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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
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SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
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VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
One Moment In Time
Non classifié
228
Piano & claviers
Piano seul
158
Piano Facile
31
Piano, Voix
28
Piano, Voix et Guitare
12
Instruments en Do
7
1 Piano, 4 mains
7
Piano Quatuor: piano, violon, alto, violoncelle
4
Piano grosses notes
4
2 Pianos, 4 mains
3
Orgue
3
Piano Trio: piano, violon, violoncelle
3
Ensemble d'Accordéons
1
+ 7 instrumentations
Retracter
Guitares
Guitare
13
Basse electrique
11
Guitare notes et tablatures
8
Ligne De Mélodie, (Paroles) et Accords
2
Piano, Guitare (duo)
1
Ukulele
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
47
Chorale 3 parties
22
Chorale TTBB
13
Chorale SSAA
9
Chorale 2 parties
6
Voix seule
4
Voix duo
2
Voix duo, Piano
2
Chorale Unison
1
+ 4 instrumentations
Retracter
Vents
2 Saxophones (duo)
38
Saxophone Alto et Piano
36
Hautbois, Piano (duo)
31
Saxophone
30
Quatuor de Saxophones: 4 saxophones
30
Flûte traversière
28
Clarinette
22
Quintette de Saxophone: 5 saxophones
20
Flûte traversière et Piano
14
Saxophone Alto
14
Clarinette et Piano
13
Hautbois, Violoncelle
13
2 Flûtes traversières (duo)
12
Saxophone Soprano et Piano
12
Saxophone Baryton, Piano
12
2 Clarinettes (duo)
11
Hautbois (partie séparée)
11
Saxophone (partie séparée)
11
Saxophone Tenor et Piano
11
Saxophone Tenor
10
Saxophone, Clarinette (duo)
6
2 Hautbois (duo)
6
Saxophone Soprano
5
Flûte, Hautbois, Clarinette, Basson
5
Saxophone Baryton
5
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5
Clarinette, Trompette (duo)
4
3 Saxophones (trio)
4
Hautbois
4
Clarinette, Violon (duo)
4
Clarinette (partie séparée)
3
Flute (partie séparée)
3
Hautbois, Basson (duo)
3
Quatuor de Flûtes : 4 flûtes
3
Cor anglais, Piano
2
Flûte, Alto (duo)
2
Ensemble de Flûtes
2
3 Clarinettes (trio)
2
Flûte, Saxophone (duo)
2
Flûte, Violon
2
Quatuor de Clarinettes: 4 clarinettes
2
Clarinette et Alto
2
Hautbois, Flûte
2
Flûte, Clarinette (duo)
2
Hautbois, Clarinette (duo)
2
Flûte, Trompette (duo)
2
Ensemble de saxophones
1
Clarinette, Guitare (duo)
1
Ensemble de Clarinettes
1
Saxophone et Piano
1
Clarinette Basse, Piano
1
Cor anglais, Guitare (duo)
1
Flûte et Guitare
1
Trio de Flûtes: 3 flûtes
1
+ 49 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
33
Trombone
26
Trombone et Piano
21
Trompette
21
Quatuor de Cuivres: 2 trompettes, Cor, trombone
14
Cor et Piano
13
Tuba et Piano
12
Quatuor de Cuivres : 2 trompettes, trombone, tuba
12
Trompette, Piano
12
Cor
11
2 Trombones (duo)
9
Tuba
9
2 Trompettes (duo)
6
Trompette, Saxophone (duo)
4
2 Cors (duo)
4
Quatuor de Cuivres
4
Trompette (partie séparée)
3
Trompette, Trombone (duo)
3
Cor anglais, Piano
2
2 Tubas (duo)
2
Quatuor de cuivres: 4 trombones
2
Trombone (partie séparée)
2
Trombone, Tuba (duo)
1
Tuba (partie séparée)
1
2 Euphoniums et 2 Tubas
1
Cor (partie séparée)
1
Trombone basse et Piano
1
Cor anglais, Guitare (duo)
1
Euphonium, Piano (duo)
1
Trompette, Violoncelle (duo)
1
4 Tubas
1
+ 26 instrumentations
Retracter
Cordes
Violon et Piano
41
Violon
31
Quatuor à cordes: 2 violons, alto, violoncelle
25
Violoncelle
17
Alto, Piano
16
Violoncelle, Piano
14
Violon, Basson (duo)
11
Alto seul
11
Violon, Violoncelle (duo)
10
Contrebasse, Piano (duo)
9
Contre Basse
9
2 Violoncelles (duo)
7
2 Violons (duo)
6
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
2 Altos (duo)
6
Harpe
3
Violon, Alto (duo)
2
Trio à Cordes: violon, alto, violoncelle
2
Quatuor à cordes : 4 altos
2
4 Violoncelles
2
2 Contrebasses (duo)
2
Piano Trio: Violon, Alto, Piano
1
Quatuor à cordes: 4 violons
1
Violon, Clarinette, Piano (trio)
1
Alto et Harpe
1
Trio à Cordes: 2 violons, violoncelle
1
Violoncelle , Guitare (duo)
1
Alto (partie séparée)
1
+ 23 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
85
Orchestre
23
Orchestre à Cordes
7
Ensemble Jazz
7
Orchestre de chambre
7
Cloches
5
Ensemble de cuivres
4
Fanfare
4
Jazz combo
3
Percussion (partie séparée)
2
Ensemble de Percussions
1
Timbales (partie séparée)
1
Piano et Orchestre
1
+ 8 instrumentations
Retracter
Autres
Instruments
ACCORDEON
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DOBRO - GUI…
DULCIMER
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FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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GUITARE PED…
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HAUTBOIS
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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
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PIANO
SAXOPHONE
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METHODE : TECHNIQUES
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Crtitères actifs :
One Moment In Time
Chorale SATB
Partitions à imprimer
47 partitions trouvées
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1
26
One Moment in Time
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Chorale SATB
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Albert Hammond and John Bettis
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John Higgins
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One Moment in Time
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Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Chorus - SKU: AX.00-PO-0002833 One Moment in Time - SATB. Composed by Albert Hammond and John Bettis. Arranged by John Higgins. Choral. 7 pages. ...
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Chorus - SKU: AX.00-PO-0002833 One Moment in Time - SATB. Composed by Albert Hammond and John Bettis. Arranged by John Higgins. Choral. 7 pages. Alfred Music - Digital Sheet Music #00-PO-0002833. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002833). UPC: 029156074802.This is the inspirational hit performed by Whitney Houston for the 1988 Summer Olympics. John Higgins' powerful arrangement is sure to leave your audience cheering!Recorded Acc. Available.
$2.25
Even In The Quietest Moments
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Chorale SATB
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AVANCÉ
#
Supertramp
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Kirstie Smith
#
it just flowed out of me
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Even In The Quietest Moments
#
Kirstie Smith
#
SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 5 - SKU: A0.1490292 By Supertramp. By Rick Davies and Roger Hodgson. Arranged by Kirstie Smith. 20th Cent...
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Choral Choir,Choral,SATB Chorus divisi - Level 5 - SKU: A0.1490292 By Supertramp. By Rick Davies and Roger Hodgson. Arranged by Kirstie Smith. 20th Century,Contest,Festival,Folk,Rock,Spiritual. 17 pages. Kirstie Smith #1067132. Published by Kirstie Smith (A0.1490292). A wholly unique choral arrangement of Supertramp's 'Even In the Quietest Moments', from the album of the same name.A beautiful song lovingly crafted for SATB divisi and piano, featuring advanced vocal techniques and improvisational elements with an uplifting Gospel style coda. Composer Roger Hodgson stated on his Facebook page [24 March 2020] Even in the Quietest Moments was written during a very powerful time of Spiritual searching and discovery for me. I used to spend time alone in nature, camping, and one night while playing my guitar and looking up at the stars, the song came to me; it just flowed out of me. It’s a love song to God but it could also be to a woman. I’ve left it ambiguous so that people can take it how they wish. Basically, it’s just about a guy who’s searching. I’m a seeker. I think I’ll always be a seeker. The change of wording from 'Come on, let the sun' to 'The morning sun' is deliberate, based on singing wrong words to the album track as a child!
$3.25
Together As One
#
Chorale SATB
#
INTERMÉDIAIRE/AVANCÉ
#
Michael Thomas Coull
#
Together As One
#
MTC Publishing
#
SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1269762 Composed by Michael Thomas Coull. 21st Century,Contemporary,Pop,Standards. 20 pages. MTC Publishi...
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Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1269762 Composed by Michael Thomas Coull. 21st Century,Contemporary,Pop,Standards. 20 pages. MTC Publishing #862270. Published by MTC Publishing (A0.1269762). Together As One - Choral Composition for SATB and Piano by Michael Thomas CoullTogether As One is a song about singing in a choir and performing to an audience. Â It explores how singing gives us both sides of the emotional coin: Â from nervousness and even trepidation on one side, to great joy on the other. Â Â We all feel nervous before a performance, and even more so when we are actually standing in front of the audience. Â But then we are announced, the choir director raises their arms, the accompanist starts the introduction and we are all brought in and start singing. Â And at that moment we realize something, that when we all sing a great joy overtakes us, lifting us up to another world where our voices meld 'Together As One'. Â This original composition for SATB choir and piano accompaniment is an inspirational song that captures the mood and enjoyment of singing, and how singing effects us both individually and as a group. Â A song that your choir will love to sing with beautiful harmonies and a soaring descant part, and perfect to perform at any time of the year.Also available for SSAA, 2-Part and Unison.
$3.99
No Time thou shalt not boast for SATB mixed choir
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Chorale SATB
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AVANCÉ
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David Warin Solomons
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No Time thou shalt not boast f
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David Warin Solomons
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.576215 Composed by David Warin Solomons. 20th Century,Contemporary. Octavo. 6 pages. David Warin Solomons #10371...
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Choral Choir (SATB) - Level 5 - SKU: A0.576215 Composed by David Warin Solomons. 20th Century,Contemporary. Octavo. 6 pages. David Warin Solomons #10371. Published by David Warin Solomons (A0.576215). Setting of Shakespeare's 123rd Sonnet for SATB mixed choir - using a mixed modality involving whole tone and octatonic scales. This is quite challenging for the choir, but rather special in its harmonic and melodic effects. The sound sample at the moment is an electronic preview, but I am expecting a live recording by the Composer's Choir early in 2015. A related version for string quartet is also available.
$2.99
One Moment In Time - 5 Prints by Whitney Houston - SATB Choir + Piano
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Chorale SATB
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Whitney Houston
#
One Moment In Time - 5 Prints
#
Musicnotes
Performed by: Whitney Houston: One Moment In Time Digital Sheetmusic plus an interactive, downloadable digital sheet music file, scoring: SATB Choir + Piano, in...
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Performed by: Whitney Houston: One Moment In Time Digital Sheetmusic plus an interactive, downloadable digital sheet music file, scoring: SATB Choir + Piano, instruments: SATB Choir;Piano Accompaniment; 7 pages -- Pop~~R & B~~Adult Contemporary
$2.25
One Thousand Hosannas
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Chorale SATB
#
Joel Raney
#
One Thousand Hosannas
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Hope Publishing - Digital
#
SheetMusicPlus
Choral SATB Chorus - SKU: H1.C5455DP Composed by Joel Raney. Piano with Optional Cello, Flute, French Horn, Guitar, Oboe, Percussion. Celebration, Palm ...
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Choral SATB Chorus - SKU: H1.C5455DP Composed by Joel Raney. Piano with Optional Cello, Flute, French Horn, Guitar, Oboe, Percussion. Celebration, Palm Sunday, Holy Week. Octavo. 12 pages. Hope Publishing - Digital #C5455DP. Published by Hope Publishing - Digital (H1.C5455DP). John Parker. Matthew 21:9 - Matthew 21:15 - Mark 11:9 - John 12:13.Original Psalm Sunday anthem This original Palm Sunday anthem is largely Two-Part Mixed, with a few moments of Divisi. The original text by John Parker is given a lively, lilting setting by Joel Raney, The verses begin in a minor-key with energetic anticipation. The major key takes over by the time we reach the exciting chorus And together we sing one thousand Hosannas. For SATB with keyboard, instrumental, or CD track accompaniment. The instrumental parts consist of: Conductor's score, piano, flute, oboe, Horn in F, cello, guitar, bass & percussion.
$3.25
Written in the Stars
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Chorale SATB
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Sally Whitwell
#
Written in the Stars
#
Sally Whitwell
#
SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1157142 Composed by Sally Whitwell. Classical,Contemporary. Octavo. 15 pages. Sally Whitwell #757469. Published ...
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Choral Choir (SATB) - Level 4 - SKU: A0.1157142 Composed by Sally Whitwell. Classical,Contemporary. Octavo. 15 pages. Sally Whitwell #757469. Published by Sally Whitwell (A0.1157142). Written in the Stars -- text and music by Sally Whitwell Written in the Stars was originally conceived in the aftermath of the 2019-2020 bushfire season, the most destructive Australia has yet seen. At the time, we thought things couldn’t get worse, but then followed more extreme weather events, insect and rodent plagues, and a deadly pandemic that brought the world to its knees. All these things are connected, the result of humanity’s exploitative relationship with the planet and its other inhabitants. But we continue to deny the problems and to fail to act. As a species, in our more optimistic moments, we talk about having great opportunities to reinvent, that to live the status quo means that we will be faced with an untenable future. Talking about it is one thing but as far as I see it, we are not taking any opportunities to act. It is clear that we do not learn from our mistakes. As Spanish American writer George Santayana once said “Those who cannot remember the past are condemned to repeat it.†It is from this notion that this song was born. Written in the Stars is about society’s propensity to go through cycles of behaviour, never learning from the mistakes of the past. Written in the Stars was originally commissioned by Adelaide Chamber Singers, directed by Carl Crossin. Sally Whitwell January 2023.
$1.99
La Cura
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Chorale SATB
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Contemporain
#
Franco Battiato
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Bacco Baccanels
#
La Cura
#
Bacco Baccanels
#
SheetMusicPlus
Choral Choir (SATB) - SKU: A0.978040 By Franco Battiato. By Francesco Battiato and Manlio Sgalambro. Arranged by Bacco Baccanels. Contemporary. Octavo. ...
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Choral Choir (SATB) - SKU: A0.978040 By Franco Battiato. By Francesco Battiato and Manlio Sgalambro. Arranged by Bacco Baccanels. Contemporary. Octavo. 8 pages. Bacco Baccanels #5989447. Published by Bacco Baccanels (A0.978040). Description is first in Italiano e then in English, since I think the song is quite famous in Italy but little known abroad.[ITALIANO]Arrangiare un brano di Franco Battiato è molto difficile perché la sua interpretazione staccata e narrativa, la sua voce dal timbro molto alto e l'argomento, di solito lontano nel tempo e dalla realtà ma qui estremamente vicino a raccontare l'amore in una delle fasi più intense della vita rischiano di stravolgerla. In più, ogni tentantivo di reinterpretarla con altra musica richiede di essere un artista altrettanto grande: io non sono nè grande nè artista, al limite... essere.Ho cercato perciò di stare vicino all'orginale, riconoscibile dal motivetto in sedicesimi che si ripete per tutta la canzone.Poiché si sa che la versione vocale stufa prima delle versioni suonate e l'originale dura 4 minuti, ho tagliato l'intera strofa Ti porterò.... Per chi volesse reinserirla, è facile: dalla battuta 41 si torna alla 5, si ripercorre fino alla 18 (con il testo cambiato per il solista, Ti porterò..., ma le altre voci sono identiche ) e si riprende dalla 42 fino alla fine.[ENGLISH]Arranging a piece by Franco Battiato it's not an easy game: lyrics are often very far in time and his singing very personal and narrative. Here the lyrics tells a love in a hard moment of life and every element is placed in a delicate balance where any change can be disruptive.Even trying to modify the music style would require an artist of the same weight, and I am not.So I tried to stay close to the original, using the most recognizable pattern of the song (the notes in sixteenth).Since we know that the vocal versions have to be shorter than the played ones (ears get bored before) and the original song if 4 minutes long, I cut the entire verse Ti porterò.... For those who want to play also the missing part, it’s easy: from bar 41 go back to bar 5, sing up to bar 18 (with the lyrics changed for the lead, Ti porterò..., other voices do not change) and then go ahead to bar 42 and from there to the end.
$2.99
The Sense of a Place Will Remain
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Chorale SATB
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Contemporain
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Paul Burnell
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The Sense of a Place Will Rema
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Paul Burnell
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.835786 Composed by Paul Burnell. Contemporary. Octavo. 124 pages. Paul Burnell #3405305. Published by Paul Burnell (A0.835...
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Choral Choir (SATB) - SKU: A0.835786 Composed by Paul Burnell. Contemporary. Octavo. 124 pages. Paul Burnell #3405305. Published by Paul Burnell (A0.835786). Composed 2007, duration 8:30 approx. The music and text of ‘The Sense of a Place Will Remain’ was inspired by pictures of an early carved stone cross and a tenth-century Viking burial stone on the island of Inchcolm in Scotland. First performed by Inchcolm New Music Ensemble 29 June 2007, conductor Steve King. Instrumentation is flexible; the following is a guide: Part 1 - Violin 1, flute 1 (doubling piccolo if possible) oboe 1, Part 2 - Violin 2, flute 2, oboe 2 (doubling tenor recorder if possible), clarinet 1, trumpet Part 3 - Viola, clarinet 2, horn in F, Eb horn (2 players doubling harmonicas in C) Part 4 - Cello, bassoon Part 5 - Double bass, bass guitar (or Cello 2 - playing as if usual bass clef, but an octave lower where possible) SATB voices (doubling metal spoons and pitch pipes) Optional:Percussion (one player) - claves, glockenspiel (could be a child’s toy instrument such as an ‘Angel’ glockenspiel), mark tree, spring drum (thunder shaker), frame drum, musical jewelry box (or similar clockwork device).Should a glockenspiel not be available, a special part has been created which arranges the glockenspiel for two flutes, together with the other percussion music. This special part is not visible in the score. Keyboard instrument with sustaining capability - piano sound Instructions: Wind players can breathe ad lib. during any very long notes. From letter D onwards non-wind players who are not soloists blow across the top of small bottles. The pitches produced are not specified, but they should not be shrill. A soft breathy tone is preferred. About half of the voices play pairs of metal spoons (share printed part between two singers and anyone not holding the music holds metal spoons). Hold the spoons one in each hand, and strike the larger ends together. Spoons are struck together where shown with a large patterned note head. Strike rapidly where a tremolo sign is given. Four singers play pitch tuning pipes: 1 Soprano and 1 Alto play viola/cello pitch tuning pipes, 1 Tenor and 1 Bass play violin pitch tuning pipes Pitch pipe playing is indicated with square note heads - player should breathe ad lib. during very long notes. Where there are very long sung notes, the singers may stagger breathing ad lib. Spoken sounds are indicated with x note heads and with the text in italics. There are many pauses. These can be of varying duration, but on the whole they should not hold up the momentum of the piece, but be of sufficient duration to establish the solo and pitch pipe notes. Text: Carve stone Strike out Stay at home Or go far alone. Blocks of stone are laid Emblazoned with the signs of great deeds That signify our memory, Mem’ries of who we are. Careful carvings erode through time, Chiseled grooves smooth away. Families, they scatter and fade As generations age Descendants pass on memory time. Sense of our allegiance shifts when major faults are found, Feelings of belonging fall on shaky ground, But the sense of a place will remain.
$7.95
Strano il mio Destino for SATB + Piano (complete score + piano acc. + piano rehearsal + text and tra
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Chorale SATB
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FACILE
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Giorgia Todrani, Maurizio Fabr
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Marco Borsoi
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studio 95/96)
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Strano il mio Destino for SATB
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Marco Borsoi
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.904849 Composed by Giorgia Todrani, Maurizio Fabrizio. Arranged by Marco Borsoi. Jazz,Pop,World. Octavo. 21 page...
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Choral Choir (SATB) - Level 2 - SKU: A0.904849 Composed by Giorgia Todrani, Maurizio Fabrizio. Arranged by Marco Borsoi. Jazz,Pop,World. Octavo. 21 pages. Marco Borsoi #3512071. Published by Marco Borsoi (A0.904849). Strano il mio destino è un brano musicale della cantautrice italiana Giorgia, 3º classificato al Festival di Sanremo 1996. Il pezzo è contenuto nell'album Strano il mio destino (Live & studio 95/96). Autori del brano sono Giorgia e Maurizio Fabrizio. Questa armonizzazione originale per coro misto SATB e pianoforte, esalta ancor più le caratteristiche melodiche e armoniche del brano, rendendolo ancora più unico e magico. Il brano parla di una donna che riflette su una storia passata. Una storia che lei stessa ha voluto o dovuto chiudere, ma non certo senza rimpianti; Che donna sarò, se non sei con me e se ti amerò ancora e di più …. E pensa: Strano il mio destino che mi porta qui … ; un destino che la costringe, per qualche motivo, a riflettere sul suo passato, riportandola al momento in cui ha deciso di andarsene via in silenzio. Un destino che, ancora oggi, la sorprende a ripensare a quell’amore ma senza indicarle una nuova strada dove poter andare, perché, anche se tutto quell’amore, io l’ho spazzato via…, fa male non pensare a te. Nel ritornello, emerge una speranza (sottolineata dall’apertura della melodia): Io non ti perderò, oltre il tempo e le distanze andrò…; speranza che viene confermata nell’ultima strofa: È chiaro il mio destino … io ti raggiungerò, quando la ragazza capisce anche che non tutto dipende da lei: proverò a gridare e forse sentirai, la mia voce che ti chiama, se vuoi.. E la speranza, divenuta certezza, ritorna con la ripetizione, enfatizzata dallo slancio melodico, della frase conclusiva … per non lasciati più. --------------- Strano il mio Destino is a piece of music by the Italian singer-songwriter Giorgia, 3rd at the Sanremo Festival 1996. The piece is on the album Strano il mio destino (Live & studio 95/96). Authors of the song are Giorgia and Maurizio Fabrizio.This original harmonization for mixed SATB choir and piano, enhances even more the melodic and harmonic characteristics of the piece, making it even more unique and magical. The song is about a woman who reflects on a past story. A story that she herself wanted or had to close, but certainly not without regrets; What a woman I will be, if you are not with me and if I will love you more and more.... And she thinks: Strange is my fate, that brings me here…; a fate that compels her, for some reason, to reflect on her past, bringing her back to the moment in which she decided to leave away in silence. A destiny that, even today, surprises her to rethink about that love but without indicating a new way to go, because, even if all that love, I have swept it away ..., it hurts not to think about you. In the refrain, a hope emerges (underlined by the opening of the melody): I will not lose you, beyond time and distance I will go ...; hope that is confirmed in the last stanza: It is clear my destiny ... I will reach you, when the girl also understands that not everything depends on her: I will try to shout and maybe you will hear, my voice calling you, if you want . And hope, become certainty, returns with the repetition, emphasized by the melodic impetus, of the concluding sentence ... not to leave you, anymore.
$9.99
Albert Hammond: One Moment in Time - choir (SATB: soprano, alto, tenor, bass)
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Chorale SATB
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INTERMÉDIAIRE
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Albert Hammond
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Virtualsheetmusic
Instantly printable sheet music by Albert Hammond for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / choral
Instantly printable sheet music by Albert Hammond for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / choral
$6.23
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Chorale SATB
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AVANCÉ
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #...
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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. (1604–68), 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, Balde’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 Virgin’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 Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’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 16–24 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
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Chorale SATB
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AVANCÉ
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #...
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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. (1604–68), 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, Balde’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 Virgin’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 Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’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 16–24 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
The Good, The Bad and The Ugly (Main Theme) - - SATB choir + soloists
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Chorale SATB
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Film/TV
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Ennio Morricone
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The Good, The Bad and The Ugly
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SheetMusicPlus
By Ennio Morricone. Arranged by Stephen Bulat. Score, Set of Parts. 42 pages. Published by Stephen Bulat...
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By Ennio Morricone. Arranged by Stephen Bulat. Score, Set of Parts. 42 pages. Published by Stephen Bulat
Without argument, Serge Leone's "The Good, The Bad and The Ugly" is the most famous spaghetti western of all time and Ennio Morricone's film score was a major contributor in helping this film gain it's monumental status. The main theme is instantly recognizable from moment the opening flute motif is heard to it's "wah, wah, wah" response.
The music of the film's main theme has been arranged for a cappella SATB choir plus featured soloists. It also includes the duelling trumpet/piccolo segment which is omitted from most transcriptions. With the voices imitating flute sounds, ocarina, whistling, trumpet, mimicked gun-shots and more this arrangement creates a fun and infectious piece of music.
Please click on publisher to purchase other songs from the film as well as to purchase other arrangements to add to your modern day gig book.
$12.99
Only from Blood Does Freedom Grow (Piano/Choral Score)
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Chorale SATB
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FACILE
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Stanley M Hoffman
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Stanley M Hoffman
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Only from Blood Does Freedom G
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stanleymhoffman.com
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 2 - SKU: A0.1465704 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 21st Century,Classical,...
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Choral Choir,Choral,SATB Chorus divisi - Level 2 - SKU: A0.1465704 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 21st Century,Classical,Patriotic. 16 pages. Stanleymhoffman.com #1044314. Published by stanleymhoffman.com (A0.1465704). Based on one of only several poems written by my mother, Jewish Holocaust survivor Rita Hoffman of blessed memory (1927–2018), Only from Blood Does Freedom Grow echoes the words of Hatikvah (The Hope), the national anthem of Israel. I have to believe that she wrote this poem around 1948 because of how it is worded. I of course knew the source of inspiration for this poem when I reread it not long ago—something I had not done since the 1990s—but its having been inspired by Hatikvah was really driven home to me by a Facebook comment. That comment inspired me to compose a piece in which the opening and closing sections are based on the opening melody of Hatikvah, but in which the middle section is newly composed. “Israel was not created in order to disappear - Israel will endure and flourish. It is the child of hope and the home of the brave. It can neither be broken by adversity nor demoralized by success. It carries the shield of democracy, and it honors the sword of freedom.” —John F. KennedyMy mother’s brief memoirs are housed at the United States Holocaust Memorial Museum in Washington, DC. https://collections.ushmm.org/search/catalog/irn502129—Stanley M. Hoffman, 25 June 2024—Only from Blood Does Freedom Grow For so many years a voice sounded in Jewish hearts saying,“We want to have a home, we want to have a life again.”Enough blood has already streamed through rivers,the blood shed by our brothers *[and sisters],they, who for freedom of strangers and nation died.Now, the dream we dreamt for a long time has been awakened in us.We want to fight for our state, our country.The moment that we have been waiting for and been praying fortwo thousand years has brought us a spark of hope.We must not despair, for we are nevertheless Jews.We must and must want to persevere.A time will come which itself will become a symbol of our tragedy,and which will remain forever in our hearts -a burning flame, and a joyful feast. —Rita Hoffman (1927–2018)Words: © Copyright 1948 by The Estate of Rita Hoffman.All rights reserved. Used by permission.—Instrumentation 2 Flutes (2 Piccolos)2 Oboes2 Clarinets in Bb2 Bassoons 4 Horns in F2 Trumpets in Bb2 TrombonesTubaTam-tamTimpaniStringsDurationca. 2:30.
$4.00
Shadows
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Chorale SATB
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INTERMÉDIAIRE
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Douglas E
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Shadows
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Sacred Music Press
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SheetMusicPlus
SATB choir, string orchestra - Intermediate SKU: LO.55-1068S A Service of Tenebrae. Composed by Douglas E. Wagner. Choral, cantatas. Holy Week, Sa...
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SATB choir, string orchestra - Intermediate SKU: LO.55-1068S A Service of Tenebrae. Composed by Douglas E. Wagner. Choral, cantatas. Holy Week, Sacred. Choral score. Duration 20-25 minutes. Sacred Music Press #55/1068S. Published by Sacred Music Press (LO.55-1068S). UPC: 000308060669.Remembering the events of Jesus' last hours leading up to his crucifixion and death is one of the extraordinary opportunities Christians have during Holy Week. This service of worship dramatizes the events and recaptures those solemn and sacred moments. The Canonical Hours of Matins and Lauds, recited and sung on the evenings of the Wednesday, Thursday and Friday before Easter Sunday, is called the 'Tenebrae,' which means 'darkness' or 'shadows.' It is named for the practice of extinguishingall but one of the prepared candles in the worship space during the course of the service. Mr. Wagner's service of Tenebrae focuses on seven episodes in the Passion and Death of Our Lord, and his choral music, all original, is passionate, dynamic and devotional. In addition, he has arranged his choral accompaniment for either keyboard or string ensemble. Congregational responsive readings and scriptural references also become a part of this exceptional observance. Performance time: 20-25 min.
Song List
: They Took My Lord Away In Darkness Do I Wander Kyrie Eleison Who Could Have Imagined But Morning Never Came Into Gods Hands Ah Holy Jesus Is It I Lord
$9.95
Prophitiae Sibyllarum
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Chorale SATB
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INTERMÉDIAIRE
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Orlande De Lassus
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Jasper Swank
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Prophitiae Sibyllarum
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Jasper Swank
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1264673 Composed by Orlande De Lassus. Arranged by Jasper Swank. A Cappella,Historic,Religious,Renaissance. Octa...
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Choral Choir (SATB) - Level 3 - SKU: A0.1264673 Composed by Orlande De Lassus. Arranged by Jasper Swank. A Cappella,Historic,Religious,Renaissance. Octavo. 28 pages. Jasper Swank #857504. Published by Jasper Swank (A0.1264673). About the composer Orlando Lasso, Orlande de Lassus, Orlando di Lasso or Orlandus Lassus was born in Bergen (Dutch) or Mons (French) in Henegouwen, Belgium – which was a place in the Habsburg Netherlands at the time – in 1532, and was highly regarded as the best composer of his time. Temopraries appointed him titles like ‘ruler of music’ and ‘master of motets’. The roman-catholic composer was also one of the most productive composers of all times. Among his works are 53 masses for four to eight voices, and 1250 works for two to twelve voices in the form of motets, requiems, madrigals, chansons and songs for choir. Later in life, he wrote German drinking songs, as well as Dutch songs. From the latter category, none have been preserved. One of his drinking songs ‘Un jour vis un foulon qui fouloit’ was translated to English by William Shakespeare, after which it was used in his theatre play ‘Henry IV part 2’. About this work Prophetiae Sibyllarum is a motet in Latin for four voices. Posthumously published in 1600, it sets 12 prophecies attributed to the Sibyls (priestesses of Apollo later adopted by Christians) with a prologue.The movements are catalogued in order under separate opus numbers LV 1048 to 1060. About this edition This edition was notated from the composer’s manuscript (published around 1600), Das Chorwerk (Wolfenbüttel, 1937) and an anonymous reading score. The note values were halved for easier sightreading by modern singers. Recordings by De Labyrintho were studied for interpretation. On the base of these recordings, small checkmarks are added at places where collective breathing moments are suggested. These are not part of the manuscript.Great care has been put in the correct notation of the original work, as well as in solving apparent inconsistencies in the source materials. However, this edition was made purely to acommodate singers to study the melodic lines and should not be used for historic purposes.
$3.09
Photograph (SATB Choir & Piano)
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Chorale SATB
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INTERMÉDIAIRE
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Cody Fry
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Garrett Breeze
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Photograph
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Cody Fry
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 3 - SKU: A0.1317291 By Cody Fry. By Cody Fry. Arranged by Garrett Breeze. Contemporary,Contest,Festival,Pop,Singer/So...
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Choral Choir,Choral (SATB) - Level 3 - SKU: A0.1317291 By Cody Fry. By Cody Fry. Arranged by Garrett Breeze. Contemporary,Contest,Festival,Pop,Singer/Songwriter,Wedding. 10 pages. Cody Fry #905951. Published by Cody Fry (A0.1317291). With tender and emotional lyrics, Photograph is a gorgeous ballad about the intensity of special moments between loved ones and the desire to capture them in time forever. Originally written and recorded by Grammy nominated singer/songwriter Cody Fry, this arrangement combines rich harmonies with an endlessly flowing piano accompaniment to bring this stunning new choral arrangement to life. From the CODY FRY CHORAL SERIES, arranged by Garrett Breeze, available for SATB, SAB, and SSA choir with piano accompaniment. Accompaniment and part-dominant learning tracks sold separately.
$2.50
I Walk Beside Thee
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Chorale SATB
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FACILE
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Musique Sacrée
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Brooke Griffin Carpenter
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Brooke Griffin Carpenter
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I Walk Beside Thee
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Brooke Griffin Carpenter
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 2 - SKU: A0.1376536 By Brooke Griffin Carpenter. By Brooke Griffin Carpenter. Arranged by Brooke Griffin Carpenter. C...
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Choral Choir,Choral (SATB) - Level 2 - SKU: A0.1376536 By Brooke Griffin Carpenter. By Brooke Griffin Carpenter. Arranged by Brooke Griffin Carpenter. Christian,Praise & Worship,Religious,Sacred,Spiritual. 8 pages. Brooke Griffin Carpenter #961065. Published by Brooke Griffin Carpenter (A0.1376536). I wrote this song to describe my feelings about the atonement of Jesus Christ. It's a conversation with the Savior about His role in my life and my desire to follow Him. It was greatly inspired by the October 2012 General Conference address The First Great Commandment by Elder Jeffrey R. Holland. Elder Holland states: My beloved brothers and sisters, I am not certain just what our experience will be on Judgment Day, but I will be very surprised if, at some point in that conversation, God does not ask us exactly what Christ asked Peter: 'Did you love me?' I think He will want to know if in our very mortal, very inadequate, and sometimes childish grasp of things, did we at least understand one commandment, the first and greatest commandment of them all—'Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy strength, and with all thy mind' (Luke 10:27; see also Matthew 22:37–38). And if at such a moment we can stammer out, 'Yea, Lord, thou knowest that I love thee,' then He may remind us that the crowning characteristic of love is always loyalty. This song is a testament of the words I want to say when that day comes for me.*Please note that this is the choral version of this composition.
$2.75
Anim Zemiros
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Chorale SATB
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AVANCÉ
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Stanley M Hoffman
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Stanley M Hoffman
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Anim Zemiros
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stanleymhoffman.com
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 5 - SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,...
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Choral Choir,Choral,SATB Chorus divisi - Level 5 - SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.
$3.00
Bad Case Of Loving You
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Chorale SATB
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INTERMÉDIAIRE
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Robert Palmer
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Eric Hagmann
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Bad Case Of Loving You
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Eric Hagmann
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.796809 By Robert Palmer. By John Moon Martin. Arranged by Eric Hagmann. A Cappella. Octavo. 8 pages. Eric Hagman...
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Choral Choir (SATB) - Level 3 - SKU: A0.796809 By Robert Palmer. By John Moon Martin. Arranged by Eric Hagmann. A Cappella. Octavo. 8 pages. Eric Hagmann #3692383. Published by Eric Hagmann (A0.796809). An SATB + Solo contemporary a cappella arrangement of Bad Case of Loving You by Robert Palmer. Released in 1978 by John Moon Martin and then covered the very next year by Robert Palmer, this driving-rock spin on the traditional blues form fits perfectly as a piece just for voices. Contains alternate lyrics which could be used by a female soloist. In the hands of a skilled vocal percussionist, the propulsive rhythm of Bad Case thumps alongside the bass; thus laying the groundwork for your soloist and setting the electric tone for the entire song. Rather than mimicking the guitar licks of the original piece, the supporting vocals fill the void between phrases and then pack a true punch when finally getting to the chorus that we all know and love. At the bridge, the bass has a moment to shine on the melody before handing it off to the altos to finish the section. This is followed directly by a unique departure from the original tune - a breakdown where all but one section drops out. Over a short time, each part layers themselves back into the texture, thus building to an exciting climax where the vocal percussionist resumes the original groove along with the full support of the rest of your singers.High energy and lots of fun, this arrangement is great for your high school or college ensemble! .
$2.25
Those Memories
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Chorale SATB
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FACILE
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Contemporain
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Anthony Theodore
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Those Memories
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Anthony Theodore
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.1016225 Composed by Anthony Theodore. Contemporary. Octavo. 5 pages. Anthony Theodore #5316925. Published by Ant...
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Choral Choir (SATB) - Level 2 - SKU: A0.1016225 Composed by Anthony Theodore. Contemporary. Octavo. 5 pages. Anthony Theodore #5316925. Published by Anthony Theodore (A0.1016225). I am 17 years old and this the very first composition I have ever written. My vision for the world is to try and help people keep positive no matter how bad or how unbarring the situation may be. There are many people on the planet that have issues that need to be dealt with and I believe that one way that they can help themselves is by trying to thing of the times where things weren't so bad. Even if they were bad, those memories should be the reminders to help you grow throughout life. This is the message that I am trying to portray with Those Memories. At the age of 15, I had a vision to help people not to forget the good and the bad moments of their lives because once the memories are forgotten, people will never be able to go back and tell stories about how they developed and came to be.  Some of the lyrics were picked from a poem that was written 4 years ago in 2016 called One Brief Moment by John Fleming. The poem was found on a website that provides poems to those who like reading poems. The website is called poetrysoup.com and I think it's a pretty cool website for poem readers, so if you like poems and you want something new, you can go there and check it out. I hope you all enjoy the piece as much as I had fun writing it. Haha.
$5.00
Evening Prayer
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Chorale SATB
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Ron Anderson
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the moment of death itself
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Evening Prayer
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Ron James Anderson
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.965554 Composed by Ron Anderson. A Cappella,Christian,Contemporary,Sacred. Octavo. 5 pages. Ron James Anderson #5994763. P...
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Choral Choir (SATB) - SKU: A0.965554 Composed by Ron Anderson. A Cappella,Christian,Contemporary,Sacred. Octavo. 5 pages. Ron James Anderson #5994763. Published by Ron James Anderson (A0.965554). Evening Prayer is somewhat in the style of a chorale prelude, with its flowing accompaniment and simple melody. The form divides neatly into two distinct sections-the first in F major, and the second in Bb major. The F major section represents our earthly life. Even though God’s peace is present throughout (the flowing accompaniment), the words speak of the strife and hardship of our time on Earth. While we are here on Earth, we tend to believe that this life is all there is (that F major will continue to the end). But at the point in the music where the text says and our work is done, ending on a D major chord, we find ourselves in a strange place between life and the afterlife; the moment of death itself. After this comes an a cappella section in Bb major, which represents our life in Heaven. The F major life merely served as a dominant preparation for the Bb major afterlife! (Actually, I think we should call eternity life, and our earthly life pre-life). The piece ends with the same flowing passages found in the beginning of the piece, this time in Bb major.
$2.25
Sing Loud (SATB)
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Chorale SATB
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FACILE
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Garrett Breeze
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Sing Loud
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Lagom Music
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.723490 Composed by Garrett Breeze. Contemporary,Contest,Festival,Pop. Octavo. 14 pages. Lagom Music #6760215. Pu...
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Choral Choir (SATB) - Level 2 - SKU: A0.723490 Composed by Garrett Breeze. Contemporary,Contest,Festival,Pop. Octavo. 14 pages. Lagom Music #6760215. Published by Lagom Music (A0.723490). This upbeat and empowering original song by composer Garrett Breeze is a synth pop-infused statement of confidence and joy full of catchy hooks and fun vocal moments. It was commissioned and premiered by the combined 7th and 8th grade choir of Sioux Center Middle School in Iowa. Available in: SATB: https://bit.ly/3vZ0g95 SAB: https://bit.ly/35EAtbH SSA: https://bit.ly/3CwakYj TTB: https://bit.ly/3pUWQQV Two-Part: https://bit.ly/3vQxqI1 Rhythm Section Accompaniment: https://bit.ly/3IYOwXV Visit https://garrettbreeze.com to read my blog and discover new music! Check out my catalog of choral music at https://holidaychoirmusic.com! Subscribe to my YouTube channel at https://bit.ly/35HZC2d! Lyrics: Your voice is stronger than you know. Sing until they hear you. Your word can lift someone that's low. Speak until they trust you. There's a song that only you can sing; so sing it! (We need your voice) There's music only you can dream. So let's sing loud! We don't need to wait for a chance to celebrate. So let's sing loud! We don't need to wait for our time. So let's sing loud! Your light grows brighter every day. Shine until they see you. Your heart will always lead the way. Love until they follow you. You're the only one who knows your voice; let's hear it! (So make the choice) Come on, it's time to make some noise! So let's sing loud together, friends forever, voices strong! We will rise together, help each other, sing our song!
$2.50
AND THE WORD BECAME FLESH - SEVEN ANTHEMS TO CHRIST
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Chorale SATB
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INTERMÉDIAIRE
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Michael A
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AND THE WORD BECAME FLESH - SE
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.926660 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 112 pages. M.A. Morizio #3588371. Pu...
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Choral Choir (SATB) - Level 3 - SKU: A0.926660 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 112 pages. M.A. Morizio #3588371. Published by M.A. Morizio (A0.926660). During the late spring of 2017, I began composing a new choral piece based on the 1 Timothy 3:16 text. I was studying Paul's first letter to Timothy at the time when this particular passage jumped out at me. Not only was it an efficient summary of the Gospel message, but it was also a textual grouping, or form, such as might be found in a traditional hymn. What I was reading were indeed lyrics to an actual 1st Century Hymn to Christ, the music of which has since been lost. I entitled my piece, Great is the Mystery. I composed the anthem for SATB (a cappella), and set it to the ESV translation of the scripture. Based on its context, I suspected the song would work great for Ascension Sunday. Our choir sang the piece beautifully, crescendoing at the finish to the words, Believed on in the world and taken up in glory! Later that spring, I played the piece for a dear friend of mine who is Pastor at Immanuel Church in Manchester, New Hampshire. What he told me was actually a bit stunning. He informed me that there were (at least) seven specific known Hymns to Christ written into the New Testament Scriptures, whose text is found among the writings of the apostles’ Paul and John. The 1 Timothy 3:16 verse that I had selected for my piece was indeed one of those texts. At that moment, Pastor Don and I made a pact. If he were to supply me with the literal Greek translations of the other six known Hymns to Christ, I would set out to compose brand new anthems for them all. A new musical collaboration had begun. With this short introduction serving as the genesis of my new song cycle, I offer you these new Seven Anthems to Christ based on the seven known ancient ‘Hymns to Christ' texts found in the New Testament.
$9.99
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One Moment In Time