Small Ensemble Cello,Clarinet,Flute,Piano,Trombone,Trumpet,Violin - Digital Download SKU: A0.818293 Composed by Stephen R Dalrymple (Dalrymple Designs). Contemporary. Score and parts. 109 pages. Stephen R Dalrymple #4991045. Published by Stephen R Dalrymple (A0.818293). Sketches of Christ Movement 3 Though I Was Blind; Now I SeeTone Poem for Cello and Piano and Piano by Stephen R Dalrymplebased on John 9, the account of the interactions of the man born blind, Jewish authorities, and Jesus Christtranscribed for solo flute, clarinet, trumpet, euphonium/trombone, and violin   Sketches of Christ is a 3 movement work by Stephen R Dalrymple intended for the concert stage (contrasted with preludes and offertories at church). It was originally titled Sonata for Cello and Piano. As I composed similar works, I realized that, although I have used the concepts of sonata form in various movements, because these pieces reflect the drama of selected passages of the Bible, Tone Poem was a more fitting genre title. I have begun the process of transcribing these Tone Poems for additional instruments.   I consider these Tone Poems as contemporary classical music. I have used modal harmonies; polychords and polytonality; free dissonance; atonality, mixed meters, etc. to convey the drama of the Bible.   Sketches of Christ is based on 3 episodes from Christ’s Life: The calming of the Sea of Galilee, Mary and Martha, and the healing of the man born blind.    This score is movement 3 of a 3 movement tone poem, originally scored and premiered as a sonata for Cello and Violin. It is presented here for 5 additional solo instruments: Flute, Clarinet, Trumpet, Euphonium (or Trombone) and Violin.  â€ƒSketches of Christ is written in 20th Century Classical Music composition techniques. Various movements employ a mix of bitonality, modal harmony, deliberate dissonance, and mixed meter. Each movement dramatizes an event form the Life of Christ. This movement expresses the interactions of the man born blind, Jewish authorities, and Jesus Christ from John 9.  â€ƒThe score shows the parts for cello and piano, but individual parts are provided for the other solo instruments.  â€ƒIncludes 14 scores: Full Score for cello and piano letter size; Cello, Flute, Clarinet, Trumpet, Euphonium (or trombone), and Violin solo parts; Full Score for cello and small page format for performing from a 10 inch tablet and the same solo parts for 10 inch tablet. tablet (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.)  â€ƒThe 3 movements of the tone poem are published separately. This tone poem is actually a more like a solo instrument and piano duet rather than a solo with a piano accompaniment.

Instrumental Duet Instrumental Duet,Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533210 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Folk,Holiday,Romantic Period. Score and parts. 17 pages. Musik Fabrik Music Publishing #1986205. Published by Musik Fabrik Music Publishing (A0.533210). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (c was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director of music of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time). He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him. Divertissement sur Une Ballade Irlandaise begins with a lyric introduction in bel canto style. The Irish Ballade is named in the score as « My Lodging is on the Cold Ground », but is sometimes known as « Believe Me If All Those Endearing Young Charms » and is followed by a brilliant variation. After an ornamented modal passage in 6/8, the allemande theme is presented first in a moderate tempo, and then in a more rapid variant which uses « cross string » figerations similar to those used by fiddlers.

Full Orchestra - Digital Download SKU: A0.942412 Composed by Robert Schumann (1810-1856). Arranged by Brock Lupton. Contemporary. Score and parts. 189 pages. Brock Lupton #4616367. Published by Brock Lupton (A0.942412). This is one of the lesser-known works of composer Robert Schumann. It was composed in 1849 and introduced in Leipzig on February 25, 1850. There are several possible reasons for the comparative unfamiliarity of this work which, despite its modest title, is a full-fledged 3-movement concerto for four very accomplished French horn players with orchestra. In its original configuration, the work exploits the newly-invented valved French horn. (The horn and trumpet were natural instruments – like today’s bugles, with no valves – until about 1835.) The concerto establishes a festive character at the outset, and becomes almost feverish as the excitement expands. The slow movement (Romanze) typifies another side of the composer, expansive and tender. It leads directly into the third (final) movement which brings together the various elements in an outburst of sheer joy.The title to which this note is attached is my re-orchestration of the accompaniment (score and all orchestral parts). Three different ensemble versions are also available from SMP. Any of these is compatible with the orchestral score and parts.

Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Viola,Violin - Level 4 - Digital Download SKU: A0.990455 Composed by Mitch Boucher. Baroque,Contemporary,Sacred,Spiritual. Score and parts. 6 pages. Mitch Boucher #5765157. Published by Mitch Boucher (A0.990455). This work features two well-known German chorale tunes: 'Ich ruf zu Dir' and 'O Mensch Bewein.' This was one of my first attempts at working on variations of melodies.

Piano and voice (solo and TTBB quartet) - Digital Download SKU: LV.7554 Composed by Jos. M. Daly. Carriages & coaches, Parties, Working classes, Recreation. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.7554). At the Garbage Gentlemen's Ball. Words by Thos. S. Allen. Music by Jos. M. Daly. Published 1914 by Daly Music Publisher in Boston. Composition of strophic with chorus with piano and voice (solo and ttbb quartet) instrumentation. Subject headings for this piece include Carriages & coaches, Parties, Working classes, Recreation. First line reads There she sat with the old Tom Cat in the kitchen all alone.. 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,Trombone - Level 5 - Digital Download SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. 63 pages. Gordon Cherry #4601711. Published by Gordon Cherry (A0.810983). This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University.  While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad).  The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital.  I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting.  I thought at the time that he had given me and my music a fine compliment.  I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor.  It alternates between assertive and more thoughtful moods.   There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end.  Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes.  Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic.  The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes.  The main theme is heard in the piano part before the soloist enters.  The mood is more lyric than in the first movement, but with dramatic episodes also.  In this movement are some definite derivations from themes in the first movement.  The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes.  Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward.  The introduction is a brief and simple preparation for the solo entry.  Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo.  Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.

Instrumental Duet,Piano Clarinet,Instrumental Duet,Piano - Level 2 - Digital Download SKU: A0.750957 Composed by Michael Arne ( c.1740 – 14 January 1786). Arranged by Brendan Elliget MAGA 537. Folk. Score and parts. 12 pages. BJE Music #5307825. Published by BJE Music (A0.750957). Michael Arne ( c.1740 – 14 January 1786) was an English composer, harpsichordist, organist, singer, and actor. He was the son of the composer Thomas Arne and the soprano Cecilia Young, a member of the famous Young family of musicians of the seventeenth and eighteenth centuries. Like his father, Arne worked primarily as a composer of stage music and vocal art song, contributing little to other genres of music. He wrote several songs for London's pleasure gardens, the most famous of which is The Lass with the Delicate Air (1762) [Wikipedia]It has been arranged here for Clarinet Duet with Piano accompaniment {key of Eb]. There are also arrangements for Violin Duet, Flute Duet and French Horn Duet with Piano accompaniment at this website as well. [All in the key of Eb except Horn Duet which is in Bb]The MP3 was recorded with NotePerformer.Grade = 3 Duration 3:40 mins

Piano - Digital Download SKU: A0.1072159 Composed by George Frideric Handel. Arranged by Leyandder Trustworthy. Baroque,Christian,Easter,Sacred,World. Accompaniment. Duration 171. Leyandder Trustworthy #6331257. Published by Leyandder Trustworthy (A0.1072159). The Hallelujah (Aleluia) is part of the oratorio Messiah, which is the most famous work by the German composer Georg Friedrich Händel. Oratorio is a genre of musical composition basically sung, being widely used, besides the orchestra, vocal solos and choir. It generally narrates biblical themes.The Messiah (HWV 56, 1741) is an oratorio about the life of Jesus Christ, the Messiah. It has 51 movements divided into three parts: the Prophecies about Jesus' birth, the Passion, and the Resurrection. The Hallelujah is the 42nd movement, at the end of the second part, where all the joy over the Messiah's victory over death and sin is demonstrated.

Instrumental Solo,Oboe d'Amore,Piano - Level 3 - Digital Download SKU: A0.549891 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,Wedding. Score and individual part. 23 pages. Jmsgu3 #3602937. Published by jmsgu3 (A0.549891). Score: 12 pages, piano part: 6 pages, oboe d'amore part: 4 pages. duration: ca. 5'. This is the famous wedding march from Op. 61 composed in 1842 and commonly performed as a recessional march at the end of a wedding. The piece was originally composed for orchestra then arranged for organ and performed by Mendelssohn himself.Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words.  Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's vir.

Piano Solo - Level 3 - Digital Download SKU: A0.902460 Composed by Amy Beach (1867-1944). Arranged by Cameron Smith. Children,Instructional,Romantic Period,Standards. Score. 1 pages. Cameron E Smith #5996637. Published by Cameron E Smith (A0.902460). Basic Info:Piano Solo Sheet Music, digital downloadFormat: Level 4, IntermediateDetailed Description:Piano concerto for piano and orchestra in c# minor, composed by Romantic composer Amy Beach. Opus 45, first movement, Allegro Moderato. 19th century. American Romantic. Historic Women Composers. Classical Piano Repertoire for the intermediate beginner. Arranged by Cameron Smith.This is an intermediate level arrangement in the key of C Major and serves as an introduction to historic women composers of the Romantic period. 4/4 time signature. 20 measures. Right hand melody in between G4 and C5, left hand accompaniment in broken chords and block chords. Eighth-notes, quarter-notes, dotted quarter-notes, half-notes and whole notes.Technique:Left hand accompaniment arpeggios with crossing fingerings are introduced. Flats and sharps are mixed. Independence of hands. There are also level 1, 2, and 3 arrangements of this piece available.History:This arrangement provides a long-awaited opportunity to introduce the very youngest pianist to melodies composed by women in the time period usually associated with the music of Brahms or Tchaikovsky. Amy Beach was the best-known woman composer of her time and the first in the United States to become world famous. She was the first American woman to write a symphony and was a well-respected pianist in her time. Beach fought hard throughout her life to change the common perception that women's music would always be lesser than men's. Looking for more easy piano versions of works by historical women composers? In the search bar above, type PLPS. This arrangement was commissioned by Penny Lazarus Piano Studio as part of an effort to expand the early piano repertoire with pieces by women composers of the last 900 years. Learn more about the project at PennyLazarusPianoStudio.com.

Instrumental Duet,Viola - Level 3 - Digital Download SKU: A0.549885 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,Wedding. 23 pages. Jmsgu3 #3602675. Published by jmsgu3 (A0.549885). Score: 12 pages, piano part: 6 pages, viola part: 4 pages. duration: ca. 5'. This is the famous wedding march from Op. 61 composed in 1842 and commonly performed as a recessional march at the end of a wedding. The piece was originally composed for orchestra then arranged for organ and performed by Mendelssohn himself. Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words.  Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz.

Woodwind Ensemble,Woodwind Quartet Clarinet - Level 3 - Digital Download SKU: A0.549861 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Wedding. 18 pages. Jmsgu3 #3557469. Published by jmsgu3 (A0.549861). Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 10 pages, Program this for church services during the Easter season, weddings, or as a recital encore. Instrumentation: 2 Bb clarinets, 1 alto clarinet, 1 bass clarinet.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival               Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbrevia.

Small Ensemble Piano,Trumpet,Voice - Level 1 - Digital Download SKU: A0.964440 Composed by George Frideric Handel. Arranged by Leyandder Trustworthy. Baroque,Christian,Easter,Sacred,World. Score and parts. 3 pages. Leyandder Trustworthy #6326873. Published by Leyandder Trustworthy (A0.964440). The Hallelujah (Aleluia) is part of the oratorio Messiah, which is the most famous work by the German composer Georg Friedrich Händel. Oratorio is a genre of musical composition basically sung, being widely used, besides the orchestra, vocal solos and choir. It generally narrates biblical themes.The Messiah (HWV 56, 1741) is an oratorio about the life of Jesus Christ, the Messiah. It has 51 movements divided into three parts: the Prophecies about Jesus' birth, the Passion, and the Resurrection. The Hallelujah is the 42nd movement, at the end of the second part, where all the joy over the Messiah's victory over death and sin is demonstrated.

Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.964448 Composed by George Frideric Handel. Arranged by Leyandder Trustworthy. Baroque,Christian,Easter,Sacred,World. Score. 3 pages. Leyandder Trustworthy #6327257. Published by Leyandder Trustworthy (A0.964448). The Hallelujah (Aleluia) is part of the oratorio Messiah, which is the most famous work by the German composer Georg Friedrich Händel. Oratorio is a genre of musical composition basically sung, being widely used, besides the orchestra, vocal solos and choir. It generally narrates biblical themes.The Messiah (HWV 56, 1741) is an oratorio about the life of Jesus Christ, the Messiah. It has 51 movements divided into three parts: the Prophecies about Jesus' birth, the Passion, and the Resurrection. The Hallelujah is the 42nd movement, at the end of the second part, where all the joy over the Messiah's victory over death and sin is demonstrated.

Small Ensemble Oboe,Piano,Voice - Level 1 - Digital Download SKU: A0.964418 Composed by George Frideric Handel. Arranged by Leyandder Trustworthy. Baroque,Christian,Easter,Sacred,World. Score and parts. 3 pages. Leyandder Trustworthy #6326023. Published by Leyandder Trustworthy (A0.964418). The Hallelujah (Aleluia) is part of the oratorio Messiah, which is the most famous work by the German composer Georg Friedrich Händel. Oratorio is a genre of musical composition basically sung, being widely used, besides the orchestra, vocal solos and choir. It generally narrates biblical themes.The Messiah (HWV 56, 1741) is an oratorio about the life of Jesus Christ, the Messiah. It has 51 movements divided into three parts: the Prophecies about Jesus' birth, the Passion, and the Resurrection. The Hallelujah is the 42nd movement, at the end of the second part, where all the joy over the Messiah's victory over death and sin is demonstrated.