By Scarlatti Haydn. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 2500 pages. Published by Subito Music.

Voice/instrument/basso continuo (voices, Instruments, Continuo)

SKU: BA.BA03669

12 Deutsche Konzerte (Nr. 1-12) für 1 Vokal-, 2 Instrumental-Stimmen und Basso continuo. Composed by Heinrich Schutz. Edited by Werner Bittinger. This edition: complete edition, urtext edition. Linen. Heinrich Schutz. Neue Ausgabe samtlicher Werke 15. Kirchenmusik, Fruhbarock (Sacred Music, Early Baroque). Complete edition, Score, anthology. Composed 1647. SWV 341-352. Baerenreiter Verlag #BA03669_00. Published by Baerenreiter Verlag (BA.BA03669).

ISBN 9790006438327. 27.3 x 19.9 cm inches.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Organ

SKU: GH.LUN-570-3407

Composed by Alb. Wideman. Gehrmans Musikforlag #LUN 570 3407. Published by Gehrmans Musikforlag (GH.LUN-570-3407).

35 Preludier for orgel.

Composed by Franz Joseph Haydn (1732-1809). Collection for solo piano. 234 pages. Published by Dover Publications.

By Hal H. Hopson. For Cantor/Unison or SATB voices, Congregation, and Keyboard, with opt. Children's Choir, Handbells, C Instrument, Hand Drums and Tambourine. Sacred. Moderately Easy. Songbook and CD-ROM. 301 pages

SKU: CA.5023400

Composed by Josef Gabriel Rheinberger. Edited by Dorothee Gobel. This edition: Linen cover, Complete edition. Josef Gabriel Rheinberger - Complete Works. German title: Klavierwerke Zu 2 Handen I (Ln). Josef Gabriel Rheinberger. Complete Works. Full score (complete edition / selected edition). 176 pages. Carus Verlag #CV 50.234/00. Published by Carus Verlag (CA.5023400).

ISBN 9790007087517.

By Edvard Grieg. Edited by Urtext. For piano. Op.17,34,35,37,40,46,50,5 3,55,56,63,66. Published by C.F. Peters.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.YAS176

Composed by Johann Pachelbel. Arranged by Larry Clark. SWS FS. Young String Orchestra. Set of Score and Parts. With Standard notation. 16+16+2+5+5+3+5+12 pages. Duration 2 minutes, 34 seconds. Carl Fischer Music #YAS176. Published by Carl Fischer Music (CF.YAS176).

ISBN 9781491146569. UPC: 680160904068. 9 x 12 inches. Key: G major.

This triumphant work by composer Alan Lee Silva will be a perfect selection for your next contest or festival performance. Atlantic Crossing contains all the signature flowing lines and warm harmonies that have made Silva's music so popular and fresh.
A joyous journey across the ocean begins in the opening measures, featuring triumphant violins and violas and accented cellos and basses. After the celebratory introduction, Atlantic Crossing comes down in dynamics and transitions to the lyrical A melody in the violins (m. 9) and continues with an AAB form.The violas take over with the flowing B-theme in m. 17 as the rest of the ensemble accompanies the tune with lush harmonies at a lower dynamic. A two-measure build in mm. 24-25 with ascending violins leads back to a reprise of the powerful introductory statement where the ensemble plays full-out with precise articulations and accents. A two-measure interlude in mm. 34-35 slows the energy down to return to the legato A-theme in the violins and violas. Violas carry the B-theme once again in m. 44 with syncopated and accented answer motifs in the violins. The key center shifts at m. 53, and the violins play the melody in a legato interpretationof the introductory theme. The rest of the group plays their accompaniment figures smoothly and expressively underneath. After the molto ritardando at m. 61, the piece returns to the original key center of G. From there the group plays with driving energy as before in the introduction to the final punctuated note in m. 76.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

Composed by Dmitri Kabalevsky (1904-1987). Edited by Richard Walters. Schirmer Performance Editions. Softcover. 28 pages. Published by G. Schirmer

Composed by John Corigliano (1938-). For string quartet. Format: full score (parts not included). With program notes. 20th century. 34 pages. 9x12 inches. Published by Schirmer.

4Ch (Choirs (4)) - Level 3

SKU: BA.BA05920

Psalm 111 no. 13. Composed by Heinrich Schutz. Edited by Wilhelm Ehmann. Arranged by Heinrich Ehmann. This edition: urtext edition. Stapled. From Psalmen Davids. Choral score. SWV 34. 35 pages. Baerenreiter Verlag #BA05920_00. Published by Baerenreiter Verlag (BA.BA05920).

ISBN 9790006474363. 27 x 19 cm inches.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 3 trumpets, timpani, 2 violins, viola, basso continuo

SKU: CA.3101111

Ascension oratorio. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Himmelfahrtsoratorium. Innovative practice aids, Sacred vocal music, Cantatas, Oratorios, Ascension. Single Part, Violin 1. Composed 1735. BWV 11. 12 pages. Duration 32 minutes. Carus Verlag #CV 31.011/11. Published by Carus Verlag (CA.3101111).

ISBN 9790007042035. Key: D major. Language: German.

Besides the Weihnachtsoratorium BVW 248, Bach composed an additional work for the feast days of the church year 1734/35: The Himmelfahrtsoratorium BWV 11 (Ascension Oratorio). Although in its dimensions and character the oratorio is akin to his cantatas, it occupies a special position as a result of the epic text on which it is based; the text includes a biblical story. In particular, the festive atmosphere and instrumentation of the opening and closing choruses mirror the triumphant joy of Christ's ascension. This is a new edition in the Stuttgart Bach Editions series, edited by Ulrich Leisinger. Score and part available separately - see item CA.3101100.

By Akers, Doris. Arranged by Joel Raney. (SATB). Gathering, Holy Spirit, Pentecost and Sacred. Print Music Single (SATB). 8 pages. Published by Hope Publishing Company.

Choir - easy

SKU: JK.02015

Christian, Contemporary Christian, Gospel, Inspirational. Jackman Music Corporation #02015. Published by Jackman Music Corporation (JK.02015).

UPC: 093285020153.

This book is the ultimate resource for music leaders teaching the primary song Do Unto Others. The included activities are suggestions that will engage children while reinforcing the Golden Rule, as taught by the Savior in the scriptures: Therefore all things whatsoever ye would that men should do to you, do ye even so to them.


Contents include:
Do Unto Others Sheet Music
Caterpillar Reference Sheet
Caterpillar Cutouts
Scripture Visual Aid
Caterpillar Extras
Shower Down Kindness Activity
Also Available: the Do Unto Others for Children's Chorus stand-alone sheet music.
The sheet music for Do Unto Others is included in this Song Kit*


Composers : Barry Gibbons and Bryce Neubert
Arrangers: Barry, Grant, and Michael Gibbons
Difficulty: Easy
Scripture References: 3 Nephi 14: 12; Matthew 7:12; John 13:34-35; Doctrine and Covenants 38:24.

SKU: CA.2901200

Composed by Helmut Bornefeld. This edition: Paperbound. Hymns by Martin Luther: Ausgaben mit mehreren Luther-Liedern. German title: Musik fur Blechblaser. Sacred vocal music. Full score. 48 pages. Carus Verlag #CV 29.012/00. Published by Carus Verlag (CA.2901200).

ISBN 9790007102135.

Flute and piano

SKU: M7.DOHR-16442

Composed by Sergej Wassiljewitsch Rachmaninow. Arranged by Wolfgang Birtel. Sheet music. Score and part. Op.34/14. 12 pages. MDS (Music Distribution Services) #DOHR 16442. Published by MDS (Music Distribution Services) (M7.DOHR-16442).

ISBN 9790202034422.

Composed by Julian Wachner (1969-). Advanced/Collegiate. Catholic Year A The Nativity of Our Lord. Christmas, 21st Century. Octavo. Duration 3 minutes, 35 seconds. Published by E.C. Schirmer Publishing (EC.6955).

Orchestra (Fl, Ob, clarinet, bassoon, 2 Hn, 2 Trp, timpani, percussion, harp, Str)

SKU: BA.TP00260

Composed by Reinhard Schwarz-Schilling. Stapled. Barenreiter Study Scores. Study score. Composed 1934/1935. Duration 33 minutes. Baerenreiter Verlag #TP00260_00. Published by Baerenreiter Verlag (BA.TP00260).

ISBN 9790006202287. 18.5 x 13.5 cm inches.

(BWV 233, 234, 235, 236). By Johann Sebastian Bach (1685-1750). Edited by Emil Platen; Marianne Helms. For Soli, Choir, Orchestra. Neue Bach-Ausgabe. Serie II, Band 2. Critical Commentary; Complete Edition (cloth bound). Published by Baerenreiter Verlag

Eulenburg Audio Score Series. By George Frideric Handel. This edition: EAS124. Eulenburg Audio Score (Pocket Scores CD). Study score and CD. 134 pages. Published by Eulenburg.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.YAS178F

Composed by Ruth Elaine Schram. Young String Orchestra (YAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #YAS178F. Published by Carl Fischer Music (CF.YAS178F).

ISBN 9781491151808. UPC: 680160909308. 9 x 12 inches.

The title of this piece,?Le Printemps,?is French for the springtime. This piece brings images of springtime to the listener's mind. ?The rhythmic pattern that begins in the bass and works its way up to the violins illustrates the patter of raindrops or of flowers bursting into bloom. The beautiful melodies in the piece engage players and audiences.
The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listeners mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp< /em>) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 2528, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.
The title Le PrintempsA is French for athe springtime.a This piece is meant to bring images of springtime to the listeneras mind. A The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp< /em>) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25a28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. A Enjoy Le Printemps!.
The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp< /em>) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.
The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.
The title Le Printemps is French for “the springtime.” This piece is meant to bring images of springtime to the listener’s mind.  The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit.The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25–28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments.At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note.  Enjoy Le Printemps!

By Heinrich Schutz (1585-1672). Edited by Werner Bittinger. For 2 soprano voice solos, tenor voice solo, 2 violins, basso continuo. This edition: Stapled. Zwei Deutsche Konzerte Nr. 14 und 15 aus 'Symphoniae sacrae II'. Performance score, Vocal score, Set of parts. SWV 354, 355. Published by Baerenreiter Verlag

Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Friedrich Schnapp. For cello/contrabass. This edition: Urtext edition. Stapled. Single part. KV 338, No. 34. 8 pages. Published by Baerenreiter Verlag