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Chamber Orchestra - Digital Download SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681. Published by The Composer's Own Press (A0.944036). Kantes del verdgel de granadas – Songs from the Pomegranate Garden A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra Composer’s notes: Kantes del verdgel de granadas, or in its English translation: Songs from the Pomegranate Garden, is a cycle of five songs in the Judeo-Spanish dialect, also known as Ladino. The texts, based on folk-poetry, are magical, passionate, and encompass a wide range of human emotions and experiences. We can find in them love and longing, sorrow and death, lightheartedness and folly, as well as burning love and even sexual innuendo. The vocal part portrays different stories and a variety of human characters in each of the five songs. It, thus, ranges in expression from parlando secco to lirico espressivo. The role of the orchestra in this cycle is more than just an accompaniment; it converses with the voice, adds colors and ambience, and serves as a commentary over the sung text. Thus, the orchestral part is equal to, or at times even more predominant than the voice itself. The initiative to write this composition came in response to a specific cultural approach by which creativity based on traditional Judaic material should correspond to four stages in the artistic process: Exploration, Preservation, Interpretation, and Innovation (as translated by the Hebrew terms: חידוש – פירוש – שימור – חיפוש). The main idea behind this initiative was to conserve crucial elements within traditional Jewish folk music, and then, bring about their revival as art music through new contemporary interpretations. Thus, the musical arrangement is partially based on the traditional Ladino tunes and partially original. However, phrases based on old Ladino melodies are starkly modified and composed in such way to completely evoke personal imagery and interpretation. The songs I selected for the cycle were taken from the four-volume collection: Chants judéo-espagnols by Isaac Levy. My criteria for the selection was finding lesser-known melodies, yet most intriguing ones and with a strong Judeo-Spanish character. The five songs have various degrees of arrangement vs. original composition: songs 2 and 3, Mi korason and Entre las huertas, for example, are almost unchanged, while songs 1 and 4, Dos amantes and Malato ‘sta el hijo del rey, heavily combine the old Ladino romancero melodies with originally composed material. The concluding song (Nr. 5) is entirely original, but correspond stylistically to the Judeo-Spanish musical language. While all five songs are secular in nature, the ballad Malato ‘sta el hijo del rey (The King’s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha B’Av along the scroll of Eicha to bemoan the destruction of the Holy Temple in Jerusalem. The Judeo-Spanish text of the songs can be found below along with its English translation.   Duration: ca. 24 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas)
Orchestre de chambre

$54.00 46.5 € Orchestre de chambre PDF SheetMusicPlus

Choir,Voice - Digital Download SKU: A0.1068171 Composed by Traditional. Arranged by Deborah Johnson. A Cappella,Christian,Easter,Praise & Worship,Spiritual. Accompaniment. Duration 163. Deborah Johnson #6733775. Published by Deborah Johnson (A0.1068171). This MP3 includes the background vocals for Were You There When They Crucified my Lord? starting at measure 19, after the acapella solo begins. It is a beautiful acapella arrangement perfect for small ensembles but can also be performed as a solo or unison duet, cueing the background vocal track. The inspiration for this arrangement was from Deborah singing Were You There? Acapella in front of the Garden Tomb in Israel. This arrangement is for vocal solo/unison duet plus SATB chorus, acapella.Were You There? is a beautiful arrangement of a timeless traditional spiritual with rich harmonies.  The chorus part can be performed with full choir or single voices. At the very end, it splits into six to eight parts, but can be modified for smaller groups. The chorus contains many oohs and ahs until the third verse. This arrangement contains four verses and the additional verses are noted on the lyric sheet.Up for a GRAMMY Award, My Father’s Favorite Hymns album is available  here: https://DJWorksMusic.com/products  by Deborah Johnson. You can download the complete MP3 album or individual songs on Amazon here: https://www.amazon.com/music/player/albums/B008O86FQI There is also a beautiful spiral-bound devotional guide available with the amazing stories and life principles gained from these timeless classics, as well as all the music arrangements in one spiral-bound volume. Both are available on Amazon or direct from here: https://goalsforyourlife.com/gods-music-hymns/  Were You There? Is a traditional Negro Spiritual written before 1865. Traditionally it has seven verses and is a part of the spiritual heritage that affected both gospel music and jazz music.For more information about Deborah, her albums, books and products, visit https://DJWorksMusic.com  https://GoalsForYourLife.com or https://DeborahJohnsonSpeaker.com
Were You There When They Crucified My Lord? MP3 accompaniment

$8.99 7.74 € PDF SheetMusicPlus

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1373465 Composed by Traditional. Arranged by Alpin Smart (transcription for voice and guitar). 19th Century,Celtic,Folk,Irish,Romantic Period,Traditional. Score. 3 pages. SmartWorks Publications #957823. Published by SmartWorks Publications (A0.1373465). The celebrated 19th century Scottish novelist, Sir Walter Scott - like Robert Burns (Scotland) and Thomas Moore (Ireland) - took old ballads and folksong melodies, and wrote new lyrics to these traditional melodies, a common practice from at least the 18th century onwards, and right up to the time of W. B. Yeats' The Salley Gardens. Scott adapted the 'border ballad' (old folksongs and ballads from the southern border of Scotland and the north of England), John of Hazel Green (or 'Hazelgreen'), keeping to the 'gist' of the original story about a young woman forced against her will into an arranged marriage with a young wealthy 'squire'; but, she loves 'Jock' (or 'John', and sometimes, 'Jack'!), and so, on her wedding day, she elopes with 'John'/'Jack'/'Jock', escaping 'over the border' (north or south, take your pick!), thus beyond the reach of powerful 'squires' and family! (the small border town of 'Gretna Green' was traditionally the place to elope to, and be guaranteed a swift union without the usual formalities, like the 'posting of bans').
Jock o' Hazeldean
Piano, Voix et Guitare

$4.99 4.3 € Piano, Voix et Guitare PDF SheetMusicPlus






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