Instrumental Duet,Piano Cello,Flute,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.1272503 By Maria Thompson Corley. By Anonymous. Arranged by Maria Thompson Corley. 21st Century,Classical,Religious,Sacred,Spiritual. 31 pages. Maria Thompson Corley #864728. Published by Maria Thompson Corley (A0.1272503). “Crossing Jordan� grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,� her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet� is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River� also includes “Michael Row The Boat Ashore� and “The Water Is Wide.� The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water� is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.The first instrumental version of “Deep River� was for trumpet and piano, performed by my sister, Alicia Thompson, and her son, Justin Griffin, during a church service in Atlanta shortly after I arranged it. After hearing a recording, I took borrowed her idea of adding a repeat (which she did to allow enough time for the ushers to take up collection). The clarinet, cello and piano version was premiered by the Isosceles Trio (Doris Hall-Gulati (clarinet), Sara Male (cello), and me (piano)). When Naima Burrs, violinist and conductor of the Petersburg Symphony, asked if I had any pieces for trio, I created a version for violin, piano and cello. The flute/piano/cello version may have been performed, but if so, nobody has mentioned it to me. Please note that the YouTube version uses a clarinet. The flute version is slightly different, to accommodate the difference in range.P.S. I’d love to hear that version, if you have a recording of it.

Instrumental Duet,Piano B-Flat Clarinet,Cello,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.1284045 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Christian,Sacred,Traditional. 17 pages. Maria Thompson Corley #875217. Published by Maria Thompson Corley (A0.1284045). “Crossing Jordan� grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,� her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet� is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River� also includes “Michael Row The Boat Ashore� and “The Water Is Wide.� The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water� is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.The first instrumental version of “Deep River� was for trumpet and piano, performed by my sister, Alicia Thompson, and her son, Justin Griffin, during a church service in Atlanta shortly after I arranged it. After hearing a recording, I took borrowed her idea of adding a repeat (which she did to allow enough time for the ushers to take up collection). The clarinet, cello and piano version was premiered by the Isosceles Trio (Doris Hall-Gulati (clarinet), Sara Male (cello), and me (piano)). When Naima Burrs, violinist and conductor of the Petersburg Symphony, asked if I had any pieces for trio, I created a version for violin, piano and cello. The flute/piano/cello version may have been performed, but if so, nobody has mentioned it to me.

Small Ensemble Cello,Harp,Violin - Level 5 - Interactive Download SKU: A0.1083634 By Celebrity Chamber Players. By Marshall Thomas. This edition: Interactive Download. Film/TV. Score and parts. Duration 104. Father Ambrose Press #2r3BnqWPVZl9eUu0lGzl8d. Published by Father Ambrose Press (A0.1083634). Key: Eb major.This confection came to me in one of the few nightmares I can ever recall... too casual to consider it a part of arts undertakings...

Trombone Choir Ensemble - Advanced - Digital Download Composed by Charles Ives (1874-1954). Arranged by Ross Holcombe. 20th Century, Americana. Score, Set of Parts. 44 pages. Published by Cherry Classics Music

Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der Bühne: 3 Picc. (womöglich mehrfach besetzt) - 6 Hr. - Tamtam - Windschleuder - Digital Download SKU: S9.Q25915 Romantic Opera in 3 Acts. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 135' 0. Schott Music - Digital #Q25915. Published by Schott Music - Digital (S9.Q25915). German • English.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (Original version) With this edition, the original version of Wagner’s opera Der fliegende Holländer [The flying Dutchman] WWV 63 is made available to the public for the first time in piano score form. The score on which the edition is based was published in the Richard Wagner-Complete Edition 1983: Richard Wagner. Collected works Vol. 4, I-II, The Flying Dutchman. Romantic opera in three acts (original version 1841), edited by Isolde Vetter (Schott Music International, Mainz, RWA 104-10/RWA 104-20).� (Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenes�. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopski�, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).Les opéras de Richard Wagner paraissent pour la première fois sous forme de piano-chant chez Schott en version originale. Sont déjà publiés dans la série : L’Or du Rhin, Lohengrin, Parsifal et Le Vaisseau fantôme (première version de 1841 et version 1842-1880). Les autres opéras de Wagner représentés à Bayreuth paraîtront d'ici 2013, année anniversaire de la naissance du compositeur.

Piano,Voice Duet Piano,Voice - Level 4 - Digital Download SKU: A0.983992 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop. 9 pages. Boothe Publishing #4360819. Published by Boothe Publishing (A0.983992). I was asked to sing a solo in church when I was 9 or 10 years old, and boy was I prepared to do it. I had practiced it until it was perfect. I walked right up to that pulpit at church, nodded to my accompanist to start playing, and then I looked out at the audience. That's when I lost it. There must have been 1000 people there. I promptly forgot all of the words and started looking around for my Mom. Ah, there she was. Noticing the abject look of terror on my face she smiled at me and started mouthing the words to me. My knees trembling, my whole body shaking, I sang every word that she mouthed to me. By the time I sat down I had decided that I was never going to sing again. However, on the way back to my mother, so many people told me that I did a good job that I decided maybe I would sing again. I believe in myself. I also believe that God is my Father and that Jesus Christ , who is my elder brother, is the Savior of the world.

Bass Guitar - Digital Download SKU: A0.1069949 Composed by Steven H. Boothe. Christian,Pop,Sacred. Accompaniment. Duration 187. Boothe Publishing #4632027. Published by Boothe Publishing (A0.1069949). I was asked to sing a solo in church when I was 9 or 10 years old, and boy was I prepared to do it. I had practiced it until it was perfect. I walked right up to that pulpit at church, nodded to my accompanist to start playing, and then I looked out at the audience. That's when I lost it. There must have been 1000 people there. I promptly forgot all of the words and started looking around for my Mom. Ah, there she was. Noticing the abject look of terror on my face she smiled at me and started mouthing the words to me. My knees trembling, my whole body shaking, I sang every word that she mouthed to me. By the time I sat down I had decided that I was never going to sing again. However, on the way back to my mother, so many people told me that I did a good job that I decided maybe I would sing again. I believe in myself. I also believe that God is my Father and that Jesus Christ , who is my elder brother, is the Savior of the world.