Choral (SATB) SKU: HL.1333888 By The Beatles. By George Harrison, John Le...(+)
Choral (SATB)
SKU:
HL.1333888
By The
Beatles. By George
Harrison, John Lennon,
Paul McCartney, and
Richard Starkey. Arranged
by Alan Billingsley. Pop
Choral Series. Oldies,
Pop, Pop/Rock, Rock,
Sixties. Octavo. Duration
200 seconds. Published by
Hal Leonard (HL.1333888).
UPC: 196288186557.
6.75x10.5x0.019
inches.
What a
thrill to place this song
in the âCurrent
Popâ section of our
choral music catalog!
After long last, the
third song from the
infamous âfor
Paulâ cassette tape
has seen the light of day
thanks to AI. The Beatles
score one last hit with
âNow and Thenâ,
a moving and wistful
portraiture from the most
influential band in the
world.
Composed by Cliff Duren.
Choral, cantatas.
Eastertide. Book. Word
Music #080689640179.
Published by Word Music
(WD.080689640179).
UPC:
080689640179.
Word Music & Church
Resources
presents a new Easter
Praise & Worship musical
reminding us of what a
powerful God we serve,
what a wonderful Savior
is ours, and what the
glorious resurrection of
our Risen Lord means in
the hearts and minds of
believers everywhere!
Then He Rose,
arranged and orchestrated
by Cliff Duren, features
songs of proclamation,
commitment, unbridled
praise, and reverent
worship, while reflecting
on the sorrow and passion
of the betrayal of
Christ, His crucifixion,
and celebrating the power
and glory of the Risen
King’s ultimate
victory over death, hell
and the grave! This
overwhelming, heartfelt
portrayal of
Christ’s
sacrifice, contrasted by
the triumph and power of
His rising, offers up an
Easter Worship Service
your choir and
congregation will not
soon forget. Then He
Rose is teeming with
countless, special
moments leading your
congregation into
personal, intimate
encounters with the
Savior.
Composed by Michael
Berkeley. Sacred choral -
mixed voices. New
Horizons. Vocal score. 20
pages. Duration 8'.
Oxford University Press
#9780193395060. Published
by Oxford University
Press (OU.9780193395060).
ISBN 9780193395060. 12
x 8 inches.
For
SATB and organ This
impressive anthem is the
second of two in which
Michael Berkeley sets
texts by Rowan Williams.
First the sun, then the
shadow uses words from
his poem Emmaus, written
in 2008. It was
commissioned by Durham
Cathedral Choir
Association at the
request of Archbishop
Justin Welby.
About Oxford
New
Horizons
N
ew Horizons showcases the
wealth of exciting,
innovative, and
occasionally challenging
choral music being
written today. It
encompasses the whole
gamut of small-scale
choral genres, both
secular and sacred, and
includes pieces for
upper-voice and mixed
choirs. With titles by
some of the most
accomplished choral
composers active in Great
Britain and abroad, the
series introduces new
repertoire and fresh
talent to a broad
spectrum of choirs. New
Horizons features
composers with growing
reputations for quality
composition reflecting a
strong individual voice.
The series is continually
expanding and should be
the first place to look
for attractive and
performable contemporary
choral music.
Choral (Children's
Voices, SATB choir, SATB
and Unison w/opt. 4
Handbells)
SKU: HP.C5745
Composed by Joseph M.
Martin. Piano with
Optional Unison Choir and
4 Handbells. Palm Sunday,
Adults and Children,
Sacred. Octavo. 12 pages.
Hope Publishing Company
#C5745. Published by Hope
Publishing Company
(HP.C5745).
UPC: 763628157456. Joseph
M. Martin. Matthew
21:1-11, Mark 11:1-11,
Luke 19:29-44, John
12:12-19.
Original anthem This
charming Palm Sunday
anthem from Joe Martin
builds from the
children's opening
statement, then gradually
adds adult voices and
even includes a few
antiphonal moments. It's
easily learned and a
great way to begin your
Holy Week services. The
handbell part for 4 bells
(D5, G5, A5, D6) is
included and
reproducible.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Single Part, Violin 2.
Composed 1723. BWV 46. 8
pages. Duration 20
minutes. Carus Verlag #CV
31.046/12. Published by
Carus Verlag
(CA.3104612).
ISBN
9790007042981. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score and part available
separately - see item
CA.3104600.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Single Part, Organ.
Composed 1723. BWV 46. 16
pages. Duration 20
minutes. Carus Verlag #CV
31.046/49. Published by
Carus Verlag
(CA.3104649).
ISBN
9790007043018. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score and part available
separately - see item
CA.3104600.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Choral Score. Composed
1723. BWV 46. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
31.046/05. Published by
Carus Verlag
(CA.3104605).
ISBN
9790007042950. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score available
separately - see item
CA.3104600.
What Then Chorale SATB - Facile Kjos Music Company
SATB choir - Grade 3 SKU: KJ.8827 Composed by John Ferguson. Collection. ...(+)
SATB choir - Grade 3
SKU: KJ.8827
Composed by John
Ferguson. Collection.
Music for the Church
Year. Sacred, Choral.
Octavo. Neil A. Kjos
Music Company #8827.
Published by Neil A. Kjos
Music Company (KJ.8827).
What Then
portrays a strong
commitment of faith.
Musical tension inherent
in the temptations in
life precedes a dramatic
pianissimo section. Also
suitable for any festival
celebrating the
clergy.
SATB choir, a cappella - Medium Difficult SKU: PL.9220 Composed by Willia...(+)
SATB choir, a cappella -
Medium Difficult
SKU:
PL.9220
Composed by
William Billings.
Cathedral. Choral,
American, Festival,
Patriotic. Octavo.
Paraclete Press #9220.
Published by Paraclete
Press (PL.9220).
Subtitled An
Anthem for Fast Day,
Billings' Be Glad Then
America is especially
suitable for our American
holiday of Thanksgiving
or other
patriotic-religious
observances. It also
serves well as a general
anthem stressing
penitence, hope and
praise. A sectional work,
six minutes in length,
its hymn-like sections
and fuguing tunes add up
to one of the composer's
most substantial and
colorful compositions
from The Continental
Harmony (1794).
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext. 1x
31.046/21 recorder 1, 1x
31.046/22 recorder 2, 1x
31.046/23 oboe 1, 1x
31.046/24 oboe 2, 1x
31.046/31 trumpet.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Set of Orchestra Parts.
Composed 1723. BWV 46. 40
pages. Duration 20
minutes. Carus Verlag #CV
31.046/09. Published by
Carus Verlag
(CA.3104609).
ISBN
9790007042967. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score and parts available
separately - see item
CA.3104600.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Set of Orchestra Parts.
Composed 1723. BWV 46.
Duration 20 minutes.
Carus Verlag #CV
31.046/19. Published by
Carus Verlag
(CA.3104619).
ISBN
9790007136154. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score and parts available
separately - see item
CA.3104600.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Single Part, Viola.
Composed 1723. BWV 46. 8
pages. Duration 20
minutes. Carus Verlag #CV
31.046/13. Published by
Carus Verlag
(CA.3104613).
ISBN
9790007042998. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score and part available
separately - see item
CA.3104600.
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Vocal score. Composed
1723. BWV 46. 32 pages.
Duration 20 minutes.
Carus Verlag #CV
31.046/03. Published by
Carus Verlag
(CA.3104603).
ISBN
9790007042943. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
Score available
separately - see item
CA.3104600.
Choral (SATB) SKU: HL.374953 Composed by Stuart Hamblen. Arranged by Mary...(+)
Choral (SATB)
SKU:
HL.374953
Composed by
Stuart Hamblen. Arranged
by Mary McDonald.
Daybreak Choral Series.
General Worship, Sacred.
Octavo. 12 pages.
Duration 16500 seconds.
Published by Daybreak
Music (HL.374953).
UPC: 196288017479.
6.75x10.5x0.029 inches. I
Peter 1:18-21, Jeremiah
29:11, John
14:1-3.
A true
gospel classic is
thoughtfully crafted into
a choral gem in this
engaging octavo. Recorded
by many inspirational
artists through the
years, this musical
testimony of faith
reminds us that although
life's journey is filled
with challenges, we are
people of promise and
hope. Timeless in impact,
this sacred evergreen
will be a favorite with
your congregation.
Inspiring!
Cantata for the 10th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Paul Horn and Uwe Wolf.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Schauet Doch Und Sehet,
Ob Irgend Ein. Sacred
vocal music, Cantatas.
Full score. Composed
1723. BWV 46. 60 pages.
Duration 20 minutes.
Carus Verlag #CV
31.046/00. Published by
Carus Verlag
(CA.3104600).
ISBN
9790007042936. Key: D
minor. Language:
German/English.
The
opening chorus of the
cantata Schauet doch und
sehet (Look ye then and
see now) is one of those
movements by Bach which
are much better known in
their later guise: the
first part of it became
the Qui tollis of the
Mass in B minor. But this
movement is not the only
high point of the cantata
from Bach's earliest
Leipzig period. Both the
arias are also unusual: a
bass aria depicting God's
anger dramatically as a
thundering storm, with
strings and slide
trumpet, which gives the
movement a very special
colour through its
unexpected notes beyond
the instrument's natural
series, and an alto aria
with two recorders,
accompanied by just two
oboi da caccia in unison,
which take the role of
the continuo as little
basset instruments. Music
almost not of this world!
New revised edition.
SATB Choir (Mixed Choir) SKU: HL.14063892 Composed by John Tavener. Chora...(+)
SATB Choir (Mixed Choir)
SKU: HL.14063892
Composed by John Tavener.
Choral. Hymns & Chorals.
General Merchandise.
Composed 2013. 96 pages.
Duration 240 seconds.
Chester Music #CH81246R.
Published by Chester
Music (HL.14063892).
ISBN 9781785588341.
UPC: 840126939231.
6.75x9.75x0.304
inches.
This
album features 16
of John
Tavener's
anthems for SATB
choir.
Contents
include: 'A Christmas
Round', 'Advent
Antiphon', 'Agnus Dei',
'As one who has slept',
'Exhortation and Kohima',
'TheFounder’s
Prayer', 'God is with us
(A Christmas
Proclamation)', 'A Hymn
to the Mother of God',
'The Lamb', 'Mother of
God, here I stand', 'Nunc
dimittis', 'O that we
were there', 'Rocking',
'Song for Athene', 'Today
theVirgin' and 'What
God is, we do not
know'.
Looking Up Chorale SATB SATB, Piano St Rose Music Publishing
Choir, Piano Accompaniment (SATB Choir) SKU: HL.277282 SATB and Piano ...(+)
Choir, Piano
Accompaniment (SATB
Choir)
SKU:
HL.277282
SATB and
Piano Vocal Score.
Composed by Nico Muhly.
Music Sales America.
Classical. Softcover. 60
pages. St. Rose Music
#SRO10015201. Published
by St. Rose Music
(HL.277282).
UPC:
840126915006. 6.75x10.5
inches.
Program
note:
Looking Up
is a piece for large
chorus and orchestra, and
is in three sections,
played without pause. In
the 16th century, a
variety of psalters in
meter were printed in
England, with the idea of
making psalm-singing
something that could
happen easily at home,
with the rhyming meter
being an aid to
memorization. These
translations are
wonderful exercises in
brevity and sometimes
clumsy rhymemaking, and
were usually prefaced by
a lengthy explanation as
to their merits; the
title of one of the first
such volumes in English
is: The Psalter of Dauid
newely translated into
Englysh metre in such
sort that it maye the
more decently, and wyth
more delyte of the mynde,
be reade and songe of al
men. I thought it would
be appropriate to set one
of these introductions,
and the first section of
Looking Up sets the
preface to Thomas
Ravenscroft's psalter
(1621), in which he
writes: “The
singing of Psalmes (assay
the Doctors) comforteth
the sorrowfull, pacifieth
the angry, strengtheneth
the weake, humbleth the
proud, gladdeth the
humble, stirres up the
slow, reconcileth
enemies, lifteth up the
heart to heavenly things,
and uniteth the Creature
to his
Creator.”
It
begins meditatively, but
eventually grows agitated
and fervent, with a
vision of the
“quire of Angels
and Saints”
“redoubling
anddescanting” - an
ecstatic and terrifying
vision of the skies
opening up. Ravenscroft
then encourages the use
of instrumental musicfor
worship, at which point,
a long, acrobatic
orchestral interlude with
jagged edges antagonizes
the choir, who sing a
kind of private, anxious
meditation on two
pitches.
One of
the most delicious
biblical texts is an
Apocryphal prayer known
as the Benedicite or the
Prayer of the Three
Children (the same who
were rescued by an angel
after King Nebuchadnezzar
tried to have them burnt
in an oven for not bowing
to his image). The text
is repetitive, obsessive,
and a gift to composers -
each line is an
invocation of an element
of the natural world,
followed by the phrase,
“blesse ye the
Lord, praise him &
magnify him for
ever.” In Looking
Up, the setting begins
with three solo voices,
and then grows to include
the whole choir,
itemizing the whole of
creation. The idea that
these boys are spared
from the furnace and then
five minutes later are
saying, “O ye the
fire and warming heate,
blesse ye the
Lord...” has always
felt very loaded to me,
and the orchestra plays
with this conflict
between joyful praise and
a more terrible (in the
16th-century sense)
awefor the
divine.
The text
for the third, and
shortest, section is
taken from Christopher
Smart's (1722-1771) A
Song to David,
purportedly written
during his confinement in
a mental asylum. This ode
to King David points out
how David, as the author
of some of the Psalms,
observes the whole world
from the
“clustering
spheres” to the
“nosegay in the
vale.&rdquo.
By George Frideric Handel. For SATB Choir, Piano Accompaniment. Baroque, Sacred,...(+)
By George Frideric
Handel. For SATB Choir,
Piano Accompaniment.
Baroque, Sacred, Choral,
Religious. Sheet Music.
264 pages. 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.
SATB and Organ SKU: SU.80101463 For SATB and Organ. Composed by Ca...(+)
SATB and Organ
SKU:
SU.80101463
For
SATB and Organ.
Composed by Carson
Cooman. Vocal/Choral,
Sacred Choral. Choral
Octavo. Zimbel Press
#80101463. Published by
Zimbel Press
(SU.80101463).
O Lord, Support
Us (2015) is a setting of
a text from the Book of
Common Prayer: O Lord,
support us all the day
long, until the shadows
lengthen and the evening
comes, and the busy world
is hushed, and the fever
of life is over, and our
work is done. Then in thy
mercy grant us a safe
lodging, and a holy rest,
and peace at the last.
Instrumentation: SATB and
Organ Duration: 2'45
Composed: 2015 Published
by: Zimbel Press.
Chorale SATB SATB, Piano [Vocal Score] - Intermédiaire Schirmer
Composed by Felix Mendelssohn. For SATB and double SATB quartet solos, SATB choi...(+)
Composed by Felix
Mendelssohn. For SATB and
double SATB quartet
solos, SATB choir and
piano. Format: vocal
score. With choral
notation and piano
reduction. Romantic
period. Text language
English. 198 pages.
7x10.5 inches. Published
by Schirmer.
By Felix Bartholdy Mendelssohn (1809-1847). Edited by Alfred Dorffel. Arranged b...(+)
By Felix Bartholdy
Mendelssohn (1809-1847).
Edited by Alfred Dorffel.
Arranged by August Horn.
Choir and piano. For Solo
voices, SATB Choir,
Piano. This edition:
Paperback. Oratorio
(complete),
Transcriptions, Original
Works, Choral. Romantic
Period; Sacr. Large Vocal
Score. Romantic Period;
Sacred/Hymns, German.
SATB choir SKU: ST.EM27 Composed by Richard Carlton. Edited by Edmund H F...(+)
SATB choir
SKU:
ST.EM27
Composed by
Richard Carlton. Edited
by Edmund H Fellowes.
Library Volumes. Edited
Edmund Fellowes. Revised
Thurston Dart. Paperback.
Madrigals. Choral Score.
Stainer & Bell Ltd.
#EM27. Published by
Stainer & Bell Ltd.
(ST.EM27).
ISBN
9790220203428.
A
minor canon of Norwich
Cathedral, Carlton
belonged also to the
older generation of
madrigal composers,
particularly fond of the
'Byrd' or English cadence
of flat versus sharp
leading-notes. Although
he claims to have
laboured 'somewhat to
imitate the Italian
style', he admitted in
his preface, 'I cannot
forget that I am an
English man.'
CONTENTS All
creatures then
(SSATB) Calm was the
air (SSAT (or A) B)
Content thyself with thy
estate (SAATB) Even
as the flowers do wither
(SSATB) From stately
tower (SSATB) If
women can be courteous
(SSATB) Let every
sharp (SSATB) Like as
the gentle heart
(SSATB) Nought is on
earth (SSATB) Nought
under heaven (SSATB)
O vain desire (SSATB)
Sound saddest notes
(SSATB) So whilom
learned (SSATB) The
heathen Gods for love (SA
(or T) A (or T) BB)
The love of change
(SSATB) The self-same
things (SS (or A)
ATB) The witless boy
(SSATB) When Flora
fair (SSATB) Who
seeks to captivate
(SAATB) Who vows
devotion (SSATB) With
her sweet locks
(SSATB) Ye gentle
ladies (SSATB).