Matériel : Octavo
Voir toutes les partitions de Curtis Mayfield
SKU: HL.292871
UPC: 888680932589. 6.75x10.5x0.019 inches.
Paul Sjolund and Fred Bock are two of the great writers from the late 20th century. Originally set for TTBB voices, Richard Nichols has revoiced it for SATB choir. The results are fabulous. A classic Thanksgiving hymn is reborn and ready for worship.
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?” THE CREATION already contains a prologue; it’s called “Representation of Chaos”, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos” was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overture”, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres” universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent” until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!”, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.” I love that phrase, and it’s in that spirit that I offer my humble “opener” to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: LP.765762151826
UPC: 765762151826. Created by Dave Clark.
In God We Still Trust is everything you have come to love and appreciate about the music of David T. Clydesdale, and this patriotic musical from Lillenas is Clydesdale at his absolute best! A running time of less than 30 minutes make it the perfect presentation piece for any Memorial Day, Fourth of July, or Veterans Day celebration. The ever-popular writer and arranger David T. Clydesdale has incorporated works from Christian songwriters, such as the Gaithers, Deborah Craig Claar, Dave Clark, and Dan Dean, along with patriotic standards such as Woody Guthrie's beloved This Land Is Your Land, new lyrics and settings for This Is My Country, America the Beautiful, My Country, 'Tis of Thee and a couple of George M. Cohan favorites. A tribute to America's armed forces involves both children's and adult choirs, and is a perfect way to recognize and thank the people, both active and veteran servicemen and women, who protect our freedom. The unforgettable and powerful Pray Me Home, from the songwriters Dan Dean, Don Koch, and Dave Clark, is the haunting cry of a soldier on active duty that will say in your heart for a long time to come. Celebrate America this year with In God We Still Trust!
SKU: AP.50151
UPC: 038081573212. English.
Immortaliz ed by Rolling Stone as one of the greatest songs of all time, this gospel-influenced Curtis Mayfield classic has remained relevant since its release in 1965. Part of a long tradition of African American freedom songs that use train imagery, Dr. Martin Luther King, Jr. considered this the unofficial anthem of the Civil Rights Movement. Kyle's groovy arrangement captures the musical style with bluesy vocals and a riff-filled piano part.
SKU: LP.765762009332
UPC: 765762009332.
SKU: LP.765762151727
UPC: 765762151727. Created by Dave Clark.
SKU: LP.765762201507
UPC: 765762201507.
SKU: LP.765762009431
UPC: 765762009431.
In God We Still Trust is everything you have come to love and appreciate about the music of David T. Clydesdale, and this new patriotic musical from Lillenas is Clydesdale at his absolute best! A running time of less than 30 minutes make it the perfect presentation piece for any Memorial Day, Fourth of July, or Veterans Day celebration. The ever-popular writer and arranger David T. Clydesdale has incorporated works from Christian songwriters, such as the Gaithers, Deborah Craig Claar, Dave Clark, and Dan Dean, along with patriotic standards such as Woody Guthrie's beloved This Land Is Your Land, new lyrics and settings for This Is My Country, America the Beautiful, My Country, 'Tis of Thee and a couple of George M. Cohan favorites. A tribute to America's armed forces involves both children's and adult choirs, and is a perfect way to recognize and thank the people, both active and veteran servicemen and women, who protect our freedom. The unforgettable and powerful Pray Me Home, from the songwriters Dan Dean, Don Koch, and Dave Clark, is the haunting cry of a soldier on active duty that will say in your heart for a long time to come. Celebrate America this year with In God We Still Trust!
SKU: GI.G-003217
A well-known, already beloved setting that encourages assembly participation. Richard Proulx (1937-2010) also adapted and arranged this celebrated heritage Mass setting, giving it new life while keeping its classic sound. The choral writing of People's Mass will prove accessible to nearly all parish choirs!
SKU: CF.CM9743
ISBN 9781491161562. UPC: 680160920211. Key: E minor. English. Iyana Davis. Negro Spiritual with Rap crafter by Ayana Davis.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revel ation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!
SKU: BR.EB-8911
ISBN 9790004185773. 7.5 x 10.5 inches.
Duration: full-length Persons: Wilhelm Tell (T) his wife (S) young Tell (S) Marie, his sister (S) Melchtal (Bar) Melchtal's son(T) Gessler (Bar) 2 men of the people, soldier (BBB) tavellor (T) tavellor's wife / tavellors' young children / Surlemann / old man / 2 officers/ 2 soldiers (speakers) choir: SSATB/SSS/ATB orchestra: 1(Picc).2.2.2. 2.3cornet.2.0.0. timp.small drum str Althoug Gretry cannot escape the shadow of Wagner and Verdi, there is a clear trend favoring a reevaluation of this composer. The opera was greeted with exceptional enthusiasm in Paris in 1791, during the French Revolution. The Swiss freedom fighter was already a well-known character there nearly 15 years before Schillers drama. A number of arias from Gretrys opera even survived the success of Rossinis work of the same name of 1829.
