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At The Cross Cello Bassoon
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You've selected:
At The Cross Cello Bassoon
Sheetmusic to print
88 sheet music found
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At the Cross
At the Cross
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Piano Quartet: piano, violin, viola, cello
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BEGINNER
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Ralph E
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André Nusa
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At the Cross
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Andre_Nusa
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SheetMusicPlus
Piano Quartet Cello,Piano,Viola,Violin - Level 1 - Digital Download SKU: A0.1388124 Composed by Ralph E. Hudson. Arranged by André Nusa. Easter,Religi...
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Piano Quartet Cello,Piano,Viola,Violin - Level 1 - Digital Download SKU: A0.1388124 Composed by Ralph E. Hudson. Arranged by André Nusa. Easter,Religious,Sacred. 5 pages. Andre_Nusa #971722. Published by Andre_Nusa (A0.1388124). Embark on a musical journey with this beginner-friendly arrangement of 'At the Cross' for violin, viola, bassoon and piano. Dive into the rich harmonies as each instrument weaves together to bring this timeless hymn to life. Perfect for novice players, the arrangement offers simplified parts while maintaining the essence of the original composition. Delve into the beauty of sacred music with accessible melodies and harmonies, making it an ideal choice for aspiring musicians looking to explore ensemble playing.
$2.99 ≈
2.80€
The Sense of a Place Will Remain
The Sense of a Place Will Remain
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Choral SATB
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Contemporary
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Paul Burnell
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The Sense of a Place Will Rema
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Paul Burnell
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SheetMusicPlus
Choral Choir (SATB) - Digital Download SKU: A0.835786 Composed by Paul Burnell. Contemporary. Octavo. 124 pages. Paul Burnell #3405305. Published by Paul...
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Choral Choir (SATB) - Digital Download SKU: A0.835786 Composed by Paul Burnell. Contemporary. Octavo. 124 pages. Paul Burnell #3405305. Published by Paul Burnell (A0.835786). Composed 2007, duration 8:30 approx. The music and text of ‘The Sense of a Place Will Remain’ was inspired by pictures of an early carved stone cross and a tenth-century Viking burial stone on the island of Inchcolm in Scotland. First performed by Inchcolm New Music Ensemble 29 June 2007, conductor Steve King. Instrumentation is flexible; the following is a guide: Part 1 - Violin 1, flute 1 (doubling piccolo if possible) oboe 1, Part 2 - Violin 2, flute 2, oboe 2 (doubling tenor recorder if possible), clarinet 1, trumpet Part 3 - Viola, clarinet 2, horn in F, Eb horn (2 players doubling harmonicas in C) Part 4 - Cello, bassoon Part 5 - Double bass, bass guitar (or Cello 2 - playing as if usual bass clef, but an octave lower where possible) SATB voices (doubling metal spoons and pitch pipes) Optional:Percussion (one player) - claves, glockenspiel (could be a child’s toy instrument such as an ‘Angel’ glockenspiel), mark tree, spring drum (thunder shaker), frame drum, musical jewelry box (or similar clockwork device).Should a glockenspiel not be available, a special part has been created which arranges the glockenspiel for two flutes, together with the other percussion music. This special part is not visible in the score. Keyboard instrument with sustaining capability - piano sound Instructions: Wind players can breathe ad lib. during any very long notes. From letter D onwards non-wind players who are not soloists blow across the top of small bottles. The pitches produced are not specified, but they should not be shrill. A soft breathy tone is preferred. About half of the voices play pairs of metal spoons (share printed part between two singers and anyone not holding the music holds metal spoons). Hold the spoons one in each hand, and strike the larger ends together. Spoons are struck together where shown with a large patterned note head. Strike rapidly where a tremolo sign is given. Four singers play pitch tuning pipes: 1 Soprano and 1 Alto play viola/cello pitch tuning pipes, 1 Tenor and 1 Bass play violin pitch tuning pipes Pitch pipe playing is indicated with square note heads - player should breathe ad lib. during very long notes. Where there are very long sung notes, the singers may stagger breathing ad lib. Spoken sounds are indicated with x note heads and with the text in italics. There are many pauses. These can be of varying duration, but on the whole they should not hold up the momentum of the piece, but be of sufficient duration to establish the solo and pitch pipe notes. Text: Carve stone Strike out Stay at home Or go far alone. Blocks of stone are laid Emblazoned with the signs of great deeds That signify our memory, Mem’ries of who we are. Careful carvings erode through time, Chiseled grooves smooth away. Families, they scatter and fade As generations age Descendants pass on memory time. Sense of our allegiance shifts when major faults are found, Feelings of belonging fall on shaky ground, But the sense of a place will remain.
$7.95 ≈
7.44€
The Light Shines [John 1:5] (Anthem) - Orchestration
The Light Shines [John 1:5] (Anthem) - Orchestration
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Orchestra
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INTERMEDIATE
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Sacred music
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Gospel/Spiritual
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Christopher R
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Christopher R
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The Light Shines [John 1:5]
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Christopher Brown
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.747254 Composed by Christopher R. Brown. Arranged by Christopher R. Brown. Christian,Gospel,Praise & ...
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Full Orchestra - Level 3 - Digital Download SKU: A0.747254 Composed by Christopher R. Brown. Arranged by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 119 pages. Christopher Brown #4794241. Published by Christopher Brown (A0.747254). About the song: This anthem aims to focus on the great truth of John 1:5 - The Light shines in the darkness, and the darkness can never extinguish it. At the cross, where darkness seemed to have the upper hand, the Light shone as Christ declared His finished work. In the human heart, where darkness enslaves lost souls, the Light shines as Christ saves us from the power of sin and death. And in the midst of suffering and persecution, the Light will continue to shine as God's presence and everlasting love carries us and strengthens us to continue to live faithfully for Him.Can be performed with piano accompaniment only, OR with additional band members (rhythm chart included), OR with full orchestra.Please Note:You can purchase individual copies of the vocal score separately on Sheet Music Plus. Performance of this piece requires the purchase of one vocal score per singer.Included in your Purchase:Full ScoreVocal Score (SATB with Solo)Piano AccompanimentRhythm ChartDrumsetFlute 1, 2Oboe (opt. Soprano Sax doubles)Clarinet 1, 2Horn 1, 2 (opt. Alto Sax doubles)Trumpet 1, 2Trumpet 3Trombone 1, 2 (opt. Tenor Sax doubles)Trombone 3/ Tuba (opt. Bari Sax doubles)Percussion 1, 2HarpViolin 1, 2ViolaCelloString Bass (opt. Bass Clarinet/ Bassoon doubles)Lyrics:Verse 1
$49.99 ≈
46.78€
When I Survey the Wondrous Cross--bassoon solo
When I Survey the Wondrous Cross--bassoon solo
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Bassoon, Piano (duet)
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EASY
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Isaac Watts, Lowell Mason
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Beka Wilson
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When I Survey the Wondrous Cro
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Beka Wilson
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SheetMusicPlus
Bassoon,Piano - Level 2 - Digital Download SKU: A0.786541 Composed by Isaac Watts, Lowell Mason. Arranged by Beka Wilson. Christian,Easter,Gospel,Sacred....
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Bassoon,Piano - Level 2 - Digital Download SKU: A0.786541 Composed by Isaac Watts, Lowell Mason. Arranged by Beka Wilson. Christian,Easter,Gospel,Sacred. Score and part. 4 pages. Beka Wilson #6253725. Published by Beka Wilson (A0.786541). When I Survey the Wondrous Cross has long been a favorite hymn to celebrate Easter and Christ’s sacrifice, and this arrangement for early intermediate instrumental solo is perfect for a prelude, offertory, or other special music piece for Easter Sunday, communion, or any other church service. This arrangement is also available as a solo for flute, oboe, clarinet, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello, and as a duet for two harps, harp/flute, harp/violin, harp/viola, and harp/cello. A vocal version of this arrangement will be made available soon. Key: Concert GLength: approximately 3 minutes 4 pages (includes score and separate solo part)Want this arrangement for a different set of instruments or in a different key? Shoot me an email at bekmars10@gmail.com for a custom version of this arrangement that I can post on Sheet Music Plus for you.
$6.99 ≈
6.54€
When I Survey the Wondrous Cross--harp/cello duet
When I Survey the Wondrous Cross--harp/cello duet
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Harp, Cello (duet)
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EASY
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Sacred music
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Gospel/Spiritual
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Isaac Watts, Lowell Mason
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Beka Wilson
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When I Survey the Wondrous Cro
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Beka Wilson
#
SheetMusicPlus
Instrumental Duet Cello,Harp,Instrumental Duet - Level 2 - Digital Download SKU: A0.786552 Composed by Isaac Watts, Lowell Mason. Arranged by Beka Wilson...
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Instrumental Duet Cello,Harp,Instrumental Duet - Level 2 - Digital Download SKU: A0.786552 Composed by Isaac Watts, Lowell Mason. Arranged by Beka Wilson. Christian,Easter,Gospel,Sacred. Score and parts. 4 pages. Beka Wilson #6253767. Published by Beka Wilson (A0.786552). When I Survey the Wondrous Cross has long been a favorite hymn to celebrate Easter and Christ’s sacrifice, and this arrangement is perfect for a prelude, offertory, or other special music piece for Easter Sunday, communion, or any other church service. This arrangement is also available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello, and as a duet for two harps, harp/flute, harp/violin, and harp/viola. A vocal version of this arrangement will be made available soon. Key: Concert GLength: approximately 3 minutes 4 pages (includes score and separate solo part)Want this arrangement for a different set of instruments or in a different key? Shoot me an email at bekmars10@gmail.com for a custom version of this arrangement that I can post on Sheet Music Plus for you.
$9.99 ≈
9.35€
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.45€
The Cross of Christ: A Holy Week Experience
The Cross of Christ: A Holy Week Experience
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Keith Getty & Stuart Townend
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Lloyd Larson
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The Cross of Christ: A Holy We
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Hope Publishing - Digital
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SheetMusicPlus
Instrument Parts - Digital Download SKU: H1.C6140PDP Arranged by Lloyd Larson. Easter Sunday. Instrumental Parts: Conductor's Score. 84 pages. Hope Publi...
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Instrument Parts - Digital Download SKU: H1.C6140PDP Arranged by Lloyd Larson. Easter Sunday. Instrumental Parts: Conductor's Score. 84 pages. Hope Publishing - Digital #C6140PDP. Published by Hope Publishing - Digital (H1.C6140PDP). By Keith Getty & Stuart Townend.Medley of songs including by Keith Getty & Stuart Townend This medley for Holy Week includes many of the significant hymns and songs that center on the cross: The Power of the Cross, Beneath the Cross, Beneath the Cross of Jesus, Near the Cross, and When I Survey the Wondrous Cross. This Holy Week Experience is an extended work (7:30 mins. ), with optional scripture narration and instruments, as well as an opportunity for the congregation to join in on at the end of When I Survey. Instrumental Parts: Conductor's Score, Flute, Oboe (or Soprano Sax or Clarinet), Horn (or Alto Sax or Clarinet), Piano, Cello/Bassoon (or Bass Clarinet).
$34.95 ≈
32.71€
Psalm 19 - The Heavens Declare
Psalm 19 - The Heavens Declare
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Flute, Oboe, Clarinet, Bassoon
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INTERMEDIATE/ADVANCED
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Contemporary
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Stephen R Dalrymple
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Stephen R Dalrymple (Dalrymple
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Psalm 19 - The Heavens Declare
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Stephen R Dalrymple
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet - Level 4 - Digital Download SKU: A0.818344 By Stephen R Dalrymple. By Stephen R Dalrymple. Arranged by Stephen R Dalr...
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Woodwind Ensemble,Woodwind Quartet - Level 4 - Digital Download SKU: A0.818344 By Stephen R Dalrymple. By Stephen R Dalrymple. Arranged by Stephen R Dalrymple (Dalrymple Designs). Contemporary. 110 pages. Stephen R Dalrymple #6318201. Published by Stephen R Dalrymple (A0.818344). Psalm 19 – The Heavens Declare - Quintet for Winds and Piano ♫ transcribed for brass, woodwind, and string ensembles ♫ This composition was written for 5 music educators to perform at a fundraiser for music programs in our school district. It has been transcribed with flexible instrumentation so that it could be performed by brass, woodwind, or string quartets (plus piano), a creative mix of instruments (choose an instrumentation for each of the 5 parts) or a small band. ♫ The text comes from the beginning verses of Psalm 19 that point out that the skies bear witness to the glory and creative power of YHWH (sometimes represented by the LORD, Yahweh, or Jehovah) the God who created heaven and earth. The laws of nature, The laws of nature controlling the uncounted stars spread across almost limitless space, the vast number of light years to the closest star, … a person doesn’t need the words of religious instruction to see evidence of God’s work. [Psalm 19:1-6 paraphrased by the composer] ♫ quintet composition © 2017 Stephen R Dalrymple ♫ recording ℗ 2021 Stephen R Dalrymple ♫ presentation © 2021 Stephen R Dalrymple ♫ Psalm 19:1-6 paraphrased by the composer ♫ sequenced by the composer ♫ This .pdf file includes 25 files (110 pages): ♫ Letter size scores for Original, Woodwind, Brass, and String Ensembles (with piano); ♫ Small page format for performing from a 10 inch tablet of Scores for Original, Woodwind, Brass, and String Ensembles (with piano); ♫ Letter size Individual Parts: Flute Part 1, Clarinet Part 1, Trumpet Part 1, Violin Part 1, Oboe Part 2, Clarinet Part 2, Trumpet part 2, Violin Part 2, Clarinet Part 3, Alto Sax Part 3, French Horn Part 3, Viola Part 3, Bassoon Part 4, Euphonium (Trombone, E Bass) Part 4, Tuba Part 4, Cello Part 4, Part 5: Piano ♫ (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.) ♫ The YouTube video contains the full recording.
$9.00 ≈
8.42€
Holy, Holy, Holy--bassoon solo
Holy, Holy, Holy--bassoon solo
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Bassoon, Piano (duet)
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INTERMEDIATE/ADVANCED
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Sacred music
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Gospel/Spiritual
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Reginald Heber, John B
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Beka Wilson
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Holy, Holy, Holy--bassoon solo
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Beka Wilson
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SheetMusicPlus
Bassoon,Piano - Level 4 - Digital Download SKU: A0.786520 Composed by Reginald Heber, John B. Dykes. Arranged by Beka Wilson. Christian,Gospel,Sacred. Sc...
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Bassoon,Piano - Level 4 - Digital Download SKU: A0.786520 Composed by Reginald Heber, John B. Dykes. Arranged by Beka Wilson. Christian,Gospel,Sacred. Score and part. 5 pages. Beka Wilson #6134969. Published by Beka Wilson (A0.786520). Holy, Holy, Holy has long been a favorite hymn across many denominations, and this arrangement for advanced intermediate instrumental solo is a perfect calming piece for a prelude, offertory, or other special music piece for a church service. This arrangement is also available as a solo for flute, oboe, clarinet, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello, and as a duet for harp/flute, harp/violin, harp/viola, and harp/cello.Key: Concert GLength: approximately 3 minutes (85bpm)5 pages (includes score and separate solo part)Want this arrangement for a different set of instruments or in a different key? Shoot me an email at bekmars10@gmail.com for a custom version of this arrangement that I can post on Sheet Music Plus for you.
$6.99 ≈
6.54€
Holy, Holy, Holy--harp/cello duet
Holy, Holy, Holy--harp/cello duet
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Harp, Cello (duet)
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INTERMEDIATE/ADVANCED
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Sacred music
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Gospel/Spiritual
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Reginald Heber, John B
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Beka Wilson
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Holy, Holy, Holy--harp/cello d
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Beka Wilson
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SheetMusicPlus
Instrumental Duet Cello,Harp,Instrumental Duet - Level 4 - Digital Download SKU: A0.786531 Composed by Reginald Heber, John B. Dykes. Arranged by Beka Wi...
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Instrumental Duet Cello,Harp,Instrumental Duet - Level 4 - Digital Download SKU: A0.786531 Composed by Reginald Heber, John B. Dykes. Arranged by Beka Wilson. Christian,Gospel,Sacred. Score and parts. 5 pages. Beka Wilson #6135009. Published by Beka Wilson (A0.786531). Holy, Holy, Holy has long been a favorite hymn across many denominations, and this arrangement for advanced intermediate instrumental duet is a perfect calming piece for a prelude, offertory, or other special music piece for a church service. This arrangement is also available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello, and as a duet for harp/flute, harp/violin, and harp/viola.Key: Concert GLength: approximately 3 minutes (85bpm)5 pages (includes score and separate solo part)Want this arrangement for a different set of instruments or in a different key? Shoot me an email at bekmars10@gmail.com for a custom version of this arrangement that I can post on Sheet Music Plus for you.
$9.99 ≈
9.35€
When I Survey the Wondrous Cross (Folk Tune - O Waly, Waly) arr. David Catherwood for Flex. ensemble
When I Survey the Wondrous Cross (Folk Tune - O Waly, Waly) arr. David Catherwood for Flex. ensemble
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Concert band
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INTERMEDIATE
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Traditional
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David Catherwood
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When I Survey the Wondrous Cro
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Opus 3 Music
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.739479 Composed by Traditional. Arranged by David Catherwood. Easter,Folk,Multicultural,Wedding,World. ...
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Concert Band - Level 3 - Digital Download SKU: A0.739479 Composed by Traditional. Arranged by David Catherwood. Easter,Folk,Multicultural,Wedding,World. Score and parts. 19 pages. Opus 3 Music #5030855. Published by Opus 3 Music (A0.739479). This arrangement of the well loved English Folk song O Waly, Waly will work equally well as an accompaniment for Choirs or Congregations singing When I survey the Wondrous Cross or it may also be used as an effective instrumental item during the Easter period.For secular use the folk song would also work well for smaller groups playing at weddings or other functions.The arrangement allows for a great deal of flexibility in presentation and will sound complete with as few as four players yet the scoring allows for expansion up to a full symphonic orchestra, concert band or brass bandAs with all music available from Opus 3 Music this arrangement has been well tried and tested in performanceA full set contains a score and a generous set of parts (with permissionto copy to suit your own requirements) for the following instruments:Part 1 in C (Oboe 1, Violin 1)Part 1 in C (Flute)Part 1 in Bb (Clarinet 1 in Bb, Trumpet/Cornet 1 in Bb)Part 2 in C (Oboe 2, Violin 2)Part 2 in Bb (Clarinet 2 in Bb, Trumpet/Cornet 2 in Bb)Part 2 in Eb (Ato Saxophone, Eb Horn)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone, Eb Horn)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone/Baritone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb Bb Bass Tuba (treble clef)Extra optional part in Bb (Euphonium (treble clef)PercussionWhen I survey the wondrous crossOn which the Prince of glory diedMy richest gain I count but lossAnd pour contempt on all my pride
$9.50 ≈
8.89€
The Old Rugged Cross (for solo instrument and piano)
The Old Rugged Cross (for solo instrument and piano)
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Rev
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Ralph Raymond Hays
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The Old Rugged Cross
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Ralph Raymond Hays
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Cello,Clarinet,English Horn,Euphonium,Flute,Oboe,Soprano Saxophone,Tenor Saxophone,Trombone,Trumpet,Vio...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Cello,Clarinet,English Horn,Euphonium,Flute,Oboe,Soprano Saxophone,Tenor Saxophone,Trombone,Trumpet,Viola,Violin - Level 3 - Digital Download SKU: A0.720748 Composed by Rev. George Bennard. Arranged by Ralph Raymond Hays. Concert,Easter,Sacred,Spiritual. Score and parts. 20 pages. Ralph Raymond Hays #6302263. Published by Ralph Raymond Hays (A0.720748). Deftly arranged by one of SMP's top arrangers, this captivating setting will highlight a recital or Worship Service during Lent, on Easter, or throughout the year. Masterful counterpoint, exquisite harmonies, and innovative rhythmic nuances bring a contemporary perspective to one of Christendom's most beloved masterworks.The Old Rugged Cross was my Papa's favorite hymn. Although it was played and sung at his funeral, my most vivid memories of it are from summer Friday nights when three generations of my family would convene around the piano in my grandparents' living room. My Nana would play through the Reader's Digest Songbook of Family Faith and Joy from cover to cover as the rest of sang -- improvising harmonies and blending our voices as only family can. We each had our favorites (it will surprise no one that mine was Climb Ev'ry Mountain) and it was obvious by how he sang a bit stronger and more fervently each time, that this was Papa's. With cherished recollections to guide me, I strove to embody the joy and warmth of those gatherings in this arrangement.
$6.99 ≈
6.54€
When I Survey the Wondrous Cross--horn solo
When I Survey the Wondrous Cross--horn solo
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French Horn and Piano
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EASY
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Isaac Watts, Lowell Mason
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Beka Wilson
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When I Survey the Wondrous Cro
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Beka Wilson
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SheetMusicPlus
French Horn,Piano - Level 2 - Digital Download SKU: A0.786549 Composed by Isaac Watts, Lowell Mason. Arranged by Beka Wilson. Christian,Easter,Gospel,Sac...
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French Horn,Piano - Level 2 - Digital Download SKU: A0.786549 Composed by Isaac Watts, Lowell Mason. Arranged by Beka Wilson. Christian,Easter,Gospel,Sacred. Score and part. 4 pages. Beka Wilson #6253753. Published by Beka Wilson (A0.786549). When I Survey the Wondrous Cross has long been a favorite hymn to celebrate Easter and Christ’s sacrifice, and this arrangement for early intermediate instrumental solo is perfect for a prelude, offertory, or other special music piece for Easter Sunday, communion, or any other church service. This arrangement is also available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, trumpet, trombone, violin, viola, and cello, and as a duet for two harps, harp/flute, harp/violin, harp/viola, and harp/cello. A vocal version of this arrangement will be made available soon.Key: Concert GLength: approximately 3 minutes 4 pages (includes score and separate solo part)Want this arrangement for a different set of instruments or in a different key? Shoot me an email at bekmars10@gmail.com for a custom version of this arrangement that I can post on Sheet Music Plus for you.
$6.99 ≈
6.54€
When I Survey the Wondrous Cross--flute solo
When I Survey the Wondrous Cross--flute solo
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Flute and Piano
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EASY
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Isaac Watts, Lowell Mason
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Beka Wilson
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When I Survey the Wondrous Cro
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Beka Wilson
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SheetMusicPlus
Flute,Piano - Level 2 - Digital Download SKU: A0.786544 Composed by Isaac Watts, Lowell Mason. Arranged by Beka Wilson. Christian,Easter,Gospel,Sacred. S...
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Flute,Piano - Level 2 - Digital Download SKU: A0.786544 Composed by Isaac Watts, Lowell Mason. Arranged by Beka Wilson. Christian,Easter,Gospel,Sacred. Score and part. 4 pages. Beka Wilson #6253737. Published by Beka Wilson (A0.786544). When I Survey the Wondrous Cross has long been a favorite hymn to celebrate Easter and Christ’s sacrifice, and this arrangement for early intermediate instrumental solo is perfect for a prelude, offertory, or other special music piece for Easter Sunday, communion, or any other church service. This arrangement is also available as a solo for oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello, and as a duet for two harps, harp/flute, harp/violin, harp/viola, and harp/cello. A vocal version of this arrangement will be made available soon. Key: Concert GLength: approximately 3 minutes 4 pages (includes score and separate solo part)Want this arrangement for a different set of instruments or in a different key? Shoot me an email at bekmars10@gmail.com for a custom version of this arrangement that I can post on Sheet Music Plus for you.
$6.99 ≈
6.54€
When I Survey the Wondrous Cross--vocal solo
When I Survey the Wondrous Cross--vocal solo
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Piano, Voice
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EASY
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Isaac Watts, Lowell Mason
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Beka Wilson
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When I Survey the Wondrous Cro
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Beka Wilson
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.786604 Composed by Isaac Watts, Lowell Mason. Arranged by Beka Wilson. Christian,Easter,Gospel,Sac...
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.786604 Composed by Isaac Watts, Lowell Mason. Arranged by Beka Wilson. Christian,Easter,Gospel,Sacred. Score. 5 pages. Beka Wilson #6301885. Published by Beka Wilson (A0.786604). When I Survey the Wondrous Cross has long been a favorite hymn to celebrate Easter and Christ’s sacrifice, and this arrangement for early intermediate instrumental solo is perfect for a prelude, offertory, or other special music piece for Easter Sunday, communion, or any other church service. This arrangement is also available as a solo for voice (harp accompaniment), flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello, and as a duet for two harps, harp/flute, harp/violin, harp/viola, and harp/cello. A vocal version of this arrangement will be made available soon. Key: Concert GLength: approximately 3 minutes 4 pages (includes score and separate solo part)Want this arrangement for a different set of instruments or in a different key? Shoot me an email at bekmars10@gmail.com for a custom version of this arrangement that I can post on Sheet Music Plus for you.
$6.99 ≈
6.54€
When I Survey the Wondrous Cross--trumpet solo
When I Survey the Wondrous Cross--trumpet solo
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Trumpet, Piano
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EASY
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Isaac Watts, Lowell Mason
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Beka Wilson
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When I Survey the Wondrous Cro
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Beka Wilson
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SheetMusicPlus
Piano,Trumpet - Level 2 - Digital Download SKU: A0.786548 Composed by Isaac Watts, Lowell Mason. Arranged by Beka Wilson. Christian,Easter,Gospel,Sacred....
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Piano,Trumpet - Level 2 - Digital Download SKU: A0.786548 Composed by Isaac Watts, Lowell Mason. Arranged by Beka Wilson. Christian,Easter,Gospel,Sacred. Score and part. 4 pages. Beka Wilson #6253749. Published by Beka Wilson (A0.786548). When I Survey the Wondrous Cross has long been a favorite hymn to celebrate Easter and Christ’s sacrifice, and this arrangement for early intermediate instrumental solo is perfect for a prelude, offertory, or other special music piece for Easter Sunday, communion, or any other church service. This arrangement is also available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trombone, violin, viola, and cello, and as a duet for two harps, harp/flute, harp/violin, harp/viola, and harp/cello. A vocal version of this arrangement will be made available soon. Key: Concert GLength: approximately 3 minutes 4 pages (includes score and separate solo part)Want this arrangement for a different set of instruments or in a different key? Shoot me an email at bekmars10@gmail.com for a custom version of this arrangement that I can post on Sheet Music Plus for you.
$6.99 ≈
6.54€
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At The Cross Cello Bassoon
