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his strength not at an end
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his strength not at an end
Partitions à imprimer
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Walking on the Sea, sacred music for SATB choir
Walking on the Sea, sacred music for SATB choir
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Kevin G
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his strength not at an end
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Walking on the Sea, sacred mus
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1267863 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spi...
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Choral Choir (SATB) - Level 4 - SKU: A0.1267863 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. Octavo. 9 pages. Kevin G. Pace #860411. Published by Kevin G. Pace (A0.1267863). A bold, dramatic choral composition depicting the miracle of Jesus walking on the sea.  Music by Kevin G. Pace.  Text by Mary Ann W. Snowball.Text:Drained of strength and in despair, disciples rowed all nightIn a storm upon the sea, the Sea of Galilee.Clashing, crashing inverse winds in darkness without lightBrought the Savior from the mount, from the very heights.Frightened when they saw Him come, perceiving not his form,Jesus said, “O, it is I.†The boisterous waves were high.Peering, nearing as He walked right through the raging storm,Jesus said, “Be not afraid,†though nature then was torn.Treading on the water’s edge and almost dawn that morn,Jesus calmed the troubled men; his strength not at an end.Talking, walking to the boat, disciples still forlorn,Powers of divinity were seen as newly born.“Of a truth thou art the Son,†the very Son who showsMiracles engulf each heart when faith becomes a part.“Of a truth thou art the Son,†reveals a witness grown.Walking on the sea became pure testimony known.
$1.99 ≈
1.86€
The Joy of the LORD is your Strength (variation 2)
The Joy of the LORD is your Strength (variation 2)
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Flûte traversière
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FACILE
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Edigles Guedes
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The Joy of the LORD is your St
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Edigles Guedes
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SheetMusicPlus
Flute Solo - Level 2 - SKU: A0.1001249 Composed by Edigles Guedes. Christian,Contemporary,Spiritual. Individual part. 2 pages. Edigles Guedes #6437053. ...
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Flute Solo - Level 2 - SKU: A0.1001249 Composed by Edigles Guedes. Christian,Contemporary,Spiritual. Individual part. 2 pages. Edigles Guedes #6437053. Published by Edigles Guedes (A0.1001249). The present musical piece is a compositional study. It is suitable for students at an early intermediate level flute. Duration of work: 5:13 min. Inspired by the biblical verse: Then he said unto them, Go your way, eat the fat, and drink the sweet, and send portions unto them for whom nothing is prepared: for this day is holy unto our Lord: neither be ye sorry; for the joy of the LORD is your strength. (Nehemiah 8:10 - KJV).
$2.99 ≈
2.80€
Not I, But Christ
Not I, But Christ
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Orchestre
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INTERMÉDIAIRE
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Musique Sacrée
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Ada Widdington and Michael War
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Michael Ware
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Not I, But Christ
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Michael Ware Music
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1404747 Composed by Ada Widdington and Michael Ware. Arranged by Michael Ware. Christian,Praise & Worship,Religious,S...
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Full Orchestra - Level 3 - SKU: A0.1404747 Composed by Ada Widdington and Michael Ware. Arranged by Michael Ware. Christian,Praise & Worship,Religious,Sacred,Traditional. 55 pages. Michael Ware Music #987811. Published by Michael Ware Music (A0.1404747). Putting Jesus at the center of our lives is a foundational principal of the Christian faith. This anthem confidently affirms the Lordship of Christ with an inspiring melody that builds steadily from beginning to end. Sections of unison writing for strength of sound are mixed with thicker, warm, harmonic moments creating an anthem that has much to enjoy musically. A fitting setting to a praise-worthy text! Duration: ca. 3:19. This product is the full orchestration. Choral scores are sold separately. SATB SCORE: https://bit.ly/3APZz3k.
$70.00 ≈
65.49€
Not I, But Christ
Not I, But Christ
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Chorale SSAA
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INTERMÉDIAIRE
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Musique Sacrée
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Ada Widdington and Michael War
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Michael Ware
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Not I, But Christ
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Michael Ware Music
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SheetMusicPlus
Choral Choir,Choral,SSAA Chorus - Level 3 - SKU: A0.1405190 Composed by Ada Widdington and Michael Ware. Arranged by Michael Ware. Christian,Praise & Wo...
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Choral Choir,Choral,SSAA Chorus - Level 3 - SKU: A0.1405190 Composed by Ada Widdington and Michael Ware. Arranged by Michael Ware. Christian,Praise & Worship,Religious,Sacred,Traditional. 10 pages. Michael Ware Music #988234. Published by Michael Ware Music (A0.1405190). Putting Jesus at the center of our lives is a foundational principal of the Christian faith. This anthem confidently affirms the Lordship of Christ with an inspiring melody that builds steadily from beginning to end. Sections of unison writing for strength of sound are mixed with thicker, warm, harmonic moments creating an anthem that has much to enjoy musically. A fitting setting to a praise-worthy text! Duration: ca. 3:19. This product is the SSAA Choral score with accompaniment.
$2.50 ≈
2.34€
Hanon Piano / Keyboard Exercises 1 - 30 Condensed and Simplified for Beginners Easy Reading
Hanon Piano / Keyboard Exercises 1 - 30 Condensed and Simplified for Beginners Easy Reading
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Piano seul
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FACILE
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Methodes
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Charles-Louis Hanon
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Martin Woodward
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Hanon Piano / Keyboard Exercis
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Martin Woodward
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.887255 Composed by Charles-Louis Hanon. Arranged by Martin Woodward. Instructional. Score. 37 pages. Martin Woodward #651...
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Piano Solo - Level 2 - SKU: A0.887255 Composed by Charles-Louis Hanon. Arranged by Martin Woodward. Instructional. Score. 37 pages. Martin Woodward #6513221. Published by Martin Woodward (A0.887255). Hanon Piano / Keyboard Exercises 1 - 30Condensed and Simplified for Beginners Easy ReadingIn this short book you will find condensed and simplified versions of the Hanon piano finger exercises 1 - 30 as well as the major, harmonic minor and melodic minor scales in every key (two octaves). What is Hanon? The ‘Hanon Virtuoso Pianist’ is a collection of piano finger exercises designed to give equal strength, agility and flexibility to all five fingers of both hands. Written by Charles-Louis Hanon sometime in the 1800s, these exercises without doubt have become one of the most widely used techniques by today’s pianists. In my opinion these are the best finger exercises available. One really great thing about these exercises is that they are applicable to both absolute beginners and advanced players alike, particularly as the reading ability required is minimal. Whatever your ability, these exercises will help improve your technique and finger strength. Having been written well over 100 years ago, the original work is now in the public domain and therefore digital copies can be acquired free of charge on the internet. However, most of these are very poor quality and the instructions are mainly in French or Russian - neither of which work too well for me! For the full version I personally recommend the ‘Alfred’ Edition edited by Allan Small which is clear and has instructions in English. So why do I need this book? The whole point is to make it easy to read and to reduce page turns - less is more! In the full version the first 30 exercises take up fifty pages whereas here there are three exercises per page for the first 20, then two per page for the next 10, reducing the fifty pages to just twelve. I initially produced this for my own use only but figured that others may like to take advantage of what I’ve done. Does this mean that the print is just smaller? No, not at all. If you are familiar with these exercises you will know that they are repeated patterns which ascend and descend for two octaves diatonically. To condense and simplify them and consequently eliminate an enormous amount of page turns I have shown: the all-important fingering on the first pattern (as per the original)then the repeated second patternthen ‘changeover’ patterns between ascending and descending - which are sometimes slightly differentthen finally the last pattern of each exercise which again is often very slightly different. I have also written them two octaves apart (for easy reading) and only shown them for one octave instead of two. In practice they should be played one octave apart and ultimately be practiced for two octaves. You can print out any or all the pages as required (the link for the pdf printable version is given at the end of the book).Please see: https://learn-keyboard.co.uk/hanon.html
$5.99 ≈
5.60€
Jack's Journey - A new Musical by David Catherwood, inspired by the boyhood adventures of CS Lewis (
Jack's Journey - A new Musical by David Catherwood, inspired by the boyhood adventures of CS Lewis (
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David Catherwood
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Jack's Journey - A new Musical
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Opus 3 Music
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SheetMusicPlus
Choral Piano,Vocal,Voice - Level 3 - SKU: A0.739502 Composed by David Catherwood. Broadway,Children,Musical/Show. Score. 60 pages. Opus 3 Music #6052583...
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Choral Piano,Vocal,Voice - Level 3 - SKU: A0.739502 Composed by David Catherwood. Broadway,Children,Musical/Show. Score. 60 pages. Opus 3 Music #6052583. Published by Opus 3 Music (A0.739502). 'Jack's Journey'(A new Musical by Adeline Dinsmore and David Catherwood)Piano and vocal score (contains 7 songs plus overture and incidental music) plus Script - $9.50Duration c.40 minutesIdeal for schools, youth groups or adult dramatic/musical companies.Requirements - Narrator, Chorus, (unison/2part) Soloists, Actors, Piano accompanimentOptional - Dancers, orchestral parts for Flute, Clarinet. Trumpet, Horn, Strings, Percussion and Bass/guitar About the Musical A great story about one of the 20th century’s greatest storytellers. Carefully researched, yet full of fun, this entertaining musical tells the story of the early part of CS Lewis' life from the time of his mother's death in 1908 until his arrival as a student at Oxford in 1916. (Throughout his life CS Lewis was always known as Jack) This new work was premiered at the end of 2019 at the annual CS Lewis Festival held in Ireland. (CS Lewis’ birthplace) It proved to be a great success and was very enthusiastically received. Synopsis Jack’s Journey is a whimsical re-imagining of the childhood journeys of CS Lewis - each of the seven songs representing a stop along the way to his eventual career as the writer of the Narnia Chronicles. The story is told through music relating his memories and significant episodes from his schooldays up to his entry into Oxford. Living almost entirely in his imagination as a small boy, the seeds of the world of Narnia are already beginning to grow in his writing and drawings. Little Lea, his childhood home, provides the setting for the early scenes. Following the death of his mother the young Jack has his first experience of school and England. He endures with fortitude the harsh regime of boarding school and begins to recognise the value of friendship, mutual support and the courage that children can show in adversity. He returns to Ireland and to Campbell College – a much more positive experience. Illness brings his attendance at Campbell to an end. Returning to Little Lea, Jack imagines the world of fairies and dwarves, a world beyond our own. He returns to school in England and comes under the influence of a variety of teachers. Expelled from Malvern, Jack next falls under the influence of his great mentor, Professor Kirkpatrick – the model for the Professor of The Lion, the Witch and the Wardrobe. Jack’s Journey concludes with the anticipated arrival of a great hero, the hero of the first of the Narnian Chronicles, Aslan, the lion. ‘Jack’s Journey’ gives opportunity for young actors, (supported if desired by adults, taking the parts of the grown-ups.) There are short dramatic scenes, plenty of chorus work, opportunity for choreography and many solo spots for vocalists in the songs which are milestones in the story. List of Songs (the sample pages and mp3 file gives a chance to see and hear the first page of most of the songs) 1 Soft through the window 2 Kingdom of Mourne 3 Little Lea 4 Campbell Days - Boy to the left, Boy to the right 5 The Dandy's song 6 The Scholar's song 7 Strength and honour As will be evident from the above, there is plenty of flexibility regarding the scale of the performance. ‘Jack’s Journey’ may be staged using relatively modest outlay – for example, the premiere did not have a set because the venue for the performance was an actual railway station! The piece certainly allows for imaginative approaches to design and staging. In terms of the additional challenges presented by 2020 the length of the musical at 40 minutes helps in delivering a shorter theatrical experience. Also, the fully digital download of all performing materials allows for distribution via email Indeed the whole show could be effectively recorded and presented online as well as in person.
$9.50 ≈
8.89€
Jack's Journey - A Musical inspired by the boyhood adventures of CS Lewis (lyrics by Adeline Dinsmor
Jack's Journey - A Musical inspired by the boyhood adventures of CS Lewis (lyrics by Adeline Dinsmor
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David Catherwood
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Jack's Journey - A Musical ins
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Opus 3 Music
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SheetMusicPlus
Large Ensemble,Strings Piano,Vocal,Voice - Level 3 - SKU: A0.739501 Composed by David Catherwood. Broadway,Children,Musical/Show. Score. 323 pages. Opus...
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Large Ensemble,Strings Piano,Vocal,Voice - Level 3 - SKU: A0.739501 Composed by David Catherwood. Broadway,Children,Musical/Show. Score. 323 pages. Opus 3 Music #6051989. Published by Opus 3 Music (A0.739501). A great story about one of the 20th century’s greatest storytellers. Carefully researched, yet full of fun, this entertaining musical tells the story of the early part of CS Lewis' life from the time of his mother's death in 1908 until his arrival as a student at Oxford in 1916. (Throughout his life CS Lewis was always known as Jack) This new work was premiered at the end of 2019 at the annual CS Lewis Festival held in Ireland. (CS Lewis’ birthplace) It proved to be a great success and was very enthusiastically received. Synopsis Jack’s Journey is a whimsical re-imagining of the childhood journeys of CS Lewis - each of the seven songs representing a stop along the way to his eventual career as the writer of the Narnia Chronicles. The story is told through music relating his memories and significant episodes from his schooldays up to his entry into Oxford. Living almost entirely in his imagination as a small boy, the seeds of the world of Narnia are already beginning to grow in his writing and drawings. Little Lea, his childhood home, provides the setting for the early scenes. Following the death of his mother the young Jack has his first experience of school and England. He endures with fortitude the harsh regime of boarding school and begins to recognise the value of friendship, mutual support and the courage that children can show in adversity. He returns to Ireland and to Campbell College – a much more positive experience. Illness brings his attendance at Campbell to an end. Returning to Little Lea, Jack imagines the world of fairies and dwarves, a world beyond our own. He returns to school in England and comes under the influence of a variety of teachers. Expelled from Malvern, Jack next falls under the influence of his great mentor, Professor Kirkpatrick – the model for the Professor of The Lion, the Witch and the Wardrobe. Jack’s Journey concludes with the anticipated arrival of a great hero, the hero of the first of the Narnian Chronicles, Aslan, the lion. ‘Jack’s Journey’ gives opportunity for young actors, (supported if desired by adults, taking the parts of the grown-ups.) There are short dramatic scenes, plenty of chorus work, opportunity for choreography and many solo spots for vocalists in the songs which are milestones in the story. List of Songs (the sample pages and mp3 file gives a chance to see and hear the first page of most of the songs) 1 Soft through the window 2 Kingdom of Mourne 3 Little Lea 4 Campbell Days - Boy to the left, Boy to the right 5 The Dandy's song 6 The Scholar's song 7 Strength and honour As will be evident from the above, there is plenty of flexibility regarding the scale of the performance. ‘Jack’s Journey’ may be staged using relatively modest outlay – for example, the premiere did not have a set because the venue for the performance was an actual railway station! The piece certainly allows for imaginative approaches to design and staging. In terms of the additional challenges presented by 2020 the length of the musical at 40 minutes helps in delivering a shorter theatrical experience. Also, the fully digital download of all performing materials allows for distribution via email Indeed the whole show could be effectively recorded and presented online as well as in person.
$75.00 ≈
70.17€
Desert Blossom - an original hymn based on Isaiah 35:1-2
Desert Blossom - an original hymn based on Isaiah 35:1-2
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Thy Hand, this land redeem
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Kevin G
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may my work not be in vain
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Desert Blossom - an original h
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.701736 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Christian,Praise & Worship,Sacred. Octavo. 2 pag...
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Choral Choir (SATB) - Level 4 - SKU: A0.701736 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Christian,Praise & Worship,Sacred. Octavo. 2 pages. Kevin G. Pace #3363271. Published by Kevin G. Pace (A0.701736). An original hymn for SATB voices with text by Mark Fotheringham below. Dedicated to pioneers, the early Utah Mormon pioneers in particular.YouTube video: https://youtu.be/9JVJAuc7P_ABless this arm, keep it sound, as I turn this desert ground. Water flows from mountain stream. By Thy Hand, this land redeem. Sanctify all who toil, blessing all that grows. Let the desert now rejoice, blossom as the rose. Bless all seeds, as I sow. Let them here take root and grow. Send Thy rains from up above, warming sunshine filled with love. May the toil of these hands, bring Thy blessings close. Let the desert now rejoice, blossom as the rose. Fire or frost, wind or rain; may my work not be in vain. Help me prosper ev'ry day. Keep the locust still at bay. Through each trial, help me stand, in Thy strength repose. Let the desert now rejoice, blossom as the rose. In my soul, deserts be, waiting to be turned by Thee. Let Thy blessing as the rain, open up my heart again. May the Lord, bless my toil, ev'ry weed dispose. Let the desert now rejoice, blossom as the rose.
$1.99 ≈
1.86€
Choral - "O Give Thanks to the Lord" with children's vocal part (children's choir)
Choral - "O Give Thanks to the Lord" with children's vocal part (children's choir)
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Chorale 2 parties
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Musique Sacrée
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Dan Cutchen
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Choral - "O Give Thanks t
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Dan Cutchen Music
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SheetMusicPlus
Choral Choir (2-Part) - SKU: A0.844330 Composed by Dan Cutchen. Sacred. Octavo. 13 pages. Dan Cutchen Music #3121697. Published by Dan Cutchen Music (A0...
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Choral Choir (2-Part) - SKU: A0.844330 Composed by Dan Cutchen. Sacred. Octavo. 13 pages. Dan Cutchen Music #3121697. Published by Dan Cutchen Music (A0.844330). Easy to learn but fun to sing! For 2-part women/men choir with piano accompaniment and optional children's melody.The presence of children in a choir presentation can be quite charming and encouraging for the congregation. These kind of experiences for children can prepare them for a love of choral and exposure to singing with the big choir. Plus, as Psalm 8:2 informs us, children can have a ministry that silences the negative influence of the enemy and bring strength and encouragement to all who hear them sing praise!The children's part in this piece of music is a simple counter melody, no parts. You do not need an established children's choir, only a few good singers will do nicely.-------------------------------------------------------------------------------------------------------------This is a wonderful expression of praise based on an amazing story in the Bible.In II Chronicles 20, word comes to King Jehoshaphat that three nations are coming to attack Jerusalem and the people of Judah. After prayer, the Lord reveals to them what to do: Don’t be afraid and don’t panic because of this huge army! For the battle is not yours, but God’s...You will not fight in this battle. Take your positions, stand, and watch the Lord deliver you, O Judah and Jerusalem. Don’t be afraid and don’t panic! Tomorrow march out toward them; the Lord is with you!The people marched out the next day with choir of ministers leading the way ahead of the warriors. This is the song they sang, Give thanks to the Lord, for his loyal love endures.God caused the enemy to attack each other in confusion and they destroyed each other. The Israelites just picked up the plunder!The Scriptures tell us in II Chronicles 20, 22 When they began to shout and praise, the Lord suddenly attacked the Ammonites, Moabites, and men from Mount Seir who were invading Judah, and they were defeated. 23 The Ammonites and Moabites attacked the men from Mount Seir and annihilated them. When they had finished off the men of Seir, they attacked and destroyed one another. 24 When the men of Judah arrived at the observation post overlooking the desert and looked at the huge army, they saw dead bodies on the ground; there were no survivors! 25 Jehoshaphat and his men went to gather the plunder; they found a huge amount of supplies, clothing, and valuable items. They carried away everything they could. There was so much plunder, it took them three days to haul it off.
$1.99 ≈
1.86€
I Don't Want To Live On The Moon
I Don't Want To Live On The Moon
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Chorale TTBB
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INTERMÉDIAIRE
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Jeff Moss
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Ben Lewin
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I Don't Want To Live On The Mo
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Ben Lewin
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - SKU: A0.1221043 Composed by Jeff Moss. Arranged by Ben Lewin. Barbershop. Octavo. 6 pages. Ben Lewin #817392. Published ...
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Choral Choir (TTBB) - Level 3 - SKU: A0.1221043 Composed by Jeff Moss. Arranged by Ben Lewin. Barbershop. Octavo. 6 pages. Ben Lewin #817392. Published by Ben Lewin (A0.1221043). Originally arranged for Tomato Staccato.This is an accessible barbershop arrangement of a classic Sesame Street song. Â Orriginally arranged for a female lead and male tenor, feel free to swap the lead and tenor parts where they cross to best suit your ensemble.Measures 39-40 are intended to show off the low range of your bass. Â If that is not a strength of your quartet or chorus, an alternate version of those measures are included at the end.
$1.99 ≈
1.86€
The Painter
The Painter
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Piano seul
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INTERMÉDIAIRE
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Louis Landon
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The Painter
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Landon Creative, Inc.
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.761847 Composed by Louis Landon. New Age,Spiritual. Score. 5 pages. Landon Creative, Inc. #3129855. Published by Landon C...
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Piano Solo - Level 3 - SKU: A0.761847 Composed by Louis Landon. New Age,Spiritual. Score. 5 pages. Landon Creative, Inc. #3129855. Published by Landon Creative, Inc. (A0.761847). Healing Hearts is the fourth solo piano release from Louis Landon in less than two years, an indication that his 2013 move to Sedona, AZ sparked an amazing creative streak for him. Since his move, Landon has established Healing Piano of Sedona which offers a unique sound healing experience to create mental, physical and emotional well-being. Landon is a Steinway Artist who has toured internationally and has released seventeen albums, eleven of which are solo piano (one is a best of). He has been using the techniques of Gurdjieff and Ouspensky for spiritual development since 1980. Healing Piano of Sedona was created to help people live life joyously, passionately, stress- and disease-free.The thirteen tracks on Healing Hearts were created spontaneously to assist individuals in their emotional and spiritual well-being. I have to admit that in the past, I have had a strong preference for Landon’s more composed music, but he is improvising and performing so much now that his spontaneous music is incredibly cohesive and complete and the emotional content is rich and sincere. Landon has performed house concerts in my series every year for the past seven years and while his music has always been exceptionally good, now it’s often breathtaking in its beauty and honesty. Nothing is held back, coming from the purest source of creativity. I’m blown away by the music on Healing Hearts and am certain that it will be the second of Landon’s albums on my Favorites list for 2014.Most of the tracks overflow with peace and serenity. In fact, Louis calls his home studio The Peace Palace and I can see why! A couple of pieces are a bit livelier, but the entire album is perfect for a warm and soothing background. However, be sure to treat your mind and soul to a blissful hour of calming music that can effortlessly heal the spirit and wash away the cares of the moment, the day, or life in general - at least for a while. All of the tracks are exceptional, but I’ll mention a few favorites. Amy’s Song is a breath of fresh air - graceful, tender and very warm. Gorgeous! Desert Peace is somewhat more ambient and so peaceful. I love the title track, which is more minor and a bit darker, but so poignant and compelling. Now or Never seems to be offering support and encouragement to move forward - gently but firmly. Sacred is almost hymn-like. The Great Unknown is dedicated to a young family member who passed away recently. Dark and sometimes painfully sad, there is hope as the healing process takes place - an amazing piece of music! The Painter expresses the passionate spirit that can flow from one artist to another. Unstoppable begins quietly and simply, gradually building energy, strength and power. Unstoppable, indeed! A great, upbeat ending to a fantastic album!Healing Hearts is a must-hear! It is available from louislandon.com, Amazon, iTunes, and CD Baby. Very highly recommended!
$5.25 ≈
4.91€
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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I encourage you to use both
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Pitch and Rhythm - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone...
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00 ≈
9.36€
Most Importantly, Loves, a song cycle for soprano and piano
Most Importantly, Loves, a song cycle for soprano and piano
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Adrienne Inglis
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Most Importantly, Loves, a son
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Adrienne Inglis
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1233352 Composed by Adrienne Inglis (ASCAP). 21st Century,Classical,Country,Pop. Score. 45 pages. Adrienne Inglis ...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1233352 Composed by Adrienne Inglis (ASCAP). 21st Century,Classical,Country,Pop. Score. 45 pages. Adrienne Inglis (ASCAP) #828940. Published by Adrienne Inglis (ASCAP) (A0.1233352). Sing one, two, or all six of these expressive and charming songs for soprano and piano!Most Importantly, Loves (2021) by Adrienne Inglis (ASCAP), as a six-song cycle for soprano and pianoText — six letters by Maureen Broy PapovichDuration 25:00Difficulty 4 intermediate/advancedProgram note — Most Importantly, Loves (2021), a song cycle for soprano and piano composed by Adrienne Inglis (ASCAP), was commissioned by Maureen Broy Papovich whose six letters furnish the text. She wrote letters to various close family members with tender messages overflowing with admiration, affection, and hope. The songs look at each beloved relative as seen through the prism of the author’s caring eyes and heart. Rooted in moody Dorian mode, the lyrical melodies of R. J. overlay a more brooding, restless piano part. Lucy sports a bit of a jazzy lilt and sassy attitude. The infectious laugh of Camryn and the remarkable resemblance to her late father underpin this quick syncopated C major number. Brendan reflects his exuberant love of life and devastating self-destructive addiction with radical tonality and tempo changes. Mira has an encouraging message for a young person in D mixolydian with soothing piano texture. Jonah’s long lines soar over lush expansive harmonies grounded in B flat major to form a soft fleece blanket of comforting sound and boundless unconditional parental love. — Adrienne InglisThe impetus for the poems that became the song cycle “Most Importantly Loves†started a decade ago. My brother died suddenly in 2011 at the age of 42. He left all of us behind including his daughters, my nieces, when they were ages six years and six months. My father and mother died a short time later, within months of each other in 2013 and 2014. Finally, in 2017 my 27-year-old nephew died of a drug overdose. This intense period of loss brought and continues to bring about many feelings of regret in addition to so much more. When my nephew died, my son Jonah, developed an intense anxiety about losing us, his parents. I felt compelled to express my feelings, the fear of my own mortality, the anxiety of leaving behind loved ones, combined with words said and unsaid to those lost. “Love letters†is my gift to the six young people I care most about. These songs, exquisitely set to music by my friend and composer Adrienne Inglis, express my deep love for each of my loved ones and also, hopefully, provide them with a piece of writing that they can use as a source of strength when life becomes particularly challenging. —  Maureen Broy PapovichPlaylist of Oct. 22, 2022 performance:https://youtube.com/playlist?list=PLY9Jh0jT7VQsLBdIik5wJRjE6Qhu_5IZD.
$9.99 ≈
9.35€
Jacques Leguerney: Fantaisie in g minor for piano
Jacques Leguerney: Fantaisie in g minor for piano
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Piano seul
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AVANCÉ
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Classique
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Jacques Leguerney
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Jacques Leguerney: Fantaisie i
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.533316 Composed by Jacques Leguerney. 20th Century,Concert,Standards. Score. 37 pages. Musik Fabrik Music Publishing #234...
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Piano Solo - Level 5 - SKU: A0.533316 Composed by Jacques Leguerney. 20th Century,Concert,Standards. Score. 37 pages. Musik Fabrik Music Publishing #2343073. Published by Musik Fabrik Music Publishing (A0.533316). Fantaisie en sol mineur pour pianoI. GraveII. ScherzandoIII. Bien allantDate de composition : 17 septembre 1945In 1945 Leguerney finished composition of the Fantaisie en sol mineur pour piano, written in three movements. He felt an â??extraordinary enthusiasmâ? for this piece, which he felt represented a departure from the current writing style for piano. He said in an interview with Patrick Choukroun in 1994 that â??I wanted to show that one could write lyrically for the piano. The piano music of Francis Poulenc lacked strength.â? The work was immediately performed in a private concert at the home of the Countess Jean de Polignac by the French pianist Monique Haas (1909-1987) in December 1945. The fact that she waschosen to perform Leguerneyâ??s Fantaisie is a key to the style of this work which Leguerney felt emulated the expressive force of Cesar Franckâ??s works. Haas was a distinguished concert artist, especially known for her performances of 20th century music, with which she toured worldwide. French pianists of her generation tried to avoid the excess of the â??romanticâ? school and strove for cleanness and precision with a warm tone color reflecting the influence of Alfred Cortot.Leguerney remembers that both Poulenc and Henri Sauguet were present at this private concert, but he noted that they did not comment about his piece. He felt it was obvious that his Fantaisie was â??far from the habitual level of piano musicâ? being composed at that time. These post-war years were Leguerneyâ??s most productive period. In addition to the Fantaisie, hecomposed the Sonatine pour violin et piano, the Quatuor à cordes, and many fine songs including the cycle Sept Poèmes de François Maynard. The 1940s finished with the composition of his first ballet, Endymion. The first public performance of the Fantaisie was given by Stéphane Petit-Jean in the Cloître Saint-Sauveur at the Festival of Aix-en-Provence on July 28, 1988 during a recital for Radio France that included songs of Leguerney interpreted by Nathalie Stutzmann. The concert was laterbroadcast as Une heure avec . . . Jacques Leguerney and also included the song cycles Sept Poèmes de François Maynard, La Nuit and Le Carnaval.The work is dedicated to Jean Fonda, the stage name of Jean-Pierre Fournier. He was the son of the famed French cellist Pierre Fournier. Before the performance at Aix-en-Provence, Leguerney showed the score of the Fantaisie to Fonda, who encouraged him to have it performed. It is possible that the dedication was made at this time.
$23.95 ≈
22.41€
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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I encourage you to use both
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Pitch and Rhythm - Bass Clef,
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Dots and Beams
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SheetMusicPlus
Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - SKU: A0.931833 Co...
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Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - SKU: A0.931833 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269061. Published by Dots and Beams (A0.931833). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a bass staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second e.
$10.00 ≈
9.36€
Beautiful Life
Beautiful Life
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Chorale 2 parties
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FACILE
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Bebe Rexha, Christopher Tempes
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Julian Hay
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Beautiful Life
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Julian Hay
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SheetMusicPlus
Choral Choir (2-Part) - Level 2 - SKU: A0.1271776 Composed by Bebe Rexha, Christopher Tempest, David Saint Fleur, Nick Black, and Samuel James Zammarell...
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Choral Choir (2-Part) - Level 2 - SKU: A0.1271776 Composed by Bebe Rexha, Christopher Tempest, David Saint Fleur, Nick Black, and Samuel James Zammarelli. Arranged by Julian Hay. A Cappella,Children,Contemporary,Pop. Octavo. 5 pages. Julian Hay #864130. Published by Julian Hay (A0.1271776). This arrangement was commissioned for, and premiered by, Voices Co. Pop A Cappella Academy, for one of our Kids Ensemble. It is fun and catchy, and an extended arrangement has also been performed by our Adult Classes (SATB). VOCAL LAYOUT:The melody, or lead line, is divided amongst the vocal parts to give variety. The B.G (background) parts replicate the instrumental accompaniment of the original track, filling out the arrangement and creating the contemporary texture that is at the heart of Pop A Cappella. The Vocal Percussion (Beatboxing) should be a feature, and they provide the arrangement with much of the groove and vibe it needs.The dynamics give an indication which vocal parts should be strongest at any given moment, but changes may need to be made depending on the number / balance of singers, and the strengths of each vocal section. As a general rule, the melody or lead should be strongest, followed by any harmony parts (those with lyrics), followed by any background parts (Mmm's / Dmm's, etc).RHYTHM & BASS:This Beatboxing part is suitable for beginners, and is made up of groupings of patterns. Specific Beatboxing notes are included in their own section.If your ensemble is without a low bass or a beatboxer you could consider the following options.- Use electric bass guitar playing the bass part- Use a drum kit or drum box (Cajon)- Use a piano to provide some simple background accompanimentIf using clicks or claps, do so on the off beats (2 and 4).PERSONAL ASSISTANCE:If you need any assistance please don't hesitate to get in touch with us directly, we'd be happy to reply to any questions via email, or you can also book in a 1:1 consultation between your M.D and Julian Hay, or a Zoom workshop with your ensemble for specific feedback:E.  hello@voicesco.nzW.  www.voicesco.nz.
$1.99 ≈
1.86€
Emoticons III for Wind Quintet
Emoticons III for Wind Quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Contemporain
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Sy Brandon
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Emoticons III for Wind Quintet
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Sy Brandon
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.755253 Composed by Sy Brandon. 20th Century,Concert,Contemporary. 21 pages. Sy Brandon #3602975. ...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.755253 Composed by Sy Brandon. 20th Century,Concert,Contemporary. 21 pages. Sy Brandon #3602975. Published by Sy Brandon (A0.755253). Emoticons III is the third in a series of compositions that are designed to be aural representations of images that reflect emotions. This composition has eight short movements and is scored for wind quintet.I. Nebulous – The wandering tonality, slow tempo, frequent shifts of color, and lack of cadences gives this movement a feeling of vagueness.II. Puckish – This Allegretto movement has a playful quality that is created by staccato articulations, melodic leaps, unexpected use of rests and sudden tonality shifts to express an impish quality.III. Excited – A fast tempo and technical passages along with driving rhythms help this movement express excitement.IV. Horrified – Angular melodic lines, trills, dissonant chords, extreme ranges, and accents are all used to create this emotional representation.V. Jocular – This playful movement in an Allegretto tempo uses staccato, syncopation, meter change, dotted rhythms, and angular melodies for its laughing sounds.VI. Scattered – A Presto tempo with hemiola, staccato notes, and light scoring are used throughout this short movement that feels like it is constantly changing direction.VII. Regretful – This Lento movement has sad legato lines with unresolved dissonances at the beginning and end. The middle section creates a sense of hope but quickly returns to the sorrowful sound.VIII. Confident – This movement is in a march style with strong accents. Its clear lines and rhythms help portray strength in one’s beliefs.
$14.99 ≈
14.03€
Emoticons III for Reed Quintet
Emoticons III for Reed Quintet
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Contemporain
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Sy Brandon
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Emoticons III for Reed Quintet
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Sy Brandon
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Alto Saxophone,Bassoon,Clarinet,Oboe - Level 5 - SKU: A0.755261 Composed by Sy Brandon. 20th Century,Contemporary. 46...
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Woodwind Ensemble,Woodwind Quintet Alto Saxophone,Bassoon,Clarinet,Oboe - Level 5 - SKU: A0.755261 Composed by Sy Brandon. 20th Century,Contemporary. 46 pages. Sy Brandon #3604157. Published by Sy Brandon (A0.755261). Emoticons III is the third in a series of compositions that are designed to be aural representations of images that reflect emotions. This composition has eight short movements and is scored for wind quintet. I. Nebulous – The wandering tonality, slow tempo, frequent shifts of color, and lack of cadences gives this movement a feeling of vagueness. II. Puckish – This Allegretto movement has a playful quality that is created by staccato articulations, melodic leaps, unexpected use of rests and sudden tonality shifts to express an impish quality. III. Excited – A fast tempo and technical passages along with driving rhythms help this movement express excitement. IV. Horrified – Angular melodic lines, trills, dissonant chords, extreme ranges, and accents are all used to create this emotional representation. V. Jocular – This playful movement in an Allegretto tempo uses staccato, syncopation, meter change, dotted rhythms, and angular melodies for its laughing sounds. VI. Scattered – A Presto tempo with hemiola, staccato notes, and light scoring are used throughout this short movement that feels like it is constantly changing direction. VII. Regretful – This Lento movement has sad legato lines with unresolved dissonances at the beginning and end. The middle section creates a sense of hope but quickly returns to the sorrowful sound. VIII. Confident – This movement is in a march style with strong accents. Its clear lines and rhythms help portray strength in one’s beliefs.
$14.99 ≈
14.03€
Pitch Only - Bass Clef (Sight Reading Exercise Book)
Pitch Only - Bass Clef (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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Pitch Only - Bass Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Handbell,Harpsichord,Horn,Marimba,Orff Instrument,Organ,Pian...
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Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Handbell,Harpsichord,Horn,Marimba,Orff Instrument,Organ,Piano,Timpani,Trombone,Tuba,Voice - Level 2 - SKU: A0.931838 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313621. Published by Dots and Beams (A0.931838). This book provides its user with a series of notes on a bass staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above and below the staff extend to the space just beyond the fourth ledger line. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls.As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years and still find a valuable way to use them.
$10.00 ≈
9.36€
Miscellany, 7 Short Movements For Piano Solo
Miscellany, 7 Short Movements For Piano Solo
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Piano seul
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AVANCÉ
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PIano - Sebastian Kurz
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Miscellany, 7 Short Movements
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Geraldine
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1314290 By PIano - Sebastian Kurz. By Geraldine (Denny) Green. 21st Century,Chamber,Classical,Contemporary,Romantic Perio...
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Piano Solo - Level 5 - SKU: A0.1314290 By PIano - Sebastian Kurz. By Geraldine (Denny) Green. 21st Century,Chamber,Classical,Contemporary,Romantic Period. Score. 27 pages. Geraldine (Denny) Green at Oakmountmusic #903031. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1314290). Written in 2008, Miscellany, 7 short movements for solo piano, was Commissioned by conductor/pianist Anthony Davie.Duration: approx 15 minutes in total.Inspired by friends, family and general life experiences, this set of short pieces encompasses a range of moods; from Romantic and melodic to comical and dissonant.Movement 1. Didi – Didi was a very unique and special friend for many years. She gave out great spiritual strength and insight into this very confusing world in which we all live. She was a real tower of quiet, gentle strength.Movement 2. Brew! – This movement was inspired directly by the Brewing Industry. It strives to depict the hustle and bustle of a busy, working brewery and the the many hilarious, fabulous people I met during my three years in the beer-making industry.Movement 3 – Convent Cherub – This little piece began life as the opening title music of a film score I worked on while at college. The film itself, entitled My Brother Rob, was made by Alison Hilder, a student director at the Harrow School of Film. The story told of a young boy traumatised by a convent boarding school up-bringing. I have felt for many years that this little main theme has needed an alternative home, as much film music is never played again.Movement 4 – Megan – This movement comes directly from my wonderful and beautiful daughter, who was 5 years old at the time of the writing of this piece. It seeks to express her wild vibrance, eternal cheekiness, infinite energy, sparkle and the utter fearlessness of youth.Movement 5 – Edward – This music is for my gorgeous little son, who has Down’s Syndrome, and was only 3 at the time of the writing of this piece. The opening came to me moments after the doctor had confirmed Edward had Down’s, when he was only 6 hours old. The music tries to convey the fear of the unknown, huge unconditional love and moments of uncertainty alternated by washes of strength. And yet, all through the fear the resolve to forever love and stay strong always wins.Movement 6 – Indifference – The opening 4 notes are the core of this movement, and the piece is built around and from them. This music is an observation of deep, rumbling frustration at the indifference growing in our fast moving, modern society.Movement 7 – “Wee Us†– This movement expresses family triumph, the gifts of life and love, and the glory of boundless, wild, youthful energy. This tune has not yet run its course. It will be back!
$12.00 ≈
11.23€
Walking In The Air
Walking In The Air
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Orchestre
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INTERMÉDIAIRE
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Howard Blake
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Kevin Riley
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Walking In The Air
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Kevin Riley
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1118521 Composed by Howard Blake. Arranged by Kevin Riley. 20th Century,Christmas,Film/TV. Score and parts. 53 pages....
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Full Orchestra - Level 3 - SKU: A0.1118521 Composed by Howard Blake. Arranged by Kevin Riley. 20th Century,Christmas,Film/TV. Score and parts. 53 pages. Kevin Riley #720042. Published by Kevin Riley (A0.1118521). Walking in the Air is a song written by Howard Blake for the 1982 animated film The Snowman based on Raymond Briggs' 1978 children's book of the same name. The song forms the centrepiece of The Snowman, which has become a seasonal favourite on British and Finnish television. The story relates the fleeting adventures of a young boy and a snowman who has come to life. In the second part of the story, the boy and the snowman fly to the North Pole. Walking in the Air is the theme for the journey. They attend a party of snowmen, at which the boy seems to be the only human until they meet Father Christmas with his reindeer, and the boy is given a scarf with a snowman pattern. In the film, the song was performed by St Paul's Cathedral choirboy Peter Auty, and reissued in 1985 (on Stiff Records) and 1987. In 1985, an altered version was recorded for use in a TV advertising campaign for Toys R Us. As Auty's voice had then broken, Blake recommended the then-14-year-old Welsh chorister Aled Jones, whose recording reached number five in the UK Singles Chart, and who became a popular celebrity on the strength of his performance. The association of the song with Jones, combined with Auty not being credited on The Snowman, led to a common misbelief that Jones performed the song in the film. Walking in the Air has subsequently been performed by over forty artists, in a variety of styles. In a UK poll in 2012, the Aled Jones version was voted 13th on the ITV television special The Nation's Favourite Christmas Song.
$70.00 ≈
65.49€
Tribute to the Trail of Tears
Tribute to the Trail of Tears
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Chorale SATB
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AVANCÉ
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Barron Brothers
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iyo he, iyo he
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Tribute to the Trail of Tears
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Barron Brothers
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SheetMusicPlus
Choral Alto Voice,Bass Voice,Soprano voice,Tenor Voice (SATB) - Level 5 - Interactive Download SKU: A0.726326 Composed by Barron Brothers. This edition: ...
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Choral Alto Voice,Bass Voice,Soprano voice,Tenor Voice (SATB) - Level 5 - Interactive Download SKU: A0.726326 Composed by Barron Brothers. This edition: Interactive Download. Folk,World. Octavo. 25 pages. Duration 281. Barron Brothers #6JvK5OaFLfcELYSz4fsbms. Published by Barron Brothers (A0.726326). Key: Ab major.**NJMEA Finalist Composition** Sun Tracks The track of the Sun across the sky leaves its shining, eternal message Illuminating, strengthening, warming... all of us who are here It shows us we are not alone. We are not alone. We are yet alive. And this fire, our fire shall not die! *- Atoni* Iyo he, iyo he; iyo he, iyo he; He, he, he, iyo he. - *Choctaw war dance* ...... Tribute to the Trail of Tears is an original SATB choir song commemorating my Choctaw heritage. When I wrote this song, I wanted to look at the Trail of Tears from the Choctaws' eyes. I did this by emphasizing the contrast between their anger with the shouting taken from a Choctaw war chant and hope with a Choctaw Sun Prayer (the sun is an important figure of hope in Choctaw spirituality), their English traditions forced upon them and their true Choctaw nature, and the betrayal of a government that was supposed to protect them. This song is designed to be slow and relaxed (~70bpm for the first part and ~85bpm for the piu mosso), with the bends representing relaxed glissandos in the voice. The last three chords are meant to be sensitive and should be taken very slowly. Keep in mind that this piece should not only be meaningful but convey the emotions to spread the Native awareness that is so direly needed in America.
$3.75 ≈
3.51€
Halo
Halo
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Beyonce
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Sarah Cellobat Chaffee
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Halo
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Sarah Cellobat Chaffee
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1457596 By Beyonce. By Beyonce Knowles, Evan Bogart, and Ryan Tedder. Arranged by S...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1457596 By Beyonce. By Beyonce Knowles, Evan Bogart, and Ryan Tedder. Arranged by Sarah Cellobat Chaffee. Contemporary,Pop,Wedding. 20 pages. Sarah Cellobat Chaffee #1036618. Published by Sarah Cellobat Chaffee (A0.1457596). Halo, a powerful love ballad with strong spiritual vibes, was released by Beyoncé as a single in 2009 to great acclaim. With a music video depicting a behind-the-scenes look at the singer's everyday life, and lyrics describing the strength that comes from being vulnerable with those who you love, the song was a breath of fresh air on the pop scene. Combined with Beyoncé's massive vocal range and impressive stylistic effects, Halo was a tour de force that resonated with people around the world -- and it soon shot to the top of the charts! After winning several music awards including a Grammy, and earning multiplatinum certification in many countries around the world, it's clear that this song has a place in people's hearts, and it's still a very popular choice for weddings and events to this day. So you definitely can't go wrong adding this to your gig books! This Cellobat arrangement for your string quartet maintains the soaring vocal lines, lush harmonies, and powerful beat of the original for a chart that's sure to get your audience singing along! Rated advanced-intermediate for some tricky rhythms throughout and some higher notes in the violin parts (up to 4th position); this will be learnable for more advanced students and sightreadable for professionals.Sarah “Cellobat” Chaffee is an in-demand acoustic & electric cellist and string arranger. You may have seen her onstage with legendary rock band Aerosmith as the cellist for their “Deuces Are Wild” residency, playing more than 50 sold-out shows with the Bad Boys from Boston; she is also the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays and tours with many other world-renowned groups including the Femmes of Rock, Premiere Wedding Music, Bella Electric Strings, and David Perrico’s Pop Strings Orchestra. Sarah has made a number of TV appearances including the Billboard Music Awards, the Latin Grammy Awards, the iHeartRadio Music Festival, and the CBS reality show “Love Island”; she also played with Michael Bublé for his sold-out Resorts World residency and appeared with him on the Kelly Clarkson Show. Sarah has performed and recorded with a number of other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Dionne Warwick, Sarah Brightman, and Sammy Hagar.Sarah is also an acclaimed string arranger with hundreds of arrangements published on Sheet Music Plus under her own label, Cellobat Charts. She is the exclusive arranger for several award-winning wedding and event companies across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles worldwide. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$16.99 ≈
15.90€
Händel: Atalanta, HWV 35: Ouverture. Largo - Allegro (Trumpet and Continuo reduction)
Händel: Atalanta, HWV 35: Ouverture. Largo - Allegro (Trumpet and Continuo reduction)
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Trompette, Piano
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INTERMÉDIAIRE/AVANCÉ
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Georg Friedrich Händel, Ali
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Flavio Regis Cunha
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Händel: Atalanta, HWV 35:
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Flavio Regis Cunha
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SheetMusicPlus
Piano,Trumpet - Level 4 - SKU: A0.1288949 By Georg Friedrich Händel, Alison Balson, Trevor Pinnock and the English Concert. By George Frideric Handel...
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Piano,Trumpet - Level 4 - SKU: A0.1288949 By Georg Friedrich Händel, Alison Balson, Trevor Pinnock and the English Concert. By George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Classical,Contest,Festival,Instructional,Wedding. Score and part. 6 pages. Flavio Regis Cunha #879791. Published by Flavio Regis Cunha (A0.1288949). DescriptionDo you want to bring Georg Friedrich Handel's Atalanta to life? Introducing Handel's powerful work for trumpet solo and chamber orchestra, as played by the world's premier soloist Alison Balson and Trevor Pinnock. Perfect for church, school and professional orchestras,'Händel: Atalanta' will give your performance exceptional energy and dynamic expression. Get this timeless masterpiece and experience a stunning work of genius.Advanced Intermediate Format: Concert, 9 x 12 inches44 pagesFull Score and Orchestral Parts Instrumentation: Basso continuo, Trumpet, Chamber Orchestra (0.2.0.1  0.1.0.0  harpsich. str.) + Trumpet and Continuo reductionDuration: 4 min.Program NotesAbout the ComposerThe 'Atalanta, HWV 35: Ouverture' was composed by the renowned Baroque composer, Georg Friedrich Händel. His imaginative works make him one of the most important figures of the Baroque period. Other well-known works of Handel's include 'The Messiah', 'Water Music', and 'Music for the Royal Fireworks'. He was a master at combining various instruments and emotional elements to create enthralling music.Musical CharacteristicsThe 'Atalanta, HWV 35: Ouverture' is characterized as a light and airy composition, made up of a combination of a trumpet solo and chamber orchestra. The movement transitions from a gentle, unhurried 'Largo' into an energetic and lively 'Allegro'. The bright, steady tempo of the 'Allegro' creates a lively and captivating atmosphere. The trumpet solo and chamber orchestra complement each other wonderfully, resulting in an energetic and joyous musical journey. The Composition ItselfThe 'Atalanta, HWV 35: Ouverture' is presented here by trumpeter Alison Balson and conductor Trevor Pinnock and The English Concert. The piece begins with a wonderfully flavorful 'Largo' section, featuring Balson's ethereal, small touches of the trumpet as the orchestra gently sets the musical groundwork. This is soon followed by an equally uplifting 'Allegro'. Balson's trumpet solo is full of passion and energy, creating a bold and energetic atmosphere. As the chamber orchestra grows more intense, the piece builds to a thrilling conclusion. Programmatic InterpretationThe 'Atalanta, HWV 35: Ouverture' is based on the ancient Greek myth of Atalanta. In the myth, Atalanta is a swift and brave Princess who is challenged by a band of young suitors to a race. To the winners, she offers a prize of marriage. As we listen to Handel's composition, we can imagine the race beginning with the slow and steady 'Largo', as Atalanta calmly assesses the present, and takes her time to decide her path. As the 'Allegro' begins, we can feel her strength and power as she embarks on her journey, full of excitement and determination. As the piece builds, we can feel her courage and enthusiasm as she confronts the race ahead. Finally, we can picture Atalanta achieving success as the piece ends in jubilation.About the album 'Magic Trumpet'Sound the Trumpet is an album of glorious baroque music associated with royalty where Alison brings the music of the Purcell and Händel to life. collaboration between the English trumpetist, Alison Balson, the conductor and harpsichordist, Trevor Pinnock and the English Concert baroque soloists.ARRANGEMENT DETAILS Arrangement Format Chamber OrchestraDifficulty Advanced IntermediateGENRE DETAILSGenres Baroque, Classical, Contest / Festival, Instructional, WeddingFULL SCORE AND ORCHESTRAL PARTS AVALIABLE FOR PURCHASE AT:https://www.sheetmusicplus.com/title/handel-atalanta-hwv-35-ouverture-largo-allegro-as-played-by-alisson-balson-and-trevor-pinnock-digital-sheet-music/22581106?aff_id=728965
$5.99 ≈
5.60€
Händel: Atalanta, HWV 35: Ouverture. Largo - Allegro as played by Alison Balson and Trevor Pinnock.
Händel: Atalanta, HWV 35: Ouverture. Largo - Allegro as played by Alison Balson and Trevor Pinnock.
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Georg Friedrich Händel, Ali
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Flavio Regis Cunha
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Händel: Atalanta, HWV 35:
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1288408 By Georg Friedrich Händel, Alison Balson, Trevor Pinnock and the English Concert. By George Frideric Ha...
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Chamber Orchestra - Level 4 - SKU: A0.1288408 By Georg Friedrich Händel, Alison Balson, Trevor Pinnock and the English Concert. By George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Classical,Contest,Festival,Instructional,Wedding. Score and Parts. 44 pages. Flavio Regis Cunha #879394. Published by Flavio Regis Cunha (A0.1288408). Handel: Atalanta, HWV 35: Ouverture. Largo - Allegro.Do you want to bring Georg Friedrich Händel's Atalanta to life? Introducing Handel's powerful work for trumpet solo and chamber orchestra, as played by the world's premier soloist Alison Balson and Trevor Pinnock. Perfect for church, school and professional orchestras, 'Handel: Atalanta' will give your performance exceptional energy and dynamic expression. Get this timeless masterpiece and experience a stunning work of genius.Advanced Intermediate Format: Concert, 9 x 12 inches44 pagesFull Score and Orchestral Parts Instrumentation: Basso continuo, Trumpet, Chamber Orchestra (0.2.0.1  0.1.0.0  harpsich. str.) + Trumpet and Continuo reductionDuration: 4 min.Program NotesAbout the ComposerThe 'Atalanta, HWV 35: Ouverture' was composed by the renowned Baroque composer, Georg Friedrich Händel. His imaginative works make him one of the most important figures of the Baroque period. Other well-known works of Händel's include 'The Messiah', 'Water Music', and 'Music for the Royal Fireworks'. He was a master at combining various instruments and emotional elements to create enthralling music.Musical CharacteristicsThe 'Atalanta, HWV 35: Ouverture' is characterized as a light and airy composition, made up of a combination of a trumpet solo and chamber orchestra. The movement transitions from a gentle, unhurried 'Largo' into an energetic and lively 'Allegro'. The bright, steady tempo of the 'Allegro' creates a lively and captivating atmosphere. The trumpet solo and chamber orchestra complement each other wonderfully, resulting in an energetic and joyous musical journey. The Composition ItselfThe 'Atalanta, HWV 35: Ouverture' is presented here by trumpeter Alison Balson and conductor Trevor Pinnock and The English Concert. The piece begins with a wonderfully flavorful 'Largo' section, featuring Balson's ethereal, small touches of the trumpet as the orchestra gently sets the musical groundwork. This is soon followed by an equally uplifting 'Allegro'. Balson's trumpet solo is full of passion and energy, creating a bold and energetic atmosphere. As the chamber orchestra grows more intense, the piece builds to a thrilling conclusion. Programmatic InterpretationThe 'Atalanta, HWV 35: Ouverture' is based on the ancient Greek myth of Atalanta. In the myth, Atalanta is a swift and brave Princess who is challenged by a band of young suitors to a race. To the winners, she offers a prize of marriage. As we listen to Handel's composition, we can imagine the race beginning with the slow and steady 'Largo', as Atalanta calmly assesses the present, and takes her time to decide her path. As the 'Allegro' begins, we can feel her strength and power as she embarks on her journey, full of excitement and determination. As the piece builds, we can feel her courage and enthusiasm as she confronts the race ahead. Finally, we can picture Atalanta achieving success as the piece ends in jubilation.About the album 'Magic Trumpet'Sound the Trumpet is an album of glorious baroque music associated with royalty where Alison brings the music of the Purcell and Händel to life. collaboration between the English trumpetist, Alison Balson, the conductor and harpsichordist, Trevor Pinnock and the English Concert baroque soloists.
$39.99 ≈
37.42€
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his strength not at an end
