BOBBY MCFERRIN PSALM 23 PDF

By Bobby McFerrin. Sacred Choral. Published by Hal Leonard HL. This ethereal transcription, as recorded by Bobby McFerrin, provides a new and different setting for this cherished Psalm.

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By Bobby McFerrin. Sacred Choral. Published by Hal Leonard HL. This ethereal transcription, as recorded by Bobby McFerrin, provides a new and different setting for this cherished Psalm.

The very free, almost chant-like rhythms and repetitive harmonies of this a cappella piece, coupled with an original paraphrase of the text, produce a very contemporary perspective on the well-known words of assurance.

Especially useful for Good Shepherd Sunday. Available: SATB a cappella. This name will appear next to your review. Leave it blank if you wish to appear as "Anonymous". Used to contact you regarding your review.

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Easily share your music lists with friends, students, and the world. This piece was good for a non-audition, 20 person church choir. Rhythm and intonation were the hard parts, not notes. It takes movement in the music to make it not sound like a dirge.

The rhythms are wonderful and do use the breath notations as written--it sounds better Beautiful in its simplicity. Easy to learn. Probably not a lot of audience appeal, but that's a matter of one's musical tastes. The female language for God was very touching for many in the congregation--something you don't hear often in church music!

The music written as a chant challenges a It would be beautiful as a four-part piece for an all-male choir. I performed this song in college and now I am using it in my wedding. So beautiful, and well written. Deceivingly more difficult that it first appears. Have fun with it! This site uses cookies to analyze your use of our products, to assist with promotional and marketing efforts, to analyze our traffic and to provide content from third parties.

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LIBRETTO RHEINGOLD PDF

Sing Your Prayers: An Interview With Bobby McFerrin

Omega: Your songs often don't use words, but they carry as much meaning, depth, and emotion as the most beautiful, skillful lyrics. Is it a conscious choice not to use words? How can "nonsense sounds" evoke such an emotional response? Bobby: I don't think of them as nonsense sounds; I think of them as language beyond words. When we listen to improvisational jazz, or solo classical violinists, the way they phrase and inflect melodies feels vocal, like they're talking to us. When I was figuring out how to perform solo, I wanted to move back and forth between bass riffs, melody, and harmony, so I often used sounds instead of -- or alongside -- the words of a song.

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