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Trio A minor
Choral SATB
Sheetmusic to print
9 sheet music found
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1
VIVALDI Antonio: Se lascio d’adorare, an aria from the opera "Il Tigrane", - Voice and
Choral SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.868951 Composed by Antonio…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.868951 Composed by Antonio Vivaldi. Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. Octavo. 6 pages. Really Good Music, LLC. #5292333. Published by Really Good Music, LLC. (A0.868951). Se lascio d’adorare is a mezzo-soprano (baritone) aria from the opera-pasticcio La virtù trionfante dell’amore e dell’odio, ovvero Il Tigrane (1724). Antonio VIVALDI (1678 – 1741) composed the music of the second act of the opera. The aria has been realized from the score manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of A minor (D4 – F#5) for high voice.
$5.95
5.44 €
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Choral SATB
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Antonio Vivaldi
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VIVALDI Antonio: Se lascio d’adorare, an aria from the opera "Il Tigrane", - Voice and
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Really Good Music, LLC.
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SheetMusicPlus
Giovanni Bononcini - Anthem (for the Funeral of John Duke of Marlborough)
Choral SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.828704 Composed by Giovann…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.828704 Composed by Giovanni Bononcini, Giovanni Battista Bononcini. Arranged by Guido Menestrina. Baroque,Contemporary,Sacred. Octavo. 44 pages. Guido Menestrina #368381. Published by Guido Menestrina (A0.828704). Anthem which was performed in King Henry the Seventh's Chappel at the Funeral of the most Noble & Victorious Prince John Duke of Marlborough By Giovanni Bononcini (1670-1747) transcribed by Guido Menestrina Il padre, Giovanni Maria Bononcini (Buononcini) (1642-1678), era stato violinista e compositore: attivo alla corte di Modena, aveva scritto un trattato, Musico prattico, pubblicato nel 1673. Il fratello minore di Giovanni, Antonio Maria, fu anch'egli musicista. Proprio dal padre Giovanni ricevette la prima educazione musicale; quando questi morì, nel 1678, divenne studente di Giovanni Paolo Colonna a Bologna, dove vennero eseguiti i suoi primi lavori. Proprio grazie al Colonna entrò a far parte dell'Accademia dei Filarmonici in veste di compositore. Nel 1685 aveva già preparato e pubblicato le sue prime opere. Ottenne nel 1688 il posto di musicista presso la basilica di San Petronio, e più tardi divenne maestro di cappella nella chiesa di San Giovanni in Monte. Sempre a Bologna fece la conoscenza del librettista Silvio Stampiglia, assieme al quale, tra il 1692 e il 1696, produrrà cinque opere. A partire dal 1692 si recò a Milano, Roma (dove fu apprezzato e sostenuto da Filippo II Colonna e dalla sua consorte Olimpia Pamphilj) e Venezia; infine, dal 1698 al 1711 si stabilì a Vienna, dove godette i favori degli imperatori Leopoldo I e Giuseppe I. Di passaggio a Berlino nel 1702, incontrò Georg Friedrich Händel, di quindici anni più giovane di lui, di cui riconobbe il talento precoce: lo avrebbe rincontrato alcuni anni più tardi. Dal 1714 al 1719 fu di nuovo a Roma, al servizio di Johann Wenzel, Conte di Gallas, Ambasciatore dell'Imperatore d'Austria a Roma, molto noto per il suo amore per la musica. Al Conte di Gallas, Bononcini dedicò la Favola Pastorale Erminia, rappresentata al Teatro della Pace nella Stagione del Carnevale del 1719. Il dramma musicale ebbe grandissimo successo sia per la musica, sia per gli interpreti, fra cui si segnalarono Domenico Gizzi (1687-1758), Musico Soprano della Real Cappella di Napoli ed il celebre contralto napoletano Francesco Vitale. Sempre nella Stagione del Carnevale 1719 al Teatro della Pace, Bononcini rappresentò il dramma per musica L'Etearco, dal librettista Silvio Stampiglia dedicato alla Contessa Ernestina di Gallas, moglie dell'Ambasciatore austriaco. Anche in questo dramma per musica Domenico Gizzi e Francesco Vitale fecero apprezzare tutte le spezie più ricercate del virtuosismo canoro. Poi, dal 1720 si stabilì a Londra, sotto la protezione del John Churchill, I duca di Marlborough. Qui si esibì anche al violoncello in numerosi concerti, molto apprezzati dall'aristocrazia inglese. Divenne membro della prestigiosa Royal Academy of Music.[senza fonte] Il pubblico londinese era, all'epoca, totalmente ignorante dell'opera italiana, e Händel stava muovendo i primi passi della sua prestigiosa carriera. Fra i due compositori si accese un forte spirito di competizione, sia che collaborassero alla realizzazione della medesima impresa (i tre atti dell'opera Muzio Scevola furono composti il primo da Filippo Amadi, il secondo da Bononcini, il terzo da Händel, al fine di soddisfare tutti e tre gli artisti), sia che, più spesso, si impegnassero in produzioni rivali. Le opere di maggior successo di Bononcini in quegli anni furono Astarto (1720), Crispo (1722), Griselda (1722), che si rivelò un vero e proprio trionfo, Erminia (1723), Calfurnia (1724). A favore dell'italiano era anche una certa ostilità verso Händel dovuta alle sue origini tedesche e alla contemporanea presenza sul trono inglese della poco amata dinastia di Hannover. Ma nel 1727-1728 scoppiò uno scandalo che compromise il successo di Bononcini e lo costrinse a lasciare Londra: il compositore Antonio Lotti accusò il madrigale di Bononcini In una siepe ombrosa di essere un plagio di un brano dei suoi Duetti, terzetti e madrigali. Fuggito a Parigi nel 1733, a causa di speculazion.
$9.99
9.13 €
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Choral SATB
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Giovanni Bononcini
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Giovanni Bononcini, Giovanni Battista Bononcini
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Giovanni Bononcini - Anthem
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Guido Menestrina
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SheetMusicPlus
We Are One!
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.894408 Composed by Zack Ri…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.894408 Composed by Zack Richards. Holiday,Patriotic,Sacred,Spiritual,World. Octavo. 6 pages. Zack Richards #5821179. Published by Zack Richards (A0.894408). I wrote this piece in response to the #BlackLivesMatter Protests across the United States and world during the early summer of 2020. The extreme extent of peaceful protests and violent riots demonstrated the desperate need for change in a way I had not witnessed before. I knew quickly that I wanted to write music in some sort of response to the situation, but I struggled at first to find my voice within the movement. I am a white male and have experienced the privilege that comes with it. No matter how much I sympathized or understood the struggles of minorities in our culture, I knew I could not possibly bring the full meaning of it through my music, as I could never really experience the trials they have faced constantly for so long. So instead I decided to write words and music that reflected how I hoped things would be going forward after this movement. I wanted this to be an anthem for those who have suffered through real oppression, in any form. While there are some religious undertones in the text I chose, I tried to find words that could resonate with anyone, reaching beyond color, culture, belief, orientation, age, or any other dividing label. I tried to write in regard to one thing we all have in common, humanity. I hope I was able to accomplish this. The anthem can be done in parts or unison or as a solo. It can also be done with or without accompaniment.
$1.99
1.82 €
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Choral SATB
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Zack Richards
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We Are One!
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Zack Richards
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SheetMusicPlus
Mr. P.c.
Choral SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.844244 By John Colt…
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.844244 By John Coltrane. By John Coltrane. Arranged by Gerhard Guter. Jazz. 10 pages. Gerhard Guter #4267419. Published by Gerhard Guter (A0.844244). If you’re looking for an up-tempo, minor blues swing with plenty of space for scatting and instrumental improvisation, then dig P.C.! This arrangement of the John Coltrane classic, which pays tribute to legendary jazz bassist and Miles Davis compatriot Paul Chambers, provides an exciting introduction, statement of the theme in varied textures, a challenging (optional) soli, and room for lots of energetic drum solos. Following an introductory figure reminiscent of Miles Davis and Victor Feldman’s well-known Seven Steps to Heaven collaboration, the arrangement features two optional background choruses to keep the blowing fresh and interesting. After the improvisation, the drums and piano drop out, sending off a challenging, optional soli (18 second mark in demo) featuring a doubled, walking vocal and acoustic bassline. As this section concludes, the acoustic bass drops out and the drums re-enter, propelling a fugal statement of the melody (25 second mark in demo). Following a return to the head, the arrangement modulates upward by whole step to its exciting conclusion. Piano, bass, and drums read off the included composite rhythm section part. The arrangement, which makes prominent use of sharp ninth chords during the head, is a great teaching tool for basses and altos in any vocal jazz ensemble! Demo performed by Christine Guter, Gerhard Guter, and Dina Humble Backing tracks available here: http://tiny.cc/mpnsuz Â
$3.99
3.65 €
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Choral SATB
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John Coltrane
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Mr. P.c.
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Gerhard Guter
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SheetMusicPlus
The Girl By the Spring - SATB Ensemble
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1044850 By Mark R Lewis. B…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1044850 By Mark R Lewis. By Mark R Lewis. Celtic,Folk,Irish. Octavo. 48 pages. Mark R Lewis #649472. Published by Mark R Lewis (A0.1044850). This original song tells a fairy tail in the style of a Celtic folk song. Both the story and the tune are wholly original and were composed as part of a music production class that Mark participated in during the spring of 2022. This song tells the story of a young boy's adventure in the woods, his skepticism towards what the old folks say, and the results of his failure to listen to them. This piece by Mark R Lewis is arranged for SATB ensemble. All parts get the melody at some point and there are several duets between voices parts throughout the piece. Additionally the accompaniment voices switch between homophonic harmonies and arpeggiating chords several times for increased complexity and interest. The instrumental parts consist of vibraphone, piano, bass guitar, and floor tom parts. Any mellow metallophone would be an appropriate substitute for the vibraphone and the bass guitar part can be played on almost any bass instrument. The optional floor tom could be substituted with any other lower, resonant drum available but should not be a short, sharp sound. All that said, both the vibraphone and bass guitar parts are mostly doubled in the piano or vocal lines so groups that do not have access to those instruments should still be able to perform this piece without concern. This piece is also available for Vocal Trio w/ Mixed Ensemble and the sound files sampled here are from that arrangement. Vocal Range: d minor Soprano - 1+ octave (D4 to E5) Alto - 1+ octave (A3 to D5) Tenor - 1+ octave (C3 to D4) Bass - 1+ octave (F2 to A3) Instrumental Range: Vibraphone - 1+ octave (D4 to E5) Piano - ability to reach at least an octave in both hands Bass guitar - 1+ octave (E2 to A3).
$1.99
1.82 €
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Choral SATB
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Mark R Lewis
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The Girl By the Spring - SATB Ensemble
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Mark R Lewis
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SheetMusicPlus
O Come Emmanuel - SATB Ensemble
Choral SATB
Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.1045075 Composed by…
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Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.1045075 Composed by Traditional Latin. Arranged by Mark R Lewis. Christmas,Classical,Holiday,Sacred,Traditional. Octavo. 8 pages. Mark R Lewis #649637. Published by Mark R Lewis (A0.1045075). O Come, O Come Emmanuel is an ancient Latin hymn associated with the Vespers services leading up to Christmas. This SATB divisi arrangement by Mark R Lewis imitates the tradition of Latin plainsong but is fully modern in conception. While this arrangement is not too extreme in terms of notes and rhythms, it will stretch the limits of many singers' vocal ranges and incorporates some complex harmonies. ​The arrangement incorporates a pedal note drone that can be played on any instrument. There is an optional hand drum part. While this arrangement does work with only the drone accompaniment, Mark has also published string orchestra and woodwind ensemble settings that work wonderfully as accompaniment to the vocal setting. The audio sample for this item is from the vocal trio arrangement of this piece that Mark has published. Vocal Range: Key of d minor Soprano - 1 1/2 octaves (C4 - A5 {opt. Bb5}) Alto - 1 + octaves (A3 - Bb4) Tenor - 1 + octaves (C3 - D4) Bass - 1 1/2 octaves ({opt. D2} F2 - C4).
$1.99
1.82 €
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Choral SATB
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Traditional Latin
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O Come Emmanuel - SATB Ensemble
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Mark R Lewis
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SheetMusicPlus
Come, Thou Long-Expected Jesus — SATB voices, organ
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1283376 Composed by Todd M…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1283376 Composed by Todd Marchand. Advent,Christian,Sacred. Octavo. 6 pages. Con Spirito Music #874560. Published by Con Spirito Music (A0.1283376). Charles Wesley’s (1707-1788) Advent hymn, “Come, Thou Long-Expected Jesus,†from Hymns for the Nativity of our Lord (1744), reflects the dual nature of Advent for Christians, in that it recalls the first coming and incarnation of the Messiah while also anticipating His return.Each stanza presents a different idea: Stanza 1, the longing for freedom from sin and fear; Stanza 2, attributes of or names for Christ; Stanza 3, the Messiah's birth, kingdom, and purpose; and Stanza 4, a prayer for Christ's rule in believers' hearts. Among the Scriptures referenced in the hymn are 2 Corinthians 4:14, Revelation 3:21, Isaiah 61:1-2, Luke 4:18-19, and Romans 6:22. In this setting of Wesley’s text to an original tune, a short introduction is followed by verse 1, presented by women’s voices (soprano, alto) and verse 2, presented by men’s voices (tenor, bass). Verse 3 is presented by SATB voices, unaccompanied; and following a short organ interlude and modulation from D minor to E minor, the concluding verse 4 is introduced by all voices in unison with organ, then expands both dynamically and in texture to SATB and ends on a glorious E major chord.©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, patriotic, folk, and holiday music for instruments and voices, visit www.conspiritomusic.com
$2.00
1.83 €
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Choral SATB
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Todd Marchand
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Come, Thou Long-Expected Jesus — SATB voices, organ
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Con Spirito Music
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SheetMusicPlus
God Rest Ye Merry, Gentlemen (Cornish folk tune) — SATB voices, clarinet, piano
Choral SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1323225 Composed by…
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1323225 Composed by Cornish folk tune. Arranged by Todd Marchand. Advent,Christmas,Folk,Holiday,Sacred. 10 pages. Con Spirito Music #911489. Published by Con Spirito Music (A0.1323225). “God Rest Ye Merry, Gentlemen†is an English traditional carol dating, perhaps, to the 16th or 17th century. A manuscript, ca. 1650, contains a version with the first line, “Sit you merry gentlemen†and the refrain, “O tidings of comfort and joy.†The earliest known printed edition of the carol is a London broadsheet dated 1760, in which the first line is the familiar “God rest ye merry, gentlemen.†By the 19th century, the carol was well-known, with Charles Dickens referencing it in his 1843 novella, A Christmas Carol.The phrase “God rest you merry†in the first line is an archaic idiom meaning “God grant you peace and happiness.†William Shakespeare used the phrase “rest you merry†in his plays, “As You Like It†and “Romeo and Juliet,†both from the 1590s; but Dickens recorded the phrase as “God bless you, merry gentlemen†in A Christmas Carol.The tune adapted for use in this arrangement was at the time of its notation a wordless, nameless melody noted in 1905 by folk song collector E. Quintrell from the singing of a Mr. Boaden in Cornwall, England. The tune was sent to Lucy Broadwood, editor of the Journal of the Folk-Song Society, who decided that it fit the ballad, “The Maid in Bedlam,†and published the tune and text together. Gustav Holst later arranged the tune as Song without Words ‘I'll Love My Love’†in his Second Suite in F for Military Band, Op. 28, No. 2 (1911) and again as “I Love My Love†in his 6 Choral Folksongs, Op. 36 (1916). Set in F minor (Dorian), the tune brings a contemplative tone to the text, with the high point of the refrain being the subdominant Bb major chord on the word “joy.†The rich, dark timbre of solo clarinet (part included) on introduction, interludes, and ending adds to this tone. SATB voices (with some divisi on soprano and tenor), piano, Bb clarinet©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, patriotic, folk, and holiday music for instruments and voices, visit www.conspiritomusic.com
$2.00
1.83 €
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Choral SATB
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the 19th century, the carol was well-known, with Charles Dickens referencing it in his 1843 novella,
A Christmas Carol
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Cornish folk tune
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God Rest Ye Merry, Gentlemen
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Con Spirito Music
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SheetMusicPlus
Mondnacht
Choral SATB
Soprano Voice, Choir, SATB - Advanced Intermediate - Digital Download Composed by Joy…
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Soprano Voice, Choir, SATB - Advanced Intermediate - Digital Download Composed by Joy DeCoursey- Porter. 21st Century, 20th Century. Score. 9 pages. Published by Joy DeCoursey- Porter
This piece has been recognized by Project Encore and the American Prize.Text by Joseph Freiherr von EichendorffEichendorff was one of the leading poets of nineteenth-century German Romanticism. His poem Mondnacht (“Moon-night”) was especially beloved by his compatriot composers, with over two dozen settings including a particularly famous one by Schumann. Debussy is reflected in extended, quasi-impressionistic harmonies, such as the opening C-major-ninth chord with an A in the melody. The opening sonorities return for the final stanza, expanding and accelerating as the soul stretches its wings. The work concludes with gentle, again impressionistic, oscillations between C minor and C major.Es war, als hätt’ der HimmelDie Erde still geküßt,Daß sie im BlütenschimmerVon ihm nun träumen müßt.Die Luft ging durch die Felder,Die Ähren wogten sacht,Es rauschten leis die Wälder,So sternklar war die Nacht.Und meine Seele spannteWeit ihre Flügel aus,Flog durch die stillen Lande,Als flöge sie nach Haus.It was as if the heavenshad quietly kissed the earth,that she, in blossoms’ shimmer,now must dream of him.The breeze went by the field,the ears of corn waved softly,it rustled gently the woods,so starlit was the night.And my soul stretchedout wide its wings,flew through the quiet lands,as if flying itself home.— Joseph Freiherr von Eichendorff (1788–1857)Please contact Joy at joyfulporter@hotmail.com if you are planning a performance of this piece. Thank you!
$2.50
2.29 €
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Choral SATB
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Joy DeCoursey- Porter
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Mondnacht
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Joy DeCoursey- Porter
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SheetMusicPlus
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