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Let the Amen Sound Again!
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You've selected:
Let the Amen Sound Again!
Sheetmusic to print
6 sheet music found
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1
Let the Amen Sound Again!
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Choral SATB
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Sacred music
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Lloyd Larson
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Let the Amen Sound Again!
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SoundForth
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SheetMusicPlus
SATB choir, Piano; Optional Brass Score and Parts - Digital Download SKU: LX.10-5010SF Composed by Lloyd Larson. With Optional Brass Score and Parts. Sac...
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SATB choir, Piano; Optional Brass Score and Parts - Digital Download SKU: LX.10-5010SF Composed by Lloyd Larson. With Optional Brass Score and Parts. Sacred Anthem, Festival Sundays, General. Octavo. 12 pages. SoundForth #e10/5010SF. Published by SoundForth (LX.10-5010SF). ISBN 9781429136037.Commissioned by a church in Norwalk, Ohio, this piece has already brought great joy and blessings to singers and listeners. It opens with a stately instrumental fanfare that combines with the voices to proclaim a resounding praise to God who reigns above!
$2.50
Sonata for Piano Quintet
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James Albert Yeager
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Sonata for Piano Quintet
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James A. Yeager
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SheetMusicPlus
Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber...
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Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 99 pages. James A. Yeager #1075356. Published by James A. Yeager (A0.1499301). Foreword:Each movement revisits classic paradigms—sonata form (I), ternary song form (II), and sonata rondo (III). The three movements of this piano quintet share a common element contained in the seed of a motivic idea—the interplay between the minor and the major 3rd : a tonal ambiguity or conflict of the minor 2nd. Stylistically, this Sonata pays modest homage to neo-classicism of 20th Century composers such as Poulenc (I), Prokofiev, Shostakovich (III), and perhaps even a touch of Gershwin (II). I hope this piano quintet will offer players and their audience chamber music that is a bit unusual yet worthwhile. The Sonata embraces the lightheartedness, the melancholy , and the whimsy of nostalgia. There is no separate piano part.Performance Notes:I Moderately fast, expresses dialogues of themes that move between piano and strings. The playfulness of the exposition (repeat is not optional) can give way to a more passionate building of the development to the climax at letter H. In the recapitulation the longer bridge remains steadily in tempo (no accelerando) relaxing just before letter N and theme two. The coda after letter O is a somber premonition of movement two.II Slowly, the bowings are ad libitum. The viola is chantlike and smooth. Violins glissando like the portamento of the Chinese stringed instruments, the Guqin or the Ehru type glissando leading to a very pure quiet long tones without any vibrato and the resulting fourth should be a pure tuning. The piano can use una corda ad libitum in softer passages, and the pedal (damper) ad libitum. In the B section (Letter D) pianist should treat the 64th notes like an ornament (upper mordent). Strings play the eighths after Letter G accents with strong bow changes. At the end, the piano lingers until the sound vanishes after the strings die away.III Introduction: Quick and spirited, the transition (Introduction) is measured and strict without alteration leading to letter A. The rondo theme, ‘A’ section, can slightly intensify in each successive repetition, but not slavishly. The small waltz or ‘B’ section, Letter C, the quartet might play to resemble a reed organ or harmonium—sweet, sonorous, and harmonious. The ‘C’ section, Letter G, big swell on short bridge passage, then pizz. strings become very rustic and like a peasant dance. Pianist can use una corda ad libitum in soft passages. Violins again after Letter I play similarly to non-vibrato of 2nd movement. The ‘B’ section at Letter L is now the grand waltz slightly faster and more indulgent with tiny rubatos tastefully allowed.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985). He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano (2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.
$40.00
Greensleeves - George Shearing (Jazz Piano/Complete Piano Transcription)
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Piano solo
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ADVANCED
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George Shearing
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George Shearing
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Greensleeves - George Shearing
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Popnroll 1976
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1290690 By George Shearing. By Traditional. Arranged by George Shearing. Historic,Jazz,Traditional. Score...
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Piano Solo - Level 5 - Digital Download SKU: A0.1290690 By George Shearing. By Traditional. Arranged by George Shearing. Historic,Jazz,Traditional. Score. 13 pages. Popnroll 1976 #881264. Published by Popnroll 1976 (A0.1290690). Greensleeves - George Shearing (Complete Piano Transcription)Jazz pianist George Shearing plays solo piano on this complete transcription of the traditional Irish folk song Greensleeves from the album My Ship released in 1974.Song description. The solo is played over seven choruses in total. The first chorus is a simple but emotionally rich monophonic melody for the right hand only. In the second chorus, the melody follows the main melody of the right hand with a delay of one bar in the octave of the left hand in a canon-like style. The third chorus is a baroque style with lots of ornamental trills, and the inner voices move with a lively movement in the basic three voices. In the fourth chorus, the melody is finally reharmonized in jazz harmony (restructuring of the chord structure), supported by a stylish chord progression. The atmosphere changes again in the fifth chorus, where the main melody of the first half moves with two voices, and the second half is sung with block chords blending the chords in a glittering octave. The sixth chorus finally becomes George's quintessential jazz, with a fine and dynamic exchange of phrases in a swinging tempo. The final seventh chorus brings the song to a profound ending. Please enjoy the lustrous sound of George Shearing.PDF format, 13 pages. Content : 8 pages score (Large notes) & 5 pages score (Small notes), There are the same score.Instrument: For Solo PianoComposition: Traditional Piano Performance: George Shearing Album : My Ship (1975)Album info. : Discog link https://www.discogs.com/ja/master/533816-George-Shearing-My-Ship.
$9.99
Unaccompanied Tuba Suite #2 in B-flat Major
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Tuba
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INTERMEDIATE/ADVANCED
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Jason Allie
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Unaccompanied Tuba Suite #2 in
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Joaba LLC
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SheetMusicPlus
Tuba Solo - Level 4 - Digital Download SKU: A0.991804 Composed by Jason Allie. 20th Century,Contemporary,Romantic Period,World. Individual part. 14 pages...
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Tuba Solo - Level 4 - Digital Download SKU: A0.991804 Composed by Jason Allie. 20th Century,Contemporary,Romantic Period,World. Individual part. 14 pages. Joaba LLC #3109635. Published by Joaba LLC (A0.991804). DescriptionA delightful, intermediate-advanced level work suitable for encouraging students, hobbyists and professionals to improve or show off their performance skills. This multifarious work grips the audience with a variety of moods, styles and affects. A great recital piece or encore piece to show off the melodiousness, harmoniousness and vibrancy of the tuba. Please send feedback, praises and more to contact@joaba.com. Total Duration: ~10 to 15 minutes depending upon taking the repeats and varying the tempo.Performance Notes Introduction This piece boldly explores the B♠Major key and related tonalities. It yields exciting moves to tease the audience’s appetite for the real treats of the variations. The key to performing this piece is to feel and emphasize the half-note rhythm and play the phrases against it. Dynamics are up to the performer. Theme & Variations The delight for the performer and listener is to emphasize the unique traits of each variation while celebrating their similarities. A great audience toe-tapper (mostly!). Each variation’s title indicates how to play it; further notes below. 1 PLAYFUL Stretches the theme’s rhythms for a friendly teasing. 2 MAJESTIC This variation indulges in the compound meter exploration of the theme. Emphasize the linear lines and the ornamental notes will shine. 3 BRIGHT Practice the intervallic phrasing until you can hear what note follows which. Then bang it around for a jaunty, vigorous performance. 4 AGILE Practice slow then add speed. The luscious 16th notes energize the phrases and give them wit. 5 TEARFUL Let the notes do the work-don’t try too hard. 6 FESTIVE Must use repeats. A gigue that washes away the previous variation’s mood. Always emphasize the one-two bounce feel throughout. 7 TREMENDOUS Molto expressivo. This A section is anguish; B is reflective, loving, and then tender. 8 CHICKEN Chicken chickens chicken. Chicken! 9 FANTASTICAL No repeats: just a glorious monstrosity of extraordinariness. Get ugly. 10 MARCH Must use repeats. If you clip the dotted notes and focus on the one-two, one-two march rhythm, the melody will soar. 11 BLUES Be sure to swing it and adjust the tempo so the bluesy sound comes through. 12 A CARNIVAL NEAR VENICE Akin to variation 2. Practice it slow and build up speed. Nothing more than the theme with a compound voice in the upper register. 13 FUGUE Distinguish the two lines and it’ll be like playing two tubas simultaneously. Practice slow to learn to differentiate the two voices and it’ll be a dazzler. 14 FAREWELL A bittersweet mixture of bold thankfulness for the joyous discoveries and sadness for having to say goodbye. Be aggressive with the arpeggios for the harmony to resound.
$15.99
Kyrie Eleison
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Choral SATB
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INTERMEDIATE
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Traditional
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Dillon Ekle
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Kyrie Eleison
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Dillon Ekle
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.966753 Composed by Traditional. Arranged by Dillon Ekle. 20th Century,A Cappella,Christian,Class...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.966753 Composed by Traditional. Arranged by Dillon Ekle. 20th Century,A Cappella,Christian,Classical,Easter,Sacred. Octavo. 10 pages. Dillon Ekle #6110767. Published by Dillon Ekle (A0.966753). This arrangement for SATB choir a cappella takes the traditional plainchant setting of Kyrie Eleison from Mass XI Orbis Factor (Creator of the World) and brings it a fresh harmonization. Intended to be sung freely, reminiscent of the original chant, Kyrie Eleison builds in complexity until the final section, which begins with the altos and adds the other voices to create a swirl of sound until landing again for the final statement and amen.Singers will need to be able to perform tight harmonies (including many sevenths and seconds) as well as sing quarter note triplets.The file also includes a piano reduction for use in rehearsals. Save a tree and only print the piano reduction for your accompanist, not for every singer! Because the reduction is included with the file, you do not need to purchase an additional copy for your accompanist.
$3.99
Sonate No. 14, “Moonlight” 1st Movement
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Ludwig van Beethoven
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T H AN
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Sonate No. 14, “Moonlight”
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An
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.672443 By Ludwig van Beethoven. By T H AN. Arranged by T H AN. Classical. Score. 5 pages. An #281395. Pub...
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Piano Solo - Level 4 - Digital Download SKU: A0.672443 By Ludwig van Beethoven. By T H AN. Arranged by T H AN. Classical. Score. 5 pages. An #281395. Published by An (A0.672443). The first Movement of Ludwig van Beethoven's Moonlight Sonata. The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a lamentation, mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or very quietly, and the loudest it gets is mezzo forte or moderately loud. The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it is one of those poems that human language does not know how to qualify. Beethoven's student Carl Czerny called it a nocturnal scene, in which a mournful ghostly voice sounds from the distance. The movement was very popular in Beethoven's day, to the point of exasperating the composer himself, who remarked to Czerny, Surely I've written better things..
$15.55
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