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Vous avez sélectionné:
Some Shape
Chorale SATB
Partitions à imprimer
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Shape Of My Heart
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.849355 By The Backstreet B…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.849355 By The Backstreet Boys. By Lisa Miskovsky, Martin Sandberg, and Rami Yacoub. Arranged by Drew Downing. Pop. Octavo. 11 pages. Drew Downing #4290917. Published by Drew Downing (A0.849355). It simply does not get more 90s boyband than this gem from The Backstreet Boys.Perfect for stage choirs, high schools, colleges and community choirs looking for something a bit different. The chorus is screaming for some boyband movements and theatrics.This SATB arrangement is a great vehicle for Tenors and Basses, whilst offering the Altos and Sopranos some classic backing vocal style harmonies throughout.A really fun learning opportunity for exploring exaggerated dipthongs - an iconic trait of boybands and 90s artists. Some suggested notes on the first page.The occasional divisi is great for beefing up the sound towards the end.Need a custom arrangement? Email drewdowning84@gmail.com
$2.90
2.63 €
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Chorale SATB
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The Backstreet Boys
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Drew Downing
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Shape Of My Heart
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Drew Downing
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SheetMusicPlus
Extinction
Chorale SATB
Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1215070 Composed by…
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Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1215070 Composed by Adrienne Inglis (ASCAP). 20th Century,A Cappella,Classical. Octavo. 30 pages. Adrienne Inglis (ASCAP) #811933. Published by Adrienne Inglis (ASCAP) (A0.1215070). Help fight the extinction crisis! Here's an important work for our times that's perfect for your nature/environmental program. It's an SATB (some divisi) a cappella choral piece with option soundscape, but stands alone with the singers making some nature sounds.Extinction by Adrienne Inglis (ASCAP)Soundscapes arranged by Seylon Stills in the audio sampleText : An Extinction by Kim Stafford (https://www.kimstaffordpoet.com) The poem “An Extinction†© 2022 Kim Stafford is unpublished and used with permission. An Extinction by Kim Stafford Not just the creature gone, not just the tattered feathers, dry leaf pressed thin. Not just the rendering from memory, not just the lost-list growing longer, a shape and hue from the field guide fled, not just a name that meant a life, a syllable that once was teeming glory, one bright flurry shimmering the sun. No. No. No. It’s one name gone from our happiness, one breath lost from our respiration, one thread frayed from our salvation, one plank gone from the ark that carried us. Be the songbird now and testify. Be the butterfly hinge of gold. Be the one with open hands these wonders to behold. Don’t let them fly. Be the songbird now and testify. Program note — Commissioned by Inversion Ensemble for its February 2023 Planet Home concert, Extinction sets the poem “An Extinction†(2022) by Kim Stafford for SATB mixed chorus. The three stanzas of the poem get distinct musical treatment: the first some text-painting and dissonance, the second rhythmic parts underpinning canonic melodic lines, the third a rich chorale. During my work on this piece, I happened to be traveling by train. The pitches of the train whistle snuck their way into the score as a dissonant chord. A nature soundscape may sometimes accompany this piece, although the tongue click sounds create a bit of their own aural ecosystem. Drawing attention to the unfolding catastrophe of mass extinction, Extinction hopes to inspire humans to action to prevent further loss of species biodiversity.
$1.99
1.8 €
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Chorale SATB
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Adrienne Inglis
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Extinction
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Adrienne Inglis
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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
79.78 €
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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
Spiritus Christi
Chorale SATB
Choral Choir,Choral,SATB Chorus - Level 3 - Digital Download SKU: A0.1402217 Compos…
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Choral Choir,Choral,SATB Chorus - Level 3 - Digital Download SKU: A0.1402217 Composed by John Ross. Christian,Praise & Worship,Religious,Sacred. 7 pages. John Ross #984423. Published by John Ross (A0.1402217). In 1905, Sir Henry Walford Davies wrote the hymn Spiritus Christi, later coupled with Mary Edgar's words, God who touchest earth with beauty. Â The hymn has here been arranged for choir with organ accompaniment, creating an anthem on the theme of God's creation.The organ accompaniment displays some elements of Augenmusik, or Eye Music, e.g. the descending melody line for running waters, the melodic shape for dancing waves, and the consecutive upright stems for the straightness of the pine trees.
$1.99
1.8 €
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Chorale SATB
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John Ross
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Spiritus Christi
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John Ross
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SheetMusicPlus
In Heaven We'll Never Grow Old (Downloadable)
Chorale SATB
SATB choir divisi (a cappella) - Moderately Easy - Digital Download SKU: MQ.50-6106-E
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SATB choir divisi (a cappella) - Moderately Easy - Digital Download SKU: MQ.50-6106-E Composed by Tyler Heckman. 21st Century, Folk Song. Instrument parts. 10 pages. MorningStar Music Publishers - Digital Sheet Music #50-6106-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-6106-E). English.This early American folk song is given a rollicking setting which is mostly SATB but occasionally has the women and the men dividing into four parts. The heritage of the tune is evident in some cadences that have a sort of shape-note feel to them. Fun to sing and hear.
$2.65
2.4 €
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Chorale SATB
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Tyler Heckman
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In Heaven We'll Never Grow Old
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Evening Canticles
Chorale SATB
SATB choir and organ - Digital Download SKU: S9.Q54420 Magnificat and Nunc Dimit…
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SATB choir and organ - Digital Download SKU: S9.Q54420 Magnificat and Nunc Dimittis. Composed by Julian Anderson. This edition: choral score. Choral Music of Our Time. Downloadable, Choral score. Duration 9 minutes. Schott Music - Digital #Q54420. Published by Schott Music - Digital (S9.Q54420). English.Although I had already set separate Latin versions of both the Magnificat and Nunc Dimittis, this is the first time I’ve made a setting in English of both texts for use at Evensong. I have often attended Evensong in the Cambridge college chapels: it’s a service whose meanings and spirituality are quite different from any other, and it has its own special atmosphere. Evensong’s coupling of Magnificat and Nunc Dimittis texts is fascinating: the exuberant celebration of the former contrasts so marvellously with the intimate reflections of the latter. In my Evening Canticles I have tried to make the most of that contrast. The Magnificat is forceful, replete with sprung rhythms, polymeter, and bright harmonies showing off the brilliance of the choir. Some use is made (especially near the opening) of free rhythms in which every singer performs a passage at their own speed, creating a spray of sound. The Nunc Dimittis, on the other hand, is predominantly clear and transparent, even austere, allowing the singers to shape melodic lines with expression and lyricism, as befits the text. I was enormously excited to be invited to compose my Evening Canticles for Andrew Nethsingha and the Choir of St John’s College, Cambridge. I want to thank all the performers for giving the work such a splendid launch, and for the magnificent recording on this CD. The work is dedicated to Andrew Nethsingha. JA 2019.
$6.99
6.34 €
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Chorale SATB
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Julian Anderson
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Evening Canticles
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Schott Music - Digital
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SheetMusicPlus
Eight Hymns of Isaac Watts
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.836712 Composed by Brian J…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.836712 Composed by Brian Joyce. Christian,Sacred. Octavo. 21 pages. Brian Joyce #4325937. Published by Brian Joyce (A0.836712). If you ever need a break from the soundbyte theology found in so many contemporary Christian lyrics, why not revisit the words of Isaac Watts (1674-1748), who could stretch a single coherent thought across multiple verses of his hymns? Watts was a prolific writer on many subjects, including geography, astronomy, ethics, and psychology. His book on Logic became a standard university text, being used at Oxford for over 100 years. But his greatest desire was to assist Christians in the worship of God and it is his hymns for which he is best remembered today.These old words are here set to new music which represents a blending of three different traditions: First, and most obvious, is the rustic sound of early American shape-note singing. Second is the strong linearity of 13th century Ars Antiqua voice leading, in which each part was more or less independent. And third is my own fondness for mixed meters and sonorities built on fourths and seconds. Yet it all works somehow: these are actually very singable hymns once the choir has acclimated to the style. Most fall comfortably into a simple diatonic language and would present no jarring problems for the listener. Five of the hymns are for standard mixed voices (SATB); one is for men’s voices (TTB); one for women’s (SSA) and the last, a Doxology, is in six parts (SSATTB) with a florid threefold amen. There is admittedly a certain sameness about these settings; perhaps it’s best if they are not all sung in one go, cover to cover. Taken individually, however, there is no reason they couldn’t make for a refreshing change from the usual church anthem, and a group of three or four could easily find a place on a choral recital program.
$2.50
2.27 €
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Chorale SATB
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Brian Joyce
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Eight Hymns of Isaac Watts
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Brian Joyce
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SheetMusicPlus
Sight Singing 4-Part SATB Chorale Practice
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.978025 Composed by J.C. Ba…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.978025 Composed by J.C. Baker. A Cappella,Instructional. Octavo. 9 pages. J. Gallagher #5024785. Published by J. Gallagher (A0.978025). Bach Chorale Styled SATB Sight Singing and Warm Up Practice perfect for high school students and SATB choirs looking to improve sight singing, sight reading, blending, and SATB practice and more with WEEKS worth of examples.Includes: 1. 9 pages, 175 measures, 22 examples of original SATB Chorale Styled Music for Sight Singing/Reading Practice in 4-part.2. Whole, Half, Quarter, and Eighth Note examples as well as rests. 3. Examples in various keys including C, D, Eb, F, Bb, G 4. All examples in 4/4 time 5. No accidentals, no dynamics to focus on blending, solfege/sight singing diatonic to key, tempo changes etc6. Rhythm examples7. Do-Mi-Sol examples 8. Increasing level of difficulty from easy to hardThis is a great way to begin choir rehearsal as a warm up, sight reading in SATB, blending, vowel shapes, following the conductor, counting in 4/4, section independence, harmonies vs melody, moving notes, and so much more! With these 22 examples a choir director can get weeks of work improving their ensemble as a whole, learning as a group to work through passages, listening to each other and focusing on all things outlined above!While these examples are somewhat basic (no dynamics, slurs, etc) the positive impact they can have on your ensemble should not be taken lightly. Happy singing!
$5.00
4.53 €
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Chorale SATB
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J
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Happy singing!
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Sight Singing 4-Part SATB Chorale Practice
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J. Gallagher
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SheetMusicPlus
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