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1,225
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1,210
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1,104
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521
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497
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458
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15
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13
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7
1 Piano, 4 hands
7
Accordion
3
Harpsichord
2
Organ, Piano (duet)
1
Piano Quartet: piano, violin, viola, cello
1
Piano Quartet: piano, 2 violins, cello
1
+ 9 instrumentations
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Guitars
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164
Guitar
127
Guitar notes and tablatures
77
Melody line, (Lyrics) and Chords
63
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47
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8
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Guitar, Violin, Cello (trio)
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+ 10 instrumentations
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164
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120
Choral 2-part
41
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25
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17
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5
High voice
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Voice solo
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Soprano voice, Piano
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Tenor voice
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Alto voice, Piano
1
Choral SSAB, Piano
1
Baritone voice, Piano
1
Choral SSATTB
1
+ 13 instrumentations
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Retract
Woodwind
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137
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133
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131
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131
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106
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101
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74
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71
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70
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64
Oboe (band part)
55
Flute, Oboe, Clarinet, Bassoon
54
Oboe
49
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44
Baritone Saxophone, Piano
39
Saxophone Quartet: 4 saxophones
39
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36
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32
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19
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14
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13
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11
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11
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11
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10
Flute and Guitar
10
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8
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8
Flute, Violin
8
3 Clarinets (trio)
8
Flute Trio: 3 flutes
8
Clarinet, Bassoon (duet)
8
Flute, Trombone (duet)
7
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6
Bass Clarinet
6
Saxophone and Guitar
5
3 Recorders (trio)
5
Recorder
5
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4
Saxophone, Clarinet (duet)
4
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4
Flute, Viola (duet)
3
Oboe, Flute
3
English Horn, Guitar (duet)
3
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3
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3
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3
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3
Ocarina
3
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2
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2
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2
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2
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2
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2
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2
Recorder Quartet
1
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1
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1
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1
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1
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1
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1
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1
2 Clarinets, Piano
1
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1
Flute, Oboe, Clarinet (trio)
1
Pennywhistle
1
Clarinet and Viola
1
2 Oboes, Piano
1
2 Saxophones, Piano
1
+ 77 instrumentations
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118
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109
Trombone
88
Trombone and Piano
83
French Horn and Piano
77
French horn
72
Tuba
61
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46
English Horn
32
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28
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19
2 Trumpets (duet)
19
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17
2 Trombones (duet)
16
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15
2 French horns (duet)
14
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14
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12
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11
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8
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6
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1
4 Tubas
1
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1
+ 38 instrumentations
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207
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174
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171
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127
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122
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89
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72
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55
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38
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33
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27
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23
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21
2 Cellos (duet)
21
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18
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16
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9
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5
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5
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3
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2
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2
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2
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1
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1
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1
Cello, String Bass (duet)
1
2 Violins, Piano
1
Harp, Flute (duet)
1
2 Violas, Piano
1
4 Cellos
1
+ 34 instrumentations
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54
Marimba
14
Jazz combo
13
Xylophone
13
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12
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12
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7
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5
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3
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3
Chamber Orchestra
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2
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2
Concert band
2
+ 9 instrumentations
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3 sheet music found
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1
Love Divine, All Loves Excelling--Full Score package
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Orchestra
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INTERMEDIATE/ADVANCED
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Text: Charles Wesley / Music:
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Lyndell Leatherman
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Love Divine, All Loves Excelli
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Leatherman Music Services
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.829338 Composed by Text: Charles Wesley / Music: Rowland H. Prichard. Arranged by Lyndell Leatherman....
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Full Orchestra - Level 4 - Digital Download SKU: A0.829338 Composed by Text: Charles Wesley / Music: Rowland H. Prichard. Arranged by Lyndell Leatherman. Celtic,Christian,Sacred. Score and parts. 61 pages. Leatherman Music Services #5775215. Published by Leatherman Music Services (A0.829338). For most of us, Charles Wesley's Love Divine, All Loves Excelling has traditionally been associated with the tune BEECHER. But if you are looking for a way to freshen up this classic hymn, may I offer this arrangement for your consideration. First, I wedded the text to the inspired Welsh tune: HYFRYDOL. Then I arranged the vocals in a flexible three-part format. Then I added a contemporary piano part with a bass line that can be played by the electric bass, and then I included the chord symbols for your guitarist(s). Finally, I orchestrated the piece for pretty much every instrument except trumpets and trombones (though they can adapt the clarinet and bassoon parts if you desire to add them in).
$24.99
Of The Father's Love Begotten
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Orchestra
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ADVANCED
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Sacred music
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Matt Riley
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Of The Father's Love Begotten
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www.mattrileymusic.com
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SheetMusicPlus
Composed by Matt Riley. For Violin,Full Orchestra. Christian,Sacred,Pop,Christmas,Folk. Advanced. Published by www.mattrileymusic.com ...
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Composed by Matt Riley. For Violin,Full Orchestra. Christian,Sacred,Pop,Christmas,Folk. Advanced. Published by www.mattrileymusic.com
Of The Father's Love Begotten (Full Score and Parts). Part of Matt Riley's Epic Christmas Series, this magical Celtic/Pop arrangement for solo violin and pop orchestra will enchant and amaze audiences. Video: https://youtu.be/W-VgxjT5FME Includes Conductor?s Score ? Piccolo ? Flute ? Penny-whistle ? Clarinet in Bb I ? Clarinet in Bb II ? French Horn I ? French Horn II ? French Horn III ? French Horn IV ? Trumpet I ? Trumpet II ? Trumpet III ? Trombone I ? Trombone II ? Bass Trombone/Tuba ? Timpani ? Glockenspiel ? Bass Drum ? Sus Cymbals ? Mark Tree ? Shaker / Sleigh Bells ? Tambourine / Toms ? Rhythm Section ? Harp ? Solo Violin ? Violin I ? Violin II ? Viola ? Cello ? Contrabass. Duration 3 minutes, 25 seconds. Standard notation except for the Rhythm Section part which is written with chord symbols over slash/rhythmic notation for Drum Set, Bass Guitar and Mandolin to follow. Published by www.mattrileymusic.com
$349.00
Missa Solemnis, op. 27 - Score Only
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Orchestra
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ADVANCED
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #86...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). 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.
$100.00
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