Guitar (flatpicking) - Beginning-Intermediate

SKU: MB.20881BCD

Composed by William Bay. Saddle-stitched, Style, Tunebook, Gospel/Sacred, Children and Young Beginner, Solos, Christian. Made Easy. Sacred. Book/CD set. 32 pages. Mel Bay Publications, Inc #20881BCD. Published by Mel Bay Publications, Inc (MB.20881BCD).

ISBN 9780786607464. UPC: 796279036368. 8.75 x 11.75 inches.

Top traditional praise songs scored in notation and tab for easy to play flatpicking guitar. Songs include Sanctuary, As the Deer, Give Thanks, Lord, Reign in Me, Draw Me Close and many more. A companion CD is included. On the CD each piece is played twice, once as a guitar solo with accompaniment and again as a back-up track so the guitarist may practice the piece and use in a worship setting; ideal for small group or church performance.

Songbook for voice, piano and guitar (chords only). 205 pages. Published by Word Music.

By George Frideric Handel. For SATB Choir and Piano. Sacred, Choral. Sheet Music. 254 pages. Published by Novello and Co Ltd.

Orchestra Bassoon, Cello, Clarinet, Contrabass, Flute, Harp, Horn, Marimba, Oboe, Vibraphone, Viola, Violin 1, Violin 2

SKU: PR.416414230

For Chamber Orchestra. Composed by James Matheson. This edition: Version 6/10/10. Sws. Contemporary. Full score. With Standard notation. Composed February 13 2003. 84 pages. Duration 18 minutes. Theodore Presser Company #416-41423. Published by Theodore Presser Company (PR.416414230).

ISBN 9781598066630. UPC: 680160602087. 9x12 inches.

Colonnade is James Matheson’s intriguing response to the Albany Symphony’s commission to create a work inspired by the NY State Board of Education Building, designed by the renowned architect Rafael Guastavino. Matheson explains that “A colonnade acts as a metaphor for the tension between knowledge and perception. The columns are the same height and equidistant from each other; while the mind understands this fully, there exists no place from which one can perceive this – the columns always appear to be of uneven height and spacing. If one then adds motion to perspective, identical columns acquire elasticity, and begin to change kaleidoscopically – they shrink, grow, become closer, and then further apart.” This structural paradox is given musical life in the outer sections of Colonnade, while the long, arching middle section is inspired by the vaulted ceiling of one of the building’s largest rooms, enhancing the structure’s spacious openness and lightness.
Colonnade is inspired by Albany’s majestic New York State Board of Education Building, and written on a commission from the Albany Symphony Orchestra. It was an intriguing task, in part because in order to accept the commission I had to agree to write a work “inspired by” a building I had not yet seen. Thisproblem was compounded by the fact that, for me, the very notion of extra-musical inspiration is a complex one, particularly with respect to literary or visual sources. I generally find ideas and abstracted notions more generative of musical ideas than specific ones (a poem, an experience, a painting). So when I went to seeand tour the building, I sought to identify fundamental formal aspects of the building which I could process into musical ideas, and would then be linked to the building through a sense of formal relationship. In theend, two characteristics of the building stood out as noteworthy and undiminished by time (compared with, for instance, the building’s rotunda, which contains a series of quaintly outdated allegorical paintings): theexterior colonnade and a beautiful interior vaulted ceiling, designed by Rafael Guastavino.For me, a colonnade acts as a metaphor for the tension between knowledge and perception. We all know, for instance, that the columns are of the same height and are equidistant from each other. Nevertheless, while the mind understands this fully, it is also the case that there exists no place – no standpoint or viewpoint – anywhere in the universe – from which one can perceive this; the columns always appear to be of uneven height and spacing. If one then adds motion to perspective – a walk along the colonnade, for instance – the fixed, even, rigidly identical columns acquire elasticity, and begin to change kaleidoscopically – they shrink, grow, become closer, and then further apart. Further, the detail of the building’s façade behind the colonnadeshifts into and out of visibility, with different portions obscured by the columns from each vantage point. These considerations underlie the outer sections of Colonnade, in which a continuously repeated, continuously varied rising figure – suggestive of a column – dominates. The iterations of this elastic, evolvingfigure are interspersed with other music – suggestive of the building’s façade. The second feature of the building that caught my attention was the vaulted ceiling, designed by Guastavino,of one of the building’s largest rooms. The ceiling enhances the spaciousness of the room, giving it an openness and lightness that is quite captivating. The middle section of Colonnade has this openness at its core, and is dominated by long, arching lines that, to me, suggest the refined beauty of this ceiling.World premiere March 8, 2003; Albany Symphony Orchestra conducted by David Alan Miller.

Voice (unison choir), 4 violins, basso continuo

SKU: CA.2708703

Composed by Johann Christoph Altnickol. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Sacred vocal music, Mass sections. Vocal score. 4 pages. Duration 3 minutes. Carus Verlag #CV 27.087/03. Published by Carus Verlag (CA.2708703).

ISBN 9790007166021. Key: F major. Text language: Latin.

Ultimately, he is a pupil for whom I need not feel embarrassed, wrote J. S. Bach, summarizing the qualities of his son-in-law to be, J. C: Altnickol. Altnickol's two settings of the Sanctus, based on a Gregorian cantus firmus, are among his few works which have survived. While in the second of these compositions he chose to write a polyphonic choral setting, in the present Sanctus he allows all four voices of the choir to sing unisono, accompanied by a polyphonically treated string ensemble. In both compositions, however, he proves himself to be a contrapuntalist fully worthy of Bach's appraisal. Score available separately - see item CA.2708700.

Unison choir, 4 violins, basso continuo

SKU: CA.2708700

Composed by Johann Christoph Altnickol. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition. Sacred vocal music, Mass sections. Full score. 8 pages. Duration 3 minutes. Carus Verlag #CV 27.087/00. Published by Carus Verlag (CA.2708700).

ISBN 9790007166014. Key: F major. Text language: Latin.

Ultimately, he is a pupil for whom I need not feel embarrassed, wrote J. S. Bach, summarizing the qualities of his son-in-law to be, J. C: Altnickol. Altnickol's two settings of the Sanctus, based on a Gregorian cantus firmus, are among his few works which have survived. While in the second of these compositions he chose to write a polyphonic choral setting, in the present Sanctus he allows all four voices of the choir to sing unisono, accompanied by a polyphonically treated string ensemble. In both compositions, however, he proves himself to be a contrapuntalist fully worthy of Bach's appraisal.

SATB choir, basso continuo

SKU: CA.2708805

Composed by Johann Christoph Altnickol. Edited by Uwe Wolf. Arranged by Angelika Tasler. This edition: urtext. Stuttgart Urtext Edition. Sacred vocal music, Mass sections. Choral Score. 4 pages. Duration 2 minutes. Carus Verlag #CV 27.088/05. Published by Carus Verlag (CA.2708805).

ISBN 9790007200213. Key: F major. Text language: Latin.

Ultimately, he is a pupil for whom I need not feel embarrassed, wrote J. S. Bach, summarizing the qualities of his son-in-law to be, J. C: Altnickol. Altnickol's two settings of the Sanctus, based on a Gregorian cantus firmus, are among his few works which have survived. While in the second of these compositions he chose to write a polyphonic choral setting, in the first Sanctus he allows all four voices of the choir to sing unisono, accompanied by a polyphonically treated string ensemble. In both compositions, however, he proves himself to be a contrapuntalist fully worthy of Bach's appraisal. Score available separately - see item CA.2708800.

Composed by Jean Sibelius (1865-1957). Arranged by Otto Taubmann. Edition Breitkopf. Early 20th Century. Solo part, piano reduction. Breitkopf and Haertel #EB-3122. Published by Breitkopf and Haertel (BR.EB-3122).

(5 Piano Solos and a Medley (Early Advanced Piano)). Arranged by Mary K. Sallee. For Piano. Book; Graded Standard Repertoire; Piano Collection; Piano Supplemental. Official Songs of the United States Armed Forces. Form: March; Medley. 4th of July; Patriotic; Recital; Summer. Early Advanced. 40 pages. Published by Alfred Music

(5 Piano Solos and a Medley (Early Intermediate / Intermediate Piano)). Arranged by Melody Bober. For Piano. Book; Graded Standard Repertoire; Piano Collection; Piano Supplemental. Official Songs of the United States Armed Forces. Form: March; Medley. 4th of July; Patriotic; Recital; Summer. Early Intermediate; Intermediate. 24 pages. Published by Alfred Music