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Vous avez sélectionné:
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Chorale SATB
Partitions à imprimer
9 partitions trouvées
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1
O Holy Night (Londonderry Air) – close harmony SATB+soloists (advanced)
O Holy Night (Londonderry Air) – close harmony SATB+soloists (advanced)
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Chorale SATB
#
AVANCÉ
#
Noël
#
John Sullivan Dwight, trad
#
Ben Trigg
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another much-loved tune
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O Holy Night
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OlivePress Music
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.1002401 Composed by John Sullivan Dwight, trad. Arranged by Ben Trigg. 20th Century,Christmas,Jazz. Octavo. 9 pa...
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Choral Choir (SATB) - Level 5 - SKU: A0.1002401 Composed by John Sullivan Dwight, trad. Arranged by Ben Trigg. 20th Century,Christmas,Jazz. Octavo. 9 pages. OlivePress Music #6628487. Published by OlivePress Music (A0.1002401). Not for the faint-hearted choir, this arrangement rewards the careful attention paid the close harmonies. One much-loved Christmas carol; another much-loved tune; put together with a healthy dose of jazz-inspired harmonies.Find the complete 'For Choir' catalogue from OlivePress Music at https://olivepressmusic.com/for-choir/
$2.99
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Chorale SATB
#
AVANCÉ
#
Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #...
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Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.
$25.95
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
#
Chorale SATB
#
AVANCÉ
#
Carson Cooman
#
Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #...
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Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir
$19.95
Evening Arrows, "Zip go the Arrows" Madrigal for SATB
Evening Arrows, "Zip go the Arrows" Madrigal for SATB
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Chorale SATB
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AVANCÉ
#
James Nathaniel Holland
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Evening Arrows, "Zip go t
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James Nathaniel Holland
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.730183 Composed by James Nathaniel Holland. A Cappella,Contemporary,Renaissance. Octavo. 11 pages. James Nathani...
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Choral Choir (SATB) - Level 5 - SKU: A0.730183 Composed by James Nathaniel Holland. A Cappella,Contemporary,Renaissance. Octavo. 11 pages. James Nathaniel Holland #2036013. Published by James Nathaniel Holland (A0.730183). The loss of love can create great anger at oneself or the former beloved. This madrigal continues the tradition of using sound to represent the slinging of arrows. SATB a capella, piano reduction included.
$3.99
The City In the Sea: Choral Tone Poem
The City In the Sea: Choral Tone Poem
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Chorale SATB
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AVANCÉ
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Contemporain
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Stanley M Hoffman
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The City In the Sea: Choral To
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stanleymhoffman.com
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.1074352 Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman.com #678653. Pu...
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Choral Choir (SATB) - Level 5 - SKU: A0.1074352 Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman.com #678653. Published by stanleymhoffman.com (A0.1074352). PROGRAM NOTES As of the present writing, this choral tone poem had been gestating for over thirty years, and the concept and harmonies for it for over forty years. In the 1980s I began to work with the latter two in my brief orchestral piece Little Sea Nocturne. When reading the poetry of Edgar Allan Poe (1809–1849), I am most struck by how musical they are. When recited aloud they exhibit their own rhythmic sense. I was eager to incorporate those rhythms into my music. I had long been familiar with his poem The City In the Sea and began to sketch choral passages for the present choral tone poem in the 1990s. It took me until 2022 to complete it because I required many more years of experience at my craft to do so to lead into out of the choruses. In 2012 I completed a seven-minute unaccompanied version of the choruses with music unique to and unifying it simply called The City In the Sea. In composing The City In the Sea - Choral Tone Poem, my goal was to write a piece that, while steeped in tradition, sounds unlike anything in the literature that had come before it. The result is an original hybrid work that successfully and memorably combines salient aspects of the tonal, atonal, and modal musical languages into an organic whole. George Perle coined the term “twelve-tone tonality†to describe the music of Alban Berg and composers influenced by him such as Luigi Dallapiccola. The last title of which I am aware that accomplishes anything remotely related to what I am trying to accomplish musically in this choral tone poem is the piece Paradiso Choruses by Donald Martino (1974). However, I take twelve-tone tonality in entirely other directions in my work. That the duration of The City In the Sea - Choral Tone Poem came out to be thirteen minutes seems appropriate for piece about a sunken city. Rather than write program notes that narrate how the music unfolds I will simply shout out the most memorable aspects of what careful listeners will discern: a recurring heartbeat motif; shifting polychordal harmonies; echo technique; rhythmic diminutions and augmentations; an a cappella chorus featuring those harmonies with a surprisingly memorable recuring theme on top; sensuous flute duets; string section underpinnings by way of either sustained passages or wave-like gestures; tritone-related melodies, harmonies, and tone centers; several strategically placed grand pauses; tritone-related modal-sounding passages; melodic and chord clusters, especially the two climactic ones. INSTRUMENTATION 2 Flutes (2. doubles on Piccolo) 2 Oboes (2. doubles on English Horn) 2 Bb Clarinets 2 Bassoons 2 F Horns 2 C Trumpets 2 Trombones Tuba Timpani Percussion (Gong, Bass Drum, Chimes, Glockenspiel) Harp Strings DURATION 13:00 Stanley M. Hoffman (b. 1959) For biographical information visit: www.stanleymhoffman.com.
$5.60
O Vos Omnes from "Three Motets"
O Vos Omnes from "Three Motets"
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Chorale SATB
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AVANCÉ
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Contemporain
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Michael E
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O Vos Omnes from "Three M
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Michael E. Ekbladh
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.885599 Composed by Michael E. Ekbladh. 20th Century,Contemporary. Octavo. 16 pages. Michael E. Ekbladh #43639. P...
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Choral Choir (SATB) - Level 5 - SKU: A0.885599 Composed by Michael E. Ekbladh. 20th Century,Contemporary. Octavo. 16 pages. Michael E. Ekbladh #43639. Published by Michael E. Ekbladh (A0.885599). The sorrow and lament experienced by the prophet Jeremias as he witnessed the exile of the Jewish nation into Babylonian captivity is palpable in this text from Lamentations 1:12. These words are often used in Christian tradition on Holy Saturday. It’s mournfulness stands in sharp contrast to the exultation of the resurrection; surexit. The image evoked in this setting is that of a crowd, mourning at the foot of the cross on which Jesus had just died. The listener: a person simply passing through this terrible scene, surrounded by cries of sorrow. A split choir configuration will provide the best aural effect with soprano/alto on one side and tenor/bass opposite.
$2.25
Missa Sanctae Mariae Virginis
Missa Sanctae Mariae Virginis
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Chorale SATB
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AVANCÉ
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James Kennerley
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Missa Sanctae Mariae Virginis
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James Kennerley
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.1027605 Composed by James Kennerley. Christian,Christmas,Contemporary,Sacred. Octavo. 30 pages. James Kennerley ...
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Choral Choir (SATB) - Level 5 - SKU: A0.1027605 Composed by James Kennerley. Christian,Christmas,Contemporary,Sacred. Octavo. 30 pages. James Kennerley #2119771. Published by James Kennerley (A0.1027605). The Missa Sanctae Mariae Virginis – literally Mass of Saint Mary the Virgin – was composed for the Episcopal church of Saint Mary the Virgin, New York City, where the composer was Music Director & Organist from 2008 to 2013. The Kyrie was composed in 2016. The title makes reference to the name of the church, but also makes reference to the principal source of inspiration: two ancient plainsong melodies that accompany Marian texts (Salve regina and Ave maris stella). The Mass is composed in a vain that is influenced by the great parody Masses of Renaissance masters Palestrina, Lassus, and others. Nods are also made to the twentieth century, and particularly to the music of Herbert Howells and the Anglican tradition, and also to Jean Langlais, Olivier Messiaen, and similar French musical trends. It features a wide range of moods, from scintillating and exotic harmonies to thrilling rhythmic passages. The work is composed for 8-part choir with solo sections for additional voices from within the choir. The Mass can be performed complete as part of a church service. Likewise, any of the movements will work as independent compositions which makes them suitable for concert performance. Please visit www.jameskennerley.com for complete biographical information and for links to recorded performances of this work.
$4.49
African Call
African Call
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Chorale SATB
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AVANCÉ
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Contemporain
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Bertrand Groeger and Klaus F
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African Call
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (SATB) - advanced - Composed by Bertrand Groeger and Klaus Frech. This edition: choral score. Jazz and Pop Choir Series. Downloadable. D...
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Mixed choir (SATB) - advanced - Composed by Bertrand Groeger and Klaus Frech. This edition: choral score. Jazz and Pop Choir Series. Downloadable. Duration 3 minutes 40 seconds. Schott Music - Digital #Q22165. Published by Schott Music - Digital
English.
A new choral series that sets a new standard: Familiar traditionals are replaced by legendary pop and jazz classics, the arrangers - among them Jens Johansen, Bertrand Groger, Oliver Gies, Thierry Lalo, Dylan Bell - rank among the great figures of the European choral scene, and the book comes along in an absolutely ".choir-friendly". format: as a handy, modern separate edition at an affordable price - a valuable addition for all jazz, pop and gospel ensembles looking to add new pieces to their repertoire.
further editions: Straighten up and Fly right / Smells Like Teen Spirit / Washing of the Water / Blues on Sunday / As
$4.99
Blues on Sunday
Blues on Sunday
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Chorale SATB
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AVANCÉ
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Jazz
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Dylan Bell
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Blues on Sunday
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (SATB) - advanced - Fur Pop- und Jazzchor. Composed by Dylan Bell. This edition: choral score. Jazz and Pop Choir Series. Downloadable. ...
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Mixed choir (SATB) - advanced - Fur Pop- und Jazzchor. Composed by Dylan Bell. This edition: choral score. Jazz and Pop Choir Series. Downloadable. Duration 4 minutes 25 seconds. Schott Music - Digital #Q22166. Published by Schott Music - Digital
From the 2005 Cadence album Twenty For One
A new choral series that sets a new standard: Familiar traditionals are replaced by legendary pop and jazz classics, the arrangers - among them Jens Johansen, Bertrand Groger, Oliver Gies, Thierry Lalo, Dylan Bell - rank among the great figures of the European choral scene, and the book comes along in an absolutely choir-friendly format: as a handy, modern separate edition at an affordable price - a valuable addition for all jazz, pop and gospel ensembles looking to add new pieces to their repertoire.
further editions: Straighten up and Fly right / Smells Like Teen Spirit / African Call / Washing of the Water / As
$4.99
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