| Weight | 2 oz |
|---|---|
| Instrument | |
| Level | 3 |
| Preview | https://www.despub.com/wp-content/uploads/pdfs/pdf110905.pdf |
| Recording | https://www.despub.com/wp-content/uploads/music/mpt110905.mp3 |
| Occasion | |
| Tune Name | |
| Theme | The Master Hath Come |
| Hymn First Line | The Master hath come, and He calls us to follow |
| Writer | |
| Composer | |
| Publisher | |
| Copyright | 1996 |
| Key | Eb, F |
| Meter | 3-4 |
| Duration | 2'00" |
| Idiom | Fl choir; ww quartet |
| Form | Song (binary) |
| Comments | (sc, pic, fl1, fl2, fl3, opt 4th fl/alto/bass flutes) |
The Master Hath Come
$11.00
Three Plus Flutes for three soprano with opt. 4th/ob. with alto and bass & piccolo. An introduction using unrelated material leads the tune presented in voice two, supported by harmonies in the lower voices, then an obbligato-like motion added by the upper voice. A modulation upward makes room for a duet in the upper lines, later joined by the lower voices in a contrapuntal fashion. The final section becomes more vigorous and imitative until a solid, declamatory ending.
Related products
-
-
God’s Care
$10.00(3-tpt, 2-hn, 2-tmb, BH, tba): God Be With You; God Leads Us Along; God Will Take Care of You; We Have An Anchor
-
Only Trust Him
$12.00A Brass choir scored for four trumpets (optional horn), two trombones, baritone and tuba. The beginning is stated in the lower voices in a solemn fashion. The theme then presents itself in the upper voices in s straight forward manner followed by a key shift, giving over to a tuba solo with the middle voices supporting it in a flowing fashion. The next section becomes more rhythmic adding more voices for a full sound continuing on with more imitation amongst the voices building more agitation. The ensemble becomes increasingly chordal with some punctuating motives in the lower parts and then settles into a quiet resolve.
-
He Is Born, The Divine Christ Child
$11.00Three Plus Flutes for three soprano with opt. 4th/ob. with alto and bass & piccolo. The piece gins in a spritely duet in the upper voices and reverses roles with the lower voices carrying the melody and duet lines. All four voices now join in a smooth, serene fashion until it gains dynamic and harmonic strength. A modulation upward with the tune in voice two, and an obbligato-like movement in part one, while the lower parts underpin with a simplistic, though active line. In the last section the parts become more active and excitement abounds until a final flourish establishes the end.
