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Folk For Strings
Choral SATB
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5 sheet music found
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1
Broken Strings
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Choral SATB
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INTERMEDIATE
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James Morrison
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Robert Shellard
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Broken Strings
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Robert Shellard
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 3 - Digital Download SKU: A0.1475306 By James Morrison. By Frasier Smith, James Morrison, and Nina Woodford. Arra...
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Choral Choir,Choral,SATB Chorus - Level 3 - Digital Download SKU: A0.1475306 By James Morrison. By Frasier Smith, James Morrison, and Nina Woodford. Arranged by Robert Shellard. A Cappella,Folk,Pop,Singer/Songwriter. 14 pages. Robert Shellard #1052849. Published by Robert Shellard (A0.1475306). This James Morrison and Nelly Furtado ballad will be perfect for your a cappella group! Feature a tenor and treble soloist, with minimal divisi on an SATB arrangement, it's perfect for a growing program. Lots of aural candy sprinkled throughout allows for your audience to remain surprised throughout the performance. Originally arranged for ICCA finalists, UIUC No Comment A Cappella.
$3.99
Missa Solemnis, op. 27 (vocal score)
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Choral SATB
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ADVANCED
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adr...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99
Run Boy Run
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Choral SATB
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INTERMEDIATE
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Ambroise Willaume and Yoann Le
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Michelle Tolvo-Chan
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Run Boy Run
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MTC
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1262230 Composed by Ambroise Willaume and Yoann Lemoine. Arranged by Michelle Tolvo-Chan. 21st C...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1262230 Composed by Ambroise Willaume and Yoann Lemoine. Arranged by Michelle Tolvo-Chan. 21st Century,Contemporary,Folk,Pop,Rock. Octavo. 9 pages. MTC #855261. Published by MTC (A0.1262230). This compelling Woodkid thriller has been arranged for SATB choir, solos, piano and percussion, and is an excellent addition to show choir sets. The piano part may also be played by electric keyboard or synthesizer to supplement the accompaniment with the sounds of strings or brass, and the instrumental section at the end allows for show choirs to also showcase elements of dance in their performance.
$2.99
The Gorgon
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Choral SATB
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INTERMEDIATE/ADVANCED
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Dave Hoing
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The Gorgon
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Dave Hoing
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SheetMusicPlus
Choral Choir (Mixed) - Level 4 - Digital Download SKU: A0.1027190 Composed by Dave Hoing. Folk,Pop. Octavo. 14 pages. Dave Hoing #2012389. Published by D...
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Choral Choir (Mixed) - Level 4 - Digital Download SKU: A0.1027190 Composed by Dave Hoing. Folk,Pop. Octavo. 14 pages. Dave Hoing #2012389. Published by Dave Hoing (A0.1027190). This mysterious and melodic piece isn't easy to categorize. Perhaps it could be considered folk/pop, because the acoustic guitar uses Travis-style fingerpicking, but its strings, harpsichord, and unsettling lyrics make it something else entirely. The guitar line is quite difficult, the rest of the instruments fairly easy. An mp3 file of an instrumental version of the song has been included. You won't hear the lyrics, but you will get a feel for the dark sound of the music.
$5.99
Rose Rosse
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Choral SATB
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INTERMEDIATE
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Massimo Ranieri
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Rose Rosse
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Luigi Giacomucci
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SheetMusicPlus
Choral (SATB) - Level 3 - Interactive Download SKU: A0.1284789 By Massimo Ranieri. By Arr: Luigi Giacomucci. This edition: Interactive Download. Film/TV,...
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Choral (SATB) - Level 3 - Interactive Download SKU: A0.1284789 By Massimo Ranieri. By Arr: Luigi Giacomucci. This edition: Interactive Download. Film/TV,Folk,Pop,Wedding. Octavo. 33 pages. Duration 265. Luigi Giacomucci #4ePQveZdvCUE8VdFKTWWr7. Published by Luigi Giacomucci (A0.1284789). Key: F major.This beautiful love song was released in 1970 by Massimo Ranieri and has touched the hearts of millions. This setting by Luigi Giacomucci for choir accents the beauty of the lush strings, moving bass line, and colorful lyrics. Giacomucci arranged this piece for his grandmother as the song is her favorite song in the whole world.
$2.99
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