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Vous avez sélectionné:
Quick! We have but a second
Partitions à imprimer
15 partitions trouvées
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1
Quick we have but a second for brass quartet
Quick we have but a second for brass quartet
#
Ensemble de cuivres
#
FACILE
#
Traditional, Charles Villiers
#
Davids Warin Solomons
#
Quick we have but a second for
#
David Warin Solomons
#
SheetMusicPlus
Brass Ensemble - Level 2 - SKU: A0.579412 Composed by Traditional, Charles Villiers Stanford. Arranged by Davids Warin Solomons. Celtic,Romantic Period,...
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Brass Ensemble - Level 2 - SKU: A0.579412 Composed by Traditional, Charles Villiers Stanford. Arranged by Davids Warin Solomons. Celtic,Romantic Period,World. Score and parts. 7 pages. David Warin Solomons #3046171. Published by David Warin Solomons (A0.579412). Instrumental arrangement of the madrigal by Charles Villiers Stanford based on a traditional Irish tune.
$7.00 ≈
6.27€
Quick we have but a second for clarinet quartet
Quick we have but a second for clarinet quartet
#
Quatuor de Clarinettes: 4 clarinettes
#
FACILE
#
Traditional, Charles Villiers
#
David Warin Solomons
#
Quick we have but a second for
#
David Warin Solomons
#
SheetMusicPlus
Clarinet Solo - Level 2 - SKU: A0.579411 Composed by Traditional, Charles Villiers Stanford. Arranged by David Warin Solomons. Celtic,Romantic Period,Wo...
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Clarinet Solo - Level 2 - SKU: A0.579411 Composed by Traditional, Charles Villiers Stanford. Arranged by David Warin Solomons. Celtic,Romantic Period,World. Individual part. 7 pages. David Warin Solomons #3046169. Published by David Warin Solomons (A0.579411). Instrumental arrangement of the madrigal by Charles Villiers Stanford based on a traditional Irish tune.
$7.00 ≈
6.27€
Quick! We have but a second
Quick! We have but a second
#
Chorale SATB
#
Musique Sacrée
#
Charles Villiers Stanford
#
Quick! We have but a second
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Oxford University Press Digital
#
SheetMusicPlus
SATB choir unaccompanied - Arranged by Charles Villiers Stanford. Sheet music. Oxford Choral Classics Octavos. Octavo. 4 pages. Oxford University Pr...
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SATB choir unaccompanied - Arranged by Charles Villiers Stanford. Sheet music. Oxford Choral Classics Octavos. Octavo. 4 pages. Oxford University Press Digital #9780193537125. Published by Oxford University Press Digital
ISBN 9780193537125.
For SATB unaccompanied. This joyful setting of an old Irish air, arranged by Sir Charles Villiers Stanford and edited by John Rutter, features a text by Thomas Moore on life's fleeting pleasures. A recording can be found on the Collegium CD There is sweet music (CSCD 505) by the Cambridge Singers, conducted by John Rutter.
$2.85 ≈
2.55€
Quick we have but a second for flute quartet (4 C flutes) (mp3)
Quick we have but a second for flute quartet (4 C flutes) (mp3)
#
Quatuor de Flûtes : 4 flûtes
#
Classique
#
Charles Villiers Stanford
#
David Warin Solomons
#
Quick we have but a second for
#
David Warin Solomons
#
SheetMusicPlus
Flute - SKU: A0.1059966 Composed by Charles Villiers Stanford. Arranged by David Warin Solomons. Romantic Period. Full Performance. Duration 58. David W...
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Flute - SKU: A0.1059966 Composed by Charles Villiers Stanford. Arranged by David Warin Solomons. Romantic Period. Full Performance. Duration 58. David Warin Solomons #5196395. Published by David Warin Solomons (A0.1059966). (You can use this reference if you would like to find the score on sheetmusicplus: S0.209815)
$2.00 ≈
1.79€
Quick we have but a second for flute quartet (4 C flutes)
Quick we have but a second for flute quartet (4 C flutes)
#
Quatuor de Flûtes : 4 flûtes
#
Classique
#
Traditional, Charles Villiers
#
David Warin Solomons
#
Quick we have but a second for
#
David Warin Solomons
#
SheetMusicPlus
Composed by Traditional, Charles Villiers Stanford. Arranged by David Warin Solomons. Romantic Period, World, Celtic. Score, Set of Parts. 7 pages. Published by...
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Composed by Traditional, Charles Villiers Stanford. Arranged by David Warin Solomons. Romantic Period, World, Celtic. Score, Set of Parts. 7 pages. Published by David Warin Solomons (S0.209815). - Score,Set of Parts - Romantic Period,World,Celtic - David Warin Solomons
$7.00 ≈
6.27€
Quick we have but a second for flute quartet (2 flutes, alto flute, bass flute)
Quick we have but a second for flute quartet (2 flutes, alto flute, bass flute)
#
Quatuor de Flûtes : 4 flûtes
#
Classique
#
Traditional, Charles Villiers
#
David Warin Solomons
#
Quick we have but a second for
#
David Warin Solomons
#
SheetMusicPlus
Composed by Traditional, Charles Villiers Stanford. Arranged by David Warin Solomons. Romantic Period, World, Celtic. Score, Set of Parts. 7 pages. Published by...
(+)
Composed by Traditional, Charles Villiers Stanford. Arranged by David Warin Solomons. Romantic Period, World, Celtic. Score, Set of Parts. 7 pages. Published by David Warin Solomons (S0.209813). - Score,Set of Parts - Romantic Period,World,Celtic - David Warin Solomons
$7.00 ≈
6.27€
Quick we have but a second for string quartet
Quick we have but a second for string quartet
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
Classique
#
Traditional, Charles Villiers
#
David Warin Solomons
#
Quick we have but a second for
#
David Warin Solomons
#
SheetMusicPlus
Composed by Traditional, Charles Villiers Stanford. Arranged by David Warin Solomons. Romantic Period, Neo-Classical, World, Celtic. Score, Set of Parts. 7 page...
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Composed by Traditional, Charles Villiers Stanford. Arranged by David Warin Solomons. Romantic Period, Neo-Classical, World, Celtic. Score, Set of Parts. 7 pages. Published by David Warin Solomons (S0.209807). - Score,Set of Parts - Romantic Period,Neo-Classical,World,Celtic - David Warin Solomons
$7.00 ≈
6.27€
Quick we have but a second for woodwind quartet
Quick we have but a second for woodwind quartet
#
Quatuor à Vent : 4 instruments à vents
#
Classique
#
Traditional, Charles Villiers
#
David Warin Solomons
#
Quick we have but a second for
#
David Warin Solomons
#
SheetMusicPlus
Composed by Traditional, Charles Villiers Stanford. Arranged by David Warin Solomons. Romantic Period, World, Celtic. Score, Set of Parts. 7 pages. Published by...
(+)
Composed by Traditional, Charles Villiers Stanford. Arranged by David Warin Solomons. Romantic Period, World, Celtic. Score, Set of Parts. 7 pages. Published by David Warin Solomons (S0.209809). - Score,Set of Parts - Romantic Period,World,Celtic - David Warin Solomons
$7.00 ≈
6.27€
Quick we have but a second for saxophone quartet
Quick we have but a second for saxophone quartet
#
Quatuor de Saxophones: 4 saxophones
#
Classique
#
Traditional, Charles Villiers
#
David Warin Solomons
#
Quick we have but a second for
#
David Warin Solomons
#
SheetMusicPlus
Composed by Traditional, Charles Villiers Stanford. Arranged by David Warin Solomons. Romantic Period, World, Celtic. Score, Set of Parts. 7 pages. Published by...
(+)
Composed by Traditional, Charles Villiers Stanford. Arranged by David Warin Solomons. Romantic Period, World, Celtic. Score, Set of Parts. 7 pages. Published by David Warin Solomons (S0.209811). - Score,Set of Parts - Romantic Period,World,Celtic - David Warin Solomons
$7.00 ≈
6.27€
IT'S CHRISTMASTIME (a new trad. Christmas carol)
IT'S CHRISTMASTIME (a new trad. Christmas carol)
#
Piano, Voix et Guitare
#
INTERMÉDIAIRE
#
Noël
#
and large, Christmas music is
#
Shaun Parry
#
IT'S CHRISTMASTIME
#
MusicforMillions
#
SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.935513 Composed by Shaun Parry. A Cappella,Christian,Christmas,Traditional. Score. 7 pages. MusicforMillion...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.935513 Composed by Shaun Parry. A Cappella,Christian,Christmas,Traditional. Score. 7 pages. MusicforMillions #4995115. Published by MusicforMillions (A0.935513). Written in the style of classic Christmas carols with fun, memorable melody and lyrics, this new Christmas song will quickly become a part of your caroling tradition. By and large, Christmas music is either sacred or secular -- about Jesus, Mary, the shepherds and angels or about presents and parties and mistletoe. We live them both simultaneously. This carol represents that, with the first verse being a patter of Christmas excitement and the second more lyrical focusing on the advent of the Savior. Then, just as in life, they are sung together, complimenting each other. We end in unison with a glorious and memorable refrain Nativity mangers make friends out of strangers with peace on earth, good will to all men.This song has the potential to become a regular part of Christmas carol canon sung by millions around the world.* Perfect for school or church Christmas concerts. * Great for families around the fireplace or out caroling.* Bells/Chimes add a beautiful touch but it can also be performed with just piano and voices or even a capella. I have even enjoyed singing to guitar or ukulele.* Written to be sung by two groups, however, there is a cut version (explained in print) that does not require splitting. It can be sung straight through without overlapping the verses.* Some harmony parts are indicated in the vocal line. Of course you can sing the melody in unison all the way through, but there are ample opportunities to break out into fun 2,3 and (in some places) 4-part harmonies. Up to you.You can find me at @the_shaunparry or www.shaunparry.com
$3.99 ≈
3.57€
A Dance In TripleTime
A Dance In TripleTime
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Chorale SSAA
#
FACILE
#
Anastasio Rossi
#
Anastasio Rossi
#
A Dance In TripleTime
#
Anastasio Rossi
#
SheetMusicPlus
Voice (SSAA) - Level 2 - SKU: A0.1240428 Composed by Anastasio Rossi. Arranged by Anastasio Rossi. A Cappella,Barbershop. Barbershop Quartet. 3 pages. A...
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Voice (SSAA) - Level 2 - SKU: A0.1240428 Composed by Anastasio Rossi. Arranged by Anastasio Rossi. A Cappella,Barbershop. Barbershop Quartet. 3 pages. Anastasio Rossi #835806. Published by Anastasio Rossi (A0.1240428). Think of the story behind this music as about a young lady who  just loves the waltz, and loves to sing and dance to its lilting triple time.  Her dancing partner is a dashing, ever so handsome young man, who sweeps her off her feet and takes her breath away with his charm and grace, as they float away on the wings of A Dance In Triple Time!I originally composed this piece as a little warm up ditty for my chorus, but as I worked the melody and the harmony, it grew into just a little bit more than a warm up exercise. We always enjoyed singing this little piece for our audiences. And they always enjoyed hearing it. One caveat; The lyrics go by quickly! Leads, use your best diction and pronunciation, so the story doesn't get lost. Harmony voices, keep the melody prominent, by always singing your la-las at least one dynamic notch below the melody!Choose the waltz tempo of your choice - very relaxed to very lilting in 1.  Base your choice on being able to deliver the lyrics with great clarity, especially in the faster passages. Be sure to observe the accelerandos, broadening tempos, a tempos, legatos, and staccatos. They all have much to do with delivering the style of this piece, especially the off beat la-las. Some pairs are staccato, in other pairs, the first la is legato, the second la is staccato.The metronome marks more accurately describe the accelerandos and broadenings. On the repeat at 11, a slight increase in the tempo will add urgency and intensity. Keep the melody prominent as it moves to different voices, beginning at 37. Maintain the crisp staccato harmony against the legato melody, and enjoy the change to full legato for all voices.  Anastasio Rossi May 2023Learning tracks are available at no cost from the composer: AAR@prodigy.net.
$12.99 ≈
11.63€
Bring His Love
Bring His Love
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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the first of the year I had th
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Kevin Longley
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Bring His Love
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Kevin Longley
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1019370 Composed by Kevin Longley. Christian,Praise & Worship,Sacred. Octavo. 12 pages. Kevin Longley #6532899. ...
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Choral Choir (SATB) - Level 3 - SKU: A0.1019370 Composed by Kevin Longley. Christian,Praise & Worship,Sacred. Octavo. 12 pages. Kevin Longley #6532899. Published by Kevin Longley (A0.1019370). Bring His LoveInspiration (below is a note I sent to my sister) Hi Karen! In the fall of last year I started working on a new church anthem for FUMC. Over the years your choir has sung several pieces of mine; so I felt I should do something in return. I quickly got an idea for the music only (sometimes I will get some lyric ideas also, but didn't this time.) By the first of the year I had the basic structure sketched out on paper but then put it aside for Easter Rehearsals. When the pandemic stopped all church choirs I returned to the music and by early May had the score in the computer, close to completion. At that point I still didn't have any lyrics but began feeling that it should be about God's creation. All I could envision was a singer with his arms stretched out to the sun, the ocean, the moon, etc. while singing this piece. So I started searching for a possible prayer that might fit and came upon Canticle of the Son. As I read it through I liked the structure and began sketching out the lyrics. I couldn't help but wonder what our response should be to God's creation. How should we thank him or praise him or take care of it? I then turned my thoughts to FUMC and considered this - what phrase would sum up this churches mission? I almost immediately got Bring His Love. From there the balance of the lyrics fell into place. So attached is the recording and the music. I have no expectations but hope you and the choir enjoy the music. The Music The piece starts with 16th note broken chords in the upper register of the piano which lead to the opening theme. A tenor soloist begins by singing God's praises for all he has given us; ending with the thought How can we thank such kindness?; The answer Bring His Love the B section. At its conclusion we are returned to the opening theme, this time sung by the choir which again leads us to the same questionHow can we thank such kindness?, The answer Bring His Love the B section. A C section is then introduced with a change to a more beat driven accompaniment with the vocals alternating between the upper and lower voices. A return to the opening theme, with minimal chordal accompaniment, features the original soloist but then adds a second voice leading to a duet and a return to the broken chord accompaniment.. Finally the B section,Bring His Love is repeated and concludes in a rousing fashion.. Program Notes The piece could work very well for Earth Day celebrations.
$1.99 ≈
1.78€
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)
$23.99 ≈
21.48€
The Poohratorio (Winnie the Pooh - the Expotition to the North Pole)
The Poohratorio (Winnie the Pooh - the Expotition to the North Pole)
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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David Warin Solomons
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The Poohratorio
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David Warin Solomons
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1271090 By David Warin Solomons. By David Warin Solomons. 20th Century,Children,Contemporary. Score. 37 pag...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1271090 By David Warin Solomons. By David Warin Solomons. 20th Century,Children,Contemporary. Score. 37 pages. David Warin Solomons #863483. Published by David Warin Solomons (A0.1271090). Here is my 1976 Oratorio on Winnie the Pooh (Poohratorio) for alto voice, spoken parts, guitar and various optional other instrumentsGreat fun for young and old. It uses the whole of Chapter 8 of A A Milne's Now we are six -The expotition to the North Pole, which is now in the public domain in the USA.The pdf file is the score based on the alto and guitar parts with spoken voices provided in text on the score.CHAPTER 8 ...IN WHICH CHRISTOPHER ROBIN LEADS AN EXPOTITION TO THE NORTH POLEONE fine day Pooh had stumped to the top of the Forest to see if his friend Christopher Robin was interested in Bears at all. At breakfast that morning (a simple meal of marmalade spread lightly over a honeycomb or two) he had suddenly thought of a new song. It began like this:Sing Ho! For the life of a Bear.When he had got as far as this, he scratched his head, and thought to himself That's a very good start for a song, but what about the second line? He tried singing Ho, two or three times, but it didn't seem to help. Perhaps it would be better, he thought, if I sang Hi for the life of a Bear. So he sang it . . . but it wasn't. Very well, then, he said, I shall sing that first line twice, and perhaps if I sing it very quickly, I shall find myself singing the third and fourth lines before I have time to think of them, and that will be a Good Song. Now then:Sing Ho! for the life of a Bear! Sing Ho! for the life of a Bear! I don't much mind if it rains or snows, 'Cos I've got a lot of honey on my nice new nose! I don't much care if it snows or thaws, 'Cos I've got a lot of honey on my nice clean paws! Sing Ho! for a Bear! Sing Ho! for a Pooh! And I'll have a little something in an hour or two! He was so pleased with this song that he sang it all the way to the top of the Forest, and if I go on singing it much longer, he thought, it will be time for the little something, and then the last line won't be true. So he turned it into a hum instead.  ..... etc.
$27.00 ≈
24.18€
The Poohratorio (Winnie the Pooh - the Expotition to the North Pole) (mp3)
The Poohratorio (Winnie the Pooh - the Expotition to the North Pole) (mp3)
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David Warin Solomons
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The Poohratorio
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David Warin Solomons
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SheetMusicPlus
Guitar,Medium Voice - Level 3 - SKU: A0.1271084 By David Warin Solomons. By David Warin Solomons. 20th Century,Children,Contemporary. Full Performance. ...
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Guitar,Medium Voice - Level 3 - SKU: A0.1271084 By David Warin Solomons. By David Warin Solomons. 20th Century,Children,Contemporary. Full Performance. Duration 1608. David Warin Solomons #863477. Published by David Warin Solomons (A0.1271084). Here is my 1976 Oratorio on Winnie the Pooh (Poohratorio) for alto voice, spoken parts, guitar and various optional other instrumentsGreat fun for young and old. It uses the whole of Chapter 8 of A A Milne's Now we are six -The expotition to the North Pole, which is now in the public domain in the USA.CHAPTER 8 ...IN WHICH CHRISTOPHER ROBIN LEADS AN EXPOTITION TO THE NORTH POLEONE fine day Pooh had stumped to the top of the Forest to see if his friend Christopher Robin was interested in Bears at all. At breakfast that morning (a simple meal of marmalade spread lightly over a honeycomb or two) he had suddenly thought of a new song. It began like this:Sing Ho! For the life of a Bear.When he had got as far as this, he scratched his head, and thought to himself That's a very good start for a song, but what about the second line? He tried singing Ho, two or three times, but it didn't seem to help. Perhaps it would be better, he thought, if I sang Hi for the life of a Bear. So he sang it . . . but it wasn't. Very well, then, he said, I shall sing that first line twice, and perhaps if I sing it very quickly, I shall find myself singing the third and fourth lines before I have time to think of them, and that will be a Good Song. Now then:Sing Ho! for the life of a Bear! Sing Ho! for the life of a Bear! I don't much mind if it rains or snows, 'Cos I've got a lot of honey on my nice new nose! I don't much care if it snows or thaws, 'Cos I've got a lot of honey on my nice clean paws! Sing Ho! for a Bear! Sing Ho! for a Pooh! And I'll have a little something in an hour or two! He was so pleased with this song that he sang it all the way to the top of the Forest, ... etc.
$10.50 ≈
9.40€
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Quick! We have but a second
