SKU: GI.G-8685

UPC: 785147868507. English. Text Source: African American spiritual.

This new arrangement from Brandon Waddles has a rhythmic lilt, common to many traditional spirituals, combined with the “sound” that developed into the chord structure of gospel song during the 1960s. A piano reduction is provided for rehearsal.

SKU: GI.G-8644

UPC: 785147864431. English.

Welcome to the revival! Come on in and leave your troubles at the door. This exciting collection from a true talent and vibrant voice in sacred music takes you to church. The eclectic fusion of styles like gospel, R & B, jazz, and traditional organ-based hymnody ensures that there is something in this collection to please absolutely everyone.  “Lord, Make Me an Instrument,” a setting of the classic Prayer of St. Francis text, builds to a powerful and stirring climax. “Worthy God” is a moving declaration of faith and devotion, and the infectious and inspiring title track, “Building Up the Kingdom,” encourages God’s call to action. Rhythmic drive, a singable melody, and an impassioned text will make “Daily Bread” a congregation favorite that begs to be sung. The songs of Building Up the Kingdom are sure to ignite the fire of the Holy Spirit in the hearts of all the assembled, and their raised voices will set the rafters ablaze. Contents: Give the Lord Glory and Honor, Remember Your Mercies, Blessed, Worthy God, Mary's Song (The Annunciation), Worship the Newborn King, Hail, Queen of Heaven, Getting Ready, Daily Bread, The Christ in Me, Building Up the Kingdom, Lord, Make Me an Instrument, Anchored in de Lord.

SKU: FJ.B1762S

English.

This spirited march commemorates the U.S. Navy's first African-American officers, known as the Golden Thirteen. While traditional in form, the work cleverly incorporates fragments of Anchors Aweigh while the trio section is based on the spiritual Nobody Knows the Trouble I've Seen. A perfect concert or contest march that is equally appropriate for Veterans Day or Black History Month.

About FJH Young Band

Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

SKU: HL.350198

UPC: 840126933208. 6.75x10.5x0.036 inches.

Another rock-solid addition to the spiritual oeuvre of Rollo Dilworth, Bye and Bye is a resolute and medium-difficulty level selection for developing high school choirs.

SKU: FJ.B1762

UPC: 241444398098. English.

This spirited march commemorates the U.S. Navy's first African-American officers, known as the Golden Thirteen. While traditional in form, the work cleverly incorporates fragments of Anchors Aweigh while the trio section is based on the spiritual Nobody Knows the Trouble I've Seen. A perfect concert or contest march that is equally appropriate for Veterans Day or Black History Month.

About FJH Young Band

Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

SKU: HL.103024

UPC: 884088678784. 8.75x11.0x0.495 inches.

Commissioned by the American Guild of Organists for their 2012 convention, here is the first major work from the pen of Rosephanye Powell. With text from the Book of Jeremiah, the four movements follow the prophet's feelings of abandonment and redemption by God. Powell combines this ancient text with music that draws simultaneously from the African American musical heritage, as well as the classical music traditions.

SKU: PR.144407290

ISBN 9781491135150. UPC: 680160687008.

Jazz luminary Ali Ryerson traces a unique and personal artistic path in this solo work. With an engaging form reminiscent of jazz charts (a dreamy introduction, a catchy, swinging head, and improvisatory-feeling 12-bar choruses), Ryerson’s music pays deeply-felt homage to Charlie Parker and other jazz greats, while maintaining an organic connection to the lineage of unaccompanied woodwind music in the classical tradition. Classical players will gain insight into jazz harmony, rhythm, and expression as they learn this knockout recital piece, while Ryerson fans in the jazz world gain an image of her musical mind in this fully-notated composition.
Jazz Dream, a jazz-inspired solo flute piece, was commissioned by Claudia Anderson for her Glass Ceilings project. Claudia once told me that playing jazz flute has been one of her musical ambitions. I daresay her performance of JD could very well break a glass ceiling of her own!Moved by the events of 2020, composing Jazz Dream became my way of honoring my musical heroes from the Black community, namely the jazz musicians who created this music and truly broke glass ceilings. As jazz shares its origins with the blues, both genres having originated in the African-American community, I decided on a 12-bar blues form as the framework for the piece.The opening theme gently draws us into a dream-like state, with a melody in slow motion and lines that linger. When the REM cycle kicks into gear, there’s an abrupt rhythmic shift that leads straight into a swingin’ blues. Idiomatic jazz rhythms abound, with blue notes galore – the tension notes that virtually define the sound of both the blues and jazz (i.e. the flatted third, fifth, and seventh notes of a scale in place of the expected major intervals).After several groovin’ choruses of a 12-bar blues in B(, often played as if the soloist is improvising, the blues modulates to the key of E(, and as a tribute to the great Charlie Parker (AKA Bird), I harmonically suggest the more complex set of bebop changes that Parker introduced in his composition, Blues for Alice. Often referred to as Bird Changes or Bird Blues, instead of the basic I - IV – V chord progression commonly used in the blues, Parker used a series of sequential ii-V progressions (and secondary ii-V progressions). With the addition of some tritone substitutions, a chromatically descending bass line deftly replaces the original I-IV-V root movement. This is the harmonic background I was hearing as I wrote this particular chorus.After my 12-bar nod to Bird’s changes, the introductory dream theme returns, now in tempo and with a straight-ahead swing feel. Variations on this theme follow, again to be played as if improvising, with the soloist once again bringing their own personality into the performance. This section builds to a climax, the music pauses, then modulates to C, with a return to the original blues theme. The energy and groove increase through the final flourish, where a blues line ends on the idiomatic flatted fifth.