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You've selected:
Meditation,
expert
Choral SATB
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9 sheet music found
<
1
Cusanus-Meditation
Cusanus-Meditation
#
Choral SATB
#
ADVANCED
#
Petr Eben
#
Cusanus-Meditation
#
Schott Music - Digital
#
SheetMusicPlus
Mixed choir (SATB) with tenor solo, string orchestra and harp (organpositiv) or with organ - advanced - Digital Download SKU: S9.Q5760 Du, Herr, bist ...
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Mixed choir (SATB) with tenor solo, string orchestra and harp (organpositiv) or with organ - advanced - Digital Download SKU: S9.Q5760 Du, Herr, bist der Begleiter meiner Wanderfahrt. Composed by Petr Eben. This edition: set of string parts. Downloadable, Set of string parts. Duration 15 minutes. Schott Music - Digital #Q5760. Published by Schott Music - Digital (S9.Q5760). German.Eine Kantate für Gottesdienst und geistliches Konzert, komponiert zum 600. Geburtstag des Philosophen Nikolaus von Kues (1401–1464).
$144.99 ≈
131.68€
Anim Zemiros
Anim Zemiros
#
Choral SATB
#
ADVANCED
#
Stanley M Hoffman
#
Stanley M Hoffman
#
Anim Zemiros
#
stanleymhoffman.com
#
SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Ce...
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Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.
$3.00 ≈
2.72€
American Tune
American Tune
#
Choral SATB
#
ADVANCED
#
Paul Simon
#
Brad Ritchie
#
American Tune
#
Main Office Productions & Publishing
#
SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 5 - Digital Download SKU: A0.1361707 By Paul Simon. By Paul Simon. Arranged by Brad Ritchie. A Cappella,Pop,Roc...
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Choral Choir,Choral (SATB divisi) - Level 5 - Digital Download SKU: A0.1361707 By Paul Simon. By Paul Simon. Arranged by Brad Ritchie. A Cappella,Pop,Rock,Singer/Songwriter. 19 pages. Main Office Productions & Publishing #946154. Published by Main Office Productions & Publishing (A0.1361707). Featuring O Haupt voll Blut und Wunden by J.S. Bach. The melody of which serves as a basis for Simon's 1973 single, a meditation on the American Experience. Â This arrangements highlights a variety of textures featuring a solo quartet for the Bach and both Male and Female soloists.
$2.25 ≈
2.04€
Silent Night (SATB)
Silent Night (SATB)
#
Choral SATB
#
ADVANCED
#
Christmas
#
Warner Chappell Production Mus
#
Garrett Breeze
#
Silent Night
#
Lagom Music
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1095859 By Warner Chappell Production Music. By Joseph Mohr, Franz Gruber. Arranged by Garrett B...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1095859 By Warner Chappell Production Music. By Joseph Mohr, Franz Gruber. Arranged by Garrett Breeze. A Cappella,Christian,Christmas,Holiday,Sacred. Octavo. 11 pages. Lagom Music #699828. Published by Lagom Music (A0.1095859). Perfectly capturing the tranquility of night, this stunningly beautiful arrangement by Garrett Breeze for SATB choir unaccompanied is sure to become a perennial favorite. It's begins simply, with a statement of the melody that gradually incorporates more voices. The second verse is built around a soaring soprano solo, and an extended wordless meditation follows which leads into a gripping final verse. From Warner Chappell Production Music's The Christmas Choral Society, available for listening on streaming services and sync licensing at www.warnerchappellpm.com.
$2.75 ≈
2.50€
Humming
Humming
#
Choral SATB
#
ADVANCED
#
Mark Jolyon Sinclair
#
Humming
#
Mark Jolyon Sinclair
#
SheetMusicPlus
Choral Choir (Mixed) - Level 5 - Digital Download SKU: A0.1000233 Composed by Mark Jolyon Sinclair. 20th Century,Contemporary,Spiritual. Octavo. 8 pages....
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Choral Choir (Mixed) - Level 5 - Digital Download SKU: A0.1000233 Composed by Mark Jolyon Sinclair. 20th Century,Contemporary,Spiritual. Octavo. 8 pages. Mark Jolyon Sinclair #6347403. Published by Mark Jolyon Sinclair (A0.1000233). This is a large-scale choral meditation. Ideally performed in a large church, abbey or cathedral. The tones will create the most fascinating harmonics and the pulse of the tam-tam will keep the timing steady.
$4.50 ≈
4.09€
Night Song
Night Song
#
Choral SATB
#
ADVANCED
#
Contemporary
#
Kristian S Rodriguez
#
Night Song
#
Kristian S. Rodriguez
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1023344 Composed by Kristian S Rodriguez. 20th Century,Contemporary. Octavo. 8 pages. Kristian S...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1023344 Composed by Kristian S Rodriguez. 20th Century,Contemporary. Octavo. 8 pages. Kristian S. Rodriguez #5191605. Published by Kristian S. Rodriguez (A0.1023344). Night Song, the fifth of seven movements of my secular cantata Sueño-Vibrant (2019), is a reflection and meditation on the discovery of one’s self-identity. It reflects the period in which I wrote this piece, a summer I remember as one of new adventures and discoveries, a time in which I came closer than ever before to discovering my true sense of self. With this piece, I invite listeners and performers alike into an introspective space, one in which they themselves try to identify the something happening inside them.
$4.99 ≈
4.53€
Songs in Time of Peril
Songs in Time of Peril
#
Choral SATB
#
ADVANCED
#
Nicholas Weininger
#
Songs in Time of Peril
#
Nicholas Brock Weininger
#
SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1417464 Composed by Nicholas Weininger. 21st Century,Classical. 34 pages. Nic...
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Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1417464 Composed by Nicholas Weininger. 21st Century,Classical. 34 pages. Nicholas Brock Weininger #998985. Published by Nicholas Brock Weininger (A0.1417464). I wrote this set of three meditations on existential fear and hope in 2017-18, and it has only gotten more relevant as time has passed since then. Each sets a Biblical text in the original Hebrew using one of Messaien's modes of limited transposition. The music is challenging but rewarding, a perfect stretch project for your ambitious SATB ensemble.
$5.99 ≈
5.44€
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
#
Choral SATB
#
ADVANCED
#
Carson Cooman
#
Carson Cooman: Ascensions
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Mu...
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Choral Choir (SATB) - Level 5 - Digital Download 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 ≈
23.57€
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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Choral SATB
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ADVANCED
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Mu...
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Choral Choir (SATB) - Level 5 - Digital Download 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
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