By Dietrich Buxtehude (1637-1707). Edited by Graulich, Gunter. Arranged by Paul Horn. For Soli SB, SATB Choir, 2 Violin, 2 Viola (3 Violin, Viola), Violin (Cello), Basso Continuo. BuxWV 4. Full score available separately - see item CA.3600100. Cantatas; Stuttgart Urtext editions; Occasions: Wedding, Confirmation; Use during chuch year: New Year, Easter and Eastertide, Christmas. Level 3. Part: Viola 2. Language: German/English. 8 pages. Duration 15 min

Soli SB voices, SATB Choir, 2 Vl, 2 Va (3 Vl, Va), Vne (Vc), Bc - Level 3

SKU: CA.3600149

Composed by Dietrich Buxtehude. Edited by Gunter Graulich. Arranged by Paul Horn. Sacred vocal music, Cantatas; use during church year: New year, Easter and Eastertide, Christmas; Stuttgart Editions (Urtext): Stuttgart Buxtehude Edition; occasions: Wedding, Confirmation. Stuttgart Urtext Edition: Buxtehude. Organ. Sacred vocal music, Cantatas, New year, Easter and Eastertide, Christmas, Wedding, Confirmation. Single Part, Organ. BuxWV 4. 12 pages. Duration 15 minutes. Carus Verlag #CV 36.001/49. Published by Carus Verlag (CA.3600149).

ISBN 9790007241698. Key: G major. Language: German/English.

Sco re and part available separately - see item CA.3600100.

Composed by Dieterich Buxtehude. Edited by Gunter Graulich. Arranged by Paul Horn. For SB vocal soli, SATB choir, 2 violin, 2 viola (3 violin, viola), violin (cello), basso continuo. Stuttgart Urtext Edition. German title: Alles, was ihr tut 4. Cantatas, New year, Easter and Eastertide, Christmas, Wedding, Confirmation. Level 3. Complete orchestral parts. Language: German/English. BuxWV 44. Duration 15 minutes. Published by Carus Verlag

By Dietrich Buxtehude (1637-1707). Edited by Graulich, Gunter. Arranged by Paul Horn. For Soli SB, SATB Choir, 2 Violin, 2 Viola (3 Violin, Viola), Violin (Cello), Basso Continuo. This edition: paperbound. BuxWV 4. Cantatas; Stuttgart Urtext editions; Occasions: Wedding, Confirmation; Use during chuch year: New Year, Easter and Eastertide, Christmas. Level 3. Score. Language: German/English. 32 pages. Duration 15 min

By Dietrich Buxtehude (1637-1707). Edited by Graulich, Gunter. Arranged by Paul Horn. For Soli SB, SATB Choir, 2 Violin, 2 Viola (3 Violin, Viola), Violin (Cello), Basso Continuo. BuxWV 4. Full score available separately - see item CA.3600100. Cantatas; Stuttgart Urtext editions; Occasions: Wedding, Confirmation; Use during chuch year: New Year, Easter and Eastertide, Christmas. Level 3. Part: Violin 1. Language: German/English. 4 pages. Duration 15 min

By Dietrich Buxtehude. Edited by Graulich, Gunter. Arranged by Paul Horn. For Soli SB, SATB Choir, 2 Violin, 2 Viola (3 Violin, Viola), Violin (Cello), Basso Continuo. BuxWV 4. Full score available separately - see item CA.3600100. Cantatas; Stuttgart Urtext editions; Occasions: Wedding, Confirmation; Use during church year: New Year, Easter and Eastertide, Christmas. Choral score. Language: German/English. 8 pages. Duration 15 min. Published by Carus Verlag (German import).

By Dietrich Buxtehude. Edited by Graulich, Gunter. Arranged by Paul Horn. For Soli SB, SATB Choir, 2 Violin, 2 Viola (3 Violin, Viola), Violin (Cello), Basso Continuo. BuxWV 4. Full score available separately - see item CA.3600100. Cantatas; Stuttgart Urtext editions; Occasions: Wedding, Confirmation; Use during church year: New Year, Easter and Eastertide, Christmas. Part: Violoncello. Language: German/English. 4 pages. Duration 15 min. Published by Carus Verlag (German import).

SATB choir a cappella - Intermediate

SKU: MN.CH-1312

Composed by Joseph Leonard. Sacred Jewish Choral Music Series. Octavo. Laurendale Associates #CH-1312. Published by Laurendale Associates (MN.CH-1312).

Scripture: Psalms 19.

In Jewish daily and Sabbath worship services, a central section of the liturgy is the collection of prayers known as Amidah, which means standing, because the prayers are chanted standing. The majority of the Amidah prayers entered the service c. 100 C.E. (Common Era). a concluding prayer was added later, concluding with the sentence May the words... from Psalm 19.

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.

Unison, Piano

SKU: SU.80300244

For Unison, Piano. Composed by Karen A. Tarlow. Vocal/Choral, Sacred Choral. Accompanied by piano. Choral Octavo. Treble Clef Music Press #80300244. Published by Treble Clef Music Press (SU.80300244).

These seven sacred songs are suitable for treble, mixed, or men's choirs, or for solo performance. The texts are taken from various Sabbath services; many are suitable for use as anthems in Christian worship. While all are easy, each has distinctive features-rhythmic extension of a phrase, shifting meters, or harmonic subtleties-which make the set rank very, very high on the simple does not have to mean stupid scale. Please, before you buy another boring dreidel song, look at these. This blessing in 12/8 time is a setting of Psalm 19:4. Phrases alternate between E Minor and G Major, giving the piece harmonic vitality over a cross-meter piano figure. Unison; piano; Hebrew; Easy. Unison, piano Published by: Treble Clef Music Minimum order quantity: 8 copies.

SATB choir, keyboard - Intermediate

SKU: MN.50-9045

Composed by Max Miller. Year A Proper 22 (27); Catholic Year A Ordinary27. Octavo. MorningStar Music Publishers #50-9045. Published by MorningStar Music Publishers (MN.50-9045).

UPC: 688670590450. Scripture: Psalms 19.

Brief motet-like setting of Psalms 19:14.

Composed by Ruth Elaine Schram. Christian. Octavo. Celebrating Grace #622022305. Published by Celebrating Grace

Composed by Various. Edited by Dan Damon. For SATB choir, Unison choir. General. Hymn Collection. Published by Hope Publishing Company

SATB Chorus & Organ

SKU: SU.80101483

For SATB Chorus & Organ. Composed by Carson Cooman. Vocal/Choral, Secular Choral. Accompanied by organ. Choral Octavo. Zimbel Press #80101483. Published by Zimbel Press (SU.80101483).

Out of Small Beginnings (2020) was commissioned by The Church of the Pilgrimage, Plymouth, Massachusetts as part of the Plymouth 400 celebrations. The work sets words by William Bradford, the governor of Plymouth Colony, from his journal Of Plymouth Plantation. SATB Chorus & Organ Duration: 4' Composed: 2020 Published by: Zimbel PressSATB Chorus & Organ Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.

(12 Complete Worship Sets with No Transposition or Transitions Required). Composed by Barny Robertson. For SATB choir, piano (keyboard). Choral collection. Sacred, Choral. Choral octavo. Published by Lillenas Publishing Company

Performed by Meat Loaf. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Classic rock and rock. 80 pages. 9x12 inches. Published by Hal Leonard.

Smart PianoSoft. Performed by Meat Loaf. Pianosoft Sync. Floppy disk. Size 5x5.5 inches. Published by Yamaha.

Includes Bonus Mouth Trumpet Lesson!. Composed by Various. Ukulele. Softcover. 56 pages. Published by Hal Leonard

Arranged by Jack Schrader. For Choir. (Men's Voices). Print Music Collection (TTBB). 76 pages. Published by Hope Publishing Company.

((Yih'yu L'ratzon)). Composed by Paul Goldstaub. For Choral (SATB a cappella). Transcontinental Music Choral. 8 pages. Transcontinental Music #993401. Published by Transcontinental Music

Arranged by Bruce Greer. Anthems. Sacred. Anthem. 12 pages. Published by Lillenas Music.

Unison Anthems for Worship. Composed by Various. Arranged by Various. Shawnee Sacred. General Worship, Sacred. Softcover. Published by Shawnee Press