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Concert Band - Level 4 - Digital Download SKU: A0.1024060 Composed by John Dorhauer. 20th Century,Contemporary. Score and Parts. 126 pages. John J Dorhauer #59173. Published by John J Dorhauer (A0.1024060). Back to School 2015 This standalone movement balances chaotic, breakneck ensemble writing with placid, luscious quieter moments. Inspired by the fifth chapter of the Book of Revelation, the music vividly depicts the duality of the lion/lamb character (hence the plurality of the title), and the ample use of mixed meter and solo opportunities (particularly for flute and percussion) will offer an engaging challenge to most high school ensembles. Although this is the middle movement of a three-movement work, it works in its own self-contained world. Contact information: johnjdorhauer@gmail.com PRO: ASCAP Social Media: https://www.facebook.com/JohnDorhauer?fref=ts / https://twitter.com/JohnDorhauer Duration: 9 minutes Year of Release: 2011 Program Notes: This composition is intended to function on two different levels: it is simultaneously a programmatic depiction of the events that unfold in Revelation 5 and a musical representation of the duality found in the scripture. It was this sense of duality that persuaded me to keep the s at the end of Revelation in the title – it is as if there are multiple revelations to be found within both the scripture and my musical interpretation of it. In the book of Revelation, the prophet John is sharing an apocalyptic vision to a group of churches in Asia as a means of hope – even though these people were being persecuted for their beliefs, John promises the rapture in which God will save the believers and destroy the nonbelievers. The fifth chapter begins with John’s ascension to heaven, and it concludes just before the Christ-like Lion of Judah breaks the seals of the scroll that will unleash the rapture. While this is intended to be a message of hope, it will also bring about cataclysmic death and destruction. Herein lies the duality – how can a message of hope come as the result of such a violent outcome? Movement II (of three) corresponds with only verse 6, and it is more of a character study than a programmatic narrative. It examines the Lion of Judah character, which is portrayed at first as an overwhelming and aggressive figure after it approaches from the distance in the hazy beginning section. This character is also depicted in the scripture as a lamb, though, and this is reflected in the piece’s latter half, which is a softer reimagining of the Lion character’s material. The Lion and the Lamb are not two different characters but, rather, different sides of the same character. It is this duality that drives the movement, and it explains the connections between these otherwise distinct sections. This movement was originally performed by the CCPA Wind Ensemble in April 2010 when it received first place in CCPA’s wind ensemble composition contest.
Revelations 5 (Mvt. II)
Orchestre d'harmonie

$50.00 43.23 € Orchestre d'harmonie PDF SheetMusicPlus

Piano Solo - Level 4 - Digital Download SKU: A0.1111422 Composed by Dalva R. R. Barbosa. 19th Century,Classical,Film/TV. Score. 7 pages. Dalva Regina Ribeiro Barbosa #713710. Published by Dalva Regina Ribeiro Barbosa (A0.1111422). I began to compose this piece unpretentiously with the intention of doing a prelude of 3 minutes. The beginning of the play, however, presents itself childish and naïve, as a child walking in a indolent way and ended up reminding me of video game or cartoon songs and a period of childhood between 8 and 10 years. I then structured the piece to show some pleasures of childhood: walking, running, flying, playing, swimming and dancing. Most of the images selected for this movie in youtube (https://youtu.be/BTZwwt8wYb0) represent what I wanted to express through my sound choices. For those who enjoy analyzing musical structures a short summary follows: The piece begins with the exposition of a rhythmic theme in B flat minor, followed by a small melodic theme constructed through the same motif presented at the beginning of the piece, but in D flat major. The piece then moves towards a moment of transition, a bridge between B flat minor and B minor. This transition is not only modulation, it is a transformation of the rhythmic aura to a melodic (B minor) episode . This episode is presented as a song A, B, with small variations. After the melodic episode, another moment of transition begins to return to the tonic (B flat minor) for reexposition of the rhythmic theme, but with another outfit. The piece then ends with a delicious codetta full of tenderness.
Lost in Reminiscences
Piano seul

$3.50 3.03 € Piano seul PDF SheetMusicPlus

Small Ensemble Bass Guitar,Drum Set,Electric Violin,Voice - Level 5 - Digital Download SKU: A0.845983 By Avenged Sevenfold. By Brian Haner, Jr., Jonathan Seward, Matthew Sanders, and Zachary Baker. Arranged by Kyle Pudenz. Rock. Score and parts. 28 pages. ViolinVagabond Music #6022455. Published by ViolinVagabond Music (A0.845983). While Hail To The King will never be A7X's most popular or Critically Acclaimed (...see what I did there) record, it did provide us with some of the catchiest guitar hooks & drum grooves in this band's entire catalog. The opening track, Shepherd of Fire, is an absolute banger of a crossover tune that appeals to rock & metal fans alike. Consequently, like so many Avenged hits, it plays quite well as an instrumental cover and can be adapted to some interesting instrumentations beyond the original 2-guitar, bass, drums format in which it was recorded.Some years ago, I performed this tune with a 4-piece band on my college recital and it was an absolute blast! Whether out of sentimentality or just sheer boredom (I write this as we are right in the thick of the Covid-19 pandemic and gigs are... scarce, to say the least), I decided to resurrect that arrangement and clean up my shorthand charts into some real parts so that you, too, might have the joy of bringing this hard rock anthem to life with your own ensemble.The purchase of this chart includes:- Fully notated parts for drum set, bass, & rhythm guitar- Fully notated Lead part that merges the brass, lead guitar, & vocal parts into one cohesive chart- Lyrics & vocal melodies notated on lead part (if using a vocalist)- Full transcription of Synyster Gates's original guitar solo! (printed on lead part)This arrangement can be performed by as few as 4 instrumentalists. My original performance was with electric violin, guitar, bass & drums, but with the updated Lead chart the violin could easily be replaced by keyboards, a second guitar, or any instrumentalist that can read at concert pitch. The original 4-piece recording can be found at the YouTube link above, but expansion and imagination are highly encouraged!Enjoy the chart, and if you have questions, comments or suggestions, you can contact me via my website www.kylepudenz.com/ or on Instagram @theviolinvagabond
Shepherd Of Fire
Avenged Sevenfold
$14.99 12.96 € PDF SheetMusicPlus

Choral Choir (SA) - Level 3 - Digital Download SKU: A0.934053 Composed by Carol Taylor. Arranged by Carol Taylor. Christian,Praise & Worship,Sacred,Spiritual. Octavo. 2 pages. C.Taylor #3111407. Published by C.Taylor (A0.934053). A New Commandment is simply the commandment to love one another.  The words are almost all scriptural--from verses in John 13 and 15, and as such should be inspirational, uplifting and full of promise for all Christians.Can be sung as a duet, vocal solo, piano solo, ensemble or choir.It takes 3-4 minutes to perform.I am not part of any Performing Rights group but am a member of a worldwide Church which has used this piece privately for special music during their servicesI have extensive contacts through many Facebook sites, some social, some religiousPlease contact me with questions or comments at: CarolTaylor27@yahoo.com
A New Commandment (John 13-15)
Chorale 2 parties

$1.99 1.72 € Chorale 2 parties PDF SheetMusicPlus

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
We Must Learn to Walk Together
Piano, Voix et Guitare
Lisa Waites
$3.99 3.45 € Piano, Voix et Guitare PDF SheetMusicPlus

Full Orchestra - Level 4 - Digital Download SKU: A0.1429602 By Joe Hisaishi. By Jou Hisaishi. Arranged by L.C. Harnsberger. 21st Century,Contemporary,Film/TV,Multicultural,World. 30 pages. LCH Music #1010299. Published by LCH Music (A0.1429602). Hayao Miyazaki’s film The Boy and the Heron won the Oscar for best animated film at the 2024 Academy Awards. Joe Hisaishi’s enchanting score which perfectly sets the magical tone of the film garnered not only an Oscar nomination but also numerous other awards. The touching main theme of the score, “Ask Me Why,” reappears throughout the film. L. C. Harnsberger has beautifully adapted this music for full orchestra while keeping the spirit of the original soundtrack. This piece is ideal to combine with Harnsberger’s dramatic arrangement of Hisaishi’s “The Great Collapse” from the same film (LCH Music #12402).
Ask Me Why (Evacuation)
Orchestre
Joe Hisaishi
$59.99 51.87 € Orchestre PDF SheetMusicPlus

Piano Solo - Level 4 - Digital Download SKU: A0.1490922 By Don McLean. By Don McLean. Arranged by Timothy Stapay. Broadway,Film/TV,Folk,Musical/Show,Rock,Singer/Songwriter. Score. 10 pages. Timothy Stapay #1067707. Published by Timothy Stapay (A0.1490922). Vincent (Starry, Starry Night) is a song by Don McLean, written as a tribute to Vincent van Gogh.McLean wrote the lyrics in 1971 after reading a book about the life of Van Gogh. It was released on McLean's 1971 American Pie album; the following year, the song topped the UK Singles Chart for two weeks, and peaked at No. 12 in the United States, where it also hit No. 2 on the Easy Listening chart. Billboard ranked it as the No. 94 song for 1972.Lyrics:StarryStarry nightPaint your palette blue and greyLook out on a summer's dayWith eyes that know theDarkness in my soul.Shadows on the hillsSketch the trees and the daffodilsCatch the breeze and the winter chillsIn colors on the snowy linen land.And now I understand what you tried to say to meHow you suffered for your sanityHow you tried to set them free.They would not listenThey did not know howPerhaps they'll listen now.StarryStarry nightFlaming flo'rs that brightly blazeSwirling clouds in violet haze reflect inVincent's eyes of China blue.Colors changing hueMorning fields of amber grainWeathered faces lined in painAre soothed beneath the artist'sLoving hand.And now I understand what you tried to say to meHow you suffered for your sanityHow you tried to set them free.Perhaps they'll listen now.For they could not love youBut still your love was trueAnd when no hope was left in sight on that starryStarry night.You took your lifeAs lovers often do;But I could have told youVincentThis world was neverMeant for oneAs beautiful as you.StarryStarry nightPortraits hung in empty hallsFrameless heads on nameless wallsWith eyesThat watch the world and can't forget.Like the stranger that you've metThe ragged men in ragged clothesThe silver thorn of bloody roseLie crushed and brokenOn the virgin snow.And now I think I know what you tried to say to meHow you suffered for your sanityHow you tried to set them free.They would not listenThey're notList'ning stillPerhaps they never will.
Vincent (Starry Starry Night)
Piano seul
Don McLean
$8.99 7.77 € Piano seul PDF SheetMusicPlus

Piano Solo - Level 5 - Digital Download SKU: A0.1125814 By Michael Swedberg. By Felix Bartholdy Mendelssohn. Arranged by Terrence Niska. Christmas,Contemporary,Holiday. Score. 8 pages. Niska Music Publishing #726554. Published by Niska Music Publishing (A0.1125814). Once again the influence of George Winston and Mannheim Steamroller can be heard as this prelude begins with a burst of joy and energy that does not subside, but only grows with each verse. The changing meters make this piece a challenge to play and requires a strong technique to handle some of the scale passages. This arrangement is a far cry from the original music of Mendelssohn, but the lyrics inspired me to create something full of vibrancy and passion to match the glorious news that the angels came to deliver! The first verse establishes the 5/4 meter heard throughout the prelude and is filled with the pealing of church bells in the right hand as they send forth the melody in octaves! Meanwhile, the left hand continues the broken chord pattern established in the opening. In the next verse, the left hand is now rising and falling, while the right is still playing the melody in octaves. Only now it is filling the spaces with eighth notes to match the left hand…essentially combining the two hands of the previous verse. For the final verse, the left hand takes on the orchestral role of brass and percussion with thunderous chords punctuating the rhythm of the melody in the right hand. There are moments of fireworks as the hands break free of the 5/4 meter for some wonderful, albeit brief, scales which increase the growing excitement. The piece concludes with a return of the rhythmic material from the opening as the hands work their way down the piano in arpeggiated fashion only to race back up the keyboard for a final flourish before a resounding Amen: Hail the heaven-born Prince of Peace! Glory to the new-born King!
Hark! The Herald Angels Sing
Piano seul
Michael Swedberg
$3.99 3.45 € Piano seul PDF SheetMusicPlus

Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.774393 Composed by Erskine Hawkins, Julian Dash, and William Johnson. Arranged by Brad Esbensen. Jazz,Standards. 71 pages. Brad Esbensen Music Services #4285269. Published by Brad Esbensen Music Services (A0.774393). This arrangement of Tuxedo Junction, draws on some of the elements found in the recording by The Manhattan Transfer. The arrangement may be performed with a solo vocalist accompanied by a big band but parts are included for up to four backing vocalists. Brass ranges are moderate and rhythm section parts are fully notated throughout. There is some solo space for the vocalist to scat and 2nd Trumpet solo. I hope you enjoy performing this chart and if you would like it transposed into another key, please e-mail me at brad@bemus.com.au. www.bemus.com.au.
Tuxedo Junction
Ensemble Jazz

$60.00 51.88 € Ensemble Jazz PDF SheetMusicPlus

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1008091 Composed by Connie Pwll Walck Tyler. Contemporary,Spiritual. Octavo. 12 pages. Connie Tyler #4833171. Published by Connie Tyler (A0.1008091). The Tree Song is one of many songs from the novel The Earth Woman Tree Woman Quartet.  This piece for two cellos, a viola and a double bass, with SATB choir evokes the deep voice of the tree.  The choral part is not difficult, but the strings are challenging.  The string parts can be played on a synthesizer.  Contact Connie at connie@deephum for help with this. The song is short, two and half minutes and might be performed with some of the other songs from the book.  Some of the songs can be found on the website www.earthwomantreewoman.com.    The words are: Waves of things of forms I am exist in dreams within me,flow through the sap of trees to come and leaves to come,falling, decaying, the soil I am, a nutrient for things living,eating the earth, water and sun, fruit I become,feeding the unrooted beings ever I'm giving.And then I am free.I stretch my wings and fling myself into the air.I sing, I call. My joy is beyond any earthly care.The snap of the jaws of the four-legged one is only a moment of painfor I am living again with a diff'rent name.And when this life's done the worms I become and pass to the earth to gain my rebirth.  See my website at www.deephum.com and my facebook pages at Connie Pwll Walck Tyler, Deep Hum Productions, and The Earth Woman Tree Woman Quartet. For more information contact me at connie@deephum.com.
The Tree Song
Chorale SATB

$5.00 4.32 € Chorale SATB PDF SheetMusicPlus

Small Ensemble Cello,Drums,Organ,Pan Pipe,Piano,Violin - Digital Download SKU: A0.1012747 Composed by Monica Bergo. Contemporary. Score and parts. 40 pages. Moni Bergo #5743663. Published by Moni Bergo (A0.1012747). Music and song composed by meVampire's dance I live between two worlds Between trash and slums This is a dream or reality ? The lie or the truth?  While I wait for sunsets I look at the sun and horizons And breathe freedom and my immortality  Desire for the infinite, Who has not ever tried ? That need to know that the stronger we are Invincible and powerful without the burden of age Over the centuries and the millennia Always gorgeous 20 years old  And then dance To the rhythm of the Vampire Do you feel my breath Let us give this eternal night  And then dance The senses amplified sharp teeth let's see who can stop us  around the fire like wolves, red eyes, a bit 'fierce,  we move in packs, invisible and fast , we are thieves thoughts ,so forgotten who you were  or roots or ties ,no land limits  And then dance To the rhythm of the Vampire Do you feel my breath Let us give this eternal night  And then dance The senses amplified sharp teeth let's see who can stop us  The mania destroys Hunger afflicts us But it will not be the food that will satisfy Torments and regrets, sad feelings, Nightime falling erase them We are shadows at night ,The heart that no beats We languid slaves the Voodoo rituals The pale faces, The ambiguous smiles Put the cross, you will not need  Strange characters So wild and free ,But  in this society ,Nothing scarier ago  I donate my blood every day  to The state or the government the Vampires are we ,There are monsters and vultures Those imprisoned vampires, In the faded pages  Elegant, charming, So beautiful and in high places and in they I recognize that mania that is also mine My hunger to know ,With food can not be satisfied  And then dance ,And crossing that border Now there is an end to what I can imagine And then dance, I sad renegade I lost soul, Who do not know who to give my heart  And then dance ,If you are not anyone ,If you lost in the journey You can not find a post to be filled      Look in the mirror  You can see my reflection? This is a dream or reality? The lie or the truth?                                                                  Monica Bergo
VAMPIRE'S DANCE
Violon et Piano

$5.00 4.32 € Violon et Piano PDF SheetMusicPlus

Instrumental Solo,Saxophone - Level 4 - Digital Download SKU: A0.983172 Composed by Craig Wadley. 21st Century,Contemporary,Contest,Festival,Halloween. Individual part. 18 pages. Wadley Publications #4638491. Published by Wadley Publications (A0.983172). Nevermore for Unaccompanied Saxophone by Craig Wadley. As this is an unaccompanied piece, ANY saxophone is acceptable. While most soloists will undoubtedly opt to use alto or soprano, the composer welcomes renditions of this piece on any of the larger saxes as well. This piece was inspired by Nevermore: An Evening With Edgar Allen Poe, a single act play featuring Jeffrey Combs. My good friend, Dr. Brent Bristow of Arkansas State University, Beebe, convinced me to go see the play when it was presented there in March of 2018. That performance by the legendary Mr. Combs inspired this piece. Why unaccompanied saxophone? Brent Bristow and I have been close friends since high school, and since he is the one who convinced me to see this show, and given that he plays classical saxophone (yes, that IS a thing!), I figured saxophone would kill two birds with one reed… or something like that. The show itself is a one-man performance, so that’s why this piece is unaccompanied. I toyed with the notion of including some text from the show. Eventually, I decided to go with The Raven, which is featured prominently in Combs’ monologue. But I didn’t want to RELY on The Raven, so I wrote the piece in such a way that it can be performed with OR without the narrator. I took a bit of inspiration from Bach’s cello music and brought in some more modern elements such as shifting meters and limited use of slap-tongue and multiphonics to keep things interesting. No altissimo is used.This work would make for excellent solo repertoire at the collegiate level, while still being potentially accessible to advanced high school players. If the narrator is used, this work would also be great as part of a Halloween/horror variety show!You may note that the mp3 demo preview uses a cello sound (placing the transposition in the range of the baritone sax, though again, any saxophone is acceptable). A cello sound is used because samples of saxophone sounds generally leave much to be desired, and they are most commonly based on jazz tone qualities which would be completely inappropriate for this piece.
Nevermore
Saxophone

$17.99 15.56 € Saxophone PDF SheetMusicPlus

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1294831 By Cheryl Prazak. By Lyrics: Cheryl Prazak and music: Oscar Ahnfelt. Arranged by Jon Burr. Christian,Country,Praise & Worship. Score. 8 pages. Cheryl Prazak #885157. Published by Cheryl Prazak (A0.1294831). “Cast your bread upon the waters†- Ecclesiastes 11:1Lyricist Cheryl Prazak blends eclectic and nostalgic lyric themes with lively renditions of traditional tunes in her new release “Hearts Aflame.â€Working with arranger/producer Jon Burr of arrangerforhire.com, and the wonderful vocalist Sammie Jane, these tracks were created for your enjoyment in the celebration of Christ.The album title and song Hearts Aflame were inspired by the 2023 Asbury Revival at Asbury University in Wilmore, Kentucky.Footprints In The GardenOn the path were footprints in the garden, whose they were, I could not find a sign.Thinking I was alone in the garden, I supposed the footprints to be mine.I could not hear your sweet voice pleading, summoning me from a world somewhere.You were in the garden interceding, but I didn’t remember that You care. I could not hear your kind voice calling, lost was I in a world of despair.On my heavy heart your voice was falling, I had long forgotten You were there.Now I hear your voice gently whispering, falling softly as the morning dew.I can feel your loving touch refreshing, bidding me to start my life anew.All the time You were there in the garden, giving me your love and strength sublime.I thought I was alone in the garden; wondrously, You were there all the time.But now your gentle voice I am hearing, breaking through the din and through the fray.Yours the voice of my kind Master speaking, in the garden from which I did stray.Like roses lost within a labyrinth, still fragrantly blossom in the rain.In the garden now two sets of footprints, that is where my roses bloom again.That is where my roses bloom again.
Footprints In The Garden
Piano, Voix
Cheryl Prazak
$4.99 4.31 € Piano, Voix PDF SheetMusicPlus

Piano Solo - Level 3 - Digital Download SKU: A0.1325492 By Stephen R Dalrymple. By Charles Wesley & Felix Mendelssohn (WH Cummings). Arranged by Stephen R Dalrymple. Advent,Sacred. Score. 17 pages. Stephen R Dalrymple #913719. Published by Stephen R Dalrymple (A0.1325492). Hark the Herald Angels Sing♫ by Charles Wesley (1739) and Felix Mendelsohn (adapted by W H Cummings (1857) ♫ with  Δόξα á¼Î½ ὑψίστοις θεῷ (Glory to God in the Highest) ♫ original song © 2023 Stephen R Dalrymple♫ piano solo arrangement by Stephen R Dalrymple♫ performed by the arranger♫ music © 2023 Stephen R Dalrymple ♫ recording â„—  2023 Stephen R Dalrymple ♫ presentation © 2023 Stephen R Dalrymple ♫ Charles Wesley started his poem with ‘Listen to the angels !’ This started me wondering, what did the angels’ voices sound like ? ♫ Prosody is study of the intonation, stress, and rhythm of the speech of a language (contrasted with the sounds of the vowels and consonants.) Could I replicate the angel’s basic speech patterns? My study of Greek in seminary has given me a pretty good idea of how to pronounce the consonants and vowels of the Greek language. But I would want to listen to someone who actually speaks Greek as their mother tongue to have an idea of the prosody. After further study, I have rewritten the angels’ music; this update represents my latest understanding.♫ Although Latin was the language of the Roman conquerors, Greek was the lingua franca of the Mediterranean world of the first century. Some scholars want us to believe that most of the Jews were not erudite enough to speak Greek. ♫ Yet those of us who have travelled to countries like Haiti, are not surprised that many people there speak Kreyòl, French, English and Spanish!♫ I began searching for someone who actually spoke Greek conversationally to pronounce Luke 2 :14 in Greek. After I found a reliable source, I reduced the rhythm and the accented sylables to simpified music notation. I pulled from my knowledge of ancient modes and used my imagination to add pitches and repetitions of phrases. The melodic and harmonic result is completely inventive, but I believe the basic rhythm of the speech is fairly accurate.♫ This .pdf file includes 2 files: 1) Letter size piano score 2) Small page piano score for performing from a 10 inch tablet♫ (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.)♫ A duplicate YouTube Video is available in French (Écoutez le chant des anges) https://youtu.be/9_equasuWR4YouTube Channel: @DalrympleDesigns.
Hark the Herald Angels Sing with  ΔÏŒξα á¼ν ὑψίστοις θεá¿· (Glory to God in the Highest) 
Piano seul
Stephen R Dalrymple
$4.50 3.89 € Piano seul PDF SheetMusicPlus

Concert Band - Level 3 - Digital Download SKU: A0.750863 Composed by Brendan Elliget MAGA 537. Contemporary. Score and parts. 123 pages. BJE Music #4319867. Published by BJE Music (A0.750863). Shades of Eltham (Eltham Concert Band - 35 Years of Music) - Concert Band VersionDedicated to Ern and Beattie Shade for their contribution to the Eltham Concert Band. The title of this piece is a play on words, of course, indicating both the Shades themselves and the various shades or moods of the music or even perhaps, the shady bushland setting of the area itself. I composed this piece with a few simple ideas in mind. The letters E and A in the word Eltham suggested to me an interval of a fourth, or the other way around, an interval of a fifth – which are both used in many of entries of the themes and musical motifs throughout the work – especially the brass. There are several variations and counter melodies within the work: a bright two-four march-like theme, probably the Main theme, and a variation of this theme in slower three-four time in a minor key with two counter melodies - representing a gentler contrasting mood. On occasions, two or even three themes play simultaneously. A bridging passage in four-four occurs about the two thirds into the composition leading up to a restatement of the main theme. The final climax or Coda actually has both three four melody against the two-four one resolving in the last few bars in a dramatic way.I hope you enjoy my musical tribute to the Shades. The MP3 was recorded with NotePerformer.Now available as an orchestral arrangement as well. See Related Scores.
Shades of Eltham (Eltham Concert Band - 35 Years of Music) - Concert Band Version Score and Parts PD
Orchestre d'harmonie

$30.00 25.94 € Orchestre d'harmonie PDF SheetMusicPlus






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