Two Latin Motets by Arthur Wills are scored for two-part treble voices and organ.

La collection la plus complète des sélections de Broadway jamais organisée spécifiquement pour le chanteur. Les chansons choisies parce qu'elles sont appAvailableriate fpr chaque voix. Toutes les sélections sont sous leur forme authentique, original et de la musique vocale originale. Les chansons dans Musical Theatre anthologie du chanteur, écrit par des compositeurs tels notés comme Kurt Weill, Richard Rodgers, Stephen Sondheim et Jerome Kern, sont des chefs-d'oeuvre vocales idéales pour les auditions, pratiquer ou effectuant des chanteurs./ Recueil / Piano, Chant et Guitare

Medium Voice in C Major-Arranged for medium voice in C. Malotte's choral work The Lord's Prayer is presented here with a freshly engraved score and a companion CD. The score contains two versions of the song in the designated key: voice with pianoaccompaniment and voice with organ accompaniment. The CD features the orchestral accompaniment as well as a full performance with a professional singer. Also included is the history of Malotte's song and its publication.

Eine Auswahl-The text in this uplifting anthem is taken from Philippians 4:4-7. Arranged for SATB choir with optional Organ Accompaniment.

L'édition de livres et 2CD de la collection la plus complète des sélections de Broadway jamais organisée spécifiquement pour les chanteurs. La série contient des chansons importants choisis parce qu'ils sont appAvailableriate fpr chaque voix. Toutes les sélections sont sous leur forme authentique, original et de la musique vocale originale. Les chansons dans Musical Theatre anthologie du chanteur, écrit par des compositeurs tels notés comme Kurt Weill, Richard Rodgers, Stephen Sondheim et Jerome Kern, sont des chefs-d'oeuvre vocales idéales pour les auditions, pratiquer ou effectuant des chanteurs./ Recueil / Piano, Chant et Guitare

This work was commissioned for the choir of St. Paul's Old Church Edinburgh who gave the first performance on the 11th of June 1989 at St. Giles' Church Edinburgh conducted by Leslie Shankland.This is a setting in Scots ofthe passage in the Apocalypse where St. John hears a voice from the throne that voice appearing here as soprano-alto duets from a distance building as Davies has said ' fine bridge' from the time of the Edinburgh church to thepresent. Both vocal groups sing in translucent modal harmony with organ support.

Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e. unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period some of which are dated 1698.The sonatas are both inscribed on the title page Sonata à Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata à Violino e Violoncino … di Giovannino del Violone. Giovannino(=Little or Young John) must have been a performer and although the third sonata has been copied by a different hand it is conceivable that Giovannino is a connecting link between the three. He cannot however be assumed to be their author.The Violone was a six-stringed instrument with frets and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family which means that the sonatas might well have been written for a tenor or a bass Viol and not necessarily a Violone as such. Indeed when they are played on a Violone or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument to prevent inversion of the intended harmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether a Violone player owing to the very nature of his instrument would have used any but the simplest melodic decorations. Nevertheless the performer should acquaint himself thoroughly with those seventeenth century traditions that

This is a joyous piece for summer or any time you do not have a full compliment of voices. The vocal line is actually unison until the last phrase it is rather like a duet for choir and organ.

This work dedicated to the composer Paul Patterson can be performed by either Choir Piano Duet and Percussion or Choir Organ and Percussion. Percussion Part is available: NOV160278-01

Duet and Chorus from The Hymn of Praise. For 2 Solo Sopranos SATB Chorus and Piano (Organ).