SKU: LP.765762227002
UPC: 765762227002.
Usher your congregation into God s throne room of grace with this stirring Easter musical created by songwriting dynamos Dave Clark Don Koch and Cliff Duren! The title cut Mercy Came Running made popular by trio Phillips Craig and Dean in the 1990s takes on new significance in the context of Easter as we visualize God running to save us through Christ s death and resurrection. With performance options for a 47-minute full-length musical an abbreviated 30-minute piece and even a 20-minute option Mercy Came Running is adaptable for any Easter service. And each powerful song can also stand alone to impact your congregation throughout the year! Accompaniment DVD available.
SKU: YM.GTP01101773
ISBN 9784636114485. 8.75 x 12 inches.
Very easy-to-play piano collection with popular Studio Ghibli songs for beginners! This series of solo piano sheet music collections features 14 songs each from 10 popular Studio Ghibli films, including My Neighbor Totoro, Princess Mononoke, and Spirited Away. The level of difficulty is at the entry-level, with easy arrangements suitable for piano beginners. The table of contents and the title section of each score include the song titles and film names in three languages: Japanese, English, and Chinese. Recommended for use in piano lessons and is perfect for students in music classrooms. Be sure to get both volumes and enjoy all the songs!
SKU: HL.300605
UPC: 888680962852. 6.75x10.5x0.036 inches. Exodus 33:14-15, Job 14:1, Psalm 13, Psalm 31:3.
A much-loved hymn is adorned with expressive beauty in this refreshing octavo. The emotive piano accompaniment supports the thoughtful qualities of this classic, bringing an impressionistic quality to its impact. Words that have inspired generations of worshippers remind us again to treasure each moment and to trust God's promise of eternal peace and rest. Meaningful!
SKU: LP.765762128828
UPC: 765762128828.
Jesus Christ, Forever, Amen is a huge blessing in a small package. From our Worship in Unison series, this compact and fully orchestrated narrated musical is just 20 minutes in length, making is an ideal choral presentation for Easter Sunday that still leaves time for all the other traditional elements your congregation loves to see in your Easter celebration. Specifically designed for unison and 2-part choirs, it is ideal for choirs of any size. The entire work can be sung in unison, but includes maximum flexibility built into the 2-part vocal arrangements, allowing you to assign the optional vocal divisions to fit your choir's skill level. The light-handed orchestral accompaniment is richly satisfying without overpowering a smaller choir. Join in the celebration and promise this Easter as we proclaim together, Jesus Christ, Forever, Amen!.
SKU: LP.765762128620
UPC: 765762128620.
SKU: LP.765762128729
UPC: 765762128729.
SKU: WD.080689642234
UPC: 080689642234.
From Cliff Duren’s best-selling Christmas Musical, The King Is Here, comes this powerful anthem, Messiah. This anthem is packed with beautiful melodies and profound lyrics, intertwining O Come, Let Us Adore Him and singing of the long-awaited promise…the Baby born to save us all. And because of this one holy night, death is defeated, and hope will reign forever!
SKU: HL.35028411
UPC: 884088653545. 5x5 inches.
Uses: Advent, ChristmasScripture: John 7:42; Micah 5:2; Luke 2:4-6Twirling like a Hebrew dance and leaping from the pages of prophecy, this celebratory combination of folk song and carol is a jovial shout of praise for Advent. Unmistakable in its impact, the anthem sings itself while the rollicking accompaniment creates an engine of joy propelling this piece into the heart of the listener. Two well know melodies join in a ballet of sound celebrating the anticipation of the coming Messiah. StudioTrax CD contains Accompaniment, Split-track, & Full Performance tracks. Available separately: SATB, StudioTrax CD, Orchestration CDrom (Flute 1&2 (Flt 2 dbl Piccolo), Oboe, Clarinet 1&2, Bassoon, Horn 1&2, Trumpet 1, Trumpet 2&3, Trombone 1&2, Bass Trombone/Tuba, Timp, Perc 1&2, Harp, Violin 1, Violin 2, Viola, Cello, Double Bass). Duration: ca. 3:56.
SKU: HL.49020849
ISBN 9783254001917. 5.75x8.75x0.932 inches. German.
Being the result of lectures held by the author in America, this book keeps the promise made in the title: to show the composer in his world, portray him in his workshop and describe the disputes he has to overcome with himself, with the idea, the 'material', the fashion, the audience. Hindemith examines the conditions under which it is possible for an artist to do creative work.A new music theory is emerging, developing out of elementary components in a generally comprehensible and clear way while discussing in particular the technical side of composing. In this juxtaposition of creative artist and environment, the severe and critical statements on prevailing conditions result from the high sense of responsibility which, in Hindemith's opinion, has to define the path of the musician.
SKU: CF.YAS13F
ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.
IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: HL.365819
UPC: 840126962109. 6.75x10.5x0.029 inches. Daniel 12:3, Matthew 2:2, Psalm 19:1, Psalm 85:8.
This rustic approach to the early-American tunes WARRENTON and NETTLETON will raise the joy level in your sanctuary! The original text has a sprinkling of Wesleyan lyric thrown in for good measure and comes wrapped up in a surprising choral/bluegrass jubilee. A contrasting middle section delivers a lyrical pause in the dance, but the joy soon returns as the anthem races to a decisive ending. Score and Parts (fdl, bjo, mndln, ac gtr, up b, dm) available as a digital download.
SKU: BT.GOB-000508-140
The Odyssee tells the story of Odysseus, the undaunted hero. In times long ago the blind poet Homer wrote this famous epic. The Odyssey follows the Iliad, the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse. The Odyssey is not a war epic, but a story about perseverance, loyalty, adventure, and the survival instinct of its ingenious hero. In The Odyssey, Homer describes howOdysseus, the king of Ithaca, had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land. During those years, his wife, Penelope, had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth, she played a trick: As soon as I have finished weaving this shroud for my father-in-law, Laertes, I will choose one of you to become my husband, she promisedthem. But during the night, she secretly loosened what she had woven during the day, prolonging the time until Odysseus would finally return. After twenty long years, when he finally stood at the door, she wondered: Is this really my husband? Ishe an imposter? Cunningly, she asked him to move the bed, because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife, his Penelope! Nearly threethousands years later, the loyalty and strength of this character, and all the dangerous adventures that Odysseus survived thanks to courage and intelligence, still moves us today. Odyssee by Jan Bosveld is not just an adventure story, butrather a characteristic piece in which memories of Homers story can be heard. The composition opens with a firm, stirring theme describing our hero, Odysseus, in detail: This man is not to be taken lightly. The further development of thisshort introduction completes this character sketch: trustworthy, perseverant, and a genius. After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife, as werecognise the weaving loom of Penelope in the murmuring eighth? In the solemn, plaintive part that follows, we can imagine Penelope feeling lonely, sitting in the womens room with her servants.One of the girls plays the harp, but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe, who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes, he forces Circe to lift the spell. The piece ends the same way as it began, with an animated theme: Odysseus is still the same, undefeated and not to be taken lighty!Het muzikale relaas van de Griekse schrijver Homerus over de held Odyssee in een karakterstuk vol herinneringen. Een stevig opgewekt thema symboliseert de grootsheid van Odyssee en zijn karaktertrekken - betrouwbaar, volhardenden vernuftig. De tegenslagen welke hij tegenkomt en in het tweede tragische gedeelte dreigen te escaleren, nemen in het derde snelle gedeelte bij zijn verschijning toch weer een positieve wending. Nijmegenaar Jan Bosveld bewijstin dit originele werk dat hij op de hoogte is van de onmogelijkheden, maar vooral de ongekende mogelijkheden van muzikanten uit de lagere afdelingen.
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