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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
Prelude in A Major
Non classifié
404
Piano & claviers
Piano seul
388
Orgue
113
Accompagnement Piano
49
Piano Facile
34
Piano, Voix
17
Piano Trio: piano, violon, violoncelle
13
Piano Quatuor: piano, violon, alto, violoncelle
5
Instruments en Do
5
Piano, Voix et Guitare
4
Orgue, Piano (duo)
4
1 Piano, 4 mains
2
Clavecin
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
2 Pianos, 4 mains
1
Piano Quatuor: piano, 2 violons, violoncelle
1
1 Piano, 6 mains
1
+ 11 instrumentations
Retracter
Guitares
Guitare
22
Guitare notes et tablatures
18
Piano, Guitare (duo)
8
2 Guitares (duo)
5
4 Guitares (Quatuor)
3
Banjo
2
3 Guitares (trio)
2
Ukulele
1
+ 3 instrumentations
Retracter
Voix
Voix Tenor, Piano
17
Chorale SATB
10
Voix Soprano, Piano
7
Voix Alto, Piano
5
Chorale 3 parties
4
Voix Tenor
4
Chorale 2 parties
1
Voix Soprano
1
+ 3 instrumentations
Retracter
Vents
Flûte traversière et Piano
59
Hautbois, Piano (duo)
52
Saxophone Tenor et Piano
38
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
35
Clarinette et Piano
33
3 Saxophones (trio)
32
Saxophone Soprano et Piano
30
Quatuor de Saxophones: 4 saxophones
28
Saxophone Alto et Piano
28
Flûte traversière
13
3 Clarinettes (trio)
13
Flûte, Clarinette, Piano (trio)
13
Quatuor de Clarinettes: 4 clarinettes
12
Flûte, Hautbois, Clarinette, Basson
12
Flûte, trombone et piano
12
2 Flûtes traversières, Piano
11
Flûte, Violon et Violoncelle
10
2 Clarinettes, Piano
10
Clarinette
9
Cor anglais, Piano
7
Quatuor de Flûtes : 4 flûtes
7
Flûte, Violoncelle, Piano (trio)
7
Clarinette, Violon (duo)
6
Ensemble de Clarinettes
6
Flûte et Guitare
6
Saxophone Baryton, Piano
6
Flûte, Alto et Piano
6
Flûte, Clarinette et Basson
6
Flûte, Hautbois, Clarinette (trio)
5
Flûte, Violon, Piano
5
Quintette de Saxophone: 5 saxophones
5
2 Clarinettes (duo)
5
Clarinette, Violoncelle, Piano (trio)
5
2 Flûtes traversières (duo)
4
Clarinette, trompette et piano
4
Trio de Flûtes: 3 flûtes
4
Flûte, Hautbois, Basson
4
Flûte, Violon, Violoncelle et Piano
4
Clarinette Basse, Piano
3
Flûte, Hautbois, Piano (trio)
3
Quintette de Flûte : 5 flûtes
3
Quintette de Clarinettes: 5 clarinettes
3
Saxophone Alto
3
Ensemble de Flûtes
2
2 Saxophones (duo)
2
Clarinette, Guitare (duo)
2
Saxophone Tenor
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Flûte, Basson et Piano
2
Flûte, Violoncelle, Guitare
2
Flûte, Clarinette (duo)
2
Cor anglais et Harpe (duo)
1
Flûte, Violon
1
Hautbois, Harpe
1
Clarinette, Basson (duo)
1
2 Hautbois (duo)
1
Flûte, Violoncelle
1
Hautbois, Clarinette (duo)
1
Saxophone (partie séparée)
1
Piccolo, Piano
1
Hautbois (partie séparée)
1
Clarinette, Alto et Piano (trio)
1
2 Clarinettes, Basson
1
Hautbois, Clarinette et Piano (Trio)
1
Hautbois
1
Clarinette, Saxophone, Piano
1
Flûte à bec Alto
1
Saxophone
1
Flûte, Hautbois (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Clarinette, Harpe (duo)
1
Flûte à bec Soprano
1
Flûte à Bec
1
+ 68 instrumentations
Retracter
Cuivres
Trombone et Piano
43
Trompette, Piano
40
Quatuor de Cuivres: 2 trompettes, Cor, trombone
33
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
19
Cor et Piano
17
Quatuor de cuivres: 4 trompettes
9
Euphonium, Piano (duo)
9
Quatuor de cuivres: 4 cors
8
Quatuor de cuivres: 4 trombones
8
Trompette, Trombone (duo)
7
Trompette
7
Quatuor de Cuivres : 2 trompettes, trombone, tuba
7
Cor anglais, Piano
7
Trompette, Violoncelle et Piano
7
Quatuor de Cuivres
7
Trombone
5
Trio de Cuivres
5
Quatuor de cuivres: 2 trompettes, 2 trombones
3
3 Trombones (trio)
3
Ensemble de Trombones
3
Tuba
2
Cor
2
Ensemble de Cors
2
2 Trompettes (duo)
2
Cor anglais et Harpe (duo)
1
Trompette (partie séparée)
1
3 Trompettes (trio)
1
Cor, Violoncelle et Piano
1
Trompette, Trombone, Piano
1
Tuba et Piano
1
Ensemble de Trompettes
1
Euphonium
1
3 Cors (trio)
1
2 Euphoniums et 2 Tubas
1
+ 29 instrumentations
Retracter
Cordes
Violon et Piano
55
Quatuor à cordes: 2 violons, alto, violoncelle
51
Alto, Piano
41
Violoncelle, Piano
39
Trio à Cordes: violon, alto, violoncelle
17
Violon
17
Trio à Cordes: 2 violons, violoncelle
16
Violoncelle
12
Violon, Violoncelle (duo)
10
2 Violoncelles (duo)
10
Trio à cordes: 3 violins
9
Trio à Cordes: 3 violoncelles
7
Quatuor à cordes: 4 violons
7
4 Violoncelles
7
Harpe
6
2 Violons (duo)
3
Violoncelle , Guitare (duo)
3
Alto seul
3
Alto (partie séparée)
2
Violon, Clarinette, Piano (trio)
2
Violon, Guitare (duo)
2
Harpe, Flûte (duo)
2
Contrebasse, Piano (duo)
2
Ensemble de Violons
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Violon, Alto (duo)
2
Violon, Trompette et Piano
1
Harpe, Violoncelle (duo)
1
Piano Trio: Violon, Alto, Piano
1
Harpe, Violon (duo)
1
Violon (partie séparée)
1
Alto, Guitare (duo)
1
2 Violons, Piano
1
2 Altos (duo)
1
Contre Basse
1
+ 30 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
12
Ensemble de cuivres
7
Orchestre
7
Orchestre de chambre
6
Orchestre d'harmonie
4
Cloches
3
Marimba
1
+ 2 instrumentations
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FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
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PERCU. ORCH…
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VIOLON
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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
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TROMBONE
TROMPETTE
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Vous avez sélectionné:
Prelude in A Major
Chorale SATB
Partitions à imprimer
10 partitions trouvées
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J S Bach - Prelude in C major BWV 846 (vocal version)Santo, Santo - Holy Holy
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Johann Sebastian Bach
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Jauresson B Lima
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J S Bach - Prelude in C major
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Jauresson
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.518620 Composed by Johann Sebastian Bach. Arranged by Jauresson B Lima. A Cappella,Baroque,Classical,Praise & Wo...
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Choral Choir (SATB) - Level 3 - SKU: A0.518620 Composed by Johann Sebastian Bach. Arranged by Jauresson B Lima. A Cappella,Baroque,Classical,Praise & Worship,Sacred. Octavo. 3 pages. Jauresson #129327. Published by Jauresson (A0.518620). Prelude in C Major f BWV 846 from the book O Clavo Bem Tempado by J S Bach in a 4-part choral version.
$6.00
Swing Low Prelude
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Chorale SATB
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FACILE
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Francesco Rossi
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Francesco Rossi
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Swing Low Prelude
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Francesco Rossi
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.492746 By Francesco Rossi. By PD. Arranged by Francesco Rossi. A Cappella,Classical,Spiritual. Octavo. 2 pages. ...
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Choral Choir (SATB) - Level 2 - SKU: A0.492746 By Francesco Rossi. By PD. Arranged by Francesco Rossi. A Cappella,Classical,Spiritual. Octavo. 2 pages. Francesco Rossi #107966. Published by Francesco Rossi (A0.492746). The first part (in C Major) of a longer arrangement of a traditional spiritual for a SATB a cappella choir with a soloist.
$1.99
Laudate Dominum in sanctis eius (Canali)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Floriano Canali
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Aristotle A
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Laudate Dominum in sanctis eiu
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CantemusDomino.Net
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1003353 Composed by Floriano Canali. Arranged by Aristotle A. Esguerra. Christian,Classical,Renaissance,Sacred,W...
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Choral Choir (SATB) - Level 4 - SKU: A0.1003353 Composed by Floriano Canali. Arranged by Aristotle A. Esguerra. Christian,Classical,Renaissance,Sacred,World. Octavo. 2 pages. CantemusDomino.Net #3535817. Published by CantemusDomino.Net (A0.1003353). A setting of Psalm 150 for SATB choir by Floriano Canali (c.1550–c.1630).Total length: ~2:45Key: F majorMode: Mode VIRange requirements (middle C = C4):· Cantus [Soprano]: D4–D5· Altus [Alto]: F3–A4· Tenor: D3–F4· Bassus [Bass]: F2–C4Pages: 2 8.5x11 sheetsSystems per page: 4Accompaniment: noneEnglish Translation (Douay-Rheims 1609):Praise ye the Lord in his holy places: praise ye him in the firmament of his power.Praise ye him for his mighty acts: praise ye him according to the multitude of his greatness.Praise him with sound of trumpet: praise him with psaltery and harp.Praise him with timbrel and choir: praise him with strings and organs.Praise him on high sounding cymbals: praise him on cymbals of joy: let every spirit praise the Lord.Possible uses: Liturgical prelude; postcommunion psalm of praise
$3.00
BEHOLD HE IS COMING (SATB) – Revelation 1:7
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Chorale SATB
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INTERMÉDIAIRE
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Michael A
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BEHOLD HE IS COMING
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.926664 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 8 pages. M.A. Morizio #3588427. Publ...
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Choral Choir (SATB) - Level 3 - SKU: A0.926664 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 8 pages. M.A. Morizio #3588427. Published by M.A. Morizio (A0.926664). The Apostle John’s visions in Revelation are nothing less than astounding to all readers. However, little is it known that another Hymn to Christ is neatly tucked into the very first seven verses of this last book of the Bible. John begins his Revelation (verses 1-3) with a prelude, introducing Jesus Christ and the apocalypse (revelation) that was made to him via the angel sent to describe all the things about which he was to write. He says, Blessed is the one who reads aloud the words of this prophecy, and blessed are those who hear, and keep what is written in it, for the time is near. After this short prelude, John delivers an epistolary opening (a greeting identifying the author and recipients), then pronounces a blessing upon the recipients-verses 4-6. After both the prelude and the opening, John immediately proceeds to another known Hymn to Christ, in verse 7, which I have called, Behold He Is Coming. When presented with the text in Revelation 1:7, I immediately thought, Where is the Gospel, the good news, in this piece? After several minutes of meditating on the text, I realized the Gospel message was right there in front of me-in the very last line: Yes, so be it [Lord], so be it, [Amen!] There will be peace! All will be known. Every single person will understand, at that point. The end, is the ushering in of a new beginning. The piece is scored in G minor for SATB with flute and Bâ™ clarinet accompaniment. In the opening phrase, we hear the clarinet on a sustained high (concert) G, which crescendos into a quick, descending sixteenth note pattern. There is urgency! The flute joins the clarinet in a duet to complete the introduction to the anthem. Then, the choir begins their haunting chant, Behold, He is coming with the clouds. Every eye will see Him, even those who pierced Him. Every eye will see Him and all the tribes of the earth will mourn over Him . Alas, there is peace! The two instruments dissolve into an a cappella four-part chorale where the choir creates the agreement between the text and the music, modulating to the relative major (Bâ™)-all is reconciled in a final Amen!
$1.99
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
Missa Solemnis, op. 27 (vocal score)
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Chorale SATB
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AVANCÉ
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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
Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #86844...
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Choral Choir (SATB) - Level 5 - 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
Come, You Faithful, Raise the Strain (SATB Choir, Accompaniment)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Music: ST
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Cathy Stamegna
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Come, You Faithful, Raise the
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Cathy Stamegna
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1162956 Composed by Music: ST. KEVIN (Sullivan), Words: St. John of Damascus, and tr. John Mason Neale. Arranged...
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Choral Choir (SATB) - Level 4 - SKU: A0.1162956 Composed by Music: ST. KEVIN (Sullivan), Words: St. John of Damascus, and tr. John Mason Neale. Arranged by Cathy Stamegna. Christian,Contest,Easter,Festival,Praise & Worship,Traditional. Octavo. 12 pages. Cathy Stamegna #763307. Published by Cathy Stamegna (A0.1162956). This triumphant Easter hymn has been newly-arranged for choir with some modern harmonies. Â It begins in Eb Major with an Alleluia transition, and modulates to F Major. Â Cathy Stamegna originally set out to arrange it a cappella, so it will stand alone without accompaniment, if necessary. Â Appropriate as an exalted prelude or postlude, worship, concert, festival, or recital setting. Â Performance Time: Â 3:08.
$2.35
Unwritten
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Natasha Bedingfield
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Vince Peterson
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Unwritten
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Personage Press, LLC
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 4 - SKU: A0.1411857 By Natasha Bedingfield. By Danielle Brisebois, Natasha Bedingfield, and Wayne Rodrigu...
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Choral Choir,Choral,SATB Chorus divisi - Level 4 - SKU: A0.1411857 By Natasha Bedingfield. By Danielle Brisebois, Natasha Bedingfield, and Wayne Rodrigues. Arranged by Vince Peterson. 21st Century,A Cappella,Baroque,Classical,Pop. 11 pages. Personage Press, LLC #994086. Published by Personage Press, LLC (A0.1411857). Vince Peterson's a cappella arrangement of the iconic song Unwritten by Natasha Bedingfield uniquely frames the pop hit in a narrative way, quoting J.S. Bach's F-Major prelude from English Suite IV (BWV 809) as an illustrative musical representation of beginning to write the story of your life on the blank page before you. It is simply the best choral arrangement of this song on the market today. Commerical recording available by the New York City-based ensemble, Choral Chameleon, under Peterson's Music Direction.
$3.50
Blessed Assurance (with “Amazing Grace”) SATB Choir, Piano Accompaniment
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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John Newton, Music: Phoebe P
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Cathy Stamegna
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Blessed Assurance
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Cathy Stamegna
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1114123 Composed by John Newton, Music: Phoebe P. Knapp, Traditional American Melody, and Words: Frances J. Cros...
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Choral Choir (SATB) - Level 4 - SKU: A0.1114123 Composed by John Newton, Music: Phoebe P. Knapp, Traditional American Melody, and Words: Frances J. Crosby. Arranged by Cathy Stamegna. Christian,Contest,Festival,Praise & Worship,Sacred,Traditional. Octavo. 15 pages. Cathy Stamegna #716051. Published by Cathy Stamegna (A0.1114123). Two beloved hymns unite in this nearly six-minute performance. Blessed Assurance, with a 12/8 Gospel feel, transitions to Amazing Grace with tranquil harmonies in 3/4. A modulation from D Major to Ab Major hails a triumphant return of the refrain of Blessed Assurance and eventually pairs the hymns toward a surprisingly quiet ending. Appropriate for a prelude, offertory, concert finale. Will heighten any worship service. Performance Time: approx. 5:47.
$2.35
Laudate Dominum de caelis (Canali)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Floriano Canali
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Aristotle A
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Laudate Dominum de caelis
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CantemusDomino.Net
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1003351 Composed by Floriano Canali. Arranged by Aristotle A. Esguerra. Christian,Classical,Renaissance,Sacred,W...
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Choral Choir (SATB) - Level 4 - SKU: A0.1003351 Composed by Floriano Canali. Arranged by Aristotle A. Esguerra. Christian,Classical,Renaissance,Sacred,World. Octavo. 2 pages. CantemusDomino.Net #3535815. Published by CantemusDomino.Net (A0.1003351). A polyphonic setting of Psalm 148:1–5a for SATB choir by Floriano Canali (c.1550–c.1630).Total length: ~2:45Key: F majorMode: Mode VIRange requirements (middle C = C4):· Cantus [Soprano]: C4–D5· Altus [Alto]: G3–A4· Tenor: D3–F4· Bassus [Bass]: F2–B3Pages: two 8.5x11 sheetsSystems per page: 4Accompaniment: noneEnglish Translation (Douay-Rheims 1609):Praise ye the Lord from the heavens: praise ye him in the high places.Praise ye him, all his angels: praise ye him, all his hosts.Praise ye him, O sun and moon: praise him, all ye stars and light.Praise him, ye heavens of heavens: and let all the waters that are above the heavens praise the name of the Lord. Possible uses: Liturgical prelude; postcommunion psalm of praise
$3.00
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Prelude in A Major
