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1
TAPS A Rembrance
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1226101 Composed by Traditional…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1226101 Composed by Traditional. Arranged by Ken Litton. Historic,Patriotic,Standards,Traditional. Score and Parts. 28 pages. Artist of Note, Inc. #822125. Published by Artist of Note, Inc. (A0.1226101). TAPS  A Remembrance   Bb Solo Trumpet, Narrator, Piano/Organ/Orchestra, optional SATB Choir  > 2:00TAPS - A Remembrance is ideal for the kinds of brief but important Memorial Day and/or Independence Day observances so often called for in our time.The poignant narration recalls the story of United States Army Sergeant Keith Clark playing the bugle call know today as Taps for the interment of President John F. Kennedy (November of 1963). As author William Manchester later wrote, “The 6th note of the 24 he played seemed like “a catch in your voice or a swiftly stifled sob†that the whole world heard, and that remains part of our national heritage.The background arrangement (optionally with chorus) heightens the emotion of the story until both give way to a regulation trumpet solo version that includes the grace note error and fades at the end. The orchestration is done in a 4 Part + format that lends itself to optional performance by any section of the orchestra (originally for brass alone).The choral octavo carries the complete narration (also see below) with accompaniment (playable by/adaptable to organ) and the solo trumpet part (all that’s really needed to perform the piece) along with permission to reproduce the octavo for optional choir/ensemble.The choral writing involves divisi only at two easily sung cadence points.And, it can be performed by just the brass and the narrator.For those who may not know the story:CBS News video of A Bugle Call Remembered Gathering 11/16/2013  [01:15]  https://www.youtube.com/watch?v=E3u2qKWQ8io----NARRATOR:  Since the mid 1800s the bugle call known today as Taps has heralded rest for the weary, as well as comfort and encouragement in times of deep personal and collective grief.** music beginsAt about 3:00 p.m. on November 24th 1963, as the nation mourned the assassination of President John F. Kennedy, United States Army Sergeant Keith Clark raised his bugle at Arlington National Cemetery [†with thoughts of I Corinthians 15:51 in mind, “The trumpet shall soundâ€].Clearly broadcast throughout the country and around the world, the 6th note of the 24 he played seemed like “a catch in your voice or a swiftly stifled sob†as author William Manchester put it. But, as another observer** noted: “Like the crack in the Liberty Bell, it remains part of our national heritage.â€(Taps solo Trumpet with intentional error at m.14 continues)________† Optional text** Ed Hunter for www.TapsForever.com.
$29.99
27.66 €
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Orchestra
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Traditional
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TAPS A Rembrance
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Artist of Note, Inc.
#
SheetMusicPlus
Australia Our Land - Orchestra with SATB Choir and Piano
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1033685 By Brendan James Ellige…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1033685 By Brendan James Elliget NotePerformer 3. By Brendan James Elliget MAGA 537. Arranged by Brendan James Elliget MAGA 537. Classical,Contemporary,Patriotic. Score and parts. 41 pages. BJE Music #638998. Published by BJE Music (A0.1033685). The words for this song were written as a poem by my late mother-in-law Olivia Morgan (94) about the love of her adopted country Australia. She originally came from her ancestral home in England when she was 14. She spent her early years in Australia on a cattle station. Many years later she wrote a poem. Olivia asked me to set her poem to music, which I did in 1990 in the style of an anthem. It has since been performed by the local symphony orchestra and full choir. This setting is for SATB Choir and Orchestra with or without piano accompaniment. The MP3 was recorded with NotePerformer… Grade = 3 Duration = 2:35 mins Full lyrics: Australia Our Land Australia great and fair Contained in azure sea Her beauty lies 'neath southern skies Enchanted wide and free From oceans pounded shore Through outback's silent space O'er desert sands and city strands She shows her varied face. Where high the eagle flies And mighty rivers run There rolling plains of golden grain Reflect the west'ring sun In bushland's shaded scene By mountain's dreaming haze There bird-land calls cascading falls Combine their songs of praise. Our country's bounteous gifts Extend from shore to shore In history's place, Her pride and grace Will live forever more This land that keeps our heart Afar though we may roam On land or sea Yet still to be Australia our dear home. (Repeat last two lines) Sung by Christine Neaves (Daughter of Brendan and Glenys Elliget) Words by Olivia Morgan (Mother of Glenys Elliget) Music by Brendan Elliget Copyright © 1996 BJE Music You can listen to the Vocal version at: https://www.bjemusic.com/store/p149/Australia%2C_Our_Land_-_SATB_Choir_or_Solo_Voice_with_Piano_PDF.html.
$28.00
25.82 €
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Orchestra
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Brendan James Elliget NotePerformer 3
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Australia Our Land - Orchestra with SATB Choir and Piano
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BJE Music
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SheetMusicPlus
Missa Solemnis, op. 27 (parts)
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). 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.
$160.00
147.55 €
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Orchestra
#
Adrian Gagiu
#
Missa Solemnis, op. 27
#
Adrian Gagiu
#
SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
(+)
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.
$85.99
79.3 €
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Orchestra
#
Adrian Gagiu
#
Missa Solemnis, op. 27 - Score Only
#
Adrian Gagiu
#
SheetMusicPlus
Handel Hallelujah Chorus From Messiah
Orchestra
Full Orchestra - Level 2 - Digital Download SKU: A0.1385189 By Artyfile. By George …
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Full Orchestra - Level 2 - Digital Download SKU: A0.1385189 By Artyfile. By George Frideric Handel. Arranged by Paul Lorenz. Baroque,Christian,Classical,Praise and Worship,Religious. 74 pages. Paul Lorenz #969195. Published by Paul Lorenz (A0.1385189). Elevate Your Performance with Handel's Hallelujah Chorus Sheet Music A Timeless Masterpiece Awaits Dive into the magnificence of George Frideric Handel's most celebrated work, the Hallelujah Chorus from Messiah. At Paul Lorenz Music, we offer an unparalleled selection of the Hallelujah Chorus choral sheet music, crafted for choirs and musicians who aim for excellence. Our meticulously prepared editions ensure that every crescendo and every harmony of this baroque masterpiece resonates with audiences and performers alike. Accessible Excellence for Every Musician Whether you're a solo artist looking for Hallelujah Chorus from Messiah sheet music or an ensemble seeking to captivate with Handel's baroque splendor, our collection spans from Hallelujah chorus piano sheet music to full orchestral scores. Discover our Hallelujah Handel PDF and Hallelujah Chorus Handel PDF editions, offering crystal-clear notations for a seamless performance experience. Immerse in the Baroque Brilliance For organists, the Hallelujah Chorus organ PDF provides the foundation for a powerful and moving rendition, bringing Handel's vision to life with every note. Choirs can elevate their performance with our Hallelujah Chorus SATB sheet music, designed for soprano, alto, tenor, and bass voices to blend harmoniously in this epic chorus. Full Scores for Complete Mastery Achieve a deeper understanding and a more impactful performance with the Hallelujah Chorus full score PDF. This comprehensive resource is perfect for conductors and music directors aiming to explore Handel's intricate musical architecture, ensuring a performance that is both authentic and profound.
$99.99
92.21 €
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Orchestra
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Artyfile
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Handel Hallelujah Chorus From Messiah
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Paul Lorenz
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SheetMusicPlus
Crux Fidelis
Orchestra
Full Orchestra - Level 1 - Digital Download SKU: A0.1142768 Composed by Luis Cardos…
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Full Orchestra - Level 1 - Digital Download SKU: A0.1142768 Composed by Luis Cardoso. Children,Classical,Easter,Historic,Praise & Worship. Score and Parts. 271 pages. Luis Cardoso #743138. Published by Luis Cardoso (A0.1142768). Crux Fidelis is a sixteenth-century Latin religious text used in the creation and title of this cantata. It refers to Holy Week and the glorification of the Christian cross. The work has a simple and profound musical language, translating the text's message of redemption. The composition was made in 2022 for the various groups of students at the Conservatorio de Musica da Bairrada (Portugal). Includes Soprano singer soloist, Choir (Children's Choir - 2 voices, with optional 3 little choirs division), Guitar Ensemble in 4 voices, Percussion Ensemble with 2 lines, Orchestra - Flt12, Clrn, SaxATB, Trp, Trb, Timpani, Organ with Pedals, Strings. 32m. Very easy, for beginners or young musicians, but very powerful music.
$149.99
138.32 €
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Orchestra
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Luis Cardoso
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Crux Fidelis
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Luis Cardoso
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SheetMusicPlus
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