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TRI ET FILTRES
TRI ET FILTRES
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Vous avez sélectionné:
Lament for Flute and Piano
Chorale SATB
Partitions à imprimer
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By the Waters of Babylon (SATB/SAB choir, piano, flute)
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.880209 Composed by Philip …
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.880209 Composed by Philip Hayes, Luke Furman. Arranged by Furman Musical Arrangements. Christian,Contemporary,Easter,Sacred. Octavo. 11 pages. Furman Musical Arrangements #6712523. Published by Furman Musical Arrangements (A0.880209). By the waters of Babylon, we sat down and wept for Zion. Noted as a Jewish melody in several hymnals, this canon melody with text adapted from Psalm 137:1 is often attributed to Philip Hayes. This piece adds additional text and music based on the next three verses of the psalm, and haunting, mournful flute and piano interludes to help to capture the spirit of this psalm of lament. Originally written for a sermon series focused on the Book of Lamentations, but could also be appropriate for Lent, All Saints Day, or any occasion for expressing sadness, grief, or remembrance. For SA(T)B choir with piano and flute; duration approx. 4'.
$2.19
2.02 €
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Chorale SATB
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the waters of Babylon, we sat down and wept for Zion
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Philip Hayes, Luke Furman
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Furman Musical Arrangements
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duration approx. 4'.
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By the Waters of Babylon
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Furman Musical Arrangements
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SheetMusicPlus
Missa Solemnis, op. 27 (vocal score)
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian…
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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
81.02 €
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Chorale SATB
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
He's Always Been Faithful
Chorale SATB
Choral SATB choir, orchestra - Digital Download SKU: H1.C5462DP Composed by Sara Gr…
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Choral SATB choir, orchestra - Digital Download SKU: H1.C5462DP Composed by Sara Groves and William Runyan. Arranged by Thomas Fettke. Piano Accompaniment with Optional Orchestra. Vocal Solo Sheet Music Series. Contemporary, Hymntune, General Worship, Assurance, Christ's Presence, Comfort, Confidence, Encouragement, Faith & Faithfulness, Guidance, Promise. Octavo. 12 pages. Hope Publishing - Digital #C5462DP. Published by Hope Publishing - Digital (H1.C5462DP). Thomas O. Chisholm & William M. Runyan; New Words & Music by Sara Groves. Genesis 8:22 - Lamentations 3:22 - Lamentations 3:23 - Lamentations 3:24 - 1 Samuel 15:29 - Hebrews 7:21 - Isaiah 49:7 - James 1:17 - Jeremiah 29:11 - Malachi 3:6 - Psalms 33:4 - Psalms 110:4 - Psalms 111:7 - Psalms 145:13 - Psalms 1.Original melody with Great Is Thy Faithfulness This popular new song from Sara Groves combines the hymn Great Is Thy Faithfulness with original contemporary words and music in a seamless blend of old and new that refreshes this beloved classic, and brings new relevance and significance to the timeless message. Orchestration consists of parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, 2 & 3, Horn 1 & 2, Tromtone 1 & 2, Trombone 3/Tuba, Timpani, Percussion 1 & 2, Harp, Rhythm (Piano), Violin 1 & 2, Viola, Cello/Bassoon, and String Bass.
$3.25
2.99 €
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Chorale SATB
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Sara Groves and William Runyan
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Thomas Fettke
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He's Always Been Faithful
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Hope Publishing - Digital
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SheetMusicPlus
Great Is Thy Faithfulness
Chorale SATB
Choral SATB Chorus - Digital Download SKU: H1.C5657DP Composed by William Runyan. A…
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Choral SATB Chorus - Digital Download SKU: H1.C5657DP Composed by William Runyan. Arranged by Joseph M. Martin. Piano with Optional Cello, Flute, French Horn, Violin. Hymntune, General Worship. Octavo. 12 pages. Hope Publishing - Digital #C5657DP. Published by Hope Publishing - Digital (H1.C5657DP). Thomas O. Chisholm. Genesis 8:22 - Lamentations 3:22 - Lamentations 3:23 - Lamentations 3:24 - 1 Samuel 15:29 - Hebrews 7:21 - Isaiah 49:7 - James 1:17 - Jeremiah 29:11 - Malachi 3:6 - Psalms 33:4 - Psalms 110:4 - Psalms 111:7 - Psalms 145:13 - Psalms 1.Classic hymn tune William Runyan was an editor for Hope Publishing Company in 1923 when he composed the tune for this beloved hymn to a text by his friend, Thomas Chisholm. The message is a vivid testimony to God's faithfulness, and Joseph Martin's dynamic choral setting is a skillful statement of faith in its own right. The accompaniment calls for a small ensemble of instruments that heighten the impact, but may also be done with simply piano. The Instrumental packet contains a Conductor's Score and parts for: Flute, Oboe, Horn, Violin 1, Violin 2/Viola, Cello & Electric Bass.
$3.25
2.99 €
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Chorale SATB
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William Runyan
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Joseph M
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Great Is Thy Faithfulness
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Hope Publishing - Digital
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SheetMusicPlus
Vencerá el amor (Love Shall Overcome) (Downloadable Choral Score)
Chorale SATB
SATB choir, optional congregation, piano, optional clarinet or C instrument, optional guit…
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SATB choir, optional congregation, piano, optional clarinet or C instrument, optional guitar, optional string quartet or string quintet - Easy - Digital Download SKU: MQ.50-8715-E Composed by Carlos Colón-Quintana. All Saints/All Souls, African American Heritage. Octavo. 7 pages. MorningStar Music Publishers - Digital Sheet Music #50-8715-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-8715-E). Spanish. Romans 12:21.This piece takes its inspiration from Romans 12:21: Do not be overcome by evil, but overcome evil with good. It was written to commemorate the martyrdom of six Jesuit priests and two women on the campus of Universidad Centroamericana (UCA) in El Salvador in 1989. It may be sung entirely in Spanish or English, or by alternating the two languages. The music moves through a sense of lament and ends with a gentle proclamation of the victory of good over evil. Instrumental parts include:Flute/Oboe/Violin (High) (Substitute for Clarinet in B-flat)Violin (Low) (Substitute for Clarinet in B-flat)Viola (Substitute for Clarinet in B-flat)Violin IViolin IIViolaVioloncello.
$2.25
2.07 €
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Chorale SATB
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Carlos Colón-Quintana
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Vencerá el amor
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
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