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Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1349231 Composed by Todd Marchand. Christian,Sacred,Traditional. 16 pages. Con Spirito Music #933976. Published by Con Spirito Music (A0.1349231). Three Evening Canticles were written as part of a setting of choral evensong for Church of the Holy Apostles - Anglican, Fort Worth, Texas. Metrical, mostly homophonic, and conservative in technical challenges and ranges, these canticles are accessible for small choirs and those of moderate ability, yet musically satisfying for large and accomplished groups. Phos Hilaron (“O Gladsome Lightâ€) is one of the earliest known Christian hymns (ca. 3rd-4th century) recorded outside of the Bible. Intended to be sung at the kindling of lights in the evening, it is sometimes known as the “lamp-lighting hymn†and has been adopted by some Anglican bodies as an optional invitatory canticle immediately preceding the psalm(s) appointed for the day.Magnificat (The Song of Mary) is a scriptural canticle based on an account in the Gospel of Luke (1:46-55). Mary, the expectant mother of Jesus, visits her cousin  Elizabeth, the expectant mother of John the Baptist, who will prophetically proclaim the coming of the Messiah. Elizabeth praises Mary for her faith and subjection to God’s will, and Mary responds, “My soul doth magnify the Lord ... for he that is mighty hath magnified me ... and his mercy is on them that fear him throughout all generations.†The Magnificat is said or sung immediately after the first lesson (scripture reading) in the service of evening prayer. Nunc Dimittis (The Song of Simeon) is also a scriptural canticle taken from Luke (2:29-32).  Simeon, a devout Jew, had been promised by the Holy Spirit that he would not die until he had seen the Messiah. When Mary and Joseph bring the infant Jesus to the Temple in Jerusalem for the ceremony of redemption of the firstborn son, Simeon takes the child into his arms and says “Lord, now lettest thou thy servant depart in peace ... for mine eyes have seen thy salvation.†The Nunc Dimittis is said or sung after the second lesson in evening prayer.Texts for these settings are from The Book of Common Prayer (2019), Traditional Language Edition, according to the use of the Anglican Church in North America, and they are largely the texts of the 1662 Book of Common Prayer of the Church of England.©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, patriotic, folk, and holiday music for instruments and voices, visit www.conspiritomusic.com
Three Evening Canticles — SATB voices, organ
Chorale SATB

$3.00 2.63 € Chorale SATB PDF SheetMusicPlus

Concert Band - Level 5 - Digital Download SKU: A0.894397 Composed by Zack Richards. 20th Century,Contemporary,Film/TV. Score and parts. 120 pages. Zack Richards #5210677. Published by Zack Richards (A0.894397). Throughout my youth, I was highly influenced by Science Fiction, especially Star Trek: The Next Generation. It inspired me from a creative, musical, and human perspective and was a large factor in most of my current views of the world in which we all live. This work is largely inspired by that show as well as other Star Trek shows and movies. The title is inspired by the idea of space, called the final frontier throughout Star Trek. The first melody pulls many aspects from the The Original Series, including the opening interval of a minor 7th, the rhythmic use of triplets, and the chromatic intervals in the second half of the melody. It sits over quartal harmonies which help create the open spacey sound. The countermelody introduced by the Oboe in measure 13 is inspired intervalically and rhythmically by the 2009 Star Trek reboot movie theme. These 2 melodies are used in various ways from start to finish, sometimes rhythmically diminished, sometimes just as a motif passed from one instrument to another. Every section has a moment to shine like a distant star in this fun sci-fi inspired piece.
The Greatest Frontier
Orchestre d'harmonie

$59.99 52.6 € Orchestre d'harmonie PDF SheetMusicPlus

Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Arlo Guthrie
$3.99 3.5 € Chorale TTBB PDF SheetMusicPlus

French Horn,Piano - Level 3 - Digital Download SKU: A0.549394 Composed by George Frideric Handel. Arranged by James M. Guthrie, ASCAP. Baroque,Sacred,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3492579. Published by jmsgu3 (A0.549394). Duration: 4:55, Score: 6 pages, Solo part: 1 page, piano part: 2 pages. A very famous aria (Ombra mai fu) from XerxesSuitable for any venue requiring meditative music. Excellent choice for a recital encore. Xerxes Xerxes is, in fact, an opera seria in three acts by Handel. Moreover, Handel conducted the premiere performance in London in 1738. Handel casts the opera in Persia in 470 BC. The part of Xerxes was indeed originally sung by a soprano castrato. Nowadays, the part is generally sung by a mezzo-soprano or conversely a counter-tenor. In the first place, Xerxes sings an opening aria, Ombra mai fu to a plane tree. Handel sets this aria to one of his most truly famous melodies. Although many people call it Handel’s Largo, Handel has, on the contrary, clearly marked Larghetto in the score. Handel Background George Frideric Handel (1685 - 1759) was born in Germany but eventually became a British citizen. Nonetheless, he was a famous Baroque composer. In fact, he became famous for his operas, oratorios, anthems, and organ concertos. Handel studied music and, by and large, worked as a composer in Germany and Italy before moving to London. Overall, Handel was very familiar with the contemporary music of Italy and Germany. Career in England It is important to realize that Italian opera was all the rage in England at the time. Moreover, Handel was really good at writing them. Therefore, he started not one but three opera companies in England. Alexander's Feast was a huge success in 1736, but Handel nevertheless began composing English choral works. After success with the Messiah in 1742) he certainly never again wrote an Italian opera. Consequently, he died in 1759, a treasured genius. Accordingly, the English government gave him full state honors at his funeral. Hence, he is buried in Westminster Abbey in London. Legacy Music historians agree that Handel was one of the greatest composers of the Baroque era.  To demonstrate, his works such as the Messiah, Water Music, and Music for the Royal Fireworks remain consistently popular up to the present time. He composed the coronation anthem, Zadok the Priest for the coronation of George II. Nevertheless, it has specifically been performed at every succeeding British coronation since. His oratorio Solomon has by all means also continued to be prevalent. As a matter of fact, Sinfonia from act 3 was featured in the 2012 London Olympics opening ceremony. Handel was particularly prolific. To enumerate, he wrote over forty operas.  Since the late 1960s, we have expressly experienced a revival of baroque music. Similarly, we have seen a pique of interest in historically informed musical performances. Since his death in 1779, interest in Handel's music has all in all, expanded.  
Handel: Largo from Xerxes for French Horn & Piano
Cor et Piano

$32.95 28.89 € Cor et Piano PDF SheetMusicPlus

Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.872914 Composed by Antonin Dvorak. Arranged by P.A. Drahozal. 20th Century,Concert,Folk,Romantic Period,World. Score and parts. 18 pages. MusicPAD Music Publications #6057877. Published by MusicPAD Music Publications (A0.872914). This is a musically flowing compilation of several lighter selections authored by the legendary Antonin Dvorak and set for a trombone quartet.  This challenging arrangement is the perfect addition to a college trombone recital or presentation piece.  Lively, entertaining, engaging and full of beautiful counterpoint, Dvorak Front and Center is bound to be an audience pleaser from note one!  Logically placed generous rehearsal markings are carefully set and a score is included to facilitate efficient preparation and rehearsal.  There is an opportunity for an alto trombone double in the first part (not transposed).  The first part does explore the very high register (triple D) but ossia notes are always included as an option.  All parts are called upon for melodic playing as the lead line does move around.  Thus, the 2nd and 3rd parts are called upon for a little high register playing too (not as high as the first though).  Be advised- this is a challenging and very rewarding arrangement for advanced players.  With the proper investment of time, Dvorak Front and Center will return rewards and accolades for your studious trombone quartet.
Dvorak Front and Center (Medley of A. Dvorak Pieces) for TROMBONE QUARTET
Quatuor de cuivres: 4 trombones

$12.99 11.39 € Quatuor de cuivres: 4 trombones PDF SheetMusicPlus

Fantasy on How Great Our Joy received its premiere at the London Winter Festival of Sound 2022 in London, England at the Croydon SDA Church by composer and organist, Professor Janise White. This organ work represents an exhilarating work of joy and adoration to our Saviour, Lord and King. As a clarion call for Christmas, soft flutes carry the melody over a dreamy pentatonic configuration with a drone in the pedals. Staccato trumpets exhibit the joy chordal motif, repeating and swelling to a joyous cadenza on the pedals in toccata style. This jubilant moment continues to intensify as syncopated harmonies join the final verse in elongation on 32' pedals to its majestic close.Toccata on In Dulci Jubilo is designed as a short Organ Postlude performed during the Advent/Christmas Season. The work opens with a medley of Carols including Joy To The World, Angels We Have Heard On High, and Silent Night, before leading to the exuberant In Dulci Jubilo (Good Christian Men Rejoice)! White's arrangement of In Dulci Jubilo, a 1328 German Chorale theme is combined with the magnificent accompaniment of Charles-Marie Widor's famous Toccata from Symphony No. 5 (1879). It appears in 6/8 meter as opposed to the original 4/2 meter.  Tritonic interludes intercept the flow of the German Carol alternately, propelling the music to its rousing end
Christmas Joy (Downloadable)

$12.50 10.96 € PDF SheetMusicPlus

Level 3 - Digital Download SKU: A0.1378539 Composed by Deborah Johnson. Christian,Jazz,Praise & Worship,Religious,Spiritual. Accompaniment. Duration 240. Deborah Johnson #963228. Published by Deborah Johnson (A0.1378539). Deborah Johnson's Desert Sea is an exceptional new spiritual composition inspired by Jeremiah 17:7-8. With its captivating blend of unison verses transitioning between 3/4 and 4/4 rhythms and powerful choral SATB choruses, this song is ideal for special occasions. Its profound messaging resonates strongly, making it suitable for both large and small choirs, as well as solo performances. Whether for church services or inspirational events, Desert Sea is a valuable addition to any repertoire. Download available on Spotify and Amazon (https://amzn.to/3SuQ2Hc) The sheet music is also available, which is 12 pages, including cover. Video at: http://youtu.be/3Yj-cBS2Ets Background: Originally written as a solo, Desert Sea was performed at many events, then arranged it for choir when Deborah attended graduate school at Long Beach State University, studying under Frank Pooler who worked with the legendary music group, The Carpenters. The University Choir and band performed Desert Sea, along with other arrangements by Deborah. She then included her choral arrangement in her Master’s Thesis, which traced the history of Spirituals and Gospel songs and their influence on modern jazz. Deborah’s original arrangement of Desert Sea was modeled after a popular Christian artist at the time, Keith Green, with driving eighth notes throughout. (you can find it in the LBSU Archives!) The current updated arrangement has been re-worked, as it alternates between 3-4 and 4-4 time, feeling like 7-4. Deborah and her son, David, perform all the vocals on this recording. Deborah Johnson is not only a headliner artist, but speaker, author, composer and educator with a Master of Arts degree in composition and arranging. In the past years, she has been up for multiple Grammy Awards for her original songs, arrangements and albums. With over two dozen albums, hundreds of songs, three full-length original musicals with National Distribution and multiple books under her belt, these all make Deborah a part of a unique group of women entertainers and composers in the world. She has also been one of the first-call pianists for Disney for a number of years.  For more information about Deborah, her albums, books and products, visit https://DJWorksMusic.com https://GoalsForYourLife.com or https://DeborahJohnsonSpeaker.com Music and Lyrics by Deborah Johnson. (ASCAP) Basic production and piano tracking by Deborah. All vocals by Deborah and David Johnson. Additional production, guitars and bass by Michael Ferenci. Recorded at Ferenci Studios, Silverlake, CA.
Desert Sea - Accompaniment Mp3

$8.99 7.88 € PDF SheetMusicPlus






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