| Medieval Gloria Chorale 2 parties SA [Octavo] - Intermédiaire Alfred Publishing
By Vijay Singh. For Opt. Hand Drum. (SA, a cappella). Choral Octavo. Belwin Fes...(+)
By Vijay Singh. For Opt.
Hand Drum. (SA, a
cappella). Choral Octavo.
Belwin Festival Series.
Level: Moderate (grade
III). Choral Octavo. 4
pages. Published by
Alfred Publishing.
$2.00 $1.9 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Invitation to Medieval Music Book 2 [Vocal Score] Stainer and Bell
| | |
| Medieval Gloria Chorale 2 parties TB [Octavo] - Intermédiaire Alfred Publishing
By Vijay Singh. For Opt. Hand Drum. (TB, a cappella). Choral Octavo. Belwin Fes...(+)
By Vijay Singh. For Opt.
Hand Drum. (TB, a
cappella). Choral Octavo.
Belwin Festival Series.
Level: Moderate (grade
III). Choral Octavo. 4
pages. Published by
Alfred Publishing.
$2.00 $1.9 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| There Is No Rose Chorale 3 parties SSA Carl Fischer
Choral SSA choir SKU: CF.CM9580 Composed by Richard Rasch. Arranged by Ri...(+)
Choral SSA choir SKU:
CF.CM9580 Composed by
Richard Rasch. Arranged
by Richard Rasch. Fold.
Performance Score. 4
pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CM9580.
Published by Carl Fischer
Music (CF.CM9580).
ISBN 9781491154021.
UPC: 680160912520. 6.875
x 10.5 inches. Key: D
mixolydian. English,
Latin. 15th Century
Medieval Carol. The
text of this poem is from
the Trinity Carol Roll,
an English manuscript
housed at the Wren
Library of Trinity
College, Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherds response in
the gospel of Luke 2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassthe distance
between the highest and
lowest noteis at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherdas response
in the gospel of Luke
2:15,
Transeamus.
Latin phraseA translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassathe distance
between the highest and
lowest noteais at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherd's response
in the gospel of Luke
2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd's response in
the gospel of Luke 2:15,
Transeamus. Latin phrase
translation source
Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pares forma
of equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written.The Latin phrases
come from different parts
of the Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd’s
response in the gospel of
Luke 2:15,
Transeamus.Latin
phrase translation
sourceAlleluia Alleluia
LaetabundusRes miranda A
thing to be wondered at
LaetabundusPares forma of
equal form
LaetabundusGaudeamus Let
us rejoice!
GaudeamusTranseamus Let
us go Luke 2:15The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and
beauty.The music in this
setting mimics the petals
of a rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic
twists.Word painting is
employed in several
places but none are as
important as the dramatic
climax in the fourth
verse where the shepherds
along with all the angels
in heaven proclaim Gloria
in excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass—the
distance between the
highest and lowest
note—is at its
widest.The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. $1.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gabriel's Message Chorale SATB SATB divisi [Octavo] MorningStar Music Publishers
Arranged by Nancy Grundahl. For SATB divisi, Keyboard (Organ or Piano). Advent, ...(+)
Arranged by Nancy
Grundahl. For SATB
divisi, Keyboard (Organ
or Piano). Advent, 21st
Century. Moderately Easy.
Octavo. Text Language:
English. Published by
MorningStar Music
Publishers
$2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Missa Choralis Chorale SATB SATB, Orgue [Partition] Alfred Publishing
Missa Choralis. (SATB divisi (with Organ) (Latin Language Edition)). By Franz Li...(+)
Missa Choralis. (SATB
divisi (with Organ)
(Latin Language
Edition)). By Franz Liszt
(1811-1886). Choir
Sacred. For Organ (SATB
choir). Choral (Sacred);
Choral Worship Cantata;
Larger Works;
Masterworks; Worship
Resources. Kalmus
Edition. Masterwork;
Romantic; Sacred. Book.
52 pages. Published by
Alfred Music Publishing
$9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Missa Brevis Op. 5a For Satb And 8 Wind Instruments, Organ Score Chorale SATB - Intermédiaire Schott
Mixed choir and 8 wind instruments (0 * 2 (auch Engl. Hr.) * 0 * 2 - 0 * 2 * 2 (...(+)
Mixed choir and 8 wind
instruments (0 * 2 (auch
Engl. Hr.) * 0 * 2 - 0 *
2 * 2 (evtl. Tuba) * 0) -
intermediate SKU:
HL.49019720 For
mixed choir (SATB) and 8
wind instruments.
Composed by Bertold
Hummel. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed 1951.
Op. 5 a. 32 pages.
Duration 18'. Schott
Music #ED21285-01.
Published by Schott Music
(HL.49019720). ISBN
9790001180375.
9.25x12.0x0.269 inches.
Latin. Missa brevis
for mixed choir and eight
wind instruments Op. 5
was created in 1951 and
premiered at the
Donaueschingen Festival
of Contemporary Music the
following year. The
Ordinary of the Mass
(Kyrie, Gloria, Credo,
Sanctus, Agnus Dei) was
composed using a modal
technique drawing on
medieval examples. The
use of wind instruments
adds to the rich sound of
the choir, thus expanding
the sound spectrum in an
interesting way. The
piece is suitable for
both liturgy and concert.
Hummel wrote a music
which is easy to play by
all performers and
delights the listeners
immediately. $14.99 - Voir plus => Acheter | | |
| A Charles Dickens Christmas Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-050-5 Composed by traditional Engl...(+)
Concert band - Grade 3
SKU:
MH.1-59913-050-5
Composed by traditional
English carols. Arranged
by William Ryden.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 6:30. Published
by Manhattan Beach Music
(MH.1-59913-050-5).
ISBN
9781599130507. Char
les Dickens certainly
would have known the
three carols in A CHARLES
DICKENS CHRISTMAS. They
were among the best-known
and best-loved carols of
the Victorian Era, and
were a staple of the
repertoire of roving
waits, or carollers, that
appear in his novels.
Today this music is as
familiar as Santa Claus
and Tiny Tim. THE FIRST
NOWELL was first
collected in Christmas
Carols, Ancient and
Modern by William Sandys
in 1833. It is most
probably 200 years older
than that. The Oxford
Book of Carols contains
nine verses, which makes
it an ideal processional
for Christmas or Epiphany
(the feast commemorating
the coming of the Magi).
COVENTRY CAROL, or Lully,
Lullay, comes from the
medieval tradition of
mystery and miracle
plays. In 1534 the
Pageant of the Shearman
and Tailors Guild
included a scene in which
the mothers of Jewish
children sang this
haunting lullaby after
hearing the horrifying
order: Herod the king, In
his raging, All young
children to slay. The
music is anonymous; the
text believed to be by
Robert Croo. ANGELS WE
HAVE HEARD ON HIGH is
probably of French
origin, but the English
long ago adopted it as
their own. Besides the
French text, Les Anges
dans nos compagnes, it is
known in several versions
and by several titles,
including Angels from the
Realms of Glory, When the
Crimson Sun Had Set, and
Westminster Carol. It
belongs to a category
known as macaronic
carols, which mix
vernacular verses with
Latin refrains - in this
instance, Gloria in
Excelsis Deo (Glory be to
God on High). Ensemble
instrumentation: 1
Piccolo, 8 Flute, 2 Oboe,
1 Bassoon 1, 1 Bassoon 2,
4 Bb Clarinet 1, 4 Bb
Clarinet 2, 4 Bb Clarinet
3, 1 Eb Alto Clarinet, 3
Bb Bass Clarinet & Bb
Contrabass Clarinet, 2 Eb
Alto Saxophone 1, 2 Eb
Alto Saxophone 2, 1 Bb
Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 F
Horn 1, 2 F Horn 2, 2
Trombone 1, 2 Trombone 2,
2 Trombone 3, 3 Euphonium
(Bass Clef), 2 Euphonium
(Treble Clef), 5 Tubas, 1
Timpani, 2 Bells &
Chimes, 3 Percussion 1:
small triangle, suspended
cymbal, crash cymbal,
snare drum, bass drum, 2
Percussion 2: large
triangle, finger
cymbals. $75.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Personent Hodie Carl Fischer
Choral Bass, Finger Cymbals, Hand Drum, Piano, tenor voice SKU: CF.CM9756 ...(+)
Choral Bass, Finger
Cymbals, Hand Drum,
Piano, tenor voice
SKU: CF.CM9756
On This Day.
Composed by Anonymous
Elizabethan. Arranged by
Austin Hunt. Mjts.
Duration 2 minutes, 21
seconds. Carl Fischer
Music #CM9756. Published
by Carl Fischer Music
(CF.CM9756). ISBN
9781491162446. UPC:
680160921195. Key: E
minor. Latin,
English. Personent
Hodie is a medieval
Christmas carol from the
larger work Piae
Cantiones—a
published collection of
songs intended for
cathedral schools in 16th
century Finland. The
original tune uses
modality and plainchant
to evoke the mysterious
character of
Christmastide.This
rhythmic setting of
Personent Hodie expresses
the tune in compound
meter, resulting in a
joyful energy. The
optional hand drum and
finger cymbals complement
the melody with an
exciting, dance-like
pulse.“Ideo, gloria
in excelsis
Deo!â€Therefore,
glory be in the highest
to God!Ideas for study
and reflection: How might
word stress be used to
enhance overall
musicality? What
syllables should be
stressed vs. unstressed?
What dynamic markings are
indicted in the score,
and where do they occur?
Listen to a recording of
the original
“Personent
Hodie†written in
4/4 time. How are the two
settings
different? . $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Missa Brevis Op. 5a Satb And 8 Wind Instruments, Score Chorale SATB - Intermédiaire Schott
Mixed choir and 8 wind instruments (0 * 2 (auch Engl. Hr.) * 0 * 2 - 0 * 2 * 2 (...(+)
Mixed choir and 8 wind
instruments (0 * 2 (auch
Engl. Hr.) * 0 * 2 - 0 *
2 * 2 (evtl. Tuba) * 0) -
intermediate SKU:
HL.49019719 For
mixed choir (SATB) and 8
wind instruments.
Composed by Bertold
Hummel. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed 1951.
Op. 5a. 60 pages.
Duration 18'. Schott
Music #ED 21285.
Published by Schott Music
(HL.49019719). ISBN
9790001180368.
9.25x12.0x0.249 inches.
Latin. Missa brevis
for mixed choir and eight
wind instruments Op. 5
was created in 1951 and
premiered at the
Donaueschingen Festival
of Contemporary Music the
following year. The
Ordinary of the Mass
(Kyrie, Gloria, Credo,
Sanctus, Agnus Dei) was
composed using a modal
technique drawing on
medieval examples. The
use of wind instruments
adds to the rich sound of
the choir, thus expanding
the sound spectrum in an
interesting way. The
piece is suitable for
both liturgy and concert.
Hummel wrote a music
which is easy to play by
all performers and
delights the listeners
immediately. $44.00 - Voir plus => Acheter | | |
| Tapestries Orchestre d'harmonie [Conducteur] - Intermédiaire Carl Fischer
Concert Band Alto Saxophone I, Alto Saxophone II, Baritone Saxophone, Bass, Bass...(+)
Concert Band Alto
Saxophone I, Alto
Saxophone II, Baritone
Saxophone, Bass, Bass
Clarinet, Bassoon I,
Bassoon II, Clarinet I,
Clarinet II, Flute I,
Flute II, Horn I, Horn
II, Horn III, Horn IV,
Oboe I, Oboe II, Tenor I,
Tenor II, Tenor
Saxophone, Trumpet I,
Trumpet II - Grade 4 and
up SKU: CF.SPS30F
Composed by Mike Forbes.
SWS. Carl Fischer
Symphonic Performance
Series. Full score. With
Standard notation. Carl
Fischer Music #SPS30F.
Published by Carl Fischer
Music (CF.SPS30F).
ISBN 9780825864889.
UPC: 798408064884. 9 X 12
inches. Using the
musical styles and forms
of the Medieval and
Renaissance periods, Mike
Forbes has written a
striking and powerful
three movement suite that
is a major addition to
serious band literature.
The music is entirely
original, but the style
and approach is similar
to such pieces as the
Courtly Dances from
Gloriana by Benjamin
Britten, and makes
effective use of the
coloristic possibilities
of the modern concert
band. $25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tapestries Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Carl Fischer
Concert Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon 1, Bassoon 2, Clar...(+)
Concert Band Bass
Clarinet, Bass Drum, Bass
Trombone, Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Euphonium,
Euphonium T.C., Finger
Cymbals, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Mark Tree,
Oboe 1, Oboe 2,
Percussion 1, Percussion
2 and more. - Grade 4 and
up SKU: CF.SPS30
Composed by Mike Forbes.
FS-SWS. Carl Fischer
Symphonic Performance
Series. Classical. Score
and Set of Parts. With
Standard notation. Carl
Fischer Music #SPS30.
Published by Carl Fischer
Music (CF.SPS30). ISBN
9780825864872. UPC:
798408064877. 9 X 12
inches. Key: Eb
major. Using the
musical styles and forms
of the Medieval and
Renaissance periods, Mike
Forbes has written a
striking and powerful
three movement suite that
is a major addition to
serious band literature.
The music is entirely
original, but the style
and approach is similar
to such pieces as the
Courtly Dances from
Gloriana by Benjamin
Britten, and makes
effective use of the
coloristic possibilities
of the modern concert
band. $135.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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