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If I Had Words
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Vous avez sélectionné:
If I Had Words
intermédiaire
Chorale SATB
Partitions à imprimer
7 partitions trouvées
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1
If I Had Words
If I Had Words
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Chorale SATB
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INTERMÉDIAIRE
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Jonathon Hodge
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Andrew Emmet
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If I Had Words
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Andrew J Emmet
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SheetMusicPlus
Choral Choir,Choral (4-Part) - Level 3 - SKU: A0.1077633 Composed by Jonathon Hodge. Arranged by Andrew Emmet. A Cappella,Classical,Film/TV,Pop. 2 pages...
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Choral Choir,Choral (4-Part) - Level 3 - SKU: A0.1077633 Composed by Jonathon Hodge. Arranged by Andrew Emmet. A Cappella,Classical,Film/TV,Pop. 2 pages. Andrew J Emmet #681840. Published by Andrew J Emmet (A0.1077633). SSABaritone A Cappella arrangement.
$4.00 ≈
¥28.33
If I Had Words
If I Had Words
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Chorale SATB
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INTERMÉDIAIRE
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Contemporain
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Jonathon Hodge and John Hodg
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Andrew Emmet
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If I Had Words
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Andrew J Emmet
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SheetMusicPlus
Composed by Jonathon Hodge and John Hodge. Arranged by Andrew Emmet. A Cappella, Classical, Film/TV, Pop. Octavo. 2 pages. Andrew J Emmet #5212813. Pu...
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Composed by Jonathon Hodge and John Hodge. Arranged by Andrew Emmet. A Cappella, Classical, Film/TV, Pop. Octavo. 2 pages. Andrew J Emmet #5212813. Published by Andrew J Emmet
$4.00 ≈
¥28.33
AND THE WORD BECAME FLESH - SEVEN ANTHEMS TO CHRIST
AND THE WORD BECAME FLESH - SEVEN ANTHEMS TO CHRIST
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Chorale SATB
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INTERMÉDIAIRE
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Michael A
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AND THE WORD BECAME FLESH - SE
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.926660 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 112 pages. M.A. Morizio #3588371. Pu...
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Choral Choir (SATB) - Level 3 - SKU: A0.926660 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 112 pages. M.A. Morizio #3588371. Published by M.A. Morizio (A0.926660). During the late spring of 2017, I began composing a new choral piece based on the 1 Timothy 3:16 text. I was studying Paul's first letter to Timothy at the time when this particular passage jumped out at me. Not only was it an efficient summary of the Gospel message, but it was also a textual grouping, or form, such as might be found in a traditional hymn. What I was reading were indeed lyrics to an actual 1st Century Hymn to Christ, the music of which has since been lost. I entitled my piece, Great is the Mystery. I composed the anthem for SATB (a cappella), and set it to the ESV translation of the scripture. Based on its context, I suspected the song would work great for Ascension Sunday. Our choir sang the piece beautifully, crescendoing at the finish to the words, Believed on in the world and taken up in glory! Later that spring, I played the piece for a dear friend of mine who is Pastor at Immanuel Church in Manchester, New Hampshire. What he told me was actually a bit stunning. He informed me that there were (at least) seven specific known Hymns to Christ written into the New Testament Scriptures, whose text is found among the writings of the apostles’ Paul and John. The 1 Timothy 3:16 verse that I had selected for my piece was indeed one of those texts. At that moment, Pastor Don and I made a pact. If he were to supply me with the literal Greek translations of the other six known Hymns to Christ, I would set out to compose brand new anthems for them all. A new musical collaboration had begun. With this short introduction serving as the genesis of my new song cycle, I offer you these new Seven Anthems to Christ based on the seven known ancient ‘Hymns to Christ' texts found in the New Testament.
$9.99 ≈
¥70.77
Rock - a Roger Jones musical
Rock - a Roger Jones musical
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Roger Jones, Alison Fuggle
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Annie Routley
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Rock - a Roger Jones musical
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Christian Music Ministries
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.927456 Composed by Roger Jones, Alison Fuggle. Arranged by Annie Routley. Christian,Easter,Musical/Show,Praise &...
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Choral Choir (SATB) - Level 3 - SKU: A0.927456 Composed by Roger Jones, Alison Fuggle. Arranged by Annie Routley. Christian,Easter,Musical/Show,Praise & Worship,Sacred. Octavo. 98 pages. Christian Music Ministries #6135917. Published by Christian Music Ministries (A0.927456). Rock - a worship musical.Full piano score with SATB choir, solo parts and narration.Starting in Caesarea, Peter's story unfolds in flashback.From fishing, his 3 years on the road alongside Jesus and the disciples, his triumphs and failures. Jesus calls Peter 'the Rock' - but we see that only in Christ, and filled with His Spirit, is Peter on solid ground.Synopsis Traditional words introduce the theme of the Musical: Jesus is our ROCK OF AGES, but the story starts IN CAESAREA BESIDE THE SEA. Here, centurion Cornelius declares I’ve had a vision - but who can explain it, who can help? Cornelius’ household tell of Simon Peter, a disciple of Jesus, and we are taken back to Galilee when Peter, a fisherman, WORKING IN THE FAMILY BUSINESS, hears Jesus’ call to leave your nets and leave your boats. He responds I WILL FOLLOW YOU. For three years Peter follows Jesus, and when challenged declares YOU ARE MESSIAH, the Son of the living God! Jesus replies On this rock I will build my church, then, ominously, points towards Jerusalem. He and his followers eventually arrive in the city at Passover, and during the meal they wonder IN THIS BREAD, IN THIS WINE, is there love for me? At first reluctant, Peter allows Jesus to wash his feet. Events turn against Jesus; he is arrested, and Peter is afraid. The taunt SURELY YOU MUST HAVE BEEN WITH HIM sees Peter denying he ever knew Jesus. Then their eyes meet across the courtyard, and Peter is devastated by his own failure. But even at such an awful time as this, THE LOOK OF LOVE contains acceptance and hope. WERE YOU THERE WHEN THEY CRUCIFIED MY LORD? Peter wasn’t - he was in hiding along with many of the disciples. But after the resurrection, Jesus greets Peter and the others in Galilee: THIS IS THE PLACE – I am the Lord who comes to meet you here. Jesus asks: SIMON PETER, DO YOU LOVE ME? After being asked three times Peter reaches reality: Lord, you know everything … you know how much I love you! and receives the commission Feed my sheep. Peter and the disciples return to Jerusalem, and wait for the promised Holy Spirit. At Pentecost the Spirit comes, and as A CHOSEN PEOPLE, the followers of Jesus receive his power. Peter preaches, and thousands believe and respond JUST AS I AM … O Lamb of God I come. The Church is born and in the power of the Spirit begin WORKING IN THE FATHER’S BUSINESS, doing the things that Jesus did! Peter eventually arrives IN CAESAREA BESIDE THE SEA. He shares his vision with Cornelius and his household, and declares God has no favourites … you can be saved too … if you believe in Jesus. They believe, receive the power of the Spirit, and Gentiles also become members of the Chosen People, called out of darkness into wonderful light! Peter’s vision is fulfilled – the Gospel is for all who believe in Jesus. Peter declares HE IS THE STONE that the builders rejected … on Jesus the ROCK I will build my life! .
$9.99 ≈
¥70.77
Drei Equale / Three Equali
Drei Equale / Three Equali
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Chorale SATB
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INTERMÉDIAIRE
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Classique
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Ludwig van Beethoven
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Matthijs van der Moolen
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Drei Equale / Three Equali
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Matthijs van der Moolen
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SheetMusicPlus
Choral Choir (4-Part) - Level 3 - SKU: A0.882467 Composed by Ludwig van Beethoven. Arranged by Matthijs van der Moolen. Christian,Classical,Contemporary...
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Choral Choir (4-Part) - Level 3 - SKU: A0.882467 Composed by Ludwig van Beethoven. Arranged by Matthijs van der Moolen. Christian,Classical,Contemporary,Romantic Period. Octavo. 18 pages. Matthijs van der Moolen #566711. Published by Matthijs van der Moolen (A0.882467). These ‘Three Equali’ are amongst the few pieces that were written for trombone ensemble by a well- known composer, and therefor they are very important pieces for the trombone repertoire. This particular edition is different from the ones that most trombone players know. First of all, it contains a score for male choir. And secondly, it is transposed a major second down. The reason for this is that the original version is too high for the male voices. The version for male choir was added to the first and the last movement by Ignaz Seyfried, a friend of Beethoven. To make the words fit to the music, he had to be quite free with interpreting the rhythmical structure that Beethoven composed. It is debatable if the vocal and instrumental version should be performed all together or alternating with each other. According to the notes about Beethoven’s funeral (where the first and last movement were performed), the voices and instruments were alternating during this performance. The second movement was performed on a later moment, but the link between the instrumental version (with text by Frans Grillparzer) was not made. I have taken the freedom to put these two together in this score, and transposed it one major second down to make it fit smoothly in between the other two movements. The first and last movement also contained a text in Latin, but since the second movement was only available in German, I also used the German texts for the other movements.
$19.99 ≈
¥141.60
Jesus Christ the Apple Tree — SATB voices
Jesus Christ the Apple Tree — SATB voices
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Chorale SATB
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INTERMÉDIAIRE
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Todd Marchand
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Jesus Christ the Apple Tree &m
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Con Spirito Music
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 3 - SKU: A0.1495196 Composed by Todd Marchand. A Cappella,Christian,Christmas,Folk,Sacred. 4 pages. Con Spirito ...
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Choral Choir,Choral,SATB Chorus - Level 3 - SKU: A0.1495196 Composed by Todd Marchand. A Cappella,Christian,Christmas,Folk,Sacred. 4 pages. Con Spirito Music #1071742. Published by Con Spirito Music (A0.1495196). Jesus Christ the Apple Tree is the commonly used title for a poem published under the heading Christ compared to an Apple-tree in the August 1761 issue of The Spiritual Magazine, a London periodical for Calvinist Baptists.Above the poem in the publication are words of its author:Gentlemen,Having spent some of my vacant time in the composition of short pieces of Divine Poetry, have sent you the following, by way of specimen; which, if thought worthy of a place in your magazine, shall communicate the others regularly. I am your well-wisher and constant reader, R.H.R.H. is today believed to most likely be the Rev. Richard Hutchins, a Calvinist Baptist clergyman then serving in Long Buckby, Northamptonshire. The poem's first known appearance in a hymnal, and in America, was in 1784 in Divine Hymns, or Spiritual Songs: for the use of Religious Assemblies and Private Christians compiled by Joshua Smith, a lay Baptist minister from New Hampshire. Because of its popularity in New England churches thereafter, it has often been wrongly attributed to an anonymous early American poet or to Smith.The poem may be an allusion to the apple tree in Song of Solomon 2:3 (As the apple tree among the trees of the wood, so is my beloved among the sons. I sat down under his shadow with great delight, and his fruit was sweet to my taste), which has been interpreted as a metaphor for Jesus. It also alludes to other descriptions of the tree of life in both the Old and New Testaments. Primitive yet profound, Jesus Christ the Apple Tree has been set to music by many composers, including a very popular setting by Elizabeth Poston (1905-1987). This new setting for unaccompanied SATB voices captures the rustic quality of the text with a rising-and-falling folksong-like melody, attractively harmonized. Voices realized by Cantamus (https://cantamus.app/)©Copyright 2024 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, folk, patritic, and popular music for instruments and voices, visit www.conspiritomusic.com
$2.99 ≈
¥21.18
Three Latin Elegies to Lesbia
Three Latin Elegies to Lesbia
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Chorale SATB
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INTERMÉDIAIRE
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Contemporain
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Mark D
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Three Latin Elegies to Lesbia
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Mark Templeton Choral Music
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SheetMusicPlus
Choir, SATB - Intermediate - Composed by Mark D. Templeton. 21st Century, Contemporary Classical, Modern, Neo-Classical. Sheet Music Single. 20 page...
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Choir, SATB - Intermediate - Composed by Mark D. Templeton. 21st Century, Contemporary Classical, Modern, Neo-Classical. Sheet Music Single. 20 pages. Published by Mark Templeton Choral Music
Three LatinElegies to Lesbiais a setting of three poems written by the ancient Roman poet, Gaius ValeriusCatullus (84-54 B.C.E.). His muse in these poems is understood to beLesbia, the name believed to have been given by Catullus to his mistress.Lesbia was really Clodia, the sexually promiscuous wife of proconsul QuintusCaecilius Metellus Celer. Clodia was said to have many lovers, and Catullus?torment and obsession for her is well documented in 13 of his poems where thename, Lesbia, is used. His first poem addressed to Lesbia (Catullus 51) is a freetranslation of a poem by the ancient Greek poet, Sappho. Scholars havesuggested that Catullus chose the name, Lesbia, because of his affinity forSappho, who it is believed was a lesbian.
Odie et Amo (Catullus 85), one of the mostcelebrated elegiac couplets composed by Catullus, has inspired many composers withits duality of emotions. The most well-known setting is from Carl Orff?s Catulli Carmina, part of Trionfi, themusical triptych that also includes the Carmina Burana andTrionfo di Afrodite. Unlike Orff?s driving rhythms of outwardlyexpressive anguish, my setting is a more introspective interpretation. It is asif the music is surrendering to the mercurial personalities that Catullus andall humans possess, the tortured ability to hate and love at the same time.
Lesbia mi dicit semper male (Catullus 92) consists of two elegiaccouplets. Catullus? earlier poem, 83,brings some context to 92. In thefirst part of 83, Catullus says:
Lesbia keeps insulting me in front of her husband:
thisfills the fatuous idiot with delight.
Mule, doyou perceive nothing? If she shut up and ignored me
that?dshow healthy indifference;?
In 92, Catullus expounds on the idea of whyLesbia insults him in front of her husband. Catullus reckons that he is alwayscursing her, and he loves her. She always curses him, so she must love him aswell. In his desperation, Catullus uses his wit and humor to reason that hisobsessive love for Lesbia is reciprocated. This setting of 92 uses incessant driving rhythms in the women?s voices to paint thewords, ?Lesbia mi dicit semper male nec tacetumquam de me? (Lesbia always speaks ill of me, never shuts up about me). The repeating rhythmsreturn in the men?s voices when Catullus says he does the same, ?quia sunt totidem mea: deprecor illamassidue? (?it?s the same with me: I?m continually complaining.) The piececomes to a final rest after Catullus realizes the he will always be cursed tolove her.
Mea Lesbia (Catullus 87) also consists of twoelegiac couplets. Catullus was only one of Lesbia?s many lovers, and he oftenwrote of his jealousy and disdain for her unfaithful actions. This elegy waswritten at a time when Lesbia had been particularly cruel toward Catullus.Despite being broken hearted, his obsession with her never waned. In hisdespair and desperation, he basically says, ?My love for you is so great thatno other woman could possibly even know what love is.? This setting of 87 returns to a more introspectivenature where Catullus surrenders his love forever to Lesbia.
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