Searching for Neil Sands - 28 results.

1. Chantry Canticles
Neil Sands

Duration: 5'45"
Ensemble: SATB unaccompanied
Grading: Difficult
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The Chantry Canticles were composed by Neil Sands for Chantry Quire, and sung by them in Chichester Cathedral in March 2003. It hearkens back to the old fauxbourdon style. There is a tenor solo in the Magnificat and a soprano solo in the Nunc Dimittis.


2. Cwrw Da
arr. Neil Sands

Duration: 2'00"
Ensemble: SSAA unaccompanied
Grading: Easy
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Mae Cwrw Da yn drefniant ar gyfer côr SSAA o'r gân yfed boblogaidd a thraddodiadol, gan Neil Sands. Cafodd y gân ei pherfformiad cyntaf gan Chantry Quire yn Chichester yn 2002.

Cwrw Da is an arrangement for SSAA of the popular Welsh drinking song by Neil Sands. It was first performed in Chichester by Chantry Quire in 2002.


3. Dafydd y Garreg Wen
arr. Neil Sands

Duration: 2'00"
Ensemble: SSAA unaccompanied
Grading: Easy
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Mae Dafydd y Garreg Wen yn drefniant digyfeiliant gan Neil Sands ar gyfer côr SSAA o gerdd enwog Ceiriog Hughes. Mae'r gân ar gael hefyd ar gyfer côr SATB. Cafodd y gôn ei pherfformiad cyntaf gan Chantry Quire yn Chichester yn 2002.

Dafydd y Garreg Wen is an unaccompanied arrangement by Neil Sands for SSAA of the popular traditional Welsh folksong, with words by Ceiriog Hughes. Also available for SATB. It was first performed by Chantry Quire in Chichester in 2002.


4. Death on a Cross
Neil Sands

Duration: 2'30"
Ensemble: SATB unaccompanied
Grading: Difficult
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Death on a Cross is a short anthem for unaccompanied SATB, written in 2002 by Neil Sands. Two dramatic sections border a lively and rhythmic centrepiece. The text is taken from the second letter of St Paul to the Philippians. The first performance was given during Lent in 2004 by the St Richard Singers of Chichester.


5. Hush No More
Purcell arr. Neil Sands

Duration: 1'45"
Ensemble: SATB unaccompanied
Grading: Easy
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Hush, No More is a magical little chorus from Purcell's The Fairy Queen, here arranged for unaccompanied SATB by Neil Sands. It was first performed by Lymington's Amici Singers in 2001.

Editorial dynamic markings are included.


6. Mae 'Nghariad i'n Fenws
arr. Neil Sands

Duration: 2'00"
Ensemble: tenor piano
Grading:
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Mae Mae 'Nghariad i'n Fenws yn drefniant o'r gân werin gariad ar gyfer tenor a phiano, sy'n cymysgu elfennau rhamantus a jazz.

Cafodd y gân ei pherfformiad cyntaf gan yr unawdydd Iestyn Morris, â Victoria Shone yn cyfeilio, ar achlysur priodas y trefnydd.

Mae 'Nghariad i'n Fenws is an arrangement for tenor solo and piano of a traditional Welsh love song, which combines romantic elements with jazz harmony. It was first performed by Iestyn Morris and Victoria Shone at the arranger's wedding.


7. On Marriage
Neil Sands

Duration: 4'00"
Ensemble: tenor piano
Grading:
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On Marriage was composed by Neil Sands and first sung at his wedding by Iestyn Morris, with Victoria Shone at the piano. The text is from Kahlil Gibran's The Prophet.


8. Sainte Cécile
Neil Sands

Duration: 3'15"
Ensemble: SATB unaccompanied
Grading: Difficult
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Sainte Cécile is a setting for unaccompanied SATB of a text by St Teresa of Lisieux, in praise of Saint Cecilia, the patron saint of music. However the text concentrates not on her musical connections, but on Cecilia's life story, in which she submitted herself fully to the will of God, and declared Christ as the spouse of her soul. Teresa had a great devotion to Cecilia, and tried to emulate in her own life the values Cecilia had lived in hers.


9. Salve Regina
Neil Sands

Duration: 5'45"
Ensemble: SATB unaccompanied
Grading: Difficult
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A setting for unaccompanied SATB of the prayer Hail, Holy Queen (in Latin).

The piece's four sections start with a tranquil and lyrical opening in a radiant A major. This leads to a vigorous and frightening 'Ad te clamabo' - 'To thee do we cry, poor banished children of Eve'. After this the peace returns for 'Eia ergo' - 'Turn then, most gracious advocate', and the serene invocation 'O clemens' - 'O clement, O loving, O sweet virgin Mary' rounds the piece off in an atmosphere of approaching slumber.


10. She Moved Through the Fair
arr. Neil Sands

Duration: 4'15"
Ensemble: mezzo soprano piano
Grading:
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This arrangement of the Irish folksong She Moved Through the Fair was written for the contralto Victoria Shone, and given its first performance by her, with Patrick Larley accompanying, in July 2003.

Another verse (the third) was added to the original version at the request of Carola Darwin.


11. String Sketches
Neil Sands

Duration: 6'15"
Ensemble: String quartet
Grading:
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An energetic little quartet in three movements. The first movement combines a stately pizzicato with a high solo for the first violin, which hands over to solos in the other instruments. The second movement is a more intense, brooding piece. The third and final movement is a fast and energetic scherzo.

The whole quartet lasts a little over six minutes.

I thought these 3 movements were fantastic.....Modern, well formed and complex writing that is palatable for composers and audiences alike. - Nigel Peers Coombes.


12. Suite for Oboe and Harpsichord
Neil Sands

Duration: 7'00"
Ensemble: Oboe & harpsichord or piano
Grading:
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A quasi-Baroque suite in four movements for oboe and harpsichord or piano.

The first movement is a regal Pavanne, which takes the players on a slow procession through several keys, always underpinned in the left hand of the harpsichord by a repeating rhythm.

The Largo gives the oboe passionate phrases, which begin quietly and gradually grow in volume and intensity before falling away again.

A jaunty little Mazurka and a three-part imitative Finale finish the suite.

The full score and the oboe part are available together.


13. The Hope of All the World
Neil Sands

Duration: 1'30"
Ensemble: SATB unaccompanied
Grading: Medium
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The Hope of All The World is a very short (1'30") carol for Christmas, for SATB with soprano solo. It was first performed at Christmas 2001 by the Ytenerent singers of Lymington, soloist Ruth Buddell.


14. Were You There?
arr. Neil Sands

Duration: 8'00"
Ensemble: SATB unaccompanied
Grading: Easy
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Were You There? is a powerful but simple arrangement of the very popular spiritual often used around Easter time. It is arranged here for unaccompanied SATB. Eight verses are given but there's no need to sing them all if you want to use a shorter version. On the other hand, using all eight verses can provide a wonderful backdrop for example to the Veneration of the Cross in a Good Friday service.

Each verse is about a minute long, so the whole song lasts roughly eight minutes.

Were You There? was first performed by the Elizabethan Madrigal Singers in Aberystwyth.


15. Word Made Flesh
Neil Sands

Duration: 8'00"
Ensemble: SATB flute piccolo oboe cello harp organ timpani
Grading: Medium/Difficult
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Word Made Flesh is a setting of the mystical opening of the gospel of St John: In the beginning was the word.... It was commissioned by the Lymington Choral Society and first performed by them under Peter Davies in December 2000. It is scored for SATB with chamber ensemble using the same instrumentation (flute doubling piccolo, oboe, cello, harp, chamber organ and timpani) as the small version of Rutter's Requiem, an ideal companion piece, which was performed in the same program.

There are three entries for Word Made Flesh in the catalogue, so please make sure you know what you're ordering. This page shows the full score. In addition, there are vocal scores and instrumental parts available.


16. Home / Cartref
W Trevor Evans arr. Neil Sands

Duration: 3'00"
Ensemble: SATB soprano solo piano
Grading: Medium
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Written originally for Cantorion Creigiau and recorded by them on their CD Unwaith Eto. A soprano soloist sings the tune, supported by the piano, and the chorus is sung each time by the choir, unaccompanied. The text is provided in English and Welsh.


17. A Look to the Skies
Neil Sands

Duration: 6'15"
Ensemble: contralto trumpet string quartet
Grading:
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The words to this atmospheric piece are by Mark Nall. The music is still and evocative, static but ever shifting. The piece was given its first performance by students at University College of North Wales, Bangor, under the direction of the composer and in the presence of the poet.

If you are performing this, you'll probably need a score for the conductor if you use one, and another for the contralto. The other instrumentalists have their separate parts, as usual.


18. Winter Song
Neil Sands

Duration: 2'15"
Ensemble: 3 equal voices piano
Grading: Easy/Medium
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A charming setting for three equal voices (men's or women's, or children's) and piano of a carol by Leslie Norris.


19. Dafydd y Garreg Wen
arr. Neil Sands

Duration: 2'00"
Ensemble: SATB unaccompanied
Grading: Easy
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Mae Dafydd y Garreg Wen yn drefniant digyfeiliant gan Neil Sands ar gyfer côr SATB o gerdd enwog Ceiriog Hughes. Mae'r gân ar gael hefyd ar gyfer côr SSAA. Cafodd y gôn ei pherfformiad cyntaf gan Chantry Quire yn Chichester yn 2002.

Dafydd y Garreg Wen is an unaccompanied arrangement by Neil Sands for SATB of the popular traditional Welsh folksong, with words by Ceiriog Hughes. Also available for SSAA. It was first performed by Chantry Quire in Chichester in 2002.


20. Pomp and Circumstance March Number One
Elgar arr. Neil Sands

Duration: 7'00"
Ensemble: SATB piano
Grading: Difficult
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A lively arrangement for choir of Elgar's famous masterpiece. This arrangement was commissioned by St Richard Singers of Chichester, and given its first performance by them.

Although it's accompanied, most of the decorative figuration is in the choral parts, to syllables that suggest the instruments that play those lines in Elgar's original. A pronunciation guide is supplied, which includes the cymbal clashes and bass drum bangs the choir have to perform!

It's a lot of fun to rehearse and perform, and of course your audience can join in with the Land of Hope and Glory part!


21. Herongate
Traditional arr. Neil Sands

Duration: 2'00"
Ensemble: SATB unaccompanied
Grading: Medium
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A setting of the famous hymn for Eastertide It is a thing most wonderful, for unaccompanied SATB, in which the tune always appears in one part or another all the way through.

A tenor solo kicks off, before the choir bring in the second verse at a slightly faster tempo. Verses 3 & 4 are more introspective, with an ebb and flow that follows the natural line of the phrases.

Some passionate moments and some reflective sections make this short piece a joy to sing.

Herongate is dedicated to Anthony Cartmell.


22. Good News Fanfares
Neil Sands

Duration: 8'00"
Ensemble: organ
Grading:
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Good News Fanfares is a set of 12 short pieces for use after gospel readings.

The pieces cover a range of different moods, and the organist is advised to have a look at the gospel reading before the service, and choose a fanfare accordingly. Some are unremittingly loud and reminiscent of the style Messiaen used to call extatique. Others are quieter, more mysterious and even mystical, while still others are regal fanfares in the traditional sense.


23. Chantry Folksongs
Neil Sands, Patrick Larley, Victoria Larley, James Webb

Duration: 13'
Ensemble: SATB piano
Grading: Medium/Difficult
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The Chantry Folksongs were commissioned by Chantry Quire of Chichester as part of their 10th anniversary celebrations. Four composers were asked to choose a folksong from England, Ireland, Scotland and Wales, and to arrange it for unaccompanied SATB. Two of the composers followed the brief.

The folksongs are The Braes O' Balquhidder from Scotland, arranged by Neil Sands, He Gives His Beloved Certain Rhymes, an Irish text by WB Yeats set by Patrick Larley, Suo Gân, a Welsh folksong arranged by Victoria Larley, and The Keel Row, from England, arranged by James Webb with a piano accompaniment.

The set of contrasting folksongs was first sung by Chantry Quire in 2010.


24. Mass From Verbena
Neil Sands

Duration: 12'00"
Ensemble: organ or piano and guitar, optional melody instruments, unison choir
Grading: Easy
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Mass From Verbena is a setting of the new translation of the Roman Missal for use in Roman Catholic churches from Advent 2011. It is a simple but imaginative setting, not difficult to grasp but atmospheric and prayerful. The accompaniment is for organ or piano and guitar, with optional melody instruments. The voices divide only rarely, and when they do the divisions are optional. The priest will recognise most of his material from the Missal plainsong.

This is a photocopyable resource. You are encouraged to make as many copies as you like for your own use within your church (or school etc), but you may not distribute copies outside your church. Copies are provided of the vocal score, the congregation's score, the melody instruments in C and in Bb, and the guitar part, both assembled for use and loose for ease of copying.


25. Air
Bach arr. Neil Sands

Duration: 3'30"
Ensemble: organ
Grading:
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An arrangement for organ of Bach's highly popular piece originally for strings. It's the second movement from his Suite No 3 in D major, BWV 1068. The popular name Air On The G String actually refers to an arrangement of the Air by August Wilhelmj, rather than to Bach's original.

Although the suite is for orchestra, the movement is for strings. This arrangement is faithful to the part-writing of the original. It's not a simplified version aimed at beginner organists.

The piece is an enduring favourite at weddings, and should be in every organist's collection.


26. Tolling Bells, Rolling Hills
Neil Sands

Duration: 8'00"
Ensemble: string quartet
Grading:
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Almost all the music I write is for voices. The words I'm setting dictate the form of the music, and usually the very first spark of an idea of what to write comes from the words. When I was asked to write a string quartet about Chichester and its surroundings, I knew there'd be no such springboard. So to take the place of the words I decided to conjure for myself a set of vivid mental images, both visual and aural, of Chichester Cathedral and the South Downs, and use those images as a starting point for the music.

We're in the cathedral as the clock chimes six. Evensong is on. We hear the Responses being sung, the Precentor's intonations being answered by the unaccompanied choir. A sung Kyrie is followed by a Lord's Prayer, both parts of the daily ritual of worship at the cathedral that is already many centuries old. As the service comes to an end, and the reverent hush of the congregation begins to give way, tentatively at first, to chatter, we leave the building, and travel out into the hills that surround Chichester, in the company of the cathedral's nesting peregrine falcons, and explore the landscape from their aerial perspective. With them we witness the hills' many moods; now boisterous, now eerie, now subdued, always pastoral.

But even this far off, the cathedral is always visible, like a tiny jewel on the vast landscape, and, at the very edge of our hearing, perhaps we can still hear the bell.


27. O Sacrum Convivium
Neil Sands

Duration: 2'15"
Ensemble: unison organ
Grading: Easy
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Written for the Ordinariate of Our Lady of Walsingham in Chichester, for a small group of singers, too few to be able to manage SATB. This expressive piece is ideal for choirs where the singers are few in number or not confident enough to sing in harmony.

The unison voices stay within a range of a 6th, which can be reached by any voice part. They are guided to their notes by the organ, whose colourful harmonies owe much to Messiaen.


28. Not Worthy
Neil Sands

Duration: 1'00"
Ensemble: Unison voices organ
Grading: Easy
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In the Ordinariate Mass rite, immediately before the Communion Antiphon comes a threefold adaptation of the Centurion's act of faith from Matthew 8:8:

Lord, I am not worthy that thou shouldest come under my roof, but speak the word only, and my soul shall be healed.
Lord, I am not worthy that thou shouldest come under my roof, but speak the word only, and my soul shall be healed.
Lord, I am not worthy that thou shouldest come under my roof, but speak the word only, and my soul shall be healed.

Not Worthy is a setting for unison voices and organ of this text, written originally for the use of the Ordinariate in Chichester, West Sussex. It's for unison voices, reflecting both the distribution of singers in the Chichester choir and the desire of the congregation there to join in with the singing. It should therefore be easy to adopt this piece into other Ordinariate groups.

Care should be taken that those rhythms which look fiddly not be made to sound fiddly; the singers should adopt an unhurrying rubato, and not be too percussive in their enunciation.