Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Softcover. 464 pages. Published by Hal Leonard.

Jazz Play-Along Series Volume 62. By Various. Jazz Play Along. Softcover with CD. Published by Hal Leonard.

(Low Voice Includes Online Audio Backing Tracks arranged by Larry Moore). Composed by Various. Arranged by Larry Moore. For Vocal, Piano Accompaniments. Vocal Collection. Softcover Audio Online. 68 pages. Published by Hal Leonard

Choir

SKU: HP.8366

Arranged by Lloyd Larson. This edition: Complete. Lent/Easter, choral cantata. Lent & Easter Musicals. Hymntune, Lent, Easter Sunday, Sacred. CD Value Pack (10 CDs). Hope Publishing Company #8366. Published by Hope Publishing Company (HP.8366).

UPC: 763628183660. Galatians 6:14, John 3:14-15, John 12:32, Numbers 21:8-9, Revelation 5:9, Revelation 14:1, Revelation 22:4.

Lloyd Larson has crafted this versatile cantata to be sung during the Lenten Season, highlighting Palm Sunday through the Easter resurrection, in this 30-35 minute musical journey. Options to omit either the Palm Sunday selection or the Easter anthem are provided. This journey to the cross is filled with passionate and intimate worship moments using texts by contemporary hymn and song writers. It conveys a powerful message filled with eternal hope and the challenge to Lift high the cross, the love of Christ proclaim! The accompaniment may be provided by piano alone, chamber orchestra or an accompaniment CD. The instrumentation, arranged by Mark Kellner, contains a Conductor's Score and parts for: Flute, Oboe, Horn in F, Trumpet in B-flat, Percussion, Violin, Cello, Bass Guitar, and Synthesizer String Reduction.

By Lavalley. Arranged by Jack Schrader. For Choir. (Satb). Blues/Gospel, General Worship, God's Attributes/Character, Gospel, Praise, Blues-Gospel-Spirituals, Contemporary and Sacred. Print Music Single (SATB). Published by Hope Publishing Company.

By Darlene Zschech. Arranged by Lloyd Larson. For SAB or Three-Part Mixed choir. Scripture References: Revelation 4:9-11 -- John 1:29. Easter, Sacred, Contemporary. Choral octavo. 12 pages. Published by Hope Publishing Company

Choral (Bass, Guitar, Hand Drum, Piano, Rhythm)

SKU: HP.C6208

Composed by Chris Tomlin, Jesse Reeves, Louie Giglio, and Matt Maher. Arranged by Lloyd Larson. Rhythm parts: piano, acoustic guitar, electric bass, and drums. Contemporary, Easter Sunday, General Worship, Death and Beyond, Eternal Life, God's Love, Heaven & Eternal Life, Jesus Christ - Reign, Jesus Christ - Resurrection, Lamb of God, Resurrection, Second Coming of Christ. Octavo. 12 pages. Hope Publishing Company #C6208. Published by Hope Publishing Company (HP.C6208).

UPC: 763628162085. By Chris Tomlin, Jesse Reeves, Louie Giglio & Matt Maher. Isaiah 53:3-5, John 5:24-30, I Corinthians 15:51-57, I Thessalonians 4:13-18, Revelation 4-5, Revelation 21:4.

Popular contemporary song by Chris Tomlin, Jesse Reeves, Louie Giglio & Matt Maher This popular, contemporary song has a theme of rising to heaven to be with Jesus, and offers assurance. The victory is won; he is risen from the dead. And I will rise on eagles' wings. Worthy is the Lamb! This powerful arrangement brings solace and hope to the believer for life everlasting.

SATB choir; guitar; percussion; piano

SKU: HP.C5523R

Composed by David Ruis. Arranged by Lloyd Larson. Piano with Optional Guitar, Percussion, Piano. Contemporary, Hymntune, General Worship, God's Attributes/Character, Adoration & Praise, Worship, Sacred. Rhythm Parts. Hope Publishing Company #C5523R. Published by Hope Publishing Company (HP.C5523R).

UPC: 763628255237. By David Ruis. 2 Samuel 22:4, 1 Chronicles 16:25, Psalms 18:3, Psalms 48:1, Psalms 96:4, Psalms 145:3, Revelation 4:11, Revelation 5:12, Philippians 2:10, Psalms 63:1, Psalms 95:6, Isaiah 6:1-8, John 18:33-34, John 18:35-37.

Popular praise and worship son gby David Ruis This popular praise and worship song translates well into a blended worship anthem with an abundance of unison lines, gentle syncopations and a seamless segue into the hymn O Worship the King. Quickly learned by choirs large or small, it works equally well as an introit or general worship anthem, for SATB choir and keyboard with optional rhythm (parts for Piano, Electric Guitar, Electric Bass and Drum Kit).

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

(C Edition). By Various. By Various. Fake Book. Softcover. 464 pages. Published by Hal Leonard

Composed by Ben Fielding and Reuben Morgan. Arranged by Peggy Bettcher. For 3-6 octave handbell choir. Contemporary, General, Sacred. Grade 3. Handbell score. 12 pages. Published by Hope Publishing Company