Version française
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Home
Instrumentations
Composers
New additions
Top 100
Metronome
Staff paper
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free
Sheet Music
15
Digital
Sheet Music
52
Sheet Music
Books
149
Music
Equipment
0
Digital scores
(access after purchase)
Post mailing
Digital sheet music
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
Not classified
4
PIANO & KEYBOARDS
Piano solo
3
Organ
2
Piano, Voice
1
Piano, Vocal and Guitar
1
Piano (band part)
1
Easy Piano
1
Instrumentations suivantes
Retracter
GUITARS
VOICE
Choral SATB
9
Choral 3-part
1
Choral TTBB
1
WOODWIND
Flute (band part)
1
Clarinet (band part)
1
WOODBRASS
Trumpet (band part)
2
Trombone (band part)
2
French horn (band part)
1
STRINGS
Harp
2
String Trio: 2 violins, cello
2
Violin (band part)
2
Doublebass (band part)
2
Viola, Piano
1
Viola
1
Harp (band part)
1
Cello (band part)
1
Viola (band part)
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Orchestra
3
String Orchestra
2
Timpani (band part)
1
Brass ensemble
1
Percussion (band part)
1
OTHERS
You've selected:
Lament Of The Cross
Sheetmusic to print
52 sheet music found
<
1
26
51
We Must Learn to Walk Together
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waite…
(+)
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
$3.99
3.71 €
#
Piano, Vocal and Guitar
#
Lisa Waites
#
We Must Learn to Walk Together
#
Servant Song Music and Ministry
#
SheetMusicPlus
Rorie Dall's Sister's Lament for Double-strung Harp
Harp
Harp - Level 2 - Digital Download SKU: A0.928320 Composed by Rory Dall. Arranged by…
(+)
Harp - Level 2 - Digital Download SKU: A0.928320 Composed by Rory Dall. Arranged by Karen Peterson. Celtic,Contemporary,Folk. Score. 4 pages. Karen Peterson #5955365. Published by Karen Peterson (A0.928320). This tune was published by Daniel Dow in the 1770s and was probably composed by Roderick Morison (~1656-1713). My double-strung harp arrangement in the dorian mode has rolled, echoed chords, highlighting the depth of sound we can get from having two sets of strings. The accompaniment hand traverses the entire range of the harp, often overlapping the melody hand.Range and key: D dorian (all naturals). 24x2 strings. C below middle C through E.Lever changes: None.Good for: Performance, memorials, therapeutic settings.Double-strung effects: The LH accompaniment frequently overlaps the RH melody range. Rolled accompaniment chords often contain the same note as the melody, creating a rolled echo. Some chords that aren’t rolled have doubled notes in both hands, creating depth. The repetition of LH patterns makes this a great piece to learn overlapping hands with.Characteristics: Neither hand needs to place more than an octave spread. There are some four-note chords (always LH 1-3-5-8). The RH has almost no chords. Few of the chords are inversions. There are very few sixteenth notes; no more than three played together with one hand. The LH has two long-run patterns (1-5-8-9-10 and 1-5-8-9) which can be played with cross-unders or a wandering thumb. The RH has a few cross-overs/unders.Finger placement: Finger number suggestions are provided for key phrases. Numbers above the notes are suggestions for the RH (marked with R or R# when they occur in the bottom staff). Numbers below the notes are suggestions for the LH (marked with L or L# when they occur in the top staff). To see what I mean, view the PDF of finger placement examples in Rorie Dall's Sister's Lament: www.EnjoyTheHarp.com/s/rorie-dalls-sisters-lament-notes-enjoy-the-harp.pdfNotation: Chord symbols are provided. Treble clef is used for both staves, with 8vb for the low notes. Length: 4 pages. 60 measures, plus 12 if you take the repeat. 4 minutes.Page turns: If you are printing, double-side pages 2 and 3 so that there is only one page turn. The RH can be used on all notes of page 2’s last measure, so that the LH can turn the page. If you are using single pages on a tablet, you can do something similar at the end of page 3. Page 1’s turn is manageable. Contact me after purchase if you’d like a version that fits on two pages: EnjoyTheHarp@gmail.comPerformance notes and history at www.EnjoyTheHarp.com/rorie-dalls-sisters-lament
$4.99
4.64 €
#
Harp
#
Rory Dall
#
Rorie Dall's Sister's Lament for Double-strung Harp
#
Karen Peterson
#
SheetMusicPlus
Rorie Dall's Sister's Lament for Double-strung Lap Harp
Harp
Harp - Level 2 - Digital Download SKU: A0.928333 Composed by Rory Dall. Arranged by…
(+)
Harp - Level 2 - Digital Download SKU: A0.928333 Composed by Rory Dall. Arranged by Karen Peterson. Celtic,Contemporary,Folk. Score. 4 pages. Karen Peterson #5993785. Published by Karen Peterson (A0.928333). WATCH THE D DORIAN VERSION: You are viewing the arrangement for lap harp, which is in the key of A dorian. To hear the D dorian version played on a larger harp, go to www.youtube.com/watch?v=l0-Kg0LifaUOverview: This tune was published by Daniel Dow in the 1770s and was probably composed by Roderick Morison (~1656-1713). My double-strung harp arrangement in the dorian mode has rolled, echoed chords, highlighting the depth of sound we can get from having two sets of strings. The accompaniment hand traverses the entire range of the harp, often overlapping the melody hand.Key and range: A dorian (one sharp). 21x2 strings. G below middle C through F. (LARGER HARPS: For harps with C below middle C or lower, get the D dorian version here: www.sheetmusicplus.com/title/rorie-lament-for-double-strung-harp-digital-sheet-music/21815669)Lever changes: None.Good for: Performance, memorials, therapeutic settings.Double-strung effects: The LH accompaniment frequently overlaps the RH melody range. Rolled accompaniment chords often contain the same note as the melody, creating a rolled echo. Some chords that aren’t rolled have doubled notes in both hands, creating depth. The repetition of LH patterns makes this a great piece to learn overlapping hands with.Characteristics: Neither hand needs to place more than an octave spread. There are some four-note chords (always LH 1-3-5-8). The RH has almost no chords. Few of the chords are inversions. There are very few sixteenth notes; no more than three played together with one hand. The LH has two long-run patterns (1-5-8-9-10 and 1-5-8-9) which can be played with cross-unders or a wandering thumb. The RH has a few cross-overs/unders.Finger placement: Finger number suggestions are provided for key phrases. Numbers above the notes are suggestions for the RH (marked with R or R# when they occur in the bottom staff). Numbers below the notes are suggestions for the LH (marked with L or L# when they occur in the top staff).Notation: Chord symbols are provided. Treble clef is used for both staves, with 8va for very high notes. Length: 4 pages. 60 measures, plus 12 if you take the repeat. 4 minutes.Page turns: If you are printing, double-side pages 2 and 3 so that there is only one page turn. The RH can be used on all notes of page 2’s last measure, so that the LH can turn the page. If you are using single pages on a tablet, you can do something similar at the end of page 3. Page 1’s turn is manageable. Contact me after purchase if you’d like a version that fits on two pages: EnjoyTheHarp@gmail.com
$4.99
4.64 €
#
Harp
#
Rory Dall
#
Rorie Dall's Sister's Lament for Double-strung Lap Harp
#
Karen Peterson
#
SheetMusicPlus
The Water is Wide for Viola & Piano
Viola, Piano
Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoir…
(+)
Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoire, Technique Training, Easter, Lent. Score, Set of Parts. 17 pages. Published by jmsgu3
The Water Is Wide (O Waly Waly)<br> Duration: 5:24<br> Score: 10 pg. 121 ms., MM quarter = 94, final verse MM quarter = 80, common time<br> Solo part: 3 pg.<br> Piano part: 4 pg.<br> <br> A thought-provoking arrangement of a Traditional Scottish Folksong. Probably most widely known as "The Water Is Wide,"<br> it is also well known by it's more ancient title: "O Waly Waly." The tune is also known as " When I Survey the Wondrous Cross," and "The Gift of Love."<br> This is an original arrangement from the ground up.<br> <br> Programming:<br> If you are looking for something with new contrapuntal and harmonic adventures for a Lenten prelude or a meditation during Holy Week, this will fit the bill.<br> It could also work well in a recital setting because it fits well on the instrument, and provides a chance to show off long, sensitive musical phrases.<br> Some of the figures in the descant verse are a wee-bit more advanced so, this is for intermediate players rather than beginners.<br> <br> Keep in mind these performance ideas:<br> 1. It's a simple tune that needs to unfold in the due course of time, so don't rush it. A slight ritardando at the end of each verse may help if you want to further delineate the verses.<br> 2. There is a lot of interesting counterpoint here, so be prepared to give-and-take on the dynamics more than what I have indicated.<br> 3. The final verse is much slower and more mysterious, and the dynamics are crucial - the quieter the better. Piano - the last chord: take your time on the roll, make it nice and slow.<br> <br> Synopsis of the arrangement:<br> verse 1: Simple quiet duet with the melody in the solo instrument.<br> verse 2: Melody in the solo instrument accompanied by a 2-part canon in the piano.<br> verse 3: Melody in the piano in 4-part harmony.<br> verse 4: 3-part canon on the melody (with a free accompaniment voice).<br> verse 5: 2-part canon with a free accompaniment in the solo part<br> verse 6: Melody in octaves with free bass in octaves; descant in the solo part - loudest verse.<br> verse 7: Very quiet ending verse - Modulates down a fourth, melody in the solo part accompanied by simple quartal/quintal<br> piano clusters over bass chords that suggest submerged church bells.<br> <br> For better insight into the performance of this music: express the emotion indicated by the lyrics:<br> <br> The Water Is Wide:<br> The water is wide, I cannot get over<br> Neither have I wings to fly<br> Give me a boat that can carry two<br> And both shall row, my love and I<br> A ship there is and she sails the sea<br> She's loaded deep as deep can be<br> But not so deep as the love I'm in<br> I know not if I sink or swim<br> I leaned my back against an oak<br> Thinking it was a trusty tree<br> But first it bent and then it broke<br> So did my love prove false to me<br> I reached my finger into some soft bush<br> Thinking the fairest flower to find<br> I pricked my finger to the bone<br> And left the fairest flower behind<br> Oh love be handsome and love be kind<br> Gay as a jewel when first it is new<br> But love grows old and waxes cold<br> And fades away like the morning dew<br> Must I go bound while you go free<br> Must I love a man who doesn't love me<br> Must I be born with so little art<br> As to love a man who'll break my heart<br> When cockle shells turn silver bells<br> Then will my love come back to me<br> When roses bloom in winter's gloom<br> Then will my love return to me<br> <br> The lyrics for "Waly, Waly, Gin Love Be Bonny" from Ramsay's Tea Table Miscellany (1724).<br> <br> O Waly, waly (a lament – "woe is me") up the bank,<br> And waly, waly doun the brae (hill),<br> And waly, waly, yon burn-side (riverside),<br> Where I and my love wont to gae.<br> I lean'd my back into an aik (oak),<br> I thocht it was a trusty tree;<br> But first it bow'd, and syne (soon) it brak (broke),<br> Sae my true love did lightly me.<br> <br> O waly, waly, but love be bonnie (beautiful),<br> A little time while it is new,<br> But when 'tis auld (old), it waxeth cauld (cold),<br> And fades away like the morning dew.<br> O wherefore should I busk my heid (adorn my head)?<br> Or wherefore should I kame (comb) my hair?<br> For my true love has me forsook,<br> And says he'll never love me mair (more).<br> <br> Now Arthur Seat shall be my bed,<br> The sheets shall ne'er be fyl'd by me,<br> Saint Anton's well shall be my drink,<br> Since my true love has forsaken me.<br> Martinmas wind, when wilt thou blaw (blow),<br> And shake the green leaves off the tree?<br> O gentle death, when wilt thou come?<br> For of my life I am weary.<br> <br> 'Tis not the frost, that freezes fell,<br> Nor blawing snaws (snow) inclemency,<br> 'Tis not sic cauld (such cold) that makes me cry,<br> But my love's heart grown cauld to me.<br> When we cam in by Glasgow town,<br> We were a comely sight to see;<br> My love was clad in the black velvet,<br> And I my sell in cramasie (crimson).<br> <br> But had I wist (known), before I kiss'd,<br> That love had been sae ill to win,<br> I'd lock my heart in a case of gold,<br> And pin'd it with a silver pin.<br> Oh, oh! if my young babe were born,<br> And set upon the nurse's knee,<br> And I my sell were dead and gane,<br> For a maid again I'll never be.[4]<br> (Lyrics courtesy of Wikipedia)<br> <br> <br> For more information, please feel free to contact me at: jmsgu3 "at" gmail.com<br> James M. Guthrie, ASCAP<br> jmsgu3 publications
$32.95
30.61 €
#
Viola, Piano
#
Traditional Scottish
#
The Water is Wide for Viola & Piano
#
jmsgu3
#
SheetMusicPlus
A Map of Time
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.947463 Composed by David Cortello. …
(+)
Piano Solo - Level 4 - Digital Download SKU: A0.947463 Composed by David Cortello. Contemporary. Score. 22 pages. David Cortello #2338705. Published by David Cortello (A0.947463). A Map of Time is a solo piano piece in three movements. It draws from accessible tonality, dissonance, jazz and classical styles, and remains cohesive through a strong thematic program. At 11’45 it works well as a recital piece for an advanced student or professional. For more information, please contact me at davidcortello@outlook.com. David Cortello (ASCAP) Program notes: The journey of grief is improvised from start to finish and we never know when the trip will end or where the road will lead. The only thing that will move us from the beginning of the road to the end is time, and for that crossing we need a map: A Map of Time. There are innumerable theories and opinions regarding the stages of grief, but I focused on three: denial, lament, and acceptance. Since this is a piece about grief, and the time it takes to grieve, it is only natural that it should be expressed through the temporal medium of music.
$7.99
7.42 €
#
Piano solo
#
David Cortello
#
#
A Map of Time
#
David Cortello
#
SheetMusicPlus
Oh! Chantecler (A Married Man's Lament)
Piano, Voice
Piano and voice - Digital Download SKU: LV.18653 Composed by Frank Wood. Portraits,…
(+)
Piano and voice - Digital Download SKU: LV.18653 Composed by Frank Wood. Portraits, Cartoons, Singers, Nonsense words, Spouses. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.18653). Oh! Chantecler (A Married Man's Lament). Written & Composed By Frank Wood. Published 1910 by Francis, Day & Hunter, 142 Charing Cross Road London, W.C. in London. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Portraits, Cartoons, Singers, Nonsense words, Spouses. First line reads Some time ago there came to town the famous Chantecler, My wife she went to see.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.56 €
#
Piano, Voice
#
Frank Wood
#
Frank Wood
#
Oh! Chantecler
#
Johns Hopkins University Sheridan Libraries
#
SheetMusicPlus
MacPherson's Lament
String Trio: 2 violins, cello
String Ensemble,String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.961701
(+)
String Ensemble,String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.961701 Arranged by Gary Arrington. Celtic,Folk. Score and parts. 4 pages. Gary Hobart Arrington #6063387. Published by Gary Hobart Arrington (A0.961701). The story of the song is largely true. James MacPherson was an outlaw in the North East of Scotland, one of the travelling people and the leader of a band of robbers. MacPherson was caught in Keith and hanged at the Cross of Banff on 16 November 1700. MacPherson was a fine fiddler, and he composed this tune the night before he was hanged and played it on the scaffold. Then he offered to give his fiddle to anyone who would play the tune at his wake. No-one would, so he smashed the fiddle. Anyone who had accepted it would have shown themselves to be a relative or friend of his and so liable to arrest themselves.The song is also known as 'MacPherson's Farewell'. Robert Burns rewrote the song, but these are the traditional lyrics. The tune is very popular amongst Scottish fiddlers.The pieces of MacPherson’s fiddle are displayed in the MacPherson Clan House Museum in Newtonmore.
$6.99
6.49 €
#
String Trio: 2 violins, cello
#
MacPherson's Lament
#
Gary Hobart Arrington
#
SheetMusicPlus
Have, Have Ye No Regard? — Good Friday anthem for baritone, SATB, organ
Choral SATB
Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1381069 Composed by…
(+)
Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1381069 Composed by Todd Marchand. Christian,Easter,Lent,Sacred. 4 pages. Con Spirito Music #965787. Published by Con Spirito Music (A0.1381069). An allusion to Lamentations 1:12 (Is it nothing to you, all ye that pass by? Behold, and see if there be any sorrow like unto my sorrow....), Have, Have Ye No Regard is a setting for solo baritone, SATB voices, and organ of Robert Herrick's (1591-1674) poem, His Saviour's Words, Going to the Cross:Have, have ye no regard, all ye Who pass this way, to pity Me, Who am a man of misery? A man both bruis'd and broke, and one Who suffers not here for Mine own, But for My friends' transgression! Ah, Sion's daughters, do not fear The Cross, the Cords, the Nails, the Spear, The Myrrh, the Gall, the Vinegar, For Christ, your loving Saviour, hath Drunk up the wine of God's fierce wrath; Only there's left a little froth, Less for to taste than for to show What bitter cups had been your due, Had he not drank them up for you.©Copyright 2024 Todd Marchand / Con Spirito Music. All rights reserved. For more sacred, patriotic, folk, and holiday music for instruments and voices, visit www.conspiritomusic.com
$2.00
1.86 €
#
Choral SATB
#
Todd Marchand
#
Have, Have Ye No Regard? — Good Friday anthem for baritone, SATB, organ
#
Con Spirito Music
#
SheetMusicPlus
See the Savior
Choral SATB
SATB choir - Digital Download SKU: LX.10-2506LA Composed by Hal H. Hopson. Sacred A…
(+)
SATB choir - Digital Download SKU: LX.10-2506LA Composed by Hal H. Hopson. Sacred Anthem, Holy Week. Octavo. 7 pages. Laurel Press #e10/2506LA. Published by Laurel Press (LX.10-2506LA). UPC: 000308054071.A mournful, melodic lament based upon a traditional Israeli canon, is an artfully arranged expression of sorrow for the suffering Savior on the cross. The combination of musical and textual expression will move your listeners to powerful, heart-felt remembrances.
$2.40
2.23 €
#
Choral SATB
#
Hal H
#
See the Savior
#
Laurel Press
#
SheetMusicPlus
Lament Of The Cross (from "A Time For Alleluia") - Trumpet 1
Trumpet (band part)
Trumpet 1 - Digital Download SKU: HX.279039 Composed by Joseph M. Martin. Sacred. C…
(+)
Trumpet 1 - Digital Download SKU: HX.279039 Composed by Joseph M. Martin. Sacred. Choral Instrumental Pak. 1 pages. Hal Leonard - Digital #255607. Published by Hal Leonard - Digital (HX.279039).
$7.00
6.5 €
#
Trumpet (band part)
#
Joseph M
#
Lament Of The Cross
#
Hal Leonard - Digital
#
SheetMusicPlus
Lament Of The Cross (from "A Time For Alleluia") - F Horn 1,2
French horn (band part)
F Horn 1,2 - Digital Download SKU: HX.279038 Composed by Joseph M. Martin. Sacred. …
(+)
F Horn 1,2 - Digital Download SKU: HX.279038 Composed by Joseph M. Martin. Sacred. Choral Instrumental Pak. 2 pages. Hal Leonard - Digital #255607. Published by Hal Leonard - Digital (HX.279038).
$7.00
6.5 €
#
French horn (band part)
#
Joseph M
#
Lament Of The Cross
#
Hal Leonard - Digital
#
SheetMusicPlus
Lament Of The Cross (from "A Time For Alleluia") - Trombone 1 & 2
Trombone (band part)
Trombone 1 & 2 - Digital Download SKU: HX.279041 Composed by Joseph M. Martin. Sacr…
(+)
Trombone 1 & 2 - Digital Download SKU: HX.279041 Composed by Joseph M. Martin. Sacred. Choral Instrumental Pak. 1 pages. Hal Leonard - Digital #255607. Published by Hal Leonard - Digital (HX.279041).
$7.00
6.5 €
#
Trombone (band part)
#
Joseph M
#
Lament Of The Cross
#
Hal Leonard - Digital
#
SheetMusicPlus
Lament Of The Cross (from "A Time For Alleluia") - Bb Clarinet 1,2
Clarinet (band part)
Digital Download SKU: HX.279036 Composed by Joseph M. Martin. Sacred. Choral Instru…
(+)
Digital Download SKU: HX.279036 Composed by Joseph M. Martin. Sacred. Choral Instrumental Pak. 2 pages. Hal Leonard - Digital #255607. Published by Hal Leonard - Digital (HX.279036).
$7.00
6.5 €
#
Clarinet (band part)
#
Joseph M
#
Lament Of The Cross
#
Hal Leonard - Digital
#
SheetMusicPlus
Lament Of The Cross (from "A Time For Alleluia") - Bassoon
Doublebass (band part)
Digital Download SKU: HX.279037 Composed by Joseph M. Martin. Sacred. Choral Instru…
(+)
Digital Download SKU: HX.279037 Composed by Joseph M. Martin. Sacred. Choral Instrumental Pak. 2 pages. Hal Leonard - Digital #255607. Published by Hal Leonard - Digital (HX.279037).
$7.00
6.5 €
#
Doublebass (band part)
#
Joseph M
#
Lament Of The Cross
#
Hal Leonard - Digital
#
SheetMusicPlus
Lament Of The Cross (from "A Time For Alleluia") - Piano
Piano (band part)
Digital Download SKU: HX.279046 Composed by Joseph M. Martin. Sacred. Choral Instru…
(+)
Digital Download SKU: HX.279046 Composed by Joseph M. Martin. Sacred. Choral Instrumental Pak. 2 pages. Hal Leonard - Digital #255607. Published by Hal Leonard - Digital (HX.279046).
$7.00
6.5 €
#
Piano (band part)
#
Joseph M
#
Lament Of The Cross
#
Hal Leonard - Digital
#
SheetMusicPlus
Lament Of The Cross (from "A Time For Alleluia") - Double Bass
Doublebass (band part)
Digital Download SKU: HX.279051 Composed by Joseph M. Martin. Sacred. Choral Instru…
(+)
Digital Download SKU: HX.279051 Composed by Joseph M. Martin. Sacred. Choral Instrumental Pak. 2 pages. Hal Leonard - Digital #255607. Published by Hal Leonard - Digital (HX.279051).
$7.00
6.5 €
#
Doublebass (band part)
#
Joseph M
#
Lament Of The Cross
#
Hal Leonard - Digital
#
SheetMusicPlus
Lament Of The Cross (from "A Time For Alleluia") - Harp
Harp (band part)
Digital Download SKU: HX.279045 Composed by Joseph M. Martin. Sacred. Choral Instru…
(+)
Digital Download SKU: HX.279045 Composed by Joseph M. Martin. Sacred. Choral Instrumental Pak. 3 pages. Hal Leonard - Digital #255607. Published by Hal Leonard - Digital (HX.279045).
$7.00
6.5 €
#
Harp (band part)
#
Joseph M
#
Lament Of The Cross
#
Hal Leonard - Digital
#
SheetMusicPlus
Lament Of The Cross (from "A Time For Alleluia") - Bass Trombone/Tuba
Trombone (band part)
Bass Trombone/Tuba - Digital Download SKU: HX.279042 Composed by Joseph M. Martin. …
(+)
Bass Trombone/Tuba - Digital Download SKU: HX.279042 Composed by Joseph M. Martin. Sacred. Choral Instrumental Pak. 1 pages. Hal Leonard - Digital #255607. Published by Hal Leonard - Digital (HX.279042).
$7.00
6.5 €
#
Trombone (band part)
#
Joseph M
#
Lament Of The Cross
#
Hal Leonard - Digital
#
SheetMusicPlus
Lament Of The Cross (from "A Time For Alleluia") - Bb Trumpet 2,3
Trumpet (band part)
Bb Trumpet 2,3 - Digital Download SKU: HX.279040 Composed by Joseph M. Martin. Sacr…
(+)
Bb Trumpet 2,3 - Digital Download SKU: HX.279040 Composed by Joseph M. Martin. Sacred. Choral Instrumental Pak. 1 pages. Hal Leonard - Digital #255607. Published by Hal Leonard - Digital (HX.279040).
$7.00
6.5 €
#
Trumpet (band part)
#
Joseph M
#
Lament Of The Cross
#
Hal Leonard - Digital
#
SheetMusicPlus
Missa Solemnis, op. 27 (vocal score)
Choral SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian…
(+)
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99
81.74 €
#
Choral SATB
#
Adrian Gagiu
#
Missa Solemnis, op. 27
#
Adrian Gagiu
#
SheetMusicPlus
Missa Solemnis, op. 27 (parts)
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagi…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$160.00
148.63 €
#
Orchestra
#
Adrian Gagiu
#
Missa Solemnis, op. 27
#
Adrian Gagiu
#
SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$85.99
79.88 €
#
Orchestra
#
Adrian Gagiu
#
Missa Solemnis, op. 27 - Score Only
#
Adrian Gagiu
#
SheetMusicPlus
Lord Most High with O Worship the King
Rhythm instruments - Digital Download SKU: H1.C5255RDP Composed by Donald Harris, G…
(+)
Rhythm instruments - Digital Download SKU: H1.C5255RDP Composed by Donald Harris, Gary Sadler, Johann M. Haydn, and Robert Grant. Arranged by Larry Shackley. Contemporary, Hymntune, General Worship, Adoration & Praise. Rhythm Parts. 17 pages. Hope Publishing - Digital #C5255RDP. Published by Hope Publishing - Digital (H1.C5255RDP). By Don Harris & Gary Sadler and Robert Grant & Johann M. Haydn. 2 Corinthians 1:3 - Deuteronomy:31:6 - Isaiah 50:10 - Isaiah 6:1 - Isaiah 6:2 - Isaiah 6:3 - Isaiah 6:4 - Isaiah 6:5 - Isaiah 6:6 - Isaiah 6:7 - Isaiah 6:8 - Lamentations 3:23 - Psalms 10:18 - Psalms 104:1 - Psalms 104:2 - Psalms 104.Medle of a classic hymn and a contemporary worship chorus by Don Harris & Gary Sadler and Robert Grant & Johann M. Haydn With two verses of the classic hymn, O Worship the King included, and references to it throughout the arrangement, Don Harris & Gary Sadler's contemporary worship chorus, Lord Most High comes alive with driving cross-accents and rhythmic vitality. Larry Shackley skillfully brings together the traditional and new in this moving blended worship pairing.
$34.95
32.47 €
#
Don Harris & Gary Sadler and Robert Grant & Johann M
#
Donald Harris, Gary Sadler, Johann M
#
Lord Most High with O Worship the King
#
Hope Publishing - Digital
#
SheetMusicPlus
Lord Most High with O Worship the King
Choral SATB
Choral SATB choir with optional rhythm instruments - Digital Download SKU: H1.C5255DP
(+)
Choral SATB choir with optional rhythm instruments - Digital Download SKU: H1.C5255DP Composed by Donald Harris, Gary Sadler, Johann M. Haydn, and Robert Grant. Arranged by Larry Shackley. Contemporary, Hymntune, Praise & Worship, General Worship, Adoration & Praise. Octavo. 12 pages. Hope Publishing - Digital #C5255DP. Published by Hope Publishing - Digital (H1.C5255DP). By Don Harris & Gary Sadler and Robert Grant & Johann M. Haydn. 2 Corinthians 1:3 - Deuteronomy:31:6 - Isaiah 50:10 - Isaiah 6:1 - Isaiah 6:2 - Isaiah 6:3 - Isaiah 6:4 - Isaiah 6:5 - Isaiah 6:6 - Isaiah 6:7 - Isaiah 6:8 - Lamentations 3:23 - Psalms 10:18 - Psalms 104:1 - Psalms 104:2 - Psalms 104.Medle of a classic hymn and a contemporary worship chorus by Don Harris & Gary Sadler and Robert Grant & Johann M. Haydn With two verses of the classic hymn, O Worship the King included, and references to it throughout the arrangement, Don Harris & Gary Sadler's contemporary worship chorus, Lord Most High comes alive with driving cross-accents and rhythmic vitality. Larry Shackley skillfully brings together the traditional and new in this moving blended worship pairing.
$3.25
3.02 €
#
Choral SATB
#
Don Harris & Gary Sadler and Robert Grant & Johann M
#
Donald Harris, Gary Sadler, Johann M
#
Lord Most High with O Worship the King
#
Hope Publishing - Digital
#
SheetMusicPlus
<
1
26
51
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version
