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23 sheet music found
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1
A Stroll on Duke Street
A Stroll on Duke Street
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Handbells
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EASY
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Christian contemporary
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Sacred music
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John Hatton
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Cheryl (Sutton) Baker - Bronze
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A Stroll on Duke Street
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Bronze:FX
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SheetMusicPlus
Handbell - Level 2 - Digital Download SKU: A0.1307883 Composed by John Hatton. Arranged by Cheryl (Sutton) Baker - Bronze:FX. Christian,Contemporary,East...
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Handbell - Level 2 - Digital Download SKU: A0.1307883 Composed by John Hatton. Arranged by Cheryl (Sutton) Baker - Bronze:FX. Christian,Contemporary,Easter,Religious. Score. 6 pages. Bronze:FX #897142. Published by Bronze:FX (A0.1307883). The title is derived from the tune name “Duke Street†and it depicts both the tempo and style of the arrangement. It is flowing and meditative, with colorful LV patterns and melody both in the bass and treble.The arrangement is for full bell choir using 3-6 octaves of handbells. Rated at a Level 2 when played with 11-12 ringers because of its slow tempo and easy rhythms, “A Stroll on ‘Duke Street’†can be interpreted very musically, with crescendos and spiritually high moments. Its three verses are each treated differently, with the last verse raises the key signature a half step and then yet another half step as it grows with intensity. Although based on a hymn tune, the title allows this arrangement to be used for any audience.For sacred environments, the arranger suggests that the text be studied for inspiration. There are several words set to the tune “Duke Street,†although the arranger favors the text that begins, “I know that my redeemer lives.†When performing the piece, use the first verse as a humble (and somewhat hesitant) prayer, the second verse more confident (by relying for God's promises), and the third verse as if obtaining divine reassurance. This would place the prayer-giver in a place of wonder – a spiritual mountain-top experience. Also, see the next paragraph's description, which could also be used for a spiritual experience with God the Creator.For secular environments, use the visual imagery of an early morning walk. You start out just before sunrise, when nature is quiet and there is still dew on the grass. As you continue your upward path, the sky begins to change colors and the birds to sing. Aiming for the viewpoint at the hilltop, tree shadows begin to form and the brush mirrors the orange and grey from the new sunrise about to appear. When the sun does rise, it seems to wash all the darkness away in a single instant, making this new day clean and perfect.Performance time:• 3 minutesPerformance notes are included.
$2.50 ≈
$3.38
It is Well with My Soul
It is Well with My Soul
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Piano solo
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EASY
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Philip P
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Donna N
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based on first and last verse
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It is Well with My Soul
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Donna N. Robertson
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SheetMusicPlus
Piano Solo - Level 2 - Digital Download SKU: A0.941089 Composed by Philip P. Bliss(1838-1876). Arranged by Donna N. Robertson. Romantic Period,Sacred. Sc...
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Piano Solo - Level 2 - Digital Download SKU: A0.941089 Composed by Philip P. Bliss(1838-1876). Arranged by Donna N. Robertson. Romantic Period,Sacred. Score. 2 pages. Donna N. Robertson #3505765. Published by Donna N. Robertson (A0.941089). Great for funerals and memorial services, moderately easy; based on first and last verse.
$5.50 ≈
$7.45
Idylls - five songs for solo high voice (soprano or tenor) and piano, based upon poems by Alfred, Lo
Idylls - five songs for solo high voice (soprano or tenor) and piano, based upon poems by Alfred, Lo
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High voice
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INTERMEDIATE/ADVANCED
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Stuart Brown
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Idylls - five songs for solo h
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Stuart Brown Music
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SheetMusicPlus
High Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.835449 Composed by Stuart Brown. 20th Century,Contemporary,Spiritual. 37 pages. Stuart Brown M...
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High Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.835449 Composed by Stuart Brown. 20th Century,Contemporary,Spiritual. 37 pages. Stuart Brown Music #4285583. Published by Stuart Brown Music (A0.835449). If you are looking for a genuinely beautiful and rewarding work for solo voice and piano, to fill a 20-minute time slot, then Idylls is for you. It provides an opportunity for both singer and pianist to demonstrate an ability to communicate a wide range of emotions. It is particularly satisfying for the pianist, whose part is anything but subservient to the vocal line and provides an opportunity to shine. At notated tempo the work lasts just under 18 minutes; the concert première performance (in January 2019) lasted just short of 20 minutes because of the slower tempo at which the performers chose to take the fourth song.While intended primarily for the concert platform, Idylls contains some profoundly Christian themes that may make it suitable also for church use in an appropriate context.Although intended for professional use, Idylls may be within the technical capability of advanced high school students, noting that the third song ('Of old sat Freedom on the heights') has a piano part that was described as 'challenging' by the professional pianist who first performed it in public (Jonathan Ellis, January 12th, 2019).As noted above, Idylls can work for church services in various contexts, although not all of the songs are necessarily appropriate to the same context. The lyrics themselves provide the best guidance in this respect.From observing the rehearsal sessions of the two professionals who first performed the work (Chen Wang and Jonathan Ellis), the composer suggests that none of the songs - however apparently straightforward - should be taken for granted. There are nuances in all of them that require careful attention to timing and pitch. The vocal entries in the opening song require careful attention to pitch. In the second song concentrate on the timing and making it sound as light and dance-like as possible. The third song requires the singer to keep an E-flat in mind at all times (in order to pitch entries) and to sing to strict meter regardless of what the pianist is playing. The fourth song requires both grace and intensity. Pitch is the main issue, particularly some of the B-natural entries; pay special attention to timing in the first verse. The fifth and final song is melodically straightforward; pay attention to timing in the second verse.Stuart Brown composed Idylls in early 2015 specifically for the London-based Chinese soprano Chen Wang. She performed it in public for the first time, accompanied by Manchester-based pianist Jonathan Ellis, at a concert in the southwest of England in January 2019.Performing rights are handled in the UK by PRS for Music, in Canada by SOCAN, in the USA by ASCAP, BMI and SESAC. The full list of arrangements can be found at www.prsformusic.com/our-global-network/partnersAll contact and other information (including lyrics) can be found on the composer's website at https://stuartbrownmusic.com/discover-11.html
$7.74 ≈
$10.48
Waltzing Matilda - Concert Band with SATB Choir
Waltzing Matilda - Concert Band with SATB Choir
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Folkloric/Traditional
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Traditional
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Brendan Elliget
#
#
Waltzing Matilda - Concert Ban
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BJE Music
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SheetMusicPlus
Large Ensemble Choir - Level 3 - Digital Download SKU: A0.750721 Composed by Traditional. Arranged by Brendan Elliget. Folk. Score and parts. 68 pages. B...
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Large Ensemble Choir - Level 3 - Digital Download SKU: A0.750721 Composed by Traditional. Arranged by Brendan Elliget. Folk. Score and parts. 68 pages. BJE Music #3521159. Published by BJE Music (A0.750721). Waltzing Matilda is Australia’s most widely known folk song, and one that has been popularly suggested as a potential national anthem.The song narrates the story of an itinerant worker (swagman) making a drink of tea at a bush camp (billy) and stealing a sheep (jumbuck) to eat. When the sheep’s owner (squatter) arrives with three police officers (troopers) to arrest the worker, he drowns himself in a small lake (billabong) and goes on to haunt the site.The tune is most probably based on the traditional Scottish song Thou Bonnie Wood Of Craigielea.The original lyrics were written in 1895 by the poet and nationalist Banjo Paterson, and it was first published as sheet music in 1903.This is a straightforward but useful arrangement for concert band and SATB Choir. It can be used as an accompaniment to the singing of the traditional words with an extra chorus and the key change or played as an instrumental.An optional Piano Part (with Vocal Lead and Chords) and an SATB Choir part are included with the PDF.If you want additional parts eg Horns in Eb or Trombones in TC, just email me. [Score updated 18-05-2018]The MP3 was recorded with NotePerformer. Grade = 3 Duration = 3 mins Key: Eb Major to F Major (Last verse)Suitable for a school or community Group.
$30.00 ≈
$40.62
I Sing the Mighty Power of God
I Sing the Mighty Power of God
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Handbells
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EASY
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Sacred music
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Traditional English Melody
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G
#
I Sing the Mighty Power of God
#
Gary Ray Adkison
#
SheetMusicPlus
Handbell - Level 2 - Digital Download SKU: A0.953723 Composed by Traditional English Melody. Arranged by G. R. Adkison. Christian,Sacred. Score. 4 pages....
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Handbell - Level 2 - Digital Download SKU: A0.953723 Composed by Traditional English Melody. Arranged by G. R. Adkison. Christian,Sacred. Score. 4 pages. Gary Ray Adkison #14035. Published by Gary Ray Adkison (A0.953723). I Sing the Mighty Power of God is a 51 measure arrangement for 4-5 octave handbell choir that has three contrasting verses based on the original Christian hymn. The first verse is fairly standard, except that some chord structures are used throughout the arrangement that are not the standard chords used in the original hymn. After the first verse (at the normal tempo) the tempo slows considerably, for a majestic effect, and the very lowest 4 octave bells are used for the melody line. At the same time, the chord structure here is provided by treble clef bells, from the bottom of the treble clef, through the highest note of the 5 octave range. This approach alternates with passages that are up to 5-octave unison passages. The early parts of the third verse are heavy on descant lines---sometimes descant chords instead of single-note descants, with a couple of bass runs in this verse, as well. There is a tag at the end---the last musical phrase is repeated with fuller chords at triple forte. There is a very non-standard chord, instead of the normal five-seven chord, right before the last chord. There is a brief shake on the first half of the last melody chord. This is probably about a level 2 degree of difficulty.
$2.50 ≈
$3.38
Fantasy on "O Come, O Come Emmanuel"
Fantasy on "O Come, O Come Emmanuel"
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Organ
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INTERMEDIATE
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15th century plainsong melody
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Matthew F
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Fantasy on "O Come, O Come Emm
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Matthew F. Walicke
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SheetMusicPlus
Organ - Level 3 - Digital Download SKU: A0.923860 Composed by 15th century plainsong melody and Unknown. Arranged by Matthew F. Walicke. Baroque,Christma...
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Organ - Level 3 - Digital Download SKU: A0.923860 Composed by 15th century plainsong melody and Unknown. Arranged by Matthew F. Walicke. Baroque,Christmas,Classical,Renaissance,World. Score. 7 pages. Matthew F. Walicke #5743219. Published by Matthew F. Walicke (A0.923860). A bold and surprising advent prelude, Fantasy on 'O Come, O Come Emmanuel' based on the 15th century chant, features opportunities to show off your organ's solo stops and chimes and welcome in the season of Advent. Starting with a plaintive solo section (with optional chimes), the song bursts into a fast and fun Renaissance inspired dance with alternating meters, and finally ends with a Baroque styled waltz and fanfare. A versatile work, this piece is great as a diverse prelude that starts meditative and ends with celebration, and it's big finish makes for an excellent closer as well. Great for the first or last weeks of Advent or even Christmas!
$5.95 ≈
$8.06
Moses and Miriam
Moses and Miriam
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Vocal duet, Piano
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EASY
#
John W
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Moses and Miriam
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John Fisher
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SheetMusicPlus
Piano,Voice Duet Piano,Voice - Level 2 - Digital Download SKU: A0.1262356 Composed by John W. Fisher. Christian,Contemporary,Instructional,Jewish,Spiritu...
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Piano,Voice Duet Piano,Voice - Level 2 - Digital Download SKU: A0.1262356 Composed by John W. Fisher. Christian,Contemporary,Instructional,Jewish,Spiritual. 8 pages. John Fisher #855396. Published by John Fisher (A0.1262356). I am creating a new genre of sacred music - THE SERMON SONG. Last summer, 2022, I published Sing to the Lord which I gave to my choir director, Rev. Roger Peterson, who preached on the text of the music, and he was so impressed he had us sing it to First Presbyterian Church the next Sunday. Moses and Miriam was based on Numbers 12: 1-16 in a sermon preached by our Fort Myers Florida senior pastor Dr. Paul de Jong on June 4, 2023. It is a ballad for one or two voices with piano, or organ or guitar accompaniment. Its six verses tell the tale of what happened to Miriam, Moses' sister when she put up a great fuss when her famous brother married a black woman. It is a lesson from Bible times, that racism is unacceptable. As of July 11, 2023, three more SERMON SONGS are in the pipe line for Sheet Music Plus, Pray for the Church, Barnabus, and Moses Slipped up.
$7.00 ≈
$9.48
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
$32.48
God's Word Is Like a Seed (Demo MP3)
God's Word Is Like a Seed (Demo MP3)
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Choral Unison
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Elizabeth Gage
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God's Word Is Like a Seed
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Growing In Grace - Digital
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SheetMusicPlus
Unison chorus - Digital Download SKU: C6.636018006 Composed by Elizabeth Gage. Christian, Children, General. MP3. Growing In Grace - Digital #636018006. ...
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Unison chorus - Digital Download SKU: C6.636018006 Composed by Elizabeth Gage. Christian, Children, General. MP3. Growing In Grace - Digital #636018006. Published by Growing In Grace - Digital (C6.636018006). Elizabeth Gage has expertly written an anthem based on the Parable of the Sower, Seed, and Soils. The lilting melody in 3/4 tells the familiar story in the first verse, and identifies the planted seed as God's word. The engaging melody is complemented with a memorable and singable chorus. The second verse personalizes the story as a prayer for understanding and personal growth. Optional harmony is available on the last two chords of the ending for this otherwise unison anthem.
$1.99 ≈
$2.69
God's Word Is Like a Seed (Accompaniment MP3)
God's Word Is Like a Seed (Accompaniment MP3)
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Choral Unison
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Elizabeth Gage
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God's Word Is Like a Seed
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Growing In Grace - Digital
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SheetMusicPlus
Unison chorus - Digital Download SKU: C6.646018006 Composed by Elizabeth Gage. Christian, Children, General. MP3. Growing In Grace - Digital #646018006. ...
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Unison chorus - Digital Download SKU: C6.646018006 Composed by Elizabeth Gage. Christian, Children, General. MP3. Growing In Grace - Digital #646018006. Published by Growing In Grace - Digital (C6.646018006). Elizabeth Gage has expertly written an anthem based on the Parable of the Sower, Seed, and Soils. The lilting melody in 3/4 tells the familiar story in the first verse, and identifies the planted seed as God's word. The engaging melody is complemented with a memorable and singable chorus. The second verse personalizes the story as a prayer for understanding and personal growth. Optional harmony is available on the last two chords of the ending for this otherwise unison anthem.
$9.99 ≈
$13.52
Joy Comes in the Morning (Psalm 30)
Joy Comes in the Morning (Psalm 30)
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Piano, Voice
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INTERMEDIATE
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Sacred music
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Sharon Wilson
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Sharon Wilson
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Joy Comes in the Morning
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Sharon Wilson
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.565128 By Sharon Wilson. By Sharon Wilson. Arranged by Sharon Wilson. 20th Century,Contemporary,Ea...
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.565128 By Sharon Wilson. By Sharon Wilson. Arranged by Sharon Wilson. 20th Century,Contemporary,Easter,Praise & Worship,Sacred. Score. 11 pages. Sharon Wilson #3454047. Published by Sharon Wilson (A0.565128). This Scripture song based on Psalm 30 verses 4-5 is formatted as a vocal solo (or unison choir) with piano accompaniment (3 staff piano-vocal score). The purchase price includes a 5-page combined score plus a 2-page solo part for VOICE and a 3-page accompaniment score for the PIANO. The lyrics were adapted from the World English Bible (WEB). This verse seems to express the sadness then joy that Jesus’ disciples experienced on the weekend of His crucifixion. Friday was filled with weeping and sorrow as Jesus was nailed to the cross and died, yet Sunday morning, Jesus rose from the dead and though they didn’t believe at first, their hearts were filled with joy as they came to understand that Jesus really was alive! We too can sing praises to the Lord and have joy in the morning because of Jesus’ resurrection. Lyrics:Sing praises to the Lord all you saints of His.Give thanks to His Holy name.His anger is but for a moment;His favor is for a lifetime.Weeping may last for the night,But joy comes in the morning.Weeping may last for the night,But joy comes in the morning.Weeping may last for the night,But joy comes in the morning.Joy Comes in the morning.Sing praises to the Lord;Sing praises to His name.Give thanks to the Lord all you saints.Sing praises to the Lord;Sing praises to His name,For joy comes in the morning.Joy comes in the morning.Yes, joy comes in the morning.Visit Sharon Wilson’s website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$4.99 ≈
$6.76
Come To Me
Come To Me
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Choral 3-part
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Lyrics by Diana Chappell, Musi
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Brian Stevens
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Come To Me
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Virgo Music Canada
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SheetMusicPlus
Choral Choir (SAB) - Digital Download SKU: A0.1023410 Composed by Lyrics by Diana Chappell, Music by Brian Stevens. Arranged by Brian Stevens. Christian....
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Choral Choir (SAB) - Digital Download SKU: A0.1023410 Composed by Lyrics by Diana Chappell, Music by Brian Stevens. Arranged by Brian Stevens. Christian. Octavo. 5 pages. Virgo Music Canada #5720219. Published by Virgo Music Canada (A0.1023410). This song comes in three sections and is appropriate for use in worship as single verses or as a whole. The first verse is based on Matthew 11:28-30 - come to me and I will give you rest. The second verse is the voices of the women at the tomb after the crucifixion and the final verse is set at the Last Supper.
$2.50 ≈
$3.38
Supercollider
Supercollider
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE
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Christine Southworth
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Supercollider
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Airplane Ears Music
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SheetMusicPlus
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.1013056 Composed by Christine Southworth. 20th Century,Contemporary,World. Score and p...
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String Quartet String Quartet - Level 3 - Digital Download SKU: A0.1013056 Composed by Christine Southworth. 20th Century,Contemporary,World. Score and parts. 35 pages. Airplane Ears Music #5802093. Published by Airplane Ears Music (A0.1013056). Super Collider (2010, 18 minutes) Kronos Quartet and electronic gamelanComposed for Kronos Quartet & Gamelan Elektrika. Premiered at Lincoln Center Out of Doors Festival, August 13, 2010 by Kronos Quartet and Gamelan Elektrika: Evan Ziporyn, kendang; Sean Mannion, kempli; Balaji Mani, ceng-ceng; Laurel Pardue & Sachi Sato, pemade; Katie Puckett & Sam Schmetterer, kantilan; Mark Buckles, Ramon Castillo, Elizabeth Johansen, Julie Strand, reong; Beth Mullins & Po-Chun Wang, pokokGamelan Elektrika is an electronic virtual gamelan designed and developed by Alex Rigopulos (founder and CEO of Harmonix Music, inventors of video games Guitar Hero and Rock Band). The piece is inspired by the Large Hadron Collider at CERN - the largest machine ever built, that's purpose is to change science forever, recreating the beginning of the universe in a tube and proving (or disproving) the theories of particle physics of the last half-century.Particle physics is the unbelievable in pursuit of the unimaginable. To pinpoint the smallest fragments of the universe you have to build the biggest machine in the world. To recreate the first millionths of a second of creation you have to focus energy on an awesome scale. - The GuardianSuper Collider will explore two obverse sound worlds and traditions, the vast culture of the string quartet juxtaposed with the ancient performance methods of a gamelan, unleashed through the unlimited sonic universe of electronics. In our own test-tube experiment, this musical moment of collision will hopefully achieve similarly unparalleled results.What does particle physics have to do with music and art? String theory, which the CERN facility hopes to verify or disprove, presumes that matter itself is the manifestation of resonant vibrations, that the world itself is a universal harmony. This post-modern notion - which Kronos embodies with every performance - itself resonates with the ancient Hindu notion of om, the absolute manifest, which is the basis of Indonesian gamelan. We will bring these two ideas of resonance together by combining Kronos with a gamelan - even a virtual one.The behavior of subatomic particles is probabilistic, group-oriented: the motion of any one particle is unpredictable and unknowable: it's what the group does that counts. This could also be a description of the Balinese gamelan, where individual virtuosity is subsumed to interlocking patterns, composite melodies, the sound of the whole. This is also the spirit of Kronos.When Robert Moog developed his synthesizer in the 1960s, he modeled its functionality on the piano and on western music in general - a single person, sitting at a keyboard. This is one reason why it was popularized by Wendy Carlos' Swtiched On Bach. Gamelan Elek Trika takes a similar approach to the very distinctive musical practices of Indonesia. Like the great gamelans of Bali and Java, Gamelan Elek Trika works as a single unit, played by a complete ensemble. The instruments are played like a gamelan - metallophones, drums, and gongs, playing interlocking patterns - but all are channeled through a central 'brain', a single processing unit which controls their sound, tuning, and timbre. The composer can thus alter the sonic environment globally, not just for one instrument at a time but for the complete ensemble.Super Collider is made possible by generous support from Alex Rigopulos and Sachi Sato, MIT, and the MIT Media Lab. Gamelan Elektrika instruments produced by Alex Rigopulos; sensors, electronics, and interface design by Andrew Boch, Matt Boch, and Laurel Pardue; technical assembly by Stéphanie Bouchard; frame design and assembly by Quentin Kelly.About the ComposerChristine Southworth (b. 1978) is a composer and video artist based in Lexington, Massachusetts, dedicated to creating music born from a cross-pollination of sonic.
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$47.38
J. S. Bach: The Art of The Fugue, arranged for SATB saxophone quartet
J. S. Bach: The Art of The Fugue, - SATB saxophone quartet
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Saxophone Quartet: 4 saxophones
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ADVANCED
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Classical
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Johann Sebastian Bach
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Paul Wehage
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J. S. Bach: The Art of The Fug
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Musik Fabrik Music Publishing
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534350 Compos...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534350 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Concert,Standards. 242 pages. Musik Fabrik Music Publishing #3368447. Published by Musik Fabrik Music Publishing (A0.534350). The Art of the Fugue is considered to be one of the greatest musical creations everundertaken. A series of fourteen fugues (last of which is not complete) and four canonswhich are all based on the same d minor theme would perhaps seem, at first glance, to be apendantic academic exercise. However, in the hands of a composer such as Bach, themonothematic material is magnified through repetion which creates a sound universe whichis all it’s own.The work is also shrouded in mystery, as there are no tempo indications in the manuscript,no indications of the instrumentation which Bach intended and no clear indication as to theorder of the movements. An ordering was given to the work after the composer’s death bythe composer’s son, C. P. E. BACH which attempted to underline the pedogogical aspects ofthe composition (as a sort of a textbook for studying fugues and counterpoint). The orderused in this arrangement respects this ordering as it was given by Bach’s heirs. It wouldseem probable however, that this order was not that intended by Bach.The editor hopes that this new version of the Art of the Fugue will be useful in allowingSaxophonists everywhere to perform this great work. For those who might have scruplesabout performing this work on the saxophone, it is best to follow the example of our pianistfriends, who perform this work and others on an instrument that Bach himself said that hedisliked.
$64.95 ≈
$87.93
Music for a While (3 Sketches)
Music for a While (3 Sketches)
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Francesco Di Giandomenico
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Music for a While
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar ensemble - Intermediate - Digital Download SKU: ZZ.DZ-4281 Composed by Francesco Di Giandomenico. Score and parts. 42 pages. Les Productions d'OZ ...
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Guitar ensemble - Intermediate - Digital Download SKU: ZZ.DZ-4281 Composed by Francesco Di Giandomenico. Score and parts. 42 pages. Les Productions d'OZ - Digital #DZ 4281. Published by Les Productions d'OZ - Digital (ZZ.DZ-4281). ISBN 9782898521980.Music For a While is a collection of three short sketches. The music interweaves elements of East European folklore, North American minimalism, European polyphony and traditional Italian music.The first sketch is a very rhythmical, lively and powerful dance based on a fragment from Bela Bartok’s collection For Children.The second sketch is like a canon, a tribute to Pachelbel, but interestingly the development of the piece is influenced by contemporary minimalism. The music, based on a cell of 4 bars with a typical tonal progression that is constantly variated, is simple, beautiful and bright.The last sketch is an homage to Federico Fellini’s universe. With a typical Italian dance rhythm (including references to Nino Rota’s music), this piece evokes the crazy, funny and melancholic wMusic For a While est une collection de trois courts croquis. La musique entrelace des éléments du folklore d'Europe de l'Est, du minimalisme nord-américain, de la polyphonie européenne et de la musique traditionnelle italienne.Le premier «sketch» est une danse très rythmique, animée et puissante, basée sur un fragment de la collection For Children de Béla Bartók.Le deuxième «sketch» est comme un canon, un hommage à Pachelbel, mais de manière intéressante, le développement de la pièce est influencé par le minimalisme contemporain. La musique, basée sur une cellule de 4 mesures avec une progression tonale typique constamment variée, est simple, belle et lumineuse.Le dernier «sketch» est un hommage à l'univers de Federico Fellini. Avec un rythme de danse italienne typique (incluant des références à la musique de Nino Rota), cette pièce évoque le monde fou, drôle et mélancolique du cirque.
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$20.24
I Love The Lord, Who Heard My Cry - SSA A Cappella
I Love The Lord, Who Heard My Cry - SSA A Cappella
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Choral 3-part
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INTERMEDIATE
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Sacred music
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Sacred music
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African-American Spiritual, Is
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Fritz Stanley
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I Love The Lord, Who Heard My
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MicStanley
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SheetMusicPlus
Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.748637 Composed by African-American Spiritual, Isaac Watts. Arranged by Fritz Stanley. A Cappella...
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Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.748637 Composed by African-American Spiritual, Isaac Watts. Arranged by Fritz Stanley. A Cappella,Christian,Praise & Worship,Sacred,Spiritual. Octavo. 5 pages. MicStanley #6713683. Published by MicStanley (A0.748637). I Love The Lord, Who Heard My Cry is a classical hymn song based on African-American Spiritual tune and the words by Isaac Watts. Arranged by Fritz Stanley for three-part chorus of female voices (SSA) in a cappella. The song is about a question of the praise of the LORD by all peoples. The second verse expresses the reason for the first verse: the goodness of the LORD has been experienced in the past, and HIS faithfulness will last forever. .
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$2.71
Hope of the World 09 Christ Jesus, Our Hope (Passion) - original song by Stephen R Dalrymple
Hope of the World 09 Christ Jesus, Our Hope (Passion) - original song by Stephen R Dalrymple
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Choral SATB
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Sacred music
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Stephen R Dalrymple
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Stephen R Dalrymple (Dalrymple
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Hope of the World 09 Christ Je
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Stephen R Dalrymple
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SheetMusicPlus
Choral Choir,Choral (SATB) - Digital Download SKU: A0.818369 By Stephen R Dalrymple. By Stephen R Dalrymple. Arranged by Stephen R Dalrymple (Dalrymple D...
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Choral Choir,Choral (SATB) - Digital Download SKU: A0.818369 By Stephen R Dalrymple. By Stephen R Dalrymple. Arranged by Stephen R Dalrymple (Dalrymple Designs). Sacred. 22 pages. Stephen R Dalrymple #6709709. Published by Stephen R Dalrymple (A0.818369). Hope of the World 09: Christ Jesus Our Hope - Passionoriginal song arranged for SATB choir and piano by Stephen R Dalrymple♫ introduction for Passion section of Hope of the World when performed as a separate work♫ sequenced by the composer♫ music © 1999 Stephen R Dalrymple♫ recording â„— 2022 Stephen R Dalrymple♫ presentation © 2024 Stephen R Dalrymple♫ based on Isaiah 2, Micah 4♫ Hope of the World is made of 2 suites of songs that present messianic prophecies from the Old Testament that are referenced in the New Testament. The first 8 songs center on the birth of Christ, the last 9, Christ’s life and passion.♫  “Christ Jesus, Our Hope†is not based on one specific scripture. Instead, it is the theme song that introduces and concludes both the Advent and Passion Suites.♫ 01 Christ Jesus Our Hope (Advent) and 09 Christ Jesus Our Hope (Passion) are very similar, musically. Verses 2-4 are different. ♫ Includes 1) full score 2) SATB choir part on 2 staves 3) full score for 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.)♫ YouTube channel @DalrympleDesignsÂ
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$6.23
The King of Love My Shepherd Is ? brass quintet
The King of Love My Shepherd Is ? brass quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Sacred music
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Irish traditional tune
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Todd Marchand
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The King of Love My Shepherd I
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Con Spirito Music
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SheetMusicPlus
Brass Quintet - Intermediate - Digital Download Composed by Irish traditional tune. Arranged by Todd Marchand. Christian, Sacred, General Worship, Funeral. ...
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Brass Quintet - Intermediate - Digital Download Composed by Irish traditional tune. Arranged by Todd Marchand. Christian, Sacred, General Worship, Funeral. Score, Set of Parts. 9 pages. Published by Con Spirito Music
?The King of Love My Shepherd Is? is a metrical paraphrase of Psalm 23, written by the Anglican cleric and hymn-writer Sir Henry Williams Baker (1821-1877) for the second edition of Hymns Ancient and Modern (1868), of which he was editor as well as contributor. Baker's hymn has been described as perhaps the most beautiful of the many versions of the beloved psalm, and it has been said that the author's own last words before dying were the third stanza:
Perverse and foolish oft I strayed,
But yet in love He sought me,
And on His shoulder gently laid,
And home, rejoicing, brought me.
Originally, the hymn was paired with the tune DOMINUS REGIT ME, written by Baker's friend John Bacchus Dykes (1823-1876) specifically for Baker's text. Later, Ralph Vaughan Williams (1872-1958) sought to republish the hymn in The English Hymnal (1906), of which he was editor, and was denied the right to use Dykes's tune. He then paired Baker?s text with his own arrangement of an Irish traditional air, ST. COLUMBA.
It is on ST. COLUMBA that this arrangement for brass quintet is based. Following a short introduction, the tune is presented three times: first, by trumpets in a modal melodic/harmonic fashion; next, by low brass trio evoking Vaughan Williams' familiar harmonization; and finally, in a broad, full presentation by the entire ensemble, followed by a quiet, peaceful ending.
©2019 Todd Marchand / ConSpiritoMusic.com
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$20.31
Hope of the World 01: Christ Jesus Our Hope (Advent) by Stephen R Dalrymple
Hope of the World 01: Christ Jesus Our Hope (Advent) by Stephen R Dalrymple
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Choral SATB
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EASY
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Sacred music
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Stephen R Dalrymple
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Stephen R Dalrymple (Dalrymple
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Hope of the World 01: Christ J
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Stephen R Dalrymple
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.846708 By Stephen R Dalrymple. By Stephen R Dalrymple. Arranged by Stephen R Dalrymple (D...
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Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.846708 By Stephen R Dalrymple. By Stephen R Dalrymple. Arranged by Stephen R Dalrymple (Dalrymple Designs). Sacred. 40 pages. Stephen R Dalrymple #450429. Published by Stephen R Dalrymple (A0.846708). Hope of the World 01: Christ Jesus Our Hope (Advent)original song arranged for SATB choir by Stephen R Dalrymple♫ introduction for Advent section of Hope of the World when performed as a separate work♫ sequenced by the composer♫ music © 1999 Stephen R Dalrymple♫ recording ℗ 2022 Stephen R Dalrymple♫ presentation © 2023 Stephen R Dalrymple♫ Unlike the other songs in the suite, Christ Jesus, Our Hope is not based on one specific prophecy of scripture. Instead, the song introduces and concludes both the Advent and Passion Suites. Mankind has often hoped to find a leader(s) who can make a real difference in people’s lives. Humanity yearns for justice, the end of poverty, oppression, atrocities, and war. Messiah is presented in the Hebrew Bible as the Ideal King, a person who is just, wise, powerful, capable, yet. compassionate. Messiah is not just a Jewish king who will favor Israel but will bring true prosperity to the entire earth.♫ Hope of the World is made of 2 suites of songs that present messianic prophecies from the Old Testament that are referenced in the New Testament. The first 8 songs center on the birth of Christ, the last 9, Christ’s life and passion.♫ 01 Christ Jesus Our Hope (Advent) and 09 Christ Jesus Our Hope (Passion) are very similar, musically. Verses 2-4 are different. ♫ Includes 1) full score 2) SATB choir part on 2 staves 3) full score for 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.)♫ YouTube channel @DalrympleDesigns.
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based on first and last verse
