SKU: JK.00457
Doctrine and Covenants 115:5.
Youth anthem for mixed chorus (SAB) and piano, based on the scripture, Arise and shine forth, that thy light may be a standard for the nations (Doctrine and Covenants 115:5). Soprano high note: E.Composer: Christine H. Davis Lyricist: Britton Davis Difficulty: Easy Performance Time: 3:12Reference: Doctrine and Covenants 115:5.
SKU: AP.49739
UPC: 038081568263. English.
Here's a rhythmic modern-day showstopper with the heart of a timeless classic. This spectacular opening number from the Netflix movie, Jingle Jangle has unmistakable theatrical flair---no surprise since the movie was originally conceived for the stage. The brightly optimistic lyrics will shine at any time of year, not just the holidays! What I got in my hands could be the spark that turns it all around . . . 'Cause all my life I've waited for this day. Don't miss the impressive SoundTrax accompaniment and a flexible SoundPax orchestration for rhythm and synth. (or optional horns).
SKU: JK.01896
UPC: 093285018969. Ephesians 6:10-18, 2 Nephi 28:7-8, 20-28</ifram.
T. Chemain Evans' arrangement of this well-loved hymn, Hope of Israel, is beautiful and expressive. This setting is for SATB and Organ, but also works very well as an SATB and Piano piece. The song subtly references 'The Spirit of God' throughout the piece and It features a simple beginning, a brief a cappella section and a powerful ending.Composer: William ClaysonArranger: T. Chemain EvansText: Joseph L. TownsendDifficulty: Medium / medium acc.Performance time approx: 3:00References: Ephesians 6:10-18, 2 Nephi 28:7-8, 20-28</ifram.
SKU: JK.01934
UPC: 093285019348.
Performed in General Conference in 2008 and again in 2019, this rendition is both majestic and simple. It is for SSA and Organ or Piano.Organ/Piano accompaniment part download available separately (#01934ap).Text: Joachim NeanderMusic: Stralsund GesangbuchArranger: Merrilee WebbDifficulty: Easy-medium / Medium AccompanimentPerformance Time: 3:10
SKU: BA.BA10303-01
ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.
The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: AP.31098
UPC: 038081338705. English. John Parker.
This contemporary winter choral brings a fresh approach to the genre. A lyrical minor-key verse, which becomes a canon the second time, sharply contrasts with the bright, uplifting chorus. Refreshing. Accompaniment included on PianoTrax 1 CD (00-31028).
About Alfred Choral Designs
The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: AP.48963
UPC: 038081562872. English.
Jon Batiste's cover for Pixar's Soul brings this feel-good Curtis Mayfield song to a whole new generation. Built on a soulful groove, jazzy twists, and and upbeat vibe, it's everywhere! First made famous by The Impressions, a 60s group of which Mayfield was a member, this happy hit has stood the test of time, recorded by many diverse artists over the years. The arranger adds his own authentic touch with some gospel inflections and interjections. It's all right, have a good time, 'cause it's all right!
SKU: AP.46565
UPC: 038081531403. English. Traditional English Round.
A festive setting of the English round that will come together quickly at that busy time of year! A rousing antiphonal treatment (a fanfare) leads into the traditional tune, followed by a newly composed bridge. Later, the unison melody becomes a 2-part, and eventually a 3-part round. A wonderful opener for holiday performances!
SKU: AP.46566
UPC: 038081531410. English. Traditional English Round.
SKU: AP.43478
UPC: 038081490182. English.
The Chicago Transit Authority (now known just as Chicago) had their third straight Billboard top ten single with this 1969 classic. Based on the radio version and featuring a soloist, this arrangement includes all of the well-known instrumental licks. Hard to resist!
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: JK.02060
UPC: 093285020603.
Performed by a Relief Society Choir during the October 2008 General Conference, this rendition by Merrilee Webb is both majestic and simple. The rich harmonies, a capella section, and moving accompaniment make this a beautiful piece for SSAA groups. Accompaniment available for Organ or Piano.Text: Susan Evans McCloudMusic: K. Newell DayleyArranger: Merrilee WebbDifficulty: MediumPerformance Time: approx. 4:00Piano and organ accompaniment parts available separately as digital download.
SKU: CF.SPS71
ISBN 9781491143544. UPC: 680160901043. Key: G minor.
Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,†Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind†blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship†or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower†sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska†is a partner dance where the dancers spin each other (släng in Swedish “to sling or tossâ€) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska†dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak .
SKU: AP.49001
UPC: 038081563251. English. Words by Walt Whitman.
Captivate your audience and adjudicators with this masterful work for three-part mixed and treble groups. Grand, awe-inspiring music and a compelling Walt Whitman text make for an impressive festival selection, worthy of the rehearsal time. A sturdy piano accompaniment anchors the kind of classic choral singing that will foster a new level of excellence. Destined to become a staple of choral repertoire. This title is available in MakeMusic Cloud.
SKU: AP.49002
UPC: 038081563268. English. Words by Walt Whitman.
SKU: AP.38163
UPC: 038081426358. English.
This popular song has been covered by singers from Ella and Sammy Davis Jr. to Michael Jackson and, most recently, Finn on Glee! Our chart starts in the traditional 6/8 time, then swings into the hot ending.
SKU: LO.55-1057L
UPC: 000308049404.
John's Gospel is the basis for an innovative new musical setting of the timeless Easter story. The composer weaves striking new melodies and traditional hymn tunes together to produce a vibrant, energetic work of meditation and praise. The congregation is called on to sing with the choir in a sensitive setting of When I Survey The Wondrous Cross and a rousing arrangement of Crown Him With Many Crowns. New settings of What Wondrous Love Is This? and O Sacred Head, Now Wounded are ingeniously intertwined with new anthems. An inspirational and deeply moving experience for choir and congregation alike. Performance time: approx. 25 minutes.
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