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You've selected:
And Then We See
Sheetmusic to print
400 sheet music found
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376
Meditation and Praise - Handbell Score
Meditation and Praise - Handbell Score
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Handbells
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Hart Morris
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Meditation and Praise - Handbe
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Chorister's Guild - Digital
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SheetMusicPlus
3, 4, or 5 octaves handbells - Level 3+ - Digital Download SKU: C7.CGB992 Psalm 84. Composed by Hart Morris. General. With Snare drum, chime tree,...
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3, 4, or 5 octaves handbells - Level 3+ - Digital Download SKU: C7.CGB992 Psalm 84. Composed by Hart Morris. General. With Snare drum, chime tree, tom toms, suspended cymbal, timpani (G< C< F). Score. 12 pages. Chorister's Guild - Digital #CGB992. Published by Chorister's Guild - Digital (C7.CGB992). UPC: 749193025093.Kodiak is a musical depiction of the life and landscape of Kodiak Island, Alaska. Written for Kodiak's own Isle Bells and in memory of their director's father, a local fisherman, the piece begins with the dawning of the sun over the island before heading into the local waters on a fishing boat. We then return to the island for a look at the local wildlife and scenery before the sun sets and we see the magical beauty of the Northern Lights. This will be a perfect piece for the ensemble looking for something different to stretch their musicality!
$5.50 ≈
5.10€
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Concert band
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INTERMEDIATE
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
#
SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Part...
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Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
44.44€
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Concert band
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INTERMEDIATE
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
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jmsgu3
#
SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Part...
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Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95 ≈
44.44€
And Then We See (Arranged for Flugelhorn)
And Then We See (Arranged for Flugelhorn)
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New Age
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Contemporary
#
Ho Fong Leong
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and Leo, a ‘cellist
#
And Then We See
#
Marco leong
#
SheetMusicPlus
Flugelhorn,Piano,Violin - Level 4 - Digital Download SKU: A0.1284795 Composed by Ho Fong Leong. Classical,Contemporary,New Age. 17 pages. Marco leong #87...
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Flugelhorn,Piano,Violin - Level 4 - Digital Download SKU: A0.1284795 Composed by Ho Fong Leong. Classical,Contemporary,New Age. 17 pages. Marco leong #875974. Published by Marco leong (A0.1284795). Alternate arrangement for Violin, Flugelhorn and Piano, Aug 2023.Dedicated to Simon, Leo and Wellington School as a parting gift. Scored for Violin, Horn and Piano. Premiered in St George's Bristol, September 2019. “And then we see†is dedicated to the wonderful people I have met throughout my journey in Wellington School, especially to two of my very good friends – Simon, a euphonist; and Leo, a ‘cellist. Originally planned to be written for Piano, ‘Cello and Euphonium, and to be finished and performed in our last school concert as a goodbye gift, I had however not managed to complete the work before graduation. I have therefore taken this opportunity to express my emotions and sentiments from the time with this newly written piece. One can therefore very easily sense the nostalgia pouring right from the very beginning of the music, as I reminisce our years together. It is based loosely on a ternary structure (ABA) – the A section depicts the moment of farewell. One can hear the violin plays a very simple, bell-like melody, representing the bell-strikes which signify that it is the end of a long journey – time to say goodbye. The B section, based on the very same melody, transforms itself into a 6/8 dance. This dance depicts the pang and melancholia as we bid farewell, leading to a passionate climax. The A section then returns with the melody in its original form, announced by the horn. The coda concludes the piece, trying to move away from the tonic, representing the start of a new chapter in our journey and our optimistic feelings about it. Throughout the piece there are also quotes from the famous Westminster chimes, and variants of it, enforcing the bell imagery.
$6.99 ≈
6.48€
And Then We See
And Then We See
#
New Age
#
Contemporary
#
Ho Fong Leong
#
and Leo, a ‘cellist
#
And Then We See
#
Marco leong
#
SheetMusicPlus
Small Ensemble Horn,Piano,Violin - Digital Download SKU: A0.506269 Composed by Ho Fong Leong. Classical,Contemporary,New Age. Score and parts. 18 pages. ...
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Small Ensemble Horn,Piano,Violin - Digital Download SKU: A0.506269 Composed by Ho Fong Leong. Classical,Contemporary,New Age. Score and parts. 18 pages. Published by Marco leong (A0.506269). Dedicated to Simon, Leo and Wellington School as a parting gift. Scored for Violin, Horn and Piano. Premiered in St George's Bristol, September 2019. “And then we see†is dedicated to the wonderful people I have met throughout my journey in Wellington School, especially to two of my very good friends – Simon, a euphonist; and Leo, a ‘cellist. Originally planned to be written for Piano, ‘Cello and Euphonium, and to be finished and performed in our last school concert as a goodbye gift, I had however not managed to complete the work before graduation. I have therefore taken this opportunity to express my emotions and sentiments from the time with this newly written piece. One can therefore very easily sense the nostalgia pouring right from the very beginning of the music, as I reminisce our years together. It is based loosely on a ternary structure (ABA) – the A section depicts the moment of farewell. One can hear the violin plays a very simple, bell-like melody, representing the bell-strikes which signify that it is the end of a long journey – time to say goodbye. The B section, based on the very same melody, transforms itself into a 6/8 dance. This dance depicts the pang and melancholia as we bid farewell, leading to a passionate climax. The A section then returns with the melody in its original form, announced by the horn. The coda concludes the piece, trying to move away from the tonic, representing the start of a new chapter in our journey and our optimistic feelings about it. Throughout the piece there are also quotes from the famous Westminster chimes, and variants of it, enforcing the bell imagery.
$6.99 ≈
6.48€
Mysterious Moment for alto flute and string trio
Mysterious Moment for alto flute and string trio
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String Trio: violin, viola, cello
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INTERMEDIATE
#
Contemporary
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David Warin Solomons
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Mysterious Moment for alto flu
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David Warin Solomons
#
SheetMusicPlus
String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 p...
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String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #119391. Published by David Warin Solomons (A0.576736). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00 ≈
7.41€
Mysterious Moment for oboe and string trio
Mysterious Moment for oboe and string trio
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Contemporary
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David Warin Solomons
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Mysterious Moment for oboe and
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David Warin Solomons
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SheetMusicPlus
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and...
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00 ≈
7.41€
O Come Let Us Adore Him Christmas Cantata - SATB optional instruments and Piano - parts included
O Come Let Us Adore Him Christmas Cantata - SATB optional instruments and Piano - parts included
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Piano, Vocal and Guitar
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EASY
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Connie Boss
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O Come Let Us Adore Him Christ
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Connie Boss
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801677 Composed by Connie Boss. Celtic,Christmas,Irish,Sacred. Score. 120 pages. Connie Bos...
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801677 Composed by Connie Boss. Celtic,Christmas,Irish,Sacred. Score. 120 pages. Connie Boss #6414353. Published by Connie Boss (A0.801677). This lovely cantata is about how we gather together in song to celebrate the birth of Jesus. It has a Celtic feel and the songs are from several different countries - United States, Ireland, England, France, Germany, Scotland, Italy. There are 8 songs included, 2 originals, 2 medleys and 4 songs that you know and love included also. All of the songs are in SATB with an (optional) accent instrument part (choice of flute, violin or cello - parts included at the end of each score) - the score has the flute part so you can see where the accent instrument fits into the score. A simple piano part is included in each score. The voices and accent instruments help to complete the entire piece. You can also purchase individual songs on here separately if you choose to not purchase the whole cantata. However, it is a bargain to purchase the cantata. There are narration parts before each song that give a little history of the song. You can opt out of using them if desired. The titles of the songs are: 1. Baby, Jesus, Was Born Unto This Earth. (original) 2. Christ Child's Lullaby. 3. Bring a Torch Jeanette, Isabella. 4. Christmas Carols - Coventry and Wexford. 5. Good Christian Men Rejoice. 6. O Come Let Us Adore Him, Christ the Lord - (In the Bleak Midwinter, Gesu Bambino, The Snow Lay on the Ground) 7. Peace on Earth (original) 8. Sing We Now of Christmas. Take a little time to listen to the mp3 attached. It has computer voices, but you can get an idea of what it is supposed to sound like. It also has one of the instrument parts as a sample and then the piano on each one. Any questions, please email me at cdboss@cvalley.net. I'm glad to work with you. This is my 5th cantata and most recent one. You can purchase the other 4 on here - check them out. You can also purchase in book form any of these on Amazon. I have background accompaniment to these songs. If you purchase a book and would like them, please email me with proof of purchase and I will email them back to you. .
$7.00 ≈
6.49€
Angels We Have Heard on High (for One Octave Handbell Choir with Piano accompaniment)
Angels We Have Heard on High (for One Octave Handbell Choir with Piano accompaniment)
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Piano Accompaniment
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BEGINNER
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Christmas
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Sharon Wilson
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Sharon Wilson
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Angels We Have Heard on High
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Sharon Wilson
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SheetMusicPlus
Bells,Handbell,Handchime,Piano Accompaniment - Level 1 - Digital Download SKU: A0.565964 By Sharon Wilson. By Traditional French Carol. Arranged by Sharo...
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Bells,Handbell,Handchime,Piano Accompaniment - Level 1 - Digital Download SKU: A0.565964 By Sharon Wilson. By Traditional French Carol. Arranged by Sharon Wilson. Children,Christmas,Instructional,Multicultural,Sacred,World. 10 pages. Sharon Wilson #6606793. Published by Sharon Wilson (A0.565964). This sheet music is arranged for a one octave, 13-note chromatic scale Handbell choir with Piano accompaniment. The piano provides an introduction then the Handbells play the melody and occasional 2-part harmony. An optional repeat and second ending is included in case a longer song is desired. Included in this set of scores is a combined score with both instruments (Handbells and Piano) on a grand staff plus two separate scores for the Handbells (one in standard format with black and white notes and the second with color-coded notes). A color-coded note chart is also provided showing the Handbell notes used for this arrangement as well as the number of times each note is played. The note distribution is helpful when assigning notes to ringers. You may want to assign fewer notes to beginners or evenly distribute the bells between all ringers. The color-coded score is enlarged so the colors are easier to distinguish and all sharps and flats are displayed (shown in the key of C) as reminders for beginning ringers. Also, only filled noteheads (quarter and eighth notes) are used so the notes are full color and easier to see (this does not indicate the bells need to be silenced immediately before the next beat). As noted above, one of the Handbell scores is color-coded for easier note reading for beginning ringers. This separate color-coded score uses the Chroma-Notesâ„¢ Colored Music System. If you have a set of Handbells with a different color scheme, Chroma-Notes Stick Ons can be purchased and applied so the Handbells match this color scheme. Permission is granted to make up to 10 copies of each score. For more than 10 copies, please purchase additional sets.This arrangement is one of the 10 songs in the collection Christmas Carols (A Collection of 10 Color-Coded Arrangements for One Octave Handbells with Piano).A piano accompaniment and/or rehearsal track (MP3 format) is available for this arrangement as a separate purchase: Angels We Have Heard on High (Piano Accompaniment Track for One Octave Handbell Choir). Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99 ≈
5.55€
We Three Kings (for One Octave Handbell Choir with Piano accompaniment)
We Three Kings (for One Octave Handbell Choir with Piano accompaniment)
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Piano Accompaniment
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BEGINNER
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Christmas
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Sharon Wilson
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Sharon Wilson
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We Three Kings
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Sharon Wilson
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SheetMusicPlus
Bells,Handbell,Handchime,Piano Accompaniment - Level 1 - Digital Download SKU: A0.565973 By Sharon Wilson. By John Henry Hopkins Jr. Arranged by Sharon W...
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Bells,Handbell,Handchime,Piano Accompaniment - Level 1 - Digital Download SKU: A0.565973 By Sharon Wilson. By John Henry Hopkins Jr. Arranged by Sharon Wilson. Children,Christmas,Folk,Instructional,Sacred. 11 pages. Sharon Wilson #6606833. Published by Sharon Wilson (A0.565973). This sheet music is arranged for a one octave, 13-note chromatic scale Handbell choir with Piano accompaniment. The piano provides an introduction then the Handbells play the melody and occasional 2-part harmony. An optional repeat and second ending is included in case a longer song is desired. Included in this set of scores is a combined score with both instruments (Handbells and Piano) on a grand staff plus two separate scores for the Handbells (one in standard format with black and white notes and the second with color-coded notes). A color-coded note chart is also provided showing the Handbell notes used for this arrangement as well as the number of times each note is played. The note distribution is helpful when assigning notes to ringers. You may want to assign fewer notes to beginners or evenly distribute the bells between all ringers. The color-coded score is enlarged so the colors are easier to distinguish and all sharps and flats are displayed (shown in the key of C) as reminders for beginning ringers. Also, only filled noteheads (quarter and eighth notes) are used so the notes are full color and easier to see (this does not indicate the bells need to be silenced immediately before the next beat). As noted above, one of the Handbell scores is color-coded for easier note reading for beginning ringers. This separate color-coded score uses the Chroma-Notesâ„¢ Colored Music System. If you have a set of Handbells with a different color scheme, Chroma-Notes Stick Ons can be purchased and applied so the Handbells match this color scheme. Permission is granted to make up to 10 copies of each score. For more than 10 copies, please purchase additional sets.This arrangement is one of the 10 songs in the collection Christmas Carols (A Collection of 10 Color-Coded Arrangements for One Octave Handbells with Piano).A piano accompaniment and/or rehearsal track (MP3 format) is available for this arrangement as a separate purchase: We Three Kings (Piano Accompaniment Track for One Octave Handbell Choir). Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99 ≈
5.55€
El Noi de la Mare — Catalan carol for concert band
El Noi de la Mare — Catalan carol for concert band
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Concert band
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EASY
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Traditional
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Todd Marchand
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El Noi de la Mare — Catalan
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Con Spirito Music
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.1118114 Composed by Traditional. Arranged by Todd Marchand. Christmas,Folk,Holiday,Traditional. Score a...
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Concert Band - Level 2 - Digital Download SKU: A0.1118114 Composed by Traditional. Arranged by Todd Marchand. Christmas,Folk,Holiday,Traditional. Score and parts. 29 pages. Con Spirito Music #719634. Published by Con Spirito Music (A0.1118114). “El Noi de la Mare†(“The Mother's Childâ€) is a traditional Catalan carol of the nativity. The song is sung from the perspective of children who, upon seeing the Christ Child, ask “What should we give to the Child of the Mother?†First they choose their best-tasting foods: raisins, figs, walnuts and olives; then, a blanket for warmth from the cold. Finally, angels descend from Heaven to cradle the Child, singing “songs of glory that are not of the world.â€The carol may date from 18th-century Catalonia, which is today an autonomous community of Spain lying mostly on the northeast of the Iberian Peninsula, with Barcelona — Spain's second-most populous city — as its capital.The Spanish guitar master Andres Segovia (1893-1987) often performed Miguel Llobet's (1878-1938) transcription of this simple, lovely tune as an encore.This arrangement is an ideal vehicle to teach lyrical playing and legato style; dynamic control and the shaping of phrases; and the “handing-off†of phrases and phrase segments from one section to another to sustain and complete a musical idea. Ranges and technical demands are conservative, yet rich harmonization and colorful instrument combinations make this very satisfying, musically.©Copyright 2022 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$45.00 ≈
41.71€
"Grande Rag Brillante" for piano Op. 15
"Grande Rag Brillante" for piano Op. 15
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Piano solo
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Gary Noland
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"Grande Rag Brillante" for pia
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Freeland Publications
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SheetMusicPlus
Piano - Digital Download SKU: A0.1069664 Composed by Gary Noland. 20th Century,Concert,Contemporary,Ragtime. Full Performance. Duration 892. Freeland Pub...
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Piano - Digital Download SKU: A0.1069664 Composed by Gary Noland. 20th Century,Concert,Contemporary,Ragtime. Full Performance. Duration 892. Freeland Publications #3238281. Published by Freeland Publications (A0.1069664). Duration: 14'52 (1989). Computer-driven Yamaha Disklavier performance. One of my more famous pieces. Its historic premiere at Pacifica Radio (KPFA) in Berkeley on 4 October, 1991 to inaugurate their new facility is included in Nicolas Slonimsky's book Music Since 1900. It has been reviewed and written about extensively. Here is what some reviewers have said:4 OCTOBER 1991: KPFA radio in Berkeley, California, dedicates its newly constructed, two-story broadcast facility at 1929 Martin Luther King Jr. Way with a live satellite broadcast … works on the inaugual program, produced and narrated by KPFA Music director Charles Amirkhanian, included … Grande Rag Brilliant [sic] by Gary NOLAND, a 15-minute rag introducing KPFA’s new Yamaha Disklavier grand piano, featuring fugues, frozen grace-notes to produce tone clusters, and a lengthy passage in which the music modulates up and down a half-tone each measure (the turntable change of speed effect) …-Nicolas Slonimsky, Music Since 1900 ...remarkable stuff...-Max Morath, ragtime composer and pianist … smashing and extremely difficult piano rag, … which is not distracted by the modulation-per-minute insanity of this beautiful and disorienting music … an exceedingly difficult composition by Berkeley composer Gary Noland, … the Grande Rag Brillante, Op. 15, was written in a modified turn-of-the-Century style and has never been performed successfully by a human pianist. It features something Mr. Noland calls the 'record-player-turntable-change-of-speed-effect.' In certain sections, each successive measure modulates up a half step into the next key signature, providing a mind-bending spiraling of focus which is truly breathtaking … spectacular… -Charles Amirkhanian, Folio (KPFA program guide) ...The Impossible Rag...-Oakland Tribune ...perfectly simulates a piano roll mistracking and continually changing keys...-Dick Zimmerman, Rag Times ...masterpiece!...We recommend Mr. Noland's music for anybody who desires the witty and unexpected approach to the Ragtime idiom.-L. Douglas Henderson, ARTCRAFT Studio Newsletter, Wiscasset, Maine ...Ihre Musik ist wunderschön, Grande Rag Brillante ist ein Meisterwerk; als auch Komponist bin ich voll Neid, dass ich so etwas nicht schreiben kann. Ich wünsche Ihnen viel Erfolg! Ich komponiere schon viele Jahre europäisch tonal und es itst nicht leicht, so zu komponieren in einer Welt, die noch in der atonalen Ideologie denkt. Ich hoffe, Ihr Weg wird leichter....-Ladislav Kupkovic, Czech-born composer residing in Germany Sort of like it ... electronicized ... ; then it becomes a real period piece, like Richard Taruskin’s theory about current HIP practitioners ...-William Bolcom, Pulitzer prize winning composer. ...Gary Noland's music is complex, technically daunting stuff....'Grande Rag Brillante'... seems to be meant as an excercise in psychedelic ragtime piano, full of extremely fast passages, confusing modulations, and bizzare dissonance....-Butch Thompson, The Mississippi Rag ...KPFA Music Director Charles Amirkhanian plans to use the new Disklavier.
$1.99 ≈
1.84€
Anything You Can Do . . . for violin and vibraphone
Anything You Can Do . . . for violin and vibraphone
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Robert M
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Anything You Can Do . . . for
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Robert M. Greenberg
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - Digital Download SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contempor...
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Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - Digital Download SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 54 pages. Robert M. Greenberg #90285. Published by Robert M. Greenberg (A0.987848). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 12 minutes Year of composition: 2006 Program Note: The mind searches for the oddest of couples. Felix Unger and Oscar Madison. Julia Roberts and Lyle Lovett. The violin and the vibraphone. Aside from the letter V, the two instruments have almost nothing in common. We consider: the violin is the most aristocratic instrument in the Western musical tradition, the prima donna of the instrumental world, an instrument that has had, lavished upon it, more extraordinary music than any other since its invention roughly 475 years ago. And then there’s the vibraphone, a percussion instrument with pitched metal bars and motor-driven resonators that produce a vibrato. Invented around 1925, it’s an instrument created for dance bands and popular music. Anything You Can Do . . . is a confrontation between these two musical opposites. A sense of contest characterizes the entire piece, as the vibraphone seeks to establish its bona fides side by side with the violin, which in turn attempts to keep the vibraphone in its place by beating it at its own game. The first movement is conceived as a race, in which each instrument acts like the other – the violin explosively and percussively, and the vibraphone with lengthy bowed passages – while seeking to shake off the other. The movement concludes with the violin paying a series of huge, chords and a long, sustained triple-stop that, much to its fury, the vibraphone manages to match with a sustained double-stop of its own. The movement ends in a draw. The second movement begins with the violin doing its best to match the vibrato patterns of the vibraphone’s variable motor. Ultimately, the violin breaks free and plays a broad, arioso-styled melody. The vibraphone tries to match it, but cannot; try as it might, its fixed range cannot reach the stratospheric heights of the violin. Advantage violin. The third movement is constructed in three sections. In the outer sections, rapidly rising and falling lines and counter rhythms pervade as each instrument seeks to gain an advantage over the other. In the middle section, alternating, hocket-like phrases give way to bent notes and glissandi in the vibraphone, which infuriates the violin (how dare this upstart percussion instrument do something ordinarily associated with me?). The movement concludes with the violin once again attempting to lord its greater range over the vibraphone by playing a long sustained F# - the same pitch that conquered the vibraphone at the end of the second movement – only to have the vibraphone top it by playing a harmonic a full seven notes above the F#. Game, set, match: vibraphone. Some respect, please, for the new kid on the block. Anything You Can Do . . . is dedicated, with a thousand-and-one thanks, to Victor Romasevich and Jack van Geem.
$28.00 ≈
25.95€
Lent and Easter Choral book 2 - with parts
Lent and Easter Choral book 2 - with parts
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Connie Boss
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Lent and Easter Choral book 2
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Connie Boss
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SheetMusicPlus
Small Ensemble Cello,Flute,Guitar,Piano,Violin,Voice - Level 2 - Digital Download SKU: A0.801606 Composed by Connie Boss. Easter,Sacred. Score and parts....
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Small Ensemble Cello,Flute,Guitar,Piano,Violin,Voice - Level 2 - Digital Download SKU: A0.801606 Composed by Connie Boss. Easter,Sacred. Score and parts. 52 pages. Connie Boss #6255285. Published by Connie Boss (A0.801606). This book contains 4 original songs for Lent and Easter. Each song takes you one step closer to Easter. You will get a duet vocals with accent instruments (flute, violin or cello with parts included) and piano. These are all lovely with harmonies and moving parts. cdboss @cvalley.net. I also have these in strings and piano as well in book form as well as individual sales.Lyrics:The Journey (Lenten)Composed by Connie Boss Verse 1:As we start this Lenten journeyA time of fast and prayerWe reflect on your own journeyAnd it’s beyond compare Refrain: For you fasted in the desertFor forty daysAnd you battled with the devilIn every way Verse 2: Ash Wednesday starts our journeyWith a mark of sacrificeA cross of ashes on our foreheadsFor us you paid the price Refrain: For you fasted in the desertFor forty daysAnd you battled with the devilIn every way Verse 3: As our time ends for this journeyWe enter Holy WeekWe reach that fateful dayForgiveness now we seek Refrain: For you fasted in the desertFor forty daysAnd you battled with the devilIn every way Final Refrain: So through our Lenten journeyWe fast and prayAnd we battle with the devilIn every wayTowel and Basin(Holy Thursday)Composed by Connie Boss V1Before the feast of the Passover, JesusKnew His time had comeHe would leave this world to travel to HisFather’s Kingdom come Refrain: Father I’ll doWhat You want me to V2Jesus knew there was a traitoramong His treasured friendsand He gave him many chancesbut he betrayed Him in the end Refrain: the Devil inducedHis friend Judas V3 Simon Peter said to Jesus, youNeed not wash my feetJesus said unless I wash themYou’ll have no place with Me Refrain: Hear my commandThen You’ll understand V 4 Jesus used a towel and basinTo wash the disciples feetHe told each person when He finishedDo the same to those you meet Final Refrain: For you will be cleansedNow free from sinAll but one of youJesus used a towel and basinTo wash the disciples feet Crucified(song for Good Friday)Composed by Connie Boss Refrain:Crucified, Lord they crucified you.Crucified, Lord they crucified you. V1The people shout. Let’s crucify!He’s not our King. So, He must dieBut Pilate said. Is He the one?I see no crime. That He has done. Refrain:Crucified, Lord they crucified you.Crucified, Lord they crucified you. V2With piercing thorns. A crown of grief!Carried a cross. To CalvaryThey nail your hands. And then your feetUpon the cross. For all to see Refrain:Crucified, Lord they crucified you.Crucified, Lord they crucified you. V3Then you cried out. With your last breathForgive them God. Then came your deathThe sky grows dark. &nbs.
$6.99 ≈
6.48€
We Must Learn to Walk Together
We Must Learn to Walk Together
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Piano, Vocal and Guitar
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EASY
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Lisa Waites
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Lisa Waites
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We Must Learn to Walk Together
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Servant Song Music and Ministry
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural...
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
$3.99 ≈
3.70€
They Came Here to Dance (Swing Band Arrangement)
They Came Here to Dance (Swing Band Arrangement)
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Jazz Ensemble
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INTERMEDIATE/ADVANCED
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Mike Strand, ASCAP
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Mike Strand
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They Came Here to Dance
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Michael M. Strand
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.970736 Composed by Mike Strand. Graduation,Jazz,Wedding. Score and parts. 22 pages. Mich...
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.970736 Composed by Mike Strand. Graduation,Jazz,Wedding. Score and parts. 22 pages. Michael M. Strand #4890111. Published by Michael M. Strand (A0.970736). By Mike Strand, ASCAPThis is the full score, plus scores for three groups of parts, for a full arrangement of a swing tune for piano, bass, saxophone, trumpet, trombone, and two singers. After the cover, there are 21 pages of music: Ten pages for the full score; four pages for the group of blowing instruments (alto saxophone, B flat trumpet, and trombone); four pages for the piano and bass; and three pages for the two singers. Grouping the parts in this manner is natural and advantageous for this particular swing composition. These part groupings will help players in a group coordinate with each other from their group score. This is an excellent compromise between everyone working from the full score, and each player having a score with just the player’s individual part. The audio sample plays the full score.This product solves a problem that any composer of new jazz music faces: Unlike the popular standards, there aren’t any well-known and often-heard arrangements for a band to emulate. As the composer with only a lead sheet, I would have to convince your band to develop an arrangement from scratch, starting from nothing but the lead sheet! With so many attractive standard swing tunes to perform, a busy band may hesitate to put extra effort into an unknown tune. Problem solved! With this full arrangement of They Came Here to Dance, a band can better see and hear the tune’s full potential. It will be easier for a band to make any modifications to suit its particular mix of musicians and to better fit its style. With this arrangement, with written score, part group scores and audio sample, it will be as easy as working from the recording and score of a popular standard. All that’s missing from this arrangement is the percussion, because of the individuality of drummers. The band only needs a skilled jazz drummer to join in easily with this arrangement. Here are the lyrics to They Came Here to Dance: 1.You may come here to eat and to drink.Lots of chins wag, and wine glasses clink. Well, that’s all good, but here’s what I think: They came here to dance! 2. We cats up front have to check our sound mix. Then they walk in, togged to the bricks. They have the moves to show off our licks. They came here to dance! Bridge – Instrumental section, followed by: Our band’s in the groove – here’s one reason why: The doghouse amps are turned up high. They get in there, and tear up the floor! And they don’t care if their feet get sore. 3. Bustin’ our conks, we cats are hot, She is a wren who rocks him a lot! And they don’t care if we light up or not. They came here to dance!4. Bridge again, then:Bustin’ our conks, we cats are hot, She is a wren who rocks him a lot! And they don’t care if we light up or not.They have the learning to, they have a yearning to,They came here to dance! Note Some words in these lyrics are taken from Cab Calloway Slang: Light up – smoke a stick (marijuana cigarette) Doghouse - bass Get in there - go to work, get busy, make it hot, give it all you got Bustin’ our conks – breaking our necks (applying ourselves diligently) Wren – a chick, a queen (beautiful girl) Cat – musician in swing band Togged to the bricks – dressed to kill, from head to toe Licks – hot musical phrases In the groove – perfect, down the alley .
$8.00 ≈
7.41€
Lent and Easter Strings book 2 - Strings and Piano
Lent and Easter Strings book 2 - Strings and Piano
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Sacred music
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Connie Boss
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Lent and Easter Strings book 2
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Connie Boss
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SheetMusicPlus
Small Ensemble,Strings Cello,Guitar,Piano,Viola,Violin - Level 2 - Digital Download SKU: A0.801605 Composed by Connie Boss. Christian,Easter,Sacred. Scor...
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Small Ensemble,Strings Cello,Guitar,Piano,Viola,Violin - Level 2 - Digital Download SKU: A0.801605 Composed by Connie Boss. Christian,Easter,Sacred. Score and parts. 23 pages. Connie Boss #6254973. Published by Connie Boss (A0.801605). This book contains 4 original songs for Lent and Easter. Each song takes you one step closer to Easter. You will get a score of strings trio and piano, plus just the strings in 2 pages each so no page turning. These are all lovely with harmonies and moving parts. Strings trio is for violin, viola and cello. cdboss @cvalley.net. I also have these individually and with vocals as well.Lyrics:The Journey (Lenten) Composed by Connie Boss Verse 1: As we start this Lenten journey A time of fast and prayer We reflect on your own journey And it’s beyond compare Refrain: For you fasted in the desert For forty days And you battled with the devil In every way Verse 2: Ash Wednesday starts our journey With a mark of sacrifice A cross of ashes on our foreheads For us you paid the price Refrain: For you fasted in the desert For forty days And you battled with the devil In every way Verse 3: As our time ends for this journey We enter Holy Week We reach that fateful day Forgiveness now we seek Refrain: For you fasted in the desert For forty days And you battled with the devil In every way Final Refrain: So through our Lenten journey We fast and pray And we battle with the devil In every wayTowel and Basin(Holy Thursday)Composed by Connie Boss V1Before the feast of the Passover, JesusKnew His time had comeHe would leave this world to travel to HisFather’s Kingdom come Refrain: Father I’ll do What You want me to V2Jesus knew there was a traitor among His treasured friendsand He gave him many chancesbut he betrayed Him in the end Refrain: the Devil inducedHis friend Judas V3 Simon Peter said to Jesus, youNeed not wash my feetJesus said unless I wash themYou’ll have no place with Me Refrain: Hear my commandThen You’ll understand V 4 Jesus used a towel and basinTo wash the disciples feetHe told each person when He finishedDo the same to those you meet Final Refrain: For you will be cleansedNow free from sinAll but one of youJesus used a towel and basinTo wash the disciples feet Crucified (song for Good Friday) Composed by Connie Boss Refrain: Crucified, Lord they crucified you. Crucified, Lord they crucified you. V1 The people shout. Let’s crucify! He’s not our King. So, He must die But Pilate said. Is He the one? I see no crime. That He has done. Refrain: Crucified, Lord they crucified you. Crucified, Lord they crucified you. V2 With piercing thorns. A crown of grief! Carried a cross. To Calvary They nail your hands. And then your feet Upon the cross. For all t.
$6.99 ≈
6.48€
Little Seeds
Little Seeds
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Little Seeds
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SheetMusicPlus
In Little Seeds you will find new hymns from my heart. My devotional life is given to you in my hymnwriting. During the past three years I have been writing son...
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In Little Seeds you will find new hymns from my heart. My devotional life is given to you in my hymnwriting. During the past three years I have been writing songs for the unity of the church - songs reminding us of our baptism. I have been writing biblical story hymns for lesser-known characters. I have written paperless songs that may be easily memorized. I set a Rumi poem. There are new hymns for Christian missions from everywhere to everywhere. You will find new texts and musical settings for folk songs from around the world. I hope I have treated these with the love and respect they deserve. You will find alternate arrangements of some songs that may be useful in different settings. Lim Swee Hong composed three tunes for this collection at my request. I am also pleased to include Lianne Tan's first published hymn tune in Little Seeds
Song List
: A Babe Was Born A Blood Red Rose Reminds Us Still A Garden You Once Made A God of Surprises, Beyond Expectation A Man Lay Beaten, Left for Dead A Rabbi Sat Against a Wall A Woman Stood Accused Ain't No Grave All People Need a Home As at Pentecost You Came As Children, We May learn to Love As Colors in the Sky Beside the Great Cathedrals Can You See Christ Can You See the Living Christ Chill of the Nightfall Each Seeking Faith Is Seeking Light Elijah Bowed Down on the Earth Fair Wind and the Sky Is Clear God, Help the Weary Travelers God, Help Your Church to Learn God, You Are Like a Place Remembered Guide My Canoe, Spirit Wind He Is The Way He Will Never Let Go My Hand Hope of the Earth I Saw an Angel in the Road I Will Not Always Walk This Earth In Every Changing State of Mind In the Stillness of This Hour Jesus, Live in Us Jesus Lives! Jesus, Partner, Lover, Friend Jesus, We Come to the Table Justice Like a River Lead Us to Still Waters Let Flow Our Tears in Grief for This Lilies Of The Field Look: Such Horror, Torn, then Tortured Mother, Child, and Birthing Spirit Much Brighter than a Thousand Suns My Child Is a Flower New Every Morning Is Your Grace No Obvious Angels Our God Is a Rock Our Life in the Spirit Out of Joy and Out of Need Peace Child Planter of Gardens, Sender of Rain Prayer Is the Cry of the Heart Remember the Rock that Bore You Samuel, Samuel, I Am Calling Startle Us with Joy The Earth Is Like a Burning Bush The Grass Will Green Again The Road to Capernaum The Saints of Old Cry Out There Is No Smell Like Fresh-Baked Bread This Hurt Is Not the Final Word True Union Is a Gift of God We Are People, Made by God We Are Your Children We Are Your People We Give You Thanks for Every Faith When Human Life Is Bought and Sold When I See the Rain With the People We Have You Give Rest to All Who Come to You You Set Your Seal upon Each Heart You Walk This Earth
$11.95 ≈
11.08€
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And Then We See
