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Vous avez sélectionné:
Long As I Can See The Light
Partitions à imprimer
18 partitions trouvées
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1
Long As I Can See The Light
Long As I Can See The Light
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Rock
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Creedence Clearwater Revival
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Jeff Perholtz
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Long As I Can See The Light
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Fab Forward Entertainment
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SheetMusicPlus
Small Ensemble Alto Saxophone,Tenor Saxophone,Trombone,Trumpet - SKU: A0.930109 By Creedence Clearwater Revival. By John Fogerty. Arranged by Jeff Perho...
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Small Ensemble Alto Saxophone,Tenor Saxophone,Trombone,Trumpet - SKU: A0.930109 By Creedence Clearwater Revival. By John Fogerty. Arranged by Jeff Perholtz. Rock. Score and parts. 8 pages. Fab Forward Entertainment #5197993. Published by Fab Forward Entertainment (A0.930109). This arrangement of Creedence Clearwater Revival's classic Long as I Can See the Light is great for rock bands that want to perform with a 3 piece horn section. Note that the sax part has been transcribed for either Alto or Tenor. This arrangement should be used to accompany a band performing the song as it was originally recorded. Included is a no fade out ending on an E7 chord. Audio sample starts at measure 13.
$12.99 ≈
11.60€
A Place at the Table
A Place at the Table
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A Place at the Table
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Hope Publishing - Digital
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SheetMusicPlus
(Choral) - SKU: H1.8606DP Author Collections. Hymntune, General Worship. Hymn Collection. 163 pages. Hope Publishing - Digital #8606DP. Published by Hop...
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(Choral) - SKU: H1.8606DP Author Collections. Hymntune, General Worship. Hymn Collection. 163 pages. Hope Publishing - Digital #8606DP. Published by Hope Publishing - Digital (H1.8606DP). Shirley Erena Murray.While not much concerned about posterity, I offer this collection for the here and now, as a kind of spiritual autobiography of the years since writing 'Touch the Earth Lightly' (Hope, 2009). The themes will tell you that I have not ceased to centre on peace, partnered with justice, as these related to our own faith journey. But now that I find my life further away from the church and closer to what Jesus is actually pointing to, new elements come into play. Here is one: I have used the words of the hymn 'A Place at the Table' as title for this book, because there are still Christian people not welcome, either at the communion table or at the common table of society. . . . Creating justice and joy means walking into the territory of basic human rights, as Jesus did. It means being aware of our own fragility as well as our planet's, and using technology wisely. . . . Because I live in a highly secular society in Aotearoa/New Zealand, I am conscious of how the stereotypes of Christianity can be cynically dismissed. I long to say that there is so much to understand and embrace in the wisdom, spiritual treasury and survival skills that Jesus has given the world. It is also an interfaith and interactive world I live in, so some of these texts reflect my hope for the 'care and connection making us kin' that seems imperative for our human survival. . . . These hymns - be they attempting the pastoral, the prophetic or the impossible - are my present way to express this for myself, and hopefully, for you. - Shirley Erena Murray
$14.95 ≈
13.36€
Paul Wehage: To You for baritone, tenor saxophone and piano
Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,St...
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95 ≈
26.76€
Gregory Sullivan Isaacs: The Death of Pyramus for bass buffo or baritone voice and piano
Gregory Sullivan Isaacs: The Death of Pyramus for bass buffo or baritone voice and piano
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: The D
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble - Level 4 - SKU: A0.534549 Composed by Gregory Sullivan Isaacs. Concert,Contemporary,Standards. Score and parts. 10 pages. Musik Fabrik M...
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Small Ensemble - Level 4 - SKU: A0.534549 Composed by Gregory Sullivan Isaacs. Concert,Contemporary,Standards. Score and parts. 10 pages. Musik Fabrik Music Publishing #3627069. Published by Musik Fabrik Music Publishing (A0.534549). Text by William Shakespeare (A Midsummer Night's Dream Act V, Scene I)The ultimate overblown death scene for an actor of limited abilitiesIn the play, Nick Bottom thinks that he is the greatest actor alive. However, he is appallingly dreadful - he shamelessly overplays every line, mugs incessantly and makes word errors. He thinks that he is fabulous when, in fact, he is ridiculous. His suicide scene is one of the great moments for comic actors and it can take as long as the actor wishes - even up to 5 minutes. This aria is set in the same manner and many buffo singers immediately come to mind as models for such satire. This selection cannot be overplayed. It can be sung by any male voiceTEXT: Sweet Moon, I thank thee for thy sunny beams.I thank thee, Moon, for shining now so bright.For by thy gracious, golden, glittering gleams,I trust to take of truest Thisbe sight.—But stay, O spite!But mark, poor knight,What dreadful dole is here!Eyes, do you see?How can it be?O dainty duck! O dear!Thy mantle good,What, stained with blood?Approach, ye Furies fell!O Fates, come, come,Cut thread and thrum.Quail, crush, conclude, and quell!O wherefore, Nature, didst thou lions frame?Since lion vile hath here deflowered my dear,Which is—no, no—which was the fairest dameThat lived, that loved, that liked, that looked with cheer.Come, tears, confound!Out, sword, and wound!The pap of Pyramus— Ay, that left papWhere heart doth hop. (stabs himself)Thus die I, thus, thus, thus.Now am I dead.Now am I fled.My soul is in the sky.Tongue, lose thy light.Moon, take thy flight.Now die, die, die, die, die.(dies)
$11.95 ≈
10.68€
A Whitman Triptych: II. What Is the Grass? (Downloadable)
A Whitman Triptych: II. What Is the Grass? (Downloadable)
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David Conte
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A Whitman Triptych: II. What I
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Tenor voice solo, SATB choir unaccompanied - Moderately Difficult - SKU: MQ.8322-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, ...
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Tenor voice solo, SATB choir unaccompanied - Moderately Difficult - SKU: MQ.8322-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 15 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8322-E. Published by E. C. Schirmer Music Company - Digital (MQ.8322-E). UPC: 600313483226. English. The three a cappella choral pieces that comprise “A Whitman Triptych†were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass†was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed†as the basis for my composition “Invocation and Dance.†I went on to set “Good-Bye, My Fancy†for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road†for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. “What is the Grass?†is also an adaptation of a much longer poem, one of Whitman’s deepest, and most mysterious. The poem begins as a child-like meditation on grass; as hope, as an embodiment of new life and new growth in the plant world. Then suddenly there is a somber turn with the line “And now it seems to me the beautiful uncut hair of graves.†Here Whitman enters an extended mediation on how grass connects life and death, informed by his experiences in the Civil War. Hope returns with the line: “They are alive and well somewhere,†leading to the mysterious final line: “And to die is different from what anyone supposed, and luckier…†Here Whitman affirms that death can be an initiation into a broader participation of existence. In the words of poet Ivan M. Granger, Whitman offers a “Zen-like riddle that doesn’t offer an answer so much as a pathway of questioning.†My musical setting follows Whitman’s exploration, first taking a child’s point of view, expressed with lilting melodies set in a lively compound meter. The entry of the tenor soloist indicates a change of mood to the serious. The first mood returns, leading to a climax on the words “And led forward life…â€, set in 9-part harmony. The mood turns reverent, as the tenor soloist intones: “All goes onward and outward; nothing collapses.†The piece ends with a tone of gentle, slightly ironic questioning. -David ConteDuration: 5:42
$2.85 ≈
2.55€
Break Forth, O Beauteous, Heavenly Light
Break Forth, O Beauteous, Heavenly Light
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Classique
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Johann Sebastian Bach
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Luis Anjos Teixeira
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Break Forth, O Beauteous, Heav
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Luis Anjos Teixeira
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SheetMusicPlus
Small Ensemble B-Flat Clarinet,Bass Clarinet - Level 1 - SKU: A0.889423 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Chri...
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Small Ensemble B-Flat Clarinet,Bass Clarinet - Level 1 - SKU: A0.889423 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Christmas,Concert,Instructional. Score and parts. 8 pages. Luis Anjos Teixeira #3692949. Published by Luis Anjos Teixeira (A0.889423). The clarinet quartet arrangement of Break Forth, O Beauteous, Heavenly Light, was made for the 2018 Holiday Contest Entry. Martin Luther developed the Lutheran chorale, a religious hymn sung in four-part harmony by the congregation as part of the service. Break Forth, O Beauteous, Heavenly Light was written by Johann Rist and Johann Schop in the mid-17th century, so that by 1734, when Bach included it in his Christmas Oratorio, it was well known to congregations. The harmonization, however, is Bach ‘s own. The arrangement remains faithful to the original facsimile of Bach. It is transposed for a modern clarinet quartet. Variations in loudness and the duration of musical notes are the basic elements to musical expression. A few interpretation symbols where added to shorten some of the notes. Breathing between music phrases is notated. and the final was stretched with one more bar for a ralentando effect. This details are only suggestions for an interpretation. The piece is appropriate for beginner students or amateurs and without any doubt very pleasant to listen when played by an experienced ensemble. It can be used in concerts and all sorts of spiritual or religious events. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! I wish you a Merry Christmas! „Brich an, o schönes Morgenlicht „Brich an, o schönes Morgenlicht, und lass den Himmel tagen! Du Hirtenvolk, erschrecke nicht, weil dir die Engel sagen: Dass dieses schwache Knäbelein soll unser Trost und Freude sein, Dazu den Satan zwingen und letzlich Frieden bringen. Words: Johann Rist (1607-1677), 1641; Verse 1 translated from German to English by John Troutbeck, circa 1885, et. al. Verse 2 translated by Arthur Tozer Russell, 1806-1874. Music: Ermuntre Dich or Schop, Johann Schop (1590-1667), 1641; Harmony by Johann Sebastian Bach, 1734. 1. Break forth, O beauteous heavenly light, And usher in the morning; O shepherds, shrink not with afright, But hear the angel's warning. This Child, now weak in infancy, Our confidence and joy shall be, The power of Satan breaking, Our peace eternal making. All blessing, thanks and praise to thee, Lord Jesus Christ, be given; Thou hast our brother deigned to be, Our foes in sunder riven. O grant us through our day of grace With constant praise to seek Thy face; Grant us ere long in glory With praises to adore thee. Thanks to Claudia Eppelt for the wonderful illustration, the cover design, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi, Carlinhos, Pontinha, Maria Joaninha, Schwarzenegger, Koboldinha. For all Living beings on Earth, for my Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$9.95 ≈
8.89€
Sonata for Piano Quintet
Sonata for Piano Quintet
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James Albert Yeager
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Sonata for Piano Quintet
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James A. Yeager
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SheetMusicPlus
Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 9...
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Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 99 pages. James A. Yeager #1075356. Published by James A. Yeager (A0.1499301). Foreword:Each movement revisits classic paradigms—sonata form (I), ternary song form (II), and sonata rondo (III). The three movements of this piano quintet share a common element contained in the seed of a motivic idea—the interplay between the minor and the major 3rd : a tonal ambiguity or conflict of the minor 2nd. Stylistically, this Sonata pays modest homage to neo-classicism of 20th Century composers such as Poulenc (I), Prokofiev, Shostakovich (III), and perhaps even a touch of Gershwin (II). I hope this piano quintet will offer players and their audience chamber music that is a bit unusual yet worthwhile. The Sonata embraces the lightheartedness, the melancholy , and the whimsy of nostalgia. There is no separate piano part.Performance Notes:I Moderately fast, expresses dialogues of themes that move between piano and strings. The playfulness of the exposition (repeat is not optional) can give way to a more passionate building of the development to the climax at letter H. In the recapitulation the longer bridge remains steadily in tempo (no accelerando) relaxing just before letter N and theme two. The coda after letter O is a somber premonition of movement two.II Slowly, the bowings are ad libitum. The viola is chantlike and smooth. Violins glissando like the portamento of the Chinese stringed instruments, the Guqin or the Ehru type glissando leading to a very pure quiet long tones without any vibrato and the resulting fourth should be a pure tuning. The piano can use una corda ad libitum in softer passages, and the pedal (damper) ad libitum. In the B section (Letter D) pianist should treat the 64th notes like an ornament (upper mordent). Strings play the eighths after Letter G accents with strong bow changes. At the end, the piano lingers until the sound vanishes after the strings die away.III Introduction: Quick and spirited, the transition (Introduction) is measured and strict without alteration leading to letter A. The rondo theme, ‘A’ section, can slightly intensify in each successive repetition, but not slavishly. The small waltz or ‘B’ section, Letter C, the quartet might play to resemble a reed organ or harmonium—sweet, sonorous, and harmonious. The ‘C’ section, Letter G, big swell on short bridge passage, then pizz. strings become very rustic and like a peasant dance. Pianist can use una corda ad libitum in soft passages. Violins again after Letter I play similarly to non-vibrato of 2nd movement. The ‘B’ section at Letter L is now the grand waltz slightly faster and more indulgent with tiny rubatos tastefully allowed.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985). He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano (2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.
$40.00 ≈
35.73€
Mysterious Moment for oboe and string trio
Mysterious Moment for oboe and string trio
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Contemporain
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David Warin Solomons
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Mysterious Moment for oboe and
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David Warin Solomons
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SheetMusicPlus
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages....
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00 ≈
7.15€
Ah, scostati!...Smanie implacabili (Dorabella) from Così fan tutte - Accessible Accompaniments Ed.
Ah, scostati!...Smanie implacabili (Dorabella) from Così fan tutte - Accessible Accompaniments Ed.
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Classique
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Classique
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Wolfgang Amadeus Mozart
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Nicole Elyse DiPaolo
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Ah, scostati!...Smanie implaca
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Nicole Elyse DiPaolo
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SheetMusicPlus
Mezzo-Soprano Voice,Vocal Solo - Level 5 - SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 10 pa...
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Mezzo-Soprano Voice,Vocal Solo - Level 5 - SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 10 pages. Nicole Elyse DiPaolo #785660. Published by Nicole Elyse DiPaolo (A0.1186002). The first of its kind, this is a much more readable and sight-playable piano/vocal reduction of Ah, scostati!...Smanie implacabili,†Dorabella’s first aria from Mozart’s Così fan tutte (1790). The sextuplets in the right hand found in most standard reductions have been condensed into triplets with a grace note, emphasizing that the gestural shape is what needs to be heard rather than every individual note, and the result is a much clearer and less note-filled score for the audition pianist. Some large spans in the left hand have also been reduced out and redistributed for more ergonomic playing on long audition days. When a grace note has an accidental that is then repeated later in the gesture, I’ve rewritten that accidental on the full-size note containing it for ease of reading (so the cue-size accidental is not the only indication of said accidental in the measure, which would make it too easy to miss). The recitative “Ah, scostati!†is also included with slight alterations and courtesy accidentals in the melodic minor scales.As with any Accessible Accompaniments edition that’s not also an audition/solo cut, I suggest bringing two copies to each audition: one Accessible Accompaniment and one copy of a standard edition. Audition pianists who don’t know the aria will almost always choose the cleaner look of the Accessible Accompaniment, but those who know “Smanie†well might prefer to play from the edition they learned it from. This will provide singers and their audition pianists every chance of a successful collaboration.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included additional courtesy accidentals.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. I’ve also replaced text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations.About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95 ≈
8.00€
Spring Light II
Spring Light II
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Jeanne Allie
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Spring Light II
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Jeanne Allie
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 3 - SKU: A0.899961 Composed by Jeanne Allie. Concert,Contemporary,Easter,Sacred,Standards. Score and p...
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Instrumental Duet Instrumental Duet,Piano - Level 3 - SKU: A0.899961 Composed by Jeanne Allie. Concert,Contemporary,Easter,Sacred,Standards. Score and parts. 1 pages. Jeanne Allie #3493165. Published by Jeanne Allie (A0.899961). A sweet duet for piano and glockenspiel. Also effective as a four hand duet for teacher and piano student. See my Spring Light I for a slightly different setting. You can also play the two settings sequentially to create a longer piece.
$1.99 ≈
1.78€
Rachel's Song (I Will Dance)
Rachel's Song (I Will Dance)
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Musique Sacrée
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Christian contemporain
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Leon deVose, Jr
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Subcortical Band Heterotopia
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Rachel's Song
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Leon deVose
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SheetMusicPlus
Small Ensemble Guitar,Hand Percussion - Level 3 - SKU: A0.1028579 Composed by Leon deVose, Jr. Christian,Contemporary,Praise & Worship. Score and parts....
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Small Ensemble Guitar,Hand Percussion - Level 3 - SKU: A0.1028579 Composed by Leon deVose, Jr. Christian,Contemporary,Praise & Worship. Score and parts. 25 pages. Leon deVose #6404447. Published by Leon deVose (A0.1028579). I wrote this song when I reunited with an acquaintance I had not seen in about 20 years. She told me about her daughter, Rachel, who was born with two extremely rare diseases. The first is Subcortical Band Heterotopia. The other is Lennox Gastaut Syndrome. The latter, likely consequential to the first, is the more lethal of the two, as it causes severe seizures and is not controlled for long by drugs. The first, the most devastating and life-affecting is characterized by abnormal brain development which causes this delightful young woman of 25 to be locked in the brain of a pre-pubescent child or younger.Dad has left, and his legal obligation to child support ended in 2019. In NJ, disability, no matter how severe, only extends the legal child support obligation to age 23. Of course child support payments cannot possibly fulfill or replace the financial, emotional and moral support needed to care for a child without such severe disability. How much less when the child has such severe disabilities.All proceeds from sales of this song, including licensing and royalties, will be gifted to Rachel's Mom until 31 December 2032 or ten years after Rachel's decease, whichever is later.
$4.99 ≈
4.46€
No Greater Love
No Greater Love
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David Kai
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David Kai
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No Greater Love
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David Kai
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SheetMusicPlus
Electric Bass Guitar,Piano Accompaniment - Level 3 - SKU: A0.1105110 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary. Full Per...
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Electric Bass Guitar,Piano Accompaniment - Level 3 - SKU: A0.1105110 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary. Full Performance. Duration 254. David Kai #708357. Published by David Kai (A0.1105110). A song for Good Friday. Scripture reference: John 15:13. No one has greater love than this, to lay down one’s life for one’s friends. NO GREATER LOVE words and music by David Kai ©1985 A chilly wind blows upon Calvary's hill, the sky is as dark as the night, the sweat and the blood trickle down to the ground, as the townspeople gaze at the sight, And the hands that once held the children near are nailed onto the tree, Why did you have to suffer that for me? They beat him until he could hardly stand, a crown of thorns pierced his head, and all of that time not a single word in his defense he said, And I stood within that angry crowd that jeered along the way, for I helped to put you on the cross that day. CHORUS For the man on the cross filled with sorrow and pain, will bring us to God once again, for no greater love has been shown since that day when the Saviour took our sins away. For all of my life your boundless love I want to get to know, 'though sometimes I've turned my back on you and I’ve heard the rooster crow, but then you've appeared just like a friend to guide my wandering way, no longer on the cross, you're here today. The Light of the World, the Bread of Life, the Son of God, Morning Star, my earthly mind can't comprehend all of the things you are, but even through glass that's dark and dim, my eyes can plainly see, you loved us so much you died to set us free. CHORUS For the man on the cross filled with sorrow and pain, will bring us to God once again, for no greater love has been shown since that day when the Savior took our sins away. No greater love, no there's no greater love, No greater love, no there's no greater love, There's no greater love than to lay down your life for a friend.
$1.99 ≈
1.78€
Duo Mpingo
Duo Mpingo
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Contemporain
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Sarah Hersh
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Duo Mpingo
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Burbury Lane Music
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SheetMusicPlus
Woodwind Ensemble - Level 5 - SKU: A0.1028053 Composed by Sarah Hersh. 20th Century,Contemporary. 14 pages. Burbury Lane Music #4276953. Published by Bu...
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Woodwind Ensemble - Level 5 - SKU: A0.1028053 Composed by Sarah Hersh. 20th Century,Contemporary. 14 pages. Burbury Lane Music #4276953. Published by Burbury Lane Music (A0.1028053). No clarinet duet has made me stop in rehearsal and just smile so much from how cool things sounded. - Marcus Moore, clarinetist on Duo MpingoDuo Mpingo is an approximately 6 minute crowd pleaser that is perfect for any occasion. It is a modern but accessible piece that is loosely based on the lifecycle of a mpingo, or African blackwood, tree. It is a relatively advanced piece but could be performed by advanced level students. Duo Mpingo can be programmed equally well on environmental-themed or any other type of concert.Program Note: When I began to research the mpingo (African blackwood) tree in preparation for writing this piece, I came to learn that it is a fascinating tree. It has the ability to survive fires, it does not reach maturity for about 70 – 100 years, and it improves soil fertility. However, it is endangered in several African countries due to illegal logging and over-harvesting, in part because of its beautiful dark heartwood. The outside of the mpingo tree looks like any other tree with a light brown color; the inside, however, is a gorgeous, dark brown-black color – a color you have seen if you’ve ever seen a clarinet, as clarinets, along with other western instruments, are made out of the dark heartwood of the mpingo tree. I had never stopped to think about why wooden clarinets have such a dark color instead of what one typically thinks of as a wood color. I was astonished by the hidden beauty of this tree and what secrets lay inside.Duo Mpingo is somewhat programmatic in that it loosely chronicles the imagined life of a mpingo tree. There is a short section close to the middle of the piece (the inner part of the piece, if you will) that is meant to evoke the beautiful, mysterious, endangered dark heartwood of the mpingo tree. The direction to the performers for this section is solemn, prayer-like, reverential, which is how I feel we should look at every tree – not as something in our way that needs to be cut down, but with reverence for the amazing living things they are.Duo Mpingo was commissioned and premiered by Daraja Music Initiative and Clarinets for Conservation to promote a sustainable planet. This recording is by members of Terminus Ensemble, Marcus Moore and Lauren Murphy. To hear the entire piece, please visit www.sarahhersh.com.The composer is a member of ASCAP and may be reached at www.sarahhersh.com or sarahhershcomposer@gmail.com.
$9.99 ≈
8.92€
Three Housman Settings Volume 11
Three Housman Settings Volume 11
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Contemporain
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David F Golightly
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Three Housman Settings Volume
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Modrana Music Publishers Ltd
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SheetMusicPlus
Instrumental Solo,Medium Voice,Piano - Level 5 - SKU: A0.966313 Composed by David F Golightly. Contemporary. Score and individual part. 18 pages. Modran...
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Instrumental Solo,Medium Voice,Piano - Level 5 - SKU: A0.966313 Composed by David F Golightly. Contemporary. Score and individual part. 18 pages. Modrana Music Publishers Ltd #3136009. Published by Modrana Music Publishers Ltd (A0.966313). Three Housman settings volume 11 was composed in 2017. They are part of a series of settings of Housman poems by David now numbering Three Volumes with another four volumes in the planning stage. The poems set are White is the Moon the Long Road Lies, Think No More Lad Laugh Be Jolly, and Because I liked you Better.Review.It is important to note that David songs, while rooted in the older art song tradition, make use of the sophisticated compositional techniques of the 20th and 21st centuries. David has an ability to make complicated melodic lines that hint but do not venture into atonality, sound simple and beautiful. He can use the accompaniment as a form of tone painting in a way that seems perfectly natural.Emily Cobley (Howard) Mezzo Soprano Hard copy scores can be obtained from the Publishers website Modrana Music Publishers Ltd
$18.00 ≈
16.08€
Poem For Carlita (viola part - vln, vla, cel)
Poem For Carlita (viola part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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therefore there is no return
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Poem For Carlita
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861805 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Conn...
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String Ensemble,String Trio - Level 5 - SKU: A0.861805 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Connor Musik International #6202197. Published by Mark O'Connor Musik International (A0.861805). Poem For Carlita (viola part – vln, vla, cel) MO142CViola Part (score and parts available)Music by Mark O’Connor6 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and it’s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used tocalm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1998 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142CCopyright © 1998 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
4.02€
Poem For Carlita (violin part - vln, vla, cel)
Poem For Carlita (violin part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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therefore there is no return
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Poem For Carlita
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861803 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Conn...
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String Ensemble,String Trio - Level 5 - SKU: A0.861803 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Connor Musik International #6202181. Published by Mark O'Connor Musik International (A0.861803). Poem For Carlita (violin part – vln, vla, cel) MO142BViolin Part (score and parts available)Music by Mark O’Connor7 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and it’s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used to calm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1998 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142BCopyright © 1998 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
4.02€
Poem For Carlita (cello part - vln, vla, cel)
Poem For Carlita (cello part - vln, vla, cel)
#
Mark O’Connor
#
Mark O'Connor
#
therefore there is no return
#
Poem For Carlita
#
Mark O'Connor Musik International
#
SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861806 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Conn...
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String Ensemble,String Trio - Level 5 - SKU: A0.861806 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Connor Musik International #6202205. Published by Mark O'Connor Musik International (A0.861806). Poem For Carlita (cello – vln, vla, cel) MO142DCello Part (score and parts available)Music by Mark O’Connor15 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and it’s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used to calm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1998 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142DCopyright © 1998 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
4.02€
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