SKU: HL.4493086

UPC: 196288185789. 9.0x12.0x0.183 inches.

This chart-topping 2023 hit by Miley Cyrus gets a stunning new arrangement for string orchestra by Larry Moore. This vibrant piece (in A minor, with keyboard and drum set accompaniment) captures the energy and empowerment of the original while showcasing the rich textures and beautiful sounds of strings. Perfect for pop concerts, graduation ceremonies, or adding a touch of contemporary flair to your repertoire, “Flowers” will have your audience blooming with delight!

SKU: WD.080689465093

UPC: 080689465093.

A minor-key, pulsing energy flows through the heart of this original offering for Palm Sunday: Blessed be the One who comes in the name of the Lord!

Solo feature. From the musical As sure as My Redeember Lives.

SKU: WD.080689088230

UPC: 080689088230.

A minor-key, pulsing energy flows through the heart of this original offering for Palm Sunday:Blessed be the One who comes in the name of the Lord!

SKU: CF.CM9717

ISBN 9781491160961. UPC: 680160919567. Psalm 91:4-5.

The Lord will overshadow you with his pinions, and you will find refuge under his wings. His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart. What a blessing it is, especially during times of distress or uncertainty, to know that we aren't alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, It's okay. I've got you. It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong. The first word - scapulis - is translated as pinions. On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section - mm. 1-20 - encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort. In mm. 21-30 we have a new section where uncertainty grows. At this point the text - and you will find refuge under his wings - is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs: Alto I - Measure 22 the Ab in pennis, m. 26 the Bb in sperabis Soprano II - Measure 23 the A natural in pennis, m. 29 the C in sperabis Soprano I - Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress. The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase. The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance - Felix Mendelssohn's Lift Thine Eyes.
The Lord will overshadow you with his pinions,and you will find refuge under his wings.His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart.What a blessing it is, especially during times of distress or uncertainty, to know that we aren’t alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, “It’s okay. I’ve got you.” It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong.The first word – scapulis – is translated as “pinions.” On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section – mm. 1-20 – encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort.In mm. 21-30 we have a new section where uncertainty grows. At this point the text – and you will find refuge under his wings – is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs:Alto I – Measure 22 the Ab in pennis, m. 26 the Bb in sperabisSoprano II – Measure 23 the A natural in pennis, m. 29 the C in sperabisSoprano I – Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress.The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase.The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance – Felix Mendelssohn’s Lift Thine Eyes.

SKU: HL.50601597

8.0x11.75 inches.

German text. The title “Jeita” has a double meaning. Firstly, Jeita is the name of a district in Lebanon, noted for the karstic limestone cavernsin the almost nine-kilometre wide Nahr a-Kalb Valley. Secondly, the roots of the word “Jeita” are also found in the Aramaic word “Ge’itts”, which means “roaring” or “noise”. Michaela Rea Catranis had a cave as the symbol of isolation and creativity in mind whilst composing her work for cello solo. “A quiet, hidden place of self-observation”, as the composer says. In addition, the “roaring” in this piece plays an important role; Catranis calls it “a primordial, energising, deep-bellied and life-giving roar, notan aggressive one. It represents the impulse of creative energy: both the instinct to create and the flow of energy awakened throughthe process of creation.”.

SKU: CF.CM9707

ISBN 9781491160121. UPC: 680160918720. Key: Db major. John Gillespie Magee. Poem by John Gillespie Magee, Jr.

Just weeks after his nineteenth birthday, John Gillespie Magee, Jr. wrote the poem High Flight while serving in the Royal Canadian Air Force. The year was 1941, and World War II was culminating toward its darkest chapters. Magee had just completed his seventh flight in the iconic Spitfire Mk I fighter plane, soaring to heights well above 30,000 feet. These high altitude exercises supplied his inspiration for the poem, which describes the long, delirious, burning blue and having touched the face of God. Tragically, Magee died in a training exercise just months after writing High Flight. His words, however, live on to lift our hearts and stir the imagination. After you have learned High Flight, ask yourself the following questions: Are you singing the text clearly and articulately? Are you properly stressing the important syllables and backing off of non-stressed syllables? Is there a sense of energy throughout the piece, in both the lyrical, flowing sections and the up-tempo, faster sections? Are you also singing with a sense of energy no matter what the dynamic marking? Are you singing phrases with proper breath support and a sense of rise and fall to the phrase?.
Just weeks after his nineteenth birthday, John Gillespie Magee, Jr. wrote the poem High Flight while serving in the Royal Canadian Air Force. The year was 1941, and World War II was culminating toward its darkest chapters. Magee had just completed his seventh flight in the iconic Spitfire Mk I fighter plane, soaring to heights well above 30,000 feet. These high altitude exercises supplied his inspiration for the poem, which describes “the long, delirious, burning blue” and having “touched the face of God.”Tragically, Magee died in a training exercise just months after writing High Flight. His words, however, live on to lift our hearts and stir the imagination. After you have learned High Flight, ask yourself the following questions: Are you singing the text clearly and articulately? Are you properly stressing the important syllables and backing off of non-stressed syllables? Is there a sense of energy throughout the piece, in both the lyrical, flowing sections and the up-tempo, faster sections? Are you also singing with a sense of energy no matter what the dynamic marking? Are you singing phrases with proper breath support and a sense of rise and fall to the phrase?