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8 sheet music found
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1
Vidi aquam: (I saw water) (Downloadable)
Vidi aquam: (I saw water) (Downloadable)
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Choral SATB
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INTERMEDIATE
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Connor Koppin
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Lee Nelson Choral Series
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Vidi aquam:
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Galaxy Music Corporation - Digital
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SheetMusicPlus
SATB choir (choir divisi) unaccompanied - Medium - Digital Download SKU: MQ.1.3457-E Composed by Connor Koppin. Advanced/Collegiate; Lee Nelson Choral Se...
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SATB choir (choir divisi) unaccompanied - Medium - Digital Download SKU: MQ.1.3457-E Composed by Connor Koppin. Advanced/Collegiate; Lee Nelson Choral Series. Easter, 21st Century. Octavo. 10 pages. Duration 4 minutes, 40 seconds. Galaxy Music Corporation - Digital #1.3457-E. Published by Galaxy Music Corporation - Digital (MQ.1.3457-E). Latin. Ezekiel 47:1-9.Vidi aquam is a setting of a Sprinkling Rite for Eastertide composed for SATB chorus (divisi) unaccompanied. This work is written in a style that results in music that is ever-changing; flowing in one harmonic direction but never reaching the desired destination. In it, I make use of the original antiphon in small fragments and, near the end, the Doxology is sung by both men's and women's voices. Unique harmonic structure is core to my effort to bring these timeless chants to life in this composition. One should listen to and channel Gregorian Chant when preparing this piece with the intent of evoking a style of singing that echoes its qualities. -Connor KoppinDuration: 4:40.
$2.25 ≈
$3.06
Missa melismatica
Missa melismatica
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Choral SATB
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ADVANCED
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Hermann Schroeder
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Missa melismatica
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Schott Music - Digital
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SheetMusicPlus
Mixed choir a cappella - advanced - Digital Download SKU: S9.Q6889 Composed by Hermann Schroeder. This edition: choral score. Schott Choral Music. Downlo...
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Mixed choir a cappella - advanced - Digital Download SKU: S9.Q6889 Composed by Hermann Schroeder. This edition: choral score. Schott Choral Music. Downloadable, Choral score. Duration 16 minutes. Schott Music - Digital #Q6889. Published by Schott Music - Digital (S9.Q6889). Latin.Herrmann Schroeder (1904-1984), one of the most important church music composers of the 20th century, wrote this Latin mass in 1961, i.e. at the beginning of the Second Vatican Council. The Council marked a turning point in the field of church music: Masses in the respective native languages gained more and more acceptance, Gregorian chant faded into the background, stylistic features of popular music were also taken up in church music. Today, about 50 years after the beginning of the Council, one can see a return to Gregorian chant and polyphonic vocal music, and this is why even works such as Schroeder's Latin Missa melismatica arouse great interest again. The work takes the free intonation of the Gregorian chant as a starting-point and is enriched with wide-spun melodic arcs in elaborate polyphony, according to Schroeder's opinion that Gregorian chant and polyphony are particularly suitable for giving expression to the mysticism and irrationality of religious faith in the liturgy. A demanding work for good choirs, duration ca. 16 minutes.
$6.99 ≈
$9.50
Orgelsinfonie No. 16
Orgelsinfonie No. 16
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Organ
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ADVANCED
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Enjott Schneider
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Orgelsinfonie No. 16
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Schott Music - Digital
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SheetMusicPlus
Organ - advanced - Digital Download SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration ...
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Organ - advanced - Digital Download SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 24 minutes. Schott Music - Digital #Q45183. Published by Schott Music - Digital (S9.Q45183). On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air. 5th movement: The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
$21.99 ≈
$29.89
The Etherea Suite, Volume 1 for Solo Piano (Complete)
The Etherea Suite, Volume 1 for Solo Piano (Complete)
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Piano solo
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INTERMEDIATE
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JohnWillard Utuk
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The Etherea Suite, Volume 1 fo
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JohnWillard Utuk
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1135733 Composed by JohnWillard Utuk. Contemporary,Contest,Festival,Film/TV,Instructional,Video Game. Sco...
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Piano Solo - Level 3 - Digital Download SKU: A0.1135733 Composed by JohnWillard Utuk. Contemporary,Contest,Festival,Film/TV,Instructional,Video Game. Score. 18 pages. JohnWillard Utuk #735794. Published by JohnWillard Utuk (A0.1135733). The Etherea Suite, Volume 1 is for intermediate to advanced players who enjoy lyrical, exciting, and showy repertoire, while expressing their imagination through their playing. Players get to musically explore the mountains, the desert, volcanoes, time travel to ancient times, and fight in battle! Volume I of the suite represents three main characters from the sci-fi, fantasy book Trials of the Innermost (release date May 26, 2023). Each movement has a distinct feel and reflects each character's personality. This edition features performance notes written by the composer, including musical elements unique to each movement, fun facts, and personal influences JohnWillard had in mind when creating the work. A graphic of the musical cryptogram system used to make the melodies for each character is featured at the end of the notes. The three movements imitate a sonata, with the overall order of the suite is slow, slow, fast. Some teaching elements in the first movement I. Vayriel: Protector of the Mountains, include: scalar passages (A natural minor scale), shifting hands position, rolled chords, repeated left hand patterns, ornaments, and pedaling. II. Zinvar: Peacemaker of the Volcanic Rifts is more challenging, but has more room for musicality, expression, exploring different touches on the piano, and ethereal use of pedaling, like the sostenuto pedal (if you have one!) The movement opens with a mysterious, wave-like arpeggiated left hand pattern, similar to pieces of Chopin or Rachmaninoff. The B section is practice in using the sostenuto (middle) pedal while playing softly, imitating Gregorian Chant. Best of all the ending sounds harder than it actually is and you get to play as loud as possible! III. Idrilia: Warrior of the Desert is fast paced, rhythmic, and inspired by video games. This piece is a nice supplement for students learning techniques found in toccatas, nocturnes, and pieces that require a big, full sound. The longest and most advanced movement, players can enjoy using all the things: pedaling, accents, quick changes in dynamic contrast, and a lyrical B section. Technique requires comfort with arpeggios, chord inversions, octaves, and sensitivity to voicing. Once mastered, this movement can be both fun to play as a stand-alone recital piece or an exciting treat to play for friends and family. You'll find yourself humming the simple melody as it transforms throughout the work, and the ending is a chance to play big chords by using the full range of the keyboard.
$15.00 ≈
$20.39
Op. 7 Canzona alla terza "Verbum supernum prodiens" (SSA/TTB, Latin)
Op. 7 Canzona alla terza "Verbum supernum prodiens" (SSA/TTB, Latin)
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Choral TTBB
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INTERMEDIATE/ADVANCED
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Matthew Alan Edwards
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Matthew Alan Edwards
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Op. 7 Canzona alla terza "Verb
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Matthew Alan Edwards
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SheetMusicPlus
Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.898552 Composed by Matthew Alan Edwards. Arranged by Matthew Alan Edwards. Baroque,Christmas,Con...
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Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.898552 Composed by Matthew Alan Edwards. Arranged by Matthew Alan Edwards. Baroque,Christmas,Concert,Renaissance,Sacred. Octavo. 9 pages. Matthew Alan Edwards #4266215. Published by Matthew Alan Edwards (A0.898552). Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-7 !Canzona alla terza Verbum supernum prodiens was composed late one night after I was inspired by the chant melody as found in the Hymnal 1982, hymn 63. Rather than compose on the computer as I usually do, I wrote by hand as I determined the best four-part canonic treatment for each of the phrases of the chant. Composing this was akin to assembling a puzzle, both in mindset (this note fits best here) and addictive quality (need to finish this now!). Originally conceived as a short organ piece, I quickly chose to add the English text from the Hymnal 1982 then text directly from the Liber Usualis, a Catholic book of Gregorian chants commonly used until the reforms of the Second Vatican Council (Vatican II). This piece is similar in style to an Italian Renaissance canzona or early German Baroque kanon. It should be performed with performance practice of those eras in mind, including lifts after dotted notes, metric accents, and minimal vibrato, especially at cadences. Lines that end in a melisma should be performed by singing the final vowel and placing the consonant at the release of the final melisma note. The first verse may be sung in unison or as a solo as printed below. The verses may be sung in alternatum (odd verses, printed below: solo chant, even verses: choir). For a complete translation of the six Latin verses, refer to the next page. In the music’s text, I have retained all accent marks as found in the Liber Usualis. These should help inform text stress. The last two verses are suitable as a Communion anthem. This SSA Latin version was adapted from the original SATB version for the women of the Hillcrest High School choral program under the direction of Dr. Khristina Motley in Tuscaloosa, Alabama. It reduces the original four-voice setting to three voices without sacrificing any canonic entrances. This SSA version is also suitable for performance by an advanced middle school choral ensemble or for TTB men.Also available as an organ solo or in English. SATB Latin/English versions coming soon!
$2.19 ≈
$2.98
Op. 7 Canzona alla terza "Verbum supernum prodiens" (SSA/TTB, English)
Op. 7 Canzona alla terza "Verbum supernum prodiens" (SSA/TTB, English)
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Choral TTBB
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INTERMEDIATE/ADVANCED
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Matthew Alan Edwards
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Matthew Alan Edwards
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Op. 7 Canzona alla terza "Verb
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Matthew Alan Edwards
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SheetMusicPlus
Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.898554 Composed by Matthew Alan Edwards. Arranged by Matthew Alan Edwards. Baroque,Christmas,Con...
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Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.898554 Composed by Matthew Alan Edwards. Arranged by Matthew Alan Edwards. Baroque,Christmas,Concert,Renaissance,Sacred. Octavo. 7 pages. Matthew Alan Edwards #4266219. Published by Matthew Alan Edwards (A0.898554). Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-7 !Canzona alla terza Verbum supernum prodiens was composed late one night after I was inspired by the chant melody as found in the Hymnal 1982, hymn 63. Rather than compose on the computer as I usually do, I wrote by hand as I determined the best four-part canonic treatment for each of the phrases of the chant. Composing this was akin to assembling a puzzle, both in mindset (this note fits best here) and addictive quality (need to finish this now!). Originally conceived as a short organ piece, I quickly chose to add the English text from the Hymnal 1982 then text directly from the Liber Usualis, a Catholic book of Gregorian chants commonly used until the reforms of the Second Vatican Council (Vatican II). This piece is similar in style to an Italian Renaissance canzona or early German Baroque kanon. It should be performed with performance practice of those eras in mind, including lifts after dotted notes, metric accents, and minimal vibrato, especially at cadences. Lines that end in a melisma should be performed by singing the final vowel and placing the consonant at the release of the final melisma note. The first verse may be sung in unison or as a solo as printed below. The verses may be sung in alternatum (odd verses printed below: solo chant, even verses: choir). The first four verses form a complete anthem and the last two verses are suitable as a Communion anthem, or all six may be sung. The SSA Latin version was adapted from the original SATB version for the women of the Hillcrest High School choral program under the direction of Dr. Khristina Motley in Tuscaloosa, Alabama. It reduces the original four-voice setting to three voices without sacrificing any canonic entrances. This SSA English version is also suitable for performance by an advanced middle school choral ensemble or for TTB men.Also available as an organ solo or in Latin. SATB Latin/English versions coming soon!
$2.19 ≈
$2.98
Poème funèbre
Poème funèbre
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Organ
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ADVANCED
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Harald Feller
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Poème funèbre
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Schott Music - Digital
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SheetMusicPlus
Organ - advanced - Digital Download SKU: S9.Q11271 En mémoire d'un jeune homme. Composed by Harald Feller. This edition: Sheet music. Dieses Or...
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Organ - advanced - Digital Download SKU: S9.Q11271 En mémoire d'un jeune homme. Composed by Harald Feller. This edition: Sheet music. Dieses Orgelstück eignet sich liturgisch insbesondere für die Passionszeit und Allerheiligen/Totensonntag, aber auch für Orgelkonzerte zum Thema Tod und Vergänglichkeit. Downloadable. Duration 10 minutes. Schott Music - Digital #Q11271. Published by Schott Music - Digital (S9.Q11271). This organ piece is ideal as liturgical piece for Lent and All Saints' Day/Sunday before Advent commemorating the dead but also for organ concerts on the topic of death and transitoriness. 'Poème funèbre is a very personal piece which, like an epitaph, shall bring to mind the death of a person who died young. I think such a remembrance is important, for it connects people with the dead. The first part is a musical expression of lament and grief: Within its symmetrical structure, the composition rises toward a dramatic climax and, diminishing, returns back to its starting point. This part is followed by a second quiet part in which the Gregorian antiphon 'In paradisum' is paraphrased in soft colours, as an expression of consolation and trusting to the sense of the yet incomprehensible.' (Harald Feller).
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Ad te levavi, Op. 41
Ad te levavi, Op. 41
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Organ
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ADVANCED
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Vidas Pinkevicius
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Ad te levavi, Op. 41
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Vidas Pinkevicius
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SheetMusicPlus
Organ - Level 5 - Digital Download SKU: A0.909271 Composed by Vidas Pinkevicius. Christian,Contemporary,Sacred. Score. 12 pages. Vidas Pinkevicius #35398...
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Organ - Level 5 - Digital Download SKU: A0.909271 Composed by Vidas Pinkevicius. Christian,Contemporary,Sacred. Score. 12 pages. Vidas Pinkevicius #3539897. Published by Vidas Pinkevicius (A0.909271). This work is dedicated to Simon Johnson, the Organist and Assistant Director of Music of St Paul's Cathedral in London. I decided to dedicate this piece to him because of Ausra's and my upcoming concert at St Paul's.This composition is based on the Ad te levavi Gregorian chant Introit for the 1st Sunday in Advent. It has 10 sections - each section for one chorale phrase. Basically, it's a series of multiple canons in augmentation, double augmentation and quadruple augmentation.The registration is done for at least a two-manual organ in mind.The fast sixteenth-note episode alternates with the slower quarter-note motion.Advanced level. PDF score. 10 pages. Duration - 9 minutes.
$9.99 ≈
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