Composed by Charles Francois Gounod (1818-1893), arranged by Joseph Barnby (1838...(+)
Composed by Charles
Francois Gounod
(1818-1893), arranged by
Joseph Barnby
(1838-1896). Octavo for
soprano/tenor/bass soli,
SATB choir and
piano/organ
accompaniment. Choral.
Text language Latin and
English. 72 pages.
Published by G. Schirmer,
Inc.
Composed by Tim Minchin. Arranged by Simon Foxley. For Choral (SATB with Piano)....(+)
Composed by Tim Minchin.
Arranged by Simon Foxley.
For Choral (SATB with
Piano). Choral. Octavo.
20 pages. Novello and Co
Ltd. #NOV163229.
Published by Novello and
Co Ltd.
Choral SATB choir, piano SKU: CF.CM9608 Composed by Jamey Ray. Fold. Perf...(+)
Choral SATB choir, piano
SKU: CF.CM9608
Composed by Jamey Ray.
Fold. Performance. 12
pages. Duration 3
minutes, 33 seconds. Carl
Fischer Music #CM9608.
Published by Carl Fischer
Music (CF.CM9608).
ISBN 9781491154304.
UPC: 680160912803. 6.875
x 10.5 inches. Key: E
major. English. Alfred,
Lord Tennyson
(1809-1892).
The
beauty in Alfred, Lord
Tennysons poem is
reflected by the music
with the use of text
painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 5764,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennysonas
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m.A 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word adeepa in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word adarka in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word aembark,a
which is to be an ascent
to Heaven. The melody
moves between voice
parts, even as early as
m. 14 where the altos
have the melody for only
a single measure; it is
then handed back to the
sopranos. From mm. 57a64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word awhen.a Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennyson's
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 57-64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennyson's
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 57-64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing Crossing
the Bar as much as I
enjoyed writing it.
~Jamey Ray. The beauty
in Alfred, Lord
Tennyson’s poem is
reflected by the music
with the use of text
painting. The piano
creates the sound of
moving water in m.Â
19, providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word
“deep†in m.
27 gives another instance
of text painting.Take
advantage of the minor
second suspension on the
word “darkâ€
in m. 38 in order to
achieve a feeling of
suspense. The entrance at
m. 41 is full, and while
still minor, the text
gives us hope for a
change. The change comes
in m. 45 with the
staggered entrances
creating a sense of
building and ascent until
the climax of this moment
at m. 47 on the word
“embark,â€
which is to be an ascent
to Heaven.The melody
moves between voice
parts, even as early as
m. 14 where the altos
have the melody for only
a single measure; it is
then handed back to the
sopranos. From mm.
57–64, the altos
trade the melody back and
forth with the sopranos.
Take note that the alto
melody should be brought
out, but the line does
not actually begin until
the word
“when.â€Lastly
, be intentional with
syllabic stress (no two
eighth notes or quarter
notes alike) and to give
direction to any note
longer than a quarter.I
hope you enjoy learning
and performing Crossing
the Bar as much as I
enjoyed writing it.~Jamey
Ray.
Tenor soloist, SATB Chorus and Piano Reduction. By Damian Cranmer. By George...(+)
Tenor soloist, SATB
Chorus
and Piano Reduction. By
Damian Cranmer. By George
Frideric Handel
(1685-1759).
Edited by Damian Cranmer.
New
Novello Choral Edition.
Classical. Part. Novello
& Co
Ltd. #MUSNOV060137.
Published
by Novello & Co Ltd.
Composed by Stephen Jackson. Arranged by Stephen Jackson. Music Sales America. C...(+)
Composed by Stephen
Jackson. Arranged by
Stephen Jackson. Music
Sales America. Christmas
Sacred, Classical.
Octavo. 12 pages. Novello
and Co Ltd.
#MUSNOV290629. Published
by Novello and Co Ltd.
Quanta Qualia Chorale SATB SATB, Piano Novello & Co Ltd.
By Patrick Hawes. For Soprano Solo, SATB Choir, Piano or Organ Accompaniment (SA...(+)
By Patrick Hawes. For
Soprano Solo, SATB Choir,
Piano or Organ
Accompaniment (SATB).
Music Sales America. 20th
Century. 8 pages. Novello
and Co Ltd. #NOV200442.
Published by Novello and
Co Ltd.
By Ronald Krisman. For SATB, SAB, or 2 Equal Voice Chorus, and Keyboard accompan...(+)
By Ronald Krisman. For
SATB, SAB, or 2 Equal
Voice Chorus, and
Keyboard accompaniment.
Christmas. Includes
guitar chord names.
Sacred. Easy. Text
language:
English/Spanish. 16 pages
By Larry Shackley. For SATB choir and piano. Baptism, Eastertide, General, Holy ...(+)
By Larry Shackley. For
SATB choir and piano.
Baptism, Eastertide,
General, Holy Week, Lent,
Spiritual,
Transfiguration, Sacred.
Sacred Anthem. Published
by Lorenz Publishing
Company. (10/3820L)
Litanei Chorale SATB SATB, Piano Novello & Co Ltd.
(SATB and Piano). By Franz Schubert (1797-1828). Arranged by Ralph Allwood. For ...(+)
(SATB and Piano). By
Franz Schubert
(1797-1828). Arranged by
Ralph Allwood. For
Choral, Piano
Accompaniment. Choral.
Book only. 4 pages.
Novello and Co Ltd.
#NOV720027. Published by
Novello and Co Ltd.
Choral SSATB choir, piano SKU: CF.CM449 Based Upon the Christmas Seque...(+)
Choral SSATB choir, piano
SKU: CF.CM449
Based Upon the
Christmas Sequence: Corde
Natus Ex Parentis for
Four-Part Chorus of Mixed
Voices A Cappella.
Composed by Healey
Willan. None. Carl
Fischer Choral
Repertoire. Choral.
Performance Score. With
Standard notation. 12
pages. Carl Fischer Music
#CM449. Published by Carl
Fischer Music (CF.CM449).
ISBN 9780825810565.
UPC: 798408010560. 6.875
X 10.5 inches. Key: E
major. Greek,
English.
Noel! 3 Chorale SATB SATB [Partition] Novello & Co Ltd.
(Carols and Anthems for Advent, Christmas and Epiphany for Mixed Voices Choir). ...(+)
(Carols and Anthems for
Advent, Christmas and
Epiphany for Mixed Voices
Choir). By Various.
Edited by David Hill. For
Choral, Mixed Choir
(SATB). Music Sales
America. Softcover. 264
pages. Novello and Co
Ltd. #NOV310838.
Published by Novello and
Co Ltd.
Chorale SATB SATB, Piano [Vocal Score] Oxford University Press
Composed by Ralph Vaughan Williams (1872-1958). Vocal score for soprano voice, b...(+)
Composed by Ralph Vaughan
Williams (1872-1958).
Vocal score for soprano
voice, baritone voice,
SATB choir and piano
accompaniment. With
translations. 68 pages.
Published by Oxford
University Press.
Somos Uno Chorale SATB SATB, Piano Lorenz Publishing Company
Composed by Mark Hayes. Choral. Sacred Anthem, General, Missions. Octavo. Lore...(+)
Composed by Mark Hayes.
Choral. Sacred Anthem,
General, Missions.
Octavo. Lorenz Publishing
Company #10/4967L.
Published by Lorenz
Publishing Company
(LO.10-4967L).
Medieval Noel Chorale SATB SATB, Piano [Octavo] Carl Fischer
(With Masters in This Hall, Pat-A-Pan, and Sing We Now of Christmas). By Anonymo...(+)
(With Masters in This
Hall, Pat-A-Pan, and Sing
We Now of Christmas). By
Anonymous. Arranged by
Ruth Elaine Schram. SATB
chorus. For SATB,
Keyboard. Choral.
Piano/Vocal Score.
Standard notation. 14
pages
Composed by John Rutter (1945-). For narrator, SATB choir and piano/small orches...(+)
Composed by John Rutter
(1945-). For narrator,
SATB choir and
piano/small
orchestra/ensemble. Mixed
Voices. Condensed score.
Duration 15 minutes.
Published by Oxford
University Press