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--INSTRUMENTS--
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CHORAL - VOCAL…
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PIANO
RECORDER
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Our Father - Percussion
Not classified
446
Piano & keyboards
Piano solo
388
Piano, Voice
182
Organ
82
Piano, Vocal and Guitar
68
Easy Piano
53
Piano Accompaniment
42
C Instruments
31
Accordion
14
1 Piano, 4 hands
10
Organ, Piano (duet)
4
Big Note Piano
3
Piano Quartet: piano, violin, viola, cello
3
Piano Trio: piano, violin, cello
3
2 Pianos, 4 hands
1
Piano (band part)
1
+ 10 instrumentations
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Retract
Guitars
Guitar
20
Melody line, (Lyrics) and Chords
20
Guitar notes and tablatures
16
Ukulele
11
Bass guitar
11
Baritone Ukulele
2
Mandolin
1
2 Guitars (duet)
1
Lyrics and Chords
1
Piano, Guitar (duet)
1
Plectrum Orchestra
1
Guitar Ensemble
1
+ 7 instrumentations
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Voice
Choral SATB
303
Choral Instrumental Pak
108
Choral 2-part
54
Choral 3-part
51
Choral Unison
27
Vocal duet, Piano
21
Choral TTBB
21
Voice solo
15
Alto voice, Piano
14
Vocal duet
10
Soprano voice, Piano
7
Choral
6
Choral SSAA
5
Tenor voice, Piano
4
Medium voice, Piano
3
High voice
3
Baritone voice, Piano
3
Soli, Mixted choir and accompaniment
1
Choral SSAATTBB
1
+ 14 instrumentations
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Retract
Woodwind
Saxophone
36
Clarinet
31
Flute
29
Saxophone Quartet: 4 saxophones
28
Flute and Piano
24
2 Saxophones (duet)
19
Clarinet and Piano
19
Clarinet Quartet: 4 clarinets
17
Alto Saxophone
16
Tenor Saxophone
15
2 Flutes (duet)
14
Alto Saxophone and Piano
13
Oboe, Piano (duet)
13
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
13
Saxophone (band part)
12
Clarinet (band part)
11
Flute, Oboe, Clarinet, Bassoon
10
2 Clarinets (duet)
10
Oboe (band part)
9
Flute (band part)
9
Flute Quartet: 4 flutes
9
Recorder
7
Saxophone Quintet: 5 Saxophones
6
3 Clarinets (trio)
6
Flute, Clarinet (duet)
6
Clarinet, Violin (duet)
6
Saxophone ensemble
6
Oboe, Bassoon (duet)
6
Soprano Saxophone and Piano
5
Oboe
5
Flute Trio: 3 flutes
5
Saxophone, Clarinet (duet)
5
Clarinet, Bassoon (duet)
5
Tenor Saxophone and Piano
5
Oboe, Clarinet (duet)
4
Clarinet and Viola
4
Clarinet Ensemble
4
Flute, Trumpet (duet)
4
Flute, Violin
4
English horn, Piano
3
Flute Quintet : 5 flutes
3
Baritone Saxophone, Piano
3
2 Recorders (duet)
3
Flute, Saxophone (duet)
2
Clarinet, Cello (duet)
2
Flute, Oboe, Clarinet (trio)
2
2 Oboes (duet)
2
Oboe, Flute
2
2 Clarinets, Piano
2
3 Saxophones (trio)
2
Flute, Viola (duet)
2
Saxophone and Piano
2
Flute, Violoncello
2
Flute, Oboe (duet)
2
Flute ensemble
2
Clarinet Quintet: 5 clarinets
1
Flute, Violin, Piano
1
Bass Clarinet, Piano
1
Piccolo
1
English Horn
1
Pennywhistle
1
Oboe, Cello
1
Recorder Quartet
1
Flute and Guitar
1
Flute, harp and violin
1
+ 60 instrumentations
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Retract
Woodbrass
Trumpet
33
Brass Quintet: 2 trumpets, horn, trombone, tuba
30
Trombone
23
Trumpet, Piano
15
Trombone (band part)
15
Trombone and Piano
13
Brass quartet : 2 trumpets, trombone, tuba
10
French Horn and Piano
9
French horn
9
2 French horns (duet)
7
Trumpet (band part)
6
Brass Quartet: 4 horns
5
Brass Quartet
5
French horn (band part)
5
Tuba
4
Trumpet, Saxophone (duet)
4
Euphonium
4
Tuba (band part)
4
Brass Quartet: 2 trumpets, horn, trombone
4
2 Trombones (duet)
4
2 Trumpets (duet)
4
English horn, Piano
3
Tuba and Piano
3
Brass Trio
3
Trombone ensemble
2
3 Trombones (trio)
2
Euphonium, Piano (duet)
1
Trumpet, Trombone (duet)
1
English Horn
1
3 Trumpets (trio)
1
4 Euphoniums
1
Brass Quartet: 2 trumpets, 2 trombones
1
2 Euphoniums (duet)
1
+ 28 instrumentations
-
Retract
Strings
String Quartet: 2 violins, viola, cello
41
Violin and Piano
40
Violin
23
Cello, Piano
22
Viola, Piano
20
Harp
18
Cello
18
Violin, Cello (duet)
15
String Trio: violin, viola, cello
13
Viola
11
Violin, Viola (duet)
9
2 Violins (duet)
7
Viola, Cello (duet)
6
Harp, Voice
5
2 Cellos (duet)
5
Violin (band part)
5
2 Violas (duet)
4
String Trio: 2 violins, cello
4
String Quintet: 2 violins, viola, cello, bass
4
String Trio: 3 violins
3
Viola (band part)
3
String quartet: 4 violins
3
String trio
3
2 Harps (duet)
3
String Trio: 2 violins, viola
2
Harp, Flute (duet)
2
Double Bass
2
Cello (band part)
2
3 Harps
1
Harp, Violin (duet)
1
Cello Ensemble
1
2 Violins, Piano
1
Violin, Organ
1
Viola ensemble
1
Cello, Orchestra
1
Violin ensemble
1
Doublebass (band part)
1
4 Cellos
1
+ 33 instrumentations
-
Retract
Orchestra & Percussion
Concert band
83
Orchestra
39
Handbells
32
String Orchestra
28
Brass ensemble
17
Drums
6
Chamber Orchestra
5
Jazz combo
4
Timpani (band part)
2
Jazz Ensemble
2
Orchestra, Violin
1
Marching band
1
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Our Father - Percussion
Chamber Orchestra
Sheetmusic to print
5 sheet music found
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1
When I Survey the Wondrous Cross - Orchestration
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Chamber Orchestra
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INTERMEDIATE
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Isaac Watts / Lowell Mason
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Robert Myers
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When I Survey the Wondrous Cro
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WheatMyer Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sa...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and parts. 49 pages. WheatMyer Music #4775721. Published by WheatMyer Music (A0.976713). When I Survey the Wondrous Cross, written by the Father of English Hymnody, Isaac Watts, in 1707 and later matched with Lowell Mason’s 1824 tune, HAMBURG, has long stood at the forefront of English hymnody.This arrangement, taken from my Passion Week cantata, Wounded, Bleeding, Still Proceeding, allows the full talent-spectrum of the Body of Christ to contemplate His sacrifice and offer their devotion.The first two stanzas feature an alto/soprano duet, set in a minor key with frequent diminished and augmented chords to reflect the despair and loss of a witness to the crucifixion. The entire third stanza, set for SATB chorus, never really moves off the F minor tonic until the end. That, and the relentless pounding of the bass line, ponders the witnesses' anguish and our vicarious experience of it through Scripture. So, sing these stanzas sadly – they are sad! When the choir enters, be sure to observe the swelling crescendos/diminuendos as the sorrow and love mingle together.The fourth stanza offers optional congregational participation and may be used to provide a responsorial to the Word of God or a preparation for the Table. The choir sings this stanza in four part harmony as the congregation joins on the melody. It stays in a major key and closely follows the traditional consonances used in Lowell Mason’s harmonization; thus, the choral parts will feel familiar and the congregational melody will flow naturally. Take the text literally (Love so amazing, so divine, demands my soul, my life, my all.) and sing it firmly, enthusiastically, passionately, but never triumphantly. Sing it as a song of personal devotion to commit all that you have, all that you are, and all that you will ever be, to the one who humbled Himself by becoming obedient to the point of death, even death on a cross (Phil 2:8b) so that we might become the righteousness of God in Him (2 Cor 5:21)The music is well within the grasp of any ensemble competent with traditional SATB anthems. The instrumental accompaniments are straightforward yet very colorful, suitable for high school or higher level players. When I Survey the Wondrous Cross is an unapologetic Christian worship anthem suitable for sacred services, yet it does not compromise on artistic expression.This is the orchestral accompaniment for the choral octavo version sold separately. This version includes full score and all instrumental parts.
$60.00
Variations on a Rossini Theme op.Posth
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Chamber Orchestra
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Classical
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Frederik François Chopin
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James Strauss
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Variations on a Rossini Theme
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James Strauss
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Sco...
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Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.
$29.99
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
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Chamber Orchestra
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ADVANCED
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Carson Cooman
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Carson Cooman: The Acts of the
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Mu...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
$25.95
Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Andante
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Chamber Orchestra
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INTERMEDIATE
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Classical
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Karl Friedrich Abel
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Guido Menestrina
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Karl Friedrich Abel - Sinfonia
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Guido Menestrina
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. ...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido Menestrina #122893. Published by Guido Menestrina (A0.828700). Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Adagio Edited by Guido Menestrina - Full score and single parts for 2 oboe, 2 F Horns (originally cor de chasse, tacet on 2nd movement), 2 violins, viola and cello (originally basse de violon). Abel was born in Köthen, a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomasschule, where he was taught by Bach. On Bach's recommendation in 1743 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for fifteen years.[3][5] In 1759 (or 1758 according to Chambers),[1] he went to England and became chamber-musician to Queen Charlotte, in 1764.[3][5] He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin.[6] In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787. One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart-evidently for study purposes-while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7. Follow the score on youtube: https://www.youtube.com/watch?v=_urGVpH7Pls.
$7.99
Zemira
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Jose Mauricio Nunes Garcia
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Steven Nunes
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Zemira
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Nagamon Publications
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1394923 Composed by Jose Mauricio Nunes Garcia. Arranged by Steven Nunes. 19th Century,Classical. ...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1394923 Composed by Jose Mauricio Nunes Garcia. Arranged by Steven Nunes. 19th Century,Classical. 60 pages. Nagamon Publications #978408. Published by Nagamon Publications (A0.1394923). José MaurÃcio Nunes Garcia (September 20, 1767 – April 18, 1830) was a Brazilian classical composer, one of the greatest exponents of Classicism in the Americas.Born in Rio de Janeiro, son of two bi-racial parents, Nunes Garcia lost his father at an early age. His mother perceived that her son had an inclination for becoming a musician and, for this reason, improved her work to allow him to continue his musical studies.Nunes Garcia became a priest and, when King John VI of Portugal came to Rio de Janeiro with his 15,000 people, Nunes Garcia was appointed Master of the Royal Chapel. He sang and played the harpsichord, performing his compositions as well as those of other composers such as Domenico Cimarosa and Wolfgang Amadeus Mozart. He was a very prestigious musician in the royal court of John VI.His musical style was strongly influenced by Viennese composers of the period, such as Mozart and Haydn. This edition has been prepared from the composer's manuscript, and the PDF contains the Full Score and a full set of parts. Please note that the string parts have been formatted for larger paper.
$50.00
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