(1674-1748), Sheet Music to download and print

(1674-1748),

Christmas Lullaby Soprano voice, Piano

Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1345208 By Isaac Watt…(+)

Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1345208 By Isaac Watts. By Alex Hartel. Christian,Christmas,Holiday,Sacred. 19 pages. Alexander Hartel #930145. Published by Alexander Hartel (A0.1345208). The text is a poem by Isaac Watts (1674-1748), the English hymn-writer better known for such traditional favorites as Joy to the World or When I Survey the Wondrous Cross. Appearing in 1715 under the title, Hush! My Dear, Lie Still and Slumber, the lullaby portrays a mother singing to her baby of the serenity and comfort her baby enjoys, contrasted with the bleak conditions in which the baby Jesus was born. As she sings, the mother figuratively takes her child to the cross and expresses her longing to see the child come to know the Savior who died there. In this setting for solo soprano, accompanied by piano and cello, there are moments of tenderness, interspersed with interludes of intense emotion, finished with a tranquil conclusion.
$4.99 4.59 € #Soprano voice, Piano #Isaac Watts #Christmas Lullaby #Alexander Hartel #SheetMusicPlus

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.836712 Composed by Brian Joyce. Christian,Sacred. Octavo. 21 pages. Brian Joyce #4325937. Published by Brian Joyce (A0.836712). If you ever need a break from the soundbyte theology found in so many contemporary Christian lyrics, why not revisit the words of Isaac Watts (1674-1748), who could stretch a single coherent thought across multiple verses of his hymns? Watts was a prolific writer on many subjects, including geography, astronomy, ethics, and psychology. His book on Logic became a standard university text, being used at Oxford for over 100 years. But his greatest desire was to assist Christians in the worship of God and it is his hymns for which he is best remembered today.These old words are here set to new music which represents a blending of three different traditions: First, and most obvious, is the rustic sound of early American shape-note singing. Second is the strong linearity of 13th century Ars Antiqua voice leading, in which each part was more or less independent. And third is my own fondness for mixed meters and sonorities built on fourths and seconds. Yet it all works somehow: these are actually very singable hymns once the choir has acclimated to the style. Most fall comfortably into a simple diatonic language and would present no jarring problems for the listener. Five of the hymns are for standard mixed voices (SATB); one is for menâ€™s voices (TTB); one for womenâ€™s (SSA) and the last, a Doxology, is in six parts (SSATTB) with a florid threefold amen. There is admittedly a certain sameness about these settings; perhaps itâ€™s best if they are not all sung in one go, cover to cover. Taken individually, however, there is no reason they couldnâ€™t make for a refreshing change from the usual church anthem, and a group of three or four could easily find a place on a choral recital program.

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1030615 Composed by William Billings. Arranged by Mike Allsen. Classical,Praise & Worship,Renaissance,Sacred,Spiritual. Score and parts. 41 pages. Aaron Hettinga #636010. Published by Aaron Hettinga (A0.1030615). William Billings (1746-1800) was North Americaâ€™s first great choral composer. He spent most of his life in Boston, working at various times as a tanner or as minor civic official, and occasionally as a church musician. Billings seems to have had little formal music training, but when he was just 22, he also set himself up as an itinerant singing-master, teaching â€œsinging-schools,â€ where children and adults could learn the rudiments of musical notation and solfege. To feed the market he and other singing-masters had helped to create, Billings published six collections of music, mostly for SATB voices, The first of these, The New England Psalm-Singer (1770) featured a frontispiece engraved by his friend Paul Revere. Billings was fairly prosperous by 1780s, but his good fortune faded in the 1790s. His final collection of music, The Continental Harmony of 1794, was published for his benefit by a group of Boston friends. Billings died destitute in 1800. Billings composed some 340 pieces, mostly collected in his printed editions. This music has a rough-edged and sturdy beauty that is distinctly different from anything in contemporary Europe. The vast majority of Billingsâ€™s works were hymns or â€œpsalm tunes.â€ He was particularly attracted to the great English hymn-writer Isaac Watts (1674-1748), though Billings himself wrote verses for many of his hymns. One of the most famous Billings â€œpsalm tunes,â€ Chester is not a Christian hymn, but rather a patriotic song of defiance directed against the British. Billings spent nearly all of the Revolutionary War in Boston and made no secret of his patriot sentiments. Chester was first published in 1770, but when he republished it in his The Singing-Masterâ€™s Assistant during the height of the war in 1778, Billings added a verse calling out the â€œinfernal leagueâ€ of the leading British generals Howe, Burgoyne, Clinton, Prescot and Cornwallis. Many brass-players will know Chester from the finale of William Schumanâ€™s 1957 band piece A New England Triptych. Billings also composed over 50 â€œfuging-tunesâ€â€”a genre that usually included a short introduction and a repeated contrapuntal section. (These fuging sections usually begin with imitation, but they are otherwise not at all like classical fugues written in Europe at the time.) The fuging-tune Creation is one of his later works, published in The Continental Harmony of 1794, and experiments with the form. It sets two verses of the Watts hymn â€œWhen I With Pleasing Wonder Standâ€ though final line of verse 1 is repeated in a striking phrase that suddenly moves twice as fast (m.15). The fuging section begins in m.30, and rather than the usual exact repeat, Billing writes an entirely new and more elaborate second section beginning at m.44. Billings first published the simple but beautiful Africa in 1770, and published a revised version in 1778; the later version appearing with the Isaac Watts hymn â€œNow Shall My Inward Joys Arise.â€ I first arranged Africa in 1995, for the Glenwood Moravian Trombone Choir (Madison, WI), and I edited it for this publication. Phrasing and articulations marked here reflect the original vocal texts. Africa has long been a favorite of the Glenwood group. Chester and Creation were arranged in 2022. Mike Allsen February 2022.

When I Survey the Wondrous Cross (Hamburg) Piano solo

Piano Solo - Level 3 - Digital Download SKU: A0.920968 Composed by (1674-1748), (17…(+)

Piano Solo - Level 3 - Digital Download SKU: A0.920968 Composed by (1674-1748), (1792-1872), Music by Lowell Mason, and Text by Isaac Watts. Arranged by Ronnie Leyland. Christian,Easter,Gospel,Praise & Worship. Score. 4 pages. Ronnie Leyland #4735781. Published by Ronnie Leyland (A0.920968). I have created two piano solo versions with dramatic styles of this wonderful hymn.
$3.99 3.67 € #Piano solo #(1674-1748), #When I Survey the Wondrous Cross #Ronnie Leyland #SheetMusicPlus

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