Sheet music for Voice

Chorale: "Wo Gott zum Haus nicht gibt sein Gunst" (BWV 1123) for Pipe Organ

1 part1 page00:338 months ago53 views
Voice
This chorale survives by way of two early chorale collections — the Dietel collection and D–B Am.B 46/II — was assigned a BWV number in 1998.

Speculation regarding liturgical occasion: Since this setting appears in the Dietel Collection, there is a strong possibility that it came from a cantata (or other large choral work) that is now lost. Furthermore, given the fact that the two other four–part settings of this tune are from cantatas for the 4th Sunday after Trinity, this setting may well have come from a lost Trinity +4 cantata. This theory is further supported by its position in the Dietel Collection, portions of which are organized according to the liturgical calendar

Source: Bach Cantatas (http://www.bach-chorales.com/BWV1123.htm).

Although originally written for Chorus (SATB), I created this Arrangement of the Chorale "Wo Gott zum Haus nicht gibt sein Gunst" (If God will not the building bless) BWV 1123 for Pipe Organ (2 Manuals w/Pedals).

J.S. Bach: Wohl mir, daß ich Jesum habe (“Jesu, Joy of Man's Desiring”, BWV 147 #6)

9 parts6 pages02:53a year ago958 views
Voice(4), Violin(2), Viola, Strings, Organ
One of Bach's most beloved movements, performed by MuseScore with the Hauptwerk/Sonus Paradisi image of the Walcker Doesburg organ backing up the chorus. The score is as published, but I have not copied or realized the continuo figures.

Information about this beloved movement is readily available everywhere. E.g., https://en.wikipedia.org/wiki/Jesu,_Joy_of_Man%27s_Desiring . The chorale melody is by Johan Schop. The setting of the chorale (the four vocal parts) is particularly beautiful, esp. the 6-5 half-tone dissonance at m. 11.

I learned the trick of how to lie about the time-signature of the famous violin 1 part from Mike Magatagan. They are all triplets with brackets hidden. There is no way to force the original dotted-eighth/sixteenth groups to act as triplets, so ... the notation of violin 2 is inauthentic.

Backing up the chorus with the organ is an original idea not reflected in the score; the organ pedal, though, accompanies the whole movement, backing the cello at 16'. In the MS (not YouTube) performance, the MS organ is used, but hidden.

Trumpet w/sop not there yet.

"Hallelujah Chorus" from "The Messiah" (HWV 56 No. 44) for Choir (SATB), Handbells & Orchestra

20 parts23 pages03:41a year ago1,951 views
Voice(4), Trumpet(2), Flute, Oboe, Clarinet, English Horn, French Horn, Bassoon, Timpani, Percussion(3), Strings(4)
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.

At the end of his manuscript Handel wrote the letters "SDG"—Soli Deo Gloria, "To God alone the glory". This inscription, taken with the speed of composition, has encouraged belief in the apocryphal story that Handel wrote the music in a fervour of divine inspiration in which, as he wrote the "Hallelujah" chorus, "he saw all heaven before him". Many of Handel's operas, of comparable length and structure to Messiah, were composed within similar timescales between theatrical seasons.

Although originally written for Full Orchestra, I created this arrangement for Choir (SATB, English Handbells, Percussion (Tubular Bells & Timpini) & Orchestra (Piccolo Trumpet, Bb Trumpet, Flute, Oboe, Bb Clarinet, English Horn, French Horn, Bassoon, Violins, Violas & Cellos).

"Ave Maria" on a Prelude by J.S. Bach in G Major for Flute, Mezzo Soprano & Guitar

3 parts4 pages02:412 years ago1,196 views
Flute, Voice, Guitar
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 created this unique arrangement fro Flute, Soprano & Classical Guitar at the request of a friend.

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

14 parts51 pages05:472 years ago605 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! musescore.com/mike_magatagan]. I arranged the pitch and the Intro [Behold, I Shew You A Mysery].

Chorale: "Bin ich gleich von dir gewichen" (BWV 244 No. 40) for Pipe Organ

3 parts1 page022 years ago366 views
Organ(2), Voice
The St. Matthew Passion (also frequently but incorrectly referred to as St. Matthew's Passion; German: Matthäus-Passion), BWV 244 is a Passion, a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander (Christian Friedrich Henrici). It sets chapters 26 and 27 of the Gospel of Matthew (in the German translation of Martin Luther) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini nostri J.C. secundum Evangelistam Matthæum translates to "The Passion of our Lord J[esus] C[hrist] according to the Evangelist Matthew"

Bach did not number the sections of the St Matthew Passion, all of them vocal movements, but twentieth-century scholars have done so. The two main schemes in use today are the scheme from the Neue Bach-Ausgabe (NBA, New Bach Edition) which uses a 1 through 68 numbering system, and the older Bach-Werke-Verzeichnis (BWV, Bach Works Catalog) scheme which divides the work into 78 numbers. Both use lettered subsections in some cases.

Many composers wrote musical settings of the Passion in the late 17th century. Like other Baroque oratorio passions, Bach's setting presents the Biblical text of Matthew 26–27 in a relatively simple way, primarily using recitative, while aria and arioso movements set newly written poetic texts which comment on the various events in the Biblical narrative and present the characters' states of mind in a lyrical, monologue-like manner.

The St Matthew Passion is set for two choirs and two orchestras. Both include two transverse flutes (Choir 1 also includes 2 recorders for No. 19), two oboes, in certain movements instead oboe d'amore or oboe da caccia, two violins, viola, viola da gamba, and basso continuo. For practical reasons the continuo organ is often shared and played with both orchestras. In many arias a solo instrument or more create a specific mood, such as the central soprano aria No. 49, "Aus Liebe will mein Heiland sterben", where the absence of strings and basso continuo mark a desperate loss of security.

The Passion was written for two choruses and orchestras. Choir I consists of a soprano in ripieno voice, a soprano solo, an alto solo, a tenor solo, SATB chorus, two traversos, two oboes, two oboes d'amore, two oboes da caccia, lute, strings (two violin sections, violas and cellos), and continuo (at least organ). Choir II consists of SATB voices, violin I, violin II, viola, viola da gamba, cello, two traversos, two oboes (d'amore) and possibly continuo.

Source: Wikipedia (https://en.wikipedia.org/wiki/St_Matthew_Passion).

I created this arrangement of the Chorale: “Bin ich gleich von dir gewichen” (Although I have been separated from You) for Pipe Organ.

Recitative: "Welchen wollt ihr, daß ich euch losgebe?" (BWV 244 No. 45) for Pipe Organ

4 parts3 pages01:562 years ago208 views
Organ(2), Voice, Other Woodwinds
The St. Matthew Passion (also frequently but incorrectly referred to as St. Matthew's Passion; German: Matthäus-Passion), BWV 244 is a Passion, a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander (Christian Friedrich Henrici). It sets chapters 26 and 27 of the Gospel of Matthew (in the German translation of Martin Luther) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini nostri J.C. secundum Evangelistam Matthæum translates to "The Passion of our Lord J[esus] C[hrist] according to the Evangelist Matthew"

Bach did not number the sections of the St Matthew Passion, all of them vocal movements, but twentieth-century scholars have done so. The two main schemes in use today are the scheme from the Neue Bach-Ausgabe (NBA, New Bach Edition) which uses a 1 through 68 numbering system, and the older Bach-Werke-Verzeichnis (BWV, Bach Works Catalog) scheme which divides the work into 78 numbers. Both use lettered subsections in some cases.

Many composers wrote musical settings of the Passion in the late 17th century. Like other Baroque oratorio passions, Bach's setting presents the Biblical text of Matthew 26–27 in a relatively simple way, primarily using recitative, while aria and arioso movements set newly written poetic texts which comment on the various events in the Biblical narrative and present the characters' states of mind in a lyrical, monologue-like manner.

The St Matthew Passion is set for two choirs and two orchestras. Both include two transverse flutes (Choir 1 also includes 2 recorders for No. 19), two oboes, in certain movements instead oboe d'amore or oboe da caccia, two violins, viola, viola da gamba, and basso continuo. For practical reasons the continuo organ is often shared and played with both orchestras. In many arias a solo instrument or more create a specific mood, such as the central soprano aria No. 49, "Aus Liebe will mein Heiland sterben", where the absence of strings and basso continuo mark a desperate loss of security.

The Passion was written for two choruses and orchestras. Choir I consists of a soprano in ripieno voice, a soprano solo, an alto solo, a tenor solo, SATB chorus, two traversos, two oboes, two oboes d'amore, two oboes da caccia, lute, strings (two violin sections, violas and cellos), and continuo (at least organ). Choir II consists of SATB voices, violin I, violin II, viola, viola da gamba, cello, two traversos, two oboes (d'amore) and possibly continuo.

Source: Wikipedia (https://en.wikipedia.org/wiki/St_Matthew_Passion).

I created this arrangement of the Recitative: “Welchen wollt ihr, daß ich euch losgebe?” (Which one do you want me to release to you?) for Pipe Organ.
"Christ the Lord Is Risen Today" (UMH #302) for Children's Handbells & Choir (SATB)
Video

"Christ the Lord Is Risen Today" (UMH #302) for Children's Handbells & Choir (SATB)

3 parts1 page01:133 years ago1,403 views
Percussion, Voice(2)
"Christ the Lord Is Risen" Today is a Christian hymn associated with Easter. Most of the stanzas were written by Charles Wesley, and the hymn appeared under the title Hymn for Easter Day in Hymns and Sacred Songs by Charles and John Wesley in 1739. It remains a traditional processional hymn on Easter Sunday.

The hymn is a variation of an earlier hymn Jesus Christ Is Risen Today, a 14th-century Latin hymn which had been translated into English and published in Lyra Davidica in 1708 (and later in 1749 in Arnold's Compleat Psalmodist). In some hymnals, Jesus Christ Is Risen Today is in fact the 3 stanza Compleat Psalmodist version with one or more of the additional stanzas written by Wesley appended.

I created this simplified arrangement from the United Methodist Hymnal (No. 302) for the Sierra Vista United Methodist Church (SVUMC) in Sierra Vista, Arizona. The piece covers just overa single octave and is is octave-doubled for each member of the Children's Handbell Choir and voice choir (SATB). The purpose of this arrangement is to introduce the children to the basic concepts of ringing, note reading, timing and teamwork.

"Appel A L'Unite" for Chorus (SATB) & Piano

5 parts11 pages03:203 years ago386 views
Voice(4), Piano
At the request of my friend Wermi Narcisse Wendpuiré from Abidjan, Cote d'Ivoire, I created this arrangement of his Acapella choral work for Chorus (SATB) and Acoustic Piano.

The lyrics translate as: "People of God,the Lord is calling you to be united. Let us walk together with joy to the Lord. Let's answer His call. We will sing Alleluia with happiness in our hearts. Being united means living together, accept each other in spite of our differences and be faithful to the Lord! (translation courtesy of Jenne Van Antwerpen).

JSB+BSG: Reißt euch los, bekränkte Sinnen (aria reconstruction from BWV 224 fragment by BSG)

6 parts9 pages03:043 years ago668 views
Oboe, Violin, Voice, Cello
Reconstruction by Bernard Greenberg of a lost aria from a lost Bach cantata (BWV 224) of which only this aria's soprano part survives. Mentioning no theological concepts, it may well belong to a lost secular cantata.

http://digital.staatsbibliothek-berlin.de/werkansicht/?PPN=PPN776720643 is the facsimile soprano part of this aria (thanks to Mike Magatagan!), in CPE Bach's handwriting, on the back of the Pedalexercitum BWV 598. The text tells off ill spirits and grief, that they "will win no place today"': "Tear yourself free, o troubled heart!". Thus, although in the minor, the aria's -affekt- remains "upbeat". As you can see at that link, the score features two long (20 and 12) multi-measure rests, during which instrumental "breaks" are assumed.

I have constructed a da capo aria around this soprano part (I shortened the multimeasure rests ever so slightly and dotted the penultimate note, but otherwise,) keeping the latter intact. I have set it for (soprano,) violin, oboe, and continuo. I have built what I have out of the head motif (which starts the fragment) and its eighth-note could-be-chromatic answer ("bekränkten"), applying expectable -Fortspinnung- techniques (playful intertwined suspension gamboling, sequence, outright canon (at the fifth above, m. 43 ff), walking bass, ubiquitous imitation (esp. at the fifth) and interchange, etc.), to create an aria that is both recognizably Bach's and recognizably my own.

There are some authenticity issues about the fragment (i.e., whether the score is really JSB's composition). To me, there are not enough phrases or repetitions of the basic material, and, significantly, not enough distributed silence during which instruments usually answer the soloist. The fitting of the words to the melody seems tongue-twister-like, and the harmonic direction suggested by the "bekränkten" figure with its Bb-G# not pursued by the solo part. This last gives rise to some inelegance.

There is also gross disagreement on the web as to whether the word is "bekränkten" (sickened) or "bedrängten" (oppressed), but study of the way the copyist writes "k" in "keinen" supports the former hypothesis. The web also thinks that "Sinnen" means "sins" or "sinners" here; it does not–it means "senses", "feelings", etc.

Thanks again to Mike Magatagan for making me aware of this challenge-as-a-fragment. Apologies in advance for undiscovered technical errors.

"Glorious Things of Thee Are Spoken" (UMH #731) for Choir (SATB)

4 parts2 pages00:444 years ago1,918 views
Voice(4)
"Glorious Things of Thee Are Spoken", also called "Zion, or the City of God", is an 18th-century English hymn written by John Newton, who also wrote the hymn "Amazing Grace".

Franz J. Haydn originally adapted Austria for a patriotic song, Gott, erhalte Franz, den Kaiser, first performed for the emperor’s birthday, February 12, 1797. It is still used as the tune of the German song Das Deutschlandlied. Because of the associations the first stanza (Deutschland, Deutschland über alles…) developed with the Nazis, the third stanza (Einigkeit und Recht und Freiheit/Für das Deutsche Vaterland) is the one now used for the German national anthem.

Of the many hymn texts by the noted English clergyman, John Newton, this one is generally considered to be one of his finest and most joyous. In the Old Testament, the city of Zion was the place where God dwelt among His people. It was a haven of refuge, a treasured place. In our New Testament age, Zion refers to the church, a community of God's people, a living and dynamic organism. Newton's hymn refers to God's strong protection of His people, His promise to supply their needs, and His presence to lead His own by the cloud and fire as He did the Israelites of old.

John Newton, the convicted slave trader and sea captain before he turned to the Lord, never stopped praising God for His "sure repose"— "whose Word cannot be broken"—who formed us "for His own abode." - Osbeck, K. W. (1990). Amazing grace : 366 inspiring hymn stories for daily devotions.

"Ring, Christmas Bells" for Handbells, Handchimes & Choir (SATB)

7 parts4 pages01:324 years ago4,639 views
Voice(4), Piano(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 created this arrangement at the request of my friend Genevieve Kopping for Chorus (SATB), Handchimes & English Handbells using the non-secular lyrics by Minna Louise Hohman (1947). This arrangement of the "Carol of the Bells" uses modern 5-Octave English Handbells, Handchimes and full choir (SATB) and is best played using the "HandBells.sf2" Soundfont by FMJ Software (http://www.fmjsoft.com/siframe.html).

"Come, Sweet Death, Come Blessed Rest" (BWV 478) for Organ and Choir

5 parts5 pages08:227 years ago17,876 views
Voice(4), Organ
"Come, Sweet Death, Come Blessed Rest" (Komm, süßer Tod, komm selge Ruh) was originally written by Johann Sebastian Bach for solo voice and basso continuo from the 69 Sacred Songs and Arias that he contributed to Georg Christian Schemelli's Musicalisches Gesangbuch (Schemelli Gesangbuch No. 868 -- BWV 478) edited by Georg Christian Schemelli in 1736.

Source: Wikipedia (https://en.wikipedia.org/wiki/Komm,_s%C3%BC%C3%9Fer_Tod,_komm_selge_Ruh).

For most of these sacred songs, Bach had only to devise bass lines and figured bass indications -- the melodies selected were old and famous Lutheran tunes. Komm, süßer Tod, however, is an exception. The song has five verses, written around 1724 by some unknown poet, each of which begins which the text "Komm, süßer (süsser) Tod, komm selige Ruh" (Come, sweet death; come, blessed rest), and each of which is set to the same eight short phrases of triple-meter music. Its melody is known in no other source than the Schmelli Gesang-Buch, and it is generally believed that Bach wrote the piece from scratch. (There are two or three other entries in the Gesang-Buch that seem also to have been newly composed) .

Those familiar with ordinary German chorales will find themselves on familiar ground with Komm, süsser Tod, but its solo vocal line seems especially to exemplify Bach's supremely confident devotional side. Bach, by means of melody and harmony, expresses the desire for death and heaven.A beautiful orchestral version of this piece was made by Leopold Stokowski in 1946 (see VideoScore); it opens with all the strings muted except for a solo cello that "sings" the melody.

In my own inexperienced interpretation, the lyrics read more like a suicide note or death wish than other pieces from this time. It really seems to express the misery with things in the world and longing to end the suffering. Perhaps it was the loss of his beloved wife Maria Barbara Bach or the loss of many of his children. This piece touches me; sad to think of the suffering of a great master like this. One listener offered, "This is not a death wish in the way we normally think of it but the deep longing of a devout man of God desiring to be with his Savior. The music pulls forward and back just as the Apostle Paul was torn between the desire to be useful here on earth yet more to be with his Lord. In this piece the tension ebbs and flows until the final resolution gives full release."

I created this arrangement for Pipe Organ and created English lyrics for Choir (SATB).

"Ave Maria" based on a prelude by J.S. Bach for English Handbells, Piano & Choir (SATB)

7 parts18 pages02:197 years ago2,773 views
Voice(4), Percussion(2), 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 Choir (SATB) and 5-Octave English Handbells (with optional silver bell). I found this to be a hauntingly interesting blend of old and new and inspired by my wife, utilized the English Handbells in this piece to accentuate transitions between melody and dissonance; providing musical interest with their overtones to provide suspense and melodic resolution. This piece was best played using the "HandBells.sf2" SoundFont by FMJ Software (http://www.fmjsoft.com/siframe.html).

"The First Noël" for Organ and Choir (SATB)

5 parts3 pages04:417 years ago6,974 views
Voice(4), Organ
"The First Noël" is a traditional classical English carol, most likely from the 18th century, although possibly earlier.

The original version of The First Noel dates back to at least the 17th century. In 1823, William B. Sandys (1792-1874), and Davies Gilbert (1767-1839) edited and added lyrics to create the version we sing today. The origin of the current melody is uncertain.

This arrangement for the Sierra Vista United Methodist Church (SVUMC) highlights the range of the Choir and adds organ accompaniment.
"Riu, Riu, Chiu" (Nightingale's Sounds) for Choir (SATB)
Video

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

4 parts3 pages01:567 years ago9,449 views
Voice(4)
"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.