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103 sheet music found
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Pierpont-Jingle Bells(The One Horse Open Sleigh),in F Major,for Quatre Chorales
Pierpont-Jingle Bells(The One Horse Open Sleigh),in F Major,for Quatre Chorales
#
Choral SATB
#
ADVANCED
#
Classical
#
James Pierpont
#
MSM
#
Pierpont-Jingle Bells(The One
#
Open Cloud
#
SheetMusicPlus
Choral Choir,Choral (SATB) - Level 5 - Digital Download SKU: A0.668204 Composed by James Pierpont. Arranged by MSM. Classical,Romantic Period. 12 pages. ...
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Choral Choir,Choral (SATB) - Level 5 - Digital Download SKU: A0.668204 Composed by James Pierpont. Arranged by MSM. Classical,Romantic Period. 12 pages. Open Cloud #4414217. Published by Open Cloud (A0.668204). This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Pierpont (Pierpont James), 1822-1893, for Quatre Chorales.
$4.99 ≈
4.58€
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
#
Choral SATB
#
ADVANCED
#
Carson Cooman
#
Carson Cooman: Ascensions
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Mu...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.
$25.95 ≈
23.81€
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
#
Choral SATB
#
ADVANCED
#
Carson Cooman
#
Carson Cooman: Ascensions
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Mu...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir
$19.95 ≈
18.31€
"Two Poems by Sir Humphry Davy" for SATB choir
"Two Poems by Sir Humphry Davy" for SATB choir
#
Choral SATB
#
ADVANCED
#
Jason A
#
Jason A
#
"Two Poems by Sir Humphry Davy
#
Call of the Wild Publishing
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1246700 By Jason A. Heald. By Jason A. Heald. Arranged by Jason A. Heald. 21st Century,A Cappell...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1246700 By Jason A. Heald. By Jason A. Heald. Arranged by Jason A. Heald. 21st Century,A Cappella,Classical,Historic. Octavo. 13 pages. Call of the Wild Publishing #841332. Published by Call of the Wild Publishing (A0.1246700). Two Poems by Sir Humphry Davy are SATB settings of texts by the renown British chemist (1778-1829). The first setting is a lush a cappella arrangement followed by the second setting that features a lovely melody weaving around a hypnotic piano accompaniment. The inspiring text with its stunning imagery will be an exciting addition to your choral program and is accessible for most mixed choirs.To peruse or purchase more music by Jason Heald, visit www.jasonheald.com .
$2.99 ≈
2.74€
The City In the Sea: Choral Tone Poem
The City In the Sea: Choral Tone Poem
#
Choral SATB
#
ADVANCED
#
Contemporary
#
Stanley M Hoffman
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The City In the Sea: Choral To
#
stanleymhoffman.com
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1074352 Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1074352 Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman.com #678653. Published by stanleymhoffman.com (A0.1074352). PROGRAM NOTES As of the present writing, this choral tone poem had been gestating for over thirty years, and the concept and harmonies for it for over forty years. In the 1980s I began to work with the latter two in my brief orchestral piece Little Sea Nocturne. When reading the poetry of Edgar Allan Poe (1809–1849), I am most struck by how musical they are. When recited aloud they exhibit their own rhythmic sense. I was eager to incorporate those rhythms into my music. I had long been familiar with his poem The City In the Sea and began to sketch choral passages for the present choral tone poem in the 1990s. It took me until 2022 to complete it because I required many more years of experience at my craft to do so to lead into out of the choruses. In 2012 I completed a seven-minute unaccompanied version of the choruses with music unique to and unifying it simply called The City In the Sea. In composing The City In the Sea - Choral Tone Poem, my goal was to write a piece that, while steeped in tradition, sounds unlike anything in the literature that had come before it. The result is an original hybrid work that successfully and memorably combines salient aspects of the tonal, atonal, and modal musical languages into an organic whole. George Perle coined the term “twelve-tone tonality†to describe the music of Alban Berg and composers influenced by him such as Luigi Dallapiccola. The last title of which I am aware that accomplishes anything remotely related to what I am trying to accomplish musically in this choral tone poem is the piece Paradiso Choruses by Donald Martino (1974). However, I take twelve-tone tonality in entirely other directions in my work. That the duration of The City In the Sea - Choral Tone Poem came out to be thirteen minutes seems appropriate for piece about a sunken city. Rather than write program notes that narrate how the music unfolds I will simply shout out the most memorable aspects of what careful listeners will discern: a recurring heartbeat motif; shifting polychordal harmonies; echo technique; rhythmic diminutions and augmentations; an a cappella chorus featuring those harmonies with a surprisingly memorable recuring theme on top; sensuous flute duets; string section underpinnings by way of either sustained passages or wave-like gestures; tritone-related melodies, harmonies, and tone centers; several strategically placed grand pauses; tritone-related modal-sounding passages; melodic and chord clusters, especially the two climactic ones. INSTRUMENTATION 2 Flutes (2. doubles on Piccolo) 2 Oboes (2. doubles on English Horn) 2 Bb Clarinets 2 Bassoons 2 F Horns 2 C Trumpets 2 Trombones Tuba Timpani Percussion (Gong, Bass Drum, Chimes, Glockenspiel) Harp Strings DURATION 13:00 Stanley M. Hoffman (b. 1959) For biographical information visit: www.stanleymhoffman.com.
$5.60 ≈
5.14€
Diffusa est gratia - SATB choir
Diffusa est gratia - SATB choir
#
Choral SATB
#
ADVANCED
#
Sacred music
#
Erik Spangler
#
Diffusa est gratia - SATB choi
#
Erik Spangler
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1082352 Composed by Erik Spangler. A Cappella,Classical,Contemporary,Praise & Worship,Sacred. Oc...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1082352 Composed by Erik Spangler. A Cappella,Classical,Contemporary,Praise & Worship,Sacred. Octavo. 4 pages. Erik Spangler #686504. Published by Erik Spangler (A0.1082352). Commissioned by Allen Buskirk for the Mount Calvary Choir, Baltimore, MD. “Diffusa est gratia / Senex puerum portabatâ€Â combines two liturgical texts associated with the feast of Candlemas. The first, “Diffusa est gratia is from Psalm 44:3 and ascribes to Mary a fullness of grace that is a common theme in Marian feasts. The second, Senex puerum portabat,†is more particularly relevant to the story of the infant Jesus and the ancient holy man Simeon found in today’s gospel. Singing two texts within one piece was common in Medieval music, where the interest lay on the juxtaposition of the texts and the interplay between them. Erik’s setting is influenced by both late Medieval and Renaissance choral styles. Each singer has long flowing lines that combine in duets, trios, and full quartet, yielding a variety of textures. Dissonant intervals are treated freely as was common in the late Medieval period before the tight control of the high Renaissance style. This expanded palette allows for more modern harmony that shifts in and out and resolves into consonant intervals at the end of phrases. Rhythmic syncopation and complexity were highly valued in the late Medieval style as they are again today; here they provide forward momentum. Together, these elements define a sensibility that is both ancient and new, influenced by practices of composers from the 14th and 15th centuries as well as more modern composers such as Moondog and Meredith Monk.
$6.00 ≈
5.51€
A Year in a Day (Choral Suite for SSAATTBB unaccompanied)
A Year in a Day (Choral Suite for SSAATTBB unaccompanied)
#
Choral SATB
#
ADVANCED
#
Alan Bullard
#
A Year in a Day
#
Colne Edition / BullardMusic
#
SheetMusicPlus
Choral Choir (SATB divisi) - Level 5 - Digital Download SKU: A0.1086990 Composed by Alan Bullard. A Cappella,Classical,Contemporary. Octavo. 51 pages. Co...
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Choral Choir (SATB divisi) - Level 5 - Digital Download SKU: A0.1086990 Composed by Alan Bullard. A Cappella,Classical,Contemporary. Octavo. 51 pages. Colne Edition / BullardMusic #691185. Published by Colne Edition / BullardMusic (A0.1086990). A Year in a Day, for SSAATTBB unaccompanied. Duration c.16 minutes The five movements of 'A Year in a Day' bring a wide range of colour and texture to the various seasons, and treat fragments of text in an almost symphonic way, by turns gentle and expressive, humorous, and excitingly forceful. 1. Winter Dawn (lines from Tennyson's In Memoriam) 2. Spring Morning (one line from Gerard Manley Hopkins' Spring) 3. Summer Afternoon (anonymous lines) 4. Autumn Twilight (lines from William Watson's Autumn, and from Robert Bridges' November) 5. Winter Night (Emily Bronte: The night is darkening round me) Alan Bullard’s choral works are performed worldwide, and many have been recorded and broadcast. He has a growing reputation for music that choirs enjoy performing, and which speaks directly to audiences. The Colne Choral Series contains a range of Bullard’s pieces for adult and youth choirs of all types, including cantatas and choral suites as well as individual movements. For full details please visit www.colneedition.co.uk or www.alanbullard.co.uk.
$3.99 ≈
3.66€
Missa Millennia in Honor of St. Francis (SATB)
Missa Millennia in Honor of St. Francis (SATB)
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Choral SATB
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ADVANCED
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Sacred music
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Curtis Hanson
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Missa Millennia in Honor of St
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Curtis Hanson
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.719523 Composed by Curtis Hanson. Christian,Sacred. Octavo. 59 pages. Curtis Hanson #2032867. Pu...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.719523 Composed by Curtis Hanson. Christian,Sacred. Octavo. 59 pages. Curtis Hanson #2032867. Published by Curtis Hanson (A0.719523). The Missa Millennia was composed during the spring of 2000 and premiered the following November by the choirs of the John Duss Music Conservatory, Duluth, MN. Scored for a chamber orchestra of strings, keyboard, and solo oboe (full score and instrumental parts available separately), the work is not so much a celebration of the new millennium as it is an assimilation of many of the musical styles, characteristics, and forms of the previous thousand years. The entire piece is in the form of the traditional Mass, a musical form having its origins in the Middle Ages, and is divided into the five movements commonly found in the Mass Ordinary: Kyrie (Lord, have mercy), Gloria (Glory to God in the highest), Credo (the Nicene Creed), Sanctus – Benedictus (Holy, holy, holy – Blessed is he who comes in the name of the Lord), and Agnus Dei (Lamb of God). In the final movement, the Prayer of St. Francis of Assisi (Lord, make me an instrument of thy peace) concludes the work. Although the Missa Millennia as a whole is distinctly contemporary, elements from many earlier musical periods are incorporated into the movements. These include chant, open fifth and parallel fifth harmonic movement (organum), and canonic imitation from the Middle Ages and Renaissance; fugue, word-painting, terraced dynamics, ostinato (a repeated rhythmic or bass accompaniment), Alberti bass accompaniment figures, ABA form, and dominant-tonic harmonic relationships typical of Baroque and Classical music to name but a few. Other significant features are the usage of non-Western modality in the plaintive solo oboe and of pedal point, a sustained tone in the bass over which the melody and harmony evolve. Pedal point, a compositional tool used throughout music history, dates from the Middle Ages about the time of St. Francis. Although not directly based upon the music of any composer, the astute listener may hear musical ideas reminiscent of Vivaldi, Vaughan Williams, Respighi, Duruflé, and others. In the audio file, the 2nd movement (Gloria) can be found at approximately 6'25, the 3rd movement (Credo) at 12'05, the 4th movement (Sanctus) at 21'15, and the final movement (Agnus Dei) at 31'05. The complete Mass is approximately 43 minutes long.
$10.00 ≈
9.18€
While Shepherds Watched Their Flocks / Rachmaninoff's Piano Concerto No. 2, Second Mvmt (SATB)
While Shepherds Watched Their Flocks / Rachmaninoff's Piano Concerto No. 2, Second Mvmt (SATB)
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Choral SATB
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ADVANCED
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Rebecca Belliston
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Rebecca Belliston
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While Shepherds Watched Their
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Rebecca Belliston
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1123808 By Rebecca Belliston. By Sergei Rachmaninoff. Arranged by Rebecca Belliston. Christian,C...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1123808 By Rebecca Belliston. By Sergei Rachmaninoff. Arranged by Rebecca Belliston. Christian,Christmas,Classical,Holiday,Sacred. Octavo. 11 pages. Rebecca Belliston #724564. Published by Rebecca Belliston (A0.1123808). The lyrics of While Shepherds Watched Their Flocks set to Rachmaninoff's Piano Concerto No. 2 (2nd Movement). Also available in Vocal Solo.
$1.99 ≈
1.83€
Ex umbris - SATB choir
Ex umbris - SATB choir
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Choral SATB
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ADVANCED
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Sacred music
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Erik Spangler
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Ex umbris - SATB choir
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Erik Spangler
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1082621 Composed by Erik Spangler. A Cappella,Classical,Contemporary,Praise & Worship,Sacred. Oc...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1082621 Composed by Erik Spangler. A Cappella,Classical,Contemporary,Praise & Worship,Sacred. Octavo. 4 pages. Erik Spangler #686828. Published by Erik Spangler (A0.1082621). A setting of the Latin epitaph of John Henry Newman: Ex umbris et imaginibus in veritatem. In English translation, “From shadows and images / symbols into truth.†Commissioned by Allen Buskirk for the Mount Calvary Choir, Baltimore, MD.
$6.00 ≈
5.51€
Mass - SATB choir
Mass - SATB choir
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Choral SATB
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ADVANCED
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Sacred music
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Erik Spangler
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Mass - SATB choir
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Erik Spangler
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1082302 Composed by Erik Spangler. A Cappella,Classical,Contemporary,Praise & Worship,Sacred. Oc...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1082302 Composed by Erik Spangler. A Cappella,Classical,Contemporary,Praise & Worship,Sacred. Octavo. 26 pages. Erik Spangler #686452. Published by Erik Spangler (A0.1082302). Latin Mass composed during COVID-19 quarantine from late 2020 to early 2021. Written for and performed by the Mount Calvary Choir, under the direction of Andrew Johnson at Mount Calvary Catholic Church in Baltimore. Combining elements of plainchant and ancient styles of liturgical polyphony, together with a modern harmonic sense of the church modes. In the YouTube video below of the service for Trinity at Mount Calvary on June 12, 2022, the movements of the Mass are heard at: 16:50 - Kyrie, followed by 18:59 - Gloria 1:06:16 - Sanctus 1:20:17 - Agnus Dei.
$7.99 ≈
7.33€
I Am the Stillness in a Troubled World—SATB A Cappella Choir
I Am the Stillness in a Troubled World—SATB A Cappella Choir
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Choral SATB
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ADVANCED
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Daniel Carter
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Daniel Carter
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I Am the Stillness in a Troubl
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Daniel Carter
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1278014 By Daniel Carter. By Daniel Carter. Arranged by Daniel Carter. 21st Century,A Cappella,C...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1278014 By Daniel Carter. By Daniel Carter. Arranged by Daniel Carter. 21st Century,A Cappella,Chamber,Classical,Sacred. Octavo. 3 pages. Daniel Carter #869715. Published by Daniel Carter (A0.1278014). In a world of confusion, chaos, and turmoil we often ask ourselves where are safety and peace found. This hymn-like anthem for a cappella choir offers a spiritual affirmation that helps connect us with the Divine allowing us to create safety and peace within ourselves and for others. For advanced choir with soaring lines and moving parts for all voices, especially for sopranos and tenors. (Top note for sopranos is G5. The top note for tenors is A3.) Suitable for worship and concert settings, filling both sacred and secular programming needs.
$1.99 ≈
1.83€
Veni Sancte Spiritus - SATB choir
Veni Sancte Spiritus - SATB choir
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Choral SATB
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ADVANCED
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Sacred music
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Erik Spangler
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Veni Sancte Spiritus - SATB ch
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Erik Spangler
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1082626 Composed by Erik Spangler. A Cappella,Classical,Contemporary,Praise & Worship,Sacred. Oc...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1082626 Composed by Erik Spangler. A Cappella,Classical,Contemporary,Praise & Worship,Sacred. Octavo. 6 pages. Erik Spangler #686838. Published by Erik Spangler (A0.1082626). Commissioned by Allen Buskirk for the Mount Calvary Choir, Baltimore, MD. While searching for liturgical texts associated with Pentecost, I was immediately drawn to the sequence of Veni Sancte Spiritus as an invocation of all the divine qualities that are recognized across the world’s major religions. I was particularly moved by a recording of the Gregorian chant on this text, in which groups of three phrases alternate between low and high voices. I began my own setting of the sequence by adapting many of the Gregorian chant phrases, from memory and with varying degrees of similarity to the original melody, passing them through different modal colors. I followed a similar pattern of formal alternation between high and low voices, while expanding each phrase of the chant into a two-part texture. Elements of both Late Medieval and Renaissance counterpoint are adopted in combination with more Eastern-influenced heterophony, in which two voices follow the same melodic outline with individual variations and ornamentation. As the piece progresses, overlapping duos expand into three-part and finally four-part texture. I aim to evoke a sense of connection with ancient ritual and musical forms, alongside a more modern harmonic gravity that favors certain dissonances in relationship to unisons, fifths and other “perfect†intervals.
$6.00 ≈
5.51€
What Child is This (SATB with piano)
What Child is This (SATB with piano)
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Choral SATB
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ADVANCED
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Bradley Sowash
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Bradley Sowash
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What Child is This
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Bradley Sowash
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1199084 By Bradley Sowash. By Traditional. Arranged by Bradley Sowash. Christian,Christmas,Jazz,...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1199084 By Bradley Sowash. By Traditional. Arranged by Bradley Sowash. Christian,Christmas,Jazz,Latin,Sacred. Octavo. 36 pages. Bradley Sowash #798150. Published by Bradley Sowash (A0.1199084). Christmas classic with a twist A hushed classical choir intro evolves into a bright Latin groove. In addition to this choir/piano version, this popular arrangement is also available for choir/jazz quintet, choir/big band, and choir/orchestra.
$1.99 ≈
1.83€
Beowulf: A Classical Melodrama in Four Scenes for Chorus, Soiloists and Piano
Beowulf: A Classical Melodrama in Four Scenes for Chorus, Soiloists and Piano
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Choral SATB
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ADVANCED
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Contemporary
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Richard St
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Beowulf: A Classical Melodrama
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Richard St. Clair
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.939813 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 139 pages. Richard St. ...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.939813 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 139 pages. Richard St. Clair #4760561. Published by Richard St. Clair (A0.939813). This work, running over 50 minutes performance time, is a dramatic presentation of the Beowulf epic from Medieval England. The action is compelling throughout, with prominent solo and full chorus passages. The Audio Clip presents the complete Overture and highlights from Scene 1 and the battle with Grendel and the joyful conclusion of Scene 4. This work is not intended for stage production, but with imagination it could be presented on stage. Rather, the concept is for concert performance. The Score, 139 pages long, is the complete piano-vocal score.
$100.00 ≈
91.76€
Chorale Partita with Seven Variations for 5-part Tuba Ensemble
Chorale Partita with Seven Variations for 5-part Tuba Ensemble
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Choral SATB
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ADVANCED
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Classical
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Johann Pachelbel
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Terrett, Keith
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Chorale Partita with Seven Var
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Gordon Cherry
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SheetMusicPlus
Choral Choir (4-Part) - Level 5 - Digital Download SKU: A0.792121 Composed by Johann Pachelbel. Arranged by Terrett, Keith. Baroque,Classical. Octavo. 19...
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Choral Choir (4-Part) - Level 5 - Digital Download SKU: A0.792121 Composed by Johann Pachelbel. Arranged by Terrett, Keith. Baroque,Classical. Octavo. 19 pages. Gordon Cherry #3565739. Published by Gordon Cherry (A0.792121). Pachelbel's grand Chorale Partita with Seven Variations in G is based on the 17th Century Protestant German hymn tune Alle Menschen müssen sterben (All of Mankind is Mortal) by Jakob Hintze. The original form of the work was in C major with eight variations, composed for Organ. Bach, being greatly influenced by Pachelbel, later took up the melody for use in one of his Cantatas. Keith Terrett has done a great job arranging these elaborate variations of about 6 minutes in length for a Tuba Ensemble quintet of advanced performers.
$20.00 ≈
18.35€
Missa Solemnis, op. 27 (vocal score)
Missa Solemnis, op. 27 (vocal score)
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Choral SATB
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ADVANCED
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adr...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99 ≈
80.74€
Alas! Deceite
Alas! Deceite
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Choral SATB
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ADVANCED
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John Newell
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Alas! Deceite
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Abierto Music
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.930203 Composed by John Newell. A Cappella,Classical,Contemporary. Octavo. 5 pages. Abierto Musi...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.930203 Composed by John Newell. A Cappella,Classical,Contemporary. Octavo. 5 pages. Abierto Music #5322139. Published by Abierto Music (A0.930203). Alas! Deceite, an anonymous Middle English lyric, is a somewhat Shakespearean piece of advice: beware of the deceit of others - truste to thy selfe and lerne to be wise! This brief setting for SATB chorus (a cappella), is appropriate for relatively advanced ensembles. It is the final work in the composer's Suite of English Lyrics. Audio practice files are available at choraltracks.com. More information on this and the composer's other choral works is available at: www.johnnewellmusic.com.
$2.00 ≈
1.84€
Gloria
Gloria
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Choral SATB
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ADVANCED
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Sam Smith
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Whitney Lussier
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Gloria
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Rosesong Music
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1169297 By Sam Smith. By Foy Vance and Samuel Frederick Smith. Arranged by Whitney Lussier. A Ca...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1169297 By Sam Smith. By Foy Vance and Samuel Frederick Smith. Arranged by Whitney Lussier. A Cappella,Classical,Contemporary,Pop. Octavo. 5 pages. Rosesong Music #769651. Published by Rosesong Music (A0.1169297). An arrangement of Sam Smith's classical/gospel mashup, Gloria from their 2023 album Gloria. Described by Smith as their queer love hymn, this song takes listeners on a two minute emotional journey from pensive doubt to realization and exuberant self-acceptance.This a cappella arrangement is in the original key and is a near-transcription of the original SATB choral parts, combining elements of Smith's live performances and the recorded album version.  Can be performed with or without a soloist!Please note this is an advanced arrangement due to range demands. Follow the link for a slightly modified version in a friendlier key: Gloria SATB (Lower Key)
$1.99 ≈
1.83€
Cantata No. 1 Psalm 139 The Lord Has Known Me
Cantata No. 1 Psalm 139 The Lord Has Known Me
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Choral SATB
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ADVANCED
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Kevin Longley
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Kevin Longley
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Charles Munion
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Cantata No. 1 Psalm 139 The Lo
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Kevin Longley
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 5 - Digital Download SKU: A0.1441952 By Kevin Longley. By Kevin Longley. Arranged by Kevin Longley. 21st Century,...
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Choral Choir,Choral,SATB Chorus - Level 5 - Digital Download SKU: A0.1441952 By Kevin Longley. By Kevin Longley. Arranged by Kevin Longley. 21st Century,Contemporary,Religious,Spiritual. 38 pages. Kevin Longley #1021944. Published by Kevin Longley (A0.1441952). The InspirationIn 2023 I decided to review a piece I had composed in 1990 to honor a friend I was singing with in a choral group at that time; Charles Munion. He never heard the piece as I felt the classical contemporary style would be a bit much for his ears! Beyond that I don't have allot of recollection as to the inspiration or what my thoughts were at the time of the composition. In regards to the revision, I added additional music to the third movement in order to balance out the movements and reworked some of the choral voicing.The MusicWritten in a contemporary classical style it follows the classic structure of 3 movements: First movement – brisk, loud forceful in nature Second movement – slow and lyrical Third movement – light and quick but with a forceful ending While in a contemporary style, at heart it maintains tonal centers throughout. While there is a few brief moments where I can here a little Bartok, as a whole I would say this piece is unique in regards to its style.
$1.99 ≈
1.83€
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