| O Sacred Head, Now Wounded Choral SSATBB SSATBB, Organ [Octavo] MorningStar Music Publishers
By John Ferguson. For SSATBB choir and trumpet with optional organ. Holy Week/Th...(+)
By John Ferguson. For SSATBB choir and trumpet with optional organ. Holy Week/Three Days, Lent. Moderately easy. Octavo. 11 pages. Published by MorningStar Music Publishers
$2.65 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Henry Purcell : Trumpet Voluntary and Trumpet Tune for Trumpet and Piano Trumpet, Piano Santorella Publications
Trumpet Voluntary and Trumpet Tune for Trumpet and Piano composed by Henry Purce...(+)
Trumpet Voluntary and Trumpet Tune for Trumpet and Piano composed by Henry Purcell (1659-1695). Arranged by Tony Santorella and Jonathon Robbins. For trumpet solo and piano accompaniment. Solo with Accompaniment. Classical. Score and solo part. Text Language: English. 8 pages. Published by Santorella Publications
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Ultimate Organ Book
Organ [Sheet music] Hope Publishing Company
Arranged by Hal H. Hopson. Church-Worship, Funeral, Funeral & Memorial, Wedding ...(+)
Arranged by Hal H. Hopson. Church-Worship, Funeral, Funeral & Memorial, Wedding and Sacred. Print Music Collection (Book). 407 pages. Published by Hope Publishing Company. Level: (Moderate).
(4)$79.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Trumpet Tunes for Organ (Trumpet Parts) Trumpet MorningStar Music Publishers
Trumpet SKU: MN.10-977A Composed by Jeremy J. Bankson and Robert A. Hobby...(+)
Trumpet SKU: MN.10-977A Composed by Jeremy J. Bankson and Robert A. Hobby. Trumpet parts. MorningStar Music Publishers #10-977A. Published by MorningStar Music Publishers (MN.10-977A). UPC: 688670197710. Reproducible trumpet parts for ONLY Wedding Fanfare (Jeremy Bankson) and Processional in G (Robert Hobby) From the collection Trumpet Tunes for Organ. Includes: Trumpet I, II, and III in B-flat and C. *The remainder of the trumpet parts are printed inside the score 10-977. $10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Baroque Music For Manuals, Volume II Organ Concordia Publishing House
By Wolff. For organ. General, sacred. Published by Concordia Publishing House. <...(+)
By Wolff. For organ. General, sacred. Published by Concordia Publishing House. Level: Moderately Easy.
$12.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| An Album of Trumpet Tunes
Organ [Sheet music] - Intermediate Jubilate Music
For Organ. Edited by Dale Tucker. Organ - Method or Collection. H. W. Gray. Baro...(+)
For Organ. Edited by Dale Tucker. Organ - Method or Collection. H. W. Gray. Baroque. Organ solo songbook. With organ notation. 124 pages. Jubilate Music Group #00-GB9709. Published by Jubilate Music Group
(3)$10.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Wedding Service Music for Organ Organ [Sheet music] - Intermediate Alfred Publishing
Drinkwater. For Organ. Organ - Method or Collection. Sacred. Book. 48 pages. Pub...(+)
Drinkwater. For Organ. Organ - Method or Collection. Sacred. Book. 48 pages. Published by Alfred Publishing. Level: Late Intermediate.
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Organist's Library, Vol. 59 Organ - Intermediate/advanced Lorenz Publishing Company
For organ: 3-staff. Sacred. Moderately advanced. Lorenz Publishing Company #70/1...(+)
For organ: 3-staff. Sacred. Moderately advanced. Lorenz Publishing Company #70/1959L. Published by Lorenz Publishing Company
$34.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Three Celebrated Trumpet Tunes, Vol. 2 |organ|trumpet|piccolo| - Easy GIA Publications
By Jean-Joseph Mouret, Various. Edited by Various. For Trumpet (C or piccolo Bb)...(+)
By Jean-Joseph Mouret, Various. Edited by Various. For Trumpet (C or piccolo Bb) and Organ accompaniment. Instrumental. Sacred. Level: Easy. Published by GIA Publications.
$14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Something Old, Something New: Wedding Music for Organ Organ - Intermediate MorningStar Music Publishers
Organ - Intermediate SKU: MN.10-462 Composed by Various. Wedding. Morning...(+)
Organ - Intermediate SKU: MN.10-462 Composed by Various. Wedding. MorningStar Music Publishers #10-462. Published by MorningStar Music Publishers (MN.10-462). UPC: 688670104626. We swept our past catalogs for charming, stand-alone pieces for use as prelude music, processionals, and recessionals. Some you might know and some will be brand new to you, as the title suggests. A useful volume to keep by the console when consulting with brides or playing weddings!
Contents: Preludes Allegro from La Primavera Spring - Vivaldi / Wolff Jesu, Joy of Our Desiring - Bach / Burkhardt Prelude on When Love is Found - John Ferguson Adagio on Ode to Joy - Charles Callahan Aria on O Perfect Love - Michael Burkhardt The King of Love - Wilbur Held Prelude on Blest Be the Tie - Charles Callahan Rhosymedre (Lovely) - Ralph Vaughan Williams
Processionals Prince of Denmark's March (Trumpet Voluntary in D) - Clarke / Christiansen Rigaudon - Bohm / Biery Trumpet Tunes from King Arthur - Purcell / Potts Trumpet Tune on Westminster Abbey - Jerry Westenkuehler Trumpet Tune in C - Mark Shepperd
Recessionals Psalm XIX - Marcello / Hyslop Postlude on Lobe den Herren - Raymond Haan Allegro Maestoso (Water Music) - Handel / Burkhardt A Rejoicing - Alfred V. Fedak Now Thank We All Our God - Paul Manz Toccata on A Theme of Beethoven - Charles Callahan. $35.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Don't Be Afraid of the Pedals Organ [Book] Kevin Mayhew
Composed by Colin Hand. For Organ. Tutors. Sacred. Beginning-Intermediate. Book....(+)
Composed by Colin Hand. For Organ. Tutors. Sacred. Beginning-Intermediate. Book. Published by Kevin Mayhew Publishers
$34.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Christ is made the sure Foundation Choral SATB - Beginner Oxford University Press
SATB choir, congregation, & organ/brass (3 trumpets in C, 2 tenor trombones, 1 b...(+)
SATB choir, congregation, & organ/brass (3 trumpets in C, 2 tenor trombones, 1 bass trombones, 3 timpanis, percussion (snare drum, suspended cymbals, crash cymbals), organ) - Very Easy to Easy SKU: OU.9780193416475 Composed by Various. Sacred choral - mixed voices. The Cambridge Singers Hymn Series. Vocal score. 8 pages. Duration 5'. Oxford University Press #9780193416475. Published by Oxford University Press (OU.9780193416475). ISBN 9780193416475. 10 x 7 inches. For SATB, congregation, and organ/brass This arrangement of the familiar Westminster Abbey tune for organ and brass is majestic, and sure to draw hearty singing from a congregation. About Cambridge Singers Hymn Series The Cambridge Singers Hymns is a series of new hymn arrangements by John rutter, recorded under his direction by the Cambridge Singers. the aim of the series is to present some of the finest traditional hymns in new, practical versions which refresh old favorites and introduce welsome variety and interest to the familiar routine of Sunday hymn-singing. $3.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Festive Trumpet Tune - Organ or Organ/Bb Trumpet
Organ, Trumpet (duet) [Set of Parts] Fred Bock Music Company
By David German. Fred Bock Music Company. Size 9x12 inches. Published by Fred Bo...(+)
By David German. Fred Bock Music Company. Size 9x12 inches. Published by Fred Bock Music Company.
(9)$9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Easter Fantasy Organ and Brass Quartet Hinshaw Music Inc.
By John Gardner. Arranged by John Gardner. For Organ and Brass Quartet. Organ an...(+)
By John Gardner. Arranged by John Gardner. For Organ and Brass Quartet. Organ and Sacred. Level: Medium Advanced Adult. Duration 6 min, 30 sec. Published by Hinshaw Music Inc.
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Praise to the Lord: Classic Chorale Preludes for Keyboard and Solo Instrument MorningStar Music Publishers
Composed by Paul Manz (1919-). Arranged by Benjamin M. Culli. For Solo Instrumen...(+)
Composed by Paul Manz (1919-). Arranged by Benjamin M. Culli. For Solo Instrument (Flute, Oboe, Violin, Clarinet, Tenor Saxophone, or Trumpet) and Keyboard (Organ or Piano). 21st Century. Moderately Easy. Published by MorningStar Music Publishers
$33.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sweet Honey Bee Jazz Ensemble [Score and Parts] - Intermediate Jazz Lines Publications
Edited by Dylan Canterbury. Arranged by Duke Pearson. Jazz, Swing. Score and pa...(+)
Edited by Dylan Canterbury. Arranged by Duke Pearson. Jazz, Swing. Score and parts. Published by Jazz Lines Publications (JL.JLP-7330).
$35.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Organist's Library, Vol. 48 Organ [Sheet music] - Intermediate Lorenz Publishing Company
For organ. Advent, Christmas, General, Holy Communion, Thanksgiving, Sacred. 3-s...(+)
For organ. Advent, Christmas, General, Holy Communion, Thanksgiving, Sacred. 3-staff. Sacred organ
$34.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Timeless Tunes for Piano and Solo Instrument, Volume 2 Flugelhorn, Clarinet, Piano, Organ, B-Flat Trumpet Augsburg Fortress | | |
| One in Love and Peace - Demo GIA Publications
SKU: GI.G-8246CD Wedding Music for Piano, Organ, and Optional Instrume...(+)
SKU: GI.G-8246CD Wedding Music for Piano, Organ, and Optional Instruments. Composed by Bob Moore and Kelly A. Dobbs Mickus. Wedding. Wedding. Sacred. CD. GIA Publications #8246CD. Published by GIA Publications (GI.G-8246CD). One in Love and Peace is a comprehensive and practical collection of the most frequently requested wedding instrumentals, including such classics as “Canon in D†by Pachelbel, “Bridal Chorus†by Wagner, and “Ode to Joy†by Beethoven. Each of the twenty-three preludes, processionals, and recessionals found in this compilation is arranged for both organ and piano. The instrumental edition—sold separately—includes reproducible parts for B< trumpet, C solo instrument, and string quartet. They are compatible with both the piano and organ arrangements and with each other. A complete recording is also available. Affordable enough to purchase multiple copies, these demonstration CDs can be offered either on loan or as a gift to couples for use in their selection process. This versatile collection is perfect for any church musician. Helpful background notes on each piece, the complete recording, and a variety of performance options make One in Love and Peace an essential resource for wedding planning. Contents: Air (Bach) • La Grace (Telemann) • Sheep May Safely Graze (Bach) • Bist du bei mir (Stölzel, attr. Bach) • Arioso (Bach) • St. Anthony Chorale (Brahms, attr. Haydn) • Largo (Handel) • C Major Prelude (Bach) • Canon in D (Pachelbel) • Jesu, Joy of Man's Desiring (Bach) • Prince of Denmark's March or Trumpet Voluntary (Clarke, attr. Purcell) • Air (Handel) • Bridal Chorus (Wagner) • Trumpet Tune (Clarke, attr. Purcell) • Prelude (Charpentier) • Nuptial March (Moore) • Hornpipe (Handel) • Rondeau (Mouret) • Ode to Joy (Beethoven) • La Réjouissance (Handel) • Wedding March (Mendelssohn) • Psalm XIX (Marcello) • Rigaudon (Campra). $5.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Christ Is Made the Sure Foundation (Choral Score) Choral SATB SATB, Organ MorningStar Music Publishers
Composed by Jeremy J. Bankson. Reformation, Christ the King, 21st Century. Ch...(+)
Composed by Jeremy J.
Bankson. Reformation, Christ
the King, 21st Century.
Choral score. MorningStar
Music Publishers #60-7040.
Published by MorningStar
Music Publishers
$2.65 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Best of Wedding for Organ and Vocal with CD Santorella Publications
Organ, Voice SKU: SP.TS273 Composed by Jonathon Robbins. Collection; Wedd...(+)
Organ, Voice SKU: SP.TS273 Composed by Jonathon Robbins. Collection; Wedding. Book and CD. Santorella Publications #TS273. Published by Santorella Publications (SP.TS273). ISBN 9781585604715. UPC: 649571102739. Best of Wedding published by Santorella Publications contains the most popular selections of wedding music in print including a fabulous edition of Love's Theme from Romeo and Juliet as well as both the Bach/Gounod and Schubert editions of Ave Maria. This best-selling organ vocal collection is masterfully arranged and performed live by Craig Stevens on an incredibly massive Church Pipe Organ. Each piece featured on the optional CD is performed with the suggested register markings which brings every majestic arrangement to life. Listen to over 20 tracks and 80 minutes of beautiful wedding music on one awe inspiring CD! Celebrate your joyful day with these time honored classics. (Also available in a best-selling piano vocal edition) Bridal Chorus * Wedding March * Ode To Joy * Trumpet Tune * Trumpet Voluntary * Grand March * Pachelbel's Canon * Festival * The Great Gates At Kiev * Jesu, Joy Of Man's Desiring * Simple Gifts * Allegro Maestoso from The Water Music Suite* Gaelic Medley * Bouree * Pavanne * Melody in F * Air * Arioso * Ave Maria (Bach/Gounod) * Ave Maria (Schubert). $19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Alleluia! Sing to Jesus (Choral Score) Choral SATB SATB, Brass instrument(s) [Octavo] MorningStar Music Publishers
Composed by Robert A. Hobby (1962-). For Congregation, SATB Choir, Brass Quintet...(+)
Composed by Robert A. Hobby (1962-). For Congregation, SATB Choir, Brass Quintet, Timpani, opt. Cymbals, and Organ or opt. Full Orchestra. Cathedral Series. Catholic Year C Most Holy Body and Blood of Christ; Catholic Year C Easter Sunday; Catholic Year C Ascension/Easter7. Christ the King, Building Dedication, Church Anniversary, Ordination/Installation, 21st Century. Moderately Easy. Octavo. Published by MorningStar Music Publishers
$2.85 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Christ Is Made the Sure Foundation Choral SATB SATB - Intermediate MorningStar Music Publishers
By David Cherwien. For organ, trumpet and handbells (SATB). Christ the King, Gen...(+)
By David Cherwien. For organ, trumpet and handbells (SATB). Christ the King, General. Medium-Easy. Choral score. Published by MorningStar Music Publishers
$2.65 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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