String Orchestra - Level 3 - Digital Download SKU: A0.601846 Composed by Johann Sebastian Bach. Arranged by Flávio Régis Cunha. 20th Century,Baroque,Instructional,Standards. Score and parts. 17 pages. Flavio Regis Cunha #4596887. Published by Flavio Regis Cunha (A0.601846). This string orchestra arrangement by Prélude Suite No. 1 in G Major (BWV 1007) for Cello Solo is an original composition made to accompany the traditional Prelude to solo violoncello of the famous suite n. 1 of Bach. It is a proposal where the string orchestra talks delicately with the cello soloist, without removing the brilliance and the importance of the solo cello. It is an interesting piece to present as an option to the public, since the original piece of Bach is constantly presented. It will be useful for concerts, recitals, weddings, and educational purposes. You and your orchestra will love playing this piece.Flavio Regis Cunha is a pianist, conductor and composer from São Paulo - Brasil. He is currently finishing his doctorate at Mackenzie Presbyterian University where he works as conductor of the Mackenzie University Orchestra and resident composer. For more arrangements like this, works by commission or for any questions you can contact Flavio Regis Cunha at his facebook page: https://www.facebook.com/flavioregiscunha

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Lyons Music Services #6422239. Published by Lyons Music Services (A0.767578). These three pieces form a small suite, linked by the idea of ‘pastoral’ or rustic situations and places.   The first piece to be written now forms the middle movement, though at first it was the starting point.   This is not easy music. It travels through several keys with large numbers of sharps and flats and in places the time signature shifts constantly. The first movement is modal, being based on the mixolydian and dorian modes. I took for this movement the idea of ancient Celts celebrating a victory and dancing and getting drunk around a smoky fire. Their chieftain strikes up a song, accompanied by a double drone.   This melody is initially stated on the horn, with just two other instruments providing the accompaniment. At 4 before B, the remaining instruments join in, providing a rhythmic pulse and the melody moves to the Euphonium/Baritone/Trombone. Subtle variations shape the melody anew, leading to letter C. Here the complex overlapping rhythms provide a more dance-like feel to the music. Also, countermelodies start to appear which build the excitement.   At letter E, the music becomes louder and the rhythmic pulse more insistent (perhaps they are dancing on the tables?) The mode changes to the more major sounding mixolydian. But from here on in, the revellers are starting to wend their way home, still singing and dancing and they gradually fade into the distance. At letter G, we’re back to three players, but with the trumpet 1 playing a rhythmic melody over the top of the original tune.   The second movement is called The Aesthetes. The aesthetic movement was formed in the 19th century, but had been around before that in less formal garb. Their ideal was to emulate the Ancient Greeks and Romans – or at least their perception of what the ancients were like as found in statues, paintings and friezes. They adopted studied poses and were very effete in their mannerisms. Gilbert and Sullivan parodied the aesthetic movement in their operettas – particularly Princess Ida (but also in the Mikado and various others).   So, here is a movement with classical lines in the style of a minuet, but in 6/8 rather than ¾ so that it can be more languid. All the melodies are ‘studied’ and ‘formal’ with long, languid notes and rhythms which don’t quite fit to the beat as the aesthetes pose and ponder and languidly look, studied and pale and wan.   Because of the long notes in the melody, there’s an almost dream-like quality to the music as if they are seeing through a haze of Wormwood or Absinthe (a favourite drink of the aesthetes when they weren’t high on themselves or opiates).   The third and final movement is called The Bohemians. This was also a movement at the end of the 19th Century. Where the aesthetes were ruled by rules, the Bohemians lived by none. They were considered wild and unconventional to say the least.   The Bohemians movement owed much to the supposed free life and style of the gypsies and wanderers of Europe. Our piece starts with a gypsy violin style opening, including a cadenza, and then moves into the rapidly time shifting and gyrating gypsy dance.   This section is in alternating bars of 5/8 and 6/8 with occasional 11/8 thrown in to keep you off balance. The frantic and frenetic movement continues up to letter F where things calm down a little – but not for long as the intensity increases again from Letter H to the quite sudden ending.   This is tuneful yet challenging music which will take a lot of effort, but which will give a lot back in return.

Flute Duet Flute - Digital Download SKU: A0.955433 Composed by Neal Fitzpatrick. Arranged by Neal Fitzpatrick. Contemporary. Score. 3 pages. Neal Fitzpatrick Editions #6063871. Published by Neal Fitzpatrick Editions (A0.955433). This is a fun little piece for flute duet. This Fancy For Two Flutes No.1 is based on work I've written for the guitar. It is essentially a direct transcription and so it is captures the drive, tonal relationships and flow one might expect in a stringed, fretted instrument but through the medium of two flutes. It's ideal for a teacher-student duet, ensemble performance, or technical exploration.Guitarist Neal Fitzpatrick has a B.M. from the Hartt School where he studied with Alan Spriestersbach and his M.M. from The Yale School of Music where he studied with Benjamin Verdery. He also studied  extensively with Sharon Isbin and Sal Salvador. Based in Connecticut, he is active as a soloist and in the chamber music scene. You can contact him here:http://www.nealfitzpatrickguitar.com

Instrumental Duet Guitar,Instrumental Duet - Digital Download SKU: A0.955452 Composed by Neal Fitzpatrick. Contemporary. Score and parts. 17 pages. Neal Fitzpatrick Editions #6681745. Published by Neal Fitzpatrick Editions (A0.955452). This  duet is Magenta Skies for Two Guitars. It is centered around the tonal area of A Major and it's running time approximately 2:32. It was composed by Neal Fitzpatrick in 2022.This set contains the score and parts. Guitarist Neal Fitzpatrick has a B.M. from the Hartt School where he studied with Alan Spriestersbach and his M.M. from The Yale School of Music where he studied with Benjamin Verdery. He also studied  extensively with Sharon Isbin and Sal Salvador. Based in Connecticut, he is active as a soloist and in the chamber music scene. You can contact him here:http://www.nealfitzpatrickguitar.comhttps://www.youtube.com/channel/UCqZJwiMXPYbpckJVveQ6qag

Oboe Duet Oboe - Digital Download SKU: A0.955435 Composed by Neal Fitzpatrick. Arranged by Neal Fitzpatrick. Contemporary. Score. 4 pages. Neal Fitzpatrick Editions #6063933. Published by Neal Fitzpatrick Editions (A0.955435). This is a fun little piece for violin duet. This Fancy For Two Oboes No.1 is based on work I've written for the guitar. It is essentially a direct transcription and so it is captures the drive, tonal relationships and flow one might expect in a stringed, fretted instrument but through the medium of two oboes. It's ideal for a teacher-student duet, ensemble performance, or technical exploration.Guitarist Neal Fitzpatrick has a B.M. from the Hartt School where he studied with Alan Spriestersbach and his M.M. from The Yale School of Music where he studied with Benjamin Verdery. He also studied  extensively with Sharon Isbin and Sal Salvador. Based in Connecticut, he is active as a soloist and in the chamber music scene. You can contact him here:http://www.nealfitzpatrickguitar.com

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.773330 Composed by Various. Arranged by Yoel Epstein. Christian,Contemporary,Jewish,World. Score and parts. 37 pages. Yoel Epstein #4285845. Published by Yoel Epstein (A0.773330). These six songs have become icons of remembrance of the six million Jews who died in the Holocaust. They are traditionally played on Holocaust Day, which is on the 28th day of the Hebrew month of Nissan in Israel, or January 27th in the rest of the world. Unter Dyne Vyse Shteren (Under the Starry Sky) was written by Avraham Sutskover, a leading Yiddish poet, while trapped in the ghetto of Vilna, in July 1943. Days before the ghetto was destroyed and all the Jews murdered, Sutskover escaped to the forest with his wife. He reached Russia, and in 1947 moved to Palestine. He died in Israel in 2010 at the age of 96. The poem was set to music by Avraham Brodna, a simple laborer in the Vilna ghetto who died in a concentration camp. Ani Maamin (I Believe): The words to this simple song are of the Jewish prayer I believe with perfect faith in the coming of the Messiah. The tune is attributed to Azriel David Festig, a leading Warsaw hazzan (cantor) who died in the Holocaust. The song was performed after the war by Rabbi Shaul Yedidia Eliezer Taub, the Admor (Rabbinical leader) of the Modzitz Hassidic sect, and has become the iconic song of the remembrance in the Hassidic community. Shtiller Shtiller (Hush Hush) was written by Alexander Volkovitzky, then a 12-year-old boy, in the Vilna Ghetto in the spring of 1943. Volkovitzky, who wrote the melody for a song contest organized to encourage the cultural life of the ghetto, eventually came to Israel where he (under the name Alexander Tamir) became a leading pianist and music educator. The words are by Shmerke Kacserginsky, a leading poet of Vilna, who later escaped the Holocaust and migrated to South America. Papirossen (Cigarettes) actually predates the Holocaust by 15 years. It was written by Yiddish actor and composer Herman Yablokoff in 1922 in Grodno, Poland. Yablokoff later immigrated to America, where he produced a musical Papirossen that incorporated the song. It was later made famous by the Barry Sisters, a Yiddish popular music group. Donna Donna was written by Shalom Secunda, with words by Aaron Zeitlin for the Yiddish musical Esterke in 1940. Though the song originally related to the 600-year-old legend of a Polish king who married a Jewess, it quickly became associated with the Holocaust because of its haunting message. The song has entered the popular folk repertoire, with canonical renditions by Joan Baez, Theodore Bikel, and many others.  Hatikva (the Hope) is Israel's national anthem. The words are by Naftali Zvi Imber, and the tune is a traditional eastern European tune.  You are welcome to try some of my other arrangements. In addition to the songs offered on this site (you can see them at http://www.sheetmusicplus.com/search?Ntt=Yoel+Epstein ), I have arranged three songs from the Holocaust, which I arranged and distribute for free on IMSLP. You can find them at http://imslp.org/wiki/Category:Ravpapa. If you need arrangements of any of these songs for special combinations of instruments, feel free to contact me, and I will try to accommodate. Write me at yoelepst@gmail.com. Hope you enjoy.  

C Instrument - Level 1 - Digital Download SKU: A0.1317675 Composed by Public Domain. Arranged by Marcelo Borba. Children,Christmas,Classical,Country,Traditional. Lead Sheet / Fake Book. 1 pages. Marcelo Borba #906351. Published by Marcelo Borba (A0.1317675). This is an arrangement for leadsheet style. Sheet music contains chords and melody. It can be played by different instrumental formations. The First Noel is a traditional Christmas carol that tells the story of the birth of Jesus Christ. The word Noel itself is derived from the French word Noël, meaning Christmas or the Christmas season.The song is believed to have originated in the 16th or 17th century, and its exact authorship is unknown. It has been passed down through generations and has become a popular Christmas hymn.The lyrics of The First Noel typically describe the joyous announcement of the birth of Jesus by angels to shepherds in the fields. The shepherds are guided by a bright star to Bethlehem, where they find the baby Jesus lying in a manger. The lyrics emphasize the significance of the event and the adoration of the shepherds for the newborn Christ.Here are the first few lines of the song:The first Noel, the angels did say, Was to certain poor shepherds in fields as they lay; In fields where they lay keeping their sheep, On a cold winter's night that was so deep.The song is often sung in a reverent and celebratory manner, capturing the spirit of Christmas and the joyous occasion of Jesus' birth. It has been recorded by numerous artists and is a staple in many Christmas carol collections.

Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes  Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.

Piano Solo - Level 4 - Digital Download SKU: A0.873027 Composed by Sally Whitwell. Contemporary. Score. 5 pages. Sally Whitwell #3867219. Published by Sally Whitwell (A0.873027). At the end of July 2016, I was in my hometown Canberra for a job interview. I was sick as a dog with laryngitis for the interview and audition. Imagine me trying to take a choir rehearsal with no voice? It was never going to happen for me and I was feeling pretty sorry for myself. Halfway back to Sydney on the bus, I get a text from my dear friend Emma. I don’t remember the exact words, but the gist of it was No easy way to say this. We lost Jeff today. Jeff being Emma’s beloved husband and all round awesome human. It was truly devastating. I didn’t know what to do. I felt terribly guilty for thinking of myself and my employment failure all day instead of thinking of Emma and Jeff, even though that was completely irrational. Didn’t want to call because I knew she’d have enough stuff to deal with. Couldn’t turn around cos Public Transport. Had lost the ability to formulate sentences because in that situation, there are no words. So I fell back into the place where I express most clearly. Music. And into my native habitat, the piano. Passacaglia came flowing out very quickly. I hardly stopped to edit. Normally I would try to plan a composition a bit, so that it’s structurally sound. I didn’t do that but somehow it just emerged fully formed.  I sent it to Emma who asked if I could come and perform it at the memorial service. But I couldn’t make it to the memorial. And you know what the saddest thing is? I can’t even now remember why, which means it can’t have actually been that important. Instead I created an electronic file of the piece, with more sounds than just piano. I hope it worked ok. Emma told me later that after the funeral when she suddenly found herself alone, she just played it over and over again on repeat.  So I guess it did its job, but now it’s ready to make its own way in the world in its original version for solo piano. I hope it can bring some solace to others in grief

Guitar Ensemble Guitar - Level 2 - Digital Download SKU: A0.797770 By Billy Joel. By Billy Joel. Arranged by Derek Hasted. Contemporary,Pop. Score and parts. 24 pages. Derek Hasted #5299683. Published by Derek Hasted (A0.797770). UPTOWN GIRL - THREE or FOUR GUITARS or LARGE ENSEMBLEFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This very playable but satisfying arrangement suits 3 guitars, 4 guitars or (even better!) a large ensemble.This is a piece that's full of hidden gems...For an audience it's absolutely full of uplifting key changes - not just one on the last chorus! This arrangement starts in A, but visits the keys of F, C, D and E more than once, and each one seems to lift the mood yet higher. And then there's a gentle fade away to a quiet finish.For an adult trio, it's an easy rhythmic crowd-pleaser that any audience will like. Each line has its own contribution to the overall big wall of toe-tapping sound.For a guitar teacher, it's a great exercise in rhythm and a chance to show students the half-diminished chord (the m7b5) and the poignancy of the flattened ninth. And indeed to remind them that there's more to good music than just three chords!For a school teacher, this trio comes with a potential life-saver - there's a second version of the Guitar 2 part that is split into two separate parts - 2a and 2b. These parts are ideal for a mixed ability ensemble where one or two players are new starters with guitar (yes, the Guitar 2b part really is that easy!) So play as a trio or a quartet - the choice is yours, and rest assured that an ensemble of widely differing abilities will be able to tackle it to great effect.I hope you enjoy this piece as much as my adult Guitar Workshop ensemble does!

String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1257127 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 84 pages. Jmsgu3 #850426. Published by jmsgu3 (A0.1257127). 1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.

Brass Quartet Cornet,Horn,Trombone - Level 2 - Digital Download SKU: A0.1257210 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 83 pages. Jmsgu3 #850538. Published by jmsgu3 (A0.1257210). INSTRUMENTATION: Cornet, French Horn & 2 Trombones1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are pretty lengthy. Therefore, Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for its uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. Although the Gloria and Credo have no apparent chant basis, they are stylistically related. The mass is unified, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was a vital part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval and religious music.

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.1257962 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 85 pages. Jmsgu3 #851199. Published by jmsgu3 (A0.1257962). 1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.

Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1259387 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #852663. Published by jmsgu3 (A0.1259387). INSTRUMENTATION: 2 Alto flutes, 2 Bass Flutes1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons:1. It is the first complete setting of the Ordinary of the Mass by a single composer that has survived.2. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.3. It was composed in four voices, which was unusual at the time.4. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen.Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.

Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1258034 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #851272. Published by jmsgu3 (A0.1258034). Instrumentation: English Horn Duo & Bassoon Duo.1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.