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Solo voices, piano - Medium - Digital Download SKU: MQ.7.0702-E Composed by Stephen Chatman. Instrument part. 12 pages. Duration 3 minutes, 20 seconds. Galaxy Music Corporation - Digital #7.0702-E. Published by Galaxy Music Corporation - Digital (MQ.7.0702-E). English.Libretto:Written by Tara Wohlberg. Synopsis:As choir director Willie prepares to make his final decision between Heather and Julia, he enlists the choir members' opinions in helping him choose. After receiving some not-so-helpful feedback from the choir, Willie makes the mistake of asking Heather and Julia for their thoughts, sparking a vicious, name-calling battle between the two divas. Duration: 3:20The purchase of this scene includes permission to reproduce a maximum number of 10 copies: 1 for each of the vocalists, 1 for the accompanist, and 1 for the conductor. If this will be performed in a concert setting without dramatic elements, it is covered by your organization's ASCAP or BMI license. Please report the concert accordingly. If this will be performed in a staged setting with dramatic elements such as costumes, lighting, etc., please contact the ECS Publishing Copyright Department for a grand rights license. A dramatic production is not covered by ASCAP or BMI.
I Choose the Soloist from Choir Practice (Downloadable)

$40.00 34.03 € PDF SheetMusicPlus

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.627228 By Amy Grant. By Amy Grant and Chris Eaton. Arranged by Stephen DeCesare. Christian,Christmas,Contemporary,Praise & Worship,Sacred. Score. 6 pages. Exultet Music #5982503. Published by Exultet Music (A0.627228). Already a Christmas classic, the powerful and dramatic song by Amy Grant about what Mary, the Mother of Jesus could possibly have been thinking before she gave birth to the Savior of the World, has now been freshly arranged for a Vocal solo with Piano accompaniment. Accessible and appropriate to be performed in any church or concert setting. Powerful and dramatic accompaniment supports and enhances the voice instead of just doubling it.  .
Breath Of Heaven (Mary's Song)
Piano, Voix
Amy Grant
$4.99 4.24 € Piano, Voix PDF SheetMusicPlus

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
Orchestre de chambre

$25.95 22.07 € Orchestre de chambre PDF SheetMusicPlus

Medium Voice,Piano Accompaniment - Digital Download SKU: A0.1011545 Composed by Leon Gray. Broadway,Contemporary,Jazz,Pop. 40 pages. Leon Gray #3538301. Published by Leon Gray (A0.1011545). Leon Gray's is proud to release his powerful new solo cantata, 'Marionette' about love, betrayal, pain, anger, growth and restitution. Mixing famous poetry with modern lyrics, the protagonist in this work has his or her heart broken, feels deeply sad, struggles to face daily life and work, then realises that he or she was tricked by the former lover and is now setting off on a new journey of resilience and self- awareness.An entirely dramatic sung and spoken work lasting between 30-40 minutes, the musical style draws on a wide range of elements and traditions, including dramatic pop power ballads, musical theatre 'belters', quirky lounge jazz, contemporary pop and modern classical, all set to a unique harmonic background which is both familiar, but also entirely unique.  'Marionette' offers musical theatre-style performers the chance to really, really explore a wide range of emotions; rage and bitter pain, deep, bleak depression, emotional numbness, quirky self-analysis and powerful determination.  Incorporating intimate ballads, raging show-pieces and smooth, relaxed crooning.A great solo recital piece, or a useful addition to a programme of one-act plays. 
Marionette, a solo cantata for voice and piano

$25.99 22.11 € PDF SheetMusicPlus

Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3534799. Published by Musik Fabrik Music Publishing (A0.534483). This work was written in the first months of 1942 while Tailleferre was living in Grasse, in the socolled« Free Zone » of occupied France during the Second World War and was completed just asTailleferre was forced to flee France with her daughter. As the wife of Jean Lageat, who had been thesecretary of the French socialist Léon Blum during the « Front Populaire » period just before the Warand who was at that time in the US working against the Vichy Government, and as someone who wasnot unvocal about her political views, this could not have been a comfortable situation. Tailleferre left arecord of what she experienced during this period in an article written for the American music journal «Modern Music » which she wrote shortly after arriving in America in the Spring of 1942 :« Notwithstanding their staunch spirit of resistence, the people under German rule today areincreasingly bowed down under their burdens. By achieving the physical decline of the French, theNazis hope that spiritual collapse will ensue. However, after two years of quasi-famine, France remainspround and great, although the necessity of liberation grows daily more urgent.....For an artist to workunder these conditions is almost impossible. The mere effort of subsisting wastes time and absorbsenergy ; The means to work are also lacking.....Musical composition is made practically impossiblethrough lack of music paper. For more than a year, I sought in vain to find paper in Lyon, Marseillesand Nice on which to copy an orchestral score...Two years of experience under German rule havetaught me that all expressions of pride, dignity, spirit , aspiration of the human will can be made onlyclaudestinely. It is a historical truth that the human mind makes its greatest progress under freedom ».Under such circumstances, it is a miracle that this work exists at all. The three movement work wasdedicated to the famous Marguerite Long, for whom Tailleferre had already written several short worksfor piano solo, and François Lang, a pianist who was closely linked with the Group des Six and whohad performed in the première of the 1934 Concerto Grosso for Two Pianos, 8 Solo Voices, SaxophoneQuartet and Orchestra and for whom Tailleferre wrote two cadenzas for concerti by Mozart and Haydn.The work opens with sunny, optimistism in a mood similar to the opening movement of the ConcertoGrosso, but quickly the mood changes to more dramatic themes. The second movement seems tosubjectively express a rupture with the past and a tragic melancholy. The final third movement isextremely dramatic and almost frightening with it’s force.When Tailleferre left France in the Spring of 1942, having been warned by a neighbor that she wasgoing to be arrested if she didn’t leave immediately, she left the score in a two-piano version, probablydue to the fact that there was no music paper to be had to copy the score. When she returned to Francein 1946, she learned that François Lang had been deported to Auschwitz where he died. Musical life inFrance had been completely changed by the War years. Tailleferre put the work aside and forgot aboutit, perhaps wanting to forget the hardships that she had lived through and the loss of many of her friendsassociated with these years.Tailleferre's version for two pianos is published by Musik Fabrik and the work may be performed inthat version. It is clear however, that the work was intended to be orchestrated and the editors hope thatthe present orchestration will allow the work to finally be presented as Tailleferre conceived duringsome of the darkest years of the Twentieth century.
Germaine Tailleferre: Trois Études for two pianos
2 Pianos, 4 mains
achieving the physical decline of the French, the
Nazis hope that spiritual collapse will ensue
However, after two years of quasi-famine, France remains
pround and great, although the necessity of liberation grows daily more urgent

$32.95 28.03 € 2 Pianos, 4 mains PDF SheetMusicPlus

French Horn,Piano - Level 5 - Digital Download SKU: A0.1416184 Composed by Robert Schumann. Arranged by Layne Anspach. Classical. Score and part. 62 pages. Songburd Music #997868. Published by Songburd Music (A0.1416184). ROBERT SCHUMANN was a German pianist, music critic and one of the great composers of the Romantic Period who, in an earlier part of his career, was generally critical of the compositional works for piano and voice of his day, and consequently the greater number of his compositions throughout the 1830s were written mostly for piano.  Then came the year of 1840, considered to be Schumann’s liedarjahr (year of song), when he composed nearly half of his life’s best-known works, featuring some of the greatest liederkreis (song cycles) ever written for voice and piano.  One of his widely celebrated song cycles is the well-known Dichterliebe, Op. 48, which is based on a fanciful story of a knight who experiences rejection and love lost, giving us an insight into Schumann’s interests as a ballad writer, melding dramatic irony with his introspective nature and musical style. Schumann’s talent for combining dramatic lyrics with pleasing melodies is clearly seen in the moving lieder (songs) of his repertoire, and his Dichterliebe (A Poet’s Love) is thought to be the paramount work among his song cycles.  Achieved in part by drawing upon the lyric poetry of Heinrich Heine, a German author, poet and literary critic whose political activism among the Junges Deutschland (Young Germans) of the 1830s and 1840s instigated at one point the banning of his works in Germany, leading him to become an expatriate who spent his final years living in Paris, France. Notably, the Romantic Period in Germany is thought to have had its roots in the Sturm und Drang (Storm and Stress) of the late 1700s and was certainly influenced to some degree by the French Revolution, which contrasted itself to the rationalism of the fading period of the Age of Enlightenment.  Thus, the ideological movement of the Young Germans, and its reactive stance to the Romanticism of the era, adds some contrast to Heine’s lyric poetry, which expressed personal emotions and the irony of love, solidified in his Buch der Lieder (Book of Songs) that was published in 1827. Divided into five sections, Heine’s Book of Songs dealt with issues of unrequited love, romanticism, and introspection, and it was from the more than 60 poems of the lyrical cycle Lyrisches Intermezzo (Lyrical Intermezzo) that Schumann found inspiration for his noteworthy song cycle, selecting 16 of Heine’s lyric poems for his Dichterliebe.  For this arrangement, German lyrics are included to assist the performer in connecting the music to the thoughts, feelings, and specific moments expressed in the words that might otherwise be lost if not aligned with the music.  Noting that changes in mood or tone of the music are better understood when aligned with the words, and by including the lyrics, the performer can phrase a passage while having a guide to see the end of the musical line. Romantic lieder allows for rubato in performance, as playing the piece exactly as written on the page will result in a less inspiring rendition.  To match the horn’s register with the vocal line, the piano part required alterations by moving some notation higher in the register.
Dichterliebe
Cor et Piano

$54.99 46.78 € Cor et Piano PDF SheetMusicPlus

Piano,Violin - Level 2 - Digital Download SKU: A0.1380696 By Various. By Ramin Djawadi. Arranged by Midnight Symphony. 21st Century,Film/TV,Multicultural,New Age,Patriotic,World. 10 pages. Midnight Symphony #965477. Published by Midnight Symphony (A0.1380696). Unleash the epic grandeur of Westeros with this captivating arrangement of the Game of Thrones Main Title for violin and piano.This reimagining faithfully captures the original's spirit while adding a touch of virtuosity, featuring soaring violin melodies that mirror the rising sun, dramatic piano chords that evoke the looming power struggle, and unexpected tempo changes that reflect the twists and turns of the narrative. Whether seasoned musicians yearning for a challenge or passionate fans seeking a deeper connection to the music, this duet will transport you to the heart of the kingdoms.Highlights: Faithfully reimagines the iconic theme with exciting technical flourishes. Features virtuosic violin solos that dance above dramatic piano accompaniment. Captures the epic scope and shifting moods of the original score. Offers opportunities for technical growth and musical collaboration. [Music Sheets]- sheet.midnightsymphony.com[Contact]- www.midnightsymphony.com[Youtube]- youtube.midnightsymphony.com.
Game Of Thrones
Violon et Piano
Various
$5.99 5.1 € Violon et Piano PDF SheetMusicPlus






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