In the Beginning Sheet Music to download and print

In the Beginning

Violin Solo - Level 3 - Digital Download SKU: A0.521069 By The Turtles. By Alan Gordon and Garry Bonner. Arranged by Sherry Lewis. Pop,Wedding. 5 pages. Sherry Lewis Publishing #3424681. Published by Sherry Lewis Publishing (A0.521069). HAPPY TOGETHER Solo ViolinIntermediate LevelScore 0 pagesParts: 2 pagesTime: 2'40DEMO IS SHORTENED IN THE BEGINNING TO GET TO THE CHORUSMY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.If you canâ€™t find a title then contact me through www.baysbest.com/smp-arrangeme/ and Iâ€™ll give you the link back to Sheet Music Plusâ€™s listing.VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.EXCELLENT for corporate events, weddings, social gatherings and recitals.APPROPRIATE for students and schools.CHURCH REPERTOIRE Iâ€™m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!

IN THE BEGINNING WAS THE WORD (SSATB) – John 1:1-18

#IN THE BEGINNING WAS THE WORD

Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1177767 Composed by Jan Antonin (comte de) Logy. Arranged by Socrates Arvanitakis. Baroque. Individual part. 11 pages. Socrates Arvanitakis #777729. Published by Socrates Arvanitakis (A0.1177767). Jan Antonin de Logy, count of Rosinthal (1650-1721) was an aristocrat of Bohemia and official ofthe Austrian empire. As a musician he was a lute player of professional level and seems to havebeen a refined and prolific composer of single pieces and suites in the French style for hisinstrument. His compositions are becoming known to us today through important academicresearch but a lot more work has to be made in this field. The present partita, (transcribed in A minor for guitar), was discovered early in this research and it is well known and loved amongstguitarist and lute players of today because of its ease in performance, but at the same timemaintaining a high compositional standard in terms of well-constructed movements incontrapuntal two-part writing.In these editions I prefer not to add any fingerings because I consider that they obscure the opticalresult rather than clarifying any particular way of playing the music. Instrumentalists have tomake their own fingering and choice of position decisions and in most cases they prefer it. My general suggestion for this partita is that open strings should be preferred whenever it is possible, as for example in the second half of the last movement where notes B and E are always sustainedas open strings in the upper part (indicated by the ties) and the required technique and sound result is that of an arpeggio rather than a scalic passage.Although here we have only a five movement partita and it is very easy to navigate from page to page, my usual procedure, followed for larger collections, is to give a thematic index in the beginning of the volume, with the first few bars of every piece given as photographs. If an electronic pad rather than printed music is used to play the music from these PDF archives, these photographs are clickable active links leading strait to the piece concerned, and the header of the page of any piece is another active link leading back to the index. External links to internet sources for further information on the pieces, live performances, etc may be added if considered of particular interest.

Concert Band - Level 2 - Digital Download SKU: A0.1335323 Composed by Kendra Brown. 21st Century. 26 pages. Kendra Brown #921147. Published by Kendra Brown (A0.1335323). The main theme is inspired by the introduction of the piece. Delicate and child-like. The ostinato in the beginning of the piece that double reeds have displays the feeling of a â€œchild-likeâ€ waltz. The pattern is in 3 but it should be played as if it is in 6/8, with emphasis on beats 1 and 3. There should be weight to the sound but it should not be heavy. Sometimes in life, (as both teens and adults) we tend to get caught up in stress or worries and we forget to take a break, relax and destress a little. This piece reminds us to go back to our childlike roots. As the theme in Section A expands, it takes a turn in Section B where the tempo picks up. (Players are encouraged to have as much fun as they can with this part.) At and after the exposed bassoon part at m.50, in the words of my old high school band director, â€œLet it rip potato chip!â€ (Meaning give it all youâ€™ve got and have fun). Brass are encouraged to play the dynamics as written in this section but listen to each other. Section C is a bridge to the 7/8 in Section D. Section D, reintroduces the theme in the form of a trumpet solo while brass and some of the woodwinds have the ostinato. Be careful euphonium & tuba because youâ€™re missing a beat on purpose! Section E is the â€œMedleyâ€ of all the parts that were previously played with only tuba playing in the relative minor so it sticks out at the bottom of the ensemble. This is symbolic of the piece itself, showing that the pressures of life can be overcome by keeping a good attitude and persevering through those tough times that you encounter. Section F is another â€œbridgeâ€ beginning with the flute solo reiterating the theme one last time before the â€œdescent and climbâ€ (starting at m.137) to the final destination: Section G. Section G should be played like an overture. Full and with joy and a â€œcoming alive-nessâ€ to it therefore bringing life to the once dead emotions that once were. The ending with the oboe/bassoon duet should be played as quietly as possible & as in tune as possible.

Concert Band - Level 1 - Digital Download SKU: A0.998359 Composed by Aaron Fonzi. Christmas,Contemporary,Folk,Standards. Score and parts. 25 pages. Aaron Fonzi #4834971. Published by Aaron Fonzi (A0.998359). This lyrical piece is a delightful way to introduce your young band to ballad style. Exploring slurs, accents, dynamics, caesuras, ritardandos and more, you'll be shocked by how sophisticated this beautiful piece sounds while using only a limited number of notes. Written to convey the playful innocence of a child dreaming, In Your Slumber balances the calm of a starry sky with the imagination and adventure of a child's mind at rest. Simple and elegant, the lullaby played by the flutes in the beginning gives way to an imaginative variation on the theme by the trumpets and clarinets at B. Gentle, pulsating tenutos in the harmonizing chords underneath are symbolic of relaxed, rhythmic breathing underlying the musical thoughts flowing by above them. Just as in dreams we seldom have control of which direction the story may go, D takes us somewhere else musically and implies a build to a false climax. At E, we are greeted with the quiet sounds of the night once more, but this time our imagination runs wild as the music builds to the climax of the piece at F. This powerful proclamation of the melody is concluded with a gentle final statement in the flute and clarinet, and the piece concludes with the final twinkle of the stars as the sun rises for a new day.Full of imagination, beauty and teachable moments throughout, I hope that you and your students can enjoy and appreciate this piece for it's simple beauty as I do. Onward!~Aaron FonziREHEARSAL NOTES:1. The clarinet part should be a very light drone creating atmosphere at the beginning- the same goes for the clarinet and saxophone at rehearsal E.2. It's easy to get too loud too soon in this piece, so remind your students to have patience. F is the climax of the piece, but many young students will want to play C as if it is. Similarly, be sure to balance the trumpet/ clarinet and the flute/ oboe/ bells at C so both lines come out evenly.3. Take your time in measure 48- we want to naturally fade away and pause before going on at rehearsal E. This increase and decrease in energy is a characterization of the ebb and flow of the piece.4. At F, there are 3 important parts that must be balanced: flute/oboe/bells; trumpet/clarinet; alto saxophone/horn. For best results, balance these 3 parts, and encourage the alto/horn line to play out a bit more than they think they need to. They are the new part which must be heard here.5. Have fun and use your imagination in terms of expressing the music- ask your students what it makes them think of and create a story to go along with it. Let this ultimately guide your interpretation. I am consistently impressed with the creative ideas my students come up with, so let them decide how the music should sound with their own stories. In your slumber, anything is possible!

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.521066 By The Turtles. By Alan Gordon and Garry Bonner. Arranged by Sherry Lewis. Rock,Wedding. 17 pages. Sherry Lewis Publishing #3424477. Published by Sherry Lewis Publishing (A0.521066). HAPPY TOGETHER String Quartet of 2 violins, viola and celloIntermediate LevelScore 5 pagesParts: 6 pagesTime: 2'40ABOUT THE DEMO: THE AUDIO'S BEEN SHORTENED IN THE BEGINNING TO GET TO THE MAIN CHORUSMY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.If you canâ€™t find a title then contact me through www.baysbest.com/smp-arrangeme/ and Iâ€™ll give you the link back to Sheet Music Plusâ€™s listing.VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.EXCELLENT for corporate events, weddings, social gatherings and recitals.APPROPRIATE for students and schools.CHURCH REPERTOIRE Iâ€™m always adding more titles. Sherry Lewis is a profession

Choral - "Sing to God All the Earth" SATB with Children's Melody Part Choral SATB

Choral Choir (SATB) - Digital Download SKU: A0.844331 Composed by Dan Cutchen. Sacr…(+)

Choral Choir (SATB) - Digital Download SKU: A0.844331 Composed by Dan Cutchen. Sacred. Octavo. 15 pages. Dan Cutchen Music #3121707. Published by Dan Cutchen Music (A0.844331). A bold choral work with a bold message of hope and praise for what Christ has accomplished for us by his death and resurrection!(For Mp3 Accompaniment TRACK: Copy and paste the following into the search bar:Choral - Sing to God All the Earth Accompaniment Track)It's only $1.99!SATB Choral with piano accompaniment.Based on John 1:1-3In the beginning there was the Word. The Word was with God, and the Word was God. He was with God in the beginning. All things were made by him, and nothing was made without him.andRomans 8:1There is therefore now no condemnation for those who are in Christ Jesus.--------------------------------------------------------------------------------------------------------The presence of children in a choir presentation can be quite charming and encouraging for the congregation. These kind of experiences for children can prepare them for a love of choral and exposure to singing with the big choir. Plus, as Psalm 8:2 informs us, children can have a ministry that silences the negative influence of the enemy and bring strength and encouragement to all who hear them sing praise!The children's part in this piece of music is a simple counter melody, no parts. You do not need an established children's choir, only a few good singers will do nicely.
$1.99 1.86 € #Choral SATB #Dan Cutchen #Choral - "Sing to God All the Earth" SATB with Children's Melody Part #Dan Cutchen Music #SheetMusicPlus

Cello Solo - Level 1 - Digital Download SKU: A0.1095693 Composed by Julie Munkholm Bruun. Blues,Classical,Rock. Individual part. 41 pages. Julie Munkholm Bruun #699675. Published by Julie Munkholm Bruun (A0.1095693). There's a new cello lesson book on the market! In this book I've turned the normal way of learning to play the cello upside down. With a little bit of creativity, and a lot of knowledge and understanding about how the instrument works - and how students learn - I have created this book. I hope you will love it just as much as I do, and that it will help you build a good foundation for your cello playing. FROM THE INTRODUCTION: This lesson book was created with a new perspective in mind. My hope is, that this way of learning, will make it easier to learn to play the cello. I have chosen to include a few chapters in the beginning of the book, where you will play on open strings. That will help you establish a good, basic understanding for how the cello should sound. It will also give you the opportunity to build up strength in the left hand slowly â€“ and concentrate on getting a good, basic bowing technique. I have included small chapters with music theory, that I find important in order to understand how the instrument works. The cello doesn't have any keys or frets to help you play in tune, so knowing a few tips and tricks will help you tremendously. As opposed to most cello lesson books, the first finger you will learn to use here is the 4th finger. The 4th finger is your little finger and usually the least strong finger of them all. Starting with 4th finger has 2 very important advantages: â€¢ When you use the 4th finger â€“ especially in the beginning â€“ you will use the other 3 fingers to help push the string down into the fingerboard. That will help you establish a good, healthy hand position for the left hand. And when you start with 4th finger, using the other 3 fingers will feel so easy! â€¢ 4th finger in the first position is the same note (an octave higher) as the open string below. It gives you the opportunity to use the open string to know if you play in tune. Once you have gone through this book you should be able to play with the bow, by plucking the strings (pizzicato) and use 1st, 3rd and 4th finger on the left hand. That means that you should be able to play songs in G Major and D Major in one octave. The last few chapters include duets for two cellos. I have chosen to include the duets to make it more fun to play and to start developing the students ability play chamber music. It is wonderful to be able to play an instrument, and playing with other people adds an extra dimension to that. Love, live, play! Julie.

My Father's World Choral 2-part

2-part choir - Digital Download SKU: LX.45-1068K A Jazz Cantata for Two-part Cho…(+)

2-part choir - Digital Download SKU: LX.45-1068K A Jazz Cantata for Two-part Choir. Composed by Gregg Sewell. Choral Cantatas. 52 pages. Triune Music Inc #e45/1068K. Published by Triune Music Inc (LX.45-1068K). UPC: 000308049213. Text: Stephen Andrews.Combining traditional scriptures with the bright, clean lines of traditional jazz, Gregg Sewell has crafted a work that is beautiful to hear yet easy to learn and perform. Two-part chorals are strongly supported by the moderately difficult accompaniment, giving junior high and high school singers the delicious experience of being a part of some seriously exciting music. If you're looking for a way to challenge and maintain interest, this musical experience is it. Ideally suited for smaller touring choirs. Performance time: 20 minutes.
Song List: Day And Night Growing Things Heavenly Lights In The Beginning Life For The Sea And Sky My Fathers World The Sixth Day
$9.95 9.29 € #Choral 2-part #Gregg Sewell #My Father's World #Triune Music Inc #SheetMusicPlus

Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - Digital Download SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 27 pages. Kayla Roth #3373343. Published by Kayla Roth (A0.927030). From the composer's program notes included with this purchase:I have taken Schubertâ€™s famous setting and arranged it in a set of musical homages to other composers. I have also included Schubertâ€™s original theme, transposed down to F, and I would recommend playing it twice in the beginning to give your audience a good idea of it.For most of the pieces, I tried to capture the composerâ€™s overall style; however, there are a few particular pieces that are either quoted or used as the stylistic basis, as follows: Mozart - I based this variation, stylistically, on Piano Concerto No. 21 in C major (K.467), specifically movement two (Andante), as well as some of his earliest childhood piano compositions. Symphony 40 in G minor (K.550) is quoted rhythmically. Strauss, Jr. - For inspiration, I used Du und Du, Op. 367, a waltz that is derived from various parts of his beloved operetta, Die Fledermaus. I quoted rhythms from this, as well as from FrÃ¼hlingsstimmen, Op. 410. Joplin - I didnâ€™t base this on any particular piece of Joplinâ€™s; I tried to include elements that are common in his rags (a short introduction, arpeggiated diminished seventh chords, chromaticism, syncopation over a boom-chuck). Perhaps the best advice comes from Joplin himself: Donâ€™t play this piece fast. It is never right to play ragtime fast. Porter - I had to include an offering from the Great American Songbook! Frank Sinatra recorded several of Porterâ€™s well-known tunes in the 1940s, such as Easy To Love, Night and Day, and I Love You; his renditions of these songs are heavy on the schmaltz and sentimentality, which is exactly what I was trying to achieve in this variation.Bach - The minor variation! I had Fugue in G minor, BWV 578 (Little Fugue) in mind when writing this.der JodelkÃ¶nig - As HeidenrÃ¶slein is a strophic, folk-songesque German piece, I thought it fitting to end the variations with an imitation of traditional Alpine yodeling. It is named in honor of Franzl Lang, the Yodelking.

Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.

Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energeticÂ second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.

Full Orchestra - Level 4 - Digital Download SKU: A0.1370573 Composed by Adrian Gagiu. 21st Century,Classical,Opera. 312 pages. Adrian Gagiu #954918. Published by Adrian Gagiu (A0.1370573). Score and parts of a Suite of orchestral excerpts from Hamlet (2017), a neo-romantic opera in 3 acts (libretto by Gene Tyburn, after Shakespeare), ranging between tragedy, irony and nostalgia: 1. Overture (Largo - Allegro assai e con brio) in D minor to Hamlet (2017). Dramatic composition, developing in sonatina form the main leitmotifs and themes of the opera (and the famous Folia theme in the beginning).2. Intermezzo No. 1 'The Players': humorous and ironic excerpt in B flat major for wind orchestra, accompanying the entrance of the players/actors.3. Intrada ('The Court'): orchestral march in E flat major, illustrating the entrance of the royal court.4. 'The Play': orchestral 'melodrama' in B flat major, illustrating in a satirical manner the play within the play and transforming bits by John Stepan Zamecnik for the silent movies of early 20th century.5. Intermezzo No. 2 'Polonius Chasing Hamlet': a symphonic scherzo in A flat major, illustrating Hamlet as he playfully grabs Polonius' hat and then is chased by him.6. 'Hamlet's Exile', linking together a postlude in F minor and an interlude in C major for string orchestra: after having accidentally killed Polonius, Hamlet feels sorry for him and then leaves in exile.7. Introduction to Act 3, in C minor: after having secretly returned from his exile in England, Hamlet arrives in the graveyard near Elsinore.8. Dead March in C minor: the funeral procession for Ophelia.9. The final chorus, in D major: after the horrors and crimes and Hamlet fulfilling his duty at his life's price, soothing hope returns.Total duration 33 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the Overture.

The Word Piano, Vocal and Guitar

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.565605 By Sharon Wils…(+)

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.565605 By Sharon Wilson. By Sharon Wilson. Arranged by Sharon Wilson. 20th Century,Advent,Children,Christmas,Easter. Score. 3 pages. Sharon Wilson #4898525. Published by Sharon Wilson (A0.565605). The author of the Bible books John and Revelation uniquely calls Jesus The Word. This song is a combination of four verses from these books of the Bible referring to Jesus as The Word. The selected verses (John 1:1, 14 and Revelation 19:1, 6) meld together naturally and tell the story of Jesus in the beginning with God, then as The Word who became flesh and concludes with Jesus reigning as the King of Kings. The tone begins softly and simply and builds as it reaches the Hallelujahs in the middle and finishes with a powerful, uplifting Hallelujah! The Almighty reigns!Covering the entire scope of the Bible in these few verses, including the Christmas and Easter themes, this piece is a beautiful praise song appropriate for any worship service throughout the year. Written in the key of G major, the vocal range is from D above middle C to the C above.This is one of the 25 original songs in the collection Sing the Songs of Christmas: An Advent Celebration Through Music.Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$3.99 3.72 € #Piano, Vocal and Guitar #Sharon Wilson #The Word #Sharon Wilson #SheetMusicPlus

In The Beginning (SSAATTBB)

In The Beginning (SSAATTBB) Choral SATB

Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.924084 Composed by …(+)

Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.924084 Composed by Dominic McGonigal. Christmas,Contemporary,Sacred. Octavo. 9 pages. C8 Music #5990791. Published by C8 Music (A0.924084). In The Beginning was commissioned by Fever Pitch, keen to have new material to sing in their regular Christmas concerts. It was premiered at a major charity event at St Paul's Covent Garden in London and performed two weeks later at Southwark Cathedral. The words - In the beginning was the Word: the Word was with God and the Word was God - have rarely been set to music, but they are perfect for a Christmas programme or liturgical service. Big choral textures are created from small beginnings, with climactic chords on 'God'. The second half is a soprano solo singing a long, lyrical melody over rhythmic and chordal patterns in the choral parts. 3'30 www.dominicmcgonigal.com
$1.99 1.86 € #Choral SATB #Dominic McGonigal #In The Beginning #C8 Music #SheetMusicPlus

#In The Beginning