The Chairman Fanfare [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Fanfare Band - Grade 2.5 SKU: BT.GOB-000421-020 Composed by Rob Goorhuis....(+)
Fanfare Band - Grade 2.5
SKU:
BT.GOB-000421-020
Composed by Rob Goorhuis.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000421-020. Published by
Gobelin Music
Publications
(BT.GOB-000421-020).
This march is a
cheerful tribute to the
board and in particular
the chairman of each
band. At a time when
it is difficult to find
suitable board members, a
musical helping to the
current generation of
board members is very
welcome. The march
can be performed with
malletband. These parts
are available on request.
Deze opgewekte
mars is een eerbetoon aan
het bestuur en in het
bijzonder de voorzitter
van elke
(muziek)vereniging.
In een tijd waarin
het moeilijk is om
geschikte bestuursleden
te vinden is een muzikaal
steuntje in de rug voorde
huidige generatie
bestuurders zeer welkom.
De mars kan ook in
combinatie met malletband
worden uitgevoerd. Deze
partijen zijn op aanvraag
leverbaar.
The Chairman Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-000420-140 Composed by Rob ...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-000420-140
Composed by Rob Goorhuis.
Score Only. 8 pages.
Gobelin Music
Publications #GOB
000420-140. Published by
Gobelin Music
Publications
(BT.GOB-000420-140).
This march is a
cheerful tribute to the
board and in particular
the chairman of each
band. At a time when
it is difficult to find
suitable board members, a
musical helping to the
current generation of
board members is very
welcome. The march
can be performed with
malletband. These parts
are available on request.
Deze opgewekte
mars is een eerbetoon aan
het bestuur en in het
bijzonder de voorzitter
van elke
(muziek)vereniging.
In een tijd waarin
het moeilijk is om
geschikte bestuursleden
te vinden is een muzikaal
steuntje in de rug voorde
huidige generatie
bestuurders zeer welkom.
De mars kan ook in
combinatie met malletband
worden uitgevoerd. Deze
partijen zijn op aanvraag
leverbaar.
The Chairman Fanfare [Conducteur] - Facile Gobelin Music Publications
Fanfare Band - Grade 2.5 SKU: BT.GOB-000421-120 Composed by Rob Goorhuis....(+)
Fanfare Band - Grade 2.5
SKU:
BT.GOB-000421-120
Composed by Rob Goorhuis.
Score Only. Gobelin Music
Publications #GOB
000421-120. Published by
Gobelin Music
Publications
(BT.GOB-000421-120).
This march is a
cheerful tribute to the
board and in particular
the chairman of each
band. At a time when
it is difficult to find
suitable board members, a
musical helping to the
current generation of
board members is very
welcome. The march
can be performed with
malletband. These parts
are available on request.
Deze opgewekte
mars is een eerbetoon aan
het bestuur en in het
bijzonder de voorzitter
van elke
(muziek)vereniging.
In een tijd waarin
het moeilijk is om
geschikte bestuursleden
te vinden is een muzikaal
steuntje in de rug voorde
huidige generatie
bestuurders zeer welkom.
De mars kan ook in
combinatie met malletband
worden uitgevoerd. Deze
partijen zijn op aanvraag
leverbaar.
The Chairman Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-000420-010 Composed by Rob ...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-000420-010
Composed by Rob Goorhuis.
Set (Score & Parts). 91
pages. Gobelin Music
Publications #GOB
000420-010. Published by
Gobelin Music
Publications
(BT.GOB-000420-010).
This march is a
cheerful tribute to the
board and in particular
the chairman of each
band. At a time when
it is difficult to find
suitable board members, a
musical helping to the
current generation of
board members is very
welcome. The march
can be performed with
malletband. These parts
are available on request.
Deze opgewekte
mars is een eerbetoon aan
het bestuur en in het
bijzonder de voorzitter
van elke
(muziek)vereniging.
In een tijd waarin
het moeilijk is om
geschikte bestuursleden
te vinden is een muzikaal
steuntje in de rug voorde
huidige generatie
bestuurders zeer welkom.
De mars kan ook in
combinatie met malletband
worden uitgevoerd. Deze
partijen zijn op aanvraag
leverbaar.
Affirmation Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant FJH
By William Owens. Beginning Band. FJH Beginning Band. Score for this title: B130...(+)
By William Owens.
Beginning Band. FJH
Beginning Band. Score for
this title: B1302S. Extra
part for this title:
B1302P. Concert Band.
Level: 1. Score and Set
of Parts. Published by
The FJH Music Company
Inc.
Opera in Three Acts. Composed by Meredith Oakes. Full Orchestra (Full Score); ...(+)
Opera in Three Acts.
Composed
by Meredith Oakes. Full
Orchestra (Full Score);
Larger Works;
Masterworks;
Performance Music
Ensemble.
Faber Edition.
Masterwork.
Score. Faber Music #12-
057153872X. Published by
Faber Music
Choral TBB chorus SKU: CF.CM9588 Composed by Tomas Luis de Victoria. Arra...(+)
Choral TBB chorus
SKU:
CF.CM9588
Composed by
Tomas Luis de Victoria.
Arranged by Jeb Mueller.
Fold. Performance Score.
8 pages. Duration 1
minute, 59 seconds. Carl
Fischer Music #CM9588.
Published by Carl Fischer
Music (CF.CM9588).
ISBN 9781491154106.
UPC: 680160912605. 6.875
x 10.5 inches. Key: Eb
major. Latin. Traditional
Latin.
Tomas Luis
de Victoria (15481611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victorias time. It should
be noted that dynamics
are largely subjective,
so performers may make
alternative choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[v??bum k??? p?n?m v?rum]
verbo carnem efficit:
fitque sanguis Christi
merum. [v??b? k??n?m
??fit?it fitkw? s??gwis
k?isti m??um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[?t si s?nsus ?d?fit?it,
?d fi??m?ndum k?? sin
t???um] Jeb
Mueller. TomA!s Luis
de Victoria (1548a1611)
is widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoriaas time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is ao,a which
sounds similar to the
English words bought and
got. The letter ata
should be produced
dentally: lift the tongue
to the top of the mouth
as in English, but
aspirate less on the
release. All occurrences
of asa should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum, [vEE
3/4 bum kEE 3/4 E pEnEm
vErum] verbo carnem
efficit: fitque sanguis
Christi merum. [vEE 3/4
bE kEE 3/4 nEm EEfitEit
fitkwE sEAgwis kE 3/4
isti mEE 3/4 um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[Et si sEnsus EdEfitEit,
Ed fiE 3/4 EmEndum kEE
3/4 sin tEEE 3/4 um] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange lingua based
on a Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano. The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomás Luis
de Victoria
(1548–1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano.The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance.Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria’s time.
It should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and
clarity.PRONUNCIATION
GUIDEVictoria received
much of his training in
Italy, therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is
“o,†which
sounds similar to the
English words bought and
got. The letter
“t†should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of “s†should
be soft and never
hardened to [z], such as
in praise.Verbum caro,
panem
verum,[vɛɾbum
kɑɾɔ
pɑnɛm
vɛrum]verbo carnem
efficit: fitque sanguis
Christi
merum.[vɛɾbɔ
kɑɾnɛm
ˈɛfitʃit
fitkwÉ›
sɑŋgwis kɾisti
mɛɾum]Et si sensus
deficit, ad firmandum cor
sin cerum.[ɛt si
sɛnsus
ˈdɛfitʃit,
É‘d
fiɾˈmɑndum
kɔɾ sin
tʃɛɾum]Jeb
Mueller.
Elegy and Affirmation Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Kjos Music Company
Band concert band - Grade 4 SKU: KJ.JB29 Composed by Jack Stamp. Bandwork...(+)
Band concert band - Grade
4
SKU: KJ.JB29
Composed by Jack Stamp.
Bandworks. Jazz. Score
and set of parts. Neil A.
Kjos Music Company #JB29.
Published by Neil A. Kjos
Music Company (KJ.JB29).
UPC:
8402700421.
Elegy
And Affirmation was
written in memory of
legendary composers Aaron
Copland and Leonard
Bernstein for their
invaluable contributions
to the continuing
evolution of American
music.
Guitar - very easy to easy SKU: M7.MF-3705 Der schnelle & leichte Eins...(+)
Guitar - very easy to
easy
SKU:
M7.MF-3705
Der
schnelle & leichte
Einstieg für
Alle!. This edition:
Saddle-wire stitching.
Sheet music with CD.
Music Factory. 48 pages.
Music Factory #MF 3705.
Published by Music
Factory (M7.MF-3705).
ISBN 9783795789541.
German.
Jeder kann
gute Musik machen! Dieser
neue Grundkurs ist der
optimale (Wieder-)
Einstieg in das Spielen
Ihres
Lieblingsinstrumentes
Gitarre. Alle wichtigen
Techniken werden anhand
bekannter Melodien und
Songs Schritt für
Schritt erklärt, so
dass Sie schon nach
kurzer Zeit erste
Stücke spielen
können. Auf der
beiliegenden CD sind alle
Titel in einem gut
spielbaren Tempo
aufgenommen. Musik machen
ist einfach und macht
Spaß - probieren Sie
es aus!
Baritone Voice, Piano Accompaniment SKU: HL.14014333 Composed by George F...(+)
Baritone Voice, Piano
Accompaniment
SKU:
HL.14014333
Composed
by George Frideric
Handel. Music Sales
America. Baroque. Sheet
Music, Vocal Work. With
Text language: English.
Music Sales #PAT61897.
Published by Music Sales
(HL.14014333).
Piano SKU: SU.19010270 For Piano. Composed by Craig Urquhart. Keyb...(+)
Piano
SKU:
SU.19010270
For
Piano. Composed by
Craig Urquhart. Keyboard,
Piano/Harpsichord. Score.
Subito Music Corporation
#19010270. Published by
Subito Music Corporation
(SU.19010270).
14 works for
solo piano Composed: 2019
Published by: Heart Earth
Music.
America's All-Time Favorite Songs for God and Country (Library of Series). Arran...(+)
America's All-Time
Favorite Songs for God
and Country (Library of
Series). Arranged by Amy
Appleby. Music Sales
America. Gospel, Sacred,
Sacred. Softcover. 320
pages. Music Sales
#AM985314. Published by
Music Sales
SATB Double Chorus, a cappella SKU: SU.91480580 For SATB Double Chorus...(+)
SATB Double Chorus, a
cappella
SKU:
SU.91480580
For
SATB Double Chorus, a
cappella. Composed by
Dan Locklair.
Vocal/Choral, Sacred
Choral. Choral Octavo.
Subito Music Corporation
#91480580. Published by
Subito Music Corporation
(SU.91480580).
The text
is by the English poet,
Joseph Addison
(1672-1719), and was
originally titled, Hymn.
The father of English
hymnody, Issac Watts,
thought highly of
Addison, calling him the
most authentic judge of
fine thought and language
that our age has
produced. This Addison
hymn first appeared in
print in the August 23,
1712, issue of The
Spectator, at the end of
an article by Addison
entitled, An Essay on the
Proper Means of
Strengthening and
Confirming Faith in the
Mind of Man. It is based
on Psalm 19, vs.
1–6. My setting of
Addison’s words is
full of dialogue
throughout between the
divided choirs. A
relatively short middle
section at the words,
What though in solemn
silence all, briefly
stills the vibrant pace.
However, the rhythmic
energy soon returns,
propelling the anthem
toward its climax at the
hymn’s final line,
The Hand that made us is
divine.SATB Double
Chorus, a cappella
Duration: 3' Text: Joseph
Addison Composed: 2009
Published by: Subito
Music Corporation Minimum
order quantity: 8 copies.
Perusal copies are
available by contacting
perusalrequest@subitomusi
c.com (include the
organization name with
your request). To order
quantities fewer than 8,
please call customer
service at (973)
857-3440.