22569871
Simple Gifts
22569871
22569871
22569871
Copyright Material for Preview Only - Sheet Music Plus
Choral Piano, soprano 1, soprano 2
SKU: PR.UE021844
Composed by Traditional. Arranged by George Arthur. Octavo. Full score. Universal Edition #UE021844. Published by Universal Edition (PR.UE021844).
ISBN 9783702477837. UPC: 803452074939. English.
Simple Giftsxa0is a Shaker song written and composed in 1848, generally attributed to Elder Joseph Brackett from Alfred Shaker Village. This tune was almost unknown until Aaron Copland used the melody in the ballet Apalachian Spring first performed in 1944. Since then, it has become very popular and appears in many arrangements.This new arrangement by George Arthur is for 2 soprano voices and piano. This simple but effective setting is enhanced by introducing imitation in the melody between the two voice parts.xa0The piano part is straightforward but includes references to the two-part writing of the melody by having three short bell-like interjections. The idea of turning is hinted at in the piano with the use of quavers towards the end of the piece. This setting would be suitable for all female choirs, but especially a children’s choir, who could probably perform the piece from memory.
Choral Piano, soprano 1, soprano 2
SKU: PR.UE021844
Composed by Traditional. Arranged by George Arthur. Octavo. Full score. Universal Edition #UE021844. Published by Universal Edition (PR.UE021844).
ISBN 9783702477837. UPC: 803452074939. English.
Simple Giftsxa0is a Shaker song written and composed in 1848, generally attributed to Elder Joseph Brackett from Alfred Shaker Village. This tune was almost unknown until Aaron Copland used the melody in the ballet Apalachian Spring first performed in 1944. Since then, it has become very popular and appears in many arrangements.This new arrangement by George Arthur is for 2 soprano voices and piano. This simple but effective setting is enhanced by introducing imitation in the melody between the two voice parts.xa0The piano part is straightforward but includes references to the two-part writing of the melody by having three short bell-like interjections. The idea of turning is hinted at in the piano with the use of quavers towards the end of the piece. This setting would be suitable for all female choirs, but especially a children’s choir, who could probably perform the piece from memory.
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