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He came all so still
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You've selected:
He came all so still
Sheetmusic to print
77 sheet music found
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He Comes Quietly - a Christmas hymn
He Comes Quietly - a Christmas hymn
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Choral SATB
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INTERMEDIATE/ADVANCED
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Sacred music
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Kevin G
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Jeering crowds were heard
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He Comes Quietly - a Christmas
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.702053 Composed by Kevin G. Pace (ASCAP), Mary Ann Snowball. Christian,Christmas,Praise & Worshi...
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.702053 Composed by Kevin G. Pace (ASCAP), Mary Ann Snowball. Christian,Christmas,Praise & Worship,Sacred. Octavo. 2 pages. Kevin G. Pace #4781177. Published by Kevin G. Pace (A0.702053). A beautiful Christmas hymn with music by Kevin G. Pace and text by Mary Ann Snowball below:From his sphere of glory, Jesus came alone To the waiting world below, Leaving his own throne. Bethlehem was busy; Jeering crowds were heard. Finally, finding solitude, Peace would be assured. Not in some great palace, Or a country inn, Nor a hall with finery Would his sole birth win. He was the Creator Of the earth so fair, And He could have chosen well Other sites not bare. Christ fulfilled long-standing Prophecy foretold, That He would come quietly, His life to unfold. No great proclamation Uttered from this King Meant, because He suffered much, Empathy He’d bring. So He’d know our trials He would have no home. He would travel with the poor, And our sins He’d own. Blessed to be his children, Asking tenderly For his care throughout our lives, He comes quietly. From his throne of glory still, He comes quietly.
$1.99 ≈
1.80€
He came all so still (carol for upper voices with Alto solo)
He came all so still (carol for upper voices with Alto solo)
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Choral SSAA
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INTERMEDIATE
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Christmas
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Alan Bullard
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He came all so still
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Colne Edition / BullardMusic
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SheetMusicPlus
Composed by Alan Bullard (1947-). A Cappella, Christmas, Contemporary. Octavo. 4 pages. Colne Edition / BullardMusic #646383. Published by Colne Editi...
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Composed by Alan Bullard (1947-). A Cappella, Christmas, Contemporary. Octavo. 4 pages. Colne Edition / BullardMusic #646383. Published by Colne Edition / BullardMusic
$1.99 ≈
1.80€
Allegro - Score Only
Allegro - Score Only
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Classical
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Solo Trumpet Player
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ed
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Allegro - Score Only
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Peet du Toit
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SheetMusicPlus
Brass Quintet - Level 3 - Digital Download SKU: A0.1372446 By Solo Trumpet Player. By Franz Schubert. Arranged by ed. W Beeler & orchestration by Peet du...
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Brass Quintet - Level 3 - Digital Download SKU: A0.1372446 By Solo Trumpet Player. By Franz Schubert. Arranged by ed. W Beeler & orchestration by Peet du Toit. Classical. 4 pages. Peet du Toit #956746. Published by Peet du Toit (A0.1372446). Franz Peter Schubert (German: [fÊants ˈpeËtÉ ËˆÊƒuËbÉt]; 31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short life, Schubert left behind a vast oeuvre, including more than 600 secular vocal works (mainly lieder), seven complete symphonies, sacred music, operas, incidental music, and a large body of piano and chamber music. His major works include the art songs Erlkönig, Gretchen am Spinnrade, Ave Maria; the Trout Quintet, the unfinished Symphony No. 8 in B minor, the Great Symphony No. 9 in C major, the String Quartet No. 14 Death and the Maiden, a String Quintet, the two sets of Impromptus for solo piano, the three last piano sonatas, the Fantasia in F minor for piano four hands, the opera Fierrabras, the incidental music to the play Rosamunde, and the song cycles Die schöne Müllerin, Winterreise and Schwanengesang.Born in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early age. His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities. In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with the orchestral music of Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. He left the Stadtkonvikt at the end of 1813 and returned home to live with his father, where he began studying to become a schoolteacher. Despite this, he continued his studies in composition with Antonio Salieri and still composed prolifically. In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde as a performing member, which helped establish his name among the Viennese citizenry. He gave a concert of his works to critical acclaim in March 1828, the only time he did so in his career. He died eight months later at the age of 31, the cause officially attributed to typhoid fever, but believed by some historians to be syphilis.Appreciation of Schubert's music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased greatly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers in the history of Western classical music and his work continues to be admired and widely performed.
$17.00 ≈
15.40€
Angels Came Singing - an original hymn for SATB voices
Angels Came Singing - an original hymn for SATB voices
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Sacred music
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Kevin G
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Angels Came Singing - an origi
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Kevin G. Pace
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SheetMusicPlus
Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.701496 Composed by Kevin G. Pace, Krista Mason Pace. Christian,Christmas,Easter,Praise & Worship,Sa...
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Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.701496 Composed by Kevin G. Pace, Krista Mason Pace. Christian,Christmas,Easter,Praise & Worship,Sacred. 2 pages. Kevin G. Pace #3135415. Published by Kevin G. Pace (A0.701496). An original hymn. Could be used as a Christmas or an Easter hymn. Text by Krista Pace below.YouTube video: https://youtu.be/s21oDdYj2HcGreat are the words of prophets of old Who spoke of a King to come as foretold; A Savior, Redeemer, to rule and to reign; Taking our sorrow, grief, loss, and pain. Angels came singing, sent from above Revealing as promised, our Father’s love; Teaching the world of His plan for all men That through God’s own Son, we’d come home again. Chosen of God, a virgin so fair Was blessed from on high, a Son she would bear, And call His name Jesus, for He was the One; His life to offer, Thy will be done. Angels came singing, sent from above Declaring glad tidings, our Father’s love; Shepherds and wise men would reverently bend For Jesus was born, the Savior of men. Women did come, their spices prepared; Still grieving the loss of life thus not spared. Then, finding the tomb with the stone rolled away Void of His body, cried in dismay. Angles came singing, sent from above Why seek ye the living? Our Father’s Love Rising, thus breaking the death bands to give A promise of life to all who would live. Seeking for truth, he knelt down to pray; Disturbed by the strife of men in his day. A pillar of light shone around this young boy; Christ and His Father answered in joy. Angels came singing, sent from above; Proclaiming the good news, our Father’s love; Full restoration of truth to the Earth; That all may rejoice, His gift of great worth. This Christmas (Easter) day, I ponder anew His birth, life, and death; my covenants true, And His resurrection that leads to my own; Prophets still leading, guiding me home. Angels are singing, sent from our home Protecting our children, loved ones who roam. One day we'll join them to sing in His light. He’s coming again in glory and might.
$1.99 ≈
1.80€
Angels Came Singing, sacred choral music
Angels Came Singing, sacred choral music
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Choral SATB
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INTERMEDIATE/ADVANCED
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Sacred music
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Kevin G
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Angels Came Singing, sacred ch
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Kevin G. Pace
#
SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1339986 Composed by Kevin G. Pace (ASCAP), Krista Mason Pace. Christian,Christmas,Easter,...
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1339986 Composed by Kevin G. Pace (ASCAP), Krista Mason Pace. Christian,Christmas,Easter,Praise & Worship,Sacred. 11 pages. Kevin G. Pace #925650. Published by Kevin G. Pace (A0.1339986). A glorious choral arrangement for Christmas or Easter.  Music by Kevin G. Pace.  Text by Krista Mason Pace.Text:Great are the words of prophets of oldWho spoke of a King to come as foretold;A Savior, Redeemer, to rule and to reign;Taking our sorrow, grief, loss, and pain.Angels came singing, sent from aboveRevealing as promised, our Father’s love;Teaching the world of His plan for all menThat through God’s own Son, we’d come home again.Chosen of God, a virgin so fairWas blessed from on high, a Son she would bear,And call His name Jesus, for He was the One;His life to offer, Thy will be done.Angels came singing, sent from aboveDeclaring glad tidings, our Father’s love;Shepherds and wise men would reverently bendFor Jesus was born, the Savior of men. Women did come, their spices prepared;Still grieving the loss of life thus not spared.Then, finding the tomb with the stone rolled awayVoid of His body, cried in dismay.Angles came singing, sent from aboveWhy seek ye the living? Our Father’s LoveRising, thus breaking the death bands to giveA promise of life to all who would live.Seeking for truth, he knelt down to pray;Disturbed by the strife of men in his day.A pillar of light shone around this young boy;Christ and His Father answered in joy.Angels came singing, sent from above;Proclaiming the good news, our Father’s love;Full restoration of truth to the Earth;That all may rejoice, His gift of great worth.This Christmas (Easter) day, I ponder anewHis birth, life, and death; my covenants true,And His resurrection that leads to my own;Prophets still leading, guiding me home.Angels are singing, sent from our homeProtecting our children, loved ones who roam.One day we'll join them to sing in His light.He’s coming again in glory and might.
$1.99 ≈
1.80€
On That Cross
On That Cross
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Choral SSATTB
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EASY
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Sacred music
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182868 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Chri...
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Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182868 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise and Worship,Religious,Sacred. 12 pages. Stuart Brown Music #782616. Published by Stuart Brown Music (A0.1182868). Re-published specially for Easter 2023, this is a profoundly beautiful piece for 6-part choir and piano. The composer writes:'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that. One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only â??crimeâ?? was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were â??Oh men who dare to call on gods to justify your hatred â?? of this be sure â?¦â? and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. â??Of this be sure â?? I love you still, my cross your salvation from all the sin of man.â?It doesnâ??t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isnâ??t. He created them, he sent his Son to die for them â?¦ and he is even now ready to save them, as he is you and me. Thatâ??s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$3.00 ≈
2.72€
Requiem
Requiem
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil I...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99 ≈
50.72€
On That Cross (Piano part ONLY)
On That Cross (Piano part ONLY)
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Sacred music
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182872 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Chri...
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Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182872 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise & Worship,Religious,Sacred. 1 pages. Stuart Brown Music #782621. Published by Stuart Brown Music (A0.1182872). The accompanying score and a choral bundle are also available from this website.The composer writes: 'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that.One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only ‘crime’ was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were “Oh men who dare to call on gods to justify your hatred – of this be sure …†and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. “Of this be sure – I love you still, my cross your salvation from all the sin of man.â€It doesn’t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isn’t. He created them, he sent his Son to die for them … and he is even now ready to save them, as he is you and me. That’s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$1.99 ≈
1.80€
On That Cross (choir pack + piano part + licence)
On That Cross (choir pack + piano part + licence)
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Sacred music
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182870 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Chri...
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Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182870 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise & Worship,Religious,Sacred. 14 pages. Stuart Brown Music #782619. Published by Stuart Brown Music (A0.1182870). The composer writes: 'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that.One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only ‘crime’ was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were “Oh men who dare to call on gods to justify your hatred – of this be sure …†and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. “Of this be sure – I love you still, my cross your salvation from all the sin of man.â€It doesn’t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isn’t. He created them, he sent his Son to die for them … and he is even now ready to save them, as he is you and me. That’s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$16.00 ≈
14.49€
Jesus, My Baby - a sacred Christmas lullaby for alto solo
Jesus, My Baby - a sacred Christmas lullaby for alto solo
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Alto voice, Piano
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INTERMEDIATE/ADVANCED
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Kevin G
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Jesus, God’s Son
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Jesus, My Baby - a sacred Chri
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Kevin G. Pace
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SheetMusicPlus
Alto Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1471942 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Christmas,Praise & ...
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Alto Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1471942 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Christmas,Praise & Worship,Religious,Sacred. 6 pages. Kevin G. Pace #1049574. Published by Kevin G. Pace (A0.1471942). A lovely, Christmas lullaby for alto solo. Music by Kevin G. Pace. Text by Mary Ann W. Snowball.Text:Jesus, my baby, sent from God’s sight,Valiantly entered this sphere.Born to teach the world all truth,Still, He’s my baby so dear.Jesus, my baby, came down from heav’n,Came as my baby so sweet.Born to save the earth from all sin,Still, He’s my baby I greet.Jesus, my baby, swaddled in light,Came down from Father above.Born to be the Savior of all,Still, He’s my baby I love.Jesus, my baby; Jesus, God’s Son;Jesus, my baby I love.
$4.99 ≈
4.52€
Jesus, My Baby - a sacred Christmas hymn lullaby
Jesus, My Baby - a sacred Christmas hymn lullaby
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Choral SATB
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INTERMEDIATE/ADVANCED
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Kevin G
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Jesus, God’s Son
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Jesus, My Baby - a sacred Chri
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Kevin G. Pace
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1468350 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Christmas...
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Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1468350 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Christmas,Praise & Worship,Religious,Sacred. 2 pages. Kevin G. Pace #1046660. Published by Kevin G. Pace (A0.1468350). A lovely, Christmas lullaby hymn. Music by Kevin G. Pace. Text by Mary Ann W. Snowball.Text:Jesus, my baby, sent from God’s sight,Valiantly entered this sphere.Born to teach the world all truth,Still, He’s my baby so dear.Jesus, my baby, came down from heav’n,Came as my baby so sweet.Born to save the earth from all sin,Still, He’s my baby I greet.Jesus, my baby, swaddled in light,Came down from Father above.Born to be the Savior of man,Still, He’s my baby I love.Jesus, my baby; Jesus, God’s Son;Jesus, my baby I love.
$1.99 ≈
1.80€
Der fliegende Holländer
Der fliegende Holländer
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Classical
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Richard Wagner
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Der fliegende Holländer
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Schott Music - Digital
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SheetMusicPlus
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 4 · 2 · 3 · 1 - P. - Str. Auf dem Theater: 3 Picc. · 6 Hr. · Tamt. · Windschleuder - Di...
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 4 · 2 · 3 · 1 - P. - Str. Auf dem Theater: 3 Picc. · 6 Hr. · Tamt. · Windschleuder - Digital Download SKU: S9.Q25918 Romantische Oper in drei Aufzügen. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q25918. Published by Schott Music - Digital (S9.Q25918). German.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (1842-1880 version) This piano reduction is based on the edition of Der fliegende Holländer from the Critical Complete Edition of Richard Wagner’s works (Richard Wagner, Sämtliche Werke [Collected works], Vol. 4, III-VI, edited by Egon Voss, Mainz, 2000f.) The primary source for this edition was the first print of the score dating from 1845 which had however been augmented utilising the sources of additions undertaken after 1845, meaning that this edition is actually a compilation of the final versions of all individual sections or relevant details. The overture for example dates back to 1860 whereas No. 1 appears in the version from 1864. What is however most significant is that the versions from the Collected Editions based on new sources is without doubt closer to the original than the score from 1897 edited by Felix Weingartner which had previously formed the basis for all editions and logically also for all performances.†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).
$47.99 ≈
43.47€
Seven Days Without Prayer
Seven Days Without Prayer
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David Kai
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David Kai
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Seven Days Without Prayer
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David Kai
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SheetMusicPlus
Drum Set,Electric Bass Guitar,Piano Accompaniment,Synthesizer - Level 4 - Digital Download SKU: A0.1105114 By David Kai. By David Kai. Arranged by David ...
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Drum Set,Electric Bass Guitar,Piano Accompaniment,Synthesizer - Level 4 - Digital Download SKU: A0.1105114 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary,Jazz,Rock. Full Performance. Duration 199. David Kai #708361. Published by David Kai (A0.1105114). The title for this song came from a plaque that I saw in a Christian book store. Jesus’ teachings about prayer from Matthew 7 or Luke 11 were also an inspiration. This song was first recorded by the Sellwoods gospel group. Seven Days Without Prayer words and music by David Kai ©1980 It’s a world where we depend on communication Through the wires and through the air information flows It’s an age where thoughts and words can cross the ocean It’s a shrinking world, but the space between us grows Though we talk to one another, there’s something missing We still need to speak from the soul, not just the mind We still need the oldest form of communication It’s available for free at any time The lines are open, why not send in a call? The Lord is waiting, just to hear from you all So just take some time for praying, God would love to hear you speak You know seven days without prayer makes one weak If a child should ask its father for bread and fishes Would that child receive a stone or a snake in its place? No, and if even earthly fathers will bless their children Won’t the heavenly Father bless and give you grace? So if you knock upon the door it will be opened If you speak unto the Lord you will be heard Look to Jesus, you will not be disappointed You will find he’s always faithful to his word The lines are open, why not send in a call? The Lord is waiting, just to hear from you all So just take some time for praying, God would love to hear you speak You know seven days without prayer makes one weak The lines are open, why not send in a call? The Lord is waiting, just to hear from you all So just take some time for praying, God would love to hear you speak You know seven days without prayer makes one weak Makes one weak.
$1.99 ≈
1.80€
Excerpt from the Lyric Suite
Excerpt from the Lyric Suite
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Guitar
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INTERMEDIATE/ADVANCED
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Contemporary
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Alban Berg
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Rod Whittle
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie C...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00 ≈
4.53€
'Change of scene' from Act III of Wozzeck
'Change of scene' from Act III of Wozzeck
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Guitar
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INTERMEDIATE/ADVANCED
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Contemporary
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Alban Berg
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Rod Whittle
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'Change of scene' from Act III
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie C...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00 ≈
4.53€
Excerpt from Lulu Suite
Excerpt from Lulu Suite
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Guitar
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Contemporary
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Alban Berg
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Rod Whittle
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Excerpt from Lulu Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Digital Download SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music...
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Solo Guitar - Digital Download SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar 4 pp (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.
$5.00 ≈
4.53€
Joy to the World with the Hallelujah Chorus
Joy to the World with the Hallelujah Chorus
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Piano solo
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INTERMEDIATE/ADVANCED
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Christmas
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Stephen R Dalrymple
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Stephen R Dalrymple (Dalrymple
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Joy to the World with the Hall
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Stephen R Dalrymple
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.818229 By Stephen R Dalrymple. By Isaac Watts and Lowell Mason (from George Frederick Handel). Arranged b...
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Piano Solo - Level 4 - Digital Download SKU: A0.818229 By Stephen R Dalrymple. By Isaac Watts and Lowell Mason (from George Frederick Handel). Arranged by Stephen R Dalrymple (Dalrymple Designs). Christmas. Score. 14 pages. Stephen R Dalrymple #3087649. Published by Stephen R Dalrymple (A0.818229). Joy to the World with The Hallelujah Chorus ♫ piano solo arrangement by Stephen R Dalrymple ♫ based on the public domain hymn by Isaac Watts and Lowell Mason (from George Frederick Handel) ♫ Isaac Watts published the lyrics in 1719. We credit Isaac Watts for helping to popularize “hymns†over “Psalms†in Protestant churches in the 18th Century. The texts of “Psalms†came directly from the Bible; “hymns†were more interpretive and reflective. Whether to allow the use of hymns rather than Psalms in church was a controversial topic of the 17th and 18th centuries! ♫ Watts used Psalm 96 and 98 with Genesis 3 to create the lyrics of Joy to the World. For over a hundred years, the lyrics were sung to various Psalm tunes. ♫ Lowell Mason published our current version with the melody ANTIOCH in 1848. He attributed the melody to George Frederick Handel by Lowell. We can find several fragments of this melody in Handel’s music, there is no complete statement of the melody in Handel. And so ANTIOCH is now attributed to Mason. ♫ The Hallelujah Chorus serves as the introduction and the conclusion of this arrangement. It was first published within Messiah, an oratorio by George Frederick Handel in 1741. The lyrics were created by Charles Jennens from the King James Bible. ♫ “The Lord is come†is the present perfect tense. It seems archaic, yet the present perfect tense has a distinct meaning. It points to a current action that is sustained. It isn’t just that Christ came in the past. But that Christ came and is still here with us. ♫ music © 2017 (copyright registered in 'I See your Glory’ collection) ♫ recording ℗ 2020 Stephen R Dalrymple ♫ presentation © 2022 Stephen R Dalrymple ♫ performed by the composer ♫ This .pdf file includes 2 files: 1) Letter size piano score 2) Small page piano score for performing from a 10 inch tablet ♫ (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.)♫ A duplicate YouTube video in English is available under the title Joie dans le monde https://youtu.be/QrcR5GaKzW4♫ @DalrympleDesigns.
$4.50 ≈
4.08€
Bring His Love
Bring His Love
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Choral SATB
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INTERMEDIATE
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Sacred music
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the first of the year I had th
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Kevin Longley
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Bring His Love
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Kevin Longley
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1019370 Composed by Kevin Longley. Christian,Praise & Worship,Sacred. Octavo. 12 pages. Kevin Lo...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1019370 Composed by Kevin Longley. Christian,Praise & Worship,Sacred. Octavo. 12 pages. Kevin Longley #6532899. Published by Kevin Longley (A0.1019370). Bring His LoveInspiration (below is a note I sent to my sister) Hi Karen! In the fall of last year I started working on a new church anthem for FUMC. Over the years your choir has sung several pieces of mine; so I felt I should do something in return. I quickly got an idea for the music only (sometimes I will get some lyric ideas also, but didn't this time.) By the first of the year I had the basic structure sketched out on paper but then put it aside for Easter Rehearsals. When the pandemic stopped all church choirs I returned to the music and by early May had the score in the computer, close to completion. At that point I still didn't have any lyrics but began feeling that it should be about God's creation. All I could envision was a singer with his arms stretched out to the sun, the ocean, the moon, etc. while singing this piece. So I started searching for a possible prayer that might fit and came upon Canticle of the Son. As I read it through I liked the structure and began sketching out the lyrics. I couldn't help but wonder what our response should be to God's creation. How should we thank him or praise him or take care of it? I then turned my thoughts to FUMC and considered this - what phrase would sum up this churches mission? I almost immediately got Bring His Love. From there the balance of the lyrics fell into place. So attached is the recording and the music. I have no expectations but hope you and the choir enjoy the music. The Music The piece starts with 16th note broken chords in the upper register of the piano which lead to the opening theme. A tenor soloist begins by singing God's praises for all he has given us; ending with the thought How can we thank such kindness?; The answer Bring His Love the B section. At its conclusion we are returned to the opening theme, this time sung by the choir which again leads us to the same questionHow can we thank such kindness?, The answer Bring His Love the B section. A C section is then introduced with a change to a more beat driven accompaniment with the vocals alternating between the upper and lower voices. A return to the opening theme, with minimal chordal accompaniment, features the original soloist but then adds a second voice leading to a duet and a return to the broken chord accompaniment.. Finally the B section,Bring His Love is repeated and concludes in a rousing fashion.. Program Notes The piece could work very well for Earth Day celebrations.
$1.99 ≈
1.80€
L'amore di Kebo Iwa (Balinese Gamelan in Piano)
L'amore di Kebo Iwa (Balinese Gamelan in Piano)
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Piano solo
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INTERMEDIATE
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Gabrielle Felicita Chen
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L'amore di Kebo Iwa
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Gabrielle Felicita Chen
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1041503 Composed by Gabrielle Felicita Chen. Contest,Festival,Folk,Holiday,Multicultural,Traditional,Worl...
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Piano Solo - Level 3 - Digital Download SKU: A0.1041503 Composed by Gabrielle Felicita Chen. Contest,Festival,Folk,Holiday,Multicultural,Traditional,World. Score. 9 pages. Gabrielle Felicita Chen #646246. Published by Gabrielle Felicita Chen (A0.1041503). “L’amore di Kebo Iwa†simply means ‘the Love of Kebo Iwa’ , which is inspired from Indonesian Balinese folk music. It is usually played by the instruments called Gamelan. Bali is an island in Indonesia rich with cultural traditions that are very much rooted in myths and legends. After understanding deeper of the legend of “Kebo Iwaâ€, I was so drawn to the character and the plot that I decided to tell the story in my piano composition. I was able to use different kinds of musical techniques to express different moods. One of them is to apply the Pentatonic ‘Balinese Pelog’ Scale in B flat Major, which represents the majority of the Gamelan sound that is usually transcribed into Western notations. Below is the synopsis the “L’amore di Kebo Iwaâ€. A Once upon a time, in Bali, there was a husband and a wife who dearly wanted to have a baby. They prayed to God for a very long time. Finally, God heard their prayers and blessed them with a baby boy. But there was something special about this baby boy: he was very big- a giant baby. They named him Kebo Iwa. Kebo Iwa grew up with a good heart and became a gentleman. He was a kind hearted giant; he protected the village dearly. One day, the King of Majapahit from Java wanted to conquer Bali. He had heard about Kebo Iwa and knew that his army would lose to Kebo Iwa. B Therefore, the King of Majapahit tricked Kebo Iwa. He invited Kebo Iwa to Java island, promising that he would arrange a wedding for Kebo Iwa to marry his daughter, the beautiful Majapahit princess. Kebo Iwa was so in love with the princess, so he happily travelled to Java island. C After he arrived in Java, the King of Majapahit asked a favour from Kebo Iwa to dig a well, with the reason for it being the dry season. Kebo Iwa then sincerely gave some help and started digging a big, giant well. D However, the King Majapahit never meant to deliver his promise to Kebo Iwa. Instead, the King Majapahit commanded the troops to cover the well with mud and boulders. But when Kebo Iwa realized, it was too late. He was already in the position that was far too deep below - at the bottom of the well. Kebo Iwa then cried loudly and sadly with a broken heart until his last breath. He was buried alive. Soon after that, the Majapahit troops attacked and conquered Bali. E At last, the well was covered and grew a hill of flowers. To this day, the Bali villagers still remember Kebo Iwa as their hero. To honor him, they erected a giant statue of Kebo Iwa in Gianyar, Bali, as a memorial.
$9.99 ≈
9.05€
Peace on Earth - Christmas Song - Strings quintet and piano
Peace on Earth - Christmas Song - Strings quintet and piano
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Christmas
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Connie Boss
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on Earth
Peace
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Peace on Earth - Christmas Son
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Connie Boss
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SheetMusicPlus
Small Ensemble Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.801564 Composed by Connie Boss. Celtic,Christian,Christmas,Sacred. Score and parts...
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Small Ensemble Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.801564 Composed by Connie Boss. Celtic,Christian,Christmas,Sacred. Score and parts. 4 pages. Connie Boss #6202107. Published by Connie Boss (A0.801564). This is a Christmas original I was inspired to write. The shepherds couldn't quite figure out why there was such a bright star and why the baby was so special. Once they arrived in Bethlehem, they realized he was born to bring Peace on earth to all. Strings arrangement that does include the lyrics. Note: This shows going from verse 2 to bridge. You could repeat the refrain in between and/or add the refrain at the end of the piece. cdboss@cvalley.netLyrics:Peace on EarthChristmas SongComposed by Connie Boss Intro and Refrain:Peace on EarthPeace on EarthPeace on EarthPeace one Earth Verse 1:And into the still of the nightThere was one star shining brightShepherds in their fields all aroundSaw it shine down on a town Refrain: Verse 2:It’s light beckoning all to comeTo see the new chosen oneSo they followed the bright starThey came from near and from farRefrain:BridgeFor some the journey took them daysArriving there they were amazedAll of this for a baby boy:Why were they all filled with joy?Christ was born on Christmas morn, to bring Peace on EarthPeace for allPeace for you and me. Refrain to end.
$5.00 ≈
4.53€
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