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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 ā€˜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 ā€˜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 ā€˜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..
The Story of a Leader
Chorale SATB

$15.04 12.86 € Chorale SATB PDF SheetMusicPlus

SATB choir unaccompanied - Medium - Digital Download SKU: MQ.1.3379-E Composed by Ellen Gilson Voth. Secular, 21st Century, Americana, Folk Song. 10 pages. Duration 2 minutes, 1 second. Galaxy Music Corporation - Digital #1.3379-E. Published by Galaxy Music Corporation - Digital (MQ.1.3379-E). English.This arrangement contrasts the unbridled optimism and resolve of a person heading off to war with the bittersweet nostalgia of leaving a special person behind, along with the promise of return. The repeated statements of the refrain are most effective when singers highlight the syncopations and rhythmic differences among them. Tenors should sing the final statement of 'Goin' across the mountain' (m. 39) with a more wistful quality than at the start. All singers should enjoy the harmonic movement of the last line, and their carefully timed roles in it—all the way to the altos' final, delayed word. -Ellen Gilson VothDuration: 2:01.
Going Across the Mountain (Downloadable)
Chorale SATB

$2.65 2.27 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SATB) - Digital Download SKU: A0.981235 Composed by Judith Cloud. Contemporary. Octavo. 11 pages. Judith Cloud #6710263. Published by Judith Cloud (A0.981235). 1. Feet o' Jesus (From the cantata FEET OF JESUS by Judith Cloud (text by Langston Hughes)Feet of Jesus is a cantata for mixed chorus, soprano saxophone, soprano and baritone soloists and organ. It is made up of seven movements: 1) Feet of Jesus; 2) Prayer; 3) Shout; 4) Litany/Sinner; 5) Fire; 6) Angels Wings; 7) Spirituals. It is approximately eighteen minutes in length. It has been performed by church choirs, professional choirs and amateur choirs, as well as university choirs.I was very fortunate to have Anders Paulsson believe in the beauty and significance of Feet of Jesus. He promoted it in Sweden and returned to the United States to perform it in San Francisco. In May of 1997, the Saint Jacobs Chamber Choir under the direction of Gary Graden recorded Feet of Jesus, along with some other original works by Anders Paulsson and arrangements of spirituals. I requested that the soloists be African-Americans, Marymal Holmes and John Williams. The cross-cultural exchange was a vibrant one and proved to be enlightening. The very idea of what was truly considered spiritual in music was put to the question and answered admirably by Gary Graden and his marvelous Swedish choir. The BIS Northern Lights CD was released under the title Spirituals.
7. Spirituals From the from the cantata FEET OF JESUS by Judith Cloud (text by Langston Hughes) Sop
Chorale SATB

$2.99 2.56 € Chorale SATB PDF SheetMusicPlus

Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1369022 By Tim Buckley. By Larry Beckett and Tim Buckley. Arranged by Andrew Orgee. 20th Century,Contemporary,New Age,Pop. 17 pages. Andrew Orgee #953365. Published by Andrew Orgee (A0.1369022). This arrangement of ā€œSong To The Sirenā€ is based on Tim Buckley's original 1970 version of the song, and is scored for SATB choir with piano. The arrangement follows the verse and chorus structure of Larry Beckett's original text, but there is a countermelody which threads its way between the melody of the song. This is first stated by the piano accompaniment and then taken up by the choir throughout. This is the siren's song calling across the sea which is intended to be both beautiful and haunting at the same time. The piano accompaniment mimics the rolling movement of the sea which builds in intensity until the final closing bars.The arrangement is intended for choirs of a medium to large size, as the soprano and bass parts occasionally split into two parts.
Song To The Siren
Chorale SATB
Tim Buckley
$1.99 1.7 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.864412 Composed by Mark D. Templeton. A Cappella,Contemporary,Sacred. Octavo. 4 pages. Mark Templeton Choral Music #2032229. Published by Mark Templeton Choral Music (A0.864412). For SATB chorus a cappella. The Chorister's Prayer, as this title is sometimes referred to, is the seventh movement from Mark Templeton's Misaa Brevis. Mark Templeton, born 1974, is an American choral composer, conductor, and countertenor. Templeton’s music has been performed across the world at various international festivals and ACDA conventions. Some of his music is published by Santa Barbara Music Publishing, and he has recently started to self-publish. He teaches and resides with his wife, Becca, at West Nottingham Academy in Colora, Maryland, the oldest boarding school in the United States. He also enjoys coaching, playing, and watching soccer when he is not working. He is available for commission upon request.
The Chorister's Prayer (from Missa Brevis)
Chorale SATB

$1.99 1.7 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.631387 Composed by Stephen DeCesare. Broadway,Concert,Film/TV,Musical/Show. Octavo. 26 pages. Exultet Music #6535055. Published by Exultet Music (A0.631387). A vocal concerto about our friends from the animal kingdom that we have as pets. First movement: The Pets Fugue: If you ever wondered what it was like to sing like your favorite pet, well now you can. Each part is a different animal (Dog, Cat, Bird or Frog). Second movement: Take Me Home:  This heartfelt song is from a pet's point of view of those who have been abandoned and left at a pound. Third Movement: Rainbow Bridge: Tender, heartfelt song for all those who have had a pet crossover and hope to see again at the Rainbow Bridge.  Can be performed live or virtually. Scored for SATB, Vocal Solo with Piano accompaniment.  Rehearsal and accompaniment tracks are also available as well as the individualized pieces.   Accessible and appropriate for any school or concert setting.
The Pet Concerto (SATB Version)
Chorale SATB

$10.00 8.55 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.886923 Composed by Isaac Watts. Arranged by Justin M. Ryan. Baroque,Contemporary,Easter,Sacred. Octavo. 8 pages. Justin M. Ryan #3049153. Published by Justin M. Ryan (A0.886923). The hymn, When I Survey the Wondrous Cross, was written by Isaac Watts, and published in Hymns and Spiritual Songs in 1707. It is significant for being an innovative departure from the early English hymn style of only using paraphrased biblical texts, although the first two lines of the second verse do paraphrase St Paul at Galatians 6:14. The poetry of When I survey... may be seen as English literary baroque.[1] The hymn's fourth verse (His dying crimson...) is commonly omitted in printed versions, a practice that began with George Whitefield in 1757.[2]This arrangement is for SATB Choir and is performed at a Moderate tempo. It is broken up into 4 verses plus please watch verse 3. The Soprano melody has been slightly adjusted but still follows the same harmonic movement as in Vs. 1 and 2. Enjoy this wonderful Lenten Classic.Tune Information Composer: Lowell Mason (1824) Meter: 8.8.8.8 Incipit: 11232 34323 33343 Key: F Major or modal Source: Adapted from a Gregorian Chant
When I Survey the Wondrous Cross
Chorale SATB

$2.99 2.56 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.782531 Composed by Tyler Merideth. 20th Century,Christian,Contemporary,Sacred,Standards. Octavo. 7 pages. Tyler Merideth #5743199. Published by Tyler Merideth (A0.782531). Benedictus is the eleventh movement from a larger work entitled Reconciliation, a set of 12 Latin prayers. Each movement takes it's inspiration from individual postcards containing pictures of St. Michael's Cathedral in Coventry, England. When performed in sequence, Reconciliation can serve as a worship service however, the individual movements also can stand alone. The postcard associated with this text shows the remains of the bombed out original cathedral shell through a window with the famous Charred Cross prominently in the foreground. This cross is comprised of two wooden beams found in the shape of a cross among the rubble immediately after the bombing in WWII. The repetition and layering of the text represents Jesus making His journey from afar and subsequent triumphant entry into Jerusalem. The joyful welcome from the crowd and shouts for Him to save them is short-lived. His journey must continue until all prophecy is fulfilled and our reconciliation
Benedictus from Reconciliation
Chorale SATB

$3.99 3.41 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Chorale SATB

$25.95 22.18 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Chorale SATB

$19.95 17.05 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.1273068 By Public Domain. By Public Domain. Arranged by Noemi Bretas. Country,Folk,Historic,Pop,Traditional. Octavo. 15 pages. Marcelo Borba #865257. Published by Marcelo Borba (A0.1273068). Arrangement for 4 voices choir. Shosholoza is a popular South African folk song that has a rich history and cultural significance. The origins of the song can be traced back to the late 1800s and early 1900s, during the time of the South African gold and diamond mining boom.The word Shosholoza is believed to have been derived from the Ndebele and Zulu languages and translates roughly to go forward or make way for the next person. It was initially a call used by train drivers and mine workers to synchronize their movements while pushing and pulling railway cars or working in the mines.The song's lyrics and melody evolved over time through oral tradition, passed down among the workers as a form of communication, motivation, and solidarity. The rhythm and repetitive chanting helped the workers maintain a sense of unity and cooperation during physically demanding and often harsh conditions.During the era of racial segregation and oppression in South Africa, Shosholoza became an anthem of resilience and hope for the black South African population. It symbolized their spirit of endurance and unity in the face of adversity, and it came to be associated with the struggle against apartheid.With time, Shosholoza gained popularity beyond the confines of the mines and railway yards. It became a well-known folk song, performed by choirs, musicians, and cultural groups across South Africa and around the world. It embodies the spirit of ubuntu (the belief in the interconnectedness of all humanity) and has been used as a symbol of South African identity and pride.In modern times, Shosholoza continues to be celebrated as a cherished piece of South African musical heritage. It is often performed during sporting events, cultural festivals, and gatherings as a way to celebrate unity, strength, and resilience.Overall, Shosholoza remains a powerful reminder of South Africa's history, the struggles its people endured, and the enduring spirit of hope and solidarity that transcends adversity.
Shosholoza (South African)
Chorale SATB
Public Domain
$1.99 1.7 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.864409 Composed by Mark D. Templeton. A Cappella,Contemporary,Sacred. Octavo. 3 pages. Mark Templeton Choral Music #2032201. Published by Mark Templeton Choral Music (A0.864409). For SATB chorus a cappella. This anthem is the fifth movement from Mark Templeton's Missa Brevis. Mark Templeton, born 1974, is an American choral composer, conductor, and countertenor. Templeton’s music has been performed across the world at various international festivals and ACDA conventions. Some of his music is published by Santa Barbara Music Publishing, and he has recently started to self-publish. He teaches and resides with his wife, Becca, at West Nottingham Academy in Colora, Maryland, the oldest boarding school in the United States. He also enjoys coaching, playing, and watching soccer when he is not working. He is available for commission upon request.
A Prayer of Saint Benedict (from Missa Brevis)
Chorale SATB

$1.99 1.7 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.894408 Composed by Zack Richards. Holiday,Patriotic,Sacred,Spiritual,World. Octavo. 6 pages. Zack Richards #5821179. Published by Zack Richards (A0.894408). I wrote this piece in response to the #BlackLivesMatter Protests across the United States and world during the early summer of 2020. The extreme extent of peaceful protests and violent riots demonstrated the desperate need for change in a way I had not witnessed before. I knew quickly that I wanted to write music in some sort of response to the situation, but I struggled at first to find my voice within the movement. I am a white male and have experienced the privilege that comes with it. No matter how much I sympathized or understood the struggles of minorities in our culture, I knew I could not possibly bring the full meaning of it through my music, as I could never really experience the trials they have faced constantly for so long. So instead I decided to write words and music that reflected how I hoped things would be going forward after this movement. I wanted this to be an anthem for those who have suffered through real oppression, in any form. While there are some religious undertones in the text I chose, I tried to find words that could resonate with anyone, reaching beyond color, culture, belief, orientation, age, or any other dividing label. I tried to write in regard to one thing we all have in common, humanity. I hope I was able to accomplish this. The anthem can be done in parts or unison or as a solo. It can also be done with or without accompaniment.
We Are One!
Chorale SATB

$1.99 1.7 € Chorale SATB PDF SheetMusicPlus






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