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PIANO & KEYBOARDS

Piano, Voice 191 Piano, Vocal and Guitar 139 Piano solo 127 Easy Piano 89 C Instruments 22

Organ 7 Piano Accompaniment 6 2 Pianos, 4 hands 2 Piano Trio: piano, violin, cello 2 1 Piano, 4 hands 2 Accordion 1 Harpsichord 1

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GUITARS

Guitar notes and tablatures 14 Melody line, (Lyrics) and Chords 8 Guitar 8 Bass guitar 3 Ukulele 3

Lyrics and Chords 2 Banjo 2 2 Guitars (duet) 2 Piano, Guitar (duet) 1 Guitar Ensemble 1 4 Guitars (Quartet) 1

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VOICE

Choral SATB 153 Choral 3-part 57 Choral 2-part 29 Choral SSAA 25 Choral Unison 24

Choral TTBB 22 Voice solo 8 Vocal duet 4 Alto voice, Piano 3 Vocal duet, Piano 3 Soprano voice, Piano 3 High voice 3 Low voice, Piano 2 Tenor voice, Piano 2 Medium voice, Piano 1 Choral SSAATTBB 1 Baritone voice, Piano 1

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WOODWIND

Flute 22 Flute and Piano 17 Oboe, Bassoon (duet) 15 Clarinet and Piano 12 Oboe, Piano (duet) 11

2 Recorders (duet) 9 2 Saxophones (duet) 9 Oboe (band part) 9 Alto Saxophone 9 Alto Saxophone and Piano 9 2 Clarinets (duet) 9 English horn, Piano 9 Flute and Guitar 8 2 Flutes (duet) 8 Saxophone Quartet: 4 saxophones 7 Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 6 2 Oboes (duet) 6 Saxophone ensemble 5 Flute, Oboe, Clarinet, Bassoon 5 Saxophone, Clarinet (duet) 5 Clarinet 5 Clarinet, Guitar (duet) 4 Saxophone Quintet: 5 Saxophones 4 Descent (Soprano) Recorder, Piano 4 English Horn, Guitar (duet) 3 Clarinet, Violin (duet) 3 Clarinet Quartet: 4 clarinets 3 Baritone Saxophone, Piano 3 Bass Clarinet, Piano 3 Tenor Saxophone and Piano 3 Recorder 2 Oboe, Flute 2 Oboe, Clarinet (duet) 2 Flute, Trumpet (duet) 2 Clarinet Ensemble 2 Clarinet and Viola 2 Flute, Clarinet (duet) 2 Flute, Violin 2 Soprano Saxophone and Piano 2 Clarinet, Trumpet (duet) 2 Flute Quintet : 5 flutes 2 Clarinet, Trombone (duet) 2 Flute, Trombone (duet) 1 Flute, Viola (duet) 1 Tenor Recorder 1 Saxophone (band part) 1 Saxophone 1 Flute ensemble 1 Tenor Saxophone 1 Descant (Soprano) Recorder 1 Flute Quartet: 4 flutes 1 Oboe, Cello 1 Flute, Violoncello 1 Recorder Quartet 1 Flute, Saxophone (duet) 1

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WOODBRASS

Brass Quintet: 2 trumpets, horn, trombone, tuba 14 English horn, Piano 9 Tuba and Piano 8 Trumpet, Piano 8 French Horn and Piano 7

Trombone and Piano 7 Tuba 6 Trombone (band part) 6 Trumpet 6 Trombone 6 2 Trumpets (duet) 6 French horn 6 Trumpet (band part) 5 Brass quartet : 2 trumpets, trombone, tuba 5 2 Trombones (duet) 5 2 French horns (duet) 4 Trumpet, Saxophone (duet) 4 Brass Quartet 3 English Horn, Guitar (duet) 3 Brass Quartet: 2 trumpets, horn, trombone 3 2 Tubas (duet) 2 Trombone ensemble 2 Trumpet, Trombone (duet) 2 Tuba ensemble 1 4 Tubas 1 Euphonium, Piano (duet) 1

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STRINGS

String Quartet: 2 violins, viola, cello 45 Violin and Piano 20 Violin, Cello (duet) 14 Violin 13 Cello 10

Viola 8 Viola, Piano 8 2 Cellos (duet) 7 2 Violas (duet) 6 Harp 6 Cello, Piano 6 Harp, Voice 4 Violin, Viola (duet) 4 2 Violins (duet) 4 Viola, Cello (duet) 4 String Trio: 2 violins, cello 4 String Trio: violin, viola, cello 3 Double bass, Piano (duet) 3 2 Double basses (duet) 2 Double Bass 2 Violin, Bassoon (duet) 1 Violin (band part) 1 Violin ensemble 1 4 Double Basses 1 Viola ensemble 1 String quartet: 4 violins 1

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PERCUSSION & ORCHESTRA

Concert band 42 Orchestra 29 Jazz Ensemble 25 Brass ensemble 14 String Orchestra 7 Handbells 6 Jazz combo 5 Chamber Orchestra 5

Marching band 2 Drums 1 Xylophone, Piano 1

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Who Will Sing?

Chamber Orchestra

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5 sheet music found

Praise God, from Whom All Blessings Flow (Doxology) Chamber Orchestra

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1137414 Composed by Geistlic…(+)

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1137414 Composed by Geistlich KirchengesÃ¤nge (1623), harmonized by Ralph Vaughan Williams (1906). Arranged by D. Jason Bishop. Christian,Praise & Worship,Renaissance,Sacred,Traditional. Score and parts. 26 pages. Tully Road Music #737619. Published by Tully Road Music (A0.1137414). This is an orchestration by D. Jason Bishop of LASST UNS ERFREUEN, a hymn tune from the 1623 Geistliche KirchengesÃ¤nge harmonized by Ralph Vaughan Williams in 1906. It is commonly used for the Doxology â€œPraise God, from Whom All Blessings Flowâ€ as printed in The United Methodist Hymnal (page 94) and in 435 other hymnals. Instrumentation is 2.2.2.2 â€“ 2.3.3.0 - timp/perc - org - strings - choir. This orchestration incorporates brass parts by John F. Wilson and is designed to follow an introduction by a solo organist in worship (introduction not provided). PDF includes full score and all parts.

$10.00 9.22 € #Chamber Orchestra #Geistlich KirchengesÃ¤nge #Praise God, from Whom All Blessings Flow #Tully Road Music #SheetMusicPlus

Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie Chamber Orchestra

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Co…(+)

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 â€œTheophilusâ€), yet they are unusual for being composed in such contrasting genres. Lukeâ€™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 storiesaboutâ€”and speeches fromâ€”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, Christâ€™s ascension is narratedandâ€”following an orchestral Sinfoniaâ€”the chorus sings words of Jesus from the Sermon on the Plain in Lukeâ€™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 faithâ€”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 Isaiahâ€œHeaven is my throneâ€¦â€, the end of the narrative is remarkable for two reasons: firstly, Stephenâ€™s final wordsmirror those of Christ on the cross in Lukeâ€™s gospelâ€”where Jesus forgives his executioners and prays â€œFather, intoyour hands I commend my spiritâ€ (Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephenâ€™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 Isaiahâ€”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 Saulâ€™sConversion is followed here by a Christological poem found in Paulâ€™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 Lukeâ€™s realistic assessment that in spite of Paulâ€™s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Lukeâ€™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 Paulâ€™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,â€œSpirit of mercy, truth, and loveâ€ is an eighteenth century poem that e.

$25.95 23.92 € #Chamber Orchestra #Carson Cooman #Carson Cooman: The Acts of the Apostles #Musik Fabrik Music Publishing #SheetMusicPlus

Requiem Chamber Orchestra

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…(+)

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... Â· Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin â€¢ German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of â€œletting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: â€œI will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though â€œin an oceanâ€ of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: â€œSo teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boyâ€™s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent â€œlux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: â€œEntreiÃŸ dich, Seele, nun der Zeit, entreiÃŸ dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgenâ€ [â€œTear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: â€œUnd die Seele unbewacht will in freien FlÃ¼gen schweben, um im Zauberkreis der Nacht tief und tausendfach zu lebenâ€ [â€œAnd the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: â€œUnd meine Seele spannte weit ihre FlÃ¼gel aus. Flog durch die stillen Lande, als flÃ¶ge sie nach Hausâ€ [â€œAnd my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethovenâ€™s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my â€œrenewedâ€ occupation with the â€œoldâ€ country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a â€œhomecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) Â· 2 (2. auch Engl. Hr.) Â· 1 (auch Bassklar.) Â· 0 - 2 Â· Flhr. Â· 0 Â· 0 - P. S. (Glsp. Â· RÃ¶hrengl. Â· Gongs Â· Trgl. Â· Beck. Â· Tamt. Â· 2 Holzschlitztr. (oder Woodbl.) Â· Woodbl. Â· gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 Â· 4 Â· 4 Â· 4 Â· 2).

$55.99 51.62 € #Chamber Orchestra #Harald Weiss #Requiem #Schott Music - Digital #SheetMusicPlus

Galadriel's Song of Eldamar, Orchestral Version Chamber Orchestra

Chamber Orchestra - Level 1 - Digital Download SKU: A0.1007141 Composed by Charles …(+)

Chamber Orchestra - Level 1 - Digital Download SKU: A0.1007141 Composed by Charles McCreery. 20th Century,Children,Contemporary. Score and parts. 46 pages. St Maur Music #5024433. Published by St Maur Music (A0.1007141). This song is an orchestral version of one of a series of â€˜Fourteen Tolkien Songsâ€™. A comment on the collection by an Oxford piano teacher: â€˜For those who only know Tolkien via the recent blood-and-thunder films, this song-cycle by Charles McCreery will give a very different angle on the classic saga. Here we find a gentle and ethereal world, where rhythms lilt and words echo. The twelve songs, suitable for choir, evoke a dreamy, water-colour landscape with no harsh sounds, the tunes are singable and in a traditional style that Tolkien would surely have approved. Dr Julia Gasper, LGSM A general comment on Charles McCreeryâ€™s music by a violinist and composer in the USA: â€˜Charles McCreeryâ€™s beautifully melodic, intricately textured compositions are infused with classical, romantic and folk idioms.â€™ Samantha Gillogly â€˜Galadrielâ€™s Songâ€™ is appropriate for either womenâ€™s or childrenâ€™s voices, and is potentially of interest to anyone who is familiar with the works of J.R.R. Tolkien. The three vocal parts and the individual orchestral parts can all be printed out separately at the end of the full score. The MP3 which plays from this page is of a version of the song which can be heard on the stmaurmusic channel on YouTube (https://www.youtube.com/user/stmaurmusic). On the front cover is a photograph of leaves in Wytham Woods, Oxford, and at the end of the full score is a photograph of the sea off Treyarnon Bay, Cornwall .

$7.75 7.14 € #Chamber Orchestra #Charles McCreery # #Galadriel's Song of Eldamar, Orchestral Version #St Maur Music #SheetMusicPlus

When I Survey the Wondrous Cross - Orchestration Chamber Orchestra

Chamber Orchestra - Level 3 - Digital Download SKU: A0.976713 Composed by Isaac Wat…(+)

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 Masonâ€™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 â€“ 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 Masonâ€™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 55.31 € #Chamber Orchestra #Isaac Watts / Lowell Mason #When I Survey the Wondrous Cross - Orchestration #WheatMyer Music #SheetMusicPlus