| On Hallowed Ground (Shepherds Gather) Chorale SATB SATB, Piano Hal Leonard
By Michael K. Runyan, Pamela G. Runyan. (SATB). Creating Artistry. Size 6.75x10...(+)
By Michael K. Runyan,
Pamela G. Runyan.
(SATB). Creating
Artistry. Size 6.75x10.5
inches. 11 pages.
Published by Hal Leonard.
$1.60 $1.52 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Emmanuel (Hallowed Manger Ground) (Orchestration) Chorale SATB Lillenas Publishing Co.
SATB choir - Moderate SKU: LP.765762174207 Composed by Chris Tomlin & Ed ...(+)
SATB choir - Moderate
SKU:
LP.765762174207
Composed by Chris Tomlin
& Ed Cash. Arranged by
Gary Rhodes & Tim Cates.
Anthems. Praise & Worship
and Sacred. CD-ROM
orchestration. Published
by Lillenas Publishing
Company
(LP.765762174207).
UPC:
765762174207. Easy-
to-learn melody and
accessible choral writing
make this new offering
from popular solo artist
Chris Tomlin and arranger
Gary Rhodes a perfect
addition to the Christmas
choral repertoire of any
church. Gentle and
reverent with a sensitive
artistic touch this new
classic is sure to carry
listeners to a place of
worship at that hallowed
manger ground.
Instrumentation: Flute 1
& 2 Oboe Clarinet Horn 1
& 2 Trumpet 1 Trumpet 2 &
3 Trombone 1 & 2 Trombone
3/Tuba Percussion Rhythm
Harp Violin 1 & 2 Viola
Cello String Bass
Substitute
Instrumentation: Keyboard
String Reduction; Soprano
Sax (sub for Oboe); Alto
Sax 1 & 2 (sub for Horn 1
& 2); Baritone T.C./Tenor
Sax (sub for Trombone 1 &
2); Baritone Sax (sub for
Trombone 3/Tuba);
Bassoon/Bass Clarinet
(sub for Cello). $74.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Spotless Rose. SATB Chorale SATB Stainer and Bell
SATB choir SKU: ST.CN28P Composed by Ronald Corp. This PRINTED version is...(+)
SATB choir SKU:
ST.CN28P Composed by
Ronald Corp. This PRINTED
version is available to
purchase as a regular
sheet music title for
delivery by post. Octavo.
Stainer & Bell Ltd.
#CN28P. Published by
Stainer & Bell Ltd.
(ST.CN28P). ISBN
9790220225536. Both
as composer and
conductor, Ronald Corp is
steeped in the English
choral tradition, and in
A Spotless Rose he has
traversed by his own path
the hallowed ground of
words immortalised by
Herbert Howells. Corp's
own music, chordal yet
contrapuntal, and
likewise redolent in its
modality of a distant
past 'of ancient seers'
foreshowing', flows
smoothly in flexible
rhythm, each voice a
shapely strophic melody.
Mindful of the famous
close of Howells's
setting, Corp concludes
with an exquisite ending
all of his own. A
Spotless Rose was
written for the Highgate
Choral Society, who gave
the world premiere on 2
December 2017 at St
Michael's Church,
Highgate. $5.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Songs for Praise and Worship Piano, Voix et Guitare Hal Leonard
(253 of the finest praise and worship songs). Composed by Various. For voice, pi...(+)
(253 of the finest praise
and worship songs).
Composed by Various. For
voice, piano and guitar
(chords only). Sacred
Folio. Gospel and
Worship. Difficulty:
medium. Songbook (spiral
bound). Vocal melody,
piano accompaniment,
lyrics and chord names.
420 pages. Hal Leonard
#080689006395. Published
by Hal Leonard
$34.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Hymn Fake Book - C Edition
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pre-Reading Book of Christmas Praise Piano seul - Débutant Alfred Publishing
11 Arrangements for Beginning Pianists. Arranged by Gayle Kowalchyk and E. L. ...(+)
11 Arrangements for
Beginning
Pianists. Arranged by
Gayle
Kowalchyk and E. L.
Lancaster. Book; Piano
Collection; Piano
Supplemental. Christmas;
Contemporary Christian;
Sacred; Winter. 32 pages.
Published by Alfred Music
$8.99 $8.5405 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 100 Most Beautiful Christmas Songs Piano, Voix et Guitare - Intermédiaire Hal Leonard
By Various. Piano/Vocal/Guitar Songbook. Softcover. 400 pages. Published by H...(+)
By Various.
Piano/Vocal/Guitar
Songbook.
Softcover. 400 pages.
Published by Hal Leonard
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Christian Hits for Christmas Piano seul - Intermédiaire Alfred Publishing
24 Contemporary Christian Arrangements Celebrating the Birth of Jesus. Arranged ...(+)
24 Contemporary Christian
Arrangements Celebrating
the Birth of Jesus.
Arranged by Melody Bober.
Book; Piano Collection;
Piano Supplemental.
Sacred Performer
Collections. Christmas;
Contemporary Christian;
Sacred; Winter. 76 pages.
Published by Alfred Music
$15.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hallowed Manger Ground (Stereo CD) Chorale SATB Lillenas Publishing Co.
SATB choir SKU: LP.765762162624 A Christmas Musical for Every Choir(+)
SATB choir SKU:
LP.765762162624 A
Christmas Musical for
Every Choir. Composed
by Various. Arranged by
Gary Rhodes & Cliff
Duren. Choral. Excel
Series. Sacred. Stereo
CD. Published by Lillenas
Publishing Company
(LP.765762162624).
UPC:
765762162624. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| ChordBuddy Guitar Method - Christmas Songbook Paroles et Accords Hal Leonard
| | |
| Emmanuel (Hallowed Manger Ground) - CD ChoralTrax CD Chorale Word Music
SKU: WD.080689766329 Composed by Dave Williamson. Choral. Sacred Anthem, ...(+)
SKU:
WD.080689766329
Composed by Dave
Williamson. Choral.
Sacred Anthem, Christmas.
CD choraltrax. Word Music
#080689766329. Published
by Word Music
(WD.080689766329).
UPC:
080689766329. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Emmanuel (Hallowed Manger Ground) [CD d'accompagnement] Lillenas Publishing Co.
By Gary Rhodes. Anthems. Praise and Worship. Stereo and Split-Channel Accompanim...(+)
By Gary Rhodes. Anthems.
Praise and Worship.
Stereo and Split-Channel
Accompaniment CD with
Demo
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Season of Joy - A Celtic Celebration (choral book) Chorale SATB Word Music
By Daniel Semsen. For SATB choir with optional children's voices. Moderate. Chor...(+)
By Daniel Semsen. For
SATB choir with optional
children's voices.
Moderate. Choral score.
Duration 50 minutes.
Published by Word Music
$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hallowed Manger Ground (Stereo & Split-Channel Accompaniment CD) Chorale SATB Lillenas Publishing Co.
SATB choir SKU: LP.765762162921 A Christmas Musical for Every Choir(+)
SATB choir SKU:
LP.765762162921 A
Christmas Musical for
Every Choir. Composed
by Various. Arranged by
Gary Rhodes & Cliff
Duren. Choral. Excel
Series. Sacred. Stereo &
split-channel
accompaniment CD.
Published by Lillenas
Publishing Company
(LP.765762162921).
UPC:
765762162921. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| All the Best Songs for Easy Guitar Guitare Lillenas Publishing Co.
(75 Hymns and Choruses). By David Winkler. String ensemble. For medium voice, gu...(+)
(75 Hymns and Choruses).
By David Winkler. String
ensemble. For medium
voice, guitar. Easy.
Published by Lillenas
Publishing Company
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Season of Joy - A Celtic Christmas Celebration - Bulk CD (10-pak) Chorale SATB Word Music
SATB choir with optional children's voices - moderate SKU: WD.080689764721(+)
SATB choir with optional
children's voices -
moderate SKU:
WD.080689764721
Composed by Daniel
Semsen. Choral, cantatas.
Bulk CD (10-pak).
Duration 50 minutes. Word
Music #080689764721.
Published by Word Music
(WD.080689764721).
UPC:
080689764721. Combi
ning the passion of
Celtic musical traditions
and the joyous
celebration of Christ's
birth, Season of Joy
offers a spectacular
collection of new and
beloved seasonal songs
that will perfectly
complement any Christmas
program. Acclaimed
arranger/orchestrator
Daniel Semsen has
brilliantly married
traditional Celtic
instrumentation with a
vibrant contemporary
sound. Featuring four new
songs by Keith and
Kristyn Getty, this
one-of-a-kind musical
combines such Irish
classics as The Wexford
Carol with exciting new
Celtic-inspired
arrangements of Chris
Tomlin's Emmanuel
(Hallowed Manger Ground)
and Travis Cottrell's
Jesus Saves. A standout
offering is the stunning
overture, which features
fiddles, penny whistles
and bagpipes. No less
than one dozen familiar
carols artfully weave
their way through the
work, inviting your
congregation to fully
join the celebration. Two
optional narrations, a
sequence of dramatic
readings and production
notes by Deborah
Craig-Claar have also
been provided, allowing
you to customize the work
to your presentational
needs. This year, share
the Season of Joy with
your choir, your church
and your community. $69.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Season of Joy - A Celtic Christmas Celebration - Bulletins (100-pak) Chorale SATB Word Music
SATB choir with optional children's voices - moderate SKU: WD.080689383779(+)
SATB choir with optional
children's voices -
moderate SKU:
WD.080689383779
Composed by Daniel
Semsen. Choral, cantatas.
Bulletins (100-pak).
Duration 50 minutes. Word
Music #080689383779.
Published by Word Music
(WD.080689383779).
UPC:
080689383779. Combi
ning the passion of
Celtic musical traditions
and the joyous
celebration of Christ's
birth, Season of Joy
offers a spectacular
collection of new and
beloved seasonal songs
that will perfectly
complement any Christmas
program. Acclaimed
arranger/orchestrator
Daniel Semsen has
brilliantly married
traditional Celtic
instrumentation with a
vibrant contemporary
sound. Featuring four new
songs by Keith and
Kristyn Getty, this
one-of-a-kind musical
combines such Irish
classics as The Wexford
Carol with exciting new
Celtic-inspired
arrangements of Chris
Tomlin's Emmanuel
(Hallowed Manger Ground)
and Travis Cottrell's
Jesus Saves. A standout
offering is the stunning
overture, which features
fiddles, penny whistles
and bagpipes. No less
than one dozen familiar
carols artfully weave
their way through the
work, inviting your
congregation to fully
join the celebration. Two
optional narrations, a
sequence of dramatic
readings and production
notes by Deborah
Craig-Claar have also
been provided, allowing
you to customize the work
to your presentational
needs. This year, share
the Season of Joy with
your choir, your church
and your community. $25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hallowed Manger Ground (Accompaniment CD-Click) Chorale SATB Lillenas Publishing Co.
SATB choir SKU: LP.765762163126 A Christmas Musical for Every Choir(+)
SATB choir SKU:
LP.765762163126 A
Christmas Musical for
Every Choir. Composed
by Various. Arranged by
Gary Rhodes & Cliff
Duren. Choral. Excel
Series. Sacred.
Accompaniment CD.
Published by Lillenas
Publishing Company
(LP.765762163126).
UPC:
765762163126. $199.99 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Season of Joy - A Celtic Christmas Celebration - Orchestration Chorale SATB Word Music
SATB choir with optional children's voices - moderate SKU: WD.080689482670(+)
SATB choir with optional
children's voices -
moderate SKU:
WD.080689482670
Composed by Daniel
Semsen. Choral, cantatas.
Eastertide.
Orchestration. Duration
50 minutes. Word Music
#080689482670. Published
by Word Music
(WD.080689482670).
UPC:
080689482670. Combi
ning the passion of
Celtic musical traditions
and the joyous
celebration of Christ's
birth, Season of Joy
offers a spectacular
collection of new and
beloved seasonal songs
that will perfectly
complement any Christmas
program. Acclaimed
arranger/orchestrator
Daniel Semsen has
brilliantly married
traditional Celtic
instrumentation with a
vibrant contemporary
sound. Featuring four new
songs by Keith and
Kristyn Getty, this
one-of-a-kind musical
combines such Irish
classics as The Wexford
Carol with exciting new
Celtic-inspired
arrangements of Chris
Tomlin's Emmanuel
(Hallowed Manger Ground)
and Travis Cottrell's
Jesus Saves. A standout
offering is the stunning
overture, which features
fiddles, penny whistles
and bagpipes. No less
than one dozen familiar
carols artfully weave
their way through the
work, inviting your
congregation to fully
join the celebration. Two
optional narrations, a
sequence of dramatic
readings and production
notes by Deborah
Craig-Claar have also
been provided, allowing
you to customize the work
to your presentational
needs. This year, share
the Season of Joy with
your choir, your church
and your community. $399.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Emmanuel Has Come (Book) Chorale Unison Unison/2-parties, Piano - Facile Lillenas Publishing Co.
Unison/2-part choir - Easy SKU: LP.9780834179011 A Christmas Worship P...(+)
Unison/2-part choir -
Easy SKU:
LP.9780834179011 A
Christmas Worship
Presentation in
Unison/2-Part.
Arranged by Various. This
edition: Paperback.
Musical. Worship in
Unison. Adult Christmas
Musical; Collection for
choir, congregation,
and/or ensemble. Sacred.
Choral score. Duration 20
minutes. Published by
Lillenas Publishing
Company
(LP.9780834179011).
ISBN
9780834179011. Five
songs, arranged for
unison or easy two part
harmonies by some of the
best arrangers and
orchestrators in the
business, all tied
together with well-placed
narration, make for a
complete Christmas
mini-musical that will
fit nicely into any
worship serv. $5.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Christmas Family Songbook
Piano, Voix et Guitare Alfred Publishing
(Over 100 Favorites for Piano and Sing-Along (Piano/Vocal/Guitar)). Composed by ...(+)
(Over 100 Favorites for
Piano and Sing-Along
(Piano/Vocal/Guitar)).
Composed by various
composers and arrangers.
For Guitar; Keyboard;
Piano; Voice. This
edition: Hardcover
Piano/Vocal/Guitar Book
and DVD-ROM. Book; DVD;
P/V/C Mixed Folio;
Piano/Vocal/Chords;
Sing-Along. Christmas;
Sacred; Secular;
Traditional; Winter. 264
pages. Published by
Alfred Music
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 100 Most Beautiful Christmas Songs Hal Leonard
Electronic Keyboard; Piano/Keyboard SKU: HL.348318 E-Z Play Today #53<...(+)
Electronic Keyboard;
Piano/Keyboard SKU:
HL.348318 E-Z Play
Today #53. Composed
by Various. E-Z Play
Today. Christmas.
Softcover. 352 pages.
Published by Hal Leonard
(HL.348318). ISBN
9781540097347. UPC:
840126930009.
9.0x12.0x0.731
inches. A giant
Christmas collection with
easy-to-read and play
arrangements for all
keyboardists! E-Z Play
Today songbooks feature
simple arrangements with
authentic-sounding chords
and melody lines with a
minimum number of page
turns. The books also
include lyrics for
ultimate playing and
sing-along enjoyment.
This collection features
a variety of holiday
favorites, including:
Baby, It's Cold Outside
• The Christmas
Shoes • The
Christmas Song (Chestnuts
Roasting on an Open Fire)
• Christmas Time Is
Here • Do You Hear
What I Hear • Have
Yourself a Merry Little
Christmas • I'll Be
Home for Christmas
• The Little
Drummer Boy • Mary,
Did You Know? •
Merry Christmas, Darling
• O Holy Night
• Silver Bells
• Ukrainian Bell
Carol • White
Christmas • and
many more! Over 300
pages!
About Hal
Leonard E-Z Play
Today For
organs, pianos, and
electronic keyboards. E-Z
Play Today is the
shortest distance between
beginning music and
playing fun. Now there
are more than 300 reasons
why you should play E-Z
Play Today. * World's
largest series of music
folios * Full-size books
- large 9 x 12 format
features easy-to-read,
easy-to-play music *
Accurate arrangements...
simple enough for the
beginner, but accurate
chords and melody lines
are maintained *
Eye-catching, full-color
covers * Lyrics... most
arrangements include
words and music * Most
up-to-date registrations
- books in the series
contain a general
registration guide, as
well as individual song
rhythm suggestions *
Guitar Chord Chart - all
songs in the series can
also be played on
guitar. $27.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hallowed Manger Ground (Rehearsal Cds - SATB) Chorale SATB Lillenas Publishing Co.
SATB choir SKU: LP.765762162822 A Christmas Musical for Every Choir(+)
SATB choir SKU:
LP.765762162822 A
Christmas Musical for
Every Choir. Composed
by Various. Arranged by
Gary Rhodes & Cliff
Duren. Choral. Excel
Series. Sacred. Rehearsal
CDs. Published by
Lillenas Publishing
Company
(LP.765762162822).
UPC:
765762162822. $60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Season of Joy - A Celtic Christmas Celebration - Stem Mixes Word Music
SKU: WD.080689865428 Composed by Daniel Semsen. Choral, cantatas. Christm...(+)
SKU:
WD.080689865428
Composed by Daniel
Semsen. Choral, cantatas.
Christmas. Stem mixes.
Word Music #080689865428.
Published by Word Music
(WD.080689865428).
UPC:
080689865428. Combi
ning the passion of
Celtic musical traditions
and the joyous
celebration of Christ's
birth, Season of Joy
offers a spectacular
collection of new and
beloved seasonal songs
that will perfectly
complement any Christmas
program. Acclaimed
arranger/orchestrator
Daniel Semsen has
brilliantly married
traditional Celtic
instrumentation with a
vibrant contemporary
sound. Featuring four new
songs by Keith and
Kristyn Getty, this
one-of-a-kind musical
combines such Irish
classics as The Wexford
Carol with exciting new
Celtic-inspired
arrangements of Chris
Tomlin's Emmanuel
(Hallowed Manger Ground)
and Travis Cottrell's
Jesus Saves. A standout
offering is the stunning
overture, which features
fiddles, penny whistles
and bagpipes. No less
than one dozen familiar
carols artfully weave
their way through the
work, inviting your
congregation to fully
join the celebration. Two
optional narrations, a
sequence of dramatic
readings and production
notes by Deborah
Craig-Claar have also
been provided, allowing
you to customize the work
to your presentational
needs. This year, share
the Season of Joy with
your choir, your church
and your community. $239.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sunday Morning Christmas Praise Companion Piano seul - Intermédiaire Alfred Publishing
31 Arrangements of Christmas Praise Songs. Arranged by Victor Labenske. Book; ...(+)
31 Arrangements of
Christmas
Praise Songs. Arranged by
Victor Labenske. Book;
Piano
Collection; Piano
Supplemental. Sacred
Performer Collections.
Christmas; Contemporary
Christian; Sacred;
Winter.
128 pages. Published by
Alfred Music
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hallowed Manger Ground (Orchestration - CD-Rom) Chorale SATB Lillenas Publishing Co.
SATB choir SKU: LP.765762214804 A Christmas Musical for Every Choir(+)
SATB choir SKU:
LP.765762214804 A
Christmas Musical for
Every Choir. Composed
by Various. Arranged by
Gary Rhodes & Cliff
Duren. Choral. Excel
Series. Sacred.
Orchestration on CD-ROM.
Published by Lillenas
Publishing Company
(LP.765762214804).
UPC:
765762214804. $350.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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