Violin and piano - intermediate to advanced - Digital Download SKU: S9.Q53343 Méditation religieuse. Composed by Charles Francois Gounod. Edited by Wolfgang Birtel. Arranged by Adolphe Herman. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 11 pages. Schott Music - Digital #Q53343. Published by Schott Music - Digital (S9.Q53343). English • German.Certainly the famous Méditation over the first prelude from Bach’s Well-tempered Clavichord – with the subsequent addition of the words to Ave Maria – has become Charles Gounod’s best-known piece. In the 19th Century, however, one of his other compositions was also very popular: Hymne à Sainte Cécile, a ‘Méditation religieuse’ – in the original version with orchestra (1865) dedicated to his friend Jean Delphin Alard. Gounod had already written one work in honour of the Blessed Cecilia, patron saint of church music, a Mass that became very popular. In contrast, this Hymne is instrumental, with the violin ‘singing’ a lovely melody over a harp-like accompaniment of arpeggios. (Gounod subsequently wrote another setting with the text ‘Ave verum’.) Plate no. 19323, published in 1868.

Choral 3-Part Chorus,Choir,Choral - Level 4 - Digital Download SKU: A0.1448064 By M-A.G. de Saint Amant (Poet). By ?rthvr. 21st Century,A Cappella,Baroque,Chamber,Contemporary. 3 pages. Arthur #1028002. Published by Arthur (A0.1448064). A setting of the poem L´Hiver des Alpes by M-A.G. de Saint Amant, for 3 solo voices or women's choir.You are free to transpose the score.If you would like to perform the piece publicly (live concert or internet), please contact me.Here you can find the audio recording of this piece for download:https://arthvr000.bandcamp.com/album/vocal-music-poetry-settingsPoem Text:Ces atomes de feu qui sur la Neige brillent,Ces étincelles d’or, d’azur et de cristalDont l’Hiver, au Soleil, d’un lustre orientalPare ses cheveux blancs que les vents éparpillent ;Ce beau Coton du Ciel, de quoi les monts s’habillent,Ce Pavé transparent fait du second Métal,Et cet air net et sain, propre à l’esprit vital,Sont si doux à mes yeux que d’aise ils en pétillent.Cette saison me plaît : j’en aime la froideur ;Sa Robe d’Innocence et de pure candeurCouvre en quelque façon les crimes de la Terre.Aussi l’Olympien la voit d’un front humain ;Sa colère l’épargne et jamais le tonnerrePour désoler ses jours ne partit de sa main.

Choral Choir (SSA) - Level 1 - Digital Download SKU: A0.926657 Composed by M.A. Morizio. Christian,Praise & Worship,Sacred. Octavo. 3 pages. M.A. Morizio #1933309. Published by M.A. Morizio (A0.926657). The sense of this piece is a love song about the blessed Holy Trinity. Based on an old melody by J.N. Howard, the anthem is arranged for SSA choir with Soprano descant. Rev. Donald Colageo of Manchester, NH wrote the beautiful lyrics. The piece is accessible for beginner choirs (even children choirs) with one strong soprano, and is especially suited for Trinity Sunday or other church year services. The song is 02:05 in length.

Choral Choir (SAT) - Level 2 - Digital Download SKU: A0.854322 Composed by Melanie B. Guerin. Broadway,Musical/Show,Pop. Octavo. 4 pages. Melanie B Guerin #3585793. Published by Melanie B Guerin (A0.854322). This short song was written as the finale to the musical production 'Clamor & Ranting,' produced at the Greater Hartford Academy of the Arts in December 2015. It is a celebration of what music means and what music can do. A simple chord progression repeats under the increasingly joyful sounds of a choir, building to three-part harmony with optional solo ad libs.I sing, I breathe, I remember, I grieve, I move, I play, I celebrate, I pray, I speak, I stir, I am powerful, I am heard, I learn, I feel, I am comforted, I am new, I am revealed I shine, I'm proud, I'm a symphony out loud, I sing, I'm strong, I am music, I am song

Trumpet Solo - Level 3 - Digital Download SKU: A0.951606 Composed by George M. Cohan. Arranged by Travis Hayman. Folk,Holiday,Patriotic. Individual part. 7 pages. Travis Hayman #6413269. Published by Travis Hayman (A0.951606). The Yankee Doodle Boy, also well known as (I'm a) Yankee Doodle Dandy is a patriotic song from the Broadway musical Little Johnny Jones written by George M. Cohan. The play opened at the Liberty Theater on November 7, 1904. The play concerns the trials and tribulations of a fictional American jockey, Johnny Jones (based on the real life jockey Tod Sloan), who rides a horse named Yankee Doodle in the English Derby. Cohan incorporates snippets of several popular traditional American songs into his lyrics of this song, as he often did with his songs. The song was performed by James Cagney in the 1942 film Yankee Doodle Dandy, in which he played Cohan.

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1058255 By Johann Sebastian Bach. By Johann Sebastian Bach. Arranged by Sebastian Costello Davis. Baroque,Classical,Instructional,Opera,Traditional. Score. 1 pages. Sebastian #662571. Published by Sebastian (A0.1058255). Minueto IV de Johann Sebastian Bach, tão famoso quanto o seu compositor, essa canção que é conhecida como minueto em G – Esta inserido nessa obra de para Anna Magdalena Bach – Essa peça, que também é a mais tocada em pequenas apresentações, usada em provas de ingresso em faculdades, serve como um passaporte para quem esta começando na vida acadêmica musical, ou pra quem simplesmente quer tocar bem uma música belíssima do período barroco – Se divirtam com esse trabalho que pra mim além de prazeroso é belo. Obrigado! Minuet IV by Johann Sebastian Bach, as famous as its composer, this song known as minuet in G is inserted in this work by Anna Magdalena Bach. This piece, which is also the most played in small performances, used in college entrance exams, serves as a passport for those who are beginning in the academic musical life, or for those who simply want to play well a beautiful piece of music from the Baroque period. Thank you! Translated with www.DeepL.com/Translator (free version).

Piano and voice - Digital Download SKU: LV.3531 Composed by M.a. Page. Arranged by M.a. Page. War, Heroes, Campaigns & battles, Occupations, Liberty, Patriotism. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.3531). The Plough. Words Written by Epes Sargent, Esq. Music Composed & Arranged for the Piano Forte by M.a. Page. Published 1851 by G.P. Reed & Co., 17 Tremont Row in Boston. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include War, Heroes, Campaigns & battles, Occupations, Liberty, Patriotism. First line reads The cmap has had its days of song, the sword, the bayonet, the plume.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1152745 Composed by A. Groves, John T. Watson, and M. A. Latbury. Arranged by Arranged by Diane M. McGahee. Christian,Religious,Sacred,Spiritual. Score. 1 pages. Diane M. McGahee #752978. Published by Diane M. McGahee (A0.1152745). Hymn Arrangement.

Voice Duet Mezzo-Soprano Voice - Level 3 - Digital Download SKU: A0.1450891 By George Sand (poet). By ?rthvr. 21st Century,A Cappella,Chamber,Classical. 2 pages. Arthur #1030340. Published by Arthur (A0.1450891). A setting of the poem À Aurore by George Sand, for 2 voices. You are free to transpose the score.If you would like to perform the piece publicly (live concert or internet), please contact me.Here you can find the audio recording of this piece for download:https://arthvr000.bandcamp.com/album/vocal-music-poetry-settingsPoem text:La nature est tout ce qu’on voit,Tout ce qu’on veut, tout ce qu’on aime.Tout ce qu’on sait, tout ce qu’on croit,Tout ce que l’on sent en soi-même.Elle est belle pour qui la voit,Elle est bonne à celui qui l’aime,Elle est juste quand on y croitEt qu’on la respecte en soi-même.Regarde le ciel, il te voit,Embrasse la terre, elle t’aime.La vérité c’est ce qu’on croitEn la nature c’est toi-même.

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.926655 Composed by M.A. Morizio. Christian,Jewish,Sacred. Octavo. 3 pages. M.A. Morizio #1932501. Published by M.A. Morizio (A0.926655). Our Savior Lutheran Church, Westminster, MA commissioned this piece in 2008 for their celebration of the Feast of Holy Innocents. This short anthem is written for SATB choir with piano accompaniment, and has many modal characteristics lending it an eerie harmonic feeling. The lyrics are based on the Jeremiah 31:15-17 text about Rachel weeping for her children. Geared toward beginning to intermediate choirs, the piece is specifically suited for the Feast of Holy Innocents church services or other Pro Life occasions. The song is 01:45 in length.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brown Music #5990681. Published by Stuart Brown Music (A0.835452). A fantastic offer price for the full score and all parts! ... Looking for something to add a sense of oriental exoticism to your amateur orchestral/choral concert? This may be what you're looking for! This charming little suite of six dances lasts about 15½ minutes. It consists of a Pavane, Bourée, Sarabande, Allemande, Basse Danse and Galliard, which vary widely in character. As a whole the suite provides some interesting challenges for both performers and listeners. Apart from conventional strings, flute and harp (which can be either pedal or lever) you will need:- One or maybe two Arabian ouds. The parts are playable also on a fretless acoustic guitar. (Needs to be fretless because of the quarter-tones in some of the Arabic modes used.)- A cimbalom (the part can be played on a piano also, with slight modification). You might get away with using a hammered dulcimer but you'd need to make a number of compromises.- A doumbek and a djembe. These beautiful drums are a must for Middle-Eastern or African music. They're fairly easy to find, though finding somebody who can play them properly may take a bit more doing!- Finger cymbals and a gong. These are regular western instruments.- A wind-chime. Anything that produces a nice shimmering spangle of sound will probably do!- A group of singers (SATB). Nothing particularly challenging but see below.The primary oud part, the strings and the singers need to have sufficiently good intonation to pitch quarter tones. These are the exception rather than the rule, but nevertheless play an important part in the character of the music. Apart from this, the music is relatively straightforward and probably playable by any reasonably competent amateur or high school orchestra.In the spring of 2020 I wrote a set of short music tracks for a charity of which I'm a trustee. In order to protect my intellectual property rights in the music, I decided to bring it together into an attractive if not intellectually challenging little suite, hence An Omani Dance Suite. Originally the dances were all in Arabic quarter-tone temperament, but obviously quarter-tones cannot be played easily (if at all) on the flute, harp and cimbalom. So I have made some adjustments but retained the Arabic temperament wherever reasonably possible. I had thought initially of using a santur instead of a cimbalom, but the santur lacks the range and the dynamic capability to be used with a string chamber orchestra. The cimbalom doesn't need to be a concert grand model; in fact it doesn't even need to have dampers.The Omani was something of an afterthought: a musician friend of mine had worked in Oman and commented on how authentically Omani the Basse Danse sounded. The period of composition coincided with a time when I was really missing friends in Vietnam and Romania, so somehow influences from those countries found their way into the music.I'm not bothering with performing rights for this - just go away and enjoy the music! ... but if it inspires you find out more about the charity work that inspires me, feel free to get in touch!https://www.facebook.com/stuartbrownmusic/

Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 99 pages. James A. Yeager #1075356. Published by James A. Yeager (A0.1499301). Foreword:Each movement revisits classic paradigms—sonata form (I), ternary song form (II), and sonata rondo (III). The three movements of this piano quintet share a common element contained in the seed of a motivic idea—the interplay between the minor and the major 3rd : a tonal ambiguity or conflict of the minor 2nd. Stylistically, this Sonata pays modest homage to neo-classicism of 20th Century composers such as Poulenc (I), Prokofiev, Shostakovich (III), and perhaps even a touch of Gershwin (II). I hope this piano quintet will offer players and their audience chamber music that is a bit unusual yet worthwhile. The Sonata embraces the lightheartedness, the melancholy , and the whimsy of nostalgia. There is no separate piano part.Performance Notes:I Moderately fast,  expresses dialogues of themes that move between piano and strings. The playfulness of the exposition (repeat is not optional) can give way to a more passionate building of the development to the climax at letter H. In the recapitulation the longer bridge remains steadily in tempo (no accelerando) relaxing just before letter N and theme two. The coda after letter O is a somber premonition of movement two.II Slowly, the bowings are ad libitum. The viola is chantlike and smooth. Violins glissando like the portamento of the Chinese stringed instruments, the Guqin or the Ehru type glissando leading to a very pure quiet long tones without any vibrato and the resulting fourth should be a pure tuning. The piano can use una corda ad libitum in softer passages, and the pedal (damper) ad libitum. In the B section (Letter D) pianist should treat the 64th notes like an ornament (upper mordent). Strings play the eighths after Letter G accents with strong bow changes. At the end, the piano lingers until the sound vanishes after the strings die away.III Introduction: Quick and spirited, the transition (Introduction) is measured and strict without alteration leading to letter A. The rondo theme, ‘A’ section, can slightly intensify in each successive repetition, but not slavishly. The small waltz or ‘B’ section, Letter C, the quartet might play to resemble a reed organ or harmonium—sweet, sonorous, and harmonious. The ‘C’ section, Letter G, big swell on short bridge passage, then pizz. strings become very rustic and like a peasant dance. Pianist can use una corda ad libitum in soft passages. Violins again after Letter I play similarly to non-vibrato of 2nd movement. The ‘B’ section at Letter L is now the grand waltz slightly faster and more indulgent with tiny rubatos tastefully allowed.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985).  He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano (2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.926665 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 13 pages. M.A. Morizio #3588435. Published by M.A. Morizio (A0.926665). In the first chapter of Paul’s second letter to Timothy, verses 1-10, we observe the intimate relationship that exists, between a spiritual father and his son… I remember you constantly in my prayers night and day. As I remember your tears, I long to see you, that I may be filled with joy. In Chapter two we also witness Paul’s commissioning Timothy to entrust to faithful men all that he was taught by the Apostle, that they then may be able to teach others in the same way also. While the elder Paul is now in prison and bound in chains, he is nonetheless empowered by the Holy Spirit to encourage and exhort Timothy to share in suffering as a good soldier of Christ, for the sake of the Gospel. Though Paul is bound in chains, he declares to Timothy the word of God is not bound! Endurance for Paul serves only one purpose, the salvation that is in Christ Jesus with eternal glory.In verse 11, Paul supports his statements by inserting another known 1st century Hymn to Christ, which brings us to our fifth anthem, For If We Died with Him. The text-or lyrics-of this hymn are even bracketed (or indented) in the NKJV Bible, suggesting the hymnic setting.   The proposition of the text is quite clear; if we died with Christ, then we shall also live eternally with Christ. If we endure in the faith, then we shall also reign eternally with Christ. However, there is an insertion of 'Law' here, with a dire warning that the opposite is also true: If we deny Christ, resist, and refuse His beckoning and free invitation to salvation, then He will also deny us. Not everyone who says to me ‘Lord, Lord,’ will enter the kingdom of heaven… I will declare to them, ‘I never knew you; depart from me, you workers of lawlessness.’ (Matthew 7:31-23). Thus, the stage has been set for the fifth anthem. The piece is composed for SATB a cappella. The key is F Major. The opening phrase, This is a trustworthy saying, is in ¾ time, where a series of triplets are sung three times each (the Trinitarian opening motif). The meter then shifts to 2/4 with a lovely, distinctive unison melody for the opening phrase, For if we died with Him, we shall also live with Him. Soon after, when the lyrics shift to the words, If we deny Him, He will also deny us, the song drops into the relative minor key (F minor). The melody in this passage is haunting, and sends a clear warning signal to the listener to pay heed to what is being sung. When the text then transitions from if we are faithless, He remains faithful, however, the key shifts back to F Major in a new (dance-like) rhythm for the final verse, He remains faithful, for He cannot deny Himself. A coda is inserted in the final phrase where the triplet pattern is recapitulated (This is a trustworthy saying) and the sopranos ascend to a high F singing the lyrics, we shall live, for He remains faithful! to triumphantly end the piece.  

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926663 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 7 pages. M.A. Morizio #3588423. Published by M.A. Morizio (A0.926663). In chapter two of Paul's letter to the Philippians, Paul begins speaking to his readers about encouragement, comfort from love, participation in the Spirit, and godly affection and sympathy for one another. He says, we are to count others as more important than ourselves. He pleads, Complete my joy by doing these things. From this point, Paul breaks immediately into this other known 1st century Hymn to Christ (Verses 5-11), which I have called, The Great Humility of Christ. The hymn text is a beautiful exposition of the Gospel; Christ in the form of God, did not hold onto (grasp) His equality with God, but humbled Himself and took on the human form of a servant (slave) and poured Himself out for all of mankind. The anthem is composed for SATB (a cappella) choir in two stanzas, with a bridge section and a coda. The piece is scored in D minor, but weaves between D minor and G Major (representing the dual natures of Christ-fully God and fully man). After the first stanza, regarding Christ’s taking on human flesh, the unthinkable happens; Christ humbles Himself in holy obedience to be put to death, even a humiliating and repugnant death on a cross. Here in the anthem we find the musical bridge between the two stanzas with the sopranos holding onto a single note (high D) followed by a cascade of dissonant suspensions, one voice handing off to the other, finally resolving in a descending scale.The second stanza declares God’s having exalted Christ as a consequence of His sacrifice, giving Him a name that is above every name, that at the name of Jesus every knee shall bow, in heaven and on earth and under the earth. The final coda (in G Major) trumpets the pronouncement that; Every tongue will confess that Jesus Christ is Lord, to the glory of the Father.   

Piano,Soprano Flute - Level 4 - Digital Download SKU: A0.1499262 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. Score and part. 43 pages. James A. Yeager #1075315. Published by James A. Yeager (A0.1499262). Foreword:Each movement revisits classic paradigms— (I & II) ternary song form,(III) theme & variations. The third movement treats the two themes as children at play with games such as tag and hide-and-seek as variations. Both themes become partner songs leading to fugue, which is, after all, the ultimate musical game.Performance Notes:I Moderato,  slurs in the flute suggest phrasing but are optional in terms of breathing. The B section at letter C has a canon between flute and piano (left-hand) which suggests imitation in articulations and dynamics. The climax just before letter D can be stretched slightly more than poco rit. implies. II Slowly gently, must not be played slower than indicated. The middle section at letter B begins with a subito forte. At 3 measures before letter C the fermatas allow a certain freedom. When the flute releases the piano can continue the left-hand chord. The piano should use una corda in the bridge at letter C. Elsewhere, the piano may also employ una corda in quiet places ad libitum. At final note the flute can fade to nothing if breath runs out and just remain in pose as the final note of the piano is allowed to vanish.III Majestic with vigour, two given themes from ca. 1934 are Old Abram Brown by Benjamin Britten and Kookabura Sits on the Old Gum Tree by Marion Sinclair and both are rounds for children. The flute boldly declares theme one at the outset. The piano arpeggiations begin sonorously and quiet before letter A. In Variation 1 the piano must begin softer than the low register flute. The piano left-hand upper notes [A, then G, then D-A fifth) may require use of the sostenuto pedal. Variation 2 is a caccia or chase. Variation 3 is a barcarolle where theme 1 is hiding in the flute part. Variation 4 introduces the second theme (flute) in partnership with theme 1 (piano). Four measures before letter I the piano makes an ogre of theme 2 and should be humorously ponderous. The fugue subject might be the teacher who brings everyone into the final partner song of themes. The piece finishes as it began except for a wistful ending.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985). While in Colorado he composed two film scores for student filmmakers as well as choral and organ compositions. He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. He led choirs of all ages from children through the elderly. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano(2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.