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Choral Choir,Choral,SATB Chorus - Level 2 - Digital Download SKU: A0.1430384 By Edward Miller. By Kenneth Martin. Arranged by Kenneth Martin. Easter,Praise & Worship,Sacred,Spiritual,Traditional. 42 pages. Martin Music Editions #1010990. Published by Martin Music Editions (A0.1430384). Easter Music - A New Arrangement for SATB Choir with Organ and Optional Brass QuartetDescription:Celebrate the joy and resurrection of Easter with this exquisite arrangement of Easter Music, a timeless poem penned by Margaret Deland, set to the classic hymn tune ROCKINGHAM. This arrangement, meticulously crafted for SATB choir with organ and optional brass quartet accompaniment, captures the essence of Easter's triumphant spirit.Historical Background:Edward Miller (1735-1807): Edward Miller, an English composer and organist, is renowned for his contributions to church music. His most enduring legacy is the melody ROCKINGHAM, originally composed in 1790 for the hymn When I Survey the Wondrous Cross. ROCKINGHAM's enduring popularity and versatility have made it a cherished melody in Christian hymnody for centuries, embodying the solemnity and reverence of sacred music.Margaret Deland (1857-1945): Margaret Deland, an American novelist, poet, and humanitarian, crafted Easter Music as a poignant reflection on the Easter season's profound significance. Deland's evocative words invite listeners to contemplate the themes of rebirth, redemption, and hope that lie at the heart of Easter's message. Through her literary talents, Deland captured the essence of the Easter story, infusing it with depth and emotion.Arrangement Details:This edition of Easter Music transcends traditional choral settings with the addition of powerful instrumental accompaniment for optional brass quartet. The majestic resonance of the brass instruments enhances the arrangement's grandeur, providing a stirring backdrop to the choir's melodic lines. Choirs have the flexibility to perform this arrangement as a standalone anthem or incorporate it seamlessly into congregational worship, making it a versatile addition to Easter services or any sacred occasion.Ideal Usage:Whether performed as a standalone anthem during Easter services or integrated into congregational hymnody, Easter Music offers a captivating musical experience that resonates with audiences of all ages. Its timeless melody, profound lyrics, and dynamic instrumental accompaniment combine to create a powerful expression of faith and celebration, making it a perfect selection for Easter Sunday or any worship setting seeking to embrace the hope and joy of the resurrection.
Easter Music - "Blow, golden trumpets, sweet and clear" SATB Choir w/ Organ and Opt. Brass Quartet
Chorale SATB
Edward Miller
$2.50 2.16 € Chorale SATB PDF SheetMusicPlus

String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Published by Geoffrey Peterson (A0.942953). Link to complete recording: https://soundcloud.com/geoffrey-peterson/sets/the-edmund-fitzgerald-concerto On November 9th, 1975, the S.S. Edmund Fitzgerald left port in Superior, Wisconsin. The 729-foot-long iron ore carrier, loaded with 26 thousand tons of taconite pellets for the auto industry, was bound for Detroit. Earlier that day, the weather service had issued a gale warning. This was not unusual, considering that gale storms are typical during November on Lake Superior. The Fitzgerald’s Captain, Ernest McSorley, and her 29-member crew headed northeast unaware of the maelstrom they would soon encounter. At around 2 a.m., Bernie Cooper, captain of the Arthur M. Andersen, another freighter which was following a few miles behind the Fitzgerald, radioed Captain McSorley to consult with him about the worsening storm. They had both decided to take a more northerly route along the Canadian shore, which they hoped would provide some shelter from the violent gale winds and waves. The Fitzgerald’s long-range radar stopped working the following day and was needed in order to avoid Six-Fathom Shoal, a shallow area of Lake Superior that could rupture the ship’s hull. McSorley soon radioed the Anderson to report that the Fitzgerald had sustained some topside damage...a fence rail down, two vents lost or damaged, and a starboard list. A list meant that the Fitzgerald was taking on too much water and was causing it to lean to one side. The short-range radar also stopped working, and the radio direction beacon from nearby Whitefish Point vanished. This would make it impossible for the Fitzgerald to reach the lee waters of Whitefish Bay and escape the 80 mph winds churning 20 to 30-foot waves. At 7:10 p.m. that night, First Mate Morgan Clark of the Andersen radioed the Fitzgerald to see how they were doing. Captain McSorley replied, We’re holding our own. This was the last contact anyone would have with the Fitzgerald. Shortly thereafter, the Edmund Fitzgerald disappeared from the Anderson’s radar screen. All 29 of her crew were lost on November 10th, 1975. The Edmund Fitzgerald chronicles the tragic final voyage of the well-known shipwreck in 4 movements; Embarkment, The Gales, Six-Fathom Shoal (We’re holding our own.) and Entombment-Dirge. The concerto makes use of several musical quotes. The first is Spanish Ladies, an English sea chantey, which appears in both the 1st and 3rd movements. The second is the funeral march theme from the 2nd movement of Beethoven’s 3rd Symphony which is heard in the 4th movement of the concerto. In addition, a chime is rung 29 times during the final bars of the concerto to memorialize the men who lost their lives. The Crew of the S.S. Edmund Fitzgerald: Michael E. Armagost, Frederick J. Beetcher, Thomas D. Bentsen, Edward F. Bindon, Thomas D. Borgeson, Oliver J. Champeau, Nolan S. Church, Ransom E. Cundy, Thomas E. Edwards, Russell G. Haskell, George J. Holl, Bruce L. Hudson, Allen G. Kalmon, Gordon F. MacLellan, Joseph W. Mazes, John H. McCarthy, Ernest M. McSorley, Eugene W. O'Brien, Karl A. Peckol, John J. Poviach, James A. Pratt, Robert C. Rafferty, Paul M. Riippa, John D. Simmons, William J. Spengler, Mark A. Thomas, Ralph G. Walton, David E. Weiss, Blaine H. Wilhelm.
The Edmund Fitzgerald - Concerto for Piano and Strings
Orchestre à Cordes

$9.99 8.65 € Orchestre à Cordes PDF SheetMusicPlus

Horn,Organ Accompaniment,Timpani,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1431445 Composed by William Croft (1678-1727). Arranged by Todd Marchand. Christian,Sacred. 22 pages. Con Spirito Music #1007710. Published by Con Spirito Music (A0.1431445). “O Worship the King” is a free paraphrase of Psalm 104 (largely verses 1-13 and 24-33) by Sir Robert Grant (1779-1838), an Anglo-Indian lawyer who served as a member of Parliament as well as Governor of Bombay. Influenced by William Kethe's paraphrase of the same psalm, Grant's “O Worship the King” first appeared in Edward Bickersteth’s Christian Psalmody (1833) and later appeared in a posthumous volume of Grant’s work, Sacred Poems (1839), edited by his brother Charles.Grant's text includes six verses; many hymnals abbreviate it, leaving off the concluding one. This arrangement, employing the tune HANOVER by William Croft (1678-1727), includes music for verses 1-5, and may be furthered abbreviated to four by eliminating the repeat on verses 1-2.  Following an introduction that contrasts short melodic fragments with answering flourishes, the arrangement proceeds as follows: • Verses 1-2: organ accompaniment• Verse 3: brass accompaniment• Verse 4: organ accompaniment with trumpet countermelody• Interlude — organ and brass• Verse 5: organ and brass accompaniment with alternate harmonization• Coda — allThe timpani part may be excluded if no timpani are available.©Copyright 2024 Todd Marchand / Con Spirito Music. All rights reserved. For more sacred, patriotic, folk, and poular music for instruments and voices, visit www.conspiritomusic.com
O Worship the King (HANOVER) — hymn accompaniment for organ, brass quintet, timpani

$25.00 21.65 € PDF SheetMusicPlus

Small Ensemble Harp,Oboe,Organ,Voice - Level 4 - Digital Download SKU: A0.898556 Composed by Matthew Alan Edwards. Christian,Contemporary,Jewish,Sacred. Score and parts. 13 pages. Matthew Alan Edwards #4985417. Published by Matthew Alan Edwards (A0.898556). Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-6 !This setting of the 23rd Psalm drew its initial inspiration from the John Rutter setting. Taking a cue from Psalm 23, this piece features an ABA form and subtle text painting throughout. In the A sections, the voice and right hand or oboe follow each other in canon while the left hand or harp undulate gently underneath as a meadow in the breeze. The B section starts out dissonantly apprehensive but soon rises to a place of comfort and confidence before bubbling out in joy. The instrumental coda echoes the phrase The Lord is my shepherd from the beginning as a final affirmation.While originally scored for tenor, this piece may be sung by a bass, baritone, alto/mezzo, or soprano. Three different ranges are available for purchase to accommodate different vocal ranges. This piece will present a good challenge for vocalists of all abilities since it has a low tessitura but a high range on brief passages.
Op. 6 Psalm 23 (The Lord is My Shepherd) - Low Voice

$3.99 3.45 € PDF SheetMusicPlus

Small Ensemble Harp,Oboe,Organ,Voice - Level 4 - Digital Download SKU: A0.898553 Composed by Matthew Alan Edwards. Christian,Contemporary,Jewish,Sacred. Score and parts. 13 pages. Matthew Alan Edwards #4985413. Published by Matthew Alan Edwards (A0.898553). Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-6 !This setting of the 23rd Psalm drew its initial inspiration from the John Rutter setting. Taking a cue from Psalm 23, this piece features an ABA form and subtle text painting throughout. In the A sections, the voice and right hand or oboe follow each other in canon while the left hand or harp undulate gently underneath as a meadow in the breeze. The B section starts out dissonantly apprehensive but soon rises to a place of comfort and confidence before bubbling out in joy. The instrumental coda echoes the phrase The Lord is my shepherd from the beginning as a final affirmation.While originally scored for tenor, this piece may be sung by a bass, baritone, alto/mezzo, or soprano. Three different ranges are available for purchase to accommodate different vocal ranges. This piece will present a good challenge for vocalists of all abilities since it has a low tessitura but a high range on brief passages.
Op. 6 Psalm 23 (The Lord is My Shepherd) - High Voice

$3.99 3.45 € PDF SheetMusicPlus

Small Ensemble Harp,Oboe,Organ,Voice - Level 4 - Digital Download SKU: A0.898555 Composed by Matthew Alan Edwards. Christian,Contemporary,Jewish,Sacred. Score and parts. 13 pages. Matthew Alan Edwards #4985415. Published by Matthew Alan Edwards (A0.898555). Now offering 25% off my SMP price at MatthewAlanEdwards.com/op-6 !This setting of the 23rd Psalm drew its initial inspiration from the John Rutter setting. Taking a cue from Psalm 23, this piece features an ABA form and subtle text painting throughout. In the A sections, the voice and right hand or oboe follow each other in canon while the left hand or harp undulate gently underneath as a meadow in the breeze. The B section starts out dissonantly apprehensive but soon rises to a place of comfort and confidence before bubbling out in joy. The instrumental coda echoes the phrase The Lord is my shepherd from the beginning as a final affirmation.While originally scored for tenor, this piece may be sung by a bass, baritone, alto/mezzo, or soprano. Three different ranges are available for purchase to accommodate different vocal ranges. This piece will present a good challenge for vocalists of all abilities since it has a low tessitura but a high range on brief passages.
Op. 6 Psalm 23 (The Lord is My Shepherd) - Medium Voice

$3.99 3.45 € PDF SheetMusicPlus

String Quintet - Level 3 - Digital Download SKU: A0.901334 Composed by Johann Pachelbel. Arranged by Dan Edwards. Baroque,Holiday,Standards,Wedding. 17 pages. Arr. Dan Edwards #6590467. Published by arr. Dan Edwards (A0.901334). Canon in D by Johann Pachelbel, arranged for string quartet, string quintet, or string orchestra by Dan Edwards. Dan is a prize-winning composer and arranger, and was the staff arranger for the Countess of Wessex's String Orchestra for many years. danedwardscreative.com This is an arrangement like no other!Pachelbel's Canon is a hugely popular piece, but unfortunately it was not written for the string quartet. The original is for three violins and basso continuo, so this presents quite a few problems when string quartets attempt to play it.  - Firstly, the 'viola' part is extraordinarily high, not only making it very difficult to play, but making that one voice stick out much more than the other three in the highest parts of the piece. Usually the high bits are just transposed down an octave but this isn't very satisfying. My solution in this arrangement is to swap the voices of the canon around so that the viola always plays the lowest part. Have a look at the score to see what I mean - the viola part isn't transposed, but it never goes above an E on the A string. - Secondly, the first two bars should have harmony, as there should be a keyboard instrument accompanying the cello. To compensate for this I've added some simple harmony in small note heads at the start, before each canon entry. - Thirdly, the cellist always gets lost in this piece. I know because I am a cellist and I always get stressed out towards the end of this piece. So I've added a reduced-size violin 1 part to the cello part so the cellist can follow along and know exactly when the piece is going to end!  Includes a full score (6 pages), and complete set of parts. Violin 1 - 3 pages. Violin 2 - 3 pages. Viola - 2 pages. Cello/ bass - 3 pages.
Canon - Pachelbel, arranged for string quartet with adapted viola part
Quatuor à cordes: 2 violons, alto, violoncelle

$14.99 12.98 € Quatuor à cordes: 2 violons, alto, violoncelle PDF SheetMusicPlus


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