Read PDF Ceremony Medley No. 2 - Score

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I am delighted to be part of smppress — the publishing arm of sheetmusicplus. I currently have a number of titles for sale via the main website of sheetmusicplus. Visit my smppress publisher page here. White Christmas — for String Quartet. Literally the best string quartet arrangement of this iconic Christmas song you will find on the internet. Treat your quartet this holiday season. Waltz of the Flowers — for String Trio. With optional 2nd violin for viola part. Silent Night — for string trio. I can arrange for any combination of orchestral instruments from YouTube links or existing sheet music.

The attributes which initially awed me about the vocalist — her mind blowing time feel, amazing extent and reliably wonderful timbre — are wherever in prove here. One of her touchstones, Horn's interpretation of Betty Carter's 'Tight' strikes freewheeling scat gold from the get-go, while the steady rigging movements of the Gigi Gryce-Jon Hendricks title track demonstrates the tight compatibility amongst Horn and her performers.

In the case of breathing crisp new life into measures, for example, 'East of the Sun and West of the Moon ', taking off terrifically on an upbeat 'I'm Going Down', stating 'The Peacocks' with an impeccable legato, or outlining the story back and forth movement of 'Variety', A Social Call is one of the uniquely most effective introductions of late circumstances. Pepper could without much of a stretch have been one genuinely finished egged mixture.

Be that as it may, however we are whisked away on a Wurlitzer of multi-followed voices and instrumentation, Bates and the collected masses have pulled off a victory of mind and creative energy conveyed with train. What holds it together is that Bates has stayed faithful to the first collection's idea: Bates has likewise held recognizable melodic coat snares from the first that arrange us all through the venture, similar to Ringo's fills, that meat and potatoes piano, every one of the vocals a gallant execution from Dahl.

Be that as it may, around those cherished components, Bates interleaves hues and cadenced reexaminations that supplement the tunes while keeping up a profound regard, and, significantly, a considerably more profound fondness for the music and the feelings it inspires. By one means or another Bates discovers melodic counterparts for the studio impacts most clearly on that notable near 'A Day In The Life' , once in a while he cheerfully expands on what's as of now there a choir of clarinets on 'When I'm 64' , or he shamelessly embeds, as with the additional beat in 'Sgt.

Pepper's Lonely Hearts Club Band'. Since it's so firmly visioned, there's little space for the band to extend, with the exception of on the repeat of 'Forlorn Hearts Club Band', which kicks in hip and grimy. In any case, every one of that does is influence you to need to hear how exceptional this could be live. Have I included your scores?

Solo InstrumentNocturne 78 https: DoddsTeam Fortress 2 Medley: Solo PianoNocturne 28 https: Instrument GroupString Quintet in A: Victory Celebration for Ensemble FelixLinke. Arranged by Felix Linke. Victory Celebration Mahmoud Said. Say what you will about the special edition tampered versions of the original Star Wars trilogy, I will stick to my guns and say a highlight of the tampered version was the change in the ending song.

As great as Yub Nub is, seeing the entire galaxy celebrating the destruction of the Empire is one of my favorite things about Return of the Jedi, and with this victory celebration music, John Williams ties everything together. Victory Celebration is hard to find because its not on the original soundtrack. It took the place of Ewok Parade in 97 when they added shots of celebration around the galaxy.

Part of me wants to believe that Giacchino did this on purpose because Jyn Erso and Hope is like Then Giacchino had the power to screw with the Star Wars v. Sacrifice and Hope turns to Victory. But then another part of me knows he was pressed for time and might've just stolen it. Either way enjoy this. This is 20 songs from Star Wars. This took me surprisingly 6 days to make, I have had very little sleep.

If you can't play certain notes just make them to an octave where you can play them. Duel of the Fates 4. March of the Resistance 6.

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Rey meets BB-8 9. Across the Stars Ben Kenobi's Death Main Title Revised Twitter: Sax melody made louder and added to E. He Brings the Victory! Sternschnucppen "Fallen Stars" canaan This piece was inspired by a good friend's piece https: Sternschucppen, which is German, means Fallen Stars.

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In my mind it represents sort of a ironic celebration or sadness, depending on how you look at it, of Adolf Hitlers death and victory of World War II. Tell me what you hear: I am 13 years of age with no composition teaching and I am Proud of my work. March of the Humingbirds flutemaster This is about how a kingdom of hummingbirds has just been attacked.

The Hummingbird kingdom is destroyed and needs to rebuild. Then a brave Hummingbird called Richard comes to the kingdom and leeds the hummingbirds into victory in battle with the enemy that has destroyed their kingdom. It ends with a celebration and a golden statue of Richard. Fairies Under the Moonlight Arbitrary Turtle. A song of conflict in 5 arcs.

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Fairies frolicing under the moonlight in faerie II. A band of trolls capture them III.

Reception Music

Courageous elves are made aware of the incident IV. They have a battles with the trolls V. Victory celebration with the fairies and elves. I wrote "The Citadel" in January , originally for a brass chamber group. We didn't really have any repertoire for our interesting instrumentation, so our teachers encouraged us to suggest ideas for what we could do. I decided to rearrange the original version of The Citadel. I think rearranging the original piece for this instrumentation and building on the foundations the original set has truly made this music come to its potential.

The Citadel is set in four short movements: Rain of Fire details the first attack, Count Your Dead is a lament for the fallen soldiers after the battle, Vengeance Knows No Bounds is the retaliation of one side, and Victory for the Kingdom depicts the celebration of the winners. Hallelu Christ Our King! The Hymn for Today is also a celebration of our Savior's victory, just as was yesterday's. A possible funding source for the World Premiere of The Anasazi exists.

Funds go to them, NOT me! If interested, or for more information, e-mail me at: This opera was inspired in part by ancient Native legends of the American Southwest. Sometime in the Future, in the American Southwest, there were peoples living who had come from lands in the Pacific ocean. They had escaped in sailing vessels to the shores of North America, called Turtle Island, and many penetrated into the present day area of Colorado, New Mexico, Arizona, and Utah.

They were not alone, for there were Native Americans there who had grown in numbers and power since the great upheavals or disaster had occurred long ago. The Old Technology of our present world had been forgotten mostly, and even renounced and outlawed. Only a few wise kahunas and shamans remembered, having been taught in visions and traditions handed down.

Some of the tales they knew spoke of a few enclaves of special people, highly evolved spiritually, already living in those parts of Turtle Island even before the Native Americans. They were called "The Anasazi", the Ancient Ones. There were chants in sacred rituals telling stories about this masterful race and how they lived in a few secluded places in the mountains and mesas.

The poetry in the chants told how there were critical times when leaders of this mysterious people had even helped the newcomers when appealed to, as if they were in reality some sort of Angels. However, the shamans knew that later on after the help was given, the marvellous benefactors could not be seen again, nor could their temples be found again. Against this background, the opera is the story of Kochani, Anasazi Prince, and Leilani, a great Native Chief's daughter. In this selection from Act I, Introduction and Scene 1, The orchestra plays a brief introduction ,setting the mood for the work, in which the "Anasazi Theme" is first presented by the Brass section.

This theme undergoes many transformations later on in the opera. Then, as the curtain rises, Leilani, daughter of Chief Kalani of the Eagle Tribe enters on stage wildly, having been pursued through the Forbidden Zone by the evil Grand Duchess Zirancilla, a fallen Anasazi, ruler of the Forbidden Zone and cousin of Kochani, the Prince, whose high status she is jealous of. Leilani had fled from her home to seek help from Anasazi Prince Kochani for her beleaguered people.

Her Shaman Kaimi, had trained her in the old legends and ways. But she had been forbidden to leave her home area by Kalani. See Complete Synopsis of both acts below. The Wild Forbidden Zone, near the ramparts of the Anasazi. It is late evening. Leilani falls in exhuastion as Zirancilla exults at finding her.

Overcome by their mighty words of power, she leaves, but vows to deal with them later. Kneeling beside Leilani, Kochani is mesmerized by her beauty, in spite or her wild hair, bruises and scratches, and wants to help her. Leilani tells him her name and that she is from the tribes and lost. Lanceram reminds him they are not supposed to have any overt contact with the tribal peoples, but as the sound of a Native American flute is heard, Leilani exclaims, my Shiwanni, Guides , take me home!

To the sound of jingling bells, two Kachinas, spiritual beings enter. Twilight is fading and Lanceram urges Kochani to return to the fortress, but the Prince is enchanted by the vision of Leilani and wants to linger awhile. He knows by his stars he is destined to meet her again.

The chief village of the Eagle Tribe. About one month later. But Leilani complains that all is not well, that there is nothing to celebrate. Enemies on all sides! Her mother reminds her that she could have perished already in that attempt, Kalani forbids her again to seek the Anasazi. Reluctantly, she joins them. Thanks be to Him who helps us from on High. But Mehe-Winyan, of mostly Native descent, scoffs at the idea, calling it hogwash and says her Native American ancestors helped the new people.

Kaimi argues that the Ancient Ones from the Lost lands came even before the tribes, able to fly through the air, and building the mysterious ruins. She answers that even in bygone times, those ruins were just places for scorpions to live in. Finally, the High Council arrives.

Kalani scolds them for being late.

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They explain that they were detained by hearing the complaints of the people--shortage of food, villages being attacked, horses stolen, people sick and dying. Kekipi says he has just come from the battle with the enemy tribe; accusing the Warchief of leading badly. He demands to be made Warchief Commander in his stead. Kalani refuses, saying he must still prove himself, that, though courageous, he is too headstrong, not experienced. Kekipi, defies the High Council and Kalani. A small glade or meadow in the mountain foothills. Leilani and Kekipi are enjoying a picnic, and Kekipi strums his guitar.

Sheet Music

They sing about their beautiful land and the idyllic scene. Why should I put myself down when I am going to be the new leader? Leilani then recounts how she lay fallen in the Wild Zone, and how the kind Prince Kochani and his companion found her, that she has since seen him in visions at night, and she must see him again.

She knows also that he is seeing her in his dreams, as he lies tossing in his bed at night. Kekipi angrily reminds her they are engaged,but then brags that he too has a vision, of a mysterious woman, named Zirancilla. She wields strange powers. Leilani remonstrates that he CAN trust her father.

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The celebration commences with the Tribal Chorus: Suddenly a commotion, the Warchief enters, wounded and staggering. All is lost, he reports. The battle is lost! My brave warriors scattered! Kekipi then confronts Kalani, saying this is it! Kalani retorts, then be nothing! I could have helped you, Kekipi says. I have a powerful ally, a magical woman who could hurl thunderbolts against our enemies if I asked her to.

Leilani laughs scornfully, that witchy-woman, a sorceress? The High Council mocks him-- what nonsense! Kekipi renounces the tribe, says he is leaving for the Forbidden Zone to join Zirancilla. The High Council says they have no time to worry about him, that their only hope now is to find the Anasazi and beg them to help. What if they are just an old legend? They exist, Kaimi assures them, I trust my visions! Leilani exclaims, we must ask the kind Prince to help us! The High Council asks Kalani to send a delegation to the Anasazi. We could go down into destruction!

An oratory or adytum, belonging to the main Anasazi temple, with starry representations of the Zodiac on the ceiling and walls. Jacin, the Anasazi Hierophant, and Lanceram are on stage. Jacin sings a Canticle to the Pleiades: Mystery in stellar deeps. They see strangers approaching the gates.