By Jonathan Crutchfield. For SATB choir, medium voice solo and organ, with optio...(+)
By Jonathan Crutchfield.
For SATB choir, medium
voice solo and organ,
with optional solo horn
or brass quartet.
Presbyterian Association
of Musicians Choral
Series. Parts included:
trumpets I and II in
B-flat and C, horn,
trombone and optional
trombone (sub. for horn).
Faith, Good Shepherd
Sunday. Moderately easy.
Instrumental parts. 12
pages. Published by
MorningStar Music
Publishers
Cantata for the 3rd
Sunday of Pentecost.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Erwunschtes
Freudenlicht. Sacred
vocal music, Cantatas,
Whitsun. Set of Orchestra
Parts. Composed 1724. BWV
184. Duration 25 minutes.
Carus Verlag #CV
31.184/19. Published by
Carus Verlag
(CA.3118419).
ISBN
9790007134235. Key: G
major / e minor.
Language:
German/English.
The
Pentecost cantata Desired
ray of light BWV 184 is
based on a Kothen
composition, probably a
congratulatory cantata,
whose instrumental parts
(only these have
survived) Bach reused in
the Leipzig Pentecost
cantata. Only the chorale
setting was evidently
newly composed. Despite
the narrow leeway that
the already finished
composition left for the
librettist, he
nevertheless succeeded in
crafting a coherent
Pentecost text. The fact
that the cantata begins
with a long tenor
accompagnato with two
flutes followed by a
pastoral duet is
surprising. The placing
of the chorale not at the
end of the work but
before the concluding
chorus is unusual. Bach
was evidently aware of
the effect that the
ending of this lively
movement would have and
wanted to retain this in
its sacred form as well.
The sacred version was
first performed on the
third day of Pentecost in
1724, probably after a
parody version of another
Kothen cantata (BWV 173)
had already been
performed on the second
day of Pentecost. Score
and parts available
separately - see item
CA.3118400.
By John Rutter (1945-). For SSA Children's Choir. Choral learning aid. SinglePar...(+)
By John Rutter (1945-).
For SSA Children's Choir.
Choral learning aid.
SingleParts with
StudySpots. Classical;
Choral. Novice to semi
professional. Choral
Practice CD. Duration
01:10:31
Soli SAT, SATB Choir, 2 Fl, 2 Vl, Va, Bc - Level 3 SKU: CA.3118449 Can...(+)
Soli SAT, SATB Choir, 2
Fl, 2 Vl, Va, Bc - Level
3
SKU: CA.3118449
Cantata for the 3rd
Sunday of Pentecost.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. Organ.
Sacred vocal music,
Cantatas, Whitsun. Single
Part, Organ. Composed
1724. BWV 184. 24 pages.
Duration 25 minutes.
Carus Verlag #CV
31.184/49. Published by
Carus Verlag
(CA.3118449).
ISBN
9790007240608. Key: G
major / e minor.
Language:
German/English.
The
Pentecost cantata Desired
ray of light BWV 184 is
based on a Kothen
composition, probably a
congratulatory cantata,
whose instrumental parts
(only these have
survived) Bach reused in
the Leipzig Pentecost
cantata. Only the chorale
setting was evidently
newly composed. Despite
the narrow leeway that
the already finished
composition left for the
librettist, he
nevertheless succeeded in
crafting a coherent
Pentecost text. The fact
that the cantata begins
with a long tenor
accompagnato with two
flutes followed by a
pastoral duet is
surprising. The placing
of the chorale not at the
end of the work but
before the concluding
chorus is unusual. Bach
was evidently aware of
the effect that the
ending of this lively
movement would have and
wanted to retain this in
its sacred form as well.
The sacred version was
first performed on the
third day of Pentecost in
1724, probably after a
parody version of another
Kothen cantata (BWV 173)
had already been
performed on the second
day of Pentecost. Score
and part available
separately - see item
CA.3118400.
Cantata for the 3rd
Sunday of Pentecost.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. This
edition: Paperbound.
German title: Erwunschtes
Freudenlicht. Sacred
vocal music, Cantatas,
Whitsun. Study score.
Composed 1724. BWV 184.
68 pages. Duration 25
minutes. Carus Verlag #CV
31.184/07. Published by
Carus Verlag
(CA.3118407).
ISBN
9790007050481. Key: G
major / e minor.
Language:
German/English.
The
Pentecost cantata Desired
ray of light BWV 184 is
based on a Kothen
composition, probably a
congratulatory cantata,
whose instrumental parts
(only these have
survived) Bach reused in
the Leipzig Pentecost
cantata. Only the chorale
setting was evidently
newly composed. Despite
the narrow leeway that
the already finished
composition left for the
librettist, he
nevertheless succeeded in
crafting a coherent
Pentecost text. The fact
that the cantata begins
with a long tenor
accompagnato with two
flutes followed by a
pastoral duet is
surprising. The placing
of the chorale not at the
end of the work but
before the concluding
chorus is unusual. Bach
was evidently aware of
the effect that the
ending of this lively
movement would have and
wanted to retain this in
its sacred form as well.
The sacred version was
first performed on the
third day of Pentecost in
1724, probably after a
parody version of another
Kothen cantata (BWV 173)
had already been
performed on the second
day of Pentecost. Score
available separately -
see item CA.3118400.
SATB choir, congregation,
organ, flute and oboe -
Easy
SKU:
PL.1516IP
Arranged by
William Braun. Advent.
Instrumental parts.
Paraclete Press #1516IP.
Published by Paraclete
Press (PL.1516IP).
A joyous
arrangement on a 17th
century German tune.
Verses alternate use of
congregation and choir
and there are Baroque
ritornello-like
interludes. Choir and
instrumental parts are
only moderately difficult
and this would be an
excellent choice for a
festival service.
Only God Chorale SATB SATB, Piano [Octavo] Lorenz Publishing Company
By Mary Mcdonald. For SATB choir, piano (with optional orchestration). Sacred An...(+)
By Mary Mcdonald. For
SATB choir, piano (with
optional orchestration).
Sacred Anthem, General,
Lent, Reformation.
Octavo. Published by
Lorenz Publishing Company
Missa octo vocum Chorale SATB SATB [Vocal Score|Score and Parts|Set of Parts] Barenreiter
(Messe fur zwei Chore. Chor 1). By Hans Leo Hassler (1564-1612). Edited by Bruno...(+)
(Messe fur zwei Chore.
Chor 1). By Hans Leo
Hassler (1564-1612).
Edited by Bruno Grusnick.
For Mixed Choir-SATB.
Chor-Archiv. Chorus Score
(Chorus 1 parts only,
Chorus 2 parts not
included)
SATB Chorus, Flute, Percussion & Harp SKU: SU.80402041 For SATB Chorus...(+)
SATB Chorus, Flute,
Percussion & Harp
SKU:
SU.80402041
For
SATB Chorus, Flute,
Percussion & Harp.
Composed by Stephen
Paulus. Vocal/Choral,
Sacred Choral, Woodwinds,
Flute/Piccolo.
Accompanied by
percussion. Set of Parts.
Subito Music Corporation
#80402041. Published by
Subito Music Corporation
(SU.80402041).
Flute and
Percussion parts only.
SATB Chorus, Flute,
Percussion & Harp
Composed: 1990 Published
by: Paulus Publications
(SP178-6p).
SATB choir, cantor,
assembly, keyboard
accompaniment, 2 or 3
octaves handbells, C
instrument, trumpet 1 in
B-flat, trumpet 1 in C,
trumpet 2 in B-flat,
trumpet 2 in C, trombone
1, trombone 2, percussion
SKU: GI.G-7202INST
Alleluia and Lenten
Acclamation with Verses
for All Sundays and
Solemnities. Composed
by James Chepponis.
Chamber Music. Sacred.
Full score and parts.
With guitar chord names.
8 pages. GIA Publications
#7202INST. Published by
GIA Publications
(GI.G-7202INST).
UPC:
785147720294. English.
Text Source:
Lectionary for
Mass,
1998.
This
versatile setting
includes refrains for
both the Alleluia and the
Lenten Gospel Acclamation
along with
through-composed settings
of the verses for all
Sundays Solemnities,
Feasts of the Lord and
the Saints as well as a
setting of the verses of
the Easter Vigil
Responsorial Psalm 118
for use with the Alleluia
refrain. Although this
majestic setting is
scored for brass quartet,
timpani/suspended cymbal,
C instrument, guitar, and
handbells it can also be
performed simply using
only Cantor and
keyboard.
This edition SATB only. Composed by Johann Sebastian Bach (1685-1750). Edited by...(+)
This edition SATB only.
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Katherine K. Davis.
Bestseller. Baroque.
Vocal score. Galaxy Music
Corporation #1.1278.
Published by Galaxy Music
Corporation
SATB choir - Grade 3 SKU: KJ.9123X Composed by Mark Repasky. Collection. ...(+)
SATB choir - Grade 3
SKU: KJ.9123X
Composed by Mark Repasky.
Collection. Music for the
Church Year. Sacred,
Choral. Score and parts.
Neil A. Kjos Music
Company #9123X. Published
by Neil A. Kjos Music
Company (KJ.9123X).
UPC:
8402702919.
Full
Score and Parts (Organ,
Brass Quintet) Recharge
your Easter repertoire
with this new offering!
From the festive opening
fanfare to the triumphant
ending, the color brass
and organ writing of Mark
Repasky will help you
proclaim the glory of the
Easter resurrection.
Death at last is swept
away. Celebrate this holy
day. Allelui Can also be
performed in organ-only
version without
brass.
Composed by Antonio Vivaldi (1678-1741). This edition: urtext. Stuttgart Urtext ...(+)
Composed by Antonio
Vivaldi (1678-1741). This
edition: urtext.
Stuttgart Urtext Edition:
Vivaldi-Archiv. German
title: Credo. Mass
Sections. Complete
orchestral parts. RV 591.
Duration 10 minutes.
Published by Carus Verlag
(CA.4000419).
SATB choir, congregation,
organ, flute and oboe -
Easy
SKU: PL.1516
Arranged by William
Braun. Advent. Octavo.
Paraclete Press #1516.
Published by Paraclete
Press (PL.1516).
A joyous
arrangement on a 17th
century German tune.
Verses alternate use of
congregation and choir
and there are Baroque
ritornello-like
interludes. Choir and
instrumental parts are
only moderately difficult
and this would be an
excellent choice for a
festival service.
SATB choir with divisi, organ, handbells, oboe and brass quartet - Medium SKU...(+)
SATB choir with divisi,
organ, handbells, oboe
and brass quartet -
Medium
SKU:
PL.0529IP
Composed by
Brian William Luckner.
Cathedral. Choral, Chant,
Christmas. Instrumental
Parts. Paraclete Press
#0529IP. Published by
Paraclete Press
(PL.0529IP).
*
Introit for Christmas Eve
or for a service of
Advent Lessons and Carols
* familiar Latin antiphon
interspersed with English
verses * seamlessly
interwoven vocal and
instrumental lines *
glorious ending
Brian
Luckner's anthem, Dominus
dixit ad me (SSATB,
handbells, oboe, brass
quartet, organ... is
plucked straight out of
the Gregorain chant
repertory, and manages to
do it in a somewhat less
diaphanous manner than
some other chant-based
pieces have done. The
Introit for Chirstmas
Midnight Mass is here
qouted in toto, cast in a
fluid but rhythmic
framework. Starting
rather mysteriously at
the outset, oboe and
handbells are effectively
brought into the fabric
of the piece. This work
carefully submits to the
antiphon/psalm
verse/antiphon Introit
form and is thus entirely
liturgical by intent. At
the return of the
antiphon, the score
becomes much more
expansive, and only the
outline of the chant is
suggested. The oboe
wisely doubles the first
soprano part, as it
ascends to two high
B-flats. In my mind's
ear, I hear a very
capable choir singing
this piece, preparatory
to the opening
hymn/carol. While it
captures the very quiet
side of the mystery of
Verbum caro factus est,
it nicely prepares us for
the joys of festive
clangor that are sure to
follow. Cue up Hymn 87,
please! - Monte Mason AAM
Journal October 18,
2005.
Composed by Dustin Smith, Jonny Robinson, Michael Farren, and Rich Thompson. ...(+)
Composed by Dustin Smith,
Jonny Robinson, Michael
Farren, and Rich
Thompson.
Arranged by Molly Ijames.
General, Modern Hymn.
Octavo.
Celebrating Grace
#810093.
Published by Celebrating
Grace
Mass of Creation - Vocal Edition. (SATB Vocal Edition). By Marty Haugen. For SAT...(+)
Mass of Creation - Vocal
Edition. (SATB Vocal
Edition). By Marty
Haugen. For SATB Choir
and Keyboard
accompaniment. Mass.
Sacred. Choral parts
only. Text language:
English. 20 pages.
Published by GIA
Publications
Laughing Song Chorale SATB SATB, Piano [Octavo] - Intermédiaire Santa Barbara Music Publishing
Arranged by David Dickau. For SATB Choir/optional children's chorus, piano, flut...(+)
Arranged by David Dickau.
For SATB Choir/optional
children's chorus, piano,
flute, tambourine. Choral
octavo only. Instrumental
accompaniment sold
separately (SBMP 762.1).
Choral. Level: Medium.
Choral octavo. Published
by Santa Barbara Music
Publishing. (SBMP 762)
by Dave Brubeck, arranged by Norman Luboff. For SATB choir. Format: vocal score....(+)
by Dave Brubeck, arranged
by Norman Luboff. For
SATB choir. Format: vocal
score. With choral
notation, vocal melody
and lyrics. Jazz.
6.7x10.5 inches.
Published by Walton
Music. (HL.8501326)
6-PACK includes five
original copies of this
piece
Composed by Heinrich
Schutz. Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Cycles: Schutz:
Musikalische Exequien SWV
279-281. Stuttgart Urtext
Edition: Schutz. German
title: Herr, Wenn Ich Nur
Dich Habe. Sacred,
Motets, Psalms, German,
Requiem; Stuttgart Urtext
editions; Occasions:
Mourning, Death; Use
during church year: Lent
and Passiontide. Set of
Orchestra Parts. Composed
1636. SWV 280. 16 pages.
Carus Verlag #CV
20.280/09. Published by
Carus Verlag
(CA.2028009).
ISBN
9790007034023. Key: A
minor. Language:
German/English.
Sco
re available separately -
see item CA.2028000.
Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Willi Schulze. This e...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Edited by
Willi Schulze. This
edition: urtext.
Stuttgart Urtext Edition:
Mozart. German title:
Missa brevis in d KV 65
rev.2000. Missa brevis in
Latin. Complete
orchestral parts.
Composed 1769. KV 65
(61a). Duration 15
minutes. Published by
Carus Verlag
(CA.4062219).
SATB choir SKU: CF.CM8726CD Composed by Elizabeth Campbell. Square Trimpa...(+)
SATB choir
SKU:
CF.CM8726CD
Composed
by Elizabeth Campbell.
Square Trimpak.
Classical. Cd. With
Standard notation. Carl
Fischer Music #CM8726CD.
Published by Carl Fischer
Music (CF.CM8726CD).
ISBN 9780825848629.
UPC:
798408048624.
A
rousing gospel-inflected
number with solos and
optional percussion
parts, You Can Run, But
You Can't Hide is a fine
syncopated workout that
will help a young choir
develop its rhythmic
skill. It will definitely
be a happy outing for the
singers and a
crowd-pleaser as
well.
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.