F Solo Instruments - Grade 2

SKU: DS.SA1734

Vol 7 F Solos. Composed by Various. Arranged by Jim Lucas. Traditional. Sheet Music. Sacred instrumental music. Score and parts. Psalm 150 #SA1734. Published by Psalm 150 (DS.SA1734).

Easy Instrumental Worship Library Vol. 7 F Solos. A Collection of three solos with piano accompaniment that are at an easier level including the following hymns: O For A Thousand Tongues To Sing, This Is My Father’s World, and, Jesus Is The Sweetest Name I Know. These works are interchangeable with other keyed instruments in the same volume.

F Solo Instruments - Grade 2

SKU: DS.SA1729

Vol 6 F Solos. Composed by Various. Arranged by Jim Lucas. Traditional. Sheet Music. Sacred instrumental music. Score and parts. Psalm 150 #SA1729. Published by Psalm 150 (DS.SA1729).

Easy Instrumental Worship Library Vol. 6 F Solos. A Collection of three solos with piano accompaniment that are at an easier level including the following hymns: Christ The Lord Is Risen Today, For The Beauty Of The Earth, and, I Will Sing Of The Mercies. These works are interchangeable with other keyed instruments in the same volume.

Choir

SKU: CA.3124505

Version IV. Composed by Johann Sebastian Bach. Edited by Peter Wollny. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Johannespassion 1749. Innovative practice aids, Sacred vocal music, Oratorios, Passions, Lent and Passiontide. Choral Score. Composed 1749. BWV 245. 64 pages. Duration 120 minutes. Carus Verlag #CV 31.245/05. Published by Carus Verlag (CA.3124505).

ISBN 9790007162030. Language: German/English.

With the unfinished revision (1739) as an appendix. The St. John Passion ranks among the great vocal works from Bach's Leipzig years. In contrast to his other large-scale choral works, however, Bach never gave this work a definitive final form. Rather, for every performance he made numerous changes. All previous editions of the St. John Passion have combined readings from various layers of sources. The wish often expressed by conductors to perform an authentic version is made possible for the first time with the present edition in this fourth and final version which was performed under Bach's direction in 1749. At the same time, with the aid of the appendix it is possible to perform the work in the traditional mixed version.. Score available separately - see item CA.3124500.

Chamber Music Violin

SKU: PR.144407530

Composed by Lauren Bernofsky. 12 pages. Duration 10 minutes, 30 seconds. Merion Music #144-40753. Published by Merion Music (PR.144407530).

ISBN 9781491136614. UPC: 680160687992.

A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.
My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.

Choral Piano, Various Instruments

SKU: HP.C6306

Composed by Keith Getty and Stuart Townend. Arranged by Lloyd Larson. Piano with optional Instruments or full Orchestra (available separately). Hymn Arrangements, Christmas, Birth of Jesus Christ. Octavo. 16 pages. Hope Publishing Company #C6306. Published by Hope Publishing Company (HP.C6306).

UPC: 763628163068.

Contemporary classic by Keith Getty & Stuart Townend paired with the Traditional Carol This Christmas anthem opens with the refrain of Angels We Have Heard on High offering an opportunity to include a children's choir along with the adults. Both groups then join together in the middle creating a powerful presentation for Christmas worship or concerts. This originally appeared in Lloyd's Christmas cantata, Joy Has Dawned, code number 8971.

16 Pieces for Solo Guitar. Composed by Bertrand Gröger. Guitar. Softcover. Schott Music #ED21581. Published by Schott Music (HL.49019621).

Composed by Various. Arranged by Tim Doran. For brass quintet. Traditional. Main key: C, Ab, F. Sacred instrumental music. Grade 3. Score and parts. Composed 1983. Duration 2'00 . Published by Psalm 150

Handbell choir (3-5 octaves)

SKU: JF.MFBBG0823

Composed by Various. Arranged by M. L. Thompson. Published by Fred Bock Music Company (JF.MFBBG0823).

Three separate arrangements. Includes: Silent Night (Original Melody); Silent Night (Traditional Melody) and We Three Kings.

Performed by Various Artists. By Traditional. Arranged by Patrice Bourges. For piano (with lyrics, vocal melody, chords, and tablature). This edition: Editions Bourges R. Comptine. Comptine (Counting Rhyme). Level: 2. Sheet music. 2 pages. Published by Editions Bourges (French import).

SATB choir, cantor, assembly, keyboard accompaniment - Beginning

SKU: GI.G-4962

Communion Rite. Composed by Joe Camacho and Marty Haugen. Arranged by Various. Ritual Prayer. Tune name: Let Us Break Bread. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #4962. Published by GIA Publications (GI.G-4962).

Text by Traditional Spiritual.