By Melanie Hoffman. Arranged by Roger Hoffman. Text: Melanie Hoffman. For SA Cho...(+)
By Melanie Hoffman.
Arranged by Roger
Hoffman. Text: Melanie
Hoffman. For SA Choir.
Choral. Level: Medium
Easy / Medium
(accompaniment). Duration
2:30. Published by
Jackman Music
Corporation.
By Sue E Bohlin. For SSAA choir, piano (with optional percussion). Concert. Medi...(+)
By Sue E Bohlin. For SSAA
choir, piano (with
optional percussion).
Concert. Medium. Octavo.
Published by Santa
Barbara Music Publishing
. Octavo. Concert.
Chamber Music Flute(s) SKU: PR.114423630 Five Inspirations from Walt W...(+)
Chamber Music Flute(s)
SKU: PR.114423630
Five Inspirations from
Walt Whitman.
Composed by Daniel Dorff.
8 pages. Duration 11
minutes. Theodore Presser
Company #114-42363.
Published by Theodore
Presser Company
(PR.114423630).
ISBN
9781491136447. UPC:
680160689187. Walt
Whitman, Song of the Open
Road.
Whitmanâ€
s epic “Song of
the Open Road†is
an inspiring metaphor
encouraging us to find
and explore our own
paths, free of anchors or
artificial boundaries.
Dorff uses 5 brief
passages from the poem as
movement titles, setting
the stage for a suite of
sometimes-edgy
soliloquies in which the
music (and the flutist)
explores these open
roads.
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.
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
Piano seul [Partition] - Débutant Alfred Publishing
By Dennis Alexander, Gayle Kowalchyk, E. L. Lancaster, Victoria McArthur, and Ma...(+)
By Dennis Alexander,
Gayle Kowalchyk, E. L.
Lancaster, Victoria
McArthur, and Martha
Mier. Edited by Morton
Manus. For Piano. Piano
Method. Premier Piano
Course. Book. 64 pages.
Published by Alfred
Publishing.
Keyboard (Lesson Book). Published by Alfred Publishing. Beautifully presented an...(+)
Keyboard (Lesson Book).
Published by Alfred
Publishing. Beautifully
presented and
intelligently paced, the
Lesson Books combine
unusually attractive
music and lyrics. The
books feature note
reading, rhythm reading,
sight-reading and
technical workouts. Each
piece on the CD was
recorded at a performance
tempo and a slower
practice tempo.
Anchors Aweigh Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Alfred Publishing
By Charles A. Zimmerman. Arranged by Jerry Brubaker. For Concert Band. Concert B...(+)
By Charles A. Zimmerman.
Arranged by Jerry
Brubaker. For Concert
Band. Concert Band.
Belwin Young Band. Level:
2 (Easy) (grade 2).
Conductor Score and
Parts. 120 pages.
Published by Alfred
Publishing.
When We Go Orchestre d'harmonie - Intermédiaire Excelcia Music Publishing
Concert Band Concert Band - Grade 4 SKU: XC.MCB1901 Composed by Tyler Arc...(+)
Concert Band Concert Band
- Grade 4
SKU:
XC.MCB1901
Composed
by Tyler Arcari. Concert
Concert Band. Maestro
Band Series. Concert and
Contest. Classical,
Acoustic. Set of parts.
Excelcia Music Publishing
#MCB1901. Published by
Excelcia Music Publishing
(XC.MCB1901).
UPC:
812598032222. 9 x 12
inches.
When We Go
is an introspective
journey into our time
here on earth dedicated
to loved ones lost.
Composer Tyler Arcari
weaves a personal tale
throughout this piece
utilizing returning
melodic lines and
harmonic anchor points. A
creative and heartfelt
piece that will inspire
musicians.
A Pirate's Tale Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4533-00 Composed by La Plante. Concert...(+)
Concert band - Grade 3
SKU:
CL.012-4533-00
Composed by La Plante.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR392). Score and set
of parts. Composed 2017.
Duration 3 minutes, 8
seconds. Opus III Wind
Orchestra Publications
#012-4533-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-4533-00).
From the
dramatic opening and
theme to the merry
hornpipe and final
ominous knell of the
gong, it's all hands on
deck! A Pirate's Tale
musically depicts life of
the high seas in the ages
of gangplanks and
shipboard scallywags.
Delightfully descriptive,
this work will entertain
and amuse all. So weigh
anchor, run up the Jolly
Roger and set sail with A
Pirate's Tale.
AARGH!!
From A Star Is Born. By Bradley Cooper and Lady Gaga. By Andrew Wyatt, Anthony...(+)
From A Star Is Born. By
Bradley Cooper and Lady
Gaga.
By Andrew Wyatt, Anthony
Rossomando, Mark Ronson,
and
Stefani Germanotta.
Arranged
by Paul Murtha and Will
Rapp.
Contemporary Marching
Band.
Movies, Pop. Softcover.
Published by Hal Leonard
A Pirate's Tale Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4533-75 Composed by La Plante. Concert...(+)
Concert band - Grade 3
SKU:
CL.012-4533-75
Composed by La Plante.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR392). Oversized,
spiral-bound score.
Composed 2017. Duration 3
minutes, 8 seconds. Opus
III Wind Orchestra
Publications
#012-4533-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4533-75).
From the
dramatic opening and
theme to the merry
hornpipe and final
ominous knell of the
gong, it's all hands on
deck! A Pirate's Tale
musically depicts life of
the high seas in the ages
of gangplanks and
shipboard scallywags.
Delightfully descriptive,
this work will entertain
and amuse all. So weigh
anchor, run up the Jolly
Roger and set sail with A
Pirate's Tale.
AARGH!!
SKU: LO.30-3574MD Composed by Jay Rouse. Choral, cantatas. Eastertide, Ho...(+)
SKU: LO.30-3574MD
Composed by Jay Rouse.
Choral, cantatas.
Eastertide, Holy Week.
Instrumental parts.
Medallion Music
#30/3574MD. Published by
Medallion Music
(LO.30-3574MD).
UPC:
000308149869.
Chris
t, our Passover lamb, has
been sacrificed! The
living God has poured out
precious blood to reclaim
us, His people. This
blueprint is the heart of
the gospel, and Jay Rouse
and Rose Aspinall have
made that incredible gift
central to the creation
of this musical.
Beginning with Jay's
modern setting of the
beloved hymn Crown Him
with Many Crowns to the
triumphant,
gospel-infused finale,
He's Risen, Hallelujah!,
the work of the cross is
celebrated and reverenced
with emotion, warmth,
sorrow, and rejoicing.
The anchor song, It Took
a Lamb, is a classic from
Geron Davis, while This
is How We Know What Love
Is provides an original
offering that tells the
story and excitement of
running to the tomb and
finding the stone rolled
away. Your congregation
will want to sing along
with The Blood of Jesus
Medley and will be drawn
into worship by There is
a Fountain. These six
very accessible songs can
be used in their entirety
or across the Easter
season as a beautiful
30-minute work.
Composed by Regi Stone. Arranged by Bruce Greer. Epiphany House. Christmas Sa...(+)
Composed by Regi Stone.
Arranged by Bruce Greer.
Epiphany House. Christmas
Sacred. Octavo. 12 pages.
Epiphany House Publishing
#EH1022. Published by
Epiphany House Publishing
A Pirate's Tale Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4533-01 Composed by La Plante. Concert...(+)
Concert band - Grade 3
SKU:
CL.012-4533-01
Composed by La Plante.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR392). Extra full
score. Composed 2017.
Duration 3 minutes, 8
seconds. Opus III Wind
Orchestra Publications
#012-4533-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4533-01).
From the
dramatic opening and
theme to the merry
hornpipe and final
ominous knell of the
gong, it's all hands on
deck! A Pirate's Tale
musically depicts life of
the high seas in the ages
of gangplanks and
shipboard scallywags.
Delightfully descriptive,
this work will entertain
and amuse all. So weigh
anchor, run up the Jolly
Roger and set sail with A
Pirate's Tale.
AARGH!!
SKU: LO.99-3755MD Composed by Jay Rouse. Choral, cantatas. Advent, Christ...(+)
SKU: LO.99-3755MD
Composed by Jay Rouse.
Choral, cantatas. Advent,
Christmas, Sacred. Stem
files disc. Medallion
Music #99/3755MD.
Published by Medallion
Music (LO.99-3755MD).
UPC:
000308147667.
And
It Came to Pass,
Emmanuel: A compelling
musical triumph that
invites the listener on a
journey that ultimately
leads to worship of the
Christ Child. The text of
the Christmas story
blends seamlessly with
original narrative and
exquisite lyric writing
from Rose Aspinall, and
Jay Rouse's incredible
ability to fashion
original melodies and
arrange Christmas
favorites with nuance and
passion is on full
display. The musical
opens with an ethereal
underscore that leads
effortlessly into a 6/8
interpretation of Adeste
Fideles, followed
directly by the theme
song and anchor ballad
for the musical, And It
Came to Pass. Also
included are a song
written specifically for
this work that gives
voice to Joseph's fears
and longings; a
traditional gospel
setting of the all-time
favorite Jesus, What a
Wonderful Child; a
syncopated, upbeat angel
and shepherd announcement
song titled Fire in the
Sky; and a tender worship
moment at the manger
called Jesus, Prince of
Peace. With a little
something for everyone,
this creative work is
sure to be an important
part of your Christmas
season.