Piano Solo - Level 4 - Digital Download

SKU: A0.1203272

Composed by Akihiro Masuda. Classical. Score. 2 pages. AKIHIRO MASUDA #801919. Published by AKIHIRO MASUDA (A0.1203272).

This is one of the 15 pieces of practice songs for two voices.

Choral Choir (SATB divisi) - Level 5 - Digital Download

SKU: A0.516511

Composed by Santino Cara. Sacred. Octavo. 90 pages. Santino Cara #13549. Published by Santino Cara (A0.516511).

The Solemn Mass CS524 for chorus of mixed voices, soloist voices and organ, was composed in Rome by Santino Cara at the end of 1999, and published in 2001. This Mass retraces the six classical canons Latin of the Roman Missal: Kyrie, Gloria, Credo, Sanctus-Benedictus and Agnus Dei. In addition to the complete score of the entire Mass, within the pdf file, are also included the separate part for choir and soloists voice. Movements and voices: 1. Kyrie - Choir SATB 2. Gloria - SATB choir and soloist voices (soprano, alto, tenor, and bass) 3. Credo - SSAATTBB choir and soloist voices (soprano, tenor and bass) 4. Sanctus - Choir SABrB and Variation on the Sanctus for solo voices 5. Benedictus - Choir SABrB 6. Agnus Dei - Choir SATB.

Choral Choir (Mixed) - Level 3 - Digital Download

SKU: A0.575581

Composed by Traditional. Arranged by David Warin Solomons. 20th Century,Folk,World. Octavo. 11 pages. David Warin Solomons #2026207. Published by David Warin Solomons (A0.575581).

This version of the traditional folk song Green grow the rushes oh has been arranged for various combinations of voices - this one: mens' voices - in G (Alto Tenor Baritone), and mixed voices - in B (Mezzo-soprano, Alto, Tenor) women's voices - in D (Soprano Mezzo-Soprano Alto) The traditional count-down from one to twelve is interrupted midway when the top voice declares let's not make them listen to the lot but the chorus includes all twelve symbols anyway. The sound sample is a performance of the men's voices version (in G) by Matthew Curtis of www.choraltracks.com.

Choral Choir (Mixed) - Level 4 - Digital Download

SKU: A0.576147

Composed by David Warin Solomons. Contemporary. Octavo. 5 pages. David Warin Solomons #2031633. Published by David Warin Solomons (A0.576147).

Setting of Rimbaud's mysterious (or possibly tongue-in-cheek) synaesthetic poem Voyelles for mixed choir with 2 soprano soloists (SSAATBB) The top two voices are soloists and the other voices provide the accompaniment. In the poem each vowel is allocated a colour and a strange vision, which are reflected in the music. A version for mixed choir (AAATBarBB) is also available. The sound sample is a performance by the composer of the male voices version. A video of this piece (men's voices version) with words on screen can be found on youtube at: https://www.youtube.com/watch?v=uCWS-Qho9ec.

Choral Choir (TTBB) - Level 3 - Digital Download

SKU: A0.1031323

Composed by John Plant. 20th Century,Contemporary,Halloween. Octavo. 26 pages. JWP Music #3108015. Published by JWP Music (A0.1031323).

This setting of Lawrence Raab's poem 'Voices Answering Back: The Vampires' was commissioned and first performed by Coastal Voices Men's Choir, under the direction of Janet Gaskin.  Approximate duration: 7 minutes.   The text is used by permission of the poet.   Coastal Voices is an unauditioned but very hard-working choir; my commission was to write a work which would be challenging, but feasible for them, and they responded splendidly to the occasion. I made MIDI soundfiles of the individual parts for the singers to rehearse with, and I would be happy to provide these to choirs who plan to perform the work. Voices Answering Back requires a skilled pianist. 
 You can reach me through my website at www.johnplantmusic.com.  My performing rights organization is SOCAN. Please note: 2017 Choral Contest Entry.

Choral Choir (SATB) - Digital Download

SKU: A0.939688

Composed by Richard St. Clair. 20th Century,A Cappella,Contemporary. Octavo. 6 pages. Richard St. Clair #3000689. Published by Richard St. Clair (A0.939688).

This musical joke pokes fun at a music critic, Michael Steinberg of the Boston Globe. The joking nature is emphasized by the upper voices in the major mode while the lower voices are in the minor mode. The lyrics are the short poem, Lines to a Reviewer, by the 19th century poet Percy Bysshe Shelley. The music is for SATB voices a capella, for either solo voices or small chorus. Duration about 2 minutes. The MP3 Audio Clip is a computer-generated soundfile.

Choral Choir (Mixed) - Level 3 - Digital Download

SKU: A0.575608

Composed by Traditional. Arranged by David Warin Solomons. 20th Century,Folk,World. Octavo. 8 pages. David Warin Solomons #2026283. Published by David Warin Solomons (A0.575608).

After singing the excellent Britten setting of this traditional song I was moved to write various versions of my own: The choral versions are more sophisticated than the original but different from and possibly rather easier than the Britten arrangement. The voice and guitar version has a more interesting guitar part than the traditional guitar chords. The sound samples are sung by Matthew Curtis of choraltracks.com for the choral versions and by Margaret Jackson-Roberts with the composer on guitar for the voice and guitar version. All three versions are available here: voice and guitar (low alto or high tenor: both versions are in the pdf file) Women's voices (SSA or SMezA) men's voices (TBarB) in D major and in B major (both versions are in the pdf file) videos of the choral versions can be seen here: women's voices https://www.youtube.com/watch?v=yumtXSa_o-w men's voices https://www.youtube.com/watch?v=Zxy3opZlBog.

Choral Choir (Mixed) - Level 4 - Digital Download

SKU: A0.516501

Composed by Verdi Giuseppe. Arranged by Santino Cara. Opera. Octavo. 103 pages. Santino Cara #11207. Published by Santino Cara (A0.516501).

Act 1, Scene VII., VIII., IX., for solo voices, chorus STB and piano from: I Lombardi in the first Crusade! by Giuseppe Verdi on the libretto by Temistocle Solera. In the pdf file, in addition to the complete score for voices and piano, also includes the parts of the solo voices and the part for chorus Scenes: Scene VII. Continuation of the Finale I° Vieni! già posa Arvino Scene VIII., IX. Quintetto Finale I°, continuation of the scene IX. Mostro d’averno orribile Continuation of the scene IX. and Stretta of the finale I° Va! sul capo ti grava l’Eterno Roles of the characters: Giselda – Soprano Viclinda – Soprano Arvino – Tenor Pagano – Bass Pirro – Bass Chorus STB ( Sopranos, tenors and Basses).

Chamber Orchestra - Level 3 - Digital Download

SKU: A0.1093329

Composed by Bach - Gounod. Arranged by Dico. Christmas,Easter,Romantic Period,Sacred,Wedding. Score and parts. 47 pages. Dico Ferreira #697403. Published by Dico Ferreira (A0.1093329).

WEDDING SERIES - a set of popular songs and wedding standards that I've been arranged for years (some aren't as standard, but still). The formations are varied, from duos to orchestras with chorus. Most are mixed/flexible sextets where some instruments can be replaced and, as a result, ensembles can be completely changed. Some arrangements have abbreviated versions (excerpts) and are in several keys to adapt to a wide range of voices. These options are available in my catalog. 

AVE MARIA (Gounod) in C - for voices and orchestra - provided in many keys on my catalogue for all voice ranges. 

INSTRUMENTATION: 
Score | Voices | Fl | Ob | Hrn | Tpt 1, 2 | Tbn 1, 2 | Perc | Pno | Str.

Voice Duet High Voice - Level 3 - Digital Download

SKU: A0.1163506

Composed by G.H. Stolzel / J.S. Bach. Arranged by John Ross. Baroque,Chamber,Classical,Wedding. 18 pages. John Ross #763842. Published by John Ross (A0.1163506).

Bist du bei mir is an aria from Stolzel's opera Diomedes (1718), best known now as forming part of the Notebook for Anna Magdalena Bach (1725).
This arrangement, in the key of D, is for two high voices and string quartet. It is also available for two medium voices (key of C) or two low voices (key of Bb).
Added to the original German words are new lyrics, When you are near, making this duet ideal for weddings, anniversaries, and special occasions. Score and parts are included.

Choral Choir (3-Part) - Level 4 - Digital Download

SKU: A0.751263

Composed by George Frideric Handel. Arranged by Paul Thompson. Children,Christmas. Octavo. 49 pages. House of El Music #4747301. Published by House of El Music (A0.751263).

The vocal score (with piano) for The Messiah for Young Voices SAB edition.
The entirety of the this project can be heard at: https://www.houseofelmusic.com/messiah-for-young-voices

The Messiah for Young voices keeps the original feel and textures of Handel's original work but presents them in an accessible arrangement. Each accompaniment is meant to support the choir and reflect the original orchestration but still be playable for most pianist.

Piano Solo - Level 3 - Digital Download

SKU: A0.1141383

Composed by Robert W. Padgett. Baroque,Classical,Contest,Festival,Instructional,Traditional. Score. 3 pages. Padgett Music Llc #741707. Published by Padgett Music Llc (A0.1141383).

This three-part Invention No. 2 in D minor was composed in the summer of 1991. I shared it with my modal and tonal counterpoint instructor, Professor Richard Wilson, and he responded favorably to my venturesome modulations and use of the Neapolitan chord. Similar to my first invention in A minor, the motive is announced by the upper voice before it is restated an octave lower by the lower voice in bar 2 to form a stretto. In bar 3, the middle voice states the motive in the dominant key of A minor with the lower and upper voices playing the first and second countermotives respectively. An episode ensues and arrives at a half cadence in bar 8. The opening fragment of the motive is exploited in conjunction with a pedal tone and a variant of the second countermotive to navigate through a series of contrasting keys. At bar 14, the motive is reasserted in F-sharp minor layered over itself in stretto with a C-sharp pedal tone in bar 15. The voices from the episode in bars 5-8 are reshuffled in bars 18-21 as another exercise in invertible counterpoint. In measure 16, the motive and two countermotives are reprised in C-sharp minor, a half step below the tonic key. Starting in bar 18, the episode from bars 6-8 is reprised in F-sharp minor with the first and second countermotives exchanging positions. This is followed in bars 16-27 by a varied restatement of the episodic sequence from bars 8-17 that cadences in bar 27 before a restatement of the subject in bar 28 in G minor with slightly embellished countermotives. Bars 32-35 present a restatement of the episode from bars 5-8 with the motive relocated to the lower voice and the two countermotives in intimate proximity in the two upper voices. An unexpected descending scale in a series of compound harmonic 10ths forms an inversion of the second half of the motive and sets the stage for a perfect cadence to a Picardy Third in D major. After so many years, I remain especially pleased with the effect of that ending.