Sheet music

"Sheep May Safely Graze" Ensemble for Organ & Choir

4 parts12 pages04:237 years ago3,562 views
"Schafe können sicher weiden" (or "Sheep may safely graze") is taken from Aria 5 (the most familiar part of the cantata) of Johann Sebastian Bach's BWV 208: Was mir behagt, ist nur die muntre Jagd (The lively hunt is all my heart's desire), also known as the Hunting Cantata. It is a secular cantata composed in 1713 by Bach for the 31st birthday of Duke Christian of Saxe-Weissenfels. This arrangement adds a 3-4 part english language choir. Best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software.

"Up from the Grave He Arose!" (UMH # 322) for Children's Handbell Choir

1 part1 page01:263 years ago3,541 views
The gospel tune "Up from the Grave He Arose!" was written by Robert Lowery in 1874 and captures well the drama of Christ's resurrection with the ascending ("rocket") figures in the refrain. Undoubtedly, the refrain line has greatly enhanced this hymn's popularity. Sing in harmony with crisp rhythms and marcato accompaniment on the refrain. After the final stanza hold back the tempo on the last line of the refrain.

Robert Lowry was born in Philadelphia, March 12, 1826. His fondness for music was exhibited in his earliest years. As a child he amused himself with the various musical instruments that came into his hands. At the age of seventeen he joined the First Baptist Church of Philadelphia, and soon became an active worker in the Sunday-school as teacher and chorister.

I created this simplified arrangement for the Sierra Vista United Methodist Church (SVUMC) in Sierra Vista, Arizona. The piece covers just over 3 octaves and is designed for five (5) members of the Children's Handbell Choir. The purpose of this arrangement is to introduce the children to the basic concepts of ringing, note reading, timing and teamwork. This piece is best played using the "HandBells.sf2" Soundfont by FMJ Software (
Found in Community


United Methodist Church

1 discussion • 336 scores • 46 members


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!

"America the Beautiful" Duet for Piano & Organ

2 parts2 pages01:587 years ago3,525 views
A piano and church organ duet arranged for the Sierra Vista United Methodist Church (SVUMC) is inspired from "America the Beautiful" an American patriotic song. The lyrics to this beautiful song were written by Katharine Lee Bates (1859-1929), a professor of English literature at Wellesley College, Massachusetts, after an inspiring trip to the top of Pikes Peak, Colorado in 1893. Her poem, America the Beautiful first appeared in print in The Congregationalist, a weekly journal, on July 4, 1895. The music (from a piece named "Materna,") was composed by Samuel A. Ward in 1882, nearly a decade before the poem was written. Best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

Gavotte in F Major for Violin & Viola

2 parts3 pages03:053 years ago3,512 views
Violin, Viola
Giovanni Battista Martini (1706 – 1784), also known as Padre Martini, was an Italian musician.

Grandly and misleadingly called "one of the most famous figures in eighteenth century music" by over-specialized musicologists, Giovanni Battista Martini was an important personality in the narrow confines of Italian music and counterpoint pedagogy. Described as both affable and arrogant, Martini was a supportive and much sought-after teacher; his students included the young Mozart and J.C. Bach.

Martini enjoyed substantial early musical training, but at age 15 he decided he wanted to become a monk and was sent to a monastery. This residency lasted about a year; in late 1722 he returned to his native Bologna to become an organist at the church of St. Francesco. In 1725 he became that church's maestro di cappella, a position he would hold until near the end of his long life. He was ordained a priest in 1729.

Padre Martini's first published works appeared in 1734, a collection called Litaniae atque antiphonae finales Beatae Virginis Mariae; after this liturgical beginning, Martini would eventually publish three collections of secular music.

Among his honors were election to the Academy of the Bologna Institute of Science in 1758, the Bologna Philharmonic Academy (in the same year), and the Arcadian Academy in Rome in 1776. He was offered jobs at the Vatican and perhaps in Padua, but Martini preferred his employment in Bologna; indeed, his trips out of town were few and far between.

He was a hard worker and easily likable, inspiring great affection in personalities as different as Mozart and Charles Burney. Yet he was also in many respects an adamant musical reactionary, resisting French innovations in music theory and the progressive tendencies of even his fellow-countryman Tartini (with whom he nonetheless remained on cordial terms). His fees from teaching counterpoint and singing enabled him to amass a huge personal music library (perhaps 17,000 volumes by 1770), as well as a collection of 300 portraits of musicians; eventually, getting one's portrait into Martini's hands was equivalent to a modern Hollywood celebrity having "arrived" by getting a set of footprints onto the Walk of Fame.

Martini wrote extensively on ancient Greek music and plainchant (which he considered to be a particularly expressive form of music), and published a volume of excerpts for the teaching of advanced counterpoint. His own music, however, was largely homophonic, skewed to high voices. A major exception to this tendency was his 1742 Sonate d'intavolatura, which employed a rich counterpoint suggesting a familiarity with Bach.

Although originally written for Viol a de Gamba and Continuo, I created this arrangement for Violin & Viola.

"God Rest Ye Merry, Gentlemen" for Saxophone Quartet

4 parts2 pages01:175 years ago3,488 views
"God Rest You Merry, Gentlemen", also known as "God Rest Ye Merry, Gentlemen", is an English traditional Christmas carol. The melody is in the minor mode. It was published by William B. Sandys in 1833, although the author is unknown.

Like so many early Christmas songs, the carol was written as a direct reaction to the church music of the 15th century. However, in the earliest known publication of the carol, on a c. 1760 broadsheet, it is described as a "new Christmas carol", suggesting its origin is actually in the mid-18th century. It appeared again among "new carols for Christmas" in another 18th century source, a chapbook believed to be printed between 1780 and 1800.

It is referred to in Charles Dickens' A Christmas Carol, 1843: " the first sound of — 'God bless you, merry gentlemen! May nothing you dismay!'— Scrooge seized the ruler with such energy of action that the singer fled in terror, leaving the keyhole to the fog and even more congenial frost."

I created this arrangement for Saxophone Quartet (Soprano, Alto, Tenor & Baritone) as a variation on a simple theme. I encourage others to elaborate on this theme as well and freely post copies of your variations!

This piece is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

"Konzertstück" (Opus 114 No. 2) for Clarinets & Piano

3 parts21 pages07:335 years ago3,468 views
Clarinet(2), Piano
Jakob Ludwig Felix Mendelssohn Bartholdy (1809 – 1847), born, and generally known in English-speaking countries, as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period.

Mendelssohn was a true Renaissance man. A talented visual artist, he was a refined connoisseur of literature and philosophy. While Mendelssohn's name rarely arises in discussions of the nineteenth century vanguard, the intrinsic importance of his music is undeniable. A distinct personality emerges at once in its exceptional formal sophistication, its singular melodic sense, and its colorful, masterful deployment of the instrumental forces at hand. A true apotheosis of life, Mendelssohn's music absolutely overflows with energy, ebullience, drama, and invention, as evidenced in his most enduring works: the incidental music to A Midsummer Night's Dream (1826-1842); the Hebrides Overture (1830); the Songs Without Words (1830-1845); the Symphonies No. 3 (1841-1842) and No. 4 (1833); and the Violin Concerto in E minor (1844). While the sunny disposition of so many of Mendelssohn's works has led some to view the composer as possessing great talent but little depth, his religious compositions -- particularly the great oratorios Paulus (1836) and Elijah (1846) -- reflect the complexity and deeply spiritual basis of his personality.

In December 1832 and January 1833, Mendelssohn wrote a pair of works for a trio of clarinet, piano, and the now nearly arcane basset horn: the Concert Piece No. 1 in F major, Op. 113, and the Concert Piece No. 2 in D minor, Op. 114. Mendelssohn dispatched these two works immediately upon completion to clarinetist Heinrich Baermann and his son Carl, a basset horn player, who were touring Germany and Russia at the time. As tokens of the composer's personal friendship with the Baermanns (and his desire to help young Carl establish his career as a professional composer), the two Concert Pieces stand as the only compositions for basset horn in Mendelssohn's oeuvre.

The piece under consideration here, the first in Op. 113, is cast in three brief movements. The first, marked Allegro con fuoco, begins and ends with dramatic recitative-like exchanges between the clarinet and basset horn, establishing a vocally oriented approach to melody. The alternately turbulent and triumphant middle section demonstrates Mendelssohn's characteristic knack for creating textural interplay between monodic instrumental lines and piano accompaniment. The Andante middle movement finds the two woodwinds more closely allied, following tranquil melodies in lush, parallel thirds and sixths above a gentle pitter-patter of piano arpeggios. The pensive minor-mode stirrings that open the final movement cast a temporary shadow over the tranquil glow of the slow movement's final strains, but after a few uneasy recitative exchanges and a chromatic buildup, the clouds part for a playful Presto. The woodwinds assume a more extrovert, sometimes even playfully competitive character here, tossing rapid figurations and scales back and forth, facing off with breakneck runs in contrary motion -- one imagines the seasoned performer Heinrich Baermann and the young up-and-comer Carl bringing this piece to a rousing close.

Although originally created for Bb Clarinet, Basset Horn and Piano, I created this arrangement for Bb Clarinets (2) and Piano.

"Star of the County Down" for Flute & Harp

2 parts5 pages02:136 years ago3,399 views
Flute, Harp
"Star of the County Down" is an old Irish ballad set near Banbridge in County Down, in Northern Ireland. The tune is a pentatonic melody, similar to that of several other works, including the almost identical English tune "Kingsfold", well known from several popular hymns, such as "Led By the Spirit". The folk tune was the basis for Ralph Vaughan Williams' Five Variants of Dives and Lazarus.

The melody was also used in an old Irish folk song called "My Love Nell". The lyrics of "My Love Nell" tell the story of young man who courts a girl but loses her when she emigrates to America. The only real similarity with "Star of the County Down" is that Nell too comes from County Down. This may have inspired McGarvey to place the heroine of his new song in Down as well (McGarvey was from Donegal).

"The Star of the County Down" uses a tight rhyme scheme. Each stanza is a double quatrain, and the first and third lines of each quatrain have an internal rhyme on the second and fourth feet: [aa]b[cc]b. The refrain is a single quatrain with the same rhyming pattern.

The song is sung from the point of view of a young man who chances to meet a charming lady by the name of Rose (or Rosie) McCann, referred to as the "star of the County Down". From a brief encounter the writer's infatuation grows until, by the end of the ballad, he imagines wedding the girl.

Although this piece was originally written for traditional folk instruments, I arranged it for Flute and Celtic or Concert (Pedal) Harp

Adagio from the Oboe Concerto in D Minor for Viola & Harp

2 parts3 pages04:124 years ago3,388 views
Viola, Harp
Alessandro Marcello (1669 - 1747) was an Italian nobleman, poet, philosopher, mathematician and musician. A contemporary of Tomaso Albinoni, Marcello was the son of a senator in Venice. As such, he enjoyed a comfortable life that gave him the scope to pursue his interest in music. He held concerts in his hometown and also composed and published several sets of concertos, including six concertos under the title of La Cetra (The Lyre), as well as cantatas, arias, canzonets, and violin sonatas. Marcello, being a slightly older contemporary of Antonio Vivaldi, often composed under the pseudonym Eterio Stinfalico, his name as a member of the celebrated Arcadian Academy (Pontificia Accademia degli Arcadi). He died in Padua in 1747.

The Concerto for Oboe and Strings in D minor by Alessandro Marcello is one of the most performed oboe concertos in the repertory. It was written in the early 18th century and has become Marcello's most famous work. In the past, and continuing to the present, it has been mistakenly attributed to both Alessandro Marcello's brother Benedetto Marcello and to Antonio Vivaldi. Johann Sebastian Bach made the piece famous by writing a transcription of the piece in C minor for harpsichord (BWV 974).

I took creative license with this piece and adapted the Adagio (movement II) for Viola & Concert (Pedal) Harp.

"Hallelujah, Amen" from "Judas Maccabaeus" (HWV 63) for Piano & String Quartet

5 parts5 pages01:254 years ago3,388 views
Violin(2), Viola, Cello, Piano
"Judas Maccabaeus" (HWV 63) is an oratorio in three acts composed in 1746 by George Frideric Handel based on a libretto written by Thomas Morell. The oratorio was devised as a compliment to the victorious Prince William Augustus, Duke of Cumberland upon his return from the Battle of Culloden (16 April 1746). Other catalogues of Handel's music have referred to the work as HG xxii; and HHA 1/24. Morell's libretto is based on the deuterocanonical 1 Maccabees (2-8), with motives added from the Antiquitates Judaicae by Flavius Josephus.

The events depicted in the oratorio are from the period 170-160 BC when Judea was ruled by the Seleucid Empire which undertook to destroy the Jewish religion. Being ordered to worship Zeus, many Jews obeyed under the threat of persecution, however some did not. One who defied was the elderly priest Mattathias who killed a fellow Jew who was about to offer a pagan sacrifice. After tearing down a pagan altar, Mattathias retreated to the hills and gathered others who were willing to fight for their faith.

"Hallelujah, Amen" is from ACT III depicting Victory that has finally been achieved for the Jewish people. News arrives that Rome is willing to form an alliance with Judas against the Seleucid empire. The people rejoice that peace has at last come to their country (O lovely peace).

Although originally written for Opera, I created this arrangement for Acoustic Piano & String Quartet (2 Violins, Viola & Cello).

"What a Friend We Have in Jesus" Duet for Piano and Organ

2 parts3 pages03:057 years ago3,367 views
A piano and organ duet arranged for the Sierra Vista United Methodist Church (SVUMC) from the United Methodist Church Hymnal #526. "What a Friend We Have in Jesus" is a Christian hymn originally written by Joseph M. Scriven as a poem in 1855 to comfort his mother who was living in Ireland while he was in Canada. Scriven originally published the poem anonymously, and only received full credit for it in the 1880s.[1] The tune to the hymn was composed by Charles Crozat Converse in 1868. This duet is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

"Rondo Alla Turca" (K. 331 No. 11 Mvt. 3) for Steel Orchestra

5 parts6 pages03:584 years ago3,339 views
The Piano Sonata No. 11 in A major, K. 331 (300i), by Wolfgang Amadeus Mozart is a piano sonata in three movements. It is uncertain where and when Mozart composed the sonata; however, Vienna or Salzburg around 1783 is currently thought to be most likely (Paris and dates as far back as 1778 have also been suggested).

The last movement, "Alla Turca", popularly known as the "Turkish March", is often heard on its own and is one of Mozart's best-known piano pieces; it was Mozart himself who titled the rondo "Alla Turca". It imitates the sound of Turkish Janissary bands, the music of which was much in vogue at that time. Various other works of the time imitate this Turkish style, including Mozart's own opera Die Entführung aus dem Serail. In Mozart's time, the last movement was sometimes performed on pianos built with a "Turkish stop", allowing it to be embellished with extra percussion effects.

Although originally written for Piano, I created this Arrangement for my friend and Pastor Julian J. Champion of the West Point School of Music located in Chicago IL. It has a single purpose for making music accessable to inner-city and disadvantaged youth. They are a struggling organization with a wonderful purpose. This arrangement is created for Steel Orchestra (Lead Pan, Double Lead, Alto Pan, Cello Pan & Bass Pan) Steel Drums and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (

"Trotto" for Flute & Strings

4 parts3 pages01:344 years ago3,335 views
Flute, Violin, Viola, Cello
Very little evidence survives about medieval dance except what can be gleaned from paintings and works of literature from this time period. Some names of the dances which we know existed during the Middle Ages.

Usually attached to the spirited skipping dance known as a "saltarello," the trotto is a Medieval dance that existed in many European countries. A particularly lively and fascinating trotto, often performed by instrumental groups dedicated to authentic historical reconstruction, comes from fourteenth-century manuscripts.

The tune is joyfully infused with the triple meter swing of the type of music that depicts horse riding and the fox hunt ("trotto" is Italian for the verb "to trot"). The melody is in a pure Aeolian (minor) mode, usually played here on the tonic of C.

The dancers must have had a wonderful time keeping up with all the asymmetrical rhythmical surprises and turn-arounds producing a feeling of floating "over the beat."

Although originally written for period instruments & percussion I created this arrangement for Flute and Strings (Violin, Viola & Cello).

The Trumpet Shall Sound (From Handel's "Messiah Oratorio" HWV 56, Part III, Scenes I and II)

14 parts51 pages05:472 years ago554 views
Voice, Trumpet(2), French Horn(2), Flute(2), Clarinet(2), Bassoon, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Tuba
All credit for writing "The Trumpet Shall Sound" goes to my friend, Mike Magatagan [GO CHECK HIS ACCOUNT OUT!]. I arranged the pitch and the Intro [Behold, I Shew You A Mysery].

"Worthy is the Lamb" (HWV 56 No 53) for Piano

1 part4 pages04:133 years ago3,307 views
The "Messiah" (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the Psalms included with the Book of Common Prayer (which are worded slightly differently from their King James counterparts). It was first performed in Dublin on 13 April 1742, and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.

Handel's reputation in England, where he had lived since 1713, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s, in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of conventional opera, it is not in dramatic form; there are no impersonations of characters and very little direct speech. Instead, Jennens's text is an extended reflection on Jesus Christ as Messiah, moving from the prophetic phrases of Isaiah and others, through the Incarnation, Passion and Resurrection of Christ to his ultimate glorification in heaven.

Handel wrote Messiah for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified by (among others) Mozart. In the late 20th and early 21st centuries the trend has been towards authenticity; most contemporary performances show a greater fidelity towards Handel's original intentions, although "big Messiah" productions continue to be mounted.

The three-part structure of the work approximates to that of Handel's three-act operas, with the "parts" subdivided by Jennens into "scenes". Each scene is a collection of individual numbers or "movements" which take the form of recitatives, arias and choruses. There are two instrumental numbers, the opening Sinfony in the style of a French overture, and the pastoral Pifa, often called the "pastoral symphony", at the mid-point of Part I.

By the time Handel composed Messiah in London he was already a successful and experienced composer of Italian operas, and had created sacred works based on English texts, such as the 1713 Utrecht Te Deum and Jubilate, and numerous oratorios on English libretti. For Messiah, Handel used the same musical technique as for those works, namely a structure based on chorus and solo singing.

Worthy is the Lamb is the final chorus of the Oratorio (Part III Scene IV #53): "Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen." (Revelation 5:12-14)

Although originally written for oboes, strings and basso continuo of harpsichord, violoncello, violone and bassoon, trumpets, timpani and Chorus (SATB), I created this arrangement for Solo Acoustic Piano.

Fantaisie ≈ Valse

1 part4 pages026 years ago3,259 views
Walking through the streets of Paris a hundred years ago, Erik Satie could not have looked more normal in his black bowler hat and tie. But Mr. Satie was dreaming of music no one had heard before – music like ancient chants and modern circus tunes rolled into one. A friend of poets, puppeteers, magicians, great painters like Picasso, and the Surrealists, Satie was at the center of a world where sense was nonsense, and the imagination ruled supreme.

rik Satie's first great piano period dates back to his youth and his first time spent in Montmartre. During these years he wrote some 20 piano pieces, five songs, some sketches for string quartet, theatre music for Joséphin Péladan and a little orchestral piece, later re-used as the penultimate movement in Trois morceaux en forme de poire for piano duet.

Among the first works by young Satie to be published were two salon-waltzes printed as supplements in his father's publication La musiques des familles on March 17th and July 28th of 1887. The first appended with the curious numbering "Opus 62" (!), and the second with the following introduction:

"Today we publish a charming Fantaisie-valse for piano by Erik Satie. This work by a very young musician is elegant in structure and gracious in rhythm, without dryness. All the author's works, amongst which we will mention Three Melodies, indicate a propensity for reverie and a tendency to move away from the strict laws of symmetrical rhythm."

The rather trivial, frequently-repeated phrases and the bassnotes around the basic chords are typical of the style of the simple salon music of the day.

At the same time, it can be noted that Satie - conciously or not - managed to avoid the sentimentality to the style. Instead, both waltzes have traits of timeless simplicity. Perhaps, even, something of the starkness one usually associates with the Gymnopédies.
"Ave Maria" for Harp & Voice (SA)

"Ave Maria" for Harp & Voice (SA)

3 parts5 pages02:186 years ago3,255 views
No, it is not only Bach/Gounod when hearing the Ave Maria: Camille Saint-Saëns (1835-1921), too, set this text to music several times - for example, for organ (without pedal) and two identical voices. The organ is sometimes replaced replaced by a piano (and here, the Harp), the vocal parts can be sung by two sopranos, soprano and mezzo-soprano, or soprano and alto. If the performers are good, one may even consider a performance of this sacred composition in groups. Now available in an attractiv single edition, this setting is valuable addition to the repertoire and impressive alternative to the common Ave settings

This arrangement is created for Concert (Pedal) Harp and Voice Duet (Soprano & Alto) and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (
"Joyful, Joyful, We Adore Thee" (UMH # 89) for English Handbells

"Joyful, Joyful, We Adore Thee" (UMH # 89) for English Handbells

2 parts1 page00:326 years ago3,248 views
I created this quick and simple arrangement of the "Joyful, Joyful, We Adore Thee" (UMH Hymnal # 89) for English Handbells to support an introit at the Sierra Vista United Methodist Church (SVUMC).

"Joyful, Joyful We Adore Thee" is a poem written by Henry van Dyke in 1907 with the intention of musically setting it to the famous "Ode to Joy" melody of the final movement of Ludwig van Beethoven's final symphony, Symphony No. 9.

Van Dyke wrote this poem in 1907 while staying at the home of Williams College president Harry Augustus Garfield. He was serving as a guest preacher at Williams at the time. He told his host that the local Berkshire Mountains had been his inspiration. The lyrics were first published in 1911 in Van Dyke's Book of Poems, Third Edition.

This piece is best played using the "HandBells.sf2" Soundfont by FMJ Software (
"Silence" for Piano

"Silence" for Piano

1 part1 page00:155 years ago646 views
"Silence" for Piano is a musical parody.

This piece is best played by not playing it at all. The melody is a powerfully subtle mix of dynamic yet monotone, intricate yet legato techno-clutter derived in whole rather from the notes "not played".