Medium High Voice in D-flat Major-Arranged for medium high voice in D flat. Malotte's choral work The Lord's Prayer is presented here with a freshly engraved score and a companion CD. The score contains two versions of the song in the designated key: voicewith piano accompaniment and voice with organ accompaniment. The CD features the orchestral accompaniment as well as a full performance with a professional singer. Also included is the history of Malotte's song and itspublication.

21 art songs, plus 4 arias in the High Voice volume, or 3 arias in the Medium/Low Voice volume. Art song contents for both High and Medium/Low Voice: Dirge in Woods ? Old Poel ? Pastorale ? Poet\'s Song ? Vocalise ? Four Early Songs; Night ? A Summer Vacation ? My Heart Is in the East ? Alone ? Twelve Poems of Emily Dickinson (complete; original keys retained for both High and Medium/Low). Arias in the High Voice edition: Laurie\'s Song (The Tender Land) ? Martin\'s Song (The Tender Land) ? The sun is coming up (The Tender Land) ? Queenie\'s Song (The Second Hurricane) ? Arias in the Medium/Low edition: Ma\'s Song (The Tender Land) ? Fat\'s Song (The Second Hurricane) ? Gyp\'s Song (The Second Hurricane).
A Summer Vacation
Alone
Dear March, come in!
Dirge in Woods
Going to Heaven!
Heart, we will forget him
I felt a funeral in my brain
I\'ve heard an organ talk sometimes
Laurie\'s Song from The Tender Land
Martin\'s Song from The Tender Land
My Heart Is in the East
Nature, the gentlest mother
Night
Old Poem
Pastorale
Poet\'s Song
Queenie\'s Song from The Second Hurricane
Sleep is supposed to be
The Chariot
The sun is coming up from The Tender Land
The world feels dusty
There came a wind like a bugle
Vocalise
When they come back
Why do they shut me out of Heaven?
/ Partitions classique / Vocale - chorale / Voix solo - piano / BOOSEY

Medium High Voice (D-Flat) and Organ-This English/French arrangement of Adams' 'Cantique De Noel' for the medium high voice and organ in D Flat is the most popular and widely recognised vocal showpiece from this French composer.

An uplifting hymn for high voices with Organ accompaniment - suitable for school choral groups.

Instrumentation: High voice—Org Format: Sheet Music Details: (Eng.)

Sing Solo Sacred contains 40 of the most popular sacred solos in one single volume. The material is suitable for use at concerts weddings memorial services church celebrations and devotional use. All texts in either Latin or other foreign languages are complete with the original text with the singable English translations printed below as easy alternatives. All accompaniments are arranged for organ but are also playable on the piano. This book is an excellent source of sacred songs and arias for High Voice.

20 Songs on Religious Texts-Sacred Songs For The Soloist is an innovative collection of 17 songs on Religious and sacred texts for solo Medium-High Voice compiled and edited by David Patrick. It is suitable for many different occasions and the pieces are equally appropriate for recitals or church services and have accompaniments for piano or organ. Many of the songs have been made available here for the first time. This volume also features an appendix containing an English translation for each song.

Psalm100-Make A Joyful Noise Unto The Lord is a beautiful setting of Psalm 100 by Michael Head for Solo High Voice with Piano or Organ accompaniment. It is the third of his three Psalm settings. It is a wonderful psalm of praise joyful and buoyant this is an effective rhythmic setting completed in 1976.

Mass for Treble Voices and Organ. This work was first performed on 18th March 2003 during a celebration of Mass at Westminster Cathedral by the boys of Westminster Cathedral Choir.

Includes versions for High Medium or Low Voice (G F or E flat) with Piano accompaniment. Performance note by Gordon Stewart.Preface:The words for Panis Angelicus are from a longer hymn text Sacris Solemnis written by St Thomas Aquinas in the thirteenth century for the newly established Feast of Corpus Christi and would originally have been sung to a plainchant. César Franck set this verse of seven lines in 1872. His deep religious feelings fashioned a memorable melody one which is within the scope of all singers - its range is only a seventh and if you follow the word patterns the breathing sits comfortably. It is in its way simple and direct but with the chance to use the voice to its full. The Latin words are not hard to sing but if you prefer to perform it in English the translation conveys the essential meaning. Franck originally wrote Panis Angelicus for Tenor Cello Harp Organ and Double Bass but it slips easily into the Keyboard arrangement. The colours of the original scoring are evident the Organ's sustained chords the semi-staccato notes for the Harp and the Cello's countermelody beginning in bar 38 (which could be transferred to another melodic instrument if that suits the occasion). Some discreet repetition of the long tied notes and doubling of the bass at the octave can give the Piano more resonance. The accompaniment probably works best with a minimum pedalling and an Organist's style of fingering. The dynamics ask for a triumphant final statement of the words 'pauper servus' in bar 53. It makes complete musical sense to make a diminuendo for the word 'humilis' in bar 56 leading to a thoughtful postlude.

Since the 1970th Karg-Elerts organ- reed organ- und piano music systematically gets rediscovered but his songs however were left out which was certainly wrong. His more than 200 solo singings are high-ranking compositions which furthermore

for Upper Voices and Orchestra. The Lost Words by composer James Burton takes its inspiration and text from the award-winning ?cultural phenomenon? and book of the same name by Robert Macfarlane and Jackie Morris: a book that was, in turn, a creative response to the removal of everyday nature words like acorn, newt and otter from a new edition of a widely used children?s dictionary. Both the book and Burton?s 32-minute work, which is written in 12 short movements for upper-voice choir in up to 3 voice parts (with either orchestral or piano accompaniment), celebrates each lost word with a beautiful poem or ?spell?, magically brought to life in Burton?s music. At its heart, the work delivers a powerful message about the need to close the gap between childhood and the natural world. Burton?s piece was co-commissioned by the Hallé Concerts Society for the Hallé Children?s Choir and the Boston Symphony Orchestra. The piano accompaniment version was premiered at the Tanglewood Festival in 2019 by the Boston Symphony Children?s Choir, of which Burton is founder and director. The Hallé Children?s Choir will premiere the orchestral version of the full work in Manchester, UK, post-pandemic.

This simple carol for two-part upper voices was commissioned by Jenni Wake-Walker in 2008 and is a setting of an anonymous 15th century text celebrating the Nativity. It was written specifically for children of primary school age and with this in mind may be transposed up or down a semitone depending on the vocal ranges available. The accompaniment a gently undulating ostinato which remains constant throughout is intended for a piano harp or organ and might also be played by a child.