22422939
We Can Beat the Storm
22422939
22422939
22422939
Copyright Material for Preview Only - Sheet Music Plus
Choral Body Percussion, Piano, alto voice, soprano 1, soprano 2
SKU: CF.BL1251
Composed by Meredith Tompkins. Octavo. 8 pages. Duration 0:02:32. BriLee Music #BL1251. Published by BriLee Music (CF.BL1251).
UPC: 672405011105. 6.875 x 10.5 inches. Key: D major. English. Louise Phillips. Original.
We Can Beat the Storm is an inspirational piece specifically designed for treble choir creativity, expression and bonding. The declamatory words of Louise Phillips' poem against a backdrop of direct, American folk song-like vocal delivery will grab an audience's attention and hold it as more descriptive layers are added to each melodic repetition. As the drama builds, choirs are encouraged to create their own body percussion or follow suggestions in the score, and above all to have fun with the performance as a depiction of unity, hope, and endurance through hard times. Programmatically, this piece is an excellent choice as an opener, closer, or annual "class song," leaving the audience at the end with final chords of abundant volume and energy. To begin teaching the piece, choirs may enjoy learning mm. 9-16 as a round. Directors are encouraged to take full advantage of the flexibility allowed in the score to create a unique experience tailored to their ensemble's personality and vocal needs.
Choral Body Percussion, Piano, alto voice, soprano 1, soprano 2
SKU: CF.BL1251
Composed by Meredith Tompkins. Octavo. 8 pages. Duration 0:02:32. BriLee Music #BL1251. Published by BriLee Music (CF.BL1251).
UPC: 672405011105. 6.875 x 10.5 inches. Key: D major. English. Louise Phillips. Original.
We Can Beat the Storm is an inspirational piece specifically designed for treble choir creativity, expression and bonding. The declamatory words of Louise Phillips' poem against a backdrop of direct, American folk song-like vocal delivery will grab an audience's attention and hold it as more descriptive layers are added to each melodic repetition. As the drama builds, choirs are encouraged to create their own body percussion or follow suggestions in the score, and above all to have fun with the performance as a depiction of unity, hope, and endurance through hard times. Programmatically, this piece is an excellent choice as an opener, closer, or annual "class song," leaving the audience at the end with final chords of abundant volume and energy. To begin teaching the piece, choirs may enjoy learning mm. 9-16 as a round. Directors are encouraged to take full advantage of the flexibility allowed in the score to create a unique experience tailored to their ensemble's personality and vocal needs.
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