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<  1 ....31 46 61 76 91 ....1966 > 

Choral Choir (SATB) - Level 4 - Digital Download

SKU: A0.1045091

Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Praise & Worship,Sacred,Spiritual. Octavo. 2 pages. Kevin G. Pace #649655. Published by Kevin G. Pace (A0.1045091).

A beautiful, sacred hymn with music by Kevin G. Pace and text by Mary Ann W. Snowball. Text inspired by Doctrine and Covenants 45:3-5. Text: Spare these thy children who do believe, These who believe on my Name. As I present each child to Thee I will, Myself, take the shame. Father, behold my suff’ring and death, I, who without sin. Honor my blood, the blood of thy Son. O, let thy child enter in. Spare these thy children placed before Thee; For each I offer to stand. As I approach thy holiest throne O, accept scars on my hands. Father, behold each one of thy own! Mercy was gifted by Me. All to thy glory, thy sacred Name, So these, thy children, could be.

Spare These Thy Children, a sacred hymn Chorale SATB

$1.99 1.91 € Chorale SATB PDF SheetMusicPlus

Piano Solo - Level 3 - Digital Download

SKU: A0.748677

By Snow Patrol. By Gary Lightbody, Jonathan Quinn, Nathan Connolly, Paul Wilson, and Tom Simpson. Arranged by Mark Reeves. Pop,Rock. Score. 6 pages. Mark Reeves #3537119. Published by Mark Reeves (A0.748677).

2018 New ArrangeMe Song Contest Entry

This arrangement of Snow Patrol's massive hit Chasing Cars is a faithful piano transcription of the original 2006 recording. The lyrics have been included to help the performer articulate the melody sympathetically. Sustain pedal markings and fingerings have been left to the individual performer to add according to their personal preference.

About the Arranger
Mark Reeves is a professional pianist, piano teacher and music arranger, with many years of experience.  More of his arrangements for piano, choir and other instruments can be downloaded here: https://www.sheetmusicplus.com/publishers/mark-reeves-sheet-music/3001850
For further information email: info@markreeves.co.uk
or follow Mark on Twitter @MarkReeves001


Chasing Cars Piano seul
Snow Patrol
$7.99 7.67 € Piano seul PDF SheetMusicPlus

Small Ensemble - Level 5 - Digital Download

SKU: A0.533673

Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 134 pages. Musik Fabrik Music Publishing #3037307. Published by Musik Fabrik Music Publishing (A0.533673).

Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne Contemporary
Ensemble and is dedicated to composer David Stock. Throughout his career, Stock has been
a tireless and generous advocate on behalf of new music and living composers. This work is
dedicated to him in tribute – as both an important American composer and a significant
contributor to America’s contemporary musical life.
The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –
appropriate because of Duquesne’s standing and history as a Catholic university. When the
composition of this work first began, the original plan was for a celebratory and vibrant piece.
As the planning progressed, however, personal circumstances intervened and began to change
the work’s tone – becoming substantially bleaker and more obsessive.
The title of the first movement, Pentimento, is defined as “an underlying image in a painting,
as an earlier painting, that shows through when the top layer of paint has become transparent
with age.†The melodic and harmonic material for the movement is entirely drawn from the
plainchant source, although it is completely transformed and covered up – as in a pentimento.
At various points, one can begin to hear the original plainchant “peek out†in subtle ways.
The opening section of the movement obsesses again and again on what sounds like a
“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, a
fast and driving section starts, marked “sinister.†After driving through a series of
transformations on the plainchant material, a bridge passage leads to further attempts at the
“beginning†again. Finally, these attempts are given up, and the plainchant material (the
underlying layer) begins to show through quietly – in preparation for the next movement.
In the second movement, Interrupted Motet, the plainchant theme is used in a more
straightforward fashion. After the opening declamatory statements, the following sections
move between more free developmental techniques, based on the first movement’s
transformations, and “motet†sections – using cantus firmus methods and textures from
Renaissance music. The tone and palate is, however, much darker and more obsessive.
There is a brooding ponderousness to these contrapuntal developments. The final motet
section ends in a rageful shout, the plainchant material is presented again in full force, and the
pent-up energy dissipates to the close.

Flute
Oboe
Clarinet in Bb
Bass Clarinet in Bb
Bassoon
Horn in F/Bb
Trumpet in C
Trombone
Percussion (1 player):
tubular bells, vibraphone
(Percussionist needs one rosined bow for vibraphone.)
Piano
Violin I
Violin II
Viola
Cello
Contrabass
(single strings)

This is the complete set of parts.  The full score and the individual parts are avaialbe as seperate items.

Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, full set of parts on
$64.95 62.38 € PDF SheetMusicPlus

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.533672

Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672).

Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne Contemporary
Ensemble and is dedicated to composer David Stock. Throughout his career, Stock has been
a tireless and generous advocate on behalf of new music and living composers. This work is
dedicated to him in tribute – as both an important American composer and a significant
contributor to America’s contemporary musical life.
The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –
appropriate because of Duquesne’s standing and history as a Catholic university. When the
composition of this work first began, the original plan was for a celebratory and vibrant piece.
As the planning progressed, however, personal circumstances intervened and began to change
the work’s tone – becoming substantially bleaker and more obsessive.
The title of the first movement, Pentimento, is defined as “an underlying image in a painting,
as an earlier painting, that shows through when the top layer of paint has become transparent
with age.†The melodic and harmonic material for the movement is entirely drawn from the
plainchant source, although it is completely transformed and covered up – as in a pentimento.
At various points, one can begin to hear the original plainchant “peek out†in subtle ways.
The opening section of the movement obsesses again and again on what sounds like a
“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, a
fast and driving section starts, marked “sinister.†After driving through a series of
transformations on the plainchant material, a bridge passage leads to further attempts at the
“beginning†again. Finally, these attempts are given up, and the plainchant material (the
underlying layer) begins to show through quietly – in preparation for the next movement.
In the second movement, Interrupted Motet, the plainchant theme is used in a more
straightforward fashion. After the opening declamatory statements, the following sections
move between more free developmental techniques, based on the first movement’s
transformations, and “motet†sections – using cantus firmus methods and textures from
Renaissance music. The tone and palate is, however, much darker and more obsessive.
There is a brooding ponderousness to these contrapuntal developments. The final motet
section ends in a rageful shout, the plainchant material is presented again in full force, and the
pent-up energy dissipates to the close.

Flute
Oboe
Clarinet in Bb
Bass Clarinet in Bb
Bassoon
Horn in F/Bb
Trumpet in C
Trombone
Percussion (1 player):
tubular bells, vibraphone
(Percussionist needs one rosined bow for vibraphone.)
Piano
Violin I
Violin II
Viola
Cello
Contrabass
(single strings)

This is the score only.  The complete parts and each seperate part are also available as seperate items.

Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only Orchestre de chambre

$25.95 24.92 € Orchestre de chambre PDF SheetMusicPlus

Large Ensemble Cello,Clarinet,Double Bass,Flute,Multi-Percussion,Trombone,Viola - Level 5 - Digital Download

SKU: A0.533688

Composed by Musik Fabrik Music Publishing. Concert,Contemporary,Standards. Score and parts. 26 pages. Musik Fabrik Music Publishing #3038603. Published by Musik Fabrik Music Publishing (A0.533688).

Concerto for Bass Trombone and Six Players (2006) was commissioned by the Carnegie
Mellon School of Music for the Carnegie Mellon Contemporary Ensemble, Walter Morales,
director. The work is dedicated to trombonist Jim Siders, for whom the solo part was written.
The work is scored for solo bass trombone with an ensemble of primarily “dark†instruments
– alto flute, clarinet, viola, cello, contrabass, and percussion. The solo bass trombone is the
focal point of the musical discourse, acting throughout largely as a protagonist – with much
material best described as bitterly lyrical. The work maintains a generally dark, obsessive,
and bitter tone throughout.
Unlike some concerti, however, the work is not about an aggression between soloist and the
rest of the ensemble. Rather the bass trombone is “first†among a collection of like minded
individuals – all expressing the same sentiments and aggressions.
The opening section is marked “spasmodic.†Quiet nervous twitches serve as a backdrop to a
melodic unfolding of the basic material and interval content. The end of this part “breaks
apart†to reveal a section marked “slow, otherworldly.†The harmonic material starts modal,
open, and “distant†in feeling (perhaps a recollection of a distant past) before becoming
gradually gnarled again.
The trombone leads towards the next section: an ever-building athletic “moto perpetuo.†This
reaches its peak in an aggressive and horribly angry climax – with a wide-ranging trombone
part marked “wildly raving; insane, uglyâ€, obliterated by bass drum hits and shrieking
hammer blows from the other instruments.
A nervous and timid interlude returns to the nervous twitching of the opening – though
everything is slightly slower and more hushed than before, finally breaking off into an
enigmatic coda.

Alto Flute
Clarinet in Bb
Percussion (1 player):
bass drum, marimba, crotales
(Percussionist needs one rosined bow for crotales.)
Viola
Cello
Contrabass

This is the score only.   The score and parts are sold as another item

Carson Cooman: Concerto for Bass Trombone and Six Players (2006), score only
$19.95 19.16 € PDF SheetMusicPlus


<  1 ....31 46 61 76 91 ....1966 > 




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