(A Medley of Waltzes Made Famous in Disney Films). Arranged by Greg Anderson. Fo...(+)
(A Medley of Waltzes Made
Famous in Disney Films).
Arranged by Greg
Anderson. For Piano. This
edition: Piano Duo (2
Pianos, 4 Hands). Book;
Duet or Duo; Piano Duo (2
Pianos, 4 Hands).
Anderson and Roe Duos and
Duets. Form: Medley. Pop;
Recital. Advanced. 28
pages. Published by
Alfred Music Publishing
After the Duos for Violin and Viola K. 423, 424. By Wolfgang Amadeus Mozart. Edi...(+)
After the Duos for Violin
and Viola K. 423, 424. By
Wolfgang Amadeus Mozart.
Edited by Berke,
Dietrich. For Violin,
Violoncello. Score; Set
of Parts. Published by
Baerenreiter-Ausgaben
(German import).
(Bassoon Duet Two Performance Scores). By Thea Musgrave (1928-). For Bassoon Due...(+)
(Bassoon Duet Two
Performance Scores). By
Thea Musgrave (1928-).
For Bassoon Duet. Music
Sales America. Softcover.
Novello and Co Ltd.
#NOV121693. Published by
Novello and Co Ltd.
By Georg Philipp Telemann (1681-1767). Edited by Klaus Hofmann. For violin/basso...(+)
By Georg Philipp Telemann
(1681-1767). Edited by
Klaus Hofmann. For
violin/basso continuo.
This edition: Stapled,
Urtext edition. Stapled.
From Essercizii musici.
Performance score, Set of
parts. Language:
German/English. TWV
41:F4, TWV 41:A6. 19/11/9
pages. Published by
Baerenreiter Verlag
Including First Publication of Two Further Settings Mezzo-Soprano. Composed ...(+)
Including First
Publication
of Two Further Settings
Mezzo-Soprano. Composed
by
Benjamin Britten
(1913-1976).
Boosey & Hawkes
Voice.
Classical. Softcover. 44
pages. Boosey &
Hawkes
#M060135347. Published by
Boosey & Hawkes
SSAA a cappella Choral
(SSAA ACAPELL) -
intermediate
SKU:
HL.49044789
Two
settings of the Lord's
Prayer (Old High
German/Latin).
Composed by Pascal
Martiné. This
edition: Saddle
stitching. Sheet music.
Choral. Uber dem
zentralen Gebet des
Christentums entwickelt
Pater noster mit dichten
Klangen und
atmospharischen Farben
eine Stimmung
tiefgrundiger Ehrfurcht
und Starke. Fater unser
spielt mit
minnesangerischen
Harmonien und verzaubert
auf mittelalterliche
Weise. Classical, General
Worship, Sacred. Octavo.
8 pages. Schott Music #C
57283. Published by
Schott Music
(HL.49044789).
ISBN
9790001154307. UPC:
841886026506. 7.5x10.75
inches.
Latin.
Above the
central prayer of
Christianity, the
composition with its
dense sounds and
atmospheric colours
develops a mood of
profound awe and
self-contained strength.
An expressive composition
of our new composer
Pascal Martine -
personally recommended by
the editors of your
choral department!
SATB choir, assembly,
organ accompaniment, 2
octaves handbells -
Beginning
SKU:
GI.G-8528
Revised
Order of Mass 2010.
Composed by John Lee.
Arranged by James Biery.
Ritual Prayer. Sacred.
Octavo. 12 pages. GIA
Publications #8528.
Published by GIA
Publications (GI.G-8528).
UPC: 785147852803.
English. Text Source:
Revised Order of Mass
2010.
This elegant
arrangement of the
“Gloria†from
John Lee’s
Congregational Mass by
James Biery contains two
settings of the simple
repeated melody in a
falsobordone style. In
the first setting, unison
verses alternate with
harmonized verses.
Cantor, choir, and
congregation may sing
this setting
unaccompanied or organ
can be added to support
the choral harmonization.
The alternate setting is
designed for
congregations that know
this piece well. Unison
verses featuring a
contrasting organ
harmonization are sung in
response to each
falsobordone choral
verse. This classic
through-composed Gloria
is an essential addition
to a well-rounded choral
library. Â Optional 2
octaves Handbells.
Handbook of classical-modern organ playing. Edited by Peter Wagner. Paper...(+)
Handbook of
classical-modern organ
playing. Edited by
Peter Wagner. Paperback.
Performance scores,
anthology. Published by
Baerenreiter Verlag
(BA.BA11238).
SATB choir and orchestra/piano (2.2.2.2-2.0.0.0-str) SKU: OU.9780193858565(+)
SATB choir and
orchestra/piano
(2.2.2.2-2.0.0.0-str)
SKU:
OU.9780193858565
Composed by Robert A.
Harris. Vocal score.
Duration 12.5'. Oxford
University Press
#9780193858565. Published
by Oxford University
Press (OU.9780193858565).
ISBN 9780193858565. 10
x 7 inches.
For
SATB and chamber
orchestra or piano These
two settings of the
well-known texts by
Marlowe and Sir Walter
Raleigh are an excellent
blend of old and new. The
arrangement carries a
madrigal feel, but
includes lush harmonies
with beautiful resolving
dissonances. Two
Elizabethan Lyrics are
perfect for honors high
school, college, and
community choirs.
Orchestral material is
available on hire.
SAB choir, cantor, priest, assembly, keyboard accompaniment, flute, trumpet in B...(+)
SAB choir, cantor,
priest, assembly,
keyboard accompaniment,
flute, trumpet in B-flat,
trumpet in C, guitar -
Early intermediate
SKU: GI.G-9664
Composed by Francis
Patrick O'brien. This
edition: Choral /
Accompaniment edition.
Mass. Sacred. With guitar
chord names. 80 pages.
GIA Publications #9664.
Published by GIA
Publications (GI.G-9664).
UPC: 785147966401.
English, Greek, Latin.
Text Source: Revised
Order of Mass 2010,
Lectionary for
Mass
Francis
Patrick O’Brien
has written a new mass
setting that speaks to
the sensible and real
needs of parish settings.
Engaging congregational
melodies are enhanced by
simple—but never
simplistic— SAB
choral parts, both of
which are supported by a
versatile keyboard part.
The instrumental parts
for flute and trumpet may
be used separately or
together. Two settings of
the Glory to God are
included: a
through-composed setting
and a refrain
setting.
Technique Takes Off! for Viola by Mary Cohen. For Viola. Book; String - Viola St...(+)
Technique Takes Off! for
Viola by Mary Cohen. For
Viola. Book; String -
Viola Studies or
Collection; Technique
Musicianship. Faber
Edition. Published by
Faber Music
By Jean-Philippe Rameau (1683-1764). Edited by Jean-Paul C. Montagnier; Sylvie B...(+)
By Jean-Philippe Rameau
(1683-1764). Edited by
Jean-Paul C. Montagnier;
Sylvie Bouissou. For Low
Voice, High Voice, Alto
Solo, Violin 1 (Flute),
Violin 2, Basso Continuo/
Bass Viola Da Gamba.
Opera Omnia OOR III.1.
Score; Set of Parts
(paperbound). Published
by Baerenreiter Verlag
Six Hymn Settings for Piano and Organ Duet. Composed by Darwin Wolford. This edi...(+)
Six Hymn Settings for
Piano and Organ Duet.
Composed by Darwin
Wolford. This edition: 2
copies required. Organ
Ensemble - Organ and
Piano. H. W. Gray.
Sacred. Sheet. 52 pages.
Jubilate Music Group
#00-GOPDM0201. Published
by Jubilate Music Group
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.
Technique Takes Off! for Cello by Mary Cohen. For Cello. Book; String - Cello St...(+)
Technique Takes Off! for
Cello by Mary Cohen. For
Cello. Book; String -
Cello Studies or
Collection; Technique
Musicianship. Faber
Edition. Intermediate.
Published by Faber Music
Choral SATB choir (SATB choir) SKU: HP.C5103 Composed by Christopher Delp...(+)
Choral SATB choir (SATB
choir)
SKU:
HP.C5103
Composed by
Christopher Delp and
Matthew Glandorf. Piano
Accompaniment. General
Worship, Sacred. Octavo.
4 pages. Hope Publishing
Company #C5103. Published
by Hope Publishing
Company (HP.C5103).
UPC: 763628151034. By
Christopher Delp &
Matthew
Glandorf.
The Lord
Bless You and Keep You by
Christopher Delp &
Matthew Glandorf Two
settings of The Lord
Bless You and Keep You,
one unaccompanied and one
with organ
accompaniment.
By Lauren Bernofsky (1967-). For narration and string orchestra. FJH Beginning S...(+)
By Lauren Bernofsky
(1967-). For narration
and string orchestra. FJH
Beginning Strings. Full
set (score and parts).
Score only also
available: ST6192S.
Halloween. Grade 1. Score
and set of parts.
Composed 2009
By Timothy Loest. Arranged by Timothy Loest. FJH Starter Series. Full set (score...(+)
By Timothy Loest.
Arranged by Timothy
Loest. FJH Starter
Series. Full set (score
and parts). Score only
also available: S.
Concert Band. Level:
Grade 0.5. Score and Set
of Parts. Composed 2004.
Published by The FJH
Music Company Inc.
Now thank we all our God. (No. 1 of Two Hymns of Praise). By John Rutter (1945-)...(+)
Now thank we all our God.
(No. 1 of Two Hymns of
Praise). By John Rutter
(1945-). For SATB choir
and brass/orchestra
(Brass: 4 trumpets, 2
trombones (or 2 horns),
bass trombone, tuba (opt,
), timpani, percussion,
organ; Orchestra: 2, 2,
2, 2-4, 4, 4, 1-timpani,
percussion-organ-harp-str
ings). Chamber/Ensemble.
Miscellaneous. Set of
brass parts. 60 pages.
Duration 4'. Published by
Oxford University Press