(Hail to You, Our Savior). Composed by William Byrd (1540-1623). Edited by John ...(+)
(Hail to You, Our
Savior). Composed by
William Byrd (1540-1623).
Edited by John Lee. For
SATB choir. Good Friday,
Body and Blood of Christ,
Holy Thursday. Ars
Antiqua Series. Sacred.
Easy. Octavo. 12 pages.
Published by GIA
Publications
Trumpet - intermediate SKU: HL.49003109 Trumpet and Piano. Edited ...(+)
Trumpet - intermediate
SKU: HL.49003109
Trumpet and Piano.
Edited by Gwilym Beechey.
Arranged by Gwilym
Beechey. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. 34 pages.
Schott Music #ED12312.
Published by Schott Music
(HL.49003109).
ISBN
9790220115080. UPC:
073999867374.
9.0x12.0x0.128
inches.
Choral SSAA choir SKU: CF.CM9587 Composed by John Ratledge. Sws. Jbc. Per...(+)
Choral SSAA choir
SKU:
CF.CM9587
Composed by
John Ratledge. Sws. Jbc.
Performance Score. 16
pages. Duration 3:30.
Carl Fischer Music
#CM9587. Published by
Carl Fischer Music
(CF.CM9587).
ISBN
9781491154090. UPC:
680160912599. 6.875 x
10.5 inches. Key: C
major. English.
Transcribed by Wilson
Hall. Hidegaard Von
Bingen translated by
William Hall.
I
am the secret fire in all
things, scored for
SSAA divisi and two
soprano soloists, was
premiered by the
Vancouver Chamber Choir,
Jon Washbun, conductor,
in November 2008. The
Hildegard von Bingen
text, translated by
Wilson Hall (deceased
professor of English at
Shorter College in Rome,
Georgia and dear friend),
is a text that fosters
many opportunities to
depict the mysterious
nature of God, His
transcendence into all
the human experience, and
the hope, through
vulnerability, that
resonates in the gravamen
for individual
transubstantiation
through the struggles
inherent in Life's Stuff.
This composition
celebrates the
transforming power of
spirituality, the
evolution of the human
spirit when one
amalgamates with
unknowing, and the
ecstasy that saturates
Life when one
acknowledges the God
Presence already within.
 . I am the
secret fire in all
things, scored for
SSAA divisi and two
soprano soloists, was
premiered by the
Vancouver Chamber Choir,
Jon Washbun, conductor,
in November 2008. The
Hildegard von Bingen
text, translated by
Wilson Hall (deceased
professor of English at
Shorter College in Rome,
Georgia and dear friend),
is a text that fosters
many opportunities to
depict the mysterious
nature of God, His
transcendence into all
the human experience, and
the hope, through
vulnerability, that
resonates in the gravamen
for individual
transubstantiation
through the struggles
inherent in Life's Stuff.
This composition
celebrates the
transforming power of
spirituality, the
evolution of the human
spirit when one
amalgamates with
unknowing, and the
ecstasy that saturates
Life when one
acknowledges the God
Presence already within.
 . I am the secret
fire in all things,
scored for SSAA divisi
and two soprano soloists,
was premiered by the
Vancouver Chamber Choir,
Jon Washbun, conductor,
in November 2008. The
Hildegard von Bingen
text, translated by
Wilson Hall (deceased
professor of English at
Shorter College in Rome,
Georgia and dear friend),
is a text that fosters
many opportunities to
depict the mysterious
nature of God, His
transcendence into all
the human experience, and
the hope, through
vulnerability, that
resonates in the gravamen
for individual
transubstantiation
through the struggles
inherent in Life's Stuff.
This composition
celebrates the
transforming power of
spirituality, the
evolution of the human
spirit when one
amalgamates with
unknowing, and the
ecstasy that saturates
Life when one
acknowledges the God
Presence already within.
 . I am the secret
fire in all things,
scored for SSAA divisi
and two soprano soloists,
was premiered by the
Vancouver Chamber Choir,
Jon Washbun, conductor,
in November 2008. The
Hildegard von Bingen
text, translated by
Wilson Hall (deceased
professor of English at
Shorter College in Rome,
Georgia and dear friend),
is a text that fosters
many opportunities to
depict the mysterious
nature of God, His
transcendence into all
the human experience, and
the hope, through
vulnerability, that
resonates in the gravamen
for individual
transubstantiation
through the struggles
inherent in Life's
Stuff.This composition
celebrates the
transforming power of
spirituality, the
evolution of the human
spirit when one
amalgamates with
unknowing, and the
ecstasy that saturates
Life when one
acknowledges the God
Presence already
within. .
SATB choir, tenor voice
solo, piano accompaniment
- Intermediate
SKU:
GI.G-9918
Composed by
William H. Monk. Arranged
by John F. Hudson.
Evoking Sound. Tune Name:
Eventide. Music
Education. Octavo. 8
pages. GIA Publications
#9918. Published by GIA
Publications (GI.G-9918).
UPC: 785147991809.
English. Text by Henry F.
Lyte.
A Series for Solo Instruments with CD Play-Along and Piano Accompaniment. By Geo...(+)
A Series for Solo
Instruments with CD
Play-Along and Piano
Accompaniment. By George
J. Elvey; George Warren;
Henri F. Hemy; James G.
Walton; John B. Dykes;
Ludwig Van Beethoven;
Martin Luther; Samuel
Sebastian Wesley; William
Walker. Arranged by Larry
Clark. For Trombone. This
edition: Trombone. Easy
Hymn Favorites - A Series
for Solo Instruments With
CD Play-Along and Piano
Accompaniment. Choral.
Level: easy. Score and
Audio CD. 16 pages.
Published by Carl
Fischer.
Pop Culture Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
By Monty Norman, Elmer Bernstein, Joseph Barbara, William Hanna, Hoyt Curtain, H...(+)
By Monty Norman, Elmer
Bernstein, Joseph
Barbara, William Hanna,
Hoyt Curtain, Henry
Mancini, Margaret Cobb,
Bruce Channel, David
Mook, Ben Raleigh, The
Surfaris, And John Philip
Sousa. Arranged by Robert
Sheldon. For Concert
Band. Concert Band. Young
Symphonic. Pop. Level:
2.5 (Medium Easy) (grade
2.5). Conductor Score. 24
pages. Published by
Alfred Publishing.
Gloria tibi Trinitas. By John Taverner. Arranged by William Tortolano. Translate...(+)
Gloria tibi Trinitas. By
John Taverner. Arranged
by William Tortolano.
Translated by: The Grail.
For Cantor or Unison
Chorus, and String
Quartet (2 Violins,
Viola, Cello) or Brass
quartet (2 Trumpets, 2
Trombones). Bible
Reference: Psalm 110.
Instrumental. Chamber
Music Sacred. Level:
easy. Text language:
English/Latin. Published
by GIA Publications.
By Henry Doktorski. For button accordion. This edition: Paperback. Instructional...(+)
By Henry Doktorski. For
button accordion. This
edition: Paperback.
Instructional. Method.
Method book and CD. Text
Language: English. 48
pages. Published by
Santorella Publications
(Elementary Level). By Various. Arranged by Edna Mae Burnam, Glenda Austin, John...(+)
(Elementary Level). By
Various. Arranged by Edna
Mae Burnam, Glenda
Austin, John Thompson,
and William L. Gillock.
For Piano/Keyboard.
Willis. Elementary. 16
pages. Published by
Willis Music
by Phil Duncan. For Harmonica (Diatonic). method. All Styles. Level: Multiple Le...(+)
by Phil Duncan. For
Harmonica (Diatonic).
method. All Styles.
Level: Multiple Levels.
Book. Size 8.75x11.75.
112 pages. Published by
Mel Bay Publications,
Inc.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Piano seul [Partition] - Débutant Alfred Publishing
(52 Titles to Play and Sing). Arranged by Willard A. Palmer, Morton Manus, and D...(+)
(52 Titles to Play and
Sing). Arranged by
Willard A. Palmer, Morton
Manus, and Dennis
Alexander. For easy piano
and voice. Piano -
Alfred's Basic Adult
Piano Course. Alfred's
Basic Adult Piano Course.
Classical and Folk.
Difficulty: easy-medium.
Collection. Easy piano
notation, fingerings and
lyrics (on some songs).
96 pages. Published by
Alfred Music Publishing
Voice SKU: BT.ALHE32011 Johnny Est Parti Pour Hilo. Composed by Wi...(+)
Voice
SKU:
BT.ALHE32011
Johnny Est Parti Pour
Hilo. Composed by
William Billings. Choral
Score. Composed 2015.
Heugel & Cie #ALHE32011.
Published by Heugel & Cie
(BT.ALHE32011).
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Piano seul [Partition] - Facile Kjos Music Company
By Jane Bastien. (Older Beginner Piano Library). Bastien Piano. Solo Collections...(+)
By Jane Bastien. (Older
Beginner Piano Library).
Bastien Piano. Solo
Collections. Level: Level
1. Music Book. Size 232.
Published by Neil A. Kjos
Music Company.
Performed by Manhattan Transfer, lyrics by Buddy Feyne, music by Erskine Hawkins...(+)
Performed by Manhattan
Transfer, lyrics by Buddy
Feyne, music by Erskine
Hawkins, Julian Dash,
William Johnson, arranged
by Jerry Nowak. Octavo
for SATB chorus, piano,
guitar, bass and drums.
With chord names. Choral.
12 pages. Published by
Hal Leonard.
By Buddy Feyne, Erskine Hawkins, William Johnson, Julian Dash. Arranged by June ...(+)
By Buddy Feyne, Erskine
Hawkins, William Johnson,
Julian Dash. Arranged by
June Dale. Female
barbershop choir.
(Women's voices, a
cappella). Barbershop,
Novelty. Level: medium.
Published by Sweet
Adelines.
SATB choir, keyboard accompaniment SKU: GI.G-009460 Composed by William J...(+)
SATB choir, keyboard
accompaniment
SKU:
GI.G-009460
Composed
by William J.
Kirkpatrick. Arranged by
Kyle Johnson. Tune Name:
Coming Home. Sacred.
Octavo. 8 pages. GIA
Publications #009460.
Published by GIA
Publications
(GI.G-009460).