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You've selected:
Canon in F
Choral SATB
Sheetmusic to print
5 sheet music found
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1
IN THE BEGINNING WAS THE WORD (SSATB) – John 1:1-18
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Choral SATB
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INTERMEDIATE
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Sacred music
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Michael A
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IN THE BEGINNING WAS THE WORD
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926671 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 24 pages. M.A. Morizio #3588445...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926671 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 24 pages. M.A. Morizio #3588445. Published by M.A. Morizio (A0.926671). My dear friend, and Pastor Don Colageo and I cut our teeth together with this piece when we decided to dive headlong into this cycle of Seven Anthems to Christ. It was the second song of the (SEVEN ANTHEMS TO CHRIST) cycle that I had composed, but the first using his Greek translation(s). It eventually would become the last piece to grace the cycle of seven in order of my musical presentation sequence. In fact, this known 1st century Hymn to Christ spans 18 verses of the first chapter of the Gospel of John. My setting of the anthem is seven plus minutes long in performance length. The song's length was not on purpose, but the number seven does have Biblical significance (seven days of creation, seven golden lamp stands, etc.) The number seven is also known among Biblical scholars as the number of Holiness and Perfect Creation. Since this rather long, yet theologically complete Hymn to Christ already existed in the 1st century, it is no wonder the Apostle John opted to begin his Gospel with it, probably quoting the entire text. Consequently, he converted this particular Hymn to Christ’s lyrics into what would later become canonized Scripture. The anthem is composed for SSATB with solo SSA trio, and Solo Soprano and Solo Baritone lines, accompanied by Flute and B♠Clarinet. The key signature of the anthem is B♠Major. However, a lot of time is spent weaving and bobbing around the Dominant chord, (F Major). The Flute and Clarinet introduction play seven different motifs, interweaving with counterpoint, musically connoting the dual natures of Christ--fully God, and fully man. An SSA trio opens the piece recounting the creation story. A bass solo shortly follows, introducing John the baptizer's story and purpose. Soon, the anthem breaks out into full SSATB illustrating Christ's life and purpose for our salvation. The final coda is the great Doxology, sung in 5 parts, accompanied by the Flute and Clarinet, and the entire congregation (or audience) is invited to sing along with the familiar tune.
$2.99
God Be With You Till We Meet Again
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Choral SATB
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INTERMEDIATE
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Sacred music
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Jeremiah Rankin, Johann Pachel
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Mayim Stith
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God Be With You Till We Meet A
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Prairie Rose Press
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 3 - Digital Download SKU: A0.1413318 Composed by Jeremiah Rankin, Johann Pachelbel, and Mayim Stith. Arranged by ...
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Choral Choir,Choral,SATB Chorus - Level 3 - Digital Download SKU: A0.1413318 Composed by Jeremiah Rankin, Johann Pachelbel, and Mayim Stith. Arranged by Mayim Stith. A Cappella,Christian,Praise & Worship,Religious,Sacred. 8 pages. Prairie Rose Press #995200. Published by Prairie Rose Press (A0.1413318). This lovely 4-part arrangement of the classic hymn is the perfect way to end your religious service, concert, or special event! Invoking both Rankin's beloved hymn tune and Pachelbel's Canon in D, it shows off your choir's ability to balance contrasting rhythms and melodies. Send audiences home with a spring in their step and a song in their head with God Be With You Till We Meet Again!Looking for a digital download? Support the composer directly, and get this music at www.mayimstith.com/god-be-with-you-till-we-meet-again.Ranges:Soprano B3 - F#5Alto A3 - D5Tenor F#3 - A4Bass E2 (option for F#2 instead) - B3.
$2.50
I Heard Something (Revelation 19.6 WEB)
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Choral SATB
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EASY
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Chris Monteiro
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I Heard Something
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Christopher M. Monteiro
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.950766 Composed by Chris Monteiro. Christian,Sacred,Spiritual. Octavo. 10 pages. Christopher M. ...
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.950766 Composed by Chris Monteiro. Christian,Sacred,Spiritual. Octavo. 10 pages. Christopher M. Monteiro #3365211. Published by Christopher M. Monteiro (A0.950766). I heard something like the voice of a great multitude, and like the voice of many waters, and like the voice of mighty thunders, saying, Hallelujah! For the Lord our God, the Almighty, reigns! This lively and majestic canon is a fanfare for the great wedding of the Lamb and His bride. In a B-flat Mixolydian Mode for SATB Choir, it has been fashioned to help you internalize God’s Word. The range of the canon melody for sopranos and altos is from B-flat below Middle C to the 2nd D above Middle C. For tenors and basses, the canon melody is one octave lower. Each of the voices splits into two parts in the final measures, the 1st sopranos ending on the 2nd F above Middle C. The text of this song is from The World English Bible (WEB), a Public Domain (no copyright) Modern English translation of the Holy Bible based on the American Standard Version of the Holy Bible first published in 1901, the Biblia Hebraica Stutgartensa Old Testament, and the Greek Majority Text New Testament.
$3.99
Love Came Down at Christmas (SATB version)
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Choral SATB
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INTERMEDIATE
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Robert A
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Love Came Down at Christmas
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Robert A. Howard
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1398861 Composed by Robert A. Howard. 21st Century,A Cappella,Advent,Christmas,Classical....
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Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1398861 Composed by Robert A. Howard. 21st Century,A Cappella,Advent,Christmas,Classical. 8 pages. Robert A. Howard #982133. Published by Robert A. Howard (A0.1398861). This work is an unaccompanied choral setting of the famous poem by Christina Rossetti. It features a 3-verse structure (mirroring the text), with coda. The piece builds in textural complexity and density throughout, as an attempt to depict the increasing sense of abundant love, referred to in the text. The main melodic material is deliberately simple and rather folk/chant-like. This essentially appears as a single line in the first verse, becoming a two-part canon (by one bar) in the second verse, and finally a four-part canon (by half a bar) in the third verse. The imitative coda leads to ultimate resolution on an F major chord at the end. The work is highly accessible, and is designed for performance by good SATB choirs, able to effectively sustain such unaccompanied singing. Versions for SA choir, and for solo voice (both unaccompanied), are also available from Sheet Music Plus.Duration: 3 minutes.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk
$3.99
Rain Down (Downloadable)
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Choral SATB
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INTERMEDIATE
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Elena Ruehr
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Rain Down
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
SATB choir (choir divisi) and piano - Medium - Digital Download SKU: MQ.6475-E Composed by Elena Ruehr. 29 pages. E. C. Schirmer Music Company - Digital ...
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SATB choir (choir divisi) and piano - Medium - Digital Download SKU: MQ.6475-E Composed by Elena Ruehr. 29 pages. E. C. Schirmer Music Company - Digital #6475-E. Published by E. C. Schirmer Music Company - Digital (MQ.6475-E). English.Rain Down was written during the summer of 1989 as a work that could be performed by a good amateur choir. This piece is made of a continuous seven note pattern repeated within an eight beat structure. A floating quarter note syncopates and displaces the pattern within the measure. The pattern is transformed by a variety of musical operations, including octave doublings, register changes, and canons between the hands. The original pitches (A, D, G, C, E, F#, Bb) undergo transposition, inversion, retrograde, and retrograde inversion, occasionally with two forms of the pattern occurring at the same time. In addition, the pattern is truncated in the middle of the piece, and repeats every four eighth notes rather than every eight.The structure of the choral entrances is also based on the pattern. Each voice enters at the same time and on the same pitch as that played by the piano. Monophonic lines, homophony, counterpoint, and imitation are created from the basic structure of the pattern. Even when the piano is absent, the structure of the pattern controls the entrances of the voices. Mary Ellen Solt’s rain down is an example of concrete poetry. Its gradually changing repetitive patterns inspired the form of the music. Duration: 8:00.
$3.25
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