He Is Born. Composed by French carol. Arranged by Lynn Bailey Christopher Pillsbury. Sws. Octavo. 16 pages. Duration 2 minutes. Carl Fischer Music #CM9636. Published by Carl Fischer Music

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 fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.

Composed by Daniel Paget. Edited by Carol Wincenc. LKM Music. Classical, Contemporary. Softcover. 28 pages. Lauren Keiser Music Publishing #S111011. Published by Lauren Keiser Music Publishing

Piano; Vocal

SKU: HL.50499587

Voice and Piano. Composed by Various. Vocal Collection. Collection, Folk, Italian. Softcover. Composed 2014. Ricordi #MLR908. Published by Ricordi (HL.50499587).

UPC: 888680630379. 9.0x12.0x0.425 inches.

Contents: Anema e core * Arrivederci Roma * Carmela * Caruso * Casta diva * Che gelida manina * Con te partiro * Core 'ngrato * Coro a bocca chiusa (Madama Butterfly) * Di quella pira * E lucevan le stelle * Fenesta che lucive * Funiculi funicula *Inno di Mameli * La donna e mobile * Libiam ne' lieti calici * Marechiare * Mattinata * Mi chiamano Mimi * Nel blu, dipinto di blu * Nessun dorma * Non dimenticar * O mio babbino caro * Quando, quando, quando * Recondita armonia * Resta cu' mme *Roma nun fa' la stupida stasera * Santa Lucia * Santa Lucia luntana * Tammurriata nera * Una furtiva lagrima * Una voce poco fa * Un bel di vedremo * Va pensiero sull'ali dorate * Vierno * Vissi d'arte, vissi d'amore.

Inhalt: Anema e core * Arrivederci Roma * Carmela * Caruso * Casta diva * Che gelida manina * Con te partiro * Core 'ngrato * Coro a bocca chiusa (Madama Butterfly) * Di quella pira * E lucevan le stelle * Fenesta che lucive * Funiculi funicula *Inno di Mameli * La donna e mobile * Libiam ne' lieti calici * Marechiare * Mattinata * Mi chiamano Mimi * Nel blu, dipinto di blu * Nessun dorma * Non dimenticar * O mio babbino caro * Quando, quando, quando * Recondita armonia * Resta cu' mme *Roma nun fa' la stupida stasera * Santa Lucia * Santa Lucia luntana * Tammurriata nera * Una furtiva lagrima * Una voce poco fa * Un bel di vedremo * Va pensiero sull'ali dorate * Vierno * Vissi d'arte, vissi d'amore.

Contents: Anema e core * Arrivederci Roma * Carmela * Caruso * Casta diva * Che gelida manina * Con te partiro * Core 'ngrato * Coro a bocca chiusa (Madama Butterfly) * Di quella pira * E lucevan le stelle * Fenesta che lucive * Funiculi funicula * Inno di Mameli * La donna e mobile * Libiam ne' lieti calici * Marechiare * Mattinata * Mi chiamano Mimi * Nel blu, dipinto di blu * Nessun dorma * Non dimenticar * O mio babbino caro * Quando, quando, quando * Recondita armonia * Resta cu' mme * Roma nun fa' la stupida stasera * Santa Lucia * Santa Lucia luntana * Tammurriata nera * Una furtiva lagrima * Una voce poco fa * Un bel di vedremo * Va pensiero sull'ali dorate * Vierno *Vissi d'arte, vissi d'amore.

Horn in F Solo with Piano Accompaniment and Downloadable MP3's - 3-4

SKU: KN.KEN10356

Composed by Various. Solo Collection. Solo Collection. Kendor Music Inc #KEN10356. Published by Kendor Music Inc (KN.KEN10356).

UPC: 822795103564.

This exciting new collection contains 8 grade 3-4 pieces for instrumental solo with piano accompaniment. Free MP3 downloads of the piano accompaniment are available at kendormusic.com. Many of the titles have been published as single pieces and are listed on several state contest lists.

Contents:Andante And March (Jacome); Romance For Horn (Saint-Saens); Caro Mio Ben (Giordani); Proclamation (Halferty); Greensleeves; Arm, Arm Ye Brave! (Handel); Habanera (Bizet); Honor And Arms (Handel).

(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

(Expressions of Praise and Adoration). By Carolyne Taylor. For piano. Christmas. Moderate. Published by Lillenas Publishing Company

By Michael Barker. For Flute and Organ. Christian: Worship, Seasonal: Christmas. Level: Moderately Easy. Score and Reproducible Flute Part. 15 pages. Published by MorningStar Music Publishers.

Vocal and Piano - Grade 3

SKU: HL.14008602

Composed by C.E.F. Weyse and Friedrich Kuhlau. Music Sales America. Classical. Book [Softcover]. Composed 2005. 38 pages. Edition Wilhelm Hansen #WH28789. Published by Edition Wilhelm Hansen (HL.14008602).

ISBN 9788759888421.

Den Danske Romance i Den Tidlige Romantik - Danish lieder from the early Romantic period by C.E.F. Weyse og D.F.R. Kuhlau . C. E. F. Weyse: Hederosen Jeg mindes dig Romance af »,Festen pa Kenilworth<,<, Liden Kirsten Romance af »,Sovedrikken«, Borgvaegterens sang af »,Macbeth«, Romance af >,Axel og Valborg«, Barcarole Arie af »,Faruk«, D. F. R. Kuhlau: Triolet Laengsel efter regn Digtervise Kaerligheds sorg Nattesang.

Flute, violin and cello

SKU: M7.KECF-151

5 Musical Pearls. Arranged by Peter Bernard Smith. This edition: Saddle-wire stitching. Sheet music. Score and parts. 44 pages. MDS (Music Distribution Services) #KECF 151. Published by MDS (Music Distribution Services) (M7.KECF-151).

ISBN 9790502361518. German English.

This Edition contains five classical Slavonic pieces.

C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 448 pages. Published by Hal Leonard.

Edited by Carole L. Bigler, Valery Lloyd-Watts. Book/CD set for piano solo. Series: Mastering the Piano. 63 pages. Published by Alfred Publishing.

(Later Elementary to Early Intermediate Level). Composed by Various. Arranged by Carolyn Miller, Eric Baumgartner, and Glenda Austin. For Piano/Keyboard. Willis. Late Elementary to Early Inter. Softcover Audio Online. 32 pages. Published by Willis Music

Composed by Amy Marcy Beach (1867-1944). Arranged by Carolyn Brown. With Standard notation. Falls House Press #FP-CB2. Published by Falls House Press (PR.FH0231).

SATB choir and organ - Early Intermediate

SKU: MN.56-0037

Composed by Howard Goodall. Christmas, Lessons and Carols, 21st Century. Instrumental part. MorningStar Music Publishers #56-0037. Published by MorningStar Music Publishers (MN.56-0037).

UPC: 688670220425. English.

Commission ed for the BBC Singers for “Carols for a New Millennium,” a CD released in November 2000, this piece was first performed by the choir of Christ Church Cathedral, Oxford under the direction of Stephen Darlington. The text is included in an English translation by the composer and the original 15th century Spanish underneath. The text begins “Let there be joy on earth and heaven,” and the music certainly couldn’t reflect this any better. The music is playful and happy, with an unforgettable organ part that dances without ceasing. Your choir will find this fresh and fun.

by Meg Peterson and Dan Fox. For autoharp/chromaharp. Christmas, strum/sing. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 32 pages. Published by Mel Bay Pub., Inc.

By Benjamin Britten (1913-1976). Choir Secular. For with Piano (SATB choir). Choral Octavo; Masterworks. Faber Edition. 20th Century; Masterwork. Published by Faber Music

SATB choir, assembly, keyboard accompaniment - Beginning

SKU: GI.G-3905

Communion Procession. Composed by Carol Gibson and Paul Gibson. Choral. Choral. Sacred. Octavo. 8 pages. GIA Publications #3905. Published by GIA Publications (GI.G-3905).

Text by Carol Romanoski-Gibson.

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By Carol Ann Wheeler. For Fiddle and Violin. Technic. Qwik Guide Series. All Styles. Level: Beginning-Intermediate. Book/CD Set. Size 5.5x8. 64 pages. Published by Mel Bay Publications, Inc