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All For One

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Jazz Hodie (On This Day Earth Shall Ring) #Chorale SATB #INTERMÉDIAIRE #PERSONENT HODIE from the Piae #Ken Litton #Jazz Hodie #Artist of Note, Inc. #SheetMusicPlus

Choral Choir,Choral,SATB Chorus - Level 3 - SKU: A0.1496732 Composed by PERSONENT HODIE from the Piae Cantones, 1583. Arranged by Ken Litton. 20th Centu...(+)

$2.99

Let All Creation Praise His Coming, sacred music for SATB choir #Chorale SATB #INTERMÉDIAIRE/AVANCÉ #Musique Sacrée #Kevin G #Let All Creation Praise His Co #Kevin G. Pace #SheetMusicPlus

Choral Choir (SATB) - Level 4 - SKU: A0.1107927 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spi...(+)

$1.99

Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano #Voix Baryton, Piano #Gregory Sullivan Isaacs #Gregory Sullivan Isaacs: Songs #Musik Fabrik Music Publishing #SheetMusicPlus

Baritone Horn TC,Vocal Solo,Voice - SKU: A0.533384 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 20 pages. Musik Fabrik Music Publishi...(+)

$16.95

The Story Of Reuben Clamzo & His Strange Daughter #Chorale TTBB #FACILE #Arlo Guthrie #Craig Hanson #The Story Of Reuben Clamzo &am #Edition Craig Hanson #SheetMusicPlus

Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...(+)

$3.99

Shelter in Place for SSAATB chorus and nature soundtrack #Chorale SATB #INTERMÉDIAIRE #Contemporain #Adrienne Inglis #Shelter in Place for SSAATB ch #Adrienne Inglis #SheetMusicPlus

Choral Choir (SATB divisi) - Level 3 - SKU: A0.953628 Composed by Adrienne Inglis (ASCAP). Contemporary. Octavo. 14 pages. Adrienne Inglis (ASCAP) #6405...(+)

$3.99

Gregory Sullivan Isaacs: Henry Faust for tenor and piano #Voix Tenor, Piano #AVANCÉ #Contemporain #Gregory Sullivan Isaacs #Gregory Sullivan Isaacs: Henry #Musik Fabrik Music Publishing #SheetMusicPlus

Tenor Voice,Vocal Solo - Level 5 - SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fa...(+)

$65.95

BROKEN DOLL an original all-girl stage musical #Chorale 2 parties #INTERMÉDIAIRE/AVANCÉ #Dennis A # #BROKEN DOLL an original all-gi #Tyne Music #SheetMusicPlus

Choral Choir (SA) - Level 4 - SKU: A0.999343 Composed by Dennis A. Westgate. Christian,Musical/Show,Pop,R & B,World. Octavo. 83 pages. Tyne Music #58691...(+)

Choral Choir (SA) - Level 4 - SKU: A0.999343 Composed by Dennis A. Westgate. Christian,Musical/Show,Pop,R & B,World. Octavo. 83 pages. Tyne Music #5869115. Published by Tyne Music (A0.999343). BROKEN DOLL: A full length family play in the TYNE ONSTAGE series of original musicals. With Drama, Comedy and Song . This is an educational piece for Directors or Drama Teachers in education or the Performing Arts. Set in Heaven, Broken Doll tells the story of a group of recently deceased young women looking down on a teenage girl who is contemplating suicide. They are not told why and the role of the group is to persuade the girl's Spirit, to return to its host. There are a wide range of characters within the piece and although they all have one thing in common, (they are all female), their outlooks and life experiences are naturally all very different and each has an opinion on the cause of the young girl's demeanour and to come up with with a proposition on how to save the girlâ€™s life. This is presented through the music and dialogue. Vocally the cast will have different capabilities and timbres.This diversity of styles in characters and the memorable musical content should appeal to teenagers as well as family members. The stage set is very basic, making the overall cost much lower, allowing it to be performed anywhere with a suitable space. It also has the potential to be filmed and the subsequent DVD could then be made available to anyone working with young people. All the necessary advice, information and useful contacts, should be provided in the programme notes. The album includes the Piano & Vocal Score along with the full Libretto.For full information please see my website:- https://www.tynemusic.com/broken-dollP.S. There are also a set of band parts available on request from the composer.SONG TITLES 1) Look to the Stars 2) Sad Reflections 3) Three Little Words 4) Morning Mist (ballet sequence) 6) Pills & Potions 7) Men! 8) Donâ€™t Talk to Me 9) Poor Sister10) Grains of Sand11) Some Say12) Broken Doll

$50.00

VOCALIZZI: Concone Panofka Seidler Tosti - volume 1 #Chorale SATB #FACILE #Concone Panofka Seidler Tosti #Antonio Cericola #VOCALIZZI: Concone Panofka Sei #Antonio Cericola #SheetMusicPlus

Choral Choir (SATB) - Level 2 - SKU: A0.934266 Composed by Concone Panofka Seidler Tosti. Arranged by Antonio Cericola. Instructional. Octavo. 165 pages...(+)

Choral Choir (SATB) - Level 2 - SKU: A0.934266 Composed by Concone Panofka Seidler Tosti. Arranged by Antonio Cericola. Instructional. Octavo. 165 pages. Antonio Cericola #6329505. Published by Antonio Cericola (A0.934266). I migliori e piÃ¹ belli vocalizzi, lezioni e solfeggi cantati tratti dalle opere storiche piÃ¹ importanti della didattica del belcanto internazionale. Unica nel panorama editoriale e didattico, questa edizione annovera tutti i vocalizzi trasportati per tutte le estensioni vocali in tre tonalitÃ diverse. Questa comoditÃ sarÃ senzâ€™altro utile non solo ai pianisti accompagnatori (che avranno a portata di mano la stessa composizione giÃ trasposta), ma anche agli insegnanti. Gli allievi piÃ¹ illuminati e musicalmente piÃ¹ evoluti, inoltre, potrebbero esercitare la stessa lezione in tonalitÃ diverse per fini didattici e musicali. Una chiarissima impaginazione e formattazione musicale contraddistingue questa edizione da tutte le altre esistenti. La raccolta si articola in due volumi.Questi vocalizzi del primo volume: 1 - G. Concone - Op. 9 nÂ° 1 Â§ 2 - G. Concone - Op. 9 nÂ° 2 Â§ 3 - G. Concone - Op. 9 nÂ° 3 Â§ 4 - H. Panofka - Op. 85 nÂ° 2 Â§ 5 - F. P. Tosti - Piccolo solfeggio nÂ° 1 Â§ 6 - G. Concone - Op. 9 nÂ° 4 Â§ 7 - F. P. Tosti - Piccolo solfeggio nÂ° 2 Â§ 8 - G. Concone - Op. 9 nÂ° 5 Â§ 9 - G. Concone - Op. 9 nÂ° 27 Â§ 10 - F. P. Tosti - Piccolo solfeggio nÂ° 5 Â§ 11 - F. P. Tosti - Piccolo solfeggio nÂ° 3 Â§ 12 - G. Seidler - Melodia nÂ° 1 Â§ 13 - H. Panofka - Op. 85 nÂ° 3 Â§ 14 - F. P. Tosti - Piccolo solfeggio nÂ° 4 Â§ 15 - H. Panofka - Op .85 nÂ° 6 Â§ 16 - H. Panofka - Op. 81 nÂ° 9 Â§ 17 - G. Seidler - Melodia nÂ° 3 Â§ 18 - H. Panofka - Op. 81 nÂ° 8 Â§ 19 - G. Concone - Op. 9 nÂ° 6 Â§ 20 - F. P. Tosti - Piccolo solfeggio nÂ° 6 Â§ 21 - F. P. Tosti - Piccolo solfeggio nÂ° 8 Â§ 22 - G. Concone - Op. 9 nÂ° 11. The best and most beautiful vocalizations, lessons and sung solfeggi taken from the most important historical works of the teaching of international bel canto. Unique in the publishing and educational landscape, this edition includes all the vocalizations carried for all the vocal extensions in three different tones. This convenience will certainly be useful not only to accompanying pianists (who will have the same composition already transposed to hand), but also to teachers. Furthermore, the more enlightened and musically advanced students could practice the same lesson in different tones for educational and musical purposes. A very clear layout and musical formatting distinguishes this edition from all the other existing ones. The collection is divided into two volumes: vocalizations present in the first volume: 1 - G. Concone - Op. 9 nÂ° 1 Â§ 2 - G. Concone - Op. 9 nÂ° 2 Â§ 3 - G. Concone - Op. 9 nÂ° 3 Â§ 4 - H. Panofka - Op. 85 nÂ° 2 Â§ 5 - F. P. Tosti - Piccolo solfeggio nÂ° 1 Â§ 6 - G. Concone - Op. 9 nÂ° 4 Â§ 7 - F. P. Tosti - Piccolo solfeggio nÂ° 2 Â§ 8 - G. Concone - Op. 9 nÂ° 5 Â§ 9 - G. Concone - Op. 9 nÂ° 27 Â§ 10 - F. P. Tosti - Piccolo solfeggio nÂ° 5 Â§ 11 - F. P. Tosti - Piccolo solfeggio nÂ° 3 Â§ 12 - G. Seidler - Melodia nÂ° 1 Â§ 13 - H. Panofka - Op. 85 nÂ° 3 Â§ 14 - F. P. Tosti - Piccolo solfeggio nÂ° 4 Â§ 15 - H. Panofka - Op .85 nÂ° 6 Â§ 16 - H. Panofka - Op. 81 nÂ° 9 Â§ 17 - G. Seidler - Melodia nÂ° 3 Â§ 18 - H. Panofka - Op. 81 nÂ° 8 Â§ 19 - G. Concone - Op. 9 nÂ° 6 Â§ 20 - F. P. Tosti - Piccolo solfeggio nÂ° 6 Â§ 21 - F. P. Tosti - Piccolo solfeggio nÂ° 8 Â§ 22 - G. Concone - Op. 9 nÂ° 11.

$14.99

Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir #Gabrieli #James M #Gabrieli: Canzon Septimi Toni #jmsgu3 #SheetMusicPlus

Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Stan...(+)

Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462151. Published by jmsgu3 (A0.549205). Minimum instrumentation: 8 double reeds (or multiples) arranged in 2 antiphonal choirs. 4 oboes, 2 English horns, 1 bassoon, 1 contrabassoon (or 2 bassoons). Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieliâ€™s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

$47.95

Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga #Chorale SATB #AVANCÉ #Carson Cooman #Carson Cooman: Ascensions #Musik Fabrik Music Publishing #SheetMusicPlus

Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #...(+)

Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604â€“68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Baldeâ€™s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virginâ€™s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virginâ€™s journey, the poem describesthe speakerâ€™s journey and compares a purposeful sea voyage to a directed life.Baldeâ€™s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16â€“24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.

$25.95

Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga #Chorale SATB #AVANCÉ #Carson Cooman #Carson Cooman: Ascensions #Musik Fabrik Music Publishing #SheetMusicPlus

Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #...(+)

Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604â€“68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Baldeâ€™s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virginâ€™s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virginâ€™s journey, the poem describesthe speakerâ€™s journey and compares a purposeful sea voyage to a directed life.Baldeâ€™s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16â€“24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir

$19.95

So Let Us Live - Really Live! for baritone and piano #Voix Baryton, Piano #AVANCÉ #Robert M #So Let Us Live - Really Live! #Robert M. Greenberg #SheetMusicPlus

Baritone Horn TC,Vocal Solo,Voice - Level 5 - SKU: A0.987855 Composed by Robert M. Greenberg. 20th Century,Contemporary. 26 pages. Robert M. Greenberg #...(+)

Baritone Horn TC,Vocal Solo,Voice - Level 5 - SKU: A0.987855 Composed by Robert M. Greenberg. 20th Century,Contemporary. 26 pages. Robert M. Greenberg #115411. Published by Robert M. Greenberg (A0.987855). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 11 minutes Year of composition: 2009 Program Note: I. When I Was One-and-Twenty (A. E. Housman) II. For An Amorous Lady (Theodore Roethke) III. Love Me Not for Comely Grace (John Wilbye) IV. So Let Us Live - Really Live! (Gaius Valerius Catullus) The four love songs that that constitute So Let Us Live â€“ Really Live! were commissioned by John Goodman in honor of his wife Kerry Kingâ€™s fiftieth birthday. The set â€“ with its (relatively) light poetry and (excessively) tonal settings - was originally intended as Hausmusik (house music), music to be performed privately among (semi-inebriated) friends. However, certain personal events that occurred during their composition have compelled me to go public with them, and thus, with John and Kerryâ€™s indulgence, they are receiving their premiere here, rather than in a living room. A thousand-and-one thanks to Allen Shearerâ€™s wonderful voice and Lino Riveraâ€™s exquisite hands, which were constantly in my mindâ€™s ear during the composition of the songs. With love to Kerry, from John and Bob. All poems used by permission.

$28.00

Halloween songs for Choir #Chorale SATB #Halloween #Scholler #Scholler #Halloween songs for Choir #Scholler #SheetMusicPlus

Choral Choir (SATB) - SKU: A0.1250451 By Scholler. By Scholler. Arranged by Scholler. Classical,Comedy,Contemporary,Multicultural,World. Octavo. 28 page...(+)

Choral Choir (SATB) - SKU: A0.1250451 By Scholler. By Scholler. Arranged by Scholler. Classical,Comedy,Contemporary,Multicultural,World. Octavo. 28 pages. Scholler #844774. Published by Scholler (A0.1250451). Phonetically Enchanting Language: Delve into the realm of the unknown as you explore a specially crafted phonetical language, adding a mysterious and otherworldly element to your choir performance. Each vocal line is meticulously created to emphasize the chilling ambiance, embracing the unusual and bizarre.Mixed Choir Flexibility: Whether you have a large mixed choir or a smaller ensemble, Halloween songs for choir accommodates varying vocal ranges and abilities, making it accessible and exciting for choirs of all sizes. The composition is designed to showcase the power and diversity of a mixed choir, allowing each voice to contribute to the enigmatic soundscape.Energetic and Spooky Piano Accompaniment: Complementing the choir, the piano accompaniment takes on a central role, infusing the piece with a sense of frenzied excitement and ghostly enchantment. From frenetic arpeggios to dissonant chords, the piano part adds an additional layer of madness and intensity, pushing the boundaries of the traditional choral experience.Embrace the transformative power of musicSchollermusic

$12.99

Wilt Thou Forgive? #Chorale SATB #Ron Anderson #Wilt Thou Forgive? #Ron James Anderson #SheetMusicPlus

Choral Choir (SATB) - SKU: A0.965556 Composed by Ron Anderson. A Cappella,Christian,Contemporary,Sacred. Octavo. 9 pages. Ron James Anderson #5994791. P...(+)

Choral Choir (SATB) - SKU: A0.965556 Composed by Ron Anderson. A Cappella,Christian,Contemporary,Sacred. Octavo. 9 pages. Ron James Anderson #5994791. Published by Ron James Anderson (A0.965556). Wilt Thou Forgive? is a setting of the John Donne poem, A Hymn to God the Father. John Donne (1572 â€“ 1631) was one of the greatest of the metaphysical poets in England, a group that included George Herbert, Andrew Marvell, and possibly John Milton. An Anglican priest with a less than perfect moral reputation, Donne expressed through his poetry (notably, the Holy Sonnets) the incongruities of human attempts at living the Christian life.In the present poem, the speaker reveals his struggles with sin-the sin he was born with, the sin he commits daily, the sin through which he influences others to sin, and the sin he has quit for a short while, only to take up again for many more years. He confesses yet another sin: the fear that he will perish on the shore, presumably to die with unforgiven sins, consigned to eternal damnation. His desperate plea is that Godâ€™s Son shall shine as he shines now and heretofore. If God answers this prayer, he will fear no more, and will know that all his sins, including the sin of fear, are finally forgiven.This musical setting uses subtle inflection of rhythm and meter to mirror the text, aiming for natural prosody of speech and expressive accentuation. Melodic contours emphasize important words, while harmonic placement projects the various moods throughout the poem. The key relationships involve mostly shifts of minor 3rds; starting in D minor, the piece moves through several keys, reaching its final statement in D major. A variety of textures maintains aural interest: clusters and close harmony, full divisi chords, and an imitative passage painting the words, won others to sin, and made my sin their door. A series of shimmering major chords brings the work to a close, declaiming the words, Thy Son shall shine as he shines now and heretofore, and, I fear no more.

$2.50

An Omani Dance Suite - COMPLETE BUNDLE (Score and all parts) #Chorale SATB #INTERMÉDIAIRE #Stuart Brown #An Omani Dance Suite - COMPLET #Stuart Brown Music #SheetMusicPlus

Choral Choir (SATB) - Level 3 - SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brown Music #5990681...(+)

Choral Choir (SATB) - Level 3 - SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brown Music #5990681. Published by Stuart Brown Music (A0.835452). A fantastic offer price for the full score and all parts! ... Looking for something to add a sense of oriental exoticism to your amateur orchestral/choral concert? This may be what you're looking for! This charming little suite of six dances lasts about 15Â½ minutes. It consists of a Pavane, BourÃ©e, Sarabande, Allemande, Basse Danse and Galliard, which vary widely in character. As a whole the suite provides some interesting challenges for both performers and listeners. Apart from conventional strings, flute and harp (which can be either pedal or lever) you will need:- One or maybe two Arabian ouds. The parts are playable also on a fretless acoustic guitar. (Needs to be fretless because of the quarter-tones in some of the Arabic modes used.)- A cimbalom (the part can be played on a piano also, with slight modification). You might get away with using a hammered dulcimer but you'd need to make a number of compromises.- A doumbek and a djembe. These beautiful drums are a must for Middle-Eastern or African music. They're fairly easy to find, though finding somebody who can play them properly may take a bit more doing!- Finger cymbals and a gong. These are regular western instruments.- A wind-chime. Anything that produces a nice shimmering spangle of sound will probably do!- A group of singers (SATB). Nothing particularly challenging but see below.The primary oud part, the strings and the singers need to have sufficiently good intonation to pitch quarter tones. These are the exception rather than the rule, but nevertheless play an important part in the character of the music. Apart from this, the music is relatively straightforward and probably playable by any reasonably competent amateur or high school orchestra.In the spring of 2020 I wrote a set of short music tracks for a charity of which I'm a trustee. In order to protect my intellectual property rights in the music, I decided to bring it together into an attractive if not intellectually challenging little suite, hence An Omani Dance Suite. Originally the dances were all in Arabic quarter-tone temperament, but obviously quarter-tones cannot be played easily (if at all) on the flute, harp and cimbalom. So I have made some adjustments but retained the Arabic temperament wherever reasonably possible. I had thought initially of using a santur instead of a cimbalom, but the santur lacks the range and the dynamic capability to be used with a string chamber orchestra. The cimbalom doesn't need to be a concert grand model; in fact it doesn't even need to have dampers.The Omani was something of an afterthought: a musician friend of mine had worked in Oman and commented on how authentically Omani the Basse Danse sounded. The period of composition coincided with a time when I was really missing friends in Vietnam and Romania, so somehow influences from those countries found their way into the music.I'm not bothering with performing rights for this - just go away and enjoy the music! ... but if it inspires you find out more about the charity work that inspires me, feel free to get in touch!https://www.facebook.com/stuartbrownmusic/

$30.00

The Leaves Around Me Falling [A Minor] #Piano, Voix #INTERMÉDIAIRE #Musique Sacrée #Stacey Plays Hymns #Anastace #The Leaves Around Me Falling [ #Anastace #SheetMusicPlus

Piano,Vocal,Voice - Level 3 - SKU: A0.1393223 By Stacey Plays Hymns. By Henry Francis Lyte / Stacey Plays Hymns. Arranged by Anastace. Christian,Praise ...(+)

Piano,Vocal,Voice - Level 3 - SKU: A0.1393223 By Stacey Plays Hymns. By Henry Francis Lyte / Stacey Plays Hymns. Arranged by Anastace. Christian,Praise & Worship,Religious,Sacred. Score. 10 pages. Anastace #976704. Published by Anastace (A0.1393223). Here is the full piano vocal version of â€œThe Leaves Around Me Fallingâ€, as heard on my YouTube channel and in many comforting, beautiful funeral playlists. This version is in A minor to suit singers with higher voices [the melody extends from D4-D5 for a comfortable soprano range], and has the exact piano accompaniment as well as full melody and lyrics for a soloist or choir. It works well as a solo or congregational song for any autumn or funeral service, featuring the meaningful lyrics of Henry Francis Lyte reminding us of the swiftness of this life, and the hope we have for the life beyond. Also included at the end of the file is a separate printout of both the piano and vocal parts separately for ease of practice and rehearsal.The original hymn was very beautiful but I thought a minor setting would be more fitting for the solemn lyrics, so I wrote an entirely new melody and harmonic arrangement, which can be found on all streaming platforms as well as Youtube, where lyric videos of this and other songs are readily available for church or personal use.Â Not just a hymn for September and October, I've found myself going back to this song often, as it captures the rich beauty and yet sadness of the autumn season, and still somehow brings comfort amidst the fast-changing seasons of the earth and of our lives. I hope you also are blessed by this song and arrangement!Also available, by searching Stacey Plays Hymns and the song title on this site, are the following versions:Piano and Vocal in E Minor for easier playing [vocal range A3-A4]Piano and Vocal in F Minor to match the original recording [vocal range Bb3-Bb4]Lead Sheet Version in F Minor [vocal range Bb3-Bb4] [as well as more detailed chords]Lead Sheet Version in E Minor for easier playing [vocal range A3-A4]For other formats including large print, different vocal ranges, or extended choral SATB versions, please write me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Purchase includes a free license for one church service with under 300 people, with proper attribution and credit in any printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!

$6.00

The Leaves Around Me Falling #Piano, Voix #INTERMÉDIAIRE #Musique Sacrée #Stacey Plays Hymns #Anastace #The Leaves Around Me Falling #Anastace #SheetMusicPlus

Piano,Vocal,Voice - Level 3 - SKU: A0.1393214 By Stacey Plays Hymns. By Henry Francis Lyte / Stacey Plays Hymns. Arranged by Anastace. Advent,Christian,...(+)

Piano,Vocal,Voice - Level 3 - SKU: A0.1393214 By Stacey Plays Hymns. By Henry Francis Lyte / Stacey Plays Hymns. Arranged by Anastace. Advent,Christian,Praise & Worship,Religious,Sacred. Score. 9 pages. Anastace #976695. Published by Anastace (A0.1393214). Here is the full piano vocal version of â€œThe Leaves Around Me Fallingâ€, as heard on my YouTube channel and in many comforting, beautiful funeral playlists. This version is in F minor to match the original recording, and has the exact piano accompaniment as well as full melody and lyrics for a soloist or choir. It works well as a solo or congregational song for any autumn or funeral service, featuring the meaningful lyrics of Henry Francis Lyte reminding us of the swiftness of this life, and the hope we have for the life beyond. Also included at the end of the file is a separate printout of both the piano and vocal parts separately for ease of practice and rehearsal.The original hymn was very beautiful but I thought a minor setting would be more fitting for the solemn lyrics, so I wrote an entirely new melody and harmonic arrangement, which can be found on all streaming platforms as well as Youtube, where lyric videos of this and other songs are readily available for church or personal use.Â Not just a hymn for September and October, I've found myself going back to this song often, as it captures the rich beauty and yet sadness of the autumn season, and still somehow brings comfort amidst the fast-changing seasons of the earth and of our lives. I hope you also are blessed by this song and arrangement!Also available, by searching Stacey Plays Hymns and the song title on this site, are the following versions:Piano and Vocal in E Minor for easier playing [vocal range A3-A4]Piano and Vocal in A Minor for higher voice [vocal range D4-D5]Lead Sheet Version in F Minor [vocal range Bb3-Bb4] [as well as more detailed chords]Lead Sheet Version in E Minor for easier playing [vocal range A3-A4]For other formats including large print, different vocal ranges, or extended choral SATB versions, please write me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Purchase includes a free license for one church service with under 300 people, with proper attribution and credit in any printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!

$6.00

The Leaves Around Me Falling [E Minor] #Piano, Voix #INTERMÉDIAIRE #Musique Sacrée #Stacey Plays Hymns #Anastace #The Leaves Around Me Falling [ #Anastace #SheetMusicPlus

Piano,Vocal,Voice - Level 3 - SKU: A0.1393221 By Stacey Plays Hymns. By Henry Francis Lyte / Stacey Plays Hymns. Arranged by Anastace. Christian,Praise ...(+)

Piano,Vocal,Voice - Level 3 - SKU: A0.1393221 By Stacey Plays Hymns. By Henry Francis Lyte / Stacey Plays Hymns. Arranged by Anastace. Christian,Praise & Worship,Religious,Sacred. Score. 10 pages. Anastace #976702. Published by Anastace (A0.1393221). Here is the full piano vocal version of â€œThe Leaves Around Me Fallingâ€, as heard on my YouTube channel and in many comforting, beautiful funeral playlists. This version is in E minor to make it easier to play, and has the exact piano accompaniment as well as full melody and lyrics for a soloist or choir. It works well as a solo or congregational song for any autumn or funeral service, featuring the meaningful lyrics of Henry Francis Lyte reminding us of the swiftness of this life, and the hope we have for the life beyond. Also included at the end of the file is a separate printout of both the piano and vocal parts separately for ease of practice and rehearsal.The original hymn was very beautiful but I thought a minor setting would be more fitting for the solemn lyrics, so I wrote an entirely new melody and harmonic arrangement, which can be found on all streaming platforms as well as Youtube, where lyric videos of this and other songs are readily available for church or personal use.Â Not just a hymn for September and October, I've found myself going back to this song often, as it captures the rich beauty and yet sadness of the autumn season, and still somehow brings comfort amidst the fast-changing seasons of the earth and of our lives. I hope you also are blessed by this song and arrangement!Also available, by searching Stacey Plays Hymns and the song title on this site, are the following versions:Piano and Vocal in F Minor to match the original recording [vocal range Bb3-Bb4]Piano and Vocal in A Minor for higher voice [vocal range D4-D5]Lead Sheet Version in F Minor [vocal range Bb3-Bb4] [as well as more detailed chords]Lead Sheet Version in E Minor for easier playing [vocal range A3-A4]For other formats including large print, different vocal ranges, or extended choral SATB versions, please write me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Purchase includes a free license for one church service with under 300 people, with proper attribution and credit in any printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!

$6.00

The City In the Sea: Choral Tone Poem #Chorale SATB #AVANCÉ #Contemporain #Stanley M Hoffman #The City In the Sea: Choral To #stanleymhoffman.com #SheetMusicPlus

Choral Choir (SATB) - Level 5 - SKU: A0.1074352 Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman.com #678653. Pu...(+)

Choral Choir (SATB) - Level 5 - SKU: A0.1074352 Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman.com #678653. Published by stanleymhoffman.com (A0.1074352). PROGRAM NOTES As of the present writing, this choral tone poem had been gestating for over thirty years, and the concept and harmonies for it for over forty years. In the 1980s I began to work with the latter two in my brief orchestral piece Little Sea Nocturne. When reading the poetry of Edgar Allan Poe (1809â€“1849), I am most struck by how musical they are. When recited aloud they exhibit their own rhythmic sense. I was eager to incorporate those rhythms into my music. I had long been familiar with his poem The City In the Sea and began to sketch choral passages for the present choral tone poem in the 1990s. It took me until 2022 to complete it because I required many more years of experience at my craft to do so to lead into out of the choruses. In 2012 I completed a seven-minute unaccompanied version of the choruses with music unique to and unifying it simply called The City In the Sea. In composing The City In the Sea - Choral Tone Poem, my goal was to write a piece that, while steeped in tradition, sounds unlike anything in the literature that had come before it. The result is an original hybrid work that successfully and memorably combines salient aspects of the tonal, atonal, and modal musical languages into an organic whole. George Perle coined the term â€œtwelve-tone tonalityâ€ to describe the music of Alban Berg and composers influenced by him such as Luigi Dallapiccola. The last title of which I am aware that accomplishes anything remotely related to what I am trying to accomplish musically in this choral tone poem is the piece Paradiso Choruses by Donald Martino (1974). However, I take twelve-tone tonality in entirely other directions in my work. That the duration of The City In the Sea - Choral Tone Poem came out to be thirteen minutes seems appropriate for piece about a sunken city. Rather than write program notes that narrate how the music unfolds I will simply shout out the most memorable aspects of what careful listeners will discern: a recurring heartbeat motif; shifting polychordal harmonies; echo technique; rhythmic diminutions and augmentations; an a cappella chorus featuring those harmonies with a surprisingly memorable recuring theme on top; sensuous flute duets; string section underpinnings by way of either sustained passages or wave-like gestures; tritone-related melodies, harmonies, and tone centers; several strategically placed grand pauses; tritone-related modal-sounding passages; melodic and chord clusters, especially the two climactic ones. INSTRUMENTATION 2 Flutes (2. doubles on Piccolo) 2 Oboes (2. doubles on English Horn) 2 Bb Clarinets 2 Bassoons 2 F Horns 2 C Trumpets 2 Trombones Tuba Timpani Percussion (Gong, Bass Drum, Chimes, Glockenspiel) Harp Strings DURATION 13:00 Stanley M. Hoffman (b. 1959) For biographical information visit: www.stanleymhoffman.com.

$5.60

This is My Prayer, sacred music for SATB choir #Chorale SATB #INTERMÉDIAIRE/AVANCÉ #Musique Sacrée #Kevin G #This is My Prayer, sacred musi #Kevin G. Pace #SheetMusicPlus

Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1313410 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sac...(+)

Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1313410 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. 8 pages. Kevin G. Pace #902166. Published by Kevin G. Pace (A0.1313410). A stunningly beautiful choral arrangement. Â Music by Kevin G. Pace. Â Text by Mary Ann W. Snowball.Text:This is My Prayerâ€œCharity never faileth: . . .â€ (1 Corinthians 13:8)To care for the poor who have none.To feed all the hungry who come.To cover the naked and weary.To teach all of those who feel numb.This is my prayer to Father above . . .To be given Christâ€™s gift, to be filled with His love.To receive with my heart and my soul charity, oh so rare . . .This is my prayer.To free when a personâ€™s done wrong.To lend when one wants to be strong.To comfort the weak and the dying.To mourn when the struggle is long.This is my prayer to Father above . . .To be given Christâ€™s gift; to be filled with His love.To be clothed with His shawl and His cloak and give goodness to share . . .This is my prayer.To claim Fatherâ€™s gift for my own.To share all the grace I have known.To plead with all energy summoned.To weep for the love Christ has shown.This is my prayer to Father above . . .To be given Christâ€™s gift; to be filled with His love.To give thanks for His generous kindness for all whom I care . . .This is my prayer. This is my prayer.

$1.99

Deck the Halls for Baritone Voice #Voix Baryton, Piano #DÉBUTANT #Noël #Christopher Esther #Deck the Halls for Baritone Vo #Christopher Esther #SheetMusicPlus

Baritone Horn TC,Vocal Solo,Voice - Level 1 - SKU: A0.795954 Arranged by Christopher Esther. Christmas. 1 pages. Christopher Esther #6086551. Published ...(+)

Baritone Horn TC,Vocal Solo,Voice - Level 1 - SKU: A0.795954 Arranged by Christopher Esther. Christmas. 1 pages. Christopher Esther #6086551. Published by Christopher Esther (A0.795954). This piece is part of a 12 song collection available for just $9.99 (or only $0.83 per song)! Find the full collection for your instrument by going toâ€¦https://sites.google.com/view/cpesther/sheetmusic/boughs-of-holly-or-https://www.sheetmusicplus.com/search?Ntt=Classic+Christmas+Songs+-+The+%22Boughs+of+Holly%22+SeriesYou can also search Sheet Music Plus for Classic Christmas Songs - The Boughs of Holly Collection.All of these pieces are also completely compatible with any others in the series, so you can build your own instrumentation without worrying about whether the music will work together!

$1.99

Shouldest Not the Heavens Weep? sacred music for SATB choir wth Baritone soloist #Chorale SATB #INTERMÉDIAIRE/AVANCÉ #Musique Sacrée #Kevin G #Shouldest Not the Heavens Weep #Kevin G. Pace #SheetMusicPlus

Choral Choir,Choral (SATB divisi) - Level 4 - SKU: A0.1349477 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religi...(+)

Choral Choir,Choral (SATB divisi) - Level 4 - SKU: A0.1349477 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. 11 pages. Kevin G. Pace #934234. Published by Kevin G. Pace (A0.1349477). An epically beautiful, sacred choral work with baritone soloist. Â Music by Kevin G. Pace. Â Text by Mary Ann W. Snowball.Text:Shouldst Not the Heavens Weep?â€œ . . . for He loveth the world . . .â€ Â (2 Nephi 26:24)In a striking prophecy and opened to his view,Enoch saw mortality as a glorious truth.Curtains of creation birthed Godâ€™s pure holy race.Yet what Enoch saw were tears on His saddened face.How is it that Thou canst weep? Thou art God of all!All eternity is thine . . . this thy sacred call.Mercy goes before thy eyes, truth before thy throne.How is it that Thou canst weep? All thy worlds are known.Of my soul pure children came, from my very hands.I gave mankind agency so all love could stand.But, behold, their sins I see; misâ€™ry is their doom.Seeing some shall suffer much, my heart feels entombed.Shouldest not the heavens weep for these ofmy own?Suffâ€™ring for each child of mine, I for them atoned.Tears that fall are for their souls; these must suffer too.If they choose not to repent, my love seems untrue.Chorus:Shouldst not the heavens weep? God gave life to all.Shouldst not the heavens weep? His love covers all.

$1.99

VOCALIZZI: Concone Panofka Seidler Tosti - volume 2 #Chorale SATB #FACILE #Concone Panofka Seidler Tosti #Antonio Cericola #VOCALIZZI: Concone Panofka Sei #Antonio Cericola #SheetMusicPlus

Choral Choir (SATB) - Level 2 - SKU: A0.934264 Composed by Concone Panofka Seidler Tosti. Arranged by Antonio Cericola. Instructional. Octavo. 162 pages...(+)

Choral Choir (SATB) - Level 2 - SKU: A0.934264 Composed by Concone Panofka Seidler Tosti. Arranged by Antonio Cericola. Instructional. Octavo. 162 pages. Antonio Cericola #6328883. Published by Antonio Cericola (A0.934264). I migliori e piÃ¹ belli vocalizzi, lezioni e solfeggi cantati tratti dalle opere storiche piÃ¹ importanti della didattica del belcanto internazionale. Unica nel panorama editoriale e didattico, questa edizione annovera tutti i vocalizzi trasportati per tutte le estensioni vocali in tre tonalitÃ diverse. Questa comoditÃ sarÃ senzâ€™altro utile non solo ai pianisti accompagnatori (che avranno a portata di mano la stessa composizione giÃ trasposta), ma anche agli insegnanti. Gli allievi piÃ¹ illuminati, inoltre, potrebbero esercitare la stessa lezione in tonalitÃ diverse per fini didattici e musicali. Una chiarissima impaginazione e formattazione musicale contraddistingue questa edizione da tutte le altre esistenti. La raccolta si articola in due volumi.Vocalizzi presenti nel primo volume: 1 H. Panofka Op 85 n 1 Â§ 2 H. Panofka Op 81 n 13 Â§ 3 F. P. Tosti Piccolo solfeggio n 12 Â§ 4 G. Seidler Melodia n 4 Â§ 5 H. Panofka Op 85 n 4 Â§ 6 H. Panofka Op 85 n 10 Â§ 7 H. Panofka Op 85 n 11 Â§ 8 H. Panofka Op 85 n 12 Â§ 9 H. Panofka Op 85 n 13 Â§ 10 H. Panofka Op 85 n 14 Â§ 11 H. Panofka Op 85 n 24 Â§ 12 H.The best and most beautiful vocalizations, lessons and sung solfeggi taken from the most important historical works of the teaching of international bel canto. Unique in the publishing and educational landscape, this edition includes all the vocalizations carried for all the vocal extensions in three different tones. This convenience will certainly be useful not only to accompanying pianists (who will have the same composition already transposed to hand), but also to teachers. Furthermore, the more enlightened students could practice the same lesson in different tones for educational and musical purposes. A very clear layout and musical formatting distinguishes this edition from all the other existing ones. The collection is divided into two volumes: vocalizations present in the first volume: 1 H. Panofka Op 85 n 1 Â§ 2 H. Panofka Op 81 n 13 Â§ 3 FP Tosti Piccolo solfeggio n 12 Â§ 4 G. Seidler Melody n 4 Â§ 5 H . Panofka Op 85 n 4 Â§ 6 H. Panofka Op 85 n 10 Â§ 7 H. Panofka Op 85 n 11 Â§ 8 H. Panofka Op 85 n 12 Â§ 9 H. Panofka Op 85 n 13 Â§ 10 H. Panofka Op 85 n 14 Â§ 11 H. Panofka Op 85 n 24 Â§ 12 H. Panofka Op 81 n 14 Â§ 13 H. Panofka Op 85 n 8 Â§ 14 H. Panofka Op 85 n 16 Â§ 15 H. Panofka Op 85 n 9 Â§ 16 H. Panofka Op 81 n 17 Â§ 17 H. Panofka Op 81 n 1. Panofka Op 81 n 14 Â§ 13 H. Panofka Op 85 n 8 Â§ 14 H. Panofka Op 85 n 16 Â§ 15 H. Panofka Op 85 n 9 Â§ 16 H. Panofka Op 81 n 17 Â§ 17 H. Panofka Op 81 n 1.

$14.99

Giovanni Bononcini - Anthem (for the Funeral of John Duke of Marlborough) #Chorale SATB #INTERMÉDIAIRE/AVANCÉ #Giovanni Bononcini #Giovanni Bononcini, Giovanni B #Guido Menestrina #Giovanni Bononcini - Anthem #Guido Menestrina #SheetMusicPlus

Choral Choir (SATB) - Level 4 - SKU: A0.828704 Composed by Giovanni Bononcini, Giovanni Battista Bononcini. Arranged by Guido Menestrina. Baroque,Contem...(+)

Choral Choir (SATB) - Level 4 - SKU: A0.828704 Composed by Giovanni Bononcini, Giovanni Battista Bononcini. Arranged by Guido Menestrina. Baroque,Contemporary,Sacred. Octavo. 44 pages. Guido Menestrina #368381. Published by Guido Menestrina (A0.828704). Anthem which was performed in King Henry the Seventh's Chappel at the Funeral of the most Noble & Victorious Prince John Duke of Marlborough By Giovanni Bononcini (1670-1747) transcribed by Guido Menestrina Il padre, Giovanni Maria Bononcini (Buononcini) (1642-1678), era stato violinista e compositore: attivo alla corte di Modena, aveva scritto un trattato, Musico prattico, pubblicato nel 1673. Il fratello minore di Giovanni, Antonio Maria, fu anch'egli musicista. Proprio dal padre Giovanni ricevette la prima educazione musicale; quando questi morÃ¬, nel 1678, divenne studente di Giovanni Paolo Colonna a Bologna, dove vennero eseguiti i suoi primi lavori. Proprio grazie al Colonna entrÃ² a far parte dell'Accademia dei Filarmonici in veste di compositore. Nel 1685 aveva giÃ preparato e pubblicato le sue prime opere. Ottenne nel 1688 il posto di musicista presso la basilica di San Petronio, e piÃ¹ tardi divenne maestro di cappella nella chiesa di San Giovanni in Monte. Sempre a Bologna fece la conoscenza del librettista Silvio Stampiglia, assieme al quale, tra il 1692 e il 1696, produrrÃ cinque opere. A partire dal 1692 si recÃ² a Milano, Roma (dove fu apprezzato e sostenuto da Filippo II Colonna e dalla sua consorte Olimpia Pamphilj) e Venezia; infine, dal 1698 al 1711 si stabilÃ¬ a Vienna, dove godette i favori degli imperatori Leopoldo I e Giuseppe I. Di passaggio a Berlino nel 1702, incontrÃ² Georg Friedrich HÃ¤ndel, di quindici anni piÃ¹ giovane di lui, di cui riconobbe il talento precoce: lo avrebbe rincontrato alcuni anni piÃ¹ tardi. Dal 1714 al 1719 fu di nuovo a Roma, al servizio di Johann Wenzel, Conte di Gallas, Ambasciatore dell'Imperatore d'Austria a Roma, molto noto per il suo amore per la musica. Al Conte di Gallas, Bononcini dedicÃ² la Favola Pastorale Erminia, rappresentata al Teatro della Pace nella Stagione del Carnevale del 1719. Il dramma musicale ebbe grandissimo successo sia per la musica, sia per gli interpreti, fra cui si segnalarono Domenico Gizzi (1687-1758), Musico Soprano della Real Cappella di Napoli ed il celebre contralto napoletano Francesco Vitale. Sempre nella Stagione del Carnevale 1719 al Teatro della Pace, Bononcini rappresentÃ² il dramma per musica L'Etearco, dal librettista Silvio Stampiglia dedicato alla Contessa Ernestina di Gallas, moglie dell'Ambasciatore austriaco. Anche in questo dramma per musica Domenico Gizzi e Francesco Vitale fecero apprezzare tutte le spezie piÃ¹ ricercate del virtuosismo canoro. Poi, dal 1720 si stabilÃ¬ a Londra, sotto la protezione del John Churchill, I duca di Marlborough. Qui si esibÃ¬ anche al violoncello in numerosi concerti, molto apprezzati dall'aristocrazia inglese. Divenne membro della prestigiosa Royal Academy of Music.[senza fonte] Il pubblico londinese era, all'epoca, totalmente ignorante dell'opera italiana, e HÃ¤ndel stava muovendo i primi passi della sua prestigiosa carriera. Fra i due compositori si accese un forte spirito di competizione, sia che collaborassero alla realizzazione della medesima impresa (i tre atti dell'opera Muzio Scevola furono composti il primo da Filippo Amadi, il secondo da Bononcini, il terzo da HÃ¤ndel, al fine di soddisfare tutti e tre gli artisti), sia che, piÃ¹ spesso, si impegnassero in produzioni rivali. Le opere di maggior successo di Bononcini in quegli anni furono Astarto (1720), Crispo (1722), Griselda (1722), che si rivelÃ² un vero e proprio trionfo, Erminia (1723), Calfurnia (1724). A favore dell'italiano era anche una certa ostilitÃ verso HÃ¤ndel dovuta alle sue origini tedesche e alla contemporanea presenza sul trono inglese della poco amata dinastia di Hannover. Ma nel 1727-1728 scoppiÃ² uno scandalo che compromise il successo di Bononcini e lo costrinse a lasciare Londra: il compositore Antonio Lotti accusÃ² il madrigale di Bononcini In una siepe ombrosa di essere un plagio di un brano dei suoi Duetti, terzetti e madrigali. Fuggito a Parigi nel 1733, a causa di speculazion.

$9.99

Sanbutsuge: A Buddhist Motet for Chorus SATB and Piano, with Solo Soprano #Chorale SATB #INTERMÉDIAIRE/AVANCÉ #Richard St #Sanbutsuge: A Buddhist Motet f #Richard St. Clair #SheetMusicPlus

Choral Choir (SATB) - Level 4 - SKU: A0.939717 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 23 pages. Richard St. Clair #3002339. P...(+)

Choral Choir (SATB) - Level 4 - SKU: A0.939717 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 23 pages. Richard St. Clair #3002339. Published by Richard St. Clair (A0.939717). This 9-minute motet in which the Buddha-to-be Dharmakara praises His master, Lokeshvaraja Buddha and vows to become the Savior of all Beings (namely, Amida Buddha). The music beings with an extended recitative/aria by solo soprano, and proceeds to the full choral ensemble to its conclusion. The MP3 Audio Clip is a computer-generated soundfile of the entire work. The music is completely tonal and traditional, suitable for good amateur choirs and professional choruses alike.Words from the Larger Sutra on Amida Buddha expounded by Shakyamuni Buddha some 2500 years ago in India.[Setting: Many ages ago, Dharmakara Bhikshu (in his stage before becoming Amida Buddha) declares to his Master, Buddha Lokeshvararaja, his intention to create a Pure Land wherein all suffering beings can be saved.]Text (slightly abridged):Then appeared a Buddha named Lokeshvararaja, the Tathagata, Arhat, Perfectly Enlightened One, Possessed of Wisdom and Practice, Perfected One, Knower of the World, Unsurpassed One, Tamer of Men, Master of Gods and Men, Buddha and World-Honored One.At that time there was a king, who, having heard the Buddha's exposition of the Dharma, rejoiced in his heart and awakened aspiration for the highest, perfect Enlightenment. He renounced his kingdom and the throne, and became a monk named Dharmakara. Having superior intelligence, courage and wisdom, he distinguished himself in the world. He went to see the Tathagata Lokeshvararaja, knelt down at his feet, walked round him three times keeping him always on his right, prostrated himself on the ground, and putting his palms together in worship, praised the Buddha with these verses:The shining face of the Buddha is glorious;Boundless is his magnificence.Radiant splendor such as hisIs beyond all comparison.The sun, the moon and the mani-jewel,Though shining with dazzling brightness,Are completely dimmed and obscuredAs if they were a pile of ink-sticksThe countenance of the TathagataIs beyond compare in the whole world.The great voice of the Enlightened OneResounds throughout the ten regions.His morality, learning, endeavor,Absorption in meditation, wisdomAnd magnificent virtues have no equal;They are wonderful and unsurpassed.I resolve to become a Buddha,Equal in attainment to you, O holy king of the Dharma,To save living beings from birth-and-death,And to lead them all to emancipation.I vow that, when I have become a Buddha,I shall carry out this promise everywhere;And to all fear-ridden beingsShall I give great peace.Even though there are Buddhas,A thousand million kotis in number,And multiudes of great sagesCountless as the sands of the Ganges,I shall make offeringsTo all those Buddhas.I shall seek the supreme WayResolutely and tirelessly.Even though the Buddha-lands are as innumerableAs the sands of the Ganges,And other regions and worldsAre also without number,My light shall shine everywhere,Pervading all those lands.Such being the result of my efforts,My glorious power shall be immeasurable.When I have become a Buddha,My land shall be most exquisite,And its people wonderful and unexcelled;The seat of Enlightenment shall be supreme.My land, being like Nirvana itself,Shall be beyond comparison.I take pity on living beingsAnd resolve to save them all.Those who come from the ten quartersShall find joy and serenity of heart;When they reach my land,They shall dwell in peace and happiness.I beg you, the Buddha, to become my witnessAnd to vouch for the truth of my aspiration.Having now made my vows to you,I will strive to fulfilll them.The World-Honored Ones in the ten quartersHave unimpeded wisdom;I call upon those Honored OnesTo bear witness to my intention.Even though I mu.

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