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36 Chorales for Band

April 19, 2017 | Author: Onniel Fernando Ortega | Category: N/A
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Percussion

36 Chorales For Band By Aaron Cole

Version 1.0 Decoygrape Productions

Table of Contents 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36.

I – IV – V – I Canon in D by Johann Pachelbel Circle of Fifths Chorale Augmented 6th Cadence Tallis Canon by Thomas Tallis Suspensions Old Hundredth by Loys Bourgeois Ode to Joy by Ludwig Van Beethoven God Rest Ye Merry Gentlemen Amazing Grace by John Newton Music for Queen Mary by Henry Purcell Be Thou My Vision In the Bleak Midwinter by Gustav Holst Chester by William Billings Ave Verum Corpus by Wolfgang Amadeus Mozart Horkstow Grange in the style of Percy Grainger Chaconne from the First Suite in Eb by Gustav Holst Finlandia by Jean Sibelius Prelude No. 20, Opus 28 by Frederic Chopin To a Wild Rose by Edward McDowell Nimrod from the Enigma Variations by Edward Elgar Blessed are They That Mourn by Johannes Brahms Chant Funaire by Gabriel Faure Irish Tune from County Derry Rhenish Symphony Mvmt. 4 Opening by Robert Schumann Salvation is Created by Pavel Tchesnokov Ave Maria by Sergei Rachmaninoff 3rd Tune by Thomas Tallis Largo from Symphony No. 9 by Antonin Dvorak Come, Sweet Death by J. S. Bach Chorale from Jupiter by Gustav Holst In the Village by Modeste Mussorgsky A Mighty Fortress is our God arr. J. S. Bach Christ Lay in Death’s Bonds by J. S. Bach Symphony No. 2 Vocal Chorale by Gustav Mahler Symphony No. 2 Brass Chorale by Gustav Mahler

p. 1 p. 1 p. 1 p. 2 p. 2 p. 3 p. 3 p. 4 p. 5 p. 6 p. 6 p. 7 p. 8 p. 9 p. 10 p. 11 p. 12 p. 12 p. 14 p. 15 p. 16 p. 16 p. 17 p. 18 p. 19 p. 20 p. 21 p. 22 p. 23 p. 24 p. 25 p. 26 p. 28 p. 29 p. 30 p. 31

How to use this book For percussionists 1. The SOPRANO and ALTO parts are your main parts on most mallet instruments. 2. The TENOR and BASS parts might work on some larger marimbas. Ask your director. 3. Ask your director about whether or not to roll in order to sustain notes.

1 I - IV - V - I (1 - 4 - 5 - 1) A simple chord progression

  S     A   

2

 

 T      B    

  S     1

2

 Canon in D A     by  Johann Pachelbel T     (ca. 1680)

   B   

Circle of Fifths Chorale A common sequence

4

5























 













2

3























































     S     1

3

3

 A         T              B   



2





               



3









4

                

     

Written by Aaron Cole - Released for free through Decoygrape Productions under the Creative Commons License - CC BY-NC-ND (2011)

2

  S    

 

 Augmented 6th A     Cadence

   

1

4

A special type of cadence

5 Tallis Canon by Thomas Tallis (ca. 1560)

4     S    

       A      T     

B  

    

 T    

   B  

 S    

   

 B   



   



   















                   

2

                   

6

    

4



1

T    

3



     

A     

5

2

                 

                  

3



   

 

       

 

   

7

   

8

   

 

       

   

       

   

        

3

   S    



Suspensions

 A     



(Preparation Suspension Resolution)

 T         B    







1

6

  S    

7



1

  S    6

   A      T      B   

 T    

 B    

(1551)

7

    



         

 

8

         





































2

     

3

9

 

  

        

10



3





  

                             

 Old Hundredth A     

by Loys Bourgeois



2

4

 





   5

        



  



  

     11



         

     

        

12

 

         

4

  S                   1

8

2

T                                    B  

(1824)

 S               7

8

 A                 T              B            

12

 S  

13



A     T  

B   

 

   

4

 A                   

Ode to Joy by Ludwig Van Beethoven

6

3



9

10

5

               

11

                   

        

     

     

   

   

       

   

   

   

   

   

   

   

   

   

14

 

   

       

15

16

5

 S    

9

A     God Rest Ye Merry Gentlemen (Traditional)  T  

(First published in 1833)

B    

1

2

3

4

   

   

   





   

   

     







   

       

   

       





  S             

            

      

                                      

5

6

A      

7

8

T                         B      

9

10

11

 S                            12

13

14

15

16

17

18

19

A                          T                                            B      

6

  S      1

10



Amazing Grace A      by  John Newton T     

 B     

(1779)

   S 



 A   

      



 T   

 



           

7

8

   B 



9

10





  S     

 

 

 

 

 







 

 

 







 

 

 









 

 

   







12

13

2



A      Music for Queen Mary  by T      Henry Purcell (1694)    B   



4

5

6

      

 

 

 



 



 

 

 

 

 



11

      

    

1

11

3

2



15



 



 



    



 

3

4





  



 







 







 

14

   

  

   

7

  S   

 

 A   

 



 



5

 T   

   B 

 

6



Be Thou My Vision (Traditional originally titled "Slane")

  S    8

 A    T  





 









 

























 







 

  S            A                 T             2

 B       

3

4

 B       

10

11



 

5

6



 

7

 

   

   

            

 

        

      

    

                                                9

10

 



 

9



 

1

12

8







7

12

13

14



15

16

     

     

       

  

        



   

8

 S        1

13 In the Bleak Midwinter

A        T               B  

Gustav Holst's setting (1906)

5

 S      

11

 S     

A      T     

B      





    









         

    

      







      



    











    

7



T             B 



3



6

A       



    

2

8

            

12

13

















                 



9

    

4

  























10



     







   













14

15



16

       

9

  



  





 

  



  B    

  

         

  S      1

14

2



A      Chester by William Billings T    (1778)

12

 A     T      B   

13

 



 



 



 

 



  

    

    



            

   

   





  

            B 

   S  

5

   

8



 T     

4

  

7

 A   

    



  S             6

3

        

14

9



10

    



  





         

11

15

16

   



 





         

 

  

10



  S      1

15 Ave Verum Corpus by W. A. Mozart (1791)

 A    



 T        B    

2



  

















3

    



   







4

   



   



  S    



   



 











   











  



   



     





  

    

5

 A  

 T    

 B     

6

11

 A      T         B 

   



  S     

7

 

12

      

    

8

  

13

 

9

   

14

   



15

10

  

16



 







 













 











 

 





11

     S           1

16 Horkstow Grange collected by Percy Grainger (1906)

     S    4

 A            T        B   

  

 A    

2

       

 T    





 B    

   

   



3

 

     

     

      

   

 

 

 

 

   



                     5

  

   

6

7

8

9

                3            3

   

         

3       

Horkstow Grange is a folk tune that Percy Grainger collected in 1906 by recording George Gouldthorpe. It is the tale of how a waggoner, John "Steeleye" Span,and his foreman, John Bowlin', fell out and came to blows. Gouldthorpe informed Grainger that Steeleye Span resented John Bowlin's harsh treatment and, burning with resentment, Span wrote this song. The words are set to the tune of a ballad about naval mistreatment "Andrew Rose, the British Sailor". No other variants of this song have been found. Horkstow Grange is a house and range of farm buildings situated about half a mile north of Saxby All Saints. Those who have researched the songs have produced no written evidence of these men or indeed any local memory of them other than in this song. Grainger recorded Gouldthorpe singing "Horkstow Grange". Gouldthorpe had a strong North Lincolnshire accent and takes the song at a brisk pace. Grainger's arrangement of the song for his "Lincolnshire Posy Suite" (1937) is very different. Grainger slows the song down considerably giving it a stately feel. This is arguably the greatest transformation of any Grainger arrangement and he deserves credit for creating such a fine piece from such as a fragmentary song. ( http://www.lincolnshireassembly.com/section.asp?docId=79588 )

12

  S     

17

1





A      Chaconne from the  First Suite in Eb T      by Gustav Holst     B    (1909)

  S    4

 A   

 T   

 

 B    

  

5



2



 













 



 



7















 B         

2













   



   





   S        















6

A          Finlandia    by Divisi   Jean Sibelius T          (1900)







1

18



3



 

8









 

3

                                  



4



               

13

   S     5

6

7

      

 A           T         B     

13

14



 A        T     

 

  B   



  S    



 A      T    

  B   

               9

11

12

15

  

  

  

 

  

 

  







 





 

 



 















16

      

                         

 

20

10

                          

             

      

  S    

19

8

      





   

 



    

   









         

   



  

17

18

    









  

 









 







21



22







23

    

   

  

14

      S                     1

19

2



Prelude No. 20 A         Opus 28  by T        Frederic Chopin (1839) 

3

                          

 B         

     S  



 A     



5

 T        

 B      



     S  



 A      



9

 T        

10

6

4

           

7

        

        



  



  



  



  



              

 B          

11

     

8

            

 

12

13

    



   



  





  



  



  



  

 







  

15

   S                         To a Wild Rose A          by  Edward   T        McDowell 1

2

3

4

5

6

20

  B    

(1896)







      S                        A             T        9

10

  B   

11



12



13



14



15





21

22

23

24

25

26

27

     

 









   

  

 

 

 









17



    S                                     A             T                     B  20

8

         

16



7

18



28

19



29



30

31





 

 

 

 













 

 

16

  S         1

21



A      Nimrod from the  Enigma Variations T      by Edward Elgar (1899)   

5

 A     T   

  B   

  

 

6



 

  



  





7



   

  B    















     

 





3

  





2

  

  

  S     

 



  

 

     

4

   

    



 

Blessed are They A      That Mourn  by T      Johannes Brahms (1868)

  



1

22

        3

 

 

B   

      S  

2

8



4

9

5



         























6





 



 









17

  S    7

8



 A    

9



 

        10

11

12

13

 



                                 T                         B        



  S                       1

23

2

  

3

4

5

Chant Funeraire A                                    from the Op. 117    Cello Sonata T                        by Gabriel Faure (1921)                     B  

  S       A        T     6





 

   

                         7

8

9

10

11

12

                                                                         B 

18

 S      1

24 Irish Tune from County Derry (Grainger's Setting 1911)

A    T    B   

  S          4

5

2

9

          





                                                            

6

7

     

A                      T                                 B      

10

11

            

 S   

3



8

 

              

                     T                     



  



     

        

12               

A   

B  

   

    

 

    

         

19

   S  13

        

           

14

15

         T                 B  

A   

  S    



  





2





Rhenish SymphonyA       Mvmt. 4 Opening  by T      Robert Schumann (1850)   B     







  

   





 

3



 

   

  S    





 A   



















 

















4

 T   

   B 



5





                   

1

25

16





 





   

  

 



    

6

















20

  S     1

26

6

7



3



 A            T          

Salvation is Created by Pavel Tchesnokov (1912)

   S    

2



 

8

 A       T     



 B      





 



 

  A                  T           

10



  

 

11   





 





 

17



18



 







        



5

19

12

  

   

   

      



 

14 15 16            S   

 B        

9



     

 B            

     

4

     

   



13

                   

      20



21



 

 

 



 





 



21

  S              1

27

2

A               T           

Ave Maria from Op. 37 Vespers by Sergei Rachmaninoff (1915)

B   

5

          

6

 S       

A   

 

   

 











 



10

B      

  

               



 



    

T   

 



 B   

A       

 

          





 

8

    

9

4

7

T     

 S   

3

         

11

           



12

13





      



 



      



    



      



  

     



22

  S                    1

28

2

3

4

5



  3rd Tune from A                      the 9 Psalm Tunes  for Archbishop T                      Parker's Psalter by Thomas Tallis                     B       (1567)

6

         

  S                                  7

8

9

10

11

12

 A                 T                 

13

14

15

                                  

   S                            A                       T                                 B               19

20

21

22

17

                    

            B        

18

16

23

24

25

26

 



 



     



23

  S                1

29

2



A      Largo from Symphony No. 9  by T      Antonin Dvorak (1893)    B

  S           5

 A      T    

   B  





 A    

 T    

 B    

















    

 

7

     





 

11

     





8



10

    

         





  S          9

6

4







3

  

     

     







 



   

 

     



  





12





     

  









24

  S           1

30

2



Come, Sweet Death A       Come Blessed Rest  by T         J. S. Bach (1736)  

B     

  S     7

 A    

8

9



  



  

 T       

 B     







16

17

 A             T                 B        

 

     4

5

     6

    

   









  

     

                    11

 

     

      S         15

10



3

 

18

12

13

               

19 20           



14

  

  

   

 

  





21

22

   

             

               

     







    

25

                          S     1

31



Chorale from Jupiter A      by Gustav Holst    T

 

     S   8



9

 

10

 

    A           T                 B              

4

5

 A      T     

 B      

17

18





19

  



 

11



  



12

 





 

20

  

       

  



          





13

    

              

 

         

14



  



22





23

   24 



  

      

   



  

 

 

     



21

15

  

                          S      16

6

         

 B        

(1916)

3

         

 

 

7

2

      

26

  S     1

32 In the Village by Modeste Mussorgsky (1880)

 A    

                   2

3







 T    







 B    







  S                        A               T                5

 B   

6



7



  S            11

4

12

 A          T        



13



   B        



9



10

                        



   

   

             14

   

8



    

  

   

15

           

           

16

        

   

27

  S  17

 A 

18



 



 

 T    

 B     

19

    

 





  

 



     



  S      21

 A       T       B      

22



















 















 













 

           

20













    

23



24



       

           



 



 



 

28

33 BWV 80.8 Ein Feste Burg ist unser Gott (A Mighty Fortress is our God) J.S. Bach (1731)

    S         A       T           B       

  S    

  

 A         T           B            

4

  S   

1

5



     

2

                  

6

7

 

                    

10

   

       

  





 

        8

                                   

           A                T                     B            9

3

11

                         12

  

29

34 BWV 4.8 Christ lag in Todesbanden (Christ lay in Death's Bonds) J.S. Bach (1707)

  S     

 3          2









                     T                            B         

 A     

   S         A        T           B       4

1

7                                                      5

6

8  9   S           

  A           T             B       

                        10

11

 

     



 



12





   



 



     

 

 

  

           

30

  S       1

35

2



Symphony No. 2 A       Vocal Chorale  from the Finale T       by Gustav Mahler     B     (1894)

 

8

 B    

  S     15

 A   

    



10

  



 T           

17

   

 

 

 



 

 

 



12

       

  

       

 

                 

18

 

  



   

19

   

 

   

20

6

 

 





5

  



11

          16

    

 B    

9



4

   

 

   S                 A               T               7



3



13



  

14

    

 

   

 



 



     

   21   22    





  

 

 





31

  S      1

36



Symphony No. 2 A      Brass Chorale  from the Finale T      by Gustav Mahler    B     (1894)

  S      A      T     6

 B    

7

8

     



              

  S      13

 A        T    

 B     

    

14

      15

                     

2

3

4

5







      



































 



9

   











10







    

16



     

 

17

        

 









11

12





    



  



  





  







18

19



20

    





    





 



    



 

    



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