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Prelude and Revelation - Oboe
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You've selected:
Prelude and Revelation - Oboe
Choral SATB
Sheetmusic to print
4 sheet music found
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BEHOLD HE IS COMING (SATB) – Revelation 1:7
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Choral SATB
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INTERMEDIATE
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Michael A
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BEHOLD HE IS COMING
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926664 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 8 pages. M.A. Morizi...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926664 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 8 pages. M.A. Morizio #3588427. Published by M.A. Morizio (A0.926664). The Apostle John’s visions in Revelation are nothing less than astounding to all readers. However, little is it known that another Hymn to Christ is neatly tucked into the very first seven verses of this last book of the Bible. John begins his Revelation (verses 1-3) with a prelude, introducing Jesus Christ and the apocalypse (revelation) that was made to him via the angel sent to describe all the things about which he was to write. He says, Blessed is the one who reads aloud the words of this prophecy, and blessed are those who hear, and keep what is written in it, for the time is near. After this short prelude, John delivers an epistolary opening (a greeting identifying the author and recipients), then pronounces a blessing upon the recipients-verses 4-6. After both the prelude and the opening, John immediately proceeds to another known Hymn to Christ, in verse 7, which I have called, Behold He Is Coming. When presented with the text in Revelation 1:7, I immediately thought, Where is the Gospel, the good news, in this piece? After several minutes of meditating on the text, I realized the Gospel message was right there in front of me-in the very last line: Yes, so be it [Lord], so be it, [Amen!] There will be peace! All will be known. Every single person will understand, at that point. The end, is the ushering in of a new beginning. The piece is scored in G minor for SATB with flute and Bâ™ clarinet accompaniment. In the opening phrase, we hear the clarinet on a sustained high (concert) G, which crescendos into a quick, descending sixteenth note pattern. There is urgency! The flute joins the clarinet in a duet to complete the introduction to the anthem. Then, the choir begins their haunting chant, Behold, He is coming with the clouds. Every eye will see Him, even those who pierced Him. Every eye will see Him and all the tribes of the earth will mourn over Him . Alas, there is peace! The two instruments dissolve into an a cappella four-part chorale where the choir creates the agreement between the text and the music, modulating to the relative major (Bâ™)-all is reconciled in a final Amen!
$1.99
Joyful, Joyful, We Adore Thee
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Choral SATB
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INTERMEDIATE
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Sacred music
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Joel Raney
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Joyful, Joyful, We Adore Thee
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Hope Publishing - Digital
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SheetMusicPlus
None organ/piano with optional SATB voices - Level 3 - Digital Download SKU: H1.8241DP Arranged by Joel Raney. Moderate Advanced. Piano & Organ Worship O...
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None organ/piano with optional SATB voices - Level 3 - Digital Download SKU: H1.8241DP Arranged by Joel Raney. Moderate Advanced. Piano & Organ Worship Openers. Easter Sunday, Sacred. Organ/piano scores with optional choral part. 39 pages. Hope Publishing - Digital #8241DP. Published by Hope Publishing - Digital (H1.8241DP). 1 John 4:16 - Isaiah 6:1 - Isaiah 6:2 - Isaiah 6:3 - Isaiah 6:4 - John 8:12 - Job 38:7 - Psalms 103:22 - Psalms 149:10 - Psalms 19:1 - Revelation 4:6 - Revelation 4:7 - Revelation 4:8 - Revelation 4:9 - Revelation 4:10 - Revelation 4.Prelude based a well-known hymn tunes This festive prelude is based on perhaps the best-known hymn tune of all time, HYMN TO JOY, in Joel Raney's exciting series of piano/organ duets, with SATB choir entering at the conclusion for an optional choral introit. An alternate text is provided using Brian Wren's Christ Is Risen! Shout Hosanna! converting this into a thrilling Easter Day celebration. Both keyboard parts and reproducible pages of both texts for the choir are included. The optional 3-5 octave handbell part, arranged by Arnold Sherman, is available separately.
$22.95
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
EASTER MUSICAL, YOU ARE THE LIVING ONE by Gary Lanier for SATB Choir. (Includes Choir/Piano Score &
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Choral SATB
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EASY
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Sacred music
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VALLETA LANIER, GARY LANIER
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Gary Lanier
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EASTER MUSICAL, YOU ARE THE LI
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The Lanier Company
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.613418 Composed by VALLETA LANIER, GARY LANIER. Arranged by Gary Lanier. Easter,Praise & Worship...
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.613418 Composed by VALLETA LANIER, GARY LANIER. Arranged by Gary Lanier. Easter,Praise & Worship. Octavo. 69 pages. The Lanier Company #10649. Published by The Lanier Company (A0.613418). YOU ARE THE LIVING ONE, created by Valleta and Gary Lanier, is a 21 minute musical/cantata for SATB Choir with Piano accompaniment. Included in purchase is the Choir/Piano Score followed by the Choir Part in a SATB format. Ideal for any season, especially Easter. Every song anthem (5) can be used independently from the musical as special music in a worship service or concert setting. Total pages: 69 which includes Cover, Contents page, 42 pages of SATB Choir/Piano Score and 24 pages of CHOIR PARTS. In the book of Revelation, Jesus introduces himself to the Apostle John as, ... Him who is, who was, and who is to come. Jesus says... ...I am the first and the last... the living One; I was dead, and behold, I am alive forevermore.’ This powerful statement comes to life in, YOU ARE THE LIVING ONE. Each song includes a narration, with the Prelude also including the Apostle John as he describes the glorious Jesus. Woven within the musical are songs that tell the story of the Jesus who is, who was, and who is to come. A mp3 orchestra accompaniment track is available on Sheet Music Plus, listed as:
$5.99
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