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The Lan A cappella
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2051
Skye Boat Song - Outlander Main Title Theme - for Choir SSATB and Piano Accompaniment
Skye Boat Song - Outlander Main Title Theme - for Choir SSATB and Piano Accompaniment
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Choral SATB
#
INTERMEDIATE
#
Scottish Folk Song
#
Flavio Regis Cunha
#
Skye Boat Song - Outlander Mai
#
Flavio Regis Cunha
#
SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 3 - Digital Download SKU: A0.1485320 By Scottish Folk Song. By Scottish Folk Song. Arranged by Flavio Regi...
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Choral Choir,Choral,SATB Chorus divisi - Level 3 - Digital Download SKU: A0.1485320 By Scottish Folk Song. By Scottish Folk Song. Arranged by Flavio Regis Cunha. Contest,Early Music,Festival,Film/TV,Instructional,Wedding. 9 pages. Flavio Regis Cunha #1062384. Published by Flavio Regis Cunha (A0.1485320). Skye Boat Song - Outlander Main Title Theme - for SSATB and Piano AccompanimentArtist Traditional Scottish FolksongComposer Traditional Scottish FolksongArranger Flavio Regis CunhaDescriptionDo you want to bring a bit of Scotland to your choir? Look no further than our sheet music of Skye Boat Song - from Outlander Main Title Theme - for SSA and Piano Accompaniment. Perfect for churches, school choirs, and professional SSA ensembles, this traditional Scottish folksong is full of energy and history. With this sheet music, you can add a unique flavor to your performance and transport your choir to the highlands! Stop searching for the right song and get ready to take your choir on an unforgettable musical journey. Get your sheet music now and experience the rich culture of Scotland in no time.This arrangement, featuring a solo Soprano and SSA choir with Piano accompaniment, reharmonizes the traditional folk song with a contemporary twist. This arrangement would work well for any a cappella high school, college, or community choir looking for modern arrangements of traditional folk songs.Level: Intermediate.Format: OctavoSize: 9 pages.Engraved with Urtext Kappelmeister FontsDuration: 2:30 min.NotesSkye Boat Song is one of my favoryte folk songs from the British Isles. Skye refers to the Island of Skye, a large island off the northwest coast os Scotland. There are several texts to this song; all refer, more or less, to an uprising of Scottish dissidents against the English is 1745-46. After their defeat, they fled to the Island of Skye. The text used here by the poet Robert Louis Stevenson. Scholars attribute the first half of the melody to an old se chantey and suspect thea the second half may have benn written by Annie MacLeod. ARRANGEMENT DETAILSVoicing SSATB Choir and Piano AccompanimentDifficulty IntermediateGENRE DETAILS Genres A Cappella, Classical, Film/TV, Holiday, Wedding.
$2.99 ≈
2.68€
The Story Of Reuben Clamzo & His Strange Daughter
The Story Of Reuben Clamzo & His Strange Daughter
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Choral TTBB
#
EASY
#
Arlo Guthrie
#
Craig Hanson
#
The Story Of Reuben Clamzo & H
#
Edition Craig Hanson
#
SheetMusicPlus
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octa...
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99 ≈
3.58€
The Story of a Leader
The Story of a Leader
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Choral SATB
#
ADVANCED
#
Classical
#
Igor Korneitchouk
#
The Story of a Leader
#
Studio at the Post
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 3...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio at the Post #744209. Published by Studio at the Post (A0.1143904). Duration: 16 minutes, 33 pp. Description: Exodus is a great story that belongs to everyone. Not only is it central to Judaism, not only is it integral to the Christian Bible, it is an immortal story that has been, and continues to be, an inspiration to oppressed peoples everywhere on this planet. It is relevant not just as ancient scripture but as living text, to be rediscovered by each new generation of an ever-widening Family of Man. The theme of struggle against oppression and slavery was just as relevant to the early Christians persecuted in Ancient Rome as it was relevant to the American Civil Rights movement of the 1960's, just as relevant to the Soviet Jews wishing to emigrate as it is to the South African Blacks resisting Apartheid. From the Dark Ages and the Spanish Inquisition, to Ghandi's emancipation of India, to the Holocaust, to, full-circle, the ongoing struggles in Palestine today, the story of Exodus is a guiding light in a dim and often grim world. According to the composer: The Story of a Leader is a collection of ‘re-chorales’ I created one summer when I was totally immersed in a post-educational obsession with the 371 Chorales by Johann Sebastian Bach. We used to study these to learn the rules of harmony and voice-leading (no parallel fifths, avoid crossed voices, etc.) at the Cleveland Institute of Music where I began my compositional career. That summer, now a professor of music in my own right, I discovered many broken and bent rules by the master himself and, along with the glory of being able to work through these Chorales myself at the piano, I felt an incredible feeling of liberation and possibilities unmediated by instructors of music theory. I began by stripping away all that Bach wrote, leaving only the hymn tunes which were not his to begin with. These tunes existed long before Bach used them for his tonal experiments, some attributed to Martin Luther, or someone else, others simply listed as ‘anonymous’. The same is true for the texts, which were then translated into English mostly in the 19th century (the provenance of each can be found herein on the first page of each of my reharmonizations). In some cases I modified the text to fit the context. I selected 12 of these ‘re-chorales,’ linking them together based on their texts in a kind of logic that worked for me, and created a narrative that told The Story of a Leader (Moses). This story is highlighted in the music with such techniques as cross-modal harmonies, points of imitation, a beer drinking song in one instance, and in another, to symbolize the parting of the seas for Moses’ people, an inversion of the soprano line in the bass..
$15.04 ≈
13.48€
A Whitman Triptych: III. Facing West (Downloadable)
A Whitman Triptych: III. Facing West (Downloadable)
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David Conte
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A Whitman Triptych: III. Facin
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.8323-E Composed by David Conte. Advanced/C...
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Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.8323-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 9 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8323-E. Published by E. C. Schirmer Music Company - Digital (MQ.8323-E). UPC: 600313483233. English. The three a cappella choral pieces that comprise “A Whitman Triptych†were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass†was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed†as the basis for my composition “Invocation and Dance.†I went on to set “Good-Bye, My Fancy†for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road†for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. Facing West is drawn from the Children of Adam book from Walt Whitman's Leaves of Grass. The full title of the poem is Facing West From California's Shores. Though Whitman never visited California, his biographer Justin Kaplan made the insightful observation that he imagined California's shores to be the starting point for a journey through time and culture. Here was Walt, 'a child, very old,' facing home again, looking over to it, joyous, as after long travel, growth, and sleep, asking: 'But where is what I started for, so long ago?/And why is it yet unfound?' The invitation from the International Orange Chorale to compose a piece in honor of the 75th anniversary of the Golden Gate Bridge led me easily and naturally to this great poem. The tone of Facing West is rich and complex, and draws on one of Whitman's favorite themes of using travel to distant lands as a metaphor for spiritual development. In his poem, Whitman strikes notes of reflection, of longing for adventure, and ultimately ends with a question. The continuing relevance of this question is for me beautifully addressed by the contemporary American writer Edmund White in his 1980 book States of Desire. To paraphrase somewhat, White writes: California is where dreams may come true, and the problem it presents is whether, after all, we wanted these particular dreams to be fulfilled - or would we have preferred others? Did we know what price these dreams would exact? Did we anticipate the ways in which they would unsuit us for the business of daily life? Or should our notion of daily life itself be transformed? For Americans, California's coast is as far as one can go in establishing new roots and new ways of living. As a transplanted Midwesterner who has made California his home for nearly three decades, I experience the Golden Gate Bridge as a beautiful monument to the aspirations and dreams of a restless and inventive people, qualities that Whitman's poem captures perfectly. -David ConteDuration: 5:42
$2.65 ≈
2.38€
Bluey Theme Song
Bluey Theme Song
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Choral SATB
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EASY
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Jonathan Bush
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Matthew Udland
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Bluey Theme Song
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Midwest A Cappella
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SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 2 - Digital Download SKU: A0.1309630 Composed by Jonathan Bush. Arranged by Matthew Udland. A Cappella,Barbersh...
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Choral Choir,Choral (SATB divisi) - Level 2 - Digital Download SKU: A0.1309630 Composed by Jonathan Bush. Arranged by Matthew Udland. A Cappella,Barbershop,Children,Comedy,Film/TV. 2 pages. Midwest A Cappella #898797. Published by Midwest A Cappella (A0.1309630). I know what you are thinking... I need a super fun 30-second song to toss at my high school a cappella group or small ensemble that they can learn in a class period. LOOK NO FURTHER :)There is a baritone line written in if you have an abundance of basses, but if you don't just cut out the bari. Similarly, you don't NEED a vocal percussionist but I've separated the sounds out into two lines if you've got a young couple of beatboxers who want to practice a simple rhythmic pattern.Your audience will thank you :)... bonus points if you have your students play Musical Statues while singing!
$1.99 ≈
1.78€
Highland Cathedral
Highland Cathedral
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Choral SATB
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EASY
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Various
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Eric Weber
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Highland Cathedral
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Eric Weber
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 2 - Digital Download SKU: A0.1491345 By Various. By Michael Korb and Ulrich Roever. Arranged by Eric Weber. 21st ...
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Choral Choir,Choral,SATB Chorus - Level 2 - Digital Download SKU: A0.1491345 By Various. By Michael Korb and Ulrich Roever. Arranged by Eric Weber. 21st Century,A Cappella,Celtic,Chamber,Christian,Irish. 5 pages. Eric Weber #1068084. Published by Eric Weber (A0.1491345). Highland Cathedral is a popular tune for the Great Highland Bagpipe, composed by German musicians Ulrich Roever and Michael Korb in 1982 for a Highland Games held in Germany. It has been proposed as a Scottish national anthem to replace the unofficial anthems Scotland the Brave and/or Flower of Scotland. In this arrangement for four voices (SATB) you will hear the spirit of the Scottish Highlands and feel the sea breeze on your face. The arrangement builds slowly from a bourdon fith to a tutti choir and should be sung in a church with plenty of reverb for maximum effect.Highland Cathedral ist eine Dudelsackmelodie, die von den Deutschen Ulrich Roever und Michael Korb 1982 in Deutschland komponiert wurde. Als Hymne für die Highland Games in Deutschland geschrieben, begeisterte sie auch die Schotten, die sie als Nationalhymne vorschlugen. In diesem Arrangement kann man die Atmosphäre der schottischen Highlands hören und die Meeresbrise auf der Haut spüren. Das Arrangement baut sich langsam von einer Bordun-Quinte zu einem Tutti-Chor auf und sollte für maximale Wirkung in einer Kirche mit viel Hall gesungen werden.
$2.99 ≈
2.68€
God Save Our Native Land (with "My Country, ’Tis of Thee") (SSA, a cappella Choir)
God Save Our Native Land (with "My Country, ’Tis of Thee") (SSA, a cappella Choir)
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Choral 3-part
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INTERMEDIATE
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Cathy Stamegna
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God Save Our Native Land
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Cathy Stamegna
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SheetMusicPlus
Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.780896 Composed by (Countermelody) I Sing About This Country-Cathy Stamegna, God Save Our Native ...
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Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.780896 Composed by (Countermelody) I Sing About This Country-Cathy Stamegna, God Save Our Native Land-Prof. Julius H. Seelye, Jay Deavereaux, My Country 'Tis of Thee-Thesaurus Musicus, and Samuel F. Smith. Arranged by Cathy Stamegna. A Cappella,Holiday,Patriotic,Sacred. Octavo. 5 pages. Cathy Stamegna #5744229. Published by Cathy Stamegna (A0.780896). God Save Our Native Land (with My Country, ’Tis of Thee) (SSA, a cappella Choir). An a cappella rendition of two patriotic hymns. A short, original countermelody states: From ev’ry nation they came to find a better place to live for their future generations, (Let freedom ring!). Other vocal arrangements available. Arranged during a time of social distancing because of the coronavirus pandemic, and part of the Hymns of Comfort collection.
$2.35 ≈
2.11€
God Save Our Native Land (with "My Country, ’Tis of Thee") (TTB, a cappella Choir)
God Save Our Native Land (with "My Country, ’Tis of Thee") (TTB, a cappella Choir)
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Choral 3-part
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INTERMEDIATE
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Cathy Stamegna
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God Save Our Native Land
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Cathy Stamegna
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SheetMusicPlus
Choral Choir (3-Part) - Level 3 - Digital Download SKU: A0.780897 Composed by (Countermelody) I Sing About This Country-Cathy Stamegna, God Save Our Nati...
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Choral Choir (3-Part) - Level 3 - Digital Download SKU: A0.780897 Composed by (Countermelody) I Sing About This Country-Cathy Stamegna, God Save Our Native Land-Prof. Julius H. Seelye, Jay Deavereaux, My Country 'Tis of Thee-Thesaurus Musicus, and Samuel F. Smith. Arranged by Cathy Stamegna. A Cappella,Holiday,Patriotic,Sacred. Octavo. 5 pages. Cathy Stamegna #5744235. Published by Cathy Stamegna (A0.780897). God Save Our Native Land (with My Country, ’Tis of Thee) (TTB, a cappella Choir). An a cappella rendition of two patriotic hymns. A short, original countermelody states: From ev’ry nation they came to find a better place to live for their future generations, (Let freedom ring!). Other vocal arrangements available. Arranged during a time of social distancing because of the coronavirus pandemic, and part of the Hymns of Comfort collection.
$2.35 ≈
2.11€
Candy Cane Lane (Chorus)
Candy Cane Lane (Chorus)
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Choral SSAA
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ADVANCED
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Pop music
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Sia
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Rowena Harper
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Candy Cane Lane
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Rowena Harper
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SheetMusicPlus
SSAA, A Cappella, Barbershop, Womens Barbershop Harmony - Advanced - Digital Download By Sia. Arranged by Rowena Harper. Individual Part. 13 pages. Publishe...
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SSAA, A Cappella, Barbershop, Womens Barbershop Harmony - Advanced - Digital Download By Sia. Arranged by Rowena Harper. Individual Part. 13 pages. Published by Rowena Harper
As cute as a bugs ear, this ultra-happy Christmas ditty by Sia is a true joy. Every theme seems unusually familiar, and they are presented by the lead one at a time, excepting the colour theme which is taken by the basses. The four themes are then masterfully woven together in counterpoint in the last stretch of the arrangement. The tenors have the final post whilst the leads finish their theme and the baritones noodle around them, concluding with a very jazzy, very christmassy baritone solo to polish the arrangement off. This is the perfect ear-worm for your Christmas season!
Range (Lowest-Highest): Bass E-E, Baritone C-D, Lead C-D, Tenor G#-F.
Key = C
This is a per copy price. Also available as a set of parts (four copies).
(Note: This sheet music is notated in barbershop format: Tenor (S.1) and Lead (S.2) in treble clef , Baritone (A.1) and Bass (A.2) in bass clef. The bass clef parts are sung an octave higher than written.
Contact: acappellatenor@gmail.com.
$3.00 ≈
2.69€
God Save Our Native Land (with "My Country, ’Tis of Thee") (SAB, a cappella Choir)
God Save Our Native Land (with "My Country, ’Tis of Thee") (SAB, a cappella Choir)
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Choral 3-part
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INTERMEDIATE
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Cathy Stamegna
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God Save Our Native Land
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Cathy Stamegna
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SheetMusicPlus
Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.780895 Composed by (Countermelody) I Sing About This Country-Cathy Stamegna, God Save Our Native ...
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Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.780895 Composed by (Countermelody) I Sing About This Country-Cathy Stamegna, God Save Our Native Land-Prof. Julius H. Seelye, Jay Deavereaux, My Country 'Tis of Thee-Thesaurus Musicus, and Samuel F. Smith. Arranged by Cathy Stamegna. A Cappella,Holiday,Patriotic,Sacred. Octavo. 5 pages. Cathy Stamegna #5744113. Published by Cathy Stamegna (A0.780895). God Save Our Native Land (with My Country, ’Tis of Thee) (SAB, a cappella Choir). Two patriotic hymns are brought together. A short, original countermelody states that people came from many nations to build a better life for their future generations. Other vocal arrangements available. Arranged during a time of social distancing because of the coronavirus pandemic, and part of the Hymns of Comfort collection.
$2.35 ≈
2.11€
Landslide
Landslide
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Choral SATB
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INTERMEDIATE/ADVANCED
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Country
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Pop music
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Dixie Chicks
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Matthew Udland
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Landslide
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 4 - Digital Download By Dixie Chicks. By Stevie Nicks. Arranged by Matthew Udland. A Cappella, Pop, Rock. Octavo. 12...
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Choral Choir (SATB divisi) - Level 4 - Digital Download By Dixie Chicks. By Stevie Nicks. Arranged by Matthew Udland. A Cappella, Pop, Rock. Octavo. 12 pages. Midwest A Cappella #4824219. Published by Midwest A Cappella
$3.00 ≈
2.69€
When Your Feet Don't Touch The Ground
When Your Feet Don't Touch The Ground
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Choral TTBB
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INTERMEDIATE/ADVANCED
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Eliot Kennedy and Gary Barlow
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Theodore Hicks
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When Your Feet Don't Touch The
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Theo Hicks Music
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SheetMusicPlus
Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.1085253 Composed by Eliot Kennedy and Gary Barlow. Arranged by Theodore Hicks. A Cappella,Broadw...
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Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.1085253 Composed by Eliot Kennedy and Gary Barlow. Arranged by Theodore Hicks. A Cappella,Broadway,Contemporary,Musical/Show. Octavo. 9 pages. Theo Hicks Music #689397. Published by Theo Hicks Music (A0.1085253). A magical song about growing up from the musical Neverland. Originally performed by the 2018 International Champions, After Hours, this piece works well for small ensemble (quartet minimum) or a large choir. For SSAA or SATB voicings, please reach out to the arranger through the website listed below. This song is contestable in Barbershop Harmony Society contests, Sweet Adeline's International contests, and Harmony Incorporated contests. For more information or arrangement titles from Theodore Hicks, visit www.theohicksmusic.com. LIKE Theo Hicks Music on Facebook at https://www.facebook.com/theohicksmusic/.
$4.00 ≈
3.59€
Candy Cane Lane
Candy Cane Lane
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Choral SSAA
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ADVANCED
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Sia
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Rowena Harper
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Candy Cane Lane
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Rowena Harper
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SheetMusicPlus
Voice (SSAA) - Level 5 - Digital Download SKU: A0.762502 By Sia. By Greg Kurstin and Sia. Arranged by Rowena Harper. A Cappella,Barbershop,Pop. Barbersho...
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Voice (SSAA) - Level 5 - Digital Download SKU: A0.762502 By Sia. By Greg Kurstin and Sia. Arranged by Rowena Harper. A Cappella,Barbershop,Pop. Barbershop Quartet. 13 pages. Rowena Harper #5711721. Published by Rowena Harper (A0.762502). As cute as a bugs ear, this ultra-happy Christmas ditty by Sia is a true joy. Every theme seems unusually familiar, and they are presented by the lead one at a time, excepting the colour theme which is taken by the basses. The four themes are then masterfully woven together in counterpoint in the last stretch of the arrangement. The tenors have the final post whilst the leads finish their theme and the baritones noodle around them, concluding with a very jazzy, very christmassy baritone solo to polish the arrangement off. This is the perfect ear-worm for your Christmas season!Range (Lowest-Highest): Bass E-E, Baritone C-D, Lead C-D, Tenor G#-F.Key = CThis price is for a set of parts (four copies). Available also as a per copy price - minimum 10 copies.(Note: This sheet music is notated in barbershop format: Tenor (S.1) and Lead (S.2) in treble clef , Baritone (A.1) and Bass (A.2) in bass clef. The bass clef parts are sung an octave higher than written.Contact: acappellatenor@gmail.com.
$15.95 ≈
14.30€
Sesame Street Theme
Sesame Street Theme
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Choral SATB
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EASY
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Joe Raposo
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Matthew Udland
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Sesame Street Theme
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Midwest A Cappella
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.883387 Composed by Joe Raposo. Arranged by Matthew Udland. A Cappella. Octavo. 5 pages. Midwest ...
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.883387 Composed by Joe Raposo. Arranged by Matthew Udland. A Cappella. Octavo. 5 pages. Midwest A Cappella #4580277. Published by Midwest A Cappella (A0.883387). Here's a lovely, haunting ballad version of the classic Sesame Street Theme Song set to A Cappella (SATB) with a soloist. The jazzy harmonies are enough to help the theme sound new and interesting while maintaining the audience recognition of the original theme song. A truly interesting ballad for your pop a cappella or chamber group!
$2.50 ≈
2.24€
Symphony No. 3 in A minor, op. 17 (parts)
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestra
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ADVANCED
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #94204...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00 ≈
188.26€
Symphony No. 3 in A minor, op. 17
Symphony No. 3 in A minor, op. 17
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Orchestra
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ADVANCED
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Contemporary
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #94126...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00 ≈
188.26€
Dos aguinaldos venezolanos del siglo XIX
Dos aguinaldos venezolanos del siglo XIX
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Choral SATB
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INTERMEDIATE
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Rafael Isaza / Ricardo Perez
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Cesar Alejandro Carrillo
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Dos aguinaldos venezolanos del
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Cesar Alejandro Carrillo
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.881123 Composed by Rafael Isaza / Ricardo Perez. Arranged by Cesar Alejandro Carrillo. A Cappell...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.881123 Composed by Rafael Isaza / Ricardo Perez. Arranged by Cesar Alejandro Carrillo. A Cappella,Christmas,Romantic Period,World. Octavo. 12 pages. Cesar Alejandro Carrillo #3860075. Published by Cesar Alejandro Carrillo (A0.881123). In Venezuela, the word aguinaldo has two meanings. It is synonymous with a gift that is given at Christmas, but also refers to a very popular musical genre in our own country of the Christmas season. This genre represents the quintessential musical expression of Venezuelan Christmas. Modesta Bor, our composition teacher, always instilled in us the cultivation of this genre in the repertoire of our choirs and as creative work, in order to preserve it from its disappearance before the overwhelming invasion of other musical genres strange to our traditional Christmas holidays. PurÃsima and A ti te cantamos, they are part of the musical heritage of the 19th century in Venezuela. Out of the creative genius of Rafael Isaza and Ricardo Pérez, respectively, are two of the most beautiful aguinaldos collected, among many others, by the Maestro Vicente Emilio Sojo, and are part of our Christmas tradition. They are two praises to the Virgin Mary, mother of the Child Jesus. Either can be sung a cappella, although they can also be accompanied by our traditional cuatro.
$2.50 ≈
2.24€
Love For A Child
Love For A Child
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Choral SATB
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EASY
#
Jason Mraz
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Matthew Udland
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Love For A Child
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Midwest A Cappella
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1202758 By Jason Mraz. By Jason Mraz, Martin Terefe, and Sacha Skarbek. Arranged by Matthew Udla...
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1202758 By Jason Mraz. By Jason Mraz, Martin Terefe, and Sacha Skarbek. Arranged by Matthew Udland. A Cappella,Contemporary,Folk,Pop,Singer/Songwriter. Octavo. 6 pages. Midwest A Cappella #801523. Published by Midwest A Cappella (A0.1202758). This heartfelt ballad has been set for an a cappella SATB group with soloist. Vocal Percussion is completely optional, and either way it makes for an approachable and meaningful conversation piece for you and your singers.
$2.50 ≈
2.24€
Brother James' Air
Brother James' Air
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Choral 3-part
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EASY
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Sacred music
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Philip Le Bas
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Philip Le Bas
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Brother James' Air
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Philip Le Bas
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SheetMusicPlus
Choral Choir,Choral (SAB) - Level 2 - Digital Download SKU: A0.1120294 By Philip Le Bas. By James Leith Macbeth Bain (1860-1925). Arranged by Philip Le B...
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Choral Choir,Choral (SAB) - Level 2 - Digital Download SKU: A0.1120294 By Philip Le Bas. By James Leith Macbeth Bain (1860-1925). Arranged by Philip Le Bas. Celtic,Christian,Irish,Praise & Worship,Religious,Sacred. 8 pages. Philip Le Bas #721622. Published by Philip Le Bas (A0.1120294). An arrangement (revised 2024) by Philip Le Bas of a popular and simple melody by James Leith Macbeth Bain (1860-1925) - Brother James - with words of Psalm 23 (The Lord's my shepherd) for 3-part choir and piano. There are many existing arrangements, but most tend to be rather fancy (e.g. by Gordon Jacob and Alan Bullard), requiring four competent parts, or else it is simply sung as a congregation hymn. Here it is set for SABar choir so that it becomes more accessible to small parish choirs, who may lack tenors and basses. It has five verses, the second and fourth providing an opportunity either for a cappella or for accompanied part singing. The other verses are varied particularly by the piano, although the ending is also in parts.
$1.99 ≈
1.78€
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The Lan A cappella
