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As the dove fly's
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You've selected:
As the dove fly's
Sheetmusic to print
10 sheet music found
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1
As the dove fly's
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Piano solo
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Sacred music
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Gospel/Spiritual
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THEMIS KOUTRAS
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As the dove fly's
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THEMIS KOUTRAS
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SheetMusicPlus
Piano - Digital Download SKU: A0.1066818 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 260. THEMIS KOU...
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Piano - Digital Download SKU: A0.1066818 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 260. THEMIS KOUTRAS #5307083. Published by THEMIS KOUTRAS (A0.1066818).
$3.99
LITTLE DOVE 4
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Piano solo
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Sacred music
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Gospel/Spiritual
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THEMIS KOUTRAS
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LITTLE DOVE 4
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THEMIS KOUTRAS
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SheetMusicPlus
Piano - Digital Download SKU: A0.1066542 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 248. THEMIS KOU...
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Piano - Digital Download SKU: A0.1066542 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 248. THEMIS KOUTRAS #4764083. Published by THEMIS KOUTRAS (A0.1066542). This song is you got to know the holy bible well to understand this so i will explain the dove in Christianity represents the holy spirit it is also how they believed in the old days to communicate with people like a post office of doves doves where known as pigeons in those days if you know your history the 1st post office was done using pigeons they put a message on it;s foot and let it go it will always return home so they will have a whole post office like that transporting pigeons to places they will then let them go with a message on there feet thus it would fly home so when JESUS CHRIST was baptize it writes the holy spirit came upon him in the form of a dove as GOD SPOKE OUT OF HEAVEN saying this is my beloved son listen to him thus everyone herd that so they only new how to explain it that the communication came to JESUS CHRIST communicating with GOD as they all herd it they told this expressing it how they understood it as the holy spirit came upon JESUS CHRIST as a dove thus what i am singing is very much that at the same time i am communicating with GOD just as the song says OK that is its meaning that i am communicating with GOD as sung
$4.99
A Child's Song of Christmas for SA and piano by Martha Hill Duncan, poetry by Marjorie Pickthall
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Choral 2-part
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INTERMEDIATE
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Martha Hill Duncan
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A Child's Song of Christmas fo
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Martha Hill Duncan
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SheetMusicPlus
Choral Choir (SA) - Level 3 - Digital Download SKU: A0.969162 Composed by Martha Hill Duncan. Christian,Christmas,Contemporary,Sacred. Octavo. 11 pages. ...
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Choral Choir (SA) - Level 3 - Digital Download SKU: A0.969162 Composed by Martha Hill Duncan. Christian,Christmas,Contemporary,Sacred. Octavo. 11 pages. Martha Hill Duncan #6133009. Published by Martha Hill Duncan (A0.969162). A Child's Song of Christmas My counterpane is soft as silk, My blankets white as creamy milk.The hay was soft to Him, I know, Our little Lord of long ago.Above the roof the pigeons fly In silver wheels across the sky.The stable-doves they cooed to them, Mary and Christ in Bethlehem.  Marjorie PickthallA rhythmic and singable remembrance of the very first Christmas.Also available for SSA and piano.
$2.14
A Child's Song of Christmas for SSA and piano
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Choral 3-part
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EASY
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Martha Hill Duncan
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A Child's Song of Christmas fo
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Martha Hill Duncan
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SheetMusicPlus
Choral Choir (SSA) - Level 2 - Digital Download SKU: A0.969145 Composed by Martha Hill Duncan. Christian,Christmas,Contemporary,Sacred. Octavo. 10 pages....
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Choral Choir (SSA) - Level 2 - Digital Download SKU: A0.969145 Composed by Martha Hill Duncan. Christian,Christmas,Contemporary,Sacred. Octavo. 10 pages. Martha Hill Duncan #5742137. Published by Martha Hill Duncan (A0.969145). A Child's Song of Christmas My counterpane is soft as silk, My blankets white as creamy milk.The hay was soft to Him, I know, Our little Lord of long ago.Above the roof the pigeons fly In silver wheels across the sky.The stable-doves they cooed to them, Mary and Christ in Bethlehem.  Marjorie PickthallA rhythmic and singable remembrance of the very first Christmas.Also available for SA and piano
$2.25
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
Missa Solemnis, op. 27 (vocal score)
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Choral SATB
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ADVANCED
#
Adrian Gagiu
#
Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adr...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). 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.
$87.99
The Carrier Dove. An Admired Ballad
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Piano, Voice
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Daniel Johnson
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The Carrier Dove. An Admired B
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - Digital Download SKU: LV.2691 Composed by Daniel Johnson. Correspondence, Bird's-eye views, Bodies of water, Boats, Courtship, Love. Le...
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Piano and voice - Digital Download SKU: LV.2691 Composed by Daniel Johnson. Correspondence, Bird's-eye views, Bodies of water, Boats, Courtship, Love. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.2691). The Carrier Dove. An Admired Ballad. 3d Edition. Composed for the Piano Forte by Danl. Johnson. Published 1836 by Atwill's Music Saloon, 201 Broadway in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Correspondence, Bird's-eye views, Bodies of water, Boats, Courtship, Love. First line reads Fly away to my native land, sweet dove.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
The Wings of a Dove
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Piano, Voice
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L
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The Wings of a Dove
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Johns Hopkins University Sheridan Libraries
#
SheetMusicPlus
Piano and voice - Digital Download SKU: LV.2091 Arranged by L. Devereaux. Sadness, Distress, Prayer, Religion, Comfort. Lester S. Levy Collection. 2 page...
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Piano and voice - Digital Download SKU: LV.2091 Arranged by L. Devereaux. Sadness, Distress, Prayer, Religion, Comfort. Lester S. Levy Collection. 2 pages. Published by Johns Hopkins University Sheridan Libraries (LV.2091). The Wings of a Dove. Written by Charles Jefferys. Arranged by L. Devereaux. Published [n.d.] by George Willig, 171 Chesnut St. in Philadelphia. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Sadness, Distress, Prayer, Religion, Comfort. First line reads Oh! had I wings like a dove I would fly, away from this world of care.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
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