Format : Sheet music
From the opening piano chords through the layered rhythms and synth lines this #1 hit from Justin Bieber is both complex and laid back at the same time. An attractive feature for pop show and jazz groups.
SKU: LO.15-3644H
ISBN 9780787764630.
And what Christmas means to each of us is what makes the season bright. And our Christmas cheer is meant to be shared, and can heal a broken heart. Love will help us remember what Christmas means. Program this touching original Christmas ballad to bring light to why we celebrate this season of the year. Comfortable ranges and strong voice leading throughout help to speed up learning time.
SKU: HL.49045920
ISBN 9781540030931. UPC: 888680755584. 7.0x10.5x0.074 inches. English.
What You Can Do for the World is a fun, spirited, light-hearted but meaningful dialog between the two choruses, and between the sections within the choruses. They are sometimes in agreement, sometimes slightly at odds.It is critical that chorus I and chorus II are placed separately on stage so the audience experiences, as much as possible, the sensation of one chorus in their left ear and the other in the right.The hand-offs of parts from chorus to chorus, and from section to section within each chorus, should be seamless, without pauses. The effect should be that of a lively conversation ping-ponging back and forth, keeping the audience guessing where the next line will be coming from. Douglas J. Cuomo, 2018.
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: BA.BA11309
ISBN 9790006577705. 27 x 19 cm inches. Text Language: English.
It is a small music history sensation: Thanks to Yves Grard an unknown and unpublished manuscript penned by Camille Saint-Saëns has been unearthed in the Mdiathèque Jean Renoir in Dieppe in France.It is the top four instrumental parts which make this manuscript something of a sensation. Placed under each other are â??Saxophone Soprano en Si bâ?, â??Saxophone Alto en Mi bâ?, â??Saxophone Tnor en Si bâ? and â??Saxophone Baryton en Mi bâ?, strings, soprano solo with chorus and organ. Musical history has hitherto credited Jean-Baptiste Singele (1812â??1875) with having written the first saxophone quartet, his opus 53, which he completed in 1857. Now this historiography clearly has to be revised. The date 1854 has been found under the first page of the treasure from Dieppe, which is pasted over and also sewn, meaning that Saint-Saënsâ?? work was written three years earlier than that of Singele.In contrast to Singele, Saint-Saëns does not have the wind instruments taking solo parts but rather uses their tonal colour to depict textual moods and nuances. On the one hand the saxophones accompany the choral parts (certainly singable by amateurs) and support the human voices in fugal passages. On the other hand, they take the melody in the purely orchestral passages.Saint-Saëns wrote the motet in the period when he had taken up his first permanent appointment as organist at the Church of Saint-Merri in Paris. He revised the work several times over the decades, changing the motifs at the beginning, correcting obvious mistakes, reworking the ending, eventually changing the instrumentation several times and even â?? probably in the final stage â?? replacing the Latin text with an English one. Today, three-and-a-half versions have been handed down, one of them stopping after just a few pages. The compositional steps have been successfully reconstructed by means of detailed detective work. Furthermore, the first saxophone version (BA 11305) and the last English piano version (BA 11309) have been edited to produce a scholarly-critical edition.The present edition of the English version for soprano solo, choir and piano (BA 11309) serves both as a full score and as a vocal score due to the instrumentation.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: SB.SBMP-1694
UPC: 000308159660.
“Every door you enter you find a piece of something inside you never knew.†Choirs will love this inspiring text that brings comfort to those in times of struggle. Character building texts of self-discovery, self-acceptance, and self-worth are set beautifully to music that is accessible for choirs of any level. It features unison melodies that are excellent opportunities to build your choir’s legato tone, along with part writing that is quick to learn and satisfying to sing. This piece speaks to the heart of what it means to be human, and it is sure to be an all-time favorite of singers and audience alike!
SKU: CF.CM9705
ISBN 9781491160015. UPC: 680160918614. Key: F# minor. English. Traditional Spiritual.
New to the Carl Fischer family, Abeni Janae (b. 2001) brings a fresh voice in her arrangement of this wonderfully rich African American spiritual. Accessible for mixed choirs of all sizes and abilities, there is pathos and passion in every phrase.Keep in mind what this spiritual text represents, especially if you can relate to it on a personal level. Since it is a traditional spiritual, it is important to use appropriate pronunciations. That means it is acceptable not to pronounce some of the words the way we normally would in American English. For example: Do not pronounce the “t†in “little†too much, opting to pronounce it closer to “liddle.†Do not pronounce the “-er†in “longer†too much, opting to pronounce it as “lon-guh.†Whether or not the choir sings with much or minimal vibrato is at the discretion of the conductor/director.Mostly, have fun singing this piece!If you have any further questions about the background of this piece or anything of the sort, feel free to contact me at missabenijanae@gmail.com.
SKU: HL.49043945
ISBN 9790220133503. 8.25x12.0x0.3 inches. English.
Sea Songs, commissioned jointly by Ars Nova Copenhagen and Glasgow Concert Halls, is a kind of sequel to Martland's Street Songs (originally written for the Kings Singers and Evelyn Glennie). As with the earlier piece, Martland made use of to the library of the English Folk Song and Dance Society at Cecil Sharp House in north London.I wanted specifically to find texts that were not just the usual nautical heave-ho sort of thing, but instead explored the dangers and hardships still being experienced by sailors as recently as the early 19th century. I was also very happy to see in these texts the sense of camaraderie and mutual support that existed between the sailors. (Steve Martland)Dance to your Daddy sets the scene of a sailor's wife at home, dandling her baby son and singing to him about his daddy away fishing, and about the future. Both the tune and the words come from the Northumberland area around Newcastle. This song is very well known in the UK and gave the title to a famous television series When the boat comes in.Fire Down Below is about the effects of fire - a constant danger on board wooden ships. At the end of this song the words take on an extended meaning: Fire in our hearts for the friends that we love.The Dead Horse is about the initial month of work without pay in which all seamen had to take part. They referred to it as the dead horse - hence the expression to flog a dead horse when something is a waste of time. The seamen resented this unpaid time, and the text expresses their frustrations metaphorically by listing what they would do to the horse! The music's frantic gallop alludes to the horse's desperation.Although The Sea Martyrs presents itself as a ballad, this text has a more literary feel, and unlike the other songs it doesn't include a chorus refrain. It concerns the sailors' lack of pay, the consequences of asking for pay (being hanged!), and the poverty of their families at home. The poem portrays the sailors' deaths as an almost religious sacrifice to help future seamen.At the end of the work, the opening of Dance to your Daddy returns as a kind of descant, sung by an angel calling to the hanged men. Paul Hillier, 2012.
SKU: HL.48025272
ISBN 9781784548285. UPC: 196288154792. 7.25x10.25x0.042 inches.
Do not neglect is a stand-alone movement from Kim André Arnesen's large-scale work, The Stranger, which uses a thought-provoking text from chapter 13 of the Epistle to the Hebrews: “Do not neglect to show hospitality to strangers, for by doing that some have entertained angels without knowing it.â€. The text is short, but really worth reflecting on what it means to us, and it is this internal reflection that is portrayed in this beautiful, solemn and largely homophonic setting. This setting is written for choir and cello, one of the composer's favourite combinations, but it may also be performed a cappella. The extracted cello part is included in the vocal score.
SKU: AP.48289
UPC: 038081551128. English.
A garden serves as a symbolic metaphor about nurturing a meaningful life in this tender choral by Jay Althouse. Lyrical lines, warm harmonies, and sensitive phrasing garner a beautiful bouquet of musical moments and significant emotion. Grow your garden. Give it tender care, and you will reap what you will sow.
About Alfred Choral Designs
The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: BR.EB-7118
ISBN 9790004172728. 7.5 x 10.5 inches. German / English.
The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments. Both versions are printed consecutively. Of particular interest for an authentic performance are two Litui, which are called for in both versions. To this day it has been impossible to determine what instruments are meant here: high horns in B flat? Or trumpets? The work has more unanswered questions for us for example, the occasion for which the first version was written in ca. 1736/37, and the reason why the work was newly orchestrated after 1740.The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments.
SKU: BR.OB-4618-26
The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments.
Have a look. Motet; Baroque. Part. 2 pages. Duration 8'. Breitkopf and Haertel #OB 4618-26. Published by Breitkopf and Haertel (BR.OB-4618-26).
ISBN 9790004341568. 9 x 12 inches.
The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments. Both versions are printed consecutively. Of particular interest for an authentic performance are two Litui, which are called for in both versions. To this day it has been impossible to determine what instruments are meant here: high horns in B flat? Or trumpets? The work has more unanswered questions for us for example, the occasion for which the first version was written in ca. 1736/37, and the reason why the work was newly orchestrated after 1740.
SKU: BR.OB-4618-16
Have a look. Motet; Baroque. Part. 2 pages. Duration 8'. Breitkopf and Haertel #OB 4618-16. Published by Breitkopf and Haertel (BR.OB-4618-16).
ISBN 9790004341544. 9 x 12 inches.
SKU: BR.OB-4618-15
Have a look. Motet; Baroque. Part. 2 pages. Duration 8'. Breitkopf and Haertel #OB 4618-15. Published by Breitkopf and Haertel (BR.OB-4618-15).
ISBN 9790004341537. 9 x 12 inches.
SKU: BR.OB-4618-30
Have a look. Motet; Baroque. Set of parts. 30 pages. Duration 8'. Breitkopf and Haertel #OB 4618-30. Published by Breitkopf and Haertel (BR.OB-4618-30).
ISBN 9790004341575. 9 x 12 inches.
SKU: BR.OB-4618-19
Have a look. Motet; Baroque. Part. 2 pages. Duration 8'. Breitkopf and Haertel #OB 4618-19. Published by Breitkopf and Haertel (BR.OB-4618-19).
ISBN 9790004341551. 9 x 12 inches.
SKU: BR.PB-4618
Have a look. Motet; Baroque. Full score. 20 pages. Duration 8'. Breitkopf and Haertel #PB 4618. Published by Breitkopf and Haertel (BR.PB-4618).
ISBN 9790004214794. 10 x 12.5 inches.
SKU: BR.CHB-4618-02
Have a look. Motet; Baroque. Choral score. 4 pages. Duration 8'. Breitkopf and Haertel #ChB 4618-02. Published by Breitkopf and Haertel (BR.CHB-4618-02).
ISBN 9790004407073. 7.5 x 10.5 inches. German / English.
