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Alto Voice,Piano Accompaniment,Soprano voice - Level 3 - Digital Download

SKU: A0.1340202

Composed by Connie Boss. Arranged by Connie Boss. Easter,Lent,Religious,Sacred. 13 pages. Connie Boss #925873. Published by Connie Boss (A0.1340202).

This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.
This arrangement is in the key of G and is for soprano and alto and piano.  I will have it in a lower range in key of C for mezzon soprano and alto or alot and tenor as well.

questions or requests, email cdboss@cvalley.net

Lyrics:

Persecuted then Crucified

Refrain:

Persecuted, then crucified

Up to the moment when he died

Verse 1:

They stripped him of all His clothes

Then they gave Him a scarlet robe 

A crown of thorns placed on His head

Blood ran down His face until His death

Refrain:

Verse 2:

He Carried the cross to Calvary

Where it was His destiny

They nailed His feet and then His hands

Among two thieves the cross would stand
Refrain:
Bridge 1:

He saved others but he can’t save himself! 

He says He is the king of Israel! 

Let him come down from the cross, 

Then, we will believe in him.

Refrain:

Verse 3:

They put sour wine to His mouth

He did not drink it but spat it out

They divided up all His clothes

With the dice that they had rolled

Refrain 2:

Persecuted, then crucified

Up to the moment when he died

Then He gave His final cry

“Father please forgive     themâ€

Bridge 2:

Then he hung his head to die

Then the sky grew dark and dim

Terrified, the people then realized

He truly was the son of God

 

Final ending:

Persecuted, then crucified

Up to the moment when he died.

Persecuted Then Crucified duet and piano key of G for soprano and alto

$5.99 5.67 € PDF SheetMusicPlus

Alto Voice,Bass Voice,Cello,Flute,Piano Accompaniment,Soprano voice,Tenor Voice,Violin - Level 3 - Digital Download

SKU: A0.1343035

Composed by Connie Boss. Arranged by Connie Boss. Easter,Holiday,Lent,Religious,Sacred. 34 pages. Connie Boss #928546. Published by Connie Boss (A0.1343035).

This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.
This arrangement is in the key of G and is for SATB, flute or violin or cello and piano. Parts are included with purchase. I will have it in a lower range in key of C for mezzon soprano and alto or alot and tenor as well.

questions or requests, email cdboss@cvalley.net

Lyrics:

Persecuted then Crucified

Refrain:

Persecuted, then crucified

Up to the moment when he died

Verse 1:

They stripped him of all His clothes

Then they gave Him a scarlet robe 

A crown of thorns placed on His head

Blood ran down His face until His death

Refrain:

Verse 2:

He Carried the cross to Calvary

Where it was His destiny

They nailed His feet and then His hands

Among two thieves the cross would stand
Refrain:
Bridge 1:

He saved others but he can’t save himself! 

He says He is the king of Israel! 

Let him come down from the cross, 

Then, we will believe in him.

Refrain:

Verse 3:

They put sour wine to His mouth

He did not drink it but spat it out

They divided up all His clothes

With the dice that they had rolled

Refrain 2:

Persecuted, then crucified

Up to the moment when he died

Then He gave His final cry

“Father please forgive     themâ€

Bridge 2:

Then he hung his head to die

Then the sky grew dark and dim

Terrified, the people then realized

He truly was the son of God

 

Final ending:

Persecuted, then crucified

Up to the moment when he died.

Persecuted Then Crucified SATB flute or violin or cello with piano

$7.99 7.56 € PDF SheetMusicPlus

Alto Voice,Flute,Piano Accompaniment,Soprano voice - Level 3 - Digital Download

SKU: A0.1342281

Composed by Connie Boss. Arranged by Connie Boss. Easter,Holiday,Lent,Religious,Sacred. 21 pages. Connie Boss #927797. Published by Connie Boss (A0.1342281).

This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.
This arrangement is in the key of G and is for duet, flute or violin or cello and piano. Parts are included with purchase. I will have it in a lower range in key of C for mezzon soprano and alto or alot and tenor as well.

questions or requests, email cdboss@cvalley.net

Lyrics:

Persecuted then Crucified

Refrain:

Persecuted, then crucified

Up to the moment when he died

Verse 1:

They stripped him of all His clothes

Then they gave Him a scarlet robe 

A crown of thorns placed on His head

Blood ran down His face until His death

Refrain:

Verse 2:

He Carried the cross to Calvary

Where it was His destiny

They nailed His feet and then His hands

Among two thieves the cross would stand
Refrain:
Bridge 1:

He saved others but he can’t save himself! 

He says He is the king of Israel! 

Let him come down from the cross, 

Then, we will believe in him.

Refrain:

Verse 3:

They put sour wine to His mouth

He did not drink it but spat it out

They divided up all His clothes

With the dice that they had rolled

Refrain 2:

Persecuted, then crucified

Up to the moment when he died

Then He gave His final cry

“Father please forgive     themâ€

Bridge 2:

Then he hung his head to die

Then the sky grew dark and dim

Terrified, the people then realized

He truly was the son of God

 

Final ending:

Persecuted, then crucified

Up to the moment when he died.

Persecuted Then Crucified duet, flute or violin or piano with piano key of G

$7.99 7.56 € PDF SheetMusicPlus

Alto Voice,Piano Accompaniment,Soprano voice - Level 3 - Digital Download

SKU: A0.1340300

Composed by Connie Boss. Arranged by Connie Boss. Easter,Lent,Religious,Sacred. 12 pages. Connie Boss #925973. Published by Connie Boss (A0.1340300).

This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.
This arrangement is in the key of G and is for a solo voice with a harmony voice and piano.  I have it in a lower range in key of C for mezzon soprano and alto or alot and tenor as well.

questions or requests, email cdboss@cvalley.net

Lyrics:

Persecuted then Crucified

Refrain:

Persecuted, then crucified

Up to the moment when he died

Verse 1:

They stripped him of all His clothes

Then they gave Him a scarlet robe 

A crown of thorns placed on His head

Blood ran down His face until His death

Refrain:

Verse 2:

He Carried the cross to Calvary

Where it was His destiny

They nailed His feet and then His hands

Among two thieves the cross would stand
Refrain:
Bridge 1:

He saved others but he can’t save himself! 

He says He is the king of Israel! 

Let him come down from the cross, 

Then, we will believe in him.

Refrain:

Verse 3:

They put sour wine to His mouth

He did not drink it but spat it out

They divided up all His clothes

With the dice that they had rolled

Refrain 2:

Persecuted, then crucified

Up to the moment when he died

Then He gave His final cry

“Father please forgive     themâ€

Bridge 2:

Then he hung his head to die

Then the sky grew dark and dim

Terrified, the people then realized

He truly was the son of God

 

Final ending:

Persecuted, then crucified

Up to the moment when he died.

Persecuted Then Crucified solo and some harmony with piano key of G

$5.99 5.67 € PDF SheetMusicPlus

Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 2 - Digital Download

SKU: A0.522286

Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 50 pages. Colin Kirkpatrick Publications #6596257. Published by Colin Kirkpatrick Publications (A0.522286).

We’re really excited to present our collection of sixty of the best-loved hymns ever composed, presented in three books. Arranged for violin, cello and piano they are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. To make the music accessible to less experienced string players, the range of the notes has been kept fairly low so that many of the arrangements can be played in first position, though more experienced players would probably want to avoid open strings. The cello part does not follow the bass but instead plays an independent tenor line using to the mid to upper range of the instrument. The top note in the cello part is the F sharp above the bass clef. The piano part has been kept as straightforward as possible with the left hand playing the bass part.

To extend the possible uses of this collection, there’s also a melody part printed in the bass clef, an octave lower than the violin part. This could of course be used for cello solo or indeed for any other bass clef instrument. Included in the 50-page PDF file is an optional bass part which follows the piano left hand and could be used for string bass or bass guitar. With such a small ensemble, a conductor is hardly necessary and to save on costs the pianist reads from the score. For this reason, the piano part in the score has been slightly enlarged.

Book 1 contains the following twenty popular hymns: Abide with Me (Eventide); All Glory, Laud and Honor (St. Theodulph); All Hail the Power of Jesus' Name (Coronation); All Through the Night (Ar Hyd y Nos); City of God, How Broad and Far (Richmond - Haweis); Fairest Lord Jesus (Crusader’s Hymn); Fight the Good Fight (Duke Street); Forth in Thy Name (Angel's Song, Song 34); Guide Me, O Thou Great Redeemer (Cwm Rhondda); He who Would Valiant Be (Monk’s Gate); Holy, Holy, Holy! (Nicea); I Heard the Voice of Jesus Say (Kingsfold); Jesu, Lover of my Soul (Aberystwyth); Nearer my God to Thee (Bethany); Now Thank We All Our God (Nun Danket); O Worship the King (Hanover); Rejoice, the Lord is King (Darwall’s 148th); Soldiers of Christ, Arise (Diademata); The Lord’s my Shepherd (Crimmond); What a Friend we Have in Jesus (Converse).

The music has been set in string-friendly keys so they are not compatible with the brass or wind publications of the same name. The audio samples include Abide with Me; All Through the Night; I Heard the Voice of Jesus Say; Nearer my God to Thee and What a Friend we Have in Jesus.


The Best Hymns of All Time (Violin, Cello and Piano) Book 1

$15.99 15.14 € PDF SheetMusicPlus

Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download

SKU: A0.1308788

Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi Crawford #898034. Published by Tobi Crawford (A0.1308788).

*Purchase 10 copies to perform this piece with your ensemble of any size
*Purchase the instrumental pack (bass and drum part) here: https://www.sheetmusicplus.com/en/product/beyond-the-sea-instrumental-pack-only-22605052.html

This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll.

 

One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them.

 

Somewhere beyond the sea

She’s there watching for me

…

It’s far beyond the stars

It’s near beyond the moon

 

And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan.

 

Performance Suggestions: 

The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.

Beyond The Sea
Chorale SATB

$10.00 9.47 € Chorale SATB PDF SheetMusicPlus

Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download

SKU: A0.1308790

Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. Set of parts. 10 pages. Tobi Crawford #898036. Published by Tobi Crawford (A0.1308790).

*THIS ACCOMPANIES THE VOCAL ARRANGEMENT* 

This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll.

 

One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them.

 

Somewhere beyond the sea

She’s there watching for me

…

It’s far beyond the stars

It’s near beyond the moon

 

And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan.

 

Performance Suggestions: 

The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.

Beyond The Sea *INSTRUMENTAL PACK ONLY*
Ensemble Jazz

$30.00 28.4 € Ensemble Jazz PDF SheetMusicPlus

Boomwhackers,Piano Accompaniment,Voice - Level 2 - Digital Download

SKU: A0.565102

By Sharon Wilson. By Folk Song and Netherlands Folk Song. Arranged by Sharon Wilson and Sharon Wilson Music. Children,Christian,Folk,Holiday,Sacred. 10 pages. Sharon Wilson #3416477. Published by Sharon Wilson (A0.565102).

This arrangement is for voice (either solo or unison group singing) with chord accompaniment using 8-note (C major diatonic scale) Boomwhackers® and an optional easy Piano accompaniment. The following pages provide several options for learning, teaching, and enjoying this timeless hymn.

This packet includes the following pages:
*   chord chart using colored noteheads corresponding to the Boomwhackers® color system
*  2-page combined score with the melody (for voice with the lyrics for one verse) on the top staff and Boomwhackers® 3-note chords on the bottom staff
*  1-page melody staff with lyrics and chord names (referring to the chord chart, follow the chord names above the staff to whack out the 3 beats in each measure using the corresponding Boomwhackers®
*  1-page with lyrics and chords for 3 verses divided into beats (referring to the chord chart, whack out the beat using the corresponding chord indicated above each syllable, word, or phrase); this page is most useful once the melody and rhythm have been learned
*  1-page piano accompaniment score (the right hand plays the melody, especially helpful if the melody is unfamiliar)

This arrangement is one of the hymns in a series of
Timeless Hymns for Voice and Boomwhackers®. These hymn arrangements provide an excellent teaching tool for families, schools, churches, and other children's ministries. Children will enjoy learning the lyrics and tunes of these classic hymns while accompanying themselves by whacking out chords with the Boomwhackers®. Frequent use of these songs will store the hymns' messages in their memory which they will cherish throughout their lifetime.

Other suggestions and uses:
*   have the melody played by other instruments with a range of middle C to the second D above such as 20-note handbells, xylophones, or recorders; alternate singing one verse with playing an instrument on the melody for a second verse
*  use multiple sets of Boomwhackers® to amplify the sound and allow more people to enjoy whacking the tubes
*   use as part of the music education for children at school, home, or church
*  these colorful, inexpensive instruments can be enjoyed by all ages and add a fun, unique element to activities and programs: senior centers, family reunions, church retreats, home school groups, just to name a few

Permission is granted to make as many copies as needed for one family, church, or other group.

Boomwhackers® is a registered trademark of Rhythm Band Instruments, LLC. Used by permission.

Visit Sharon Wilson's website: www.SharonWilsonMusic.com
Subscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
We Gather Together (for Voice and 8-note Boomwhackers®) Sharon Wilson
$5.99 5.67 € PDF SheetMusicPlus

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.890767

Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 pages. Sneakwood Editions #4781035. Published by Sneakwood Editions (A0.890767).

Edition based on Ms. D MÃœu, ms. 775

Score (20 pages) and Parts (friendly performance edition): Violino principale, Violin I, Violin II, Violin III, Viola, Violoncello and Harpsichord.

The Violin Concerto in A major (TWV 51:A4), which has come to light only fairly recently, does not take as its musical model the song of the nightingale (as in ‘La Bizarre’ [TWV 55:G2]) or of the goldfinch (Vivaldi), but the croaking of the common frog, also called ‘Reling’ in certain regions of Germany, whence the concerto’s subtitle. Nothing better could be expected of a composer who found inspiration even in crows and in the out-of-tune playing of village musicians! Although this concerto, which the manuscript attributes to Telemann, bears traces of his personal style, other features, such as the exceptionally high solo part, leave room for doubt. At a structurally important point in the first movement the soloist produces no more than a succession of repeated notes, ‘a-a, a-a’, which infect the other parts as well. Of course, this is the vowel that the frog croaks, given a distinctive tone-colour by use of the open A string and stopped D string. But worse is to come. In the second ritornello the orchestral violins ‘forget’ the beginning of their theme, whilst the cello inappropriately pushes its way into the foreground. The setting of the second movement (Adagio), probably a moonlit stretch of shallow water, then audibly inspires a pair of courting frogs to make sweet music together. We are given the opportunity to rejoice in their croaking offspring in the concluding Menuet and its rapid Double. This movement entirely dispenses with concertante sounds of nature and thereby betrays its origins in the suite, where it always takes its accustomed place in Telemann’s music. If we knew that a satirist was at work in this ‘Relinge’ Concerto, someone who was deliberately exhibiting all these deviations from good taste, then we could infer with some certainty that the composer is indeed Telemann. Since his own concertos ‘smack of France’ (as he puts it in his autobiography of 1718), we may most likely credit him with permitting his not at all ‘sullen old heart’ a little joke at the expense of the relevant concertos of a certain Italian composer… – Peter Huth (trans. Charles Johnston)

www.snakewoodeditions.com

TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
Orchestre de chambre

$18.00 17.04 € Orchestre de chambre PDF SheetMusicPlus

Choral Choir (SAB) - Level 3 - Digital Download

SKU: A0.1120365

By Philip Le Bas. By J-B Lully / G Bizet. Arranged by Philip Le Bas. Christmas,Praise & Worship,Religious,Sacred,Traditional. Octavo. 8 pages. Philip Le Bas #721616. Published by Philip Le Bas (A0.1120365).

A new arrangement by Philip Le Bas of a thirteenth century French Christmas carol from Provence harmonized by Jean-Baptiste Lully (1632-87, attrib.) and, more famously, by Georges Bizet (1838-75, in his L'Arlesienne Suite of 1872.) In France the melody is still tightly associated with Christmas, and French audiences start singing their own Christmas words whenever they hear the melody (the arranger has heard it himself!) The English translation used here is adapted from a variety of sources. The three kings (or more precisely the magi from St Matthew's gospel) are seen marching towards Bethlehem with their fantastic golden wealth and grandeur. But why are they going to see a low-born baby and why do they worship this child who will die on a cross? The organ sets the scene from the beginning with its marching accompaniment, and the first verse is sung in unison by all three parts. The second begins with a canon, as used by Bizet, and then breaks into harmony. The first section of the third verse is much quieter and legato, sung by the sopranos and altos, using wonderful chromatic harmonies based on another section from Bizet's suite. The lyrics express wonder at the beautiful music heard from the camp of the kings. The second section, sung in differentiated unison then begins to wonder why the kings stoop so low to a baby in a manger. Finally the fourth verse, sung in full harmony, returns to the marching accompaniment and reiterates the amazement of meeting these kings with their mysterious mission. The carol is aimed at parish choirs with limited resources, but a good organist. The melody is well-known, much of it is in unison, and other sections are relatively easy to sing. Care should however should be taken to sing the dotted rhythms accurately - this is what gives the carol its marching character.

March of the Kings
Chorale 3 parties
Philip Le Bas
$1.99 1.88 € Chorale 3 parties PDF SheetMusicPlus

Choral Choir,Choral,SATB Chorus - Level 1 - Digital Download

SKU: A0.1501022

By Wrabel. By Andrew Jackson, Andrew Pearson, and Stephen Wrabel. Arranged by David Jayden Anthony. Pop,Singer/Songwriter. 10 pages. D'Jam Music #1076976. Published by d'Jam Music (A0.1501022).

A Powerful Anthem for LGBTQIA+ Pride and Inclusion
 

Dive into the heart of resilience and authenticity with our SATB choral arrangement of The Village by Wrabel. This powerful and moving song has become an anthem for the LGBTQIA+ and queer communities, capturing the struggles, strength, and spirit of those who have faced adversity simply for being true to themselves.

Why The Village Matters: The Village resonates deeply within the LGBTQIA+ community, offering a voice to those who feel misunderstood or marginalized. With lyrics that speak to the experience of feeling out of place in a world that doesn’t always understand, this song is a heartfelt reminder that there is a place—a village—for everyone. It's a celebration of diversity, acceptance, and the courage it takes to live openly and authentically. The song’s powerful message of self-acceptance and unity strikes a chord with listeners, making it a meaningful addition to pride concerts, LGBTQIA+ events, and any gathering that celebrates inclusion and equality.

About the Arrangement: Our SATB choral arrangement of The Village captures the emotional depth and poignancy of Wrabel's original song while enhancing its harmonic richness through beautiful four-part vocal harmonies. The arrangement is designed to highlight the song’s heartfelt lyrics and dynamic melody, creating an unforgettable musical experience. This arrangement is perfect for choirs looking to make a bold statement about love, acceptance, and human rights, while showcasing their vocal talents in a deeply emotional performance.

Perfect for Pride Concerts and Beyond: Including The Village in your repertoire is more than just a performance—it's a powerful statement of solidarity and support for the LGBTQIA+ community. Ideal for pride concerts, LGBTQIA+ awareness events, and other celebrations of diversity, this arrangement allows choirs to engage audiences with a message of hope and unity. It serves as a reminder that no matter how different we may feel, we are all part of a larger community—a village—that values love, acceptance, and equality.

Key Features:

  • Powerful lyrics that resonate with LGBTQIA+ and queer audiences
  • Rich SATB harmonies that enhance the song’s emotional impact
  • Ideal for pride concerts, LGBTQIA+ events, and diversity celebrations
  • A meaningful addition to any choral program focusing on themes of acceptance and inclusivity
By bringing The Village to your choir, you're not just performing a song—you're sharing a message of hope, love, and community that will resonate with all who hear it. Celebrate the power of music and the strength of the LGBTQIA+ community with this unforgettable SATB choral arrangement.

We would love to see video (or hear audio) of performance or rehearsals! (david@davidja.com).

The Village
Chorale SATB
Wrabel
$4.50 4.26 € Chorale SATB PDF SheetMusicPlus

Piano - Level 3 - Digital Download

SKU: A0.1207336

By Keith Terrett. By Frederick M. Lehman. Arranged by Keith Terrett. Historic,Multicultural,Patriotic,Praise & Worship,Traditional,World. Score (Chords/Lyrics). 3 pages. Keith Terrett #805498. Published by Keith Terrett (A0.1207336).

The Pitcairn Islands are a remote British colony in the South Pacific, famous for being the site where the mutineers from the HMS Bounty landed. The islands’ population have always been very small (currently numbering around 50), yet, aside from the official anthem of God Save the King (which is not heard often on the islands), there have been, and continue to be, many unofficial anthems in use in the colony.

In Diana Jolliffe Belcher’s 1871 book “The Mutineers of the Bounty and their Decendants in Pitcairn and Norfolk Island†it is reported that a local poem by Rev. G. H. Nobbs was set to the tune “Rousseau’s Dream†(sheet music) and was considered by Pitcairners to be their anthem at the time. It is not known for how long this was considered as their anthem, however. Also, in 1856, several Pitcairners resettled on Norfolk Island as Pitcairn had become too small. The local anthem now in use on Norfolk Island, Come Ye Blessed, is also referred to as the “Pitcairn Anthemâ€, and more than likely was brought to the island by the Pitcairn settlers, suggesting that this anthem was in use on Pitcairn at that time, and is also heard on Pitcairn currently.

Currently, the song “We From Pitcairn Island†(to the tune of the hymn “The Royal Telephoneâ€) is used as an unofficial anthem at gatherings and the like. The lyrics were written by Pitcairner Melva Evans with assistance from the local Seventh Day Adventist Pastor L. A. J. Webster in 1962 to be performed by the school children on board a visiting cruise ship, but the song became identified by residents as their unofficial anthem. Other songs, such as “The Goodbye Song†(written by Pitcairner Amelia Young), and the hymn “In The Sweet By and By†are considered unofficial “Pitcairn songs†at gatherings as well. (“Goodbye songsâ€, sung to ships as they leave the country, are a tradition in many Polynesian islands, and are part of the patriotic music of those countries.).

Pitcairn Local Anthem (The Royal Telephone/We From Pitcairn Island”) for Voice & Piano
Piano seul
Keith Terrett
$4.99 4.72 € Piano seul PDF SheetMusicPlus

Piano Trio - Level 1 - Digital Download

SKU: A0.548647

Composed by Wade. Arranged by James M. Guthrie, ASCAP. Christmas. 7 pages. Jmsgu3 #3407487. Published by jmsgu3 (A0.548647).

O Come, All Ye Faithful

O Come, All Ye Faithful arranged for piano trio ( piano, violin & cello) featuring a thought-provoking re-harmonization of the final verse. O Come, All Ye Faithful is an English translation of the Latin Christmas carol Adeste Fideles. No one knows exactly who wrote it. One theory holds that King John IV of Portugal (1604–1656) wrote it. Another view says John F. Wade or John Reading wrote it. Nowadays, we usually attribute it to John Wade. It seems like Stonyhurst College in Lancashire owns the oldest manuscript. It is from the year 1751.

Lyrics

Frederick Oakeley, a Catholic priest in 1841, wrote the English translation. This translation is probably the most common in English-speaking states. To begin with, the hymn had only four verses. Later, the verses grew to eight. Music directors often cut various verses because otherwise, the song goes too long. Some believe that St. Bonaventure wrote the first Latin lyrics. Others hold that King John IV of Portugal is responsible. Yet even others think the Cistercian monks wrote them.

King John IV

His subjects called King John IV of Portugal The Musician King. He became king in 1640. In addition to performing the duties of a king, he composed and wrote as a music journalist. King John built an extensive music library. Unfortunately, the massive earthquake in Lisbon ruined the library in 1755. In addition to making his library, the king started a Music School that produced many accomplished musicians. The king also worked diligently to get instrumental music approved by the Vatican for use in his churches. Aside from his authorship of Adeste Fideles, he is famous for another popular choral setting of the Crux Fidelis, a prevalent Lenten hymn.

Performance in Context

Verses are sometimes left out because all eight verses would take too long to perform. More to the point, though, some of the poems may be unsuitable for whatever church calendar they are intended. The eighth verse deals with the Epiphany, so it makes sense to sing this on Epiphany Sunday but not on other Sundays. Similarly, other poems are used for whether the event is Midnight Mass or regular daytime Mass.

 

O Come All Ye Faithful for Piano Trio
Piano Trio: piano, violon, violoncelle

$24.95 23.62 € Piano Trio: piano, violon, violoncelle PDF SheetMusicPlus

Choral Choir (Mixed) - Level 3 - Digital Download

SKU: A0.784819

Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. Octavo. 27 pages. DF McCorkle Music and eBook Publications #11651. Published by DF McCorkle Music and eBook Publications (A0.784819).

ACT ONE: Song 6. The King, by Dennis McCorkle, is a contemporary pop-rock musical of the first two kings of Israel, Saul ben Kish and David ben Jesse and explores the contrasting lives and outcome of each man’s choices in life. [1 Samuel 9:1-2 - Now there was a man of Benjamin, whose name was Kish, the son of Abiel, the son of Zeror, the son of Becorath, the son of Aphiah, the son of a Benjamite, a mighty man of valour. 2 And he had a son, whose name was Saul, young and handsome, and there was not among the children of Israel a more handsome person than he: from his shoulders and upward he was taller than any of the people.] The next day, SAMUEL returns to the town and assembles the people by their clans. The ELDERS, who have already decided who they want as king, go from clan-to-clan making a pretense in their selection. When their pick, SAUL, cannot be found they broaden their search and finally find him asleep in the cart that had arrived in with the caravan. Waking him, he stands up and is ‘a head taller’ than everyone else. They shout, Look whom God has chosen as our king, there is no one else like him here. [A Head Above the Rest – Elders]. Also included with your order is our new 20 page catalog of over 150 titles at no additional charge.

A Head Above the Rest (Elders) from "The Kings" - ACT 1:Song 6
Chorale SATB

$2.99 2.83 € Chorale SATB PDF SheetMusicPlus


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