Sheet music

"Hark! the Herald Angels Sing" for Piano, Organ, English Handbells and Choir

"Hark! the Herald Angels Sing" for Piano, Organ, English Handbells and Choir

9 parts13 pages03:347 years ago7,115 views
Voice(4), Percussion(2), Piano, Organ
"Hark! the Herald Angels Sing" music is from the second chorus of a cantata by Felix Mendelssohn (1809-1847) written in 1840 to commemorate Johann Gutenberg and the invention of printing. The words are from a hundred years earlier, written in 1739 by Charles Wesley whose brother, John, Wesley founded the Methodist Church.

My arrangement for Piano, Organ, English Handbells and Choir is an ensemble for piano, organ, English handbells and SATB choir arranged for the Sierra Vista United Methodist Church (SVUMC) from the United Methodist Church Hymnal #240.

I added English Handbells in order to add brilliance to this magnificent work. I arranged it into a full orchestral score, in modified keys of F and G Major.

The addition of English Handbells was not written to replace the piano and organ accompaniment. Rather, it adds color and brilliance to the fanfare – like sections of the score.

The full score, including the English Handbell part, is not necessary for performance. Conductors should simply mark English Handbell entrance cues in their score.

Care should be taken so that English Handbells are not overwhelmed by the accompanying piano and organ, especially the organ. I suggest that the manual stops be bright flutes or brass and strings (as noted in the “Organ Registration” section) with no doubling of pitches, with eight and sixteen foot pedal stops only. Four foot manual stops should be avoided.

This piece is best played using the "HandBells.sf2" SoundFont by FMJ Software.(
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This concerns one specific score by @Mike Magatagan namely the score you click "Download" and choose "PDF including Parts"  the returned document is not a PDF but a "Not Found" error in XML format such as:  <Error><Code>NoSuchKey</Code><Message>The specified key does not exist.</Message><Key>3004231/8628087/18f138fc27/general-parts/score-parts.pdf</Key><RequestId>7C02B5365F83A247</RequestId><HostId>++UrE4WzPLQL6n4nqY64Q5aoi88wzvJjJqfSUqDiw2DSzJYIpfHzp0IE6RMQiDFkoGyv5AujhOA=</HostId></Error> All other export formats work fine.As a test I've downloaded that score in mscz format, opened it up with musescore 2.3.2 and used "Save online" to save it privately into my account (private url ). From there I can download the PDF with parts without issues.Mike already tried to "update" his score by resaving the score to his account; we were hoping this would force the musescore server to regenerate this PDF. Alas this seems to not work.Can someone on your end ( @Ximich or @abruhanov probably) debug this and/or force the server to generate that file?Thanks!
"Pavane" (Opus 50) for Flute and Piano

"Pavane" (Opus 50) for Flute and Piano

2 parts6 pages056 years ago13,674 views
Flute, Piano
The "Pavane" in F# minor, Op. 50, is a composition by the French composer Gabriel Fauré, written in 1887. It was originally a piano piece, but is better known in Fauré's version for orchestra and optional chorus. Obtaining its rhythm from the slow processional Spanish court dance of the same name, the Pavane ebbs and flows from a series of harmonic and melodic climaxes, conjuring a cool, somewhat haunting, Belle Époque elegance.

The original version of the Pavane was written for piano in the late 1880s. The composer described it as "elegant, but not otherwise important." Fauré intended it to be played more briskly than it has generally come to be performed in its more familiar orchestral guise.

Since its premiere in 1888, Gabriel Fauré ’s Pavane Op. 50 has been an enormously popular piece of classical music. Its beautiful main melody, evocative harmonies and effective orchestration create a very stirring and infectious work, which is why it has become such a favourite with audiences and is so frequently heard time and time again. It was used as the theme to the 1998 World Cup, and has also been the basis for various popular music songs, such as Charlotte Church’s "Dream a Dream".

Although originally written for Piano and later Orchestra, I arranged his work for Flute and Piano.

"Air" in D Major (BWV 1068) for Crystal Flute & Piano

2 parts4 pages04:146 years ago6,625 views
The four Orchestral Suites or Overtures BWV 1066–1069 are a set of compositions by Johann Sebastian Bach. The Air is one of the most famous pieces of baroque music. An arrangement of the piece by German violinist August Wilhelmj (1845–1908) has come to be known as Air on the G String.

I created this arrangement for the Hall Crystal Flute ( and piano supporting the limited range of the instrument.

It is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (
"Ave Maria" based on a prelude by J.S. Bach for Flute & Piano

"Ave Maria" based on a prelude by J.S. Bach for Flute & Piano

2 parts4 pages02:156 years ago12,827 views
Flute, Piano
Ave Maria based on a prelude by J.S. Bach written by French Romantic composer Charles Gounod in 1859 as the "Consideration on Bach's prelude". His Ave Maria consists of a melody superimposed over the Prelude No. 1 in C major, BWV 846, from Book I of The Well-Tempered Clavier, written by J.S. Bach some 137 years earlier.

I transcribed his original piece for Flute & Piano.

"Carol of the Bells" in G Minor for English Handbells and Choir

7 parts5 pages01:327 years ago12,674 views
Voice(4), Percussion(3)
"Carol of the Bells" is a choral miniature work composed by the Ukrainian Mykola Leontovych. Leontovych's composition, is characterised by the use of a four note motif as an ostinato figure throughout the work. This ostinato figure is an ancient pagan Ukrainian New Year's (originally celebrated in April) magical chant known in Ukrainian as "Shchedryk" [the Generous One]. I developed this arrangement of the "Carol of the Bells" to accentuates it's original composition using modern 5-Octave English Handbells, Handchimes and full choir (SATB).
"The Swan" for Viola & Harp

"The Swan" for Viola & Harp

2 parts3 pages02:334 years ago5,979 views
Viola, Harp
Camille Saint-Saëns' Le cygne (1886), or The Swan, was one of his most popular pieces of music during the span of his life, although the general public was not aware that it was actually just a part of a larger suite, at the time. The Swan is actually the 13th movement of a suite called The Carnival of the Animals (1886), or the Grande Fantasie Zoologique, as Saint-Saëns referred to it. It was intended to be a "fun" piece, to satisfy the composer's mischievous wit. Saint-Saëns, throughout his teaching and compositional career, enjoyed writing or improvising parody pieces that made fun of a certain composition or a musical style. At the École Niedermeyer, where he taught some of France's brightest young musicians, he would often escape from the boring lessons by leading the students in parodies of this type. Saint-Saëns did not allow for The Carnival of the Animals to be published during his life, because he feared that it would take precedence over his more serious works. The work was eventually published, though, after the composer's death, by order of his last will and testament.

The Swan was written for the aging cellist Charles-Joseph Lebouc, who was famous for his own playing and for being the son-in-law of the well-known singer Adolphe Nourrit. Saint-Saëns had promised a solo piece for the cellist years previous, but he did not get around to the project until February 1886. By this time, Lebouc was the subject of ridicule in the string-playing community due to a number of bad performance habits that he had acquired in his old age. Once he performed The Swan with its extreme mellowness, he again caused his fellow cellists to take notice of the tenderness in his playing.

The Swan was also used as the basis of a dance piece that was choreographed by Michel Fokine. In 1905, the ballet piece, which was retitled La Mort du Cygne, or The Dying Swan, was performed for the first time by the beloved dancer Anna Pavlova. The Dying Swan has remained in the ballet repertoire, and has been performed by countless ballerinas, including Madame Napierkowska during a recital in 1921 that Saint-Saëns witnessed himself just weeks prior to his death.

I created this this arrangement for Viola & Concert (Pedal) Harp.
Sonata in E♭ Major  (Opus 167) for Clarinet and Piano

Sonata in E♭ Major (Opus 167) for Clarinet and Piano

2 parts26 pages17:216 years ago11,849 views
Clarinet, Piano
In the last year of his life, at the age of 85, Camille Saint-Saëns was still active as a composer and conductor, traveling between Algiers and Paris. Besides a final piano album leaf, his last completed works were three sonatas, one each for oboe, clarinet, and bassoon. He sensed that he did not have much time left; he wrote to a friend, "I am using my last energies to add to the repertoire for these otherwise neglected instruments." He intended to write sonatas for another three wind instruments, but was never able to. Saint-Saëns began the pieces early in the year while in Algeria and completed them in April in Paris. He was not alone in wanting to write for these instruments. English composers, such as Holst and Bax, and other French composers, such as Honegger and Milhaud, were also starting to expand the literature for woodwind instruments around the same time. In fact, Saint-Saëns' sonatas have pastoral and humorous moments that are similar to those others' works, relying on simpler melodies and textures than are found even his earlier chamber works, yet retaining Classical forms for their structure. Although all three sonatas were published before Saint-Saëns' death, they were not premiered until later. This, the Sonata for clarinet and piano in E flat major, Op. 167, is cherished by many performers.

Saint-Saëns' Clarinet Sonata has four movements, and thus might be said to reach back past the Romantic sonata tradition, with its normal three-movement vessel, to the Classical tradition that Saint-Saëns loved so dearly. The opening melodic strains of the Allegretto first movement float upon a sea of utterly calm eighth note waves in the piano (bobbing up and down in 12/8 meter); the composer is in no hurry to reveal the secrets of the movement, but there is still passion aplenty as we go along, even if the movement as a whole is not especially long.

A scherzo movement comes next, taking up A flat major, and then Saint-Saëns provides a Lento in the dark key of E flat minor; its steady half notes and, in time, quarter notes, are so persistent in their slow plodding that we almost feel anguish at their inability to break free from the dirge they create. Much happier, though, is the Molto Allegro fourth movement that follows it without pause. Here the clarinetist is given a chance to whirl and spin to some very florid virtuoso stuff, but at the end it is the quiet tone, and even in fact the very music, of the first movement that the composer uses to close.
Piccolo Concerto (Opus 44, No. 11, RV 443) for Piccolo & Strings

Piccolo Concerto (Opus 44, No. 11, RV 443) for Piccolo & Strings

7 parts33 pages10:186 years ago11,559 views
Piccolo, Strings(5), Harpsichord
Antonio Vivaldi (1678-1741) started playing the violin in his early years. He started studying to become a priest when he was 15 and was ordained in 1703 at the age of 25. In September 1703 Vivaldi became a violin teacher at an orphanage where he started writing concertos and sacred vocal music for the oprhans. Later on he became responsible for all the musical activity of the institution. Around 1717 Vivaldi was offered a new position as Maestro di Cappella (in charge of music in a chapel) of the governor of Mantua. During this period Vivaldi wrote his famous four violin concertos the Four seasons.

Antonio Vivaldi's concertos cut a revolutionary swath through the more fustian rituals of high Baroque music in much the way that minimalism gutted academic serialism 250 years later. They standardized the fast-slow-fast movement scheme that has survived as the classic concerto pattern, and developed the ritornello form (in which a refrain for the ensemble alternates with free episodes for the soloist), using it as a vehicle for thematic integration and elaboration. Vivaldi's 500-plus concertos were athletic entertainments that swept continental Europe, influencing not only younger composers, but causing a wave of stylistic conversion in older ones.

Vivaldi wrote this "Concerto per Flautino" sometime between 1728 and 1729 and although there is not a reliable evidence that the frontispiece information "Concerto per Flautino" means the sopranino recorder (in 'F') as a soloist. The Italian term flautino means simply a "small flute". There is however, a written instruction "Gl'istromti trasportati alla 4a" ("The instruments transposed a fourth"), witch corroborate which the conjecture that this concert was written for a soprano recorder (in 'C'), the standard transposition for recorder in 18th century, where the recorder player needs to read the recorder part like playing with an alto recorder in 'F'.

This arrangement was created for solo Piccolo and String Ensemble (Violins, Viola, Cello & String Bass).

Flute Sonata in A Minor (BWV 1013) for Flute

1 part7 pages10:245 years ago10,941 views
Partita in A minor for solo flute by Johann Sebastian Bach (BWV 1013) is a partita in 4 movements, probably composed around 1718. The title, however, is the work of 20th-century editors. The title in the only surviving 18th-century manuscript is "Solo pour une flûte traversière par J. S. Bach". The movements are marked: Allemande, Corrente, Sarabande and Bourrée angloise.

As is the case with so many of J.S. Bach's chamber works, we know virtually nothing about the circumstances in which the Partita in A minor for unaccompanied flute, BWV 1013 was composed. It was probably written sometime during the early 1720s, during the last few years of Bach's tenure as kapellmeister at Cöthen (a job that gave him ample freedom to explore secular chamber music), and at any rate could not have been composed before leaving Weimar in 1717.

Bach's other works for unaccompanied instruments (other than keyboard and lute) -- the Suites for solo cello, BWV 1007-1012 and the Sonatas and Partitas for solo violin, BWV 1001-1006 -- were all informed to one degree or another by his own skill as a string instrument performer (this is not to say that he was necessarily accomplished enough to perform them adequately; indeed, evidence indicates that he was not, and perhaps never tried). With the flute Partita, however, Bach was left almost entirely to his own ingenuity, as neither tradition nor personal familiarity could come into much play during the creation of so unlikely a work.

It is a dance-suite proper in which each of the four most common species of the day -- allemande, courante, sarabande, and bourrée -- makes an appearance, and in which the same remarkable blend of actual tones and implied counterpoint that fuels the violin and cello works is found to be the driving force; it is music of uncommon charm and high Baroque grace.

Lengthiest of the Partita's four movements is the opening allemande, whose running sixteenth-notes outline a broad binary design. As with those movements from the solo violin and cello works that are exclusively melodic (meaning only that no multiple-stopping of the strings is called for) -- such as the "Allemanda" from the D minor violin Partita, very similar in plan to this flute allemande -- there are frequent leaps from one register to another as Bach engages to make melodically plain the implied harmonic voices (bass, treble, etc.) around which the music is written. In each half, the approach to the cadence is made via some juicy, chromatically descending miniature arpeggios.
The courante movement (or, to follow Bach's title more exactly, Corrente), following the Allemande as tradition demands, is of the livelier Italian-derived variety, relatively quick-tempoed and in simple triple meter. Also true to tradition are the assymetrical dimensions of the movement's two "halves": twenty-two bars, forty-one bars. Truly striking is the unexpected high D sharp that the flute hollers out near the end of the first half, by leap no less, and then leaves without ever resolving in the same register, forcing us to be content with an E natural an octave lower.

After an aristocratic sarabande of ingenious rhythmic flexibility, Bach concludes the Partita with a Bourrée Anglais -- then in vogue throughout Europe, to judge from the many appearances of this particular subspecies of the bourrée that pop up in the music of Bach, Handel, and others. Probably the most immediately arresting of the four movements (the others are slower to give up their treasures, not less rich), it is built around the bourrée's typical "backwards" short-short-long rhythm, set up in this case as the counterbalance for more florid running sixteenth-note passages and, as we approach the final cadence to A, some remarkably staid chromatic eighth notes.

This piece was written entirely for Solo (Transverse) Flute.

Canon in D Major for Harp

1 part10 pages06:196 years ago10,853 views
Johann Pachelbel was a German Baroque composer, organist and teacher, who brought the south German organ tradition to its peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.

Pachelbel is best known for the Canon in D Major, the only canon he wrote – although a true canon at the unison in three parts, it is often regarded more as a passacaglia, and it is in this mode that I created this somewhat unique arrangement for the pedal harp.

The "Canon" is probably one of the most recognizable piece of classical music and is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (
Transylvanian Lullaby (Excerpt from "Young Frankenstein") for Viola

Transylvanian Lullaby (Excerpt from "Young Frankenstein") for Viola

1 part1 page01:324 years ago10,285 views
This is an excerpt of the theme taken from the famous film by Mel Brooks "Young Frankenstein" (Transylvanian Lullaby by John Morris) transcribed for Solo Viola.

Note: This work is not my own and is likely copyrighted.

John Leonard Morris (born October 18, 1926) is a retired American film and television composer, best known for his work with filmmaker Mel Brooks.
"Jesu Joy of Mans Desiring" (BWV 147 No. 10) for Viola & Piano
Custom audio

"Jesu Joy of Mans Desiring" (BWV 147 No. 10) for Viola & Piano

2 parts2 pages02:444 years ago10,236 views
Viola, Piano
Herz und Mund und Tat und Leben (Heart and mouth and deed and life), BWV 147, is a church cantata by Johann Sebastian Bach. It was written originally in Weimar in 1716 (BWV 147a) for Advent and expanded in 1723 for the feast of the Visitation in Leipzig, where it was first performed on 2 July 1723.

Bach composed the cantata in his first year as Thomaskantor in Leipzig for the Marian feast "Mariae Heimsuchung" (Visitation). The prescribed readings for the feast day were Isaiah 11:1--5, the prophecy of the Messiah, and from the Gospel of Luke, Luke 1:39--56, Mary's visit to Elizabeth, including her song of praise, the "Magnificat". He used as a base a cantata in six movements composed in Weimar for the fourth Sunday in Advent. As Leipzig observed tempus clausum (time of silence) from Advent II to Advent IV, Bach could not perform the cantata for that occasion and rewrote it for the feast of the Visitation. The original words were suitable for a feast celebrating Mary in general; more specific recitatives were added, the order of the arias changed, and the closing chorale was replaced and repeated on a different verse to expand the cantata to two parts. The words are verses 6 and 16 of the chorale "Jesu, meiner Seelen Wonne" (1661) by Martin Jahn (de).

The music of the chorale movements is now best known for the piano transcription by Dame Myra Hess of Hugh P. Allen's choral version of Bach's arrangement, and is notable under the title Jesu, Joy of Man's Desiring which approximately relates to "Jesus bleibet meine Freude", more closely translated as "Jesus shall remain my gladness".

Although this cantata was scored for four soloists and a four-part choir, a festive trumpet, two oboes (oboe d'amore, oboe da caccia), two violins, viola and basso continuo including bassoon, I created this arrangement for Viola & Acoustic Piano.

"Morrison's Jig" for Piano

1 part3 pages01:585 years ago9,839 views
This popular traditional jig is named after Sligo-born, Irish-American fiddler James Morrison, who recorded it in the 1930s. Tom Carmody, who played accordion in Morrison's band, tells this story of its origin:

Jim was up at my house the night before we were to go to the studio, and I played him this jig. Jim asked me where I had got it from and I told him it was my father's jig called “The Stick Across the Hob”. Jim asked me to play it again and he wrote it down as I played, then he got the fiddle and played it off. “I will put that on record tomorrow”, he said, and we'll call it “Maurice Carmody's Favourite”.

Although originally written for Folk Instruments, I created this short arrangement for Solo Acoustic Piano and It is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (
"Riu, Riu, Chiu" (Nightingale's Sounds) for Choir (SATB)

"Riu, Riu, Chiu" (Nightingale's Sounds) for Choir (SATB)

4 parts3 pages01:567 years ago9,246 views
"Riu, Riu, Chiu" is a 16th Century Spanish villancico by an anonymous composer. The villancico is attributed by some sources to Mateo Flecha the Elder, who died in 1553. The villancico is verse, set to popular dance rhythms, depicting pastoral Nativity scenes with a country flavor (animals and shepherds).

This traditional Spanish Christmas carol in honor of the Blessed Virgin Mary is of the type known as a 'villancico', dating from the 16th century. The song is a lesson in Catholic doctrine on the Immaculate Conception of Our Lady as well as the birth of Our Lord who came to redeem the world from the guilt of sin.

This arrangement for the Sierra Vista United Methodist Church (SVUMC) is to be sung by a lone male voice, with the main choir singing the chorus.
Prelude from the Cello Suite in G Major (BWV 1007) for Viola

Prelude from the Cello Suite in G Major (BWV 1007) for Viola

1 part1 page02:204 years ago8,824 views
It is thought that Bach wrote his six suites for unaccompanied cello between 1717 and 1723, while he was in the employ of Prince Leopold of Anhalt-Cöthen and had two superb solo cellists, Bernard Christian Linigke and Christian Ferdinand Abel, at his disposal. However, the earliest copy of the suites dates from 1726, and no autographs survive. Thus a chronological order is difficult to prove, though one guesses that these suites were composed in numerical order from the way that they gradually evolve and deepen, both technically and musically.

A Baroque suite is typically a collection of dance movements, usually in binary form with each half repeated. Common elements of the suite were the Allemande (German dance), a moderately slow duple-meter dance; the Courante, a faster dance in triple meter; the Sarabande, a Spanish-derived dance in a slow triple meter with emphasis on the second beat; and a Gigue (Jig), which is rapid, jaunty, and energetic. Bach took these typical dance forms and abstracted them, and then added a free-form, almost improvisatory Prelude which sets the tone for each suite, and a galanterie, an additional dance interposed between Sarabande and Gigue. (In the first two suites, Bach uses a pair of Minuets.) With these dances, Bach experimented and created the first, and arguably still the finest, solo works for a relatively new instrument.

The first suite, in G major, gives the feel of innocent simplicity, and serves as a marvelous opening to these extraordinary works. The Prelude recalls the C major Prelude which opens Book One of the Well-Tempered Clavier. Each piece sets a remarkable atmosphere with no melodies, only strong rhythmic patterns, cunningly evolving harmonies, and evocative textures. Bach uses short, arpeggiated phrases to build larger-scale crescendos and decrescendos, and these phrases in turn aggregate into still larger structures, evoking an endlessly more complicated fractal pattern. This quality would become a characteristic of Bach's cello writing, along with a distinctive rhythmic quality far removed from the character of the original dances. Bach's suiite may have been inspired by viol writing in France and cello writing in Italy, but there was nothing like it before the first suite, and little like it after, except for the five suites that followed.

Although this piece was originally written for cello, I transcribed it for Viola.

"Here I Am, Lord" (UMH #593) for Organ

1 part3 pages01:106 years ago8,657 views
"Here I Am, Lord" is a hymn composed by Dan Schutte in 1981 after Vatican Council II. Its words are based on Isaiah 6:8 and 1 Samuel 3.

This Catholic hymn is often sung in the United Methodist worship services as well, particularly services that are contemporary rather than traditional in structure and format.

"Lascia Ch'io Pianga" from the Opera Rinaldo (HWV 7) for Organ and Choir

5 parts8 pages02:297 years ago8,515 views
Adapted from the opera "Rinaldo" (HWV 7) by George Frideric Handel composed in 1711. This is an arrangement for the Sierra Vista United Methodist Church (SVUMC) of the the soprano aria "Lascia Ch'io Pianga" adapted for Organ and Choir (SATB). Best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software.

"O Come, All ye Faithful" (Easy) for Alto Sax & Bass Clarinet

2 parts1 page00:486 years ago8,150 views
The text to the Carol "O Come All Ye Faithful" was originally written in Latin (Adeste Fideles) and was intended to be a hymn, it is attributed to John Wade, an Englishman. The music to "O Come All Ye Faithful" was composed by fellow Englishman John Reading in the early 1700s. The tune was first published in a collection known as "Cantus Diversi" in 1751. In 1841 Rev. Frederick Oakley is reputed to have worked on the familiar translation of O Come All Ye Faithful which replaced the older Latin lyrics "Adeste Fideles".

Although traditionally sung as a hymn, I created this arrangement for my Kids Amy (Alto Sax) and Ian (Bass Clarinet) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (