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You've selected:
Hymns in Baroque and Classic Style Piano
Sheetmusic to print
3 sheet music found
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Hymns in Baroque and Classic Style - Piano
Hymns in Baroque and Classic Style - Piano
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Vernon Charter
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Hymns in Baroque and Classic S
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Fred Bock Music Company
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SheetMusicPlus
Piano, Keyboard SKU: HL.8738373 Composed by Vernon Charter. Harpsichord/ Piano. Fred Bock Publications. Baroque, Classical, General Worship, Sacred. Fred...
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Piano, Keyboard SKU: HL.8738373 Composed by Vernon Charter. Harpsichord/ Piano. Fred Bock Publications. Baroque, Classical, General Worship, Sacred. Fred Bock Music Company #BG0898. Published by Fred Bock Music Company (HL.8738373). ISBN 9781495078095. UPC: 073999383737. 9.0x12.0x0.082 inches.With electronic keyboards, synthesizers, and MIDI available today, this new collection of seven hymns arranged at medium-difficulty level is the perfect vehicle to utilize harpsichord sounds. And if you are blessed with a real harpsichord, all the better. Baroque and classical era mordants, trills and other ornamentations are carefully explained and written out in the foreword. This book will be a refreshing change of pace for keyboard players. Titles include: Fairest Lord Jesus * God Rest Ye Merry, Gentlemen * Jesus, the Very Thought of Thee * O God, Our Help in Ages Past * and more.
Song List
: Silent Night ((Franz Gruber) O God, Our Help in Ages Past (Bock) God Rest Ye Merry Gentlemen O the Deep, Deep Love of Jesus (S. Francis/T. Williams) Fairest Lord Jesus JESUS, THE VERY THOUGHT OF THEE (JOHN B DYKES) PRAISE TO THE LORD, THE ALMIGHTY (S GESANGBUCH)
$9.95
TWO-PART HYMN INVENTIONS for Piano, 3 Classic Hymns
TWO-PART HYMN INVENTIONS for Piano, 3 Classic Hymns
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Piano solo
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INTERMEDIATE
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Sacred music
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Various
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Gary Lanier
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TWO-PART HYMN INVENTIONS for P
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The Lanier Company
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.617449 Composed by Various. Arranged by Gary Lanier. Baroque,Praise & Worship,Sacred. Score. 9 pages. The...
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Piano Solo - Level 3 - Digital Download SKU: A0.617449 Composed by Various. Arranged by Gary Lanier. Baroque,Praise & Worship,Sacred. Score. 9 pages. The Lanier Company #5022125. Published by The Lanier Company (A0.617449). TWO-PART HYMN INVENTIONS for Piano is a set of 3 familiar hymns arranged by Gary Lanier. The titles are: 1) Doxology, 2) Holy, Holy, Holy, and 3) O for a Thousand Tongues to Sing. You get 3 for less than the price of 2. These arrangements are ideal for church preludes, offertories, special music or any gathering where classy hymns with a Baroque style mixed in are enjoyed (9 pages including cover). In a concert setting one might perform all 3 arrangements as a suite of two-part inventions representing a modern day setting that has been influenced by the glorious years of the Baroque music era. Some practice will probably be needed, but will be well worth the effort.
$8.99
Missa Solemnis, op. 27 (vocal score)
Missa Solemnis, op. 27 (vocal score)
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Choral SATB
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ADVANCED
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adr...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99
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