Calling upon one of most recognizable passages in all of the Psalms this festive canticle of praise celebrates the joy of singing and the purpose of worship. Beautifully crafted choral writing calls the choir to purpose and theaffirming lyric provides a confident statement for any sacred gathering. Amazing!

Lord I Call Upon Thee is an anthem for evening or general use by Edward Bairstow for mixed chorus and Organ.

Another Look at Harmony Part 4 was written while Glass was working on Einstein on the Beach and it is easy to hear similarities between the two works. In Harmony the Voices use solfege and nonsense syllables where in Einsteinrecognizable words are sometimes set non-narratively. There are similar harmonic progressions that the two pieces share though it is less predictable in Harmony. In both works Glass takes all the time he needs to explore histheme. Another Look at Harmony requires approximately one hour to perform with intensity building through the many repetitions over time.American composer Philip Glass is widely known as one of the most celebrated influentialand prolific of the modern composers. He is frequently referred to as a minimalist though he prefers to call himself a composer of ‘music with repetitive structures.’ His operas among them the renowned Einstein On The Beach are performed across the globe and he has created work for small and large ensembles film and experimental theatre and founded his own performing group The Philip Glass Ensemble.

This anthem for SATB voices and organ has been written for HM the Queen’s Diamond Jubilee. Setting an original text by Michael Hampel Precentor of St Paul’s the text glorifies faith in God over worldly wealth or possessions. The upper voice version premiered at the Jubilee Service on 5 June 2012 in St Paul’s Cathedral by the choristers of the Chapel Royal and a special ‘Diamond’ Choir of children to be auditioned by the BBC and assembled for the service.Written for the Queen's Diamond Jubilee Service of Thanksgiving in St Paul's Cathedral on 5th June 2012.A gentle anthem suitable for all choirs not only as part of their Diamond Jubilee celebrations butalso for general concerts. The work is very easy and is achievable by choirs at all levels.

This unforgettable anthem for musicians everywhere is sure to become a classic. Incorporating the hymn “Happy Land ” Joseph Martin gives the listener a glimpse of heaven as a land of great beauty and never-endingpraise. It challenges the choir to fulfill their calling as musicians of mission while offering the assurance of joy in heaven. Follow the Music is an anthem that will work with school and church groups everywhere.

This favorite spiritual “Rise Up Shepherd” has been given a new breath of life with Philip Kern's arranging skills. A rhythmic spirit is in the piano accompaniment giving incredible energy to the vocals that havebeen written with color and contrast. There's even some gospel flavor as the piece progresses and then vocally echoes “follow” as the accompaniment continues its rhythmic sense. Just stunning.

Uses: General Lent Unity Scripture: Micah 7:18-19 - Matthew 9:13 - John 10:7 Responding to the call for a jubilee time of mercy the composer has crafted a meaningful testament of reconciliation and grace. A beautiful folk-like tune penetrates the heart with expressive beauty while the words articulating compassion and love impress upon the faithful the message that all are welcome. Effective with piano only or add the optional cello for a beautiful depth of timbre. This message is a well-timed sermon for our troubled world and is highly recommended!

fur Pop- und Jazzchor-A new choral series that sets a new standard: Familiar traditionals are replaced by legendary pop and jazz classics the arrangers among them Jens Johansen Bertrand Gröger Oliver Gies Thierry Lalo Dylan Bell rank among the great figures of the European choral scene and the book comes along in an absolutely choir-friendly format: as a handy modern separate edition at an affordable price a valuable addition for all jazz pop and gospel ensembles looking to add new pieces to their repertoire.further editions: Straighten up and Fly right / Smells Like Teen Spirit / African Call / Washing of the Water / Blues on Sunday / As

Following the publication of Francis Jackson's organ reduction of Finzi's Requiem da Camera in 2014, Robert Gower, chairman of the Finzi Trust, recitalist and organist of Nottingham Cathedral, has created reductions of the full orchestra accompaniments to two more of Finzi's choral works. These reductions broaden the reach of these works to choirs which do not wish to present the works with orchestra, as with other standards from the sacred repertoire such the Requiems of Fauré and Duruflé. The reductions sympathetically recreate the orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particular instrument, size of choir and acoustic setting at each performance. The scores are user-friendly, in landscape format and with at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full. The reductions are fully compatible with the published piano vocal scores of the respective works which the singers will use. For St Cecilia, Ceremonial Ode for tenor solo, chorus and orchestra - words by Edmund Blunden. The original work was commissioned by the St Cecilia's Day Festival Committee for the 1947 celebration of music's patron saint. The ceremonial mood is established with fanfares, and the sonorous sweep of the choral writing reflects Finzi's admiration for Parry and Elgar. The 'catalogue' of saints, shared between the soloist and chorus, are deftly delineated: St Valentine, St George, St Dunstan, St Swithin and St Cecilia herself. In rapt stillness, the English composers of the past - Merbecke, Byrd, Dowland and Purcell - are summoned. To close, Finzi creates a festal summation with exultant counterpoint and the saint's name pealing around the chorus. / Choeur Mixte (SATB) Et Orchestre

Written in classical style this positive statement of faith sounds as if it might have been penned by Handel. It is a challenge to praise and to serve. Incorporating the well-known hymns – “Stand Up and Bless theLord” and “Rise Up O Men of God” – new melodic material provides variety and emphasis. Majestic in feel Arise and Bless the Lord can be used either as a general praise anthem or as a call toworship.

Peter Lawson's Tunes From The Trenches - Songs From World War One for Choir and Orchestra or Concert Band or Choir and Piano.A non-stop medley of tunes from World War One from recruiting through to the Last Post. This arrangement can be performed by a Choir with either an Orchestra band or piano accompaniment. There are different choral versions available for Mixed Voice Choir - both SATB (GM131) and for those with a shortage of male voices SA Men (GM134) - for Upper Voice Choir (SSA - GM132) and for Male Voice Choir (TTBB - GM133). The orchestra score and parts (GMCP020) can be used either on its own or to accompany a choir.Therecruiting song 'Your King and Country Want You' starts us off followed by 'Goodbye Dolly Gray' as the soldiers leave for war. 'Belgium put the Kibosh on the Kaiser' is followed by some proper trench songs - various lyrics were improvised by the soldiers!! - 'Three German Officers crossed the Rhine' and 'They were only playing Leap-Frog'. 'The Bells of Hell go Ting-a-ling-a-ling' leads to strains of 'Stille Nacht' recalling the Christmas truce. 'When this Lousy War is Over' and 'There's no place like Home' are balanced by 'Land of Hope and Glory' before the Americans arrive with 'The Caissons go Rolling Along' and 'Over There'. 'It's a Long Way to Tipperary' brings us towards a rousing finish save for an optional 'Last Post-lude' to end reflectively.

There is a driving confidence in both the message and the music of this new invitation to faith. After a short slower quote from the traditional hymn Lead Me Lord the song energizes into a contemporary sound that will energizethe gathered faithful. This anthem is an excellent example of blended approach to stylistic inclusivity. Youth and adults alike will resonate with the festive spirit of this sacred choral. A winner! Included on LiteTraxAccompaniment CD. Supports: Proverbs 3:5-6 Psalms 5:8 4:8 Jeremiah 20:7-13 Genesis 21:8-21

Einstein On The Beach the opera from which Knee Play 1 was extracted was a seminal work that broke all the rules being non-linear non-narrative episodic dreamlike and five hours long.Knee Play 1 is one of the number songs composed for scene changes simply set to Organ and using numbers and solfege syllables as text. American composer Philip Glass is widely known as one of themost celebrated influential and prolific of the modern composers. He is frequently referred to as a minimalist though he prefers to call himself a composer of ‘music with repetitive structures.' Glass' operas among them the renowned Einstein On The Beach are performed across the globe and he has created work for small and large ensembles film and experimental theatre and founded his own performing group ThePhilip Glass Ensemble.This four minute piece is the first Knee Play from Einstein On The Beach and is scored for SATB chorus and Organ.