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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
Time And I
Non classifié
3 466
Piano & claviers
Piano seul
3 838
Piano, Voix
1 756
Piano, Voix et Guitare
950
Piano Facile
522
Instruments en Do
401
Orgue
112
Accordéon
91
Accompagnement Piano
58
1 Piano, 4 mains
33
2 Pianos, 4 mains
29
Piano Trio: piano, violon, violoncelle
22
Piano grosses notes
16
Piano Quatuor: piano, 2 violons, violoncelle
9
Piano Quatuor: piano, violon, alto, violoncelle
7
Piano (partie séparée)
6
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Orgue, Piano (duo)
3
Clavecin
1
Ensemble de Pianos
1
Orgue, Trompette (duo)
1
2 Accordéons
1
+ 16 instrumentations
Retracter
Guitares
Guitare
467
Basse electrique
214
Guitare notes et tablatures
173
Ligne De Mélodie, (Paroles) et Accords
156
Ukulele
60
2 Guitares (duo)
42
Paroles et Accords
34
4 Guitares (Quatuor)
20
Guitare (partie séparée)
10
3 Guitares (trio)
9
Ensemble de guitares
8
Mandoline
7
Piano, Guitare (duo)
5
Mandoline, Guitare (duo)
5
Banjo
5
Guitare, Orchestre
1
Guitare, Violon, Violoncelle (trio)
1
Dulcimer
1
+ 13 instrumentations
Retracter
Voix
Chorale SATB
961
Chorale 2 parties
324
Voix seule
305
Chorale 3 parties
250
Voix duo, Piano
144
Chorale TTBB
107
Chorale Unison
97
Chorale SSAA
65
Voix Soprano, Piano
59
Voix Alto, Piano
41
Voix Tenor, Piano
40
Voix Baryton, Piano
40
Voix duo
37
Voix haute
13
Chorale
8
Voix basse, Piano
5
Voix Tenor
4
Chorale SSAATTBB
3
Voix moyenne, Piano
3
Voix haute, Piano
1
Voix Soprano
1
Voix basse
1
Chorale SSAB, Piano
1
+ 18 instrumentations
Retracter
Vents
Saxophone
1 050
Flûte traversière
652
Clarinette
496
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
286
Quintette de Saxophone: 5 saxophones
219
Flûte, Hautbois, Clarinette, Basson
193
Quatuor de Saxophones: 4 saxophones
191
Saxophone Alto
155
Saxophone Tenor
142
Flûte traversière et Piano
136
Quatuor de Clarinettes: 4 clarinettes
112
Clarinette et Piano
94
Flûte à Bec
91
Ensemble de saxophones
82
Hautbois, Piano (duo)
81
2 Saxophones (duo)
81
Saxophone (partie séparée)
78
Saxophone Alto et Piano
77
2 Flûtes traversières (duo)
77
Hautbois (partie séparée)
65
Ensemble de Clarinettes
62
Saxophone Tenor et Piano
61
Saxophone Soprano et Piano
54
2 Clarinettes (duo)
47
Flûte et Guitare
45
Hautbois
44
Saxophone Soprano
39
Quatuor de Flûtes : 4 flûtes
39
Ensemble de Flûtes
37
Saxophone Baryton, Piano
29
2 Hautbois (duo)
26
Flûte, Clarinette (duo)
25
Quintette de Flûte : 5 flûtes
23
Quintette de Clarinettes: 5 clarinettes
19
Cor Anglais
17
Cor anglais, Piano
16
Trio de Flûtes: 3 flûtes
16
3 Clarinettes (trio)
16
Saxophone, Clarinette (duo)
14
Clarinette, Guitare (duo)
14
3 Saxophones (trio)
13
Clarinette, Violon (duo)
13
Flûte, Violon
13
Flûte à bec Soprano
11
Clarinette Basse, Piano
11
Flute (partie séparée)
11
Clarinette (partie séparée)
9
Hautbois, Basson (duo)
9
Hautbois, Clarinette, Basson (trio d'anches)
8
Hautbois, Clarinette (duo)
8
Clarinette et Alto
8
Clarinette, Trompette (duo)
8
Ensemble De Flûte à bec
8
Saxophone Baryton
8
Hautbois, Flûte
7
2 Cors Anglais Et Pianoforte
7
Flûte, Clarinette, Cor, Basson (Quartet)
7
Flûte, Saxophone (duo)
6
Flûte, Clarinette et Basson
6
Flûte irlandaise
6
Quatuor de Flûtes à bec
5
Clarinette Basse
5
Hautbois, Guitare (duo)
5
Flûte, Hautbois, Clarinette (trio)
5
Flûte, Alto (duo)
5
Flûte, Hautbois, Basson
4
Flûte à bec Alto
4
Flûte, Violon et Violoncelle
4
2 Flûtes traversières, Piano
4
5 Flûtes à bec
4
Hautbois, Violoncelle
3
Cor anglais, Guitare (duo)
3
Piccolo, Piano
3
Flûte à bec Alto, Piano
3
2 Clarinettes, Piano
3
Flûte, Hautbois (duo)
3
Clarinette, Violoncelle (duo)
2
2 Saxophones, Piano
2
Saxophone et Guitare
2
Instruments en Mib
2
Flûte, Basson et Piano
2
2 Flûte à bec (duo)
2
Flûte, Clarinette, Piano (trio)
2
Clarinette, Basson (duo)
2
Harmonica
2
Flûte, Clarinette, Violon (trio)
1
Clarinette, Violoncelle, Piano (trio)
1
Hautbois, violon (duo)
1
3 Hautbois
1
Hautbois et alto (duo)
1
Flûte à bec Alto, Basse continue
1
Flûte, Hautbois, Violon
1
Ocarina
1
Flute, harpe et violon
1
2 Hautbois, Piano
1
Flûte, Violon, Piano
1
Saxophone et Orgue
1
Flûte, Violoncelle
1
Flûte traversière, Orgue (duo)
1
Piccolo
1
Flûte à bec Tenor
1
Flûte et Trio à cordes
1
Hautbois, Violon, Piano
1
+ 98 instrumentations
Retracter
Cuivres
Trompette
433
Trombone
398
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
354
Quatuor de Cuivres : 2 trompettes, trombone, tuba
148
Quatuor de Cuivres
101
Ensemble de Trompettes
94
Cor
82
Trompette, Piano
75
Trombone et Piano
74
Cor et Piano
51
Tuba
49
Quatuor de Cuivres: 2 trompettes, Cor, trombone
46
Trompette (partie séparée)
44
Trombone (partie séparée)
40
Ensemble de Trombones
35
Euphonium
29
Tuba et Piano
25
2 Trombones (duo)
22
Euphonium, Piano (duo)
22
Trompette, Trombone (duo)
20
2 Trompettes (duo)
20
Cor Anglais
17
2 Cors (duo)
17
Trio de Cuivres
16
Cor anglais, Piano
16
Ensemble de Cors
11
Trompette, Saxophone (duo)
9
Trompette, Cor (duo)
8
Cor (partie séparée)
8
2 Tubas (duo)
7
2 Cors Anglais Et Pianoforte
7
Tuba (partie séparée)
6
Tuba et Orgue
5
Quatuor de cuivres: 4 trombones
4
2 Euphoniums et 2 Tubas
4
Quatuor de cuivres: 4 cors
3
Cor anglais, Guitare (duo)
3
Bass Clef Instruments
3
Quatuor de cuivres: 4 trompettes
2
Euphonium, Tuba (duo)
2
3 Trompettes (trio)
2
3 Trombones (trio)
2
2 Cors, Piano
2
Instruments en Sib
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Ensemble de Tubas
1
Trombone, Tuba (duo)
1
Trombone basse
1
2 Euphoniums (duo)
1
Trompette, violon (duo)
1
Cor et Basson (duo)
1
Trompette, Euphonium (duo)
1
Cor, Violoncelle (duo)
1
Trompette, Basson (duo)
1
Trompette, Violoncelle (duo)
1
Trombone basse et Piano
1
+ 51 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
857
Violon
714
Violon, Violoncelle (duo)
384
Trio à Cordes: violon, alto, violoncelle
356
Violoncelle
344
Alto seul
236
Quintette à cordes: 2 violons, alto, violoncelle, basse
232
Violon et Piano
171
Harpe
94
Alto, Piano
84
Violoncelle, Piano
83
2 Violons (duo)
76
Contre Basse
72
Violon, Alto (duo)
45
Trio à Cordes: 2 violons, violoncelle
38
2 Harpes (duo)
37
2 Violoncelles (duo)
36
Alto (partie séparée)
27
Alto, Violoncelle (duo)
26
2 Altos (duo)
24
Ensemble de Violons
20
Ensemble d'Altos
18
Contrebasse, Piano (duo)
17
Trio à cordes: 3 violins
15
4 Violoncelles
12
Piano Trio: Violon, Alto, Piano
12
Violon, Guitare (duo)
11
Contrebasse (partie séparée)
10
Violon (partie séparée)
9
Trio à Cordes: 2 violons, alto
9
Trio à Cordes: 3 violoncelles
8
Quintette à cordes: 2 violons, 2 altos, violoncelle
6
Harpe, Voix
5
Quintette à cordes : 2 violons, alto et 2 violoncelles
5
2 Contrebasses (duo)
4
Quatuor à cordes : 4 altos
4
2 Violons, Piano
3
Harpe, Violon, Violoncelle
3
Quatuor à cordes: 4 violons
3
4 Contrebasses
3
Violoncelle, Orchestre
2
2 Altos, Piano
2
Violon, Basson (duo)
2
Violoncelle, Contrebasse (duo)
2
Alto, Guitare (duo)
2
Harpe, Violon (duo)
2
Alto et Harpe
2
Violoncelle , Guitare (duo)
2
Harpe, Violoncelle (duo)
1
Violoncelle, Orgue
1
Violoncelle (partie séparée)
1
Trio à cordes: 3 altos
1
Alto et Basson
1
Harpe, Flûte (duo)
1
3 Harpes
1
Ensemble de Violoncelles
1
+ 51 instrumentations
Retracter
Orchestre & Percussions
Orchestre
417
Orchestre d'harmonie
396
Batterie
382
Orchestre à Cordes
314
Ensemble Jazz
151
Ensemble de cuivres
119
Orchestre de chambre
80
Cloches
63
Jazz combo
57
Fanfare
28
Marimba
28
Ensemble de Percussions
28
Xylophone
13
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
8
Xylophone, Piano
8
Batterie (partie séparée)
5
Vibraphone
3
Percussion (partie séparée)
3
Percussion
3
Caisse Claire
3
Piano et Orchestre
2
Quintette de Cuivres: autres combinaisons
1
2 Marimbas
1
+ 18 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
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Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
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Nouveautes
A-Z
difficulté (tous)
débutant
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avancé
expert
avec audio
avec vidéo
avec play-along
Crtitères actifs :
Time And I
Chorale SATB
Partitions à imprimer
961 partitions trouvées
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951
Suite Grandkids
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Chorale SATB
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INTERMÉDIAIRE
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Jim Bosse
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Jim Bosse with Charles Rann
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Suite Grandkids
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Jim Bosse
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.954962 Composed by Jim Bosse. Arranged by Jim Bosse with Charles Rann. Concert,Contemporary. Octavo. 64 pages. J...
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Choral Choir (SATB) - Level 3 - SKU: A0.954962 Composed by Jim Bosse. Arranged by Jim Bosse with Charles Rann. Concert,Contemporary. Octavo. 64 pages. Jim Bosse #4579541. Published by Jim Bosse (A0.954962). Suite Grandkids contains six pieces originally scored for classical guitar trio, one for each of the grandkids that I had at that time (2005). I decided to write lyrics for each movement, creating a version for voice (male and/or female) and classical guitar, then expanding it to this version for SATB Choir with classical guitar and percussion. The percussion parts are easy and meant to be performed by members of the choir. This download contains the choir version score. The picture of my grandkids looks like a poster for cultural diversity. Their varied genetic backgrounds presented an opportunity to compose an eclectic suite with each piece presenting a style representative of their unique genetic heritage. Performance time for the entire suite is 23 minutes but each piece could stand alone on a concert program. Individual titles are: Riely's Dance, Ananlysia's Margarita, Toy for Timothy, Air for Chiara, Lullaby for Mirabai, and Soren's Jig. Performance demand level is mostly intermediate with a few advanced sections. Jim's web site is www.facebook.com/jimbosseguitar
$12.99
Suite Grandkids
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Chorale SATB
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INTERMÉDIAIRE
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Jim Bosse
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Jim Bosse with Charles Rann
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Suite Grandkids
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Jim Bosse
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.954963 Composed by Jim Bosse. Arranged by Jim Bosse with Charles Rann. Concert,Contemporary. Octavo. 74 pages. J...
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Choral Choir (SATB) - Level 3 - SKU: A0.954963 Composed by Jim Bosse. Arranged by Jim Bosse with Charles Rann. Concert,Contemporary. Octavo. 74 pages. Jim Bosse #4579563. Published by Jim Bosse (A0.954963). Suite Grandkids contains six pieces originally scored for classical guitar trio, one for each of the grandkids that I had at that time (2005). I decided to write lyrics for each movement, creating a version for voice (male and/or female) and classical guitar, then expanding it to this version for SATB Choir with classical guitar and percussion. The percussion parts are easy and meant to be performed by members of the choir. This download contains all parts for the choir version. The picture of my grandkids looks like a poster for cultural diversity. Their varied genetic backgrounds presented an opportunity to compose an eclectic suite with each piece presenting a style representative of their unique genetic heritage. Performance time for the entire suite is 23 minutes but each piece could stand alone on a concert program. Individual titles are: Riely's Dance, Ananlysia's Margarita, Toy for Timothy, Air for Chiara, Lullaby for Mirabai,and Soren's Jig. Performance demand level is mostly intermediate with a few advanced sections. Jim's web site is www.facebook.com/jimbosseguitar
$9.99
The Breeze And I
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Chorale SATB
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INTERMÉDIAIRE
#
Caterina Valente
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Scott S
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The Breeze And I
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Scott S. Stewart
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1216198 By Caterina Valente. By Al Stillman and Ernesto Lecuona. Arranged by Scott S. Stewart. 20th Century,Jazz...
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Choral Choir (SATB) - Level 3 - SKU: A0.1216198 By Caterina Valente. By Al Stillman and Ernesto Lecuona. Arranged by Scott S. Stewart. 20th Century,Jazz,Latin,Multicultural,Standards,World. Octavo. 9 pages. Scott S. Stewart #812809. Published by Scott S. Stewart (A0.1216198). The original music “AndalucÃa Suiteâ€, by composer Ernesto Lecuona (“The Cuban Gershwinâ€) was written sometime between 1923 and 1928. The suite contained a tune titled “Andalucia†(in English “The Breeze and Iâ€) and lyrics were added in Spanish by Emilio de Torre and English by Al Stillman.  Over time, the tune became popular and found its rightful place in jazz standard repertoire.  This arrangement is for 4-part SATB ensemble. with English text, and piano accompaniment.  It is an excellent introduction to Lecuona’s brilliance as a musician, as well as Cuban music.  Performance time: 3:15+-.
$2.99
A DREAM (SATB Chorus [divisi] and Piano or Orchestra) - Piano/Choral Score
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Stanley M Hoffman
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A DREAM
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stanleymhoffman.com
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SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 4 - SKU: A0.1388554 Composed by Stanley M Hoffman. 21st Century,Classical. 24 pages. Stanleymhoffman.com #9720...
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Choral Choir,Choral (SATB divisi) - Level 4 - SKU: A0.1388554 Composed by Stanley M Hoffman. 21st Century,Classical. 24 pages. Stanleymhoffman.com #972055. Published by stanleymhoffman.com (A0.1388554). Program Notes: The fact that the text for this work even exists is a miracle. It was written by Abraham (Abramek) Koplowicz, a Jewish boy who was exterminated by the Nazis during the Holocaust. Abramek was born in 1930 in Lodz, Poland, and died 1944 in that country's infamous concentration camp at Auschwitz-Birkenau. He wrote this poem during the time that his family was trapped in the Lodz ghetto. This poem was not found until 1983 when Eliezer (Lolek) Grynfeld, the poet's half-brother, discovered it among their late father's belongings. Choristers who sing this work will be transported on a magical flight around the world through time and space along with their audiences. —A Dream (Marzenie)When I am twenty years of age,I will burst forth from this cageAnd begin to see our splendid EarthFor the first time since my birth!In my motorized bird I’ll soar so highAbove the world, up in the sky,Over rivers and the seas, With such stupefying ease,With my brother wind and sister cloud, I’llMarvel at the Euphrates and the Nile;The goddess Isis ruled the land that linksThe Pyramids and the massive Sphynx.I will glide above Niagara Falls,And sunbathe where the Sahara calls;If I want to escape the scorching heat,I will fly up north to an Arctic retreat.I will top the cloudy peaks of Tibetan fameAnd survey the fabled land whence the Magi came.From the Island of KangaroosI’ll take my time and cruiseTo the ruins of Pompeii      At the edge of Naples Bay,I’ll continue to the Holy Land, then seekThe home of Homer, the celebrated Greek.More and more astonished will I growAt the beauty of the Earth below.In all my travelling I’ll be twinnedWith my siblings, cloud and wind.—Abraham (“Abramekâ€) Koplowicz (b. 1930, Lodz, Poland, d. 1944, Auschwitz-Birkenau)Translation by Sarah Lawson and MaÅ‚gorzata Koraszewska© Copyright 1993 by Eliezer Grynfeld. All rights reserved.Used by permission of Eliezer Grynfeld.—Music: © Copyright 2024 by Stanley M. Hoffman.www.stanleymhoffman.comAll rights reserved.
$5.00
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
Sanbutsuge: A Buddhist Motet for Chorus SATB and Piano, with Solo Soprano
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Richard St
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Sanbutsuge: A Buddhist Motet f
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Richard St. Clair
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.939717 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 23 pages. Richard St. Clair #3002339. P...
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Choral Choir (SATB) - Level 4 - SKU: A0.939717 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 23 pages. Richard St. Clair #3002339. Published by Richard St. Clair (A0.939717). This 9-minute motet in which the Buddha-to-be Dharmakara praises His master, Lokeshvaraja Buddha and vows to become the Savior of all Beings (namely, Amida Buddha). The music beings with an extended recitative/aria by solo soprano, and proceeds to the full choral ensemble to its conclusion. The MP3 Audio Clip is a computer-generated soundfile of the entire work. The music is completely tonal and traditional, suitable for good amateur choirs and professional choruses alike.Words from the Larger Sutra on Amida Buddha expounded by Shakyamuni Buddha some 2500 years ago in India.[Setting: Many ages ago, Dharmakara Bhikshu (in his stage before becoming Amida Buddha) declares to his Master, Buddha Lokeshvararaja, his intention to create a Pure Land wherein all suffering beings can be saved.]Text (slightly abridged):Then appeared a Buddha named Lokeshvararaja, the Tathagata, Arhat, Perfectly Enlightened One, Possessed of Wisdom and Practice, Perfected One, Knower of the World, Unsurpassed One, Tamer of Men, Master of Gods and Men, Buddha and World-Honored One.At that time there was a king, who, having heard the Buddha's exposition of the Dharma, rejoiced in his heart and awakened aspiration for the highest, perfect Enlightenment. He renounced his kingdom and the throne, and became a monk named Dharmakara. Having superior intelligence, courage and wisdom, he distinguished himself in the world. He went to see the Tathagata Lokeshvararaja, knelt down at his feet, walked round him three times keeping him always on his right, prostrated himself on the ground, and putting his palms together in worship, praised the Buddha with these verses:The shining face of the Buddha is glorious;Boundless is his magnificence.Radiant splendor such as hisIs beyond all comparison.The sun, the moon and the mani-jewel,Though shining with dazzling brightness,Are completely dimmed and obscuredAs if they were a pile of ink-sticksThe countenance of the TathagataIs beyond compare in the whole world.The great voice of the Enlightened OneResounds throughout the ten regions.His morality, learning, endeavor,Absorption in meditation, wisdomAnd magnificent virtues have no equal;They are wonderful and unsurpassed.I resolve to become a Buddha,Equal in attainment to you, O holy king of the Dharma,To save living beings from birth-and-death,And to lead them all to emancipation.I vow that, when I have become a Buddha,I shall carry out this promise everywhere;And to all fear-ridden beingsShall I give great peace.Even though there are Buddhas,A thousand million kotis in number,And multiudes of great sagesCountless as the sands of the Ganges,I shall make offeringsTo all those Buddhas.I shall seek the supreme WayResolutely and tirelessly.Even though the Buddha-lands are as innumerableAs the sands of the Ganges,And other regions and worldsAre also without number,My light shall shine everywhere,Pervading all those lands.Such being the result of my efforts,My glorious power shall be immeasurable.When I have become a Buddha,My land shall be most exquisite,And its people wonderful and unexcelled;The seat of Enlightenment shall be supreme.My land, being like Nirvana itself,Shall be beyond comparison.I take pity on living beingsAnd resolve to save them all.Those who come from the ten quartersShall find joy and serenity of heart;When they reach my land,They shall dwell in peace and happiness.I beg you, the Buddha, to become my witnessAnd to vouch for the truth of my aspiration.Having now made my vows to you,I will strive to fulfilll them.The World-Honored Ones in the ten quartersHave unimpeded wisdom;I call upon those Honored OnesTo bear witness to my intention.Even though I mu.
$10.99
T.I.M.E.
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Chorale SATB
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INTERMÉDIAIRE
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Debbie Allen
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T.I.M.E.
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Nottingham Scores
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.742755 By Debbie Allen. By Debbie Allen. A Cappella,Classical,Contemporary,Contest,Festival,Instructional. Octav...
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Choral Choir (SATB) - Level 3 - SKU: A0.742755 By Debbie Allen. By Debbie Allen. A Cappella,Classical,Contemporary,Contest,Festival,Instructional. Octavo. 20 pages. Nottingham Scores #350889. Published by Nottingham Scores (A0.742755). T.I.M.E., a work for SATB Choir, expresses the mystery of time, how it passes, how we use it and how it grants new beginnings. During the COVID-19 pandemic, we have experienced time and what is important to us in different ways. Certainly, there have been moments of uncertainty, anxiety, even panic over danger of contracting the virus, the long-term effects of the virus and the loss of life. In isolation, awaiting further instructions, we have had time to reflect, prepare and imagine. We have had to manage life with new guidelines and restrictions, while trying to keep ourselves and others safe. This work attempts to put time in perspective, with a message of hope for recovery, and a better understanding of how to move forward with passion and grace. The message is not just for life in a pandemic, but for life, in general. Hopefully, this work can stand the “test of timeâ€, finding a meaningful place in the repertoire.
$2.99
I Would Rock My Child to Sleep from "Lost Songs of Ancient Ireland" [SATB with Treble Descant]
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Chorale SATB
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INTERMÉDIAIRE
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Dandelion Music Press
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I Would Rock My Child to Sleep
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Dandelion Music Press
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.891206 Arranged by Dandelion Music Press. Contemporary,Folk,World. Octavo. 15 pages. Dandelion Music Press #3104...
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Choral Choir (SATB) - Level 3 - SKU: A0.891206 Arranged by Dandelion Music Press. Contemporary,Folk,World. Octavo. 15 pages. Dandelion Music Press #3104497. Published by Dandelion Music Press (A0.891206). This tender lullaby is a touching memorial for an end of life commemoration of a parent or caregiver. Here is a great opportunity to collaborate with a children's or youth choir and Irish instrumentalists, or to freely substitute any treble solo and Western instrumental equivalent.Included in Project:Encore 2017, Quarter 1 Lost Songs of Ancient Ireland, for Mixed Choir with Treble Descant, Piano or Harp, Bodhran, Irish Flute, and Violin, is a three-movement song cycle that focuses on the shifting relationships over the scope of a lifetime from the differing perspective of each person involved.I. Old Beggarman- Two interwoven jigs, It Was an Old Beggarman, Weary and Wet and Ag an mBóithrÃn Buà (At the Yellow Little Road), of both a young lady's observation of a wandering beggarman and his unrequited, possibly unexpressed, love for her. They are offered together as alternate perspectives from potential romantic partners, and features lilting, mouth music, or portaireacht bhéil (port a'bhéil, mouth-singing) as it is known in Irish Gaelic.II. I Would Rock My Child to Sleep- A sentimental Irish lullaby Irish lullaby Do Chuirfinnse Féin Mo Leanbh a Chodladh (I Would Put My Own Child to Sleep) highlights the shifting roles of a caregiver: the parent full of hopes of the parent for the child morphing over a lifetime into a blessing from the grown child to the aged parent. Each verse is progressively based upon an overall narrative: 1. hopes of the parent for the child 2. an easy, natural rhythm to family life, possibly the child is older now, and there is a dream of family continuance 3. uncertainty over who is nurturing who: does the child now sing to comfort the parent? 4. a closing blessing for peace and rest that hearkens back to the successful sleep of a tired infantIII. The Drummer- An energetic reel, a combination of Maidin Fhómhair, nó CailÃn Péacach (The Harvest Maiden, or Sprouting Maiden) and Cormac Spáinneach, nó An Drumadóir (Cormac Spaineach, or The Drummer), alternating between romantic partners encased by a nostalgic love song, suggesting the passing of a lifetime.Commissioned by Cora Voce; Tacoma, WAMovements available for purchase separately.2017 Choral Contest EntryLaurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$2.10
An Omani Dance Suite - COMPLETE BUNDLE (Score and all parts)
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Chorale SATB
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INTERMÉDIAIRE
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Stuart Brown
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An Omani Dance Suite - COMPLET
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Stuart Brown Music
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brown Music #5990681...
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Choral Choir (SATB) - Level 3 - SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brown Music #5990681. Published by Stuart Brown Music (A0.835452). A fantastic offer price for the full score and all parts! ... Looking for something to add a sense of oriental exoticism to your amateur orchestral/choral concert? This may be what you're looking for! This charming little suite of six dances lasts about 15½ minutes. It consists of a Pavane, Bourée, Sarabande, Allemande, Basse Danse and Galliard, which vary widely in character. As a whole the suite provides some interesting challenges for both performers and listeners. Apart from conventional strings, flute and harp (which can be either pedal or lever) you will need:- One or maybe two Arabian ouds. The parts are playable also on a fretless acoustic guitar. (Needs to be fretless because of the quarter-tones in some of the Arabic modes used.)- A cimbalom (the part can be played on a piano also, with slight modification). You might get away with using a hammered dulcimer but you'd need to make a number of compromises.- A doumbek and a djembe. These beautiful drums are a must for Middle-Eastern or African music. They're fairly easy to find, though finding somebody who can play them properly may take a bit more doing!- Finger cymbals and a gong. These are regular western instruments.- A wind-chime. Anything that produces a nice shimmering spangle of sound will probably do!- A group of singers (SATB). Nothing particularly challenging but see below.The primary oud part, the strings and the singers need to have sufficiently good intonation to pitch quarter tones. These are the exception rather than the rule, but nevertheless play an important part in the character of the music. Apart from this, the music is relatively straightforward and probably playable by any reasonably competent amateur or high school orchestra.In the spring of 2020 I wrote a set of short music tracks for a charity of which I'm a trustee. In order to protect my intellectual property rights in the music, I decided to bring it together into an attractive if not intellectually challenging little suite, hence An Omani Dance Suite. Originally the dances were all in Arabic quarter-tone temperament, but obviously quarter-tones cannot be played easily (if at all) on the flute, harp and cimbalom. So I have made some adjustments but retained the Arabic temperament wherever reasonably possible. I had thought initially of using a santur instead of a cimbalom, but the santur lacks the range and the dynamic capability to be used with a string chamber orchestra. The cimbalom doesn't need to be a concert grand model; in fact it doesn't even need to have dampers.The Omani was something of an afterthought: a musician friend of mine had worked in Oman and commented on how authentically Omani the Basse Danse sounded. The period of composition coincided with a time when I was really missing friends in Vietnam and Romania, so somehow influences from those countries found their way into the music.I'm not bothering with performing rights for this - just go away and enjoy the music! ... but if it inspires you find out more about the charity work that inspires me, feel free to get in touch!https://www.facebook.com/stuartbrownmusic/
$30.00
Old Beggarman from "Lost Songs of Ancient Ireland" [SATB with Treble Descant]
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Chorale SATB
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INTERMÉDIAIRE
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Traditional Irish
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Laurie Betts Hughes
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Old Beggarman from "Lost
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Dandelion Music Press
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.891205 Composed by Traditional Irish. Arranged by Laurie Betts Hughes. Contemporary,Folk,World. Octavo. 26 pages...
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Choral Choir (SATB) - Level 3 - SKU: A0.891205 Composed by Traditional Irish. Arranged by Laurie Betts Hughes. Contemporary,Folk,World. Octavo. 26 pages. Dandelion Music Press #3104495. Published by Dandelion Music Press (A0.891205). The first of three movements, here is a great opportunity to collaborate with a children's or youth choir and Irish instrumentalists, or to freely substitute any treble solo and Western instrumental equivalent.Included in Project : Encore 2017Lost Songs of Ancient Ireland, for Mixed Choir with Treble Descant, Piano or Harp, Bodhran, Irish Flute, and Violin, is a three-movement song cycle that focuses on the shifting relationships over the scope of a lifetime from the differing perspective of each person involved. I. Old Beggarman- Two interwoven jigs, It Was an Old Beggarman, Weary and Wet and Ag an mBóithrÃn Buà (At the Yellow Little Road), of both a young lady's observation of a wandering beggarman and his unrequited, possibly unexpressed, love for her. They are offered together as alternate perspectives from potential romantic partners, and features lilting, mouth music, or portaireacht bhéil (port a'bhéil, mouth-singing) as it is known in Irish Gaelic.II. I Would Rock My Child to Sleep- A sentimental Irish lullaby Irish lullaby Do Chuirfinnse Féin Mo Leanbh a Chodladh (I Would Put My Own Child to Sleep) highlights the shifting roles of a caregiver: the parent full of hopes of the parent for the child morphing over a lifetime into a blessing from the grown child to the aged parent. Each verse is progressively based upon an overall narrative: 1. hopes of the parent for the child 2. an easy, natural rhythm to family life, possibly the child is older now, and there is a dream of family continuance 3. uncertainty over who is nurturing who: does the child now sing to comfort the parent? 4. a closing blessing for peace and rest that hearkens back to the successful sleep of a tired infant III. The Drummer- An energetic reel, a combination of Maidin Fhómhair, nó CailÃn Péacach (The Harvest Maiden, or Sprouting Maiden) and Cormac Spáinneach, nó An Drumadóir (Cormac Spaineach, or The Drummer), alternating between romantic partners encased by a nostalgic love song, suggesting the passing of a lifetime.Commissioned by Cora Voce; Tacoma, WASet of three and single movements available for purchase.2017 Choral Contest EntryLaurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$2.10
Lost Songs of Ancient Ireland [SATB with Treble Descant]
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Chorale SATB
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INTERMÉDIAIRE
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Celtique/Irlandais
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Folklorique/Traditionel
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Traditional Irish
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Laurie Betts Hughes
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Lost Songs of Ancient Ireland
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Dandelion Music Press
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.891204 Composed by Traditional Irish. Arranged by Laurie Betts Hughes. Contemporary,Folk,World. Octavo. 61 pages...
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Choral Choir (SATB) - Level 3 - SKU: A0.891204 Composed by Traditional Irish. Arranged by Laurie Betts Hughes. Contemporary,Folk,World. Octavo. 61 pages. Dandelion Music Press #3104111. Published by Dandelion Music Press (A0.891204). Here is a great opportunity to collaborate with a children's or youth choir and Irish instrumentalists, or to freely substitute any treble solo and Western instrumental equivalent.Included in Project:Encore 2017, Quarter 1 Lost Songs of Ancient Ireland, for Mixed Choir with Treble Descant, Piano or Harp, Bodhran, Irish Flute, and Violin, is a three-movement song cycle that focuses on the shifting relationships over the scope of a lifetime from the differing perspective of each person involved.I. Old Beggarman- Two interwoven jigs, It Was an Old Beggarman, Weary and Wet and Ag an mBóithrÃn Buà (At the Yellow Little Road), of both a young lady's observation of a wandering beggarman and his unrequited, possibly unexpressed, love for her. They are offered together as alternate perspectives from potential romantic partners, and features lilting, mouth music, or portaireacht bhéil (port a'bhéil, mouth-singing) as it is known in Irish Gaelic.II. I Would Rock My Child to Sleep- A sentimental Irish lullaby Irish lullaby Do Chuirfinnse Féin Mo Leanbh a Chodladh (I Would Put My Own Child to Sleep) highlights the shifting roles of a caregiver: the parent full of hopes of the parent for the child morphing over a lifetime into a blessing from the grown child to the aged parent. Each verse is progressively based upon an overall narrative: 1. hopes of the parent for the child 2. an easy, natural rhythm to family life, possibly the child is older now, and there is a dream of family continuance 3. uncertainty over who is nurturing who: does the child now sing to comfort the parent? 4. a closing blessing for peace and rest that hearkens back to the successful sleep of a tired infant III. The Drummer- An energetic reel, a combination of Maidin Fhómhair, nó CailÃn Péacach (The Harvest Maiden, or Sprouting Maiden) and Cormac Spáinneach, nó An Drumadóir (Cormac Spaineach, or The Drummer), alternating between romantic partners encased by a nostalgic love song, suggesting the passing of a lifetime.Commissioned by Cora Voce; Tacoma, WAMovements available for purchase separately.2017 Choral Contest EntryLaurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$6.25
Sweet Emerald Isle That I Love So Well
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Chorale SATB
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Stephen Foster
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Sweet Emerald Isle That I Love
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice (solo and SATB chorus) - SKU: LV.20435 Composed by Stephen Foster. Immigrants--Ireland, Patriotism, Nationalism. Lester S. Levy Collecti...
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Piano and voice (solo and SATB chorus) - SKU: LV.20435 Composed by Stephen Foster. Immigrants--Ireland, Patriotism, Nationalism. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.20435). Foster-Hall Reproductions. Sweet Emerald Isle That I Love So Well. Words by Geo. Cooper. Melody by Stephen C. Foster. Published 1866 by John J. Daly, 419 Grand St. in New York. Composition of strophic with chorus with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include Immigrants--Ireland, Patriotism, Nationalism. First line reads O the dear early days in my own fair land!.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Chorale SATB
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INTERMÉDIAIRE
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 2 - Eighths
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Dots and Beams
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #47...
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Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #4776187. Published by Dots and Beams (A0.931836). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00
I Won't Dance
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Dorothy Fields, Jerome Kern, J
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Alexander L'Estrange
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I Won't Dance
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Alexander L'Estrange
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SheetMusicPlus
Choral Choir (Mixed) - Level 4 - SKU: A0.877462 Composed by Dorothy Fields, Jerome Kern, Jimmy McHugh, Oscar Hammerstein, and Otto Harbach. Arranged by ...
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Choral Choir (Mixed) - Level 4 - SKU: A0.877462 Composed by Dorothy Fields, Jerome Kern, Jimmy McHugh, Oscar Hammerstein, and Otto Harbach. Arranged by Alexander L'Estrange. A Cappella. Octavo. 18 pages. Alexander L'Estrange #6745463. Published by Alexander L'Estrange (A0.877462). Alexander L’Estrange is a great and innovative arranger, surely one of the best we have around. - Music Teacher Magazine Alexander L’Estrange’s delicious arrangements go naughtily off-piste and the King’s Singers Great American Songbook CD is superb. - The Times Alexander L’Estrange and Joanna Forbes L’Estrange are prolific composers and arrangers of choral music, both individually and as a partnership. Receiving commissions from choral societies, schools, chamber choirs, church choirs and a cappella groups, their music is sung and enjoyed throughout the world. Alexander is regularly commissioned to write arrangements for world-class vocal groups including Voces8, The Queen’s Six, Amarcord and The King’s Singers, for whom he wrote and produced the Great American Songbook album. Joanna began writing music and lyrics during her tenure as soprano and Musical Director of the five-time Grammy® Award-winning vocal group The Swingles. All of Alexander and Joanna’s compositions and arrangements come with excellent learning resources for choirs including part-learning tracks and backing tracks, professionally recorded by the couple in their home studio #OldStableStudios. They also offer expert coaching for choirs, both in person and online. Their popular workshop You can sing…but can you swing?! gives choirs the tools to perform pop and jazz arrangements with greater style and confidence. CONTACT Website www.lestrangemusic.com Enquiries info@lestrangemusic.com To be the first to hear news from L’Estrange Music, follow them on facebook, twitter and instagram This arrangement features classy jazz a cappella writing that will suit experienced chamber choirs, school and high school groups, with a 6-part SSATBarB scoring. The song is a classic jazz standard by Jerome Kern and was commissioned by The King's Singers, who recorded it on their album of Alexander L'Estrange's close-harmony arrangements Great American Songbook https://www.kingssingers.com/products/great-american-songbook/. N.B. This is a higher-key adaptation of Alexander L'Estrange's original arrangement for the King's Singers, with mixed-voice SSATBarB choirs and a cappella groups in mind.
$4.50
Pretty Bell Durell. Song and Dance
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Chorale SATB
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Charles Moreland
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Pretty Bell Durell. Song and D
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice (solo and SATB chorus) - SKU: LV.4980 Composed by Charles Moreland. Portraits, Musical instruments, Singing, Candles, Drapery, Courtship...
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Piano and voice (solo and SATB chorus) - SKU: LV.4980 Composed by Charles Moreland. Portraits, Musical instruments, Singing, Candles, Drapery, Courtship, Love. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4980). Pretty Bell Durell. Song and Dance. Music by Charles Moreland. Words by Barney T. Mullaly. Published 1883 by Balmer & Weber, Publishers in St. Louis, Mo. Composition of strophic with chorus (with dance interlude) with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include Portraits, Musical instruments, Singing, Candles, Drapery, Courtship, Love. First line reads Sweet mem'ry turn sunto the time when I was but a boy.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
Standing As a Witness for Jesus Christ, sacred music for SATB choir
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Kevin G
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Standing As a Witness for Jesu
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Kevin G. Pace
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SheetMusicPlus
Choral Choir,Choral (SATB Chorus) - Level 4 - SKU: A0.1510606 Composed by Kevin G. Pace (ASCAP), Kathryn W. Hales. Christian,Praise & Worship,Religious,...
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Choral Choir,Choral (SATB Chorus) - Level 4 - SKU: A0.1510606 Composed by Kevin G. Pace (ASCAP), Kathryn W. Hales. Christian,Praise & Worship,Religious,Sacred,Spiritual. 8 pages. Kevin G. Pace #1085804. Published by Kevin G. Pace (A0.1510606). A bold, dramatic Christian choral composition. Music by Kevin G. Pace. Text by Kathryn W. Hales. Text:Standing as a witness Of Jesus Christ, my Lord,Steadfast and valiant According to His word.In all times and places, ‘Mid foes or friendly faces.I will be a witness For Jesus Christ, my Lord.Ready to stand with others, Willing to testifyThat Jesus is our Savior, Who rules from heav’n on high.In the darkness of the night, In the glare of neon’s light,I will be a witness For Jesus Christ, my Lord.Ready to stand all alone, If that might be the case;I’ve taken His name upon me And yearn to see His face.Though on faith I must rely Of Him I’ll gladly testify;I will stand as a witness For Jesus Christ, my Lord.
$2.99
Far From My Native Land. Song & Chorus
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Chorale SATB
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Charlie C
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Far From My Native Land. Song
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice (solo and SATB chorus) - SKU: LV.3388 Composed by Charlie C. Converse. Homesickness, Domestic life, Contentment. Lester S. Levy Collecti...
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Piano and voice (solo and SATB chorus) - SKU: LV.3388 Composed by Charlie C. Converse. Homesickness, Domestic life, Contentment. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.3388). Converse's Home Songs. Far From My Native Land. Song & Chorus. Words by C.M. Cady. Music by Ch. C. Converse. Published 1856 by William Hall & Son, 239 Broadway in New York. Composition of strophic with chorus with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include Homesickness, Domestic life, Contentment. First line reads From my native land tho' I wander far away.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
Saturnalia Song for voices, wind, brass and percussion
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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David Warin Solomons
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Saturnalia Song for voices, wi
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David Warin Solomons
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SheetMusicPlus
Choral Choir (Mixed) - Level 4 - SKU: A0.576366 Composed by David Warin Solomons. 20th Century,Christmas,Classical,Contemporary,World. Octavo. 27 pages....
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Choral Choir (Mixed) - Level 4 - SKU: A0.576366 Composed by David Warin Solomons. 20th Century,Christmas,Classical,Contemporary,World. Octavo. 27 pages. David Warin Solomons #18013. Published by David Warin Solomons (A0.576366). A vivid and at times raucous celebration of Saturnalia, in Latin, for an ensemble of voices and instruments (including various percussion, woodwind and brass instruments). The sound sample is a sung performance by the composer with an electronic preview of the instruments. Further explanations: Song for Saturnalia - a raucous and fun romp - in whole tones (since there is scant evidence of the types of scales used in those days - whole tones just seem to work in this context). The Latin words make references to relatively modern times but the spirit of Saturnalia is timeless, after all. The pileum (also written pilleum) is the little cap that slave wore during Saturnalia to show they were free men and women on that day - they would point to their cap and say libertus sum (I am a free person) and omnes aequales sumus (we are all equal). The words (and translation - both by me) are as follows: Saturnalia Song Io Saturnalia! Hodie igitur dominus noster non es. [Hooray, it’s Saturnalia, so today you’re not our boss] Hodie omnes aequales sumus. Io! [Today we are all equal, hooray!] [spoof of USA Anthem] Salve O Frutici [Hi there, Bush] Ecce meum pileum: [Look, see my little cap of freedom] libertus sum [I’m a free man] [spoof of UK Anthem] Salve O Campestri [Hi there, Blair] Ecce meum pileum: [Look, see my little cap of freedom] libertus sum [I’m a free man] [spoof of German Anthem] Salve O Candelari [Hi there Brandt] Ecce meum pileum: [Look, see my little cap of freedom] libertus sum [I’m a free man] Io Saturnalia, Io! [Hooray, it’s Saturnalia, hooray!] [Note on the invented names (used in the vocative in the song of course): Fruticius is based on the word frutex a bush - it’s also used to mean blockhead in Roman comedies, but I can’t help that!. Campestrius is based on campester - a plain or place of clear ground (Blair is the Celtic equivalent word - a forest clearing!) Candelarius is based on candela - a taper or candle - ie something burning hence Brandt (yes, I know he’s earlier than the other two politicians, but, hey, it’s all a bit of anachronistic fun!)].
$10.00
Out Of Time
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Chorale SATB
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INTERMÉDIAIRE
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The Weeknd
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Amanda Ong
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Out Of Time
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Amanda Ong
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 3 - SKU: A0.1086981 By The Weeknd. By Abel Makkonen Tesfaye, Daniel Lopatin, Martin Max, Oscar Thomas Holter, Tetsuro...
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Choral Choir,Choral (SATB) - Level 3 - SKU: A0.1086981 By The Weeknd. By Abel Makkonen Tesfaye, Daniel Lopatin, Martin Max, Oscar Thomas Holter, Tetsuro Hamada, and Tomoko Aran. Arranged by Amanda Ong. A Cappella,Contemporary,Hip-Hop,Pop,R & B. 12 pages. Amanda Ong #691174. Published by Amanda Ong (A0.1086981). Arranged for a 6-part a cappella, SATB + Solo + VP For more of my arrangements, please head over to https://bnd.link/musicianmandy. I'm @musicianmandy on social media and Amanda Ong on all streaming platforms.
$1.99
I'm Still Standing
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Elton John
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Jeffrey Bowen
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I'm Still Standing
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Music Arrangement Services Inc.
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.575455 By Elton John. By Bernie Taupin and Elton John. Arranged by Jeffrey Bowen. Contest,Festival,Pop. Octavo. ...
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Choral Choir (SATB) - Level 4 - SKU: A0.575455 By Elton John. By Bernie Taupin and Elton John. Arranged by Jeffrey Bowen. Contest,Festival,Pop. Octavo. 10 pages. Music Arrangement Services Inc. #184798. Published by Music Arrangement Services Inc. (A0.575455). By Elton John and Bernie Taupin. This song is about getting through a bad time and standing strong afterward. The song refers to survival, resilience, inner strength, personal victory and inner growth. This arrangement is designed for high school or college show choir, concert choir or community choir. Band Score accompaniment also available. Performance time is approximately 2:55.
$3.99
I See You
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Chorale SATB
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INTERMÉDIAIRE
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Michelle Willis
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I See You
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Teton Music
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.887281 Composed by Michelle Willis. A Cappella,Contemporary. Octavo. 10 pages. Teton Music #5033147. Published b...
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Choral Choir (SATB) - Level 3 - SKU: A0.887281 Composed by Michelle Willis. A Cappella,Contemporary. Octavo. 10 pages. Teton Music #5033147. Published by Teton Music (A0.887281). SATB, a cappellaWritten for the Early Light Academy Spotlight Singers (South Jordan, UT) and taken from actual responses from the students they were asked, when people look at you, what do you want them to see? This song is intended to be a very personal expression for the singers as well as for the audience.Text:I see: eyes and a face, hands and feetYou see: the sameI see: tears and a smile, working, movingYou see: the sameI see: pain, joy, strength, enduranceYou see, you think you see-but you can’t name it.I see you, please see me.When you look at me, see a person who isn’t afraid to be-- just be.I am tall or I am small, but I am happy to be me.I may be confident or meek, I may be really strong or weak,And if it changes week to week, it doesn’t matter.What matters is that you see me.When you listen, notice that my voice may sometimes raise the roofAnd other times it may seem aloof when I cannot find the proofOf what is truth and what is fair, but listen ‘til you hear me shareAnd know deep down I really care, because it matters.It matters that you see me.I see: someone who is strong and kind, someone who knows their mind, Someone who struggles just like me, but keeps fighting endlesslyI see you, please see me.I see: a soul who fin’ly knows I’m hereAnd doesn’t judge if I bow down to smallish fearsYou see me, and I see you, there’s nothing greater we can doThan to acknowledge we’re all trav’ling down this road,But not alone.It matters-That I see you-and you see me.
$2.49
When I Land
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Greg Bartholomew
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When I Land
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Burke & Bagley
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.787259 Composed by Greg Bartholomew. Concert,Contemporary,Folk,Standards. Octavo. 10 pages. Burke & Bagley #4972...
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Choral Choir (SATB) - Level 4 - SKU: A0.787259 Composed by Greg Bartholomew. Concert,Contemporary,Folk,Standards. Octavo. 10 pages. Burke & Bagley #49725. Published by Burke & Bagley (A0.787259). An Open World, When I Land and And the Wind are three settings of poems from Fletcher LaVallee Bartholomew's collection entitled And the Wind: Gnostic Poems 1945 - 1979. When I Land is duration ca. 5 minutes. Minneapolis native Fletcher Bartholomew spent most of his life in aviation, beginning with a childhood flight in a Curtis Robin in 1929. His work in aviation started with a job as an inspector in an aircraft factory. He went on to become a test pilot in World War II, serving at the South India Air Depot at Bangalore, India. He often spoke later of his experience on the ship to India and the people he met travelling around the subcontinent. He subsequently worked in aviation in Munich, Germany, and in Lima, Peru, before he concluded his career working in airport planning and management. Follow along in the score as you listen to a performance in this video: https://youtu.be/8ZmbFg3jI6s TEXT: I fly da Vinci's dream on wings of speed,With effortless delight I cleave the air, Free in the boundless realm of sky, I feed My soul with wonder, questions seeming fair. Why brought forth to wander on this earth? Why given this brief breath of life, To wonder at our enigmatic birth, To reach for stars, want reason for the strife. Yet, being here, why try to find a plan? Why waste time in thought before we go? Is not life enough for any man? How many have, as theirs, my answer, No. When I set foot again upon the land, And darkness gains upon the setting of the sun, I long to feel the welcome of your hand In mine, to rest, let Time its silly cycles run, Life's nights are all too few. No other hand, no other's look, no other one, Can bring that peace to mind or heart or soul, No peace. Although I know there's always fun In life, to reach that sublime goal, I must return to you.
$2.25
Because I Could Not Stop for Death
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Opera
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Classique
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Richard deCosta
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Richard deCosta
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Because I Could Not Stop for D
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Richard deCosta
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1308012 By Richard deCosta. By Richard deCosta. Arranged by Richard deCosta. A Cappella,Chamber,Classical...
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Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1308012 By Richard deCosta. By Richard deCosta. Arranged by Richard deCosta. A Cappella,Chamber,Classical,Opera,Romantic Period. 4 pages. Richard deCosta #897289. Published by Richard deCosta (A0.1308012). Words by Emily DickinsonMusic by Richard deCostaBecause I could not stop for Death –He kindly stopped for me –The Carriage held but just Ourselves –And Immortality.We slowly drove – He knew no hasteAnd I had put awayMy labor and my leisure too,For His Civility –We passed the School, where Children stroveAt Recess – in the Ring –We passed the Fields of Gazing Grain –We passed the Setting Sun –Or rather – He passed Us –The Dews drew quivering and Chill –For only Gossamer, my Gown –My Tippet – only Tulle –We paused before a House that seemedA Swelling of the Ground –The Roof was scarcely visible –The Cornice – in the Ground –Since then – 'tis Centuries – and yetFeels shorter than the DayI first surmised the Horses' HeadsWere toward Eternity –-=-In the reclusive chambers of Emily Dickinson's 19th-century Massachusetts home, the haunting poem, 'Because I Could Not Stop for Death,' was conceived. Living much of her life in isolation, Dickinson's thoughts often ventured into the shadowlands of existence. This poem, published posthumously in 1890, offers a chilling reflection of her contemplation. The Grim Reaper, a timeless symbol, is portrayed as a carriage driver, guiding the reader through a somber journey that mirrors the ephemeral nature of life. Passing scenes of childhood innocence, maturity's labor, and the twilight of existence, it culminates in the cold embrace of the grave. Her words, etched in a gothic darkness, resonate with the uncertainties and fears of her time, transcending to speak to the eternal human condition.
$7.99
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Time And I