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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Canon No. 3
Sheetmusicplus
Non classifié
27
Piano & claviers
Piano seul
16
Piano Facile
5
Piano, Voix et Guitare
2
Orgue
2
Piano Trio: piano, violon, violoncelle
2
Piano (partie séparée)
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano, Voix
1
+ 3 instrumentations
Retracter
Guitares
Voix
Chorale SATB
6
Chorale 3 parties
4
Vents
Quatuor de Flûtes : 4 flûtes
7
Quatuor de Clarinettes: 4 clarinettes
4
3 Clarinettes (trio)
4
Clarinette et Piano
2
Flûte, Clarinette (duo)
2
Quintette de Clarinettes: 5 clarinettes
2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2
Quatuor de Saxophones: 4 saxophones
2
Flûte traversière et Piano
2
Flûte, Hautbois, Clarinette, Basson
2
Trio de Flûtes: 3 flûtes
2
Flute, harpe et violon
2
Quatuor de Flûtes à bec
2
2 Flûtes traversières (duo)
2
2 Hautbois (duo)
1
Flûte, Hautbois, Clarinette (trio)
1
2 Clarinettes (duo)
1
+ 12 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
2
2 Trompettes (duo)
1
Ensemble de Trombones
1
Quatuor de cuivres: 4 trombones
1
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
18
2 Violons (duo)
8
Violon et Piano
3
Harpe
3
Violon, Violoncelle (duo)
2
4 Violoncelles
1
Quatuor à cordes: 4 violons
1
Trio à Cordes: 3 violoncelles
1
Violoncelle, Piano
1
Violon
1
Trio à Cordes: violon, alto, violoncelle
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Violon, Alto (duo)
1
+ 8 instrumentations
Retracter
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Orchestre
5
Orchestre à Cordes
3
Cloches
2
Orchestre d'harmonie
1
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DOBRO - GUI…
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EUPHONIUM
FANFARE - B…
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FLUTE A BEC
FLUTE A DIX…
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FORMATION M…
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LUTH, THEOR…
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
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TROMPETTE
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Vous avez sélectionné:
Canon No. 3
SheetMusicPlus
Partitions à imprimer
6 partitions trouvées
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There is no rose
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Noël
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Robert A
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There is no rose
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Robert A. Howard
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 3 - SKU: A0.998890 Composed by Robert A. Howard. 21st Century,A Cappella,Advent,Christmas,Sacred. 6 pages. Robert A. ...
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Choral Choir,Choral (SATB) - Level 3 - SKU: A0.998890 Composed by Robert A. Howard. 21st Century,A Cappella,Advent,Christmas,Sacred. 6 pages. Robert A. Howard #6496055. Published by Robert A. Howard (A0.998890). This carol for unaccompanied SATB choir sets a well known but anonymous 15th Century text. The five verses pass through a sequence of keys, returning to the opening key for the final one. Each verse begins with a simple melody, initially stated alone, then appearing in various canonic forms on subsequent verses. This is then always followed by a rich chordal passage of 'added note' harmonies, in a reverential and meditative manner. The piece is designed for most good choirs to be able to perform unaccompanied, and parts invariably move by semitone or tone movement. It is appropriate for any size of 4-part choir, including school, student, community, church and cathedral choirs.
$3.99
On That Cross
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Chorale SATB
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INTERMÉDIAIRE
#
Christian contemporain
#
Musique Sacrée
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Stuart Brown
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On That Cross
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Stuart Brown Music
#
SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 3 - SKU: A0.835422 Composed by Stuart Brown. Contemporary,Sacred. 8 pages. Stuart Brown Music #9697. Published...
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Choral Choir,Choral (SATB divisi) - Level 3 - SKU: A0.835422 Composed by Stuart Brown. Contemporary,Sacred. 8 pages. Stuart Brown Music #9697. Published by Stuart Brown Music (A0.835422). Possibly unique: an Easter (or more properly Good Friday) hymn for six-part choir, in which the choir is actually the accompaniment for a piano solo of almost hyponotic dissonance in comparison. The result of superimposing these elements is strangely beautiful. The composer offers the following commentary: I guess most people seeing a piece with a choir and a piano would think of it – not unreasonably – as a choir accompanied by a piano. This piece is subtly different: the way in which I can best explain what was in my mind when I composed it would be to describe it as a piano solo accompanied by choir. While the choir sings music that feels like a slow pavane the pianist plays a series of arpeggios and cluster chords around another relatively simple but unlinked melody. The combined effect is almost hypnotic and if the singers think of the pianist as their accompanist they will almost certainly lose the plot of what they are singing! On first hearing it may appear that the piano and the choir have little in common but the concept is simple enough. Both choir and pianist are meditating on the same theme, but coming at it from totally different directions. There is no formula to the way in which we approach the cross of Christ. We come as we are, seeking forgiveness and reconciliation, meeting at the foot of the cross. The juxtaposition of choir and piano represents that meeting and the cluster chords that the pianist plays reinforce a sense of brokenness that is essential to a proper understanding of the music. I have dedicated this to Canon Andrew White and the Christians of Iraq, knowing that their situation seems impossible in the face of the evil that walks that land, but trusting in the God and Father of the Lord Jesus Christ to do right even if from our earthly perspective we are unable to discern what right is.
$3.50
October Dawn - Choral Song (SSAATB)
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Chorale SATB
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INTERMÉDIAIRE
#
Contemporain
#
Chris Gordon
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October Dawn - Choral Song
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Cool Wind Music Digital
#
SheetMusicPlus
Choral Choir (SATB divisi) - Level 3 - SKU: A0.841250 Composed by Chris Gordon. Contemporary. Octavo. 18 pages. Cool Wind Music Digital #3029087. Publis...
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Choral Choir (SATB divisi) - Level 3 - SKU: A0.841250 Composed by Chris Gordon. Contemporary. Octavo. 18 pages. Cool Wind Music Digital #3029087. Published by Cool Wind Music Digital (A0.841250). A setting of a very powerful poem by English poet, Ted Hughes, about the onset of autumn in an English (Yorkshire) garden and the surrounding countryside. It is full of pathos and passion, harmony and dissonance, chaos and peace - just like English weather!This is a very individual and innovative choral setting of Hughes' poem which is, itself, rich in 'meaty' metaphor and colour - and the composer is a vegetarian! It evokes a savage Nature within a savage landscape where humans and animals compete for space and for food. It is October, the fields and woods and gardens of rural Yorkshire are readying themselves for the cold and desolation (and despair) of winter which isn't far away in time. 'A glass, half-filled with wine, left out(side) To the dark heaven all night, by dawn Has dreamed a premonition of ice across its eye as if the ice-age had begun its heave.' That is only two and a half stanzas but you see from these lines that there are veiled threats of (Nature's) violence in the heavy tread of the poet's slowly-building angst over what is happening in the surrounding countryside - and his fear grows, and his awe grows, with every line. There is even fear underlining the very last line: 'And now it is about to start.' Winter is creeping closer and closer towards the house and it will not be pleasant to experience!I have tried to instil a little of this in the music which keeps skidding from consonance to dissonance and back to consonance. Sometimes the dissonance piles up, like snow driven by the wind piles up into deep banks; sometimes the music relaxes into stillness and calm (painted in tonal music) like a crisp, mild late autumn or early winter's day when the sun warms the landscape and life appears bearable, tolerable. I hope this adds to the song's 'charm'. It wasn't easy to write: sometimes the right music was elusive. The music ends with the word 'October' repeated three times, with voices overlapping in a little canon. This conjures up the wistful feelings of the poet as he looks out onto a peaceful scene, soon to be filled with all manner of 'natural violence', while his inner peace will soon be shattered by the mayhem about to be unleashed around him.Setting Ted Hughes is no easy task. It is for choirs and choirmasters to judge if I have succeeded in conveying the 'sense and sensibility' of a classic 20th century English poem.The price is for one copy: please purchase a sufficient number of scores if you intend to perform this work. SMP Press offers discounts for multiple-copy purchases.
$3.00
IN THE BEGINNING WAS THE WORD (SSATB) – John 1:1-18
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Chorale SATB
#
INTERMÉDIAIRE
#
Musique Sacrée
#
Michael A
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IN THE BEGINNING WAS THE WORD
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.926671 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 24 pages. M.A. Morizio #3588445. Published by M...
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Choral Choir (SATB) - Level 3 - SKU: A0.926671 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 24 pages. M.A. Morizio #3588445. Published by M.A. Morizio (A0.926671). My dear friend, and Pastor Don Colageo and I cut our teeth together with this piece when we decided to dive headlong into this cycle of Seven Anthems to Christ. It was the second song of the (SEVEN ANTHEMS TO CHRIST) cycle that I had composed, but the first using his Greek translation(s). It eventually would become the last piece to grace the cycle of seven in order of my musical presentation sequence. In fact, this known 1st century Hymn to Christ spans 18 verses of the first chapter of the Gospel of John. My setting of the anthem is seven plus minutes long in performance length. The song's length was not on purpose, but the number seven does have Biblical significance (seven days of creation, seven golden lamp stands, etc.) The number seven is also known among Biblical scholars as the number of Holiness and Perfect Creation. Since this rather long, yet theologically complete Hymn to Christ already existed in the 1st century, it is no wonder the Apostle John opted to begin his Gospel with it, probably quoting the entire text. Consequently, he converted this particular Hymn to Christ’s lyrics into what would later become canonized Scripture. The anthem is composed for SSATB with solo SSA trio, and Solo Soprano and Solo Baritone lines, accompanied by Flute and B♠Clarinet. The key signature of the anthem is B♠Major. However, a lot of time is spent weaving and bobbing around the Dominant chord, (F Major). The Flute and Clarinet introduction play seven different motifs, interweaving with counterpoint, musically connoting the dual natures of Christ--fully God, and fully man. An SSA trio opens the piece recounting the creation story. A bass solo shortly follows, introducing John the baptizer's story and purpose. Soon, the anthem breaks out into full SSATB illustrating Christ's life and purpose for our salvation. The final coda is the great Doxology, sung in 5 parts, accompanied by the Flute and Clarinet, and the entire congregation (or audience) is invited to sing along with the familiar tune.
$2.99
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Canon No. 3
