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Percussion Ensemble,Percussion Trio Percussion - Level 3 - Digital Download SKU: A0.1504788 By Francois Du Bois. By Francois Du Bois. 21st Century,Contemporary,Multicultural,Spiritual,World. 27 pages. D-Project Co., Ltd. #1080208. Published by D-Project Co., Ltd. (A0.1504788). L’éclaircie : (morceau indépendant de l’album “dive into silence), est une pièce de Musique Médita (musique conçue pour la méditation). Il symbolise l’éveil de l’âme dans une forme fondamentale et dépouillée.– “L’éclaircie” symbolise l’éveil de l’âme dans une forme fondamentale et dépouillée. Le marimba impose une rythmique forte et catégorique, mais d’autres éléments percussifs gravitent autour de lui et finalement le libère, la fin symbolise la légèreté retrouvée.Pour un marimbiste et deux percussionnistes.Instruments : Marimba/Large Tibetan Cymbal/Tibetan Bowls/Medium Slit Drum/Large Slit Drum/High Sound Singing Bowl/Low Sound Singing Bowl/ThunderDrum ou Thundersheethttps://on.soundcloud.com/tsYEfBq4kYsSdk2X8L’éclaircie??????Dive into Silence???????????Medita Music??????- ?L’éclaircie???????????????????????????????????????????????????????????????????????????????????????????????????????????1???????2??????????????????????????????????????????????????????????????????????????????????????????????????????https://on.soundcloud.com/tsYEfBq4kYsSdk2X8L’éclaircie: (independent track from the album Dive into Silence), is a piece of “Medita Music” (music designed for meditation). It symbolizes the awakening of the soul in a fundamental and stripped-down form.- L’éclaircie symbolizes the awakening of the soul in a fundamental and stripped-down form. The marimba imposes a strong and categorical rhythm, but other percussive elements gravitate around it and eventually free it, with the end symbolizing the return of lightness.For one marimbist and two percussionists.Instruments: Marimba/Large Tibetan Cymbal/Tibetan Bowls/Medium Slit Drum/Large Slit Drum/High Sound Singing Bowl/Low Sound Singing Bowl/ThunderDrum or Thundersheethttps://on.soundcloud.com/tsYEfBq4kYsSdk2X8
L'Eclairsie
3 Percussions
Francois Du Bois
$18.00 15.35 € 3 Percussions PDF SheetMusicPlus

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1030615 Composed by William Billings. Arranged by Mike Allsen. Classical,Praise & Worship,Renaissance,Sacred,Spiritual. Score and parts. 41 pages. Aaron Hettinga #636010. Published by Aaron Hettinga (A0.1030615). William Billings (1746-1800) was North America’s first great choral composer. He spent most of his life in Boston, working at various times as a tanner or as minor civic official, and occasionally as a church musician. Billings seems to have had little formal music training, but when he was just 22, he also set himself up as an itinerant singing-master, teaching “singing-schools,†where children and adults could learn the rudiments of musical notation and solfege. To feed the market he and other singing-masters had helped to create, Billings published six collections of music, mostly for SATB voices, The first of these, The New England Psalm-Singer (1770) featured a frontispiece engraved by his friend Paul Revere. Billings was fairly prosperous by 1780s, but his good fortune faded in the 1790s. His final collection of music, The Continental Harmony of 1794, was published for his benefit by a group of Boston friends. Billings died destitute in 1800. Billings composed some 340 pieces, mostly collected in his printed editions. This music has a rough-edged and sturdy beauty that is distinctly different from anything in contemporary Europe. The vast majority of Billings’s works were hymns or “psalm tunes.†He was particularly attracted to the great English hymn-writer Isaac Watts (1674-1748), though Billings himself wrote verses for many of his hymns. One of the most famous Billings “psalm tunes,†Chester is not a Christian hymn, but rather a patriotic song of defiance directed against the British. Billings spent nearly all of the Revolutionary War in Boston and made no secret of his patriot sentiments. Chester was first published in 1770, but when he republished it in his The Singing-Master’s Assistant during the height of the war in 1778, Billings added a verse calling out the “infernal league†of the leading British generals Howe, Burgoyne, Clinton, Prescot and Cornwallis. Many brass-players will know Chester from the finale of William Schuman’s 1957 band piece A New England Triptych. Billings also composed over 50 “fuging-tunesâ€â€”a genre that usually included a short introduction and a repeated contrapuntal section. (These fuging sections usually begin with imitation, but they are otherwise not at all like classical fugues written in Europe at the time.) The fuging-tune Creation is one of his later works, published in The Continental Harmony of 1794, and experiments with the form. It sets two verses of the Watts hymn “When I With Pleasing Wonder Stand†though final line of verse 1 is repeated in a striking phrase that suddenly moves twice as fast (m.15). The fuging section begins in m.30, and rather than the usual exact repeat, Billing writes an entirely new and more elaborate second section beginning at m.44. Billings first published the simple but beautiful Africa in 1770, and published a revised version in 1778; the later version appearing with the Isaac Watts hymn “Now Shall My Inward Joys Arise.†I first arranged Africa in 1995, for the Glenwood Moravian Trombone Choir (Madison, WI), and I edited it for this publication. Phrasing and articulations marked here reflect the original vocal texts. Africa has long been a favorite of the Glenwood group. Chester and Creation were arranged in 2022. Mike Allsen February 2022.
A Billings Triptych - for 8-Part Brass Choir
Quatuor de Cuivres : 2 trompettes, trombone, tuba

$34.99 29.84 € Quatuor de Cuivres : 2 trompettes, trombone, tuba PDF SheetMusicPlus

Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Arlo Guthrie
$3.99 3.4 € Chorale TTBB PDF SheetMusicPlus

Choral Choir,Choral,SAB Chorus - Digital Download SKU: A0.1425691 By Artists of Then, Now & Forever. By Bill Danoff, Dolly Parton, John Denver, Taffy Nivert, and Willie Nelson. Arranged by Debbie Warren. Country,Pop,Standards. 11 pages. Keep Calm and Keep Singing #1006455. Published by Keep Calm and Keep Singing (A0.1425691). Originally commissioned by the Country Music Awards this is a great medley/mash up of your favourite country songs - Country Roads by John Denver, I Will Always Love You by Dolly Parton and On the Road Again by Willie Nelson. Each song has its own stand alone moment whilst also weaving in and out of the other songs - 4 minutes of pure country joy!Arranged here for SAB voices and piano, each part gets substantial sections of melody to sing. Perform with piano accompaniment or add guitar and bass (chord symbols on the score) or use a backing track. A great showstopper or finale for any concert. Guaranteed crowd pleaser! Part of the Keep Singing Series for community choirs designed to be easy to teach and easy to learn.Easy LevelDuration: 4mins Backing track available here from Karaoke VersionRehearsal tracks available from Keep Calm and Keep Singing
Forever Country
Chorale 3 parties
Artists of Then, Now & Forever
$2.99 2.55 € Chorale 3 parties PDF SheetMusicPlus

Organ,Piano - Level 3 - Digital Download SKU: A0.1332954 Composed by John F. Wade. Arranged by Steve Stanfill. Christmas,Holiday,Praise & Worship,Religious,Traditional. Organ and Piano. 2 pages. Steve Stanfill #919312. Published by Steve Stanfill (A0.1332954). This is a single verse arrangement for piano and organ together, either as a stand alone performance, but more suited to a unison verse of the beloved Christmas carol in congregational singing.  It is composed specifically for the 3rd Verse of the hymn.  It can be used with the organ alone for congregational singing (in unison), but is particularly effective with the piano and organ together.  Typical performance practice would be singing the carol  (in typical huymn arrangement) in parts with the congregation, then singing unison on the last verse with this accompaniment.
O Come All Ye Faithful--3rd Verse Unison Congregational Sing
Chorale Unison

$3.99 3.4 € Chorale Unison PDF SheetMusicPlus

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1234230 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Christmas,Praise & Worship,Religious,Sacred. Score. 10 pages. Kevin G. Pace #829768. Published by Kevin G. Pace (A0.1234230). A delightfully beautiful, sacred vocal duet for alto and tenor.  This duet is between the Angel Gabriel and Mary, the mother of Jesus.  Music by Kevin G. Pace and text by Mary Ann W. Snowball.Text:Gabriel singing:Mary, thou art favored, highly sought and blessed.Mary, I am Gabriel. Fear not; be at rest.Thy Lord will be with thee to bring forth a son.He’ll be known as Jesus; He’s God holy One.Mary singing:O, how shall this happen? I know not a man.Lo, I am as yet espoused; he will take my hand.For his name is Joseph of a royal line.O, how shall this happen? When will be the time?Gabriel singing:Hail, thou art so favored, favored in God’s sight.Mary, be not troubled now, for He’ll send new light.This Son shall be greatest of God’s children, all.He will rescue kingdoms, for this is His call.Mary singing:Behold, I am Mary, handmaid of the Lord,And it will be unto me, keeping with thy (His) word.I will bear pure Jesus as (through) God’s holy will.I’ll receive His comfort; now I will be still.Gabriel and Mary sing together:I will visit Joseph and he will be blessed.He shall be the guardian—true faith manifest.His fear will diminish; perfect peace will come.He will cherish Jesus, highly favored One.Favored of our Father . . . his all-loving Son.
Highly Favored, sacred vocal solo (alto-tenor)
Piano, Voix

$3.99 3.4 € Piano, Voix PDF SheetMusicPlus

Small Ensemble Flute,Piano,Voice - Level 5 - Digital Download SKU: A0.1073271 By Helene Schulthess. By Fanny Hünerwadel (1826 – 1854). Arranged by Helene Schulthess. Classical,Romantic Period. Score and parts. 24 pages. Helene Schulthess #677536. Published by Helene Schulthess (A0.1073271). The composer Fanny Hünerwadel (1826 in Lenzburg - 1854 in Rome) came from a long-established family of the town of Lenzburg. She was the eldest child of the doctor Johann Friedrich Hünerwadel and Regula Speerli, who were both enthusiastic music lovers. After first being taught by her mother, Hünerwadel learned to play the piano in Lenzburg with Philipp Tietz, Joseph Breitenbach, and Ludwig Kurz and belonged to the local singing society. From 1846 she studied piano, singing, music theory and composition with Hans Nägeli and with Wagner's friend Alexander Müller in Zurich. During her time in Zurich she made the acquaintance of Johann W. Kalliwoda, Richard Wagner, Ferdinand Huber, Franz Liszt, Franz Abt, Wilhelm Baumgartner and Henri Vieuxtemps. In 1852, she played Johann Nepomuk Hummel's Rondo brillant in a subscription concert of the Zurich General Music Society, which became the current Zurich Tonhalle Orchestra. For further studies, she traveled to Florence and Rome in 1853. In Florence she took singing lessons with Romani. In Rome in 1853 she was the guest of the artistic families Corrodi and Imhof and took lessons with the singing teacher Parisotti. Hünerwadel died of typhoid fever in Rome on April 27, 1854, and was buried there on April 30. Six of Hünerwadels seven preserved piano songs were published posthumously (in 1854). Her great-nephew was the composer, painter, and publicist Peter Mieg (1906-1990) Source: Wikipedia.
Fanny Hünerwadel – Sonntagsfrühe for piano, voice and flute
Helene Schulthess
$20.00 17.06 € PDF SheetMusicPlus

Choral Choir,Choral (SAB) - Digital Download SKU: A0.1287074 By The Carpenters. By Burt Bacharach and Hal David. Arranged by Debbie Warren. Pop. 10 pages. Keep Calm and Keep Singing #878080. Published by Keep Calm and Keep Singing (A0.1287074). Lovely arrangement of this timeless Carpenters classic written by Burt Bacharach.Arranged here for SAB and piano, each of the parts gets a share of the tune with counter harmonies flowing around the melody. Authentic piano part as played by Richard Carpenter on the 1970 recording. Guaranteed to be a hit with your choir and audiences alike. Part of the Keep Singing Series for community choirs designed to be easy to teach and easy to learn. Rehearsal tracks available from Keep Calm and Keep SingingEasy LevelDuration: 3'30.
(they Long To Be) Close To You
Chorale 3 parties
The Carpenters
$2.99 2.55 € Chorale 3 parties PDF SheetMusicPlus

Medium Voice,Vocal Solo - Level 1 - Digital Download SKU: A0.1499197 By Kathryn Carpenter. By James Lord Pierpont, van Dyke, Beethoven, Hodges, Oliphant, Lyte and Kathryn Carpenter, Lyte, Nursery Rhyme. Arranged by Kathryn Carpenter. Classical,Instructional,Opera,Traditional. 70 pages. Kathryn Carpenter #1075246. Published by Kathryn Carpenter (A0.1499197). The Early Beginner Vocal Lesson Book: Learn to SingLesson 1: Music TheoryLesson 2: Learning C, D, EMiddle DMiddle ELesson 3: Learning F and G; Practice C, D, E, F, GLesson 4: Learning Do, Re, MiLesson 5: Learning Do, Re, Mi, Fa, SolLesson 6: Singing Do, Re, Mi, Fa, SolLesson 7: Exercise No. 3 & 4Lesson 8: Do, Re, Mi, Fa, Sol Vocal ExercisesLesson 9: Sing by StepLesson 10: Sing by SkipLesson 11: Sing with DynamicsLesson 12: Understanding Easy RhythmsLesson 13: Singing the C Major ScaleLesson 14: Singing with StaccatoLesson 15: Singing with 8th notesFun songs with letters and solfege:Jingle Bells (solfege and accompaniment)Ode to JoyTwinkle, Twinkle, Little StarDeck the HallsRow, Row, Row Your BoatYankee DoodleFun vocal exercises!Harmony exercises!www.kathrynleecarpenter.com
The Early Beginner Vocal Lesson Book: Learn to Sing
Kathryn Carpenter
$7.75 6.61 € PDF SheetMusicPlus

Choral Choir,Choral (SATB) - Digital Download SKU: A0.1397429 By The Mavericks. By Raul Malo. Arranged by Debbie Warren. Country,Latin,Pop,Rock. 11 pages. Keep Calm and Keep Singing #980755. Published by Keep Calm and Keep Singing (A0.1397429). A lively and infectious song by American country band The Mavericks with a blend of pop-rock and Latin rhythms. Arranged here for SATB voices and piano this is one to get your toes tapping and your audience grooving! The tune is divided between upper and lower voices in a call back style which makes it really fun to sing. Works with male or female tenor voices (or a mixture of both). A guaranteed audience pleaser!Part of the Keep Singing Series for community choirs designed to be easy to teach and easy to learnRehearsal tracks available from Keep Calm and Keep SingingEasy LevelDuration: 4'15Also available in SAB.
Dance The Night Away
Chorale SATB
The Mavericks
$2.99 2.55 € Chorale SATB PDF SheetMusicPlus

Piano Solo - Level 3 - Digital Download SKU: A0.972672 Composed by James Siddons. Christian,Concert,Contemporary,Easter. Score. 17 pages. James Siddons Music and Writings #6671707. Published by James Siddons Music and Writings (A0.972672). Sonata Hymnica No. 5 has the subtitle Scenes of Calvary. Landscape paintings and printed illustrations of the Cross of Calvary were ubiquitous in Christian literature in the late 19th century, so it not surprising that allusions to such art are found in the texts of hymns. The three hymns heard in Sonata Hymnica No. 5 all evoke some sense of seeing, in a spiritual way, the scene of the Crucifixion. Sonata Hymnica No. 5 opens with a sturdy and rugged statement of When I Survey the Wond’rous Cross, written by Isaac Watts in 1707. This poem continues: On which the Prince of Glory dy’d, . . . See from His Head, his Hands, his Feet, Sorrow and Love flow mingled down!   In the United States, music educator Lowell Mason (1792-1872) composed a tune in 1824 for singing Watts’ hymn. Named HAMBURG tune, it was an adapted form of some Gregorian chant in Church Mode I. This combination of poem and tune became very popular; so much so, that by the 1880s, elaborations of it appeared in print. The most enduring is the pairing of Watts’ poem and Mason’s tune with a simple camp meeting song, At the Cross, to be a refrain. It has the phrases, At the cross, where I first saw the light . . . It was there by faith I received my sight. The centerpiece of Sonata Hymnica No. 5 is the tune TOPLADY, the usual tune for singing Rock of Ages. This tune was composed in 1830 by Thomas Hastings (1784-1872), an associate of Lowell Mason in New York. He wrote hymns and hymn tunes, published hymnals, and worked tirelessly to elevate choral singing in churches. Hastings indicated that he intended his tune for singing Rock of Ages by naming it after the author of the hymn-poem, the English pastor Augustus Toplady (1740-1778). The Rev. A. B. Grosart wrote in a memorial that Toplady was no poet or inspired singer, but an impulsive, rash-spoken, reckless preacher who could nonetheless picture vanishing gleams of imaginative light in his hymnic verses. A better impression was gained by poet A. C. Benson (1862-1925), who, upon hearing Rock of Ages sung at William Gladstone’s funeral at Westminster Abbey in 1898 --- a rare State funeral attended by several members of the British Royal family --- wrote, To have written such words which should come home to people in moments of high, deep, and passionate emotion  . . . there can hardly be anything worth doing better than that. This high compliment came from the poet who, a few years later, would write the words of Elgar’s Coronation Ode for King Edward VII and Queen Alexandra. A camp meeting song, a rash-spoken English pastor, two American music educators, a State funeral at Westminster Abbey --- such is the wide world of influence and inspiration of these three Scenes of Calvary.
Sonata Hymnica No. 5
Piano seul

$9.50 8.1 € Piano seul PDF SheetMusicPlus

Piano Solo - Level 3 - Digital Download SKU: A0.1423132 By Muse. By Chris Wolstenholme and Dominic How. Arranged by Alexander Pochert. Classical,Contemporary,Rock,Singer/Songwriter. Score. 4 pages. Alexander Pochert #1004465. Published by Alexander Pochert (A0.1423132). You buy a well-written professional solo piano arrangement that is fun to play at an intermediate level.This arrangement is a real solo piano arrangement including Matthew's singing voice. In order to distinguish the singing voice as well as the right piano line, Matthew's singing voice is written in a purple color in this arrangement. This helps you significantly to focus on playing the singing voice while not neglecting the onoing piano melody at the same time. If you don't like the two color method, simply print the sheet music in black & white.I spend a lot of time and energy for my arrangements, so please consider supporting me by buying them. Thank you for your support!
Ruled By Secrecy
Piano seul
Muse
$5.99 5.11 € Piano seul PDF SheetMusicPlus

2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music and Writings #6698569. Published by James Siddons Music and Writings (A0.972673). Performance NoteSonata Hymnica No. 6 is scored for two pianos and three performers. One  performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble  staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos  doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that  begins in measure 37. A standing conductor (not playing piano) may be desired.  Although repetitive, the music in this sonata rarely repeats itself  exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oral  tradition. Program Note (for use in concert programs) by James Siddons  The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns and  vernacular religious songs in the 1880-1920 era, when rural and small-town churches relied on pianos for music, and, in an age before microphones and amplification, the acoustics of wooden floors, walls, and high ceilings. These sonatas are not hymn arrangements but explorations of the sounds that can be created by a piano in a reverberant environment, all the while keeping in mind the essential message of the familiar words  sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shaped  by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours and cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from the Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speak  of  standardized adaptations of Spirituals as white black music, and black performance styles of Classical works as black white music. Piano ragtime music is a non-religious example of white music (the military march) made into black white music by the blending in of the syncopated rag rhythm. Sonata Hymnica No. 6 explores the intermingling of these two strains of American music as heard in the 19th-century black church. In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless finding himself enthralled by the music of the Southern 19th-century African Americans. He refers to their singing as the Frenzy or ‘Shouting,’ when the Spirit of the Lord passed by, and seizing the  devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms,  the weeping and laughing, the vision and the trance (p. 116). On another page, Du Bois speaks of . . . the songs of my fathers . . . swelling with song, instinct for life, tremendous treble and darkening bass (p. 163). Sonata Hymnica No. 6 uses the African call and response form as well  as percussive polyrhythms.
Sonata Hymnica No. 6
2 Pianos, 4 mains

$10.00 8.53 € 2 Pianos, 4 mains PDF SheetMusicPlus






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