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Three-Way Piece - Score Only
Chorale SATB
Partitions à imprimer
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Away in a Manger - a Roger Jones Christmas musical
Chorale SATB
Choral Choir (Mixed) - Level 2 - Digital Download SKU: A0.927453 Composed by Brenda…
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Choral Choir (Mixed) - Level 2 - Digital Download SKU: A0.927453 Composed by Brenda Nansen, Mary Wright, and Roger Jones. Arranged by Annie Routley. Children,Christian,Christmas,Musical/Show,Praise & Worship. Octavo. 51 pages. Christian Music Ministries #6130407. Published by Christian Music Ministries (A0.927453). A musical of the Nativity, comprising nine songs and lasting approximately 30 minutes. It was written with children in mind and is particularly suitable for primary schools. The only solo vocal part is that of Mary (which is possible for an older child, but may prove a little challenging), but for the drama the parts of Joseph, Gabriel, the Innkeeper and Innkeeper's Wife are also required.The musical can be performed in a number of ways: as a concert-piece for Choir and Narrator, as a nativity drama, using costume and the movements suggested, as a two-part work for children with an adult Mary, or as a three-part work for infants and juniors or adults and children. This musical is ideal for a school Nativity Concert, or as part of a church Christmas Service.
$9.99
9.09 €
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Chorale SATB
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Brenda Nansen, Mary Wright, and Roger Jones
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Annie Routley
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Away in a Manger - a Roger Jones Christmas musical
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Christian Music Ministries
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SheetMusicPlus
Three Latin Elegies to Lesbia
Chorale SATB
Choir, SATB - Intermediate - Digital Download Composed by Mark D. Templeton. 21st Cen…
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Choir, SATB - Intermediate - Digital Download Composed by Mark D. Templeton. 21st Century, Contemporary Classical, Modern, Neo-Classical. Sheet Music Single. 20 pages. Published by Mark Templeton Choral Music
Three LatinElegies to Lesbiais a setting of three poems written by the ancient Roman poet, Gaius ValeriusCatullus (84-54 B.C.E.). His muse in these poems is understood to beLesbia, the name believed to have been given by Catullus to his mistress.Lesbia was really Clodia, the sexually promiscuous wife of proconsul QuintusCaecilius Metellus Celer. Clodia was said to have many lovers, and Catullus’torment and obsession for her is well documented in 13 of his poems where thename, Lesbia, is used. His first poem addressed to Lesbia (Catullus 51) is a freetranslation of a poem by the ancient Greek poet, Sappho. Scholars havesuggested that Catullus chose the name, Lesbia, because of his affinity forSappho, who it is believed was a lesbian.<br> <br> Odie et Amo (Catullus 85), one of the mostcelebrated elegiac couplets composed by Catullus, has inspired many composers withits duality of emotions. The most well-known setting is from Carl Orff’s Catulli Carmina, part of Trionfi, themusical triptych that also includes the Carmina Burana andTrionfo di Afrodite. Unlike Orff’s driving rhythms of outwardlyexpressive anguish, my setting is a more introspective interpretation. It is asif the music is surrendering to the mercurial personalities that Catullus andall humans possess, the tortured ability to hate and love at the same time.<br> <br> Lesbia mi dicit semper male (Catullus 92) consists of two elegiaccouplets. Catullus’ earlier poem, 83,brings some context to 92. In thefirst part of 83, Catullus says:<br> <br> Lesbia keeps insulting me in front of her husband:<br> <br> thisfills the fatuous idiot with delight.<br> <br> Mule, doyou perceive nothing? If she shut up and ignored me<br> <br> that’dshow healthy indifference;…<br> <br> In 92, Catullus expounds on the idea of whyLesbia insults him in front of her husband. Catullus reckons that he is alwayscursing her, and he loves her. She always curses him, so she must love him aswell. In his desperation, Catullus uses his wit and humor to reason that hisobsessive love for Lesbia is reciprocated. This setting of 92 uses incessant driving rhythms in the women’s voices to paint thewords, “Lesbia mi dicit semper male nec tacetumquam de me” (Lesbia always speaks ill of me, never shuts up about me). The repeating rhythmsreturn in the men’s voices when Catullus says he does the same, “quia sunt totidem mea: deprecor illamassidue” (…it’s the same with me: I’m continually complaining.) The piececomes to a final rest after Catullus realizes the he will always be cursed tolove her.<br> <br> Mea Lesbia (Catullus 87) also consists of twoelegiac couplets. Catullus was only one of Lesbia’s many lovers, and he oftenwrote of his jealousy and disdain for her unfaithful actions. This elegy waswritten at a time when Lesbia had been particularly cruel toward Catullus.Despite being broken hearted, his obsession with her never waned. In hisdespair and desperation, he basically says, “My love for you is so great thatno other woman could possibly even know what love is.” This setting of 87 returns to a more introspectivenature where Catullus surrenders his love forever to Lesbia.
$4.99
4.54 €
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Chorale SATB
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Mark D
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Three Latin Elegies to Lesbia
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Mark Templeton Choral Music
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SheetMusicPlus
FOR IF WE DIED WITH HIM (SATB) w/Rehearsal Piano – 2 Timothy 2:11-13
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.926665 Composed by Michael…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.926665 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 13 pages. M.A. Morizio #3588435. Published by M.A. Morizio (A0.926665). In the first chapter of Paul’s second letter to Timothy, verses 1-10, we observe the intimate relationship that exists, between a spiritual father and his son… I remember you constantly in my prayers night and day. As I remember your tears, I long to see you, that I may be filled with joy. In Chapter two we also witness Paul’s commissioning Timothy to entrust to faithful men all that he was taught by the Apostle, that they then may be able to teach others in the same way also. While the elder Paul is now in prison and bound in chains, he is nonetheless empowered by the Holy Spirit to encourage and exhort Timothy to share in suffering as a good soldier of Christ, for the sake of the Gospel. Though Paul is bound in chains, he declares to Timothy the word of God is not bound! Endurance for Paul serves only one purpose, the salvation that is in Christ Jesus with eternal glory.In verse 11, Paul supports his statements by inserting another known 1st century Hymn to Christ, which brings us to our fifth anthem, For If We Died with Him. The text-or lyrics-of this hymn are even bracketed (or indented) in the NKJV Bible, suggesting the hymnic setting. The proposition of the text is quite clear; if we died with Christ, then we shall also live eternally with Christ. If we endure in the faith, then we shall also reign eternally with Christ. However, there is an insertion of 'Law' here, with a dire warning that the opposite is also true: If we deny Christ, resist, and refuse His beckoning and free invitation to salvation, then He will also deny us. Not everyone who says to me ‘Lord, Lord,’ will enter the kingdom of heaven… I will declare to them, ‘I never knew you; depart from me, you workers of lawlessness.’ (Matthew 7:31-23). Thus, the stage has been set for the fifth anthem. The piece is composed for SATB a cappella. The key is F Major. The opening phrase, This is a trustworthy saying, is in ¾ time, where a series of triplets are sung three times each (the Trinitarian opening motif). The meter then shifts to 2/4 with a lovely, distinctive unison melody for the opening phrase, For if we died with Him, we shall also live with Him. Soon after, when the lyrics shift to the words, If we deny Him, He will also deny us, the song drops into the relative minor key (F minor). The melody in this passage is haunting, and sends a clear warning signal to the listener to pay heed to what is being sung. When the text then transitions from if we are faithless, He remains faithful, however, the key shifts back to F Major in a new (dance-like) rhythm for the final verse, He remains faithful, for He cannot deny Himself. A coda is inserted in the final phrase where the triplet pattern is recapitulated (This is a trustworthy saying) and the sopranos ascend to a high F singing the lyrics, we shall live, for He remains faithful! to triumphantly end the piece.
$1.99
1.81 €
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Chorale SATB
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Michael A
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FOR IF WE DIED WITH HIM
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M.A. Morizio
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SheetMusicPlus
A Prayer of Compassion (Downloadable)
Chorale SATB
SATB choir (choir divisi) unaccompanied - Moderately Easy - Digital Download SKU: MQ.87…
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SATB choir (choir divisi) unaccompanied - Moderately Easy - Digital Download SKU: MQ.8730-E Composed by Gwyneth W. Walker. 7 pages. Duration 1 minute, 45 seconds. E. C. Schirmer Music Company - Digital #8730-E. Published by E. C. Schirmer Music Company - Digital (MQ.8730-E). English. Psalms 4:8; Psalms 5:8.This is a prayerful, homophonic setting of texts from three sources: Psalms 4:8, Psalms 5:8, and the final line from John Greenleaf Whittier's Divine Compassion. Set for SATB chorus (divisi) unaccompanied, the music is approachable and sensitive. Moments of reflection give way to moments of grandness, Only by your Grace, not by my merit, no praise be mine. The piece ends quietly, Let me keep a heart that still can feel, and eyes that still can weep. In today's world, a prayer for us to remain sensitive to suffering is never out of place. Duration: 1:45.
$2.25
2.05 €
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Chorale SATB
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Gwyneth W
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Psalms 5:8
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A Prayer of Compassion
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
'S trusaidh mi na coilleagan (The Cockle Gatherer)
Chorale SATB
Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1354442 Composed by…
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Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1354442 Composed by Traditional Scots Gaelic. Arranged by Stephen Smith. A Cappella,Celtic,Folk,Irish,Multicultural,Traditional,World. 1 pages. Stephen Smith #939143. Published by Stephen Smith (A0.1354442). It's not every day you sing about edible bivalves, but in this song you do! The arrangement is fun and easy, and was actually written with smaller and perhaps poorly balanced choirs in mind: there are never more than three parts to the harmony, so one of the four sections is always doubling one of the others, in a rotating fashion! The notes and rhythms are very straightforward, and although the Gaelic words are a bit tongue-twisting, a mere five bars' worth -- five short text fragments -- serve for the whole song, and a phonetic approximation of the pronunciation is provided. The piece is only about a minute long, so it makes a good encore, or a fast and flashy finale for a folksong set!
$1.99
1.81 €
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Chorale SATB
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Traditional Scots Gaelic
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Stephen Smith
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'S trusaidh mi na coilleagan
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Stephen Smith
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SheetMusicPlus
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