices - Score Only
An Air of Expectancy, for piano(s) and/or other instruments/voices - Score Only
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Paul Burnell
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An Air of Expectancy, for pian
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Paul Burnell
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SheetMusicPlus
Level 2 - SKU: A0.1423141 Composed by Paul Burnell. 21st Century,Classical,Contemporary. 4 pages. Paul Burnell #1004475. Published by Paul Burnell (A0.1...
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Level 2 - SKU: A0.1423141 Composed by Paul Burnell. 21st Century,Classical,Contemporary. 4 pages. Paul Burnell #1004475. Published by Paul Burnell (A0.1423141). An Air of Expectancy, by Paul Burnell. Composed 2018 with minor revisions in 2023.For piano(s) and/or other instruments/voices.Duration if performed to the final bar: 4:45 approx.Each of the pause bars should have a duration of between five and ten seconds. The piece may end at any of the points marked with an asterisk (*)The performers may all finish at the same marked point together, or may each finish at a different point.Performers can choose to omit notes (several in sequence if desired) or make short breaks in the sound ad lib.Voices may perform by humming and may choose to perform a relatively small number of notes.Those players that have instruments without a pedal sustain function may adapt their playing style to reflect in some way the pedal indications.Optional - parts or all of the following text may be whispered or softly spoken at any point during the piece:- the silent snow- A crow floats past on level wings - White earth, and ruins- the snowy ground(Excerpts from `Winter-Lull` by D.H. Lawrence, 1885-1930)Programme note:The initial material used for the composition of this piece was a short selection from the DNA letter sequence that represents the human genome. The letters were transcribed into pitch note names, split into two separate overlapping sequences with a higher and lower range, then transposed and further modified to produce longer and shorter notes and rests.Performers can finish the piece at one of several marked places, which means that the duration of the piece will vary between forty seconds and five minutes.
$1.99 ≈
1.86€
Higher Ground ("I'm pressing on the upward way") — brass quintet
Higher Ground ("I'm pressing on the upward way") — brass quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Musique Sacrée
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Charles H
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Todd Marchand
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Higher Ground
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Con Spirito Music
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1172085 Composed by Charles H. Gabriel. Arranged by Todd Marchand. 19th Century,Christian,S...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1172085 Composed by Charles H. Gabriel. Arranged by Todd Marchand. 19th Century,Christian,Sacred,Traditional. 16 pages. Con Spirito Music #772348. Published by Con Spirito Music (A0.1172085). Higher Ground (I'm pressing on the upward way) is a 19th-century American gospel song with lyrics by Johnson Oatman, Jr. (1856-1922) and music by Charles Hutchinson Gabriel (1856-1932).Both Oatman and Gabriel were prolific writers. Oatman, an ordained Methodist Episcopal minister employed primarily in retail and insurance work, is said to have written over 5,000 hymns and songs in the latter 30-some years of his life.  Although not a talented singer nor recognized as an outstanding preacher, he was acknowledged to have ministered to countless souls through the words of his hymns and songs.Gabriel, a Methodist Episcopal church music director and editor of gospel song books, anthem collections, music instruction manuals, and more, is said to have written between seven and eight thousand texts and/or tunes under his own name and several pseudonyms. In addition to the music for Higher Ground, he composed the music for such well-known gospel songs as His Eye is on the Sparrow and Will the Circle Be Unbroken? The opening line of Oatman’s text (I'm pressing on the upward way) draws especially from Philippians 3:13-14: “Forgetting what lies behind and straining forward to what lies ahead, I press on toward the goal for the prize of the upward call of God in Christ Jesus.†Other sources include passages from the prophets Isaiah and Micah and the Psalms of Ascent (120-134). Gabriel's music cleverly evokes the upward vision of the text with an ascending arpeggio spanning an octave on the first words of the refrain (Lord, lift me up) and the matching of the highest notes of the tune to the words a higher plane.This arrangement for brass quintet expands the meter of the tune from 3/4 to 4/4 to allow for some countermelodic call-and-response by various voices in the ensemble. Every member will enjoy a lyrical part to play in this arrangement, which is fitting as a prelude, offertory, or special musical selection in worship, and ideal as a lyrical selection on recitals. ©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$15.00 ≈
14.04€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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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 - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - 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)
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What do they matter? (for medium-high voice and harp)
What do they matter? (for medium-high voice and harp)
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Contemporain
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Nicole Elyse DiPaolo
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What do they matter?
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Nicole Elyse DiPaolo
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SheetMusicPlus
Small Ensemble Harp,Voice - Level 5 - SKU: A0.799604 Composed by Nicole Elyse DiPaolo. 20th Century,Contemporary. Score and parts. 4 pages. Nicole Elyse...
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Small Ensemble Harp,Voice - Level 5 - SKU: A0.799604 Composed by Nicole Elyse DiPaolo. 20th Century,Contemporary. Score and parts. 4 pages. Nicole Elyse DiPaolo #3417119. Published by Nicole Elyse DiPaolo (A0.799604). This short song was composed in 2012 during my doctoral coursework at Indiana University's Jacobs School of Music. It was written for tenor, but given its accessible range (Db4 to G5 in the original key), it would work well for lighter voices in many fachs, including light lyric sopranos, baritones, and mezzos. The text, translated from a poem by Takuboku Ishikawa (1886-1912), is gender-neutral. This would be a great introduction to new music for an undergraduate singer with strong aural skills and a still-light voice (since young dramatics might overpower the harp).If you'd like to talk about commissioning a transposed score, please get in touch! Transposition options will be a bit more limited with the harp than with the piano, but I'm sure we could make something work.Poem text (in English translation, as it appears in the score)Setting sun, Drifting clouds, New moon, Evening twilight, What do they matter to me?Composer biography:Nicole Elyse DiPaolo is a versatile composer, teacher, collaborative pianist, and music theorist currently based in Bloomington, Indiana. Currently a PhD candidate in music theory at Indiana University, she recently completed a doctoral minor in composition, having studied with Claude Baker, Don Freund, P. Q. Phan, and David Schneider. She also holds a B.Mus. from the University of Michigan, where she studied composition with Bright Sheng and piano with Louis Nagel. Nicole's music has been heard across the world: along with numerous performances in the Midwest, her commissioned song settings of Muscogee poet laureate Alexander Posey's texts have been performed at Shorter College (GA) and Lincoln University (PA), and the Smithsonian Institution procured copies of two of these (Nature's Blessings and A Vision) to archive at the National Museum of the American Indian. Additionally, Nicole's viola duo Three Episodes was featured at Ball State University's 40th Annual New Music Festival in February 2010. Her early compositions have been garnering interest as well: music students in Kenya performed several of Nicole's such pieces in May 2013 through a pedagogical project spearheaded by IU faculty member Kimberly Carballo. Nicole's music also received its Mexican premiere in October 2013 with a performance of her Divertimento, written for the International String Quartet of Yucatán. In 2014, Nicole published a set of twenty short pedagogical pieces in uncommon keys, entitled Venturing Beyond, available on SheetMusicPlus. Also a sought-after teacher and adjudicator, Nicole frequently judges regional and divisional MTNA composition competitions at all levels, ranging from elementary to college-level Young Artists, and she also served as the composition department chair at Blue Lake Fine Arts Camp in 2014. For more on Nicole DiPaolo and her varied musical pursuits, visit her website at http://ndipaolo.musicaneo.com !
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Voices With One Vision
