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TRANSCRIPT
Mass For The Saints Volume 14
by Will Goldstein
The King’s Court
Worship Service Series
Ordinary Of The Mass
Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei English translation of ancient Latin Text
SATB with chords
(Composed & Arranged for the worship service)
Contents
Preface & Photo How to Use The Book Songs 494 - 499 scores Theory & Chord Construction Chart Ministry Statement & Logo Other Publications & Future Additions - Website links
Preface The term Mass is used to describe the main eucharistic liturgical service in many forms of Western Christianity including Catholic and Anglican, but also related to the Divine Service of Lutherans, the Divine Liturgy of the Eastern Orthodox, and Western Rite Orthodox. The earliest musical settings of the mass are part of the ancient tradidion of Gregorian chant. The different portions of the Ordinary of the Mass came into the liturgy at different times, between the 7th and 11th centuries. The earliest complete settings date from the 14th century when composers began writing polyphonic versions of the sections of the Ordinary such as the Middle Ages composers, Ockeghem and Guillaume de Machaut, and later the musical setting of the Mass was the principal large-scale form of the Renaissance. The principal period of Mass composition lasted from about 1400 to 1700, and it came to an end as interest shifted to instrumental music, although later composers did use the form. Among the many composers who produced Masses are Josquin des Prés, Palestrina, Monteverdi, Bach, Haydn, Mozart, Beethoven, Verdi, Stravinsky and the list continues with such names as Ralph Vaughan Williams, Leonard Bernstein, Benjamin Britten, and even composers such as Andrew Lloyd Webber, Dave Brubeck, and Django Reinhardt. Personally, the first thing I did when I graduated from college with a degree in music in 1980 was to begin writing a Mass. I did complete the project, though I must confess, the work was the work of a novice. This Mass sat for 32 years in my file cabinet. In 2012 or so I started reviewing it, then reworked it some more in 2016 and now finally am releasing the final version of this Mass. Like many composers it was my dream to complete such a task. I put my heart and soul into it, and hope it becomes as meaningful to you as it is to me. Though my last name is Goldstein, I was raised Catholic, and was even an altar boy as a child, but since my mid 20’s I have been an evangelical Christian. We all have our roots in Catholocism, and the ancient Christians who collectively wrote this liturgical text did so out of complete devotion to God, and that being said, this music should be offered up in a spirit of complete surrender and devotion to the One Triune God. In setting this text, I tried to remain as faithful as possible to the liturgical text that was originally written in Latin, but in some of the pieces, especially the opening piece, Lord, Have Mercy, I added what I deemed appropriate text to complement the liturgical text. I have named this work Mass For The Saints because this is who I wrote it for, and as many Masses set to music are never performed in an actual Mass, so this work may never be performed in an actual Roman Catholic Mass though that would be fine with me.
A Servant of Christ, Will Goldstein
Copyright © 2019 The King’s Court All rights reserved. International Copyright Secured.
The King’s Court Website: http://www.thekingscourt.com Sebastopol, California (707) 823-0419 M-F 10-6 PST
How To Use The Book
This edition is designed for an SATB choir or ensemble. As in all music by The King’s Court the music is laid out in lead sheets, specifically for guitarists, keyboard players and bass players who prefer this format. The overall character of this music is highly devotional and spiritual dating back centuries in text and music form, yet also utilizing choral and vocal ensemble techniques with modern harmony that evoke the emotion and sentiment of the text. This music is a blend of harmony and polyphony and in some cases melismatic, a style often used in ancient times of singing more than one note on a syllable. This style of singing appeared in some genres of Gregorian chant, and was used in certain sections of the Mass, with the earliest written appearance around AD 900. The Byzantine Rite also used melismatic elements in its music around the same time as the Gregorian chant. The music also includes brief solos, duets, trios and fugal entrances that give variety and continuity to the character of the music. Some of the vocal parts require voices with a reasonably high range. Chord symbols are included with all vocal parts as well as with introductions. Some of this music is a little more difficult concerning chords and may require an excellent pianist and/or a guitarist with a proficient bass player, all with a good understanding of chromatic harmony, in order to be able to read the parts or improvise to the charts, and to adequately give faithful renditions of this music.
In the back of the book, I also included a Theory and Chord Construction Chart with an explanation of intervals and chord formulas to better understand the chromatic theory.
Permission is granted by the publisher to make copies of the book to assist musicians in the performance of these songs. CCLI #’s are included in the songs. Catalogue - The King’s Court Please report usage to CCLI. Website: www.ccli.com
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494Words and Music by
© 2019 The King's Courtwww.thekingscourt.com
All Rights Reserved
(Mass Ordinary 1) Will Goldstein
Lord, Have Mercy
CCLI# 7127987
Revelation 15:13The Kyrie - Lord, have mercy, Christ, have mercy, Lord, have mercy dates back to at least the 6th century.
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œ .œ œ# œ ‰ jœmer cy on us. Haveœ .œ œ œ Œmer cy on us.
œ .œ œ œ Œmer cy on us.
C#m7(b5) BmF#7
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84 .œ œ œ œ œ ‰ Jœmer cy on us. Have
84 .œ œ œ œ œ ‰ Jœmer cy on us. Have
Em7 Bm7 œ# .œ œn œ ‰ Jœmer cy on us. Have
œ .œ œ œ ‰ Jœmer cy on us. Have
DE7 A7 F#7 œ œ œ œ œ ‰ jœmer cy, oh Lord. Haveœ œ œ œ œ# œ ‰ jœ
mer cy, oh Lord. Have
Bm7 E7 A7
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œ# œ œ œU ‰ Jœmer cy on us. Have
87
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87 Ó . ‰ JœHave
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E7A7
molto rit.
molto rit.
slowly & freely
slowly & freely
slowly & freely
slowly & freely
Jœ œ Jœ œu œmer cy on us, oh
jœ œ œ œ œU
.œ œmer cy on us, oh
Jœ œ Jœ# œU ‰ Jœmer cy on us, oh
Jœ œ JœU̇
mer cy on us,
D A7E7 U̇ ÓLord.
˙U ÓLord.U̇ ÓLord.
U̇ ÓLord.
D
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Soprano
Alto
Tenor
Bass
1
œ œ œ œ œ œ
Glo ry1
œ œ œ œ œ œGlo ry
‰ Jœ œ œ
All glo ry1
œ œ œ
Glo ry to
F
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intro chords meas. 1-3
œ œ œ œ œ ≈to God.
œ œ œ œ œ ≈to God.
œ œ œ œ ≈be to God.
œ ‰Jœ
God. Give
BbMaj7 Gm7
œ œ œ œ œ œ
Glo ry
œ œ œ œ œ œGlo ry
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All glo ry
œ œ œ œ œ œ
glo ry to our
C7
œ œ œ œ ≈be to God.
œ œ .Jœ ≈
be to God.
œ œ œ ≈ œ
be to God. All
œ ‰ œ œ
God. Give
F C7
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‰jœ œ œ
All glo ry5
œ œ œ œGlo ry be to
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glo ry
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glo ry. All
F Am7
œ .œ œ
be to the
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be to our
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œ œ .œ œ
One Tri une
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God. Glo ry to
jœ ‰ œ œ œ
God. Glo ry to
C7
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God. Give
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God.
œ‰ J
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God. Give
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God.
F A7
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SATB
495 Music by
© 2019 The King's Courtwww.thekingscourt.com
All Rights Reserved
Glory To God In The Highest Will Goldstein
(Mass Ordinary 2)
Gloria - origin about the 4th century lyrical adaptation by Will Goldstein.
4 minutes
CCLI# 7127988
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9
œ œ œ œ œ œ
glo ry to God in the9
Œ ‰ jœ#
Give
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glo ry to God in the9
‰Jœ œ
œ œGive glo ry to
Dm A7
œ œ œ‰
jœ
high est. Give
œ œ œ .œ œbglo ry to our
œ œJœ
‰
high est.
œ ‰ Jœ
God. Give
BbMaj7 F7
œ œ œ .œ œ
glo ry to our
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Glo ry be to
œœ
œglo ry to
FMaj7Bb
œ œ œ Œ
God.
.œ œ œ œglo ry to ourœ œ œ
God in the
.œ œ œ œ
God in the
Gm7 C7
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13
.œ œ œ œ
Glo ry be to13
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God. Give glo ry to
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high est.13
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‰
high est.
FMaj7.œ œ œ œ
God in the
œ œ œ
God in theœ œ œ œ œ œ
Glo ry to God in the
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Glo ry to God in the
BbMaj7 Dm7 .œ œ œ ≈ œ
high est, the
.œ œn œ ≈ œ
high est, the.œ œ œ ≈ œ
high est, the
.œn œ œ ≈ œ
high est. Give
G7 Am
œn œ œ# œ ≈ œ
high est, the
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‰
high est.
œJœ
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high est.
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glo ry to
E7 Am
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17.œ œ
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high est.17
œ œ œ œ œn œ
Glo ry to God in the
œ œ œ œ œ œ
Glo ry to God in the
17 œ .œ œn
God in the
Dm7 G7
œ.œ œ
Glo ry to
œ Jœn ‰
high est.
œ œ ≈ œ
high est. Give
œ œ ‰ jœn
high est. Give
C G7.œ œ œ
God in the
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Glo ry to God in the
œ œ œ œ œ œ
glo ry to God in the
œ œ œ œ œ œ
glo ry to God in the
C rit.
rit.
rit.
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œJœU
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high est.
œn jœu
‰
high est.
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high est.
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high est.
G7 C7
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œ œ œ œ œ œ
Glo ry to God in the21
œ œ œ œ œ œ
Glo ry to God in the
œ œ œ œ œ œ
Glo ry to God in the21
œ œ œ œ œ œ
Glo ry to God in the
F poco rit.
poco rit.
poco rit.
poco rit.
œ œU ≈ œ
high est; and
œ œu
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high est; and
œ œU
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high est; and
œ œU ≈ œ
high est; and
Bb F
œ œ œ œ œ œpeace to all men of good
œ œ œ œ œ œpeace to all men of good
œ œ œ œ œ œ
peace to all men of good
œ œ œœ œ œ
peace to all men of good
C7slower and freely with rit.
slower and freely with rit.
slower and freely with rit.
slower and freely with rit.
.œU
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will.
.œ
U‰
will.
.œU‰
will.
.œU ‰
will.
F
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25
.œ jœ
.œ œ œ œ œ
Lord God, we25
˙ œ# œLord God, we
.œ Jœ œ œ œ œ
Lord God, we25
˙ ‰Jœ .œ œ
Lord, we praise
C D7 G7a tempo -76
a tempo -76
a tempo -76
a tempo -76
œ œ œ œ ≈ œ œ œ œ œ œ œ œ œpraise You. We bless You; and a
.œ œ œ ≈ œ .œ œ œ œ œpraise You. We bless You; we a
œ œ ‰ Jœ œ œ œ œ
praise You. We bless You, and a
œ ‰Jœ œ œ ‰ œ œ
You. We bless You, and a
C AmG7 F
.œ œ œ œ ˙#dore You, oh God.
.œ œ ˙‰ j
œdore You. Lord
œ œ œ œ .œ œ œ
dore You, God Al might y.
.œ œ œ œ ‰Jœ
dore You, Lord. Oh
Dm7 E7Bm7(b5)
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28
Œ .œ œ œ ‰ Jœ
Lord God, our28
.œjœ œ ‰
jœ
God of grace, our
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Lord God, our28
.œ Jœ œ
‰ œ œ
Lord God, our
Am FMaj7œ .œ œ# œ
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heav en ly King, Al
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heav en ly King, Al
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heav en ly King, Al
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heav en ly King, Al
Bm7(b5) E7 Am F.œ
Jœ œ ‰
Jœ
might y God and
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œmight y God, and
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‰ Jœ
might y God, and
.œJœ œ ‰
Jœ
might y God, and
C Em7G
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.œ jœ œ ‰ œ œ
Fa ther, we31
.œ Jœ œ ‰
œ œFa ther, we˙ œ
ŒFa ther,
31
˙ œ Œ
Fa ther,
FMaj7 G7
.œjœ œ ‰ j
œwor ship You. Oh
.œjœ œ
Œ
wor ship You.
Œ ‰ Jœ .œ
Jœ
we wor ship
‰ Jœ œ
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we wor ship You. Oh
C CG7
.œ œ œ œ‰
Jœ
Lamb of God, our
Ó Œ ‰ jœ
Oh
˙ œ‰ J
œ
You, Lord. Oh
.œJœ œ ‰
Jœ
Lamb of God, our
G7 C
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œ œœ œ œ ‰
Jœ
Sav ior and our King, our34
œ œ œ œ œ ‰ jœ
Sav ior and our King, our
œ œ œ œ œ‰ J
œ
Sav ior and our King, our34
œ œ œ œ œ ‰œ œ
Sav ior and our King, our
Em7 FMaj7.œ j
œ œ ‰ jœ
Great High Priest, we
.œ œ# œ œ ‰ jœ
Great High Priest, we
.œJœ œ
‰œ œb
Great High Priest, we
.œ# œ œ œn ‰jœ
Great High Priest, we
G7D7 C7
.œ œ œ œ Œ
glo ri fy You.
.œ œ œ œ Œ
glo ri fy You.
.œ œ œ œ‰ J
œ
glo ri fy You. We
.œ œ œ œ ‰ œ œ
glo ri fy You. We
FMaj7 CMaj7 Dm7
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‰ Jœ œ œ
We give You37
‰jœ œ# œ
We give You.œJœ
give You37
.œ jœ#
give You
G# o7Bm7(b5).œ
Jœ œ œ
thanks for Your great
.œ jœ œ œ
thanks for Your great.œ
Jœ œ œ
thanks for Your great
.œjœ œ œ
thanks for Your great
Am FMaj7poco rit.
poco rit.
poco rit.
poco rit.
˙ œU
‰ œ œglo ry. Lord
.œjœ œ
U‰ j
œglo ry. Lord
.œJœ œU ‰ J
œ
glo ry. Lord
˙ œU
‰ jœ
glo ry. Lord
G7G s us 7
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40
œ‰ jœ œ
.œ œJœ ‰ .œ œ
God, our heav en ly King,God the40
œ‰ jœ œ .œ œ
jœ ‰ .œ œ#
God, our heav en ly King, God the
œ ‰ Jœ œ .œ œ J
œ‰
.œ œ
God, our heav en ly King, God the40
œ ‰jœ œ
.œ œJœ ‰ .œ# œ
God, our heav en ly King, God the
CMaj7 Dm7 G7 E7q»∞•
Jœ œ
Jœ
Fa ther Al
jœ œ
jœ
Fa ther Al
Jœ œ
Jœ
Fa ther Al
Jœ
œœ œ
Fa ther Al
Am FMaj7 .œ œ œ ‰Jœ
might y, Lord
.œ œ œ ‰ jœ
might y, Lord
.œ œ œ ‰ Jœ
might y, Lord
.œ œ œ ‰Jœ
might y, Lord
Dm7 G7 E7
.œ jœ
Je sus
.œ jœ
Je sus
.œJœ
Je sus
.œJœ
Je sus
FMaj7
œ ‰ jœ
Christ, the
œ‰ j
œChrist. the
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Christ, the
œ ‰jœ
Christ, the
CMaj7 Am7
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45 jœ œ
jœ œ œ
on ly be got ten45
jœ œ
jœ œ œ
on ly be got ten
Jœ œ
Jœ œ œ
on ly be got ten
45
Jœ œ
jœ œ œ
on ly be got ten
Dm7
œ .œ œSon of the
œ .œ œSon of the
œ .œ œ
Son of the
œ .œ œSon of the
G7
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Fa ther, we
˙ œ‰ jœ
Fa ther, we
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Fa ther, we
˙ œ ‰ jœ
Fa ther, we
CC sus Am7
.œ œ œ œgive our praise to
.œ œ œ œgive our praise to
.œ œ œ œ
give our praise to
.œ œ œœ
give our praise to
Dm7poco rit.
poco rit.
poco rit.
poco rit.
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89
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49
˙U
Œ
You.49
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You.U̇
Œ
You.49
˙U
Œ
You.
G7
.œ œjœ œ
‰
Lord God,
.œœ
jœ œ
‰
Lord God,
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Lord God,
.œ .œ œ‰
Lord God,
C G7Dm7q k»§º
œjœ œ ‰
Lamb of God,
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Lamb of God,œ
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Lamb of God,
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Lamb of God,
C G7Dm7
.œ œJœ
Son of the
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Son of the
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Son of the
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D7Am7
œ œ œ .œ
Fa ther,
.œ .œ#
Fa ther,.œ .œ
Fa ther,
.œ .œ
Fa ther,
D7G
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89
89
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86
86
86
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54
ŒJœ œ
jœ œ# J
œ
You take a way the54
Œ jœ# œ#
jœ œ
jœ
You take a way the
Œ Jœ œ
Jœ œ
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You take a way the54
ŒJœ œ J
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You take a way the
F#m7(b5) E7B7
œ jœ
jœ œ
sins of the
œ jœ
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sins of the
œJœ
Jœ œ
sins of the
œJœ
Jœ œ
sins of the
D7FMaj7Am
.œ ŒJœ
world. Have
.œ Œjœ
world. Have
.œŒ J
œ
world. Have
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world. Have
G Am7 rit.
rit.
rit.
rit.
œJœ œ œ œ
mer cy on
.œ œ#jœ
mer cy on
.œ œJœ
mer cy on
.œ# œJœ
mer cy on
D7 GMaj7 Am7
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89
89
89
89
86
86
86
86
89
89
89
89
S
A
T
B
58
.œ œ ‰ œ
us, oh58
.œ#jœ ‰
jœ
us, Lord. Have
.œ œ‰œ
us, Lord. Have58
.œ œ ‰ œ#
us. Have
D7a tempo
a tempo
a tempo
a tempo
.œ ŒJœ
Lord. Have
.œ œjœ
mer cy on
.œœ
Jœ
mer cy on
.œœ
jœ
mer cy on
CMaj7G
œ œ œ .œ .œ
mer cy on us, Lord.
œ‰œ .œ .œ
us, oh Lord.
œ‰œ .œ .œ
us, oh Lord.
.˙ Œ .
us.
G7FMaj7
Œ œ œ œjœ œ#
jœ
Have mer cy on
Œœ œ œ
jœ œ
jœ
Have mer cy on us,
Œ Jœ œ J
œ œJœ#
Have mer cy on us,
Œ œ œ œjœ œ
jœ
Have mer cy on us,
Bm7C Am7rit.
rit.
rit.
rit.
.œ œU
‰
us.
.œ œU
‰
Lord.
.œ œU‰
Lord.
.œ œU
‰
Lord.
CMaj7
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89
89
89
89
86
86
86
86
83
83
83
83
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86
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63
ŒJœ œ
jœ œ# J
œ
You take a way the63
Œ jœ# œ#
jœ œ
jœ
You take a way the
Œ Jœ œ
Jœ œ
Jœ
You take a way the63
ŒJœ œ J
œ# œ Jœ#
You take a way the
F#m7(b5) E7B7a tempo
a tempo
a tempo
a tempo
œ jœ
jœ œ
sins of the
œ jœ
jœ œ#
sins of the
œJœ
Jœ œ
sins of the
œJœ
Jœ œ
sins of the
D7FMaj7Am
.œ ŒJœ
world. Re
.œ Œ jœ#
world. Re
.œŒ J
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world. Re
.œ ŒJœ
world. Re
G E7
œJœ
ceive our
œjœ#
ceive our
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ceive our
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ceive our
Am E7very slowly & freely
very slowly & freely
very slowly & freely
very slowly & freely
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86
86
86
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67
.œu
‰U
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prayer. You are67
.œU
‰U
œ œprayer. You are
.œU‰U œ# œ
prayer. You are67
.œU
‰Uœ œ
prayer. You are
Am E7broaden
broaden
broaden
broaden
œjœ œ œ œ
seat ed at the
œjœ œ œ œ
seat ed at the
œJœ œ œ œ
seat ed at the
œJœ œ œ œ
seat ed at the
FMaj7q k»§º
œJœ œ œ œ
right hand of the
œ#jœ œ œ œ
right hand of the
œJœ œ œ œ
right hand of the
œJœ œ œ# œ
right hand of the
E7
œ œ œ œ ‰ œ
Fa ther. Have
œ œ œ œ# ‰ œ
Fa ther. Have
œJœ œ
‰œ
Fa ther. Have
.œ œ ‰ œ
Fa ther. Have
FMaj7 E7 Am7
œJœ œ œ œ
mer cy on
.œ œ#jœ
mer cy on
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mer cy on
.œ# œJœ
mer cy on
D7 GMaj7Am7
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89
89
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42
42
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72
.œ œ ‰ œ
us, oh72
.œ#jœ ‰
jœ
us. Oh
.œ œ‰œ
us, Lord. Have72
.œ œ ‰ œ#
us. Have
D7
.œ ŒJœ
Lord. Have
œjœ .œ
Lord, have mer
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mer cy on
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jœ
mer cy on
CMaj7G
œ œ œ .œ .œ
mer cy on us, Lord.
œ‰œ .œ .œ
cy. Have mer cy.
œ‰œ .œ .œ
us, oh Lord.
.˙ Œ .
us.
G7FMaj7
Œ œ œ œjœ œ#
jœ
Have mer cy, oh
Œœ œ œ
jœ œ
jœ
Have mer cy on us,
Œ Jœ œ J
œ œJœ#
Have mer cy on us,
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- - - - -
SATB
496Music by
© 2019 The King's Courtwww.thekingscourt.com
All Rights Reserved
Nicene Creed Will Goldstein(Mass Ordinary 3)
Credo- text dates to 381 A.D and was added to the Mass in 1014 and is the last additionlyrical adaptation by Will Goldstein.
4:45 seconds
CCLI# 7127989
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Cm7 Am7(b5)
- - - -
- -
- - - - -
- - -- - - -
SATB
497
Music by
© 2019 The King's Courtwww.thekingscourt.com
All Rights Reserved
Holy, Holy, Holy,Hosanna
Will Goldstein(Mass Ordinary 4a)Sanctus - 5th centurylyrical adaptation by Will Goldstein
3:25 seconds
CCLI# 7127990
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ho ly
.œjœ j
œ ‰ œ œho ly Lord, ho ly.œJœ œ
Œ
ho ly Lord,
œ œ .œ jœ
ho ly, ho ly
G s us 7Dm7(b5) G7˙ œ Œ
Lord,
˙ œ Œ
Lord,
œ .œ œ œnŒ
ho ly Lord,
˙ œŒ
Lord,
Cm G7AbMaj72
˙ œ œn
ho ly
.œjœ j
œ ‰ œ œho ly Lord, ho ly.œJœ œ
Œ
ho ly Lord,
œ œ .œ jœ
ho ly, ho ly
Dm7(b5)G s us 7 G7rit.
rit.
rit.
rit.
.˙U
Œ
Lord,
.˙U
Œ
Lord,.œJœ œU Œ
ho ly Lord,
.˙U
Œ
Lord.
Cm
- - - -
- - - - -
- -
-
-
- -
-
- - - - -
&
&
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?
nn n
n n n
n n n
n n n
S
A
T
B
15
.œ jœ J
œ œJœ
God of pow er and15
.œjœ
jœ œ
jœ
God of pow er and15
.œ Jœ œ
Œ
God of pow'r,15
˙ œ œ œ œGod of pow'r and
CCFC C G7
q»•º
œ ‰œ œ œ œ œ œ œ ≈ œ œ
might, God of pow er and
œ‰ œ œ œ œ œ œ œ
≈ œ œ
might, God of pow er and
.œ œ œ œJœ
‰œ œ
God of pow'r and might, God of
œ œ œ Œ
God of might,
C C FMaj7C C FMaj7G7
œ œ œ œ œ œ œŒ
God of might,
œ œ œ œ œ œ œŒ
God of might,œ œ œ œ œ Œ
pow'r and God of might,
‰ œ œ œ œ œ Œ
God of pow'r and might,
Dm7 G7 C
-
- -
-
&
&
?
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S
A
T
B
18
.œjœ .œ j
œ
God of18
.œjœ œ
Œ
God of pow'r,18 .˙ œ
God of18
wGod
C CC CFC j
œ œJœ œ ‰ œ œ
pow er and might, God of
.œ œ œ .œ‰
God of might,.œ
œ œ .œ ‰
pow'r and might,
.œ jœ .œ
jœ
of pow'r and
F CF CG7
-
&
&
?
?
S
A
T
B
20
œœ œ ≈ œ œ œ
œ œ ≈ œ œ
pow'r and might,God of pow'r and might, God of20
.œjœ .œ
jœ
God of pow'r and20
œ œ œ œ œŒ
God of pow'r and might,20
w
might,
F Am Em7CMaj7œ œ œ œ œ œ œ ≈ œ œ œ œ œ
pow'r and might, God of pow'r andjœ ‰ .œ œ œ œ# œ œ œ œmight, God of pow'r, and God ofœ œ œ œ œ œ œ œ
God of pow'r and God of might,
Œœ œ œ ‰
Jœ
God of pow'r and
F G GAm7 D7
&
&
?
?
bbb
b b b
b b b
b b b
S
A
T
B
22 jœ ‰ œ# œ œ œ# œ œ œ
might, God of pow er and God of22
œ# ≈ œ œ œ œ# .œ œn œ
might, God of pow'r and might,
22
Œœ œ
Jœ# œ
‰
God of pow er,22
.œJœ
œ Œ
God of might,
D A7D E7 Drit.
rit.
rit.
rit.
œ# ≈ œ œ œ œ œnJœU
‰
might, God of pow'r and might,
‰ œ œ œ# œ œnjœu
‰
God of pow'r and might,œ œ# œ œ œn œ
JœU
‰
God of pow'r and might,
œ œ œ œœ
jœU
‰
God of pow'r and might,
G s us 7 G7A7 D7
-
-
&
&
?
bbb
b b b
b b b
S
A
B
24
.œJœ .œn
jœ
heav en and24
.œjœ .œ
jœ
heav en and24
.œJœ .œ j
œnheav en and
CmCm G7Dm7(b5)
a tempo
œ Œ œ œ œ .œ œ
earth, heav en and
.œjœ .œn œ œ œ
earth are full of Your
.œ Jœ .œ œ œ œ
earth are full of Your
AbMaj7 F7 Bb7
.œjœ j
œœ
Jœn
earth are full of Your
.œjœ œ
‰ œ œ
glo ry, Your.œ
Jœ œ
‰ Jœ
glo ry, Your
EbMaj7 Dm7(b5) G7Fm7
- - -
- -
- - -
&
&
?
?
bbb
b b b
b b b
b b b
S
A
T
B
27
.œ œ œ œn Œ
glo ry.27
.œjœ œ
Œ
glo ry.27 ∑27
.œJœ œ Œ
glo ry.
G7Dm7(b5)AbMaj7
Jœ œ
Jœ .œ J
œ
Heav en and earth are
jœ œ j
œ .œ œ œ
Heav en and earth are
Jœ œ
Jœ .œ
Jœ
heav en and earth are
Jœ œ
Jœ .œ œ œ
Heav en and earth are
Cm7 Fm7
jœ
œ jœ œ œ
full of Your glo ry.
jœ œ j
œ œ œ
full of Your glo ry.
Jœ œ
Jœ œ œ
full of Your glo ry.
Jœ œ
Jœ œ œ
full of Your glo ry.
Bb7 Ebsus Eb
- -
- -
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&
&
?
?
bbb
b b b
b b b
b b b
42
42
42
42
S
A
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B
30
‰ œjœ .œ j
œHeav en and
30
‰ œjœ .œ
jœ
Heav en and30
‰œ
Jœ .œ
Jœ
Heav en and30
Œ . jœ .œ œ œ
Heav en and
Bb7 Cm7
.œ œ œjœ œ j
œearth are full of Your
.œjœ
jœ œ j
œearth are full of Your.œ
Jœ
Jœ œ
Jœ
earth are full of Your
.œ Jœ
Jœ œ
Jœ
earth are full of Your
Bb7Fm7Ab
œ œ œ œ œ œglo ry,
.œjœ
glo ry,
œ œ
glo ry,
œ œ œ œ œ œ
glo ry,
Cm
- - - -
-
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-
&
&
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bbb
b b b
b b b
b b b
S
A
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33
‰jœ œ œ
Your glo ry,33
‰ œ œ œ œYour glo ry,
33
‰ Jœ œ œ
Your glo ry,33
‰ Jœ œ œ
Your glo ry,
Dm7(b5)Dm7(b5)Fm7
œ œ œ œ œ œglo ry,
œn œ œ œ œ œglo ry,
‰ Jœn œ œ
Your glo ry,
‰ jœ œ œ
Your glo ry,
G7
‰ jœ œ œ
Your glo ry.
‰ jœ œ œ
Your glo ry.
‰ Jœ œ œ
Your glo ry.
‰ jœ œ œ
Your glo ry.
Cm7 AbMaj7
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-- -
&
&
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?
bbb
b b b
b b b
b b b
43
43
43
43
42
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42
43
43
43
43
S
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36
‰ œjœ
Heav36
‰œ j
œHeav
36
‰œ
Jœ
Heav36
‰ œJœ
Heav
Fm7
.œ œ .œjœ
en and earth are
.œ œ .œjœ#
en and earth are.œ œ .œ
Jœ
en and earth are
.œ œ .œJœ
en and earth are
Bb7 EbMaj7 Eb7
œ# œ œ œfull of Your
œn œn œfull of Your
œn œ œ
full of Your
œœ œn
full of Your
D7 G7rit.
rit.
rit.
rit.
- - - -
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&
&
?
?
bbb
b b b
b b b
b b b
43
43
43
43
n n n
n n n
n n n
n n n
c
c
c
c
S
A
T
B
39
œ œnU
ŒU
glo ry.39
œ œ
UŒU
glo ry.39
œ œU ŒU
glo ry.39
œ œu
‰U j
œ
glo ry. Ho
CC sus ∑
∑
Ó Œ ‰ Jœ
Ho
˙ œ ‰ Jœ
san na, ho
C G Em7q»ª™
∑
Œ ‰jœ œ œ
‰ jœ#
Ho san na, hoœ œ ≈
œ œ œ‰ J
œ
san na, ho san na, ho
œ œ ≈ œ œ œ ‰ Jœ
san na, ho san na, ho
FMaj7 D7CMaj7
- -
- - -
-
- - - --
- - -
- - -
- -
&
&
?
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S
A
T
B
42
Ó Œ ‰ œ œHo
42
.œjœ œ
‰ jœ
san na, ho42 ˙ œ ‰ J
œ
san na, ho42˙
œ ‰ jœ
san na, ho
G7 C G7
œ œ ≈ œ œ œ ‰ œ œ
san na, ho san na, ho
˙ œ‰ j
œ#san na, ho
Jœ œ J
œ œ œŒ
san na, ho san na,
.œ Jœ
œ ‰Jœ
san na, ho
C AmC Am D7
.œ œ œ# ≈œ .œ œ œ ≈ œ
san na, ho san na, ho
œ# œ≈œn .œ œ œ
≈ œ
san na, ho san na, ho
Œ ‰ Jœ# œ œ
ho san na,
œ œ ≈ œ.œ œ œ
≈ œ
san na, ho san na, ho
E7 Am FMaj7B7
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-
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&
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45
œ œ ≈ œ œ œ Œ
san na, ho san na,45
œ œ œ# Œ
san na,45
‰ Jœ œ œ œ
‰ Jœ#
ho san na, ho45
œ œ œ Œ
san na,
Dm7 Bm7(b5) E7
Ó Œ ‰ œ œ
ho
Ó Œ ‰ jœ#
ho
.œJœ
œŒ
san na,
∑
Am B7F#m7(b5)
.œ# œ#jœ
‰ Œ ‰ Jœ
san na, ho
.œ œ jœ
‰ Œ ‰ jœ#
san na, ho
Œ ‰ Jœ# .œ œ#
Jœ
‰
ho san na,
Œ ‰ Jœ .œ œ
Jœ# ‰
ho san na,
E7 Am E7
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- -
&
&
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S
A
T
B
48
.œ œ œ œ Œ
san na,48
˙ œ# Œ
san na,48
‰.œb .œ œ œ# œ
ho san na in the48
Œ ‰ Jœ .œ œ œ œ#
ho san na in the
F7 E7
Œ ‰Jœ œ œ œ .œ
œ
ho san na in the
Œ ‰ jœ œ œ# ‰ .
j̊œ
ho san na, ho.œ
Jœb œ ≈ œ .œ œ
high est. Ho san na.œ œ œ ≈ œ
Jœ# œ œ œ
high est. Ho san na in the
AmE7 AmAm F7
Jœ œ ≈
Jœjœ œ# œ œ
high est. Ho san na in the
œ œ ≈œ œ œ .œ œ
san na, ho san na in the
œ œ .œ œ œ‰ Jœ
in the high est. Ho
.œ#Jœ# œ ‰ J
œ
high est. Ho
E7 E s us 7 E7
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- -
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51œ œ ‰ . j̊
œ#jœ œ œ œ
high est. Ho san na in the51
œ œŒ Ó
high est.51 œ œ œ .œ# œ œ œ
‰ Jœ
san na in the high est. Ho51 œ œ .œ œ œ œ
‰ Jœ
san na in the high est. Ho
Am E7 FMaj7 G7œ œ ‰ J
œJœ œ œ œ
high est. Ho san na in the
‰ jœ œ œ œ# ‰ j
œHo san na, ho.œ œ œ œ œ œ œ ≈ œ
san na in the high est. Ho.œ œ œ œ
.œ œ# œ# ≈ œ
san na in the high est. Ho
CMaj7 Bm7(b5) E7
œ œ ‰Jœ .œ œ œ ≈ œ
high est, the high est, the
jœ œ œ œ# œ œ ≈ œ
san na in the high est. Ho
œ œ œ œ .œ œ œ ≈ œsan na in the high est, the
.œ œ œœ œ œ œ ≈ œ
san na in the high est, the
AmAm FMaj7E7 G# o7
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- -
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- -
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54œ œ ≈ œ .œ œ œ œ
high est. Ho san na in the54
.œ œ œ# œ œ œ œ ≈ œ
san na in the high est. Ho
54 œ œ œ œ œ œ œ œ .œ œ œœ
high est, the54
˙ œ ‰ Jœ#
high est. Ho
Am E7 E7FMaj7
Jœ .œ
Jœ œ
Jœ
high est, in the
œ œ ‰œ œ# œ œ ‰
Jœ
san na in the high est, the
œ œ‰ Jœ
Jœ œ œ œ
high est. Ho san na in the
Jœ œ œ# œ œ œ ‰ J
œ
san na in the high est, the
Am E7 FMaj7 Bm7(b5)rit.
rit.
rit.
rit.
Jœ .œ œU ‰ j
œ#high est. Ho
jœ# .œ œ
U‰ jœ
high est. Ho
Jœ .œ œU
‰ Jœ
high est. Ho
Jœ .œ œU
‰Jœ
high est. Ho
E7 broaden
- - - - - -
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42
42
42
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57
œ œ œ# œ# œ ≈ œ œ œ œ3
œ œ œ#
san na, ho san na in the57
.œ œ œ≈ œ# œ
3
œ œ œ
san na, ho san na in the
57 .œ œ œ ≈ œ œb3
œ œ œ
san na, ho san na in the57
.œœ œ ≈ œ œ
3
œ œ# œ
san na, ho san na in the
AmE7
F7E7slower & freely till the end - 60-30
œ œU
high est.
œ œ#U
high est.
œ œU
high est.
œœU
high est.
A susA
- - - - - - - -
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- - - - - - - -
?43
Bass
1
œ .œjœ
Bless ed is
Amq»ª§
intro chords meas. 1-4
˙ œ œ
He who
FMaj7
œ .œJœ
comes in the
Dm7
œ .œ Jœ
name of the
G7
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S
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5
Œ .œ œ œ œBless ed is
5
œ .œjœ
Bless ed is
5
Œ œ œ
Bless ed,
5
˙ Œ
Lord.
Am
.˙
He
˙ œ œHe who
œ Œ Œ
œ œ œJœ ‰
Bless ed is He.
FMaj7
˙ œ
who
œ .œjœ
comes in the
Œœ œ
bless ed,
œ œ œ œ ≈ œ
Bless ed is He. How
Dm7 Am7 Dm7
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-
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&
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S
A
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B
8
œ .œJœ
comes in the8
œ .œ#jœ
name of the
8œ# œ œ œ œ
bless ed is He who8
˙ Œ
blessed!
E7
œ œ œ
name of the
œ ‰ jœ œ œ œ
Lord, the name of theœ œ œ
comes in the
.œ Jœ œ
Bless ed is
FMaj7 G7
˙ Œ
Lord.
.˙Lord.
˙ œ œ
name of the
˙ œ
He who
C Am
- - -
-
SATB
498Music by
© 2019 The King's Courtwww.thekingscourt.com
All Rights Reserved
Blessed Will Goldstein(Mass Ordinary 4b)
Benedictus - 2nd part of Sanctus - 5th centurylyrical adaptation by Will Goldstein
2:25 seconds
CCLI# 7127991
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11
Œœ œ œ
Bless ed is11
œŒ
œBless
11 ˙Œ
Lord.11
œ œ œ
comes in the
FMaj7 Dm7
œ ‰Jœ .œ œ
He. Bless ed is
.œjœ .œ œ
ed is He who
.œJœ .œ œ
Bless ed is
œ .œ Jœ
name of the
G7
˙ œHe who
˙ ‰ œ œcomes, He
˙Œ
He.
˙ Œ
Lord,
C
˙ œ œ
comes in the
œ .œjœ
comes in the.˙
Bless
.˙
bless
FMaj7
˙# œ œname of the
˙ œ œname of the
˙ œ#
ed is
˙œ#
ed is
E7
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-
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....
..
..
..
S
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16
1
.˙Lord.
16
.˙Lord,
16 .˙
He16
.˙
He.
Am
˙Œ
˙Œ
˙Œ
˙ Œ
2
.˙Lord.
.˙Lord..˙
He.
˙ œ œHe.
Am
˙‰
jœ
How
˙‰ j
œHow
˙‰ J
œ
How
˙‰ J
œ
How
FMaj7
˙# ‰ jœ
blessed! How
˙‰ j
œblessed! How˙
‰ Jœ
blessed! How
˙ ‰ jœ#
blessed! How
E7
&
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42
42
42
42
43
43
43
43
S
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21
.œjœ œ œ
blessed is He who21
.œ#jœ œ œ
blessed is He who21
.œJœ œ œ
blessed is He who21
.œjœ œ# œ
blessed is He who
A7
˙ œ œcomes in the
˙ œ œcomes in the
˙ œ œ
comes in the
˙ œb œcomes in the
Dm BbMaj7
œb .œJœ
name of the
œ .œjœ
name of the
œ .œbJœ
name of the
œ .œjœ
name of the
C7Gm7rit.
rit.
rit.
rit.
œU
Œ
Lord.
œU
Œ
Lord.
œUŒ
Lord.
œ
UŒ
Lord.
FMaj7
&
&
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?
43
43
43
43
42
42
42
42
43
43
43
43
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25
œ œ œ
Bless ed is25
œ œ œ œBless ed is
25 œ œ œb
Bless ed is25
œb œ œBless ed is
BbMaj7 Gm7q»•¢
.œJœb
He who
.œjœ
He who
.œb Jœ
He who
.œ Jœ
He who
C7
œ œ œ
comes in the
œ œ œcomes in theœ œ œ
comes in the
œ œ œ
comes in the
FMaj7
-
-
-
-
&
&
?
?
43
43
43
43
42
42
42
42
43
43
43
43
42
42
42
42
c
c
c
c
S
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28
œb .œ Jœ
name of the28
œ .œjœ
name of the28 œ .œb
Jœ
name of the28
œ .œJœ
name of the
Em7(b5)Gm7
.œ ‰
Lord.
.œ#‰
Lord.
.œ ‰
Lord.
.œ ‰
Lord.
A7rit.
rit.
rit.
rit.
œ .œ œ œBless ed is
œ .œ œ œBless ed is
œ .œ œ œ
Bless ed is
œ .œjœ
Bless ed is
G7Dm7
œ
U‰U
‰
He.
œ‰U
‰
He.
œU
‰U
‰
He.
œU
‰U j
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He. Ho
C
--
-
-
-
&
&
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?
c
c
c
c
S
A
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B
32 ∑32 ∑
32
Ó Œ ‰ Jœ
Ho32
˙ œ ‰ Jœ
san na, ho
C G Em7q»ª™
∑
Œ ‰jœ œ œ
‰ jœ#
Ho san na, ho
œ œ ≈ œ œ œ‰ J
œ
san na, ho san na, ho
œ œ ≈ œ œ œ ‰ Jœ
san na, ho san na, ho
FMaj7 D7CMaj7
Ó Œ ‰ œ œ
Ho
.œjœ œ
‰ jœ
san na, ho
˙ œ ‰ Jœ
san na, ho
˙œ ‰ j
œsan na, ho
G7 C G7
-
- -
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- -
- -
- -
-
-
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35
œ œ ≈ œ œ œ ‰ œ œ
san na, ho san na, ho35
˙ œ‰ j
œ#
san na, ho35
Jœ œ J
œ œ œŒ
san na, ho san na,35
.œ Jœ
œ ‰Jœ
san na, ho
C AmC Am D7
.œ œ œ# ≈œ .œ œ œ ≈ œ
san na, ho san na, ho
œ# œ≈
œn .œ œ œ≈ œ
san na, ho san na, ho
Œ ‰ Jœ# œ œ
ho san na,
œ œ ≈ œ.œ œ œ
≈ œ
san na, ho san na, ho
E7 Am FMaj7B7
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37
œ œ ≈ œ œ œ Œ
san na, ho san na,37
œ œ œ# Œ
san na,37
‰ Jœ œ œ œ
‰ Jœ#
ho san na, ho37
œ œ œ Œ
san na,
Dm7 Bm7(b5) E7
Ó Œ ‰ œ œ
ho
Ó Œ ‰ jœ#
ho
.œJœ
œŒ
san na,
∑
Am B7F#m7(b5)
.œ# œ#jœ
‰ Œ ‰ Jœ
san na, ho
.œ œ jœ
‰ Œ ‰ jœ#
san na, ho
Œ ‰ Jœ# .œ œ#
Jœ
‰
ho san na,
Œ ‰ Jœ .œ œ
Jœ# ‰
ho san na,
E7 Am E7
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40
.œ œ œ œ Œ
san na,40
˙ œ# Œ
san na,
40
‰.œb .œ œ œ# œ
ho san na in the40
Œ ‰ Jœ .œ œ œ œ#
ho san na in the
F7 E7
Œ ‰Jœ œ œ œ .œ
œ
ho san na in the
Œ ‰ jœ œ œ# ‰ .
j̊œ
ho san na, ho
.œJœb œ ≈ œ .œ œ
high est. Ho san na.œ œ œ ≈ œ
Jœ# œ œ œ
high est. Ho san na in the
AmE7 AmAm F7
Jœ œ ≈
Jœjœ œ# œ œ
high est. Ho san na in the
œ œ ≈œ œ œ .œ œ
san na, ho san na in the
œ œ .œ œ œ‰ Jœ
in the high est. Ho
.œ#Jœ# œ ‰ J
œ
high est. Ho
E7 E s us 7 E7
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-
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43œ œ ‰ . j̊
œ#jœ œ œ œ
high est. Ho san na in the43
œ œŒ Ó
high est.
43 œ œ œ .œ# œ œ œ‰ J
œ
san na in the high est. Ho43 œ œ .œ œ œ œ
‰ Jœ
san na in the high est. Ho
E7 FMaj7 G7Amœ œ ‰ J
œJœ œ œ œ
high est. Ho san na in the
‰ jœ œ œ œ# ‰ j
œHo san na, ho.œ œ œ œ œ œ œ ≈ œ
san na in the high est. Ho.œ œ œ œ
.œ œ# œ# ≈ œ
san na in the high est. Ho
Bm7(b5) E7CMaj7
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45
œ œ ‰Jœ .œ œ œ ≈ œ
high est, the high est, the45
jœ œ œ œ# œ œ ≈ œ
san na in the high est. Ho
45 œ œ œ œ .œ œ œ ≈ œsan na in the high est, the
45 .œ œ œœ œ œ œ ≈ œ
san na in the high est, the
FMaj7E7 G# o7AmAmœ œ ≈ œ .œ œ œ œ
high est. Ho san na in the
.œ œ œ# œ œ œ œ ≈ œsan na in the high est. Ho
œ œ œ œ œ œ œ œ .œ œ œœ
high est, the
˙ œ ‰ Jœ#
high est. Ho
E7 E7FMaj7
Jœ .œ
Jœ œ
Jœ
high est, in the
œ œ ‰ œ œ# œ œ ‰Jœ
san na in the high est, the
œ œ‰ Jœ
Jœ œ œ œ
high est. Ho san na in the
Jœ œ œ# œ œ œ ‰ J
œ
san na in the high est, the
E7 FMaj7 Bm7(b5)Am rit.
rit.
rit.
rit.
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-
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-
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&
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42
42
42
42
S
A
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48
Jœ .œ œU ‰ j
œ#high est. Ho
48jœ# .œ œ
U‰ j
œhigh est. Ho
48
Jœ .œ œU
‰ Jœ
high est. Ho48
Jœ .œ œU
‰Jœ
high est. Ho
AmE7 broaden
œ œ œ# œ# œ ≈ œ œ œ œ3
œ œ œ#
san na, ho san na in the
.œ œ œ≈ œ# œ
3
œ œ œ
san na, ho san na in the
.œ œ œ ≈ œ œb3
œ œ œ
san na, ho san na in the
.œœ œ ≈ œ œ
3
œ œ# œ
san na, ho san na in the
E7F7E7
slower & freely till the end - 60-30œ œU
high est.
œ œ#U
high est.
œ œU
high est.
œœU
high est.
AA sus
-
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89
89
89
89
Soprano
Alto
Tenor
Bass
1
.œ œjœ œ ‰
Lamb of God,1
œjœ
.œ œ ‰
Lamb of God,1 .œ œ
Jœ œ
Jœ
Lamb of God,1
.˙ .œLamb of
C G s us 7 G7q k»§§
intro chords meas. 1-4
.œ œ Jœ œ ‰
Lamb of God,
.œ œ jœ œ ‰
Lamb of God,
œ ‰ œJœ œ
‰Lamb of God,
œ ‰ .œ .œGod, Lamb of
C CMaj7G7
Œ . .œ œ Jœ
Lamb of
.œ .œ œ‰
Lamb of God,
.œ œJœ œ
‰Lamb of God,
.œ œ‰ œ j
œGod, Lamb of
FMaj7 CMaj7
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4
.˙ œ ‰
God,4
.˙ œjœ
Lamb of
4.˙ .œ
Lamb of4
.˙ œ‰
God,
G s us 7 G7
.˙ .œ
Lamb of
.œŒ j
œ œjœ
God, You take a
.˙Œ .
God,
.˙ œJœ
You take a
CMaj7 Am7
.˙ œ ‰
God,
.œ‰
œ œ œ‰
way, take a way,
.œ œJœ œ
‰Lamb of God,
œ jœ œ œ œ œ ‰
way the sins of the world.
FMaj7 Bm7(b5).˙ œ J
œ
Lamb of
ŒJœb œ
jœ œ
jœ
you take a way the
Œ Jœ œb
Jœ œ
Jœ
You take a way the
.œ œJœ œ
Jœ
You take a way the
F7 Bm7(b5)C7
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8
.œ œ œ œ .œ
God,8
.˙ œjœ
sins of the8 œ
‰œ .œ œ#
Jœ
sins, the sins of the8
.˙# œJœ
sins of the
E7 A7
Œjœ œ
jœ œ# œ œ
You take a way the
.˙# Œ .
world..˙n
‰œ œ
world. Lamb of
.˙ ŒJœ#
world. You
D7 B7
.œ .œ .œ
sins of the
Œ jœ œ
jœ œ
jœ
You take a way the
.œ œ Jœ œ
Jœ
God, You take a
.œ œ Jœ .œ#
take a way,
Em Am7 F#m7(b5).œ œ ‰ œ œ
jœ
world. You take a
œ œ# œ œ#jœ .œ
sins of the world.
.œ œ‰œ œ
Jœ
way, You take a
.˙ Œ jœ
You
B s us 7 B7
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SATB
499Music by
Lamb of God Will Goldstein(Mass Ordinary 5)
© 2019 The King's Courtwww.thekingscourt.com
All Rights Reserved
Agnus Dei - - 7th centurylyrical adaptation by Will Goldstein
7:35 seconds with repeat4:50 seconds - no repeat
CCLI# 7127992
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12
œ ‰ œ œ Jœ# œ
Jœ
way, You take a way the12
Œ jœ œ#
jœ# œ
jœ
You take a way the
12 œbJœ .œ œn J
œ
way the sins of the12
œ Jœ œ# ‰ œ œ#
jœ
take a way, You take a
C7 B7 Em6
œ ‰ œb .œ œnJœ
sins, the sins of the
œb jœ .œ# œ
jœ
sins of the
.˙Jœ#‰ Jœ#
world. You
.˙n œ Jœ#
way the
B7C7 F#m7(b5).œ œ ‰ œ
jœ
world. Lamb of
.œ œ ‰ œ .œworld, the sins
.œ# œJœ œ
Jœ
take a way the
.œ œ ‰ œ# œnjœ
sins, You take a
Em6 CMaj7
œ œ œ .œ œ ‰ œ
God, You
œjœ .œ# œ ‰
of the world.
.œ .œ# œJœ
sins of the
.˙ œjœ
way the
B7B s us 7
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16
œ œ œ .œ# œjœ
take a way the16
‰œ œ œ# j
œ œjœ
Lamb of God, You take a16 œ
‰ œb œJœ .œ
world. You take a way,16
œ ‰ œ œ Jœ# œ# j
œ
sins, the sins of the
B7C7
.˙ œJœ
sins of the
œjœ .œ œ œ œ
way the sins of the
Œ Jœ œ
Jœ œ J
œ
You take a way the
.˙jœ ‰
Jœ
world. You
CMaj7
.w
world,
.œ œ‰
œ œ# jœ
world. You take a.œ œ ‰ œ .œ
sins, the sins
.œ œJœ œ J
œ#
take a way the
FMaj7 D7
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A
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19
Œ Jœ œ
Jœb œ
Jœn
the sins of the19
œjœ .œ œb
jœ
way the sins of the
19 œ Jœ .œ
Œ Jœ
of the world. You19œ ‰ œ œ œ œ .œ
sins, the sins of the world.
G7 C7 B7
.œ œ œ œ œ ‰
world.
.˙b‰ œ œ#
world. Lamb of
œ Jœ œ
Jœ œ# ‰
take a way our sins.
Œ Jœ œ
Jœ œ
Jœ
You take a way the
F7 E7
.œ œ Jœ œ
Jœ
Lamb of God,
œjœ œ#
jœ .œ#
God, You take a way,
Œ .œ
Jœ œ
‰ œ
Lamb of God, You
œ œ# œ.œ
ŒJœ
sins of the world. You
Am6 E7Bm7
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22
œ# ‰ œ œJœn œ J
œ
You take a way the22
Œ jœ œ
jœ œ
jœ
You take a way the
22 œJœ œ
Jœ .œ
take a way the sins,22 œ
Jœ œ
Jœ œ œ
œ
take a way the sins of the
Dm7A7 G7.˙ œ J
œ
sins of the
.˙ œjœ
sins of the
œ‰
œ .œ œ œ œ
the sins of the
.˙ œ ‰œ
world. You
CMaj7 FMaj7 .˙ .œ
world.
.˙ .œ
world,
œ‰œ œ
Jœ .œ
world. You take a way
.œ œjœœ
Jœ
take a way the
G7G s us 7.˙ œU
‰
ŒJœ œ œ œ œ
U‰
the sins of the world.
œ‰œ œ œ œ œU
‰
the sins of the world.
.œ œœœ œ
U‰
sins of the world.
C susCrit.
rit.
rit.
rit.
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B
26 ∑26
.œ.œ œ
Jœ
You take a
C Dm7 G7
a tempo
∑
.˙ œ ‰
way,
CMaj7
Œ Jœ œ J
œ œ# Jœ
You take a way the
.œ œjœ œ j
œ#You take a way the
Am E7 .˙ œ œ œ
sins of the
.œ œ œ œ œ ‰ œ
sins of the world. You
FMaj7 Dm7
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30 ∑30
.œ œ œ œ œjœ
You take a way the
30 œJœ œ# ‰
œ œ œ œ
world. You take a
30œ#Jœ œ J
œ œ‰ œ
take a way the sins, the
E7 Bm7(b5) ∑
œ‰œ .œ# œ œ œ
sins, the sins of the
œ# Jœ .œ œ œ œ
way the sins of the
.œ œ œ œ .œ#
sins of the world.
E7
Œ . Œjœ œ j
œ#You take a
.œ œ ‰ œ œ# jœ
world. You take a
.œ œ‰œ œ
Jœ
world. You take a
ŒJœ œ J
œœ
Jœ
You take a way the
Am D7
.œ œjœ œ
jœ#
way the
.œ œ jœ œ
jœ
way the
.œ œJœ œ# J
œ
way the
.˙ ŒJœ
sins, the
G7 E7
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34
.˙ œ Jœ
sins of the34
.œ .œ .œsins of the
34 .˙ œJœ
sins of the34
.œ .œ# .œsins of the
Am G7D7
.˙ œ ‰
world.
.˙ œ‰
world.
.˙b œ‰
world.
.˙ œ ‰
world.
C7C s us 7
.œ œJœ œ J
œ
You take a way the
Œ jœ œ
jœ œ# J
œ
You take a way the
Œ Jœ œb
Jœ œ
Jœ
You take a way the
.œ œJœ œ J
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You take a way the
FMaj7 E7F 13.œ œ
Jœ œ
Jœ
sins of the
œjœ œ#
jœ .œn
sins of theœ
‰ œ# .œn œ Jœ
sins, the sins of the.˙ œ#
Jœ
sins of the
A7 G# o7D7A s us 7
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38
.˙ œ ‰ œ
world. You38
.˙ œ‰ œ
world. You
38 .˙ œ#‰
œ
world. You38
.˙n œ ‰œ
world. You
A7A s us 7œ
Jœ œ# J
œ .œ
take a way our sins.
œ jœ# œ
jœn .œ
take a way our sins.
œJœ œ
Jœ# .œ
take a way our sins.
œ# Jœ œ
Jœ .œ
take a way our sins.
A7 Dm6G# o7
ŒJœ# œ J
œ œ Jœ#
You take a way the
Œjœ œ j
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You take a way the
Œ Jœ œb
Jœ œ
Jœ
You take a way the
Œœ œ œ J
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You take a way the
E7A7 F 13 .œ .œ# œJœ
sins of the
.œ .œ œJœ
sins of the.œb .œ œ
Jœ
sins of the
.œ .œ œ Jœ#
sins of the
E7F7
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&
&
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?
86
86
86
86
89
89
89
89
86
86
86
86
S
A
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B
42.˙ Œ J
œ
world. Have42
.˙ ŒJœ
world. Have
42 .˙Œ J
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world. Have
42.˙# Œ J
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world. Have
Am6 Bm7(b5)œ
Jœ
Jœ œ
mer cy on
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mer cy onœ
Jœ
Jœ œ
mer cy on
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mer cy on
C Dm7 G# o7.œ œ œ œ œ#
U‰ œ
us. Have
.˙ œu
‰ œ
us. Have
.˙ œU
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us. Have
.˙ œU‰
œ
us. Have
A sus Amolto rit.
molto rit.
molto rit.
molto rit.
œ jœ œ J
œ
mer cy on us,
œ jœ œ
jœ#
mer cy on us,
œJœ œ
Jœ
mer cy on us,
œJœ œ#
Jœ
mer cy on us,
Bm7(b5) E7a tempo
a tempo
a tempo
a tempo
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46
œ# ‰ œ œ œ œ#
Lord. Have mer cy on46
œ ‰ œ œ œ# œ
Lord. Have mer cy on46
.œ œ‰
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Lord. Have46 œ
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Lord. Have mer cy on
A E7
.œ œ ‰ œ
us. Have
.œ# œ ‰ œ
us. Haveœ
Jœ œ
Jœ
mer cy on us,œ
Jœ œ
‰ œ#
us, oh Lord. Have
F#m7(b5) B7B s us 7
.œ œJœ
mer cy on
œjœ œ
jœ
mer cy on us,
œ‰
œ œJœ
Lord. Have mer cy,
œJœ œ J
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mer cy on us,
Em CMaj7
.œJœ ‰ œ œ
us. Have
.œ œ ‰œ
Lord. Have.œ
Jœ
‰ Jœ
Lord. Have
œ ‰ œ œ œ œ
Lord. Have mer cy on
FMaj7 Dm7 G7
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50
œjœ
jœ œ
mer cy on50
œjœ
jœ œ
mer cy on50œ J
œJœ œ
mer cy on50
.œ œ ‰ œ
us. Have
CMaj7
.œjœ
‰ jœ
us, Lord. Have
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us, oh Lord. Have
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us, oh Lord. Have
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œnmer cy, Lord. Have
Bm7(b5) AmE7
.œ œ jœ
mer cy on
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jœ
mer cy on us,.œ œ
Jœ
mer cy on
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‰ jœ
mer cy. Have
G7FMaj7
œJœ .œ
us, oh Lord.
œ‰ œ œ# J
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Lord. Have mer cy
œJœ œ
‰œ
us, oh Lord. Have
œJœ œ J
œ#
mer cy on us,
C E7Bm7(b5)
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&
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A
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54
Œ Jœ œ
Jœ
Have mer cy54
œ jœ œ ‰ œ
on us, Lord. Have54 œ
Jœ œ
Jœ
mer cy on us,
54 .œ œ‰
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Lord. Have
Am Bm7(b5) .œ .œ#
on us
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mer cy,œb
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Lord. Have mer cy,
.œ .œ
mer cy,
F7 E7 .œ œ‰
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Lord. Have
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Lord. Have.œ œ
‰œ
Lord. Have
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Lord. Have
A7A s us 7.œ œ
Jœ
mer cy on
.œ œjœ
mer cy on.œ œ
Jœ
mer cy on
.œ œ Jœ
mer cy on
Dm Bm7(b5)
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-
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- -
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&
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A
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58.œ œ
Jœ
us, oh58
.œ œ#jœ
us, oh
58 œJœ œ
‰œ
us, Lord. Have
58
.œ œJœ
us, oh
E s us 7 E7.œ œ ‰
œ
Lord. Have
.œ œ ‰ œ
Lord. Have
œ œ œ œ‰
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mer cy on us. Have
.œ œ ‰ œ
Lord. Have
FMaj7 Bm7(b5)œ
Jœ
Jœ œ
mer cy on
œ#jœ
jœ œ
mer cy on
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Jœ œ
mer cy on
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jœ œ
mer cy on
E7
œ ‰œ œ œ œ
us. Have mer cy on
œ‰
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œ‰
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us. Have mer cy on
œ ‰ œ œ Jœ
us. Have mer cy,
Am Bm7(b5)rit.
rit.
rit.
rit.
- -
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-- -
- -
&
&
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?
89
89
89
89
S
A
T
B
62
.œ œu‰ œ
us. Have
62
.œ œ
U‰
œ#us. Have
62 œ œ œ œ#U ‰œ
us, oh Lord. Have
62
.œ œu
‰ œLord. Have
E s us 7 E7A7
resume slowly - 56 then rit.
resume slowly - 56 then rit.
resume slowly - 56 then rit.
resume slowly - 56 then rit.
.œ œjœ
mer cy on
.œ œjœ
mer cy on
.œ œJœ
mer cy on
.œ œJœ
mer cy on
Dm7
.œ œjœ
us, oh
.œ œjœ
us, oh
.œ œJœ
us, oh
.œ œjœ
us, oh
G s us 7 G71 D.C.
.œ œU
‰
Lord.
.œ œU
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Theory & Chord Construction ChartTheory & Chord Construction ChartTheory & Chord Construction ChartTheory & Chord Construction ChartTheory & Chord Construction ChartThe Chart below, in conjunction with the code & formulas given, has condensed on to one page all the scales & chords necessary to
understand the basics of music theory. The top row is the names of the intervals that can be measured as the distance above the root which is in the farleft column. These intervals can be applied to each of the given roots to create scales & chords. All intervals are measured above the root. Music theory
requires extensive training, and it is beyond the scope of this book to go into more detail.
R=Root, M=Major, m=minor, P=Perfect, A=Augmented, D=Diminished, #=sharp, b=flat, x=double sharp, bb=double flatCodeCodeCodeCodeCode
Basic ScalesBasic ScalesBasic ScalesBasic ScalesBasic ScalesThe GrThe GrThe GrThe GrThe Greek Modes & The Pentatonic Scaleeek Modes & The Pentatonic Scaleeek Modes & The Pentatonic Scaleeek Modes & The Pentatonic Scaleeek Modes & The Pentatonic Scale
Note: The underline means it is a chord tone while playing the chord within that scale.Ionian Mode / Major Scale = R M2 M3 P4 P5 M6 M7 R (used with major chords built off the first scale degree such as C chord in the Key of C)Dorian Mode = M2 M3 P4 P5 M6 M7 R M2 (used with minor chords built off the second scale degree such as D minor chord in the Key of C)Phrygian Mode = M3 P4 P5 M6 M7 R M2 M3 (used with minor chords built off the third scale degree such as E minor chord in the Key of C)Lydian Mode = P4 P5 M6 M7 R M2 M3 P4 (used with major chords built off the fourth scale degree such as F chord in the Key of C)Mixolydian Mode = P5 M6 M7 R M2 M3 P4 P5 (used with major chords built off the fifth scale degree such as G chord in the Key of C)Aeolian Mode/ minor scale = M6 M7 R M2 M3 P4 P5 M6 (used with minor chords built off the sixth scale degree such as A minor chord in the Key of C)Locrian Mode = M7 R M2 M3 P4 P5 M6 M7 (used with diminished chords built off the seventh scale degree such as B diminished chord in the Key of C)Penatonic Scale = R M2 M3 P5 M6 R (used with major chords built off the first, fourth & sometimes the fifth scale degree such as C penatonic scale for theC chord in the Key of C, the F penatonic scale for the F chord in the Key of C & the G penatonic scale for the G chord in the Key of C.)
Chords used in Contemporary Christian MusicChords used in Contemporary Christian MusicChords used in Contemporary Christian MusicChords used in Contemporary Christian MusicChords used in Contemporary Christian Music
1. Major (no sign) = R M3 P52. Minor (m) = R m3 P53. Augmented (+) = R M3 A54. Diminished (o) = R m3 D55. Suspended 4th (sus) = R P4 P56. Suspended 2nd (2) = R M3 P5 (M2 or M9)7. Six Chord (6) = R M3 P5 M68. Minor 6th (m6) = R m3 P5 M6
9. Full diminished (o7) = R m3 D5 M610. H alf dimished (m7b 5) = R m3 D5 m711. Minor seventh (m7) = R m3 P5 m712. Dominant Seventh (7) = R M3 P5 m713. Sus Seventh (sus 7) = R P4 P5 m714. Seven flat 5 (7b5) = R M3 D5 m715. Augmented 7th (+7) = R M3 A5 m716. Major 7th (Maj 7) = R M3 P5 M7
17. Ninth (9) = R M3 P5 m7 M918. minor 9th (m9) = R m3 P5 m7 M919. Flat Nine (b9) = R M3 P5 m7 m920. Sus nine (sus 9) = R P4 P5 m7 M921. Major nine (Maj 9) = R M3 P5 M7 M922. Thirteenth (13) = R M3 m7 M9 M13
There are a few extra symbols in the formulas below that are not in the chart above, but are easily understood.They are as follows: M9 is the same as M2 but usually an octave higher, m9 is the same as m2 but usually an octave higher, M13 is the same as M6 butmust be played above m7.
R 2m 2M 3m 3M 4P 5D-4A 5P 6m-5A 6M 7m 7M R
C bD D bE E F bG-#F G bA-#G A bB B C
#C D #D E #E #F G-xF #G A-xG #A B #B #C
bD bbE bE bF F bG bbA-G bA bbB-A bB bC C bD
D bE E F #F G bA-#G A bB-#A B C #C D
#D E #E #F xF #G A-xG #A B-xA #B #C xC #D
bE bF F bG G bA bbB-A bB bC-B C bD D bE
E F #F G #G A bB-#A B C-#B #C D #D E
F bG G bA A bB bC-B C bD-#C D bE E F
#F G #G A #A B C-#B #C D-xC #D E #E #F
bG bbA bA bbB bB bC bbD-C bD bbE-D bE bF F bG
G bA A bB B C bD-#C D bE-#D E F #F G
#G A #A B #B #C D-xC #D E-xD #E #F xF #G
bA bbB bB bC C bD bbE-D bE bF-E F bG G bA
A bB B C #C D bE-#D E F-#E #F G #G A
#A B #B #C xC #D E-xD #E #F-xE xF #G xG #A
bB bC C bD D bE bF-E F bG-#F G bA A bB
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The King's Court Ministry Statement
It is the ministry of The King's Court, through songwriting, to convict us of our sin, lead people to Christ, teach Christian virtue and maturity, memorize scripture, announce biblical prophecy, worship our Savior, and carry the spiritual flame of revival.
Will Goldstein
The King's Court Sebastopol, California 95472
(707) 823-0419
Publications, CD’s, & What's new at The King's Court?
For the current status of released and unreleased music by Will Goldstein of the King’s Court also visit me online at: http://www.thekingscourt.com click photos and bio, then click Will Goldstein and guitar with bio Published Works: CD’s available online http://thekingscourt.com click cd’s and digital albums CD’s Distributor - Amazon Digital Albums Distributor - CD Baby His Name Is Jesus Old Testament Bible Heroes The King Is Here Hosanna Songbooks available online for download http://thekingscourt.com click sheet music (pdf songbooks – lead sheet format only) Volume 1 Christ, Our Savior Songbook ©2000 The King’s Court Volume 2 Old Testament Bible Heroes (Musical Play) ©2008 The King’s Court Volume 3 The King Is Here (Musical Play) ©2008 The King’s Court Volume 4 Deuteronomy ©2016 The King’s Court Volume 5 The King’s Highway ©2016 The King’s Court Volume 6 The Third Day (The Last Days Of Jesus ) ©2017 The King’s Court Volume 7 The Inner Journey (A Cantata of Prayers, Meditations, and Exaltations to The God of All Creation) ©2018 The King’s Court Voume 8 Songs of Our Savior ©2018 The King’s Court Volume 9 Parables ©2018 The King’s Court Volume 10 Christ, Our Healer ©2018 The King’s Court Volume 11 Christ, Our Sanctifier ©2018 The King’s Court Volume 12 The Pure Light of Heaven ©2019 The King’s Court Volume 13 The Good Shepherd ©2019 The King’s Court Volume 14 Mass For The Saints ©2019 The King’s Court Volume 15 Isaiah ©2019 The King’s Court Volume 16 Be Ready For Christ Our Coming King! Part 1 ©2020 The King’s Court Volume 17 Be Ready For Christ Our Coming King! Part 2 ©2020 The King’s Court Volume 18 Be Ready For Christ Our Coming King! Part 3 ©2020 The King’s Court Volume 19 Shades of Blue Light and Dark Shadows On The Kingdom ©2020 The King’s Court Volume 20 Acts ©2021 The King’s Court Print On Demand Books from Amazon The King’s Court now offers 10 different titles available in printed 8 ½ x 11 books Library Quality Titles include books that are both in lead sheet format and titles that include scores with notated instrumental parts and vocal harmony Please visit Author Central Amazon Page Will Goldstein for a complete description for each title https://www.amazon.com/-/e/B071G4Y4Y6 Upcoming projects to be released: In the next 1-2+ years, another set of songs will gradually be released in future volumes listed below in 1-3. Below is an overview of the projects 1) Acts to Jude subdivided into books (early stages of scores) 2) Israel And The New Promised Land (very early stages, lyrics only, no scores) Early stages – pencil only – I will begin working on these in the next few years 3) Proverbs, hundreds of songs already done in pencil, will be released following completion of the New Testament 4) Psalms - in the early stages of pencil scores (delayed while working on completion of other projects) All these books, God willing, will be organized into various songbooks in continuing volumes with CCLI numbers. Please report usage. This page reflects the status of The King’s Court publications at the release of Volume 20 Acts ©2021 The King’s Court