(A Medley of Waltzes Made Famous in Disney Films). Arranged by Greg Anderson. For Piano. This edition: Piano Duo (2 Pianos, 4 Hands). Book; Duet or Duo; Piano Duo (2 Pianos, 4 Hands). Anderson and Roe Duos and Duets. Form: Medley. Pop; Recital. Advanced. 28 pages. Published by Alfred Music Publishing

After the Duos for Violin and Viola K. 423, 424. By Wolfgang Amadeus Mozart. Edited by Berke, Dietrich. For Violin, Violoncello. Score; Set of Parts. Published by Baerenreiter-Ausgaben (German import).

(Bassoon Duet Two Performance Scores). By Thea Musgrave (1928-). For Bassoon Duet. Music Sales America. Softcover. Novello and Co Ltd. #NOV121693. Published by Novello and Co Ltd.

By Georg Philipp Telemann (1681-1767). Edited by Klaus Hofmann. For violin/basso continuo. This edition: Stapled, Urtext edition. Stapled. From Essercizii musici. Performance score, Set of parts. Language: German/English. TWV 41:F4, TWV 41:A6. 19/11/9 pages. Published by Baerenreiter Verlag

Including First Publication of Two Further Settings Mezzo-Soprano. Composed by Benjamin Britten (1913-1976). Boosey & Hawkes Voice. Classical. Softcover. 44 pages. Boosey & Hawkes #M060135347. Published by Boosey & Hawkes

SATB choir, assembly, organ accompaniment, 2 octaves handbells - Beginning

SKU: GI.G-8528

Revised Order of Mass 2010. Composed by John Lee. Arranged by James Biery. Ritual Prayer. Sacred. Octavo. 12 pages. GIA Publications #8528. Published by GIA Publications (GI.G-8528).

UPC: 785147852803. English. Text Source: Revised Order of Mass 2010.

This elegant arrangement of the “Gloria” from John Lee’s Congregational Mass by James Biery contains two settings of the simple repeated melody in a falsobordone style. In the first setting, unison verses alternate with harmonized verses. Cantor, choir, and congregation may sing this setting unaccompanied or organ can be added to support the choral harmonization. The alternate setting is designed for congregations that know this piece well. Unison verses featuring a contrasting organ harmonization are sung in response to each falsobordone choral verse. This classic through-composed Gloria is an essential addition to a well-rounded choral library.  Optional 2 octaves Handbells.

Handbook of classical-modern organ playing. Edited by Peter Wagner. Paperback. Performance scores, anthology. Published by Baerenreiter Verlag (BA.BA11238).

Designed specially for schools without an SATB choir, this collection contains 21 settings for unison and two-part voices. These arrangements, all compatible with The Novello Book Of Carols, are scored for tuned and untuned percussion, two melody parts, (each in C and B flat), guitar chords, bass line and simplified piano. These carols provide the ideal opportunity of junior and middle school choirs to join adult choirs in performance, whilst fulfilling the need for ensemble music throughout the year. Edited by William Llewellyn

SAB choir, cantor, priest, assembly, keyboard accompaniment, flute, trumpet in B-flat, trumpet in C, guitar - Early intermediate

SKU: GI.G-9664

Composed by Francis Patrick O'brien. This edition: Choral / Accompaniment edition. Mass. Sacred. With guitar chord names. 80 pages. GIA Publications #9664. Published by GIA Publications (GI.G-9664).

UPC: 785147966401. English, Greek, Latin. Text Source: Revised Order of Mass 2010, Lectionary for Mass

Francis Patrick O’Brien has written a new mass setting that speaks to the sensible and real needs of parish settings. Engaging congregational melodies are enhanced by simple—but never simplistic— SAB choral parts, both of which are supported by a versatile keyboard part. The instrumental parts for flute and trumpet may be used separately or together. Two settings of the Glory to God are included: a through-composed setting and a refrain setting.

Technique Takes Off! for Viola by Mary Cohen. For Viola. Book; String - Viola Studies or Collection; Technique Musicianship. Faber Edition. Published by Faber Music

By Jean-Philippe Rameau (1683-1764). Edited by Jean-Paul C. Montagnier; Sylvie Bouissou. For Low Voice, High Voice, Alto Solo, Violin 1 (Flute), Violin 2, Basso Continuo/ Bass Viola Da Gamba. Opera Omnia OOR III.1. Score; Set of Parts (paperbound). Published by Baerenreiter Verlag

Six Hymn Settings for Piano and Organ Duet. Composed by Darwin Wolford. This edition: 2 copies required. Organ Ensemble - Organ and Piano. H. W. Gray. Sacred. Sheet. 52 pages. Jubilate Music Group #00-GOPDM0201. Published by Jubilate Music Group

Choral TBB chorus

SKU: CF.CM9588

Composed by Tomas Luis de Victoria. Arranged by Jeb Mueller. Fold. Performance Score. 8 pages. Duration 1 minute, 59 seconds. Carl Fischer Music #CM9588. Published by Carl Fischer Music (CF.CM9588).

ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin.

Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller.
TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,” which sounds similar to the English words bought and got. The letter “t” should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s” should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.

Technique Takes Off! for Cello by Mary Cohen. For Cello. Book; String - Cello Studies or Collection; Technique Musicianship. Faber Edition. Intermediate. Published by Faber Music

Choral SATB choir (SATB choir)

SKU: HP.C5103

Composed by Christopher Delp and Matthew Glandorf. Piano Accompaniment. General Worship, Sacred. Octavo. 4 pages. Hope Publishing Company #C5103. Published by Hope Publishing Company (HP.C5103).

UPC: 763628151034. By Christopher Delp & Matthew Glandorf.

The Lord Bless You and Keep You by Christopher Delp & Matthew Glandorf Two settings of The Lord Bless You and Keep You, one unaccompanied and one with organ accompaniment.

By Lauren Bernofsky (1967-). For narration and string orchestra. FJH Beginning Strings. Full set (score and parts). Score only also available: ST6192S. Halloween. Grade 1. Score and set of parts. Composed 2009

By Timothy Loest. Arranged by Timothy Loest. FJH Starter Series. Full set (score and parts). Score only also available: S. Concert Band. Level: Grade 0.5. Score and Set of Parts. Composed 2004. Published by The FJH Music Company Inc.

Now thank we all our God. (No. 1 of Two Hymns of Praise). By John Rutter (1945-). For SATB choir and brass/orchestra (Brass: 4 trumpets, 2 trombones (or 2 horns), bass trombone, tuba (opt, ), timpani, percussion, organ; Orchestra: 2, 2, 2, 2-4, 4, 4, 1-timpani, percussion-organ-harp-str ings). Chamber/Ensemble. Miscellaneous. Set of brass parts. 60 pages. Duration 4'. Published by Oxford University Press

Composed by Katherine Hoover (1937-). Set of performance scores. 14 pages. Papagena Press #PP189. Published by Papagena Press (PR.PP189).