SKU: GI.G-9001
UPC: 785147900108. English. Text Source: Based on Zephaniah 3:14, Isaiah 40:3-4. Text by Suzanne Toolan.
From the composer of the timeless “I Am the Bread of Life,†comes this re-released classic for SATB voices. Featuring a rhythmic, two-part a cappella refrain for soprano and alto, this Advent song can be used several places within worship, or even as a call to worship. The verses may be sung with a soloist or in parts, accompanied or a cappella. Try this one with your choir—you’ll be glad you did! The keyboard accompaniment is optional.
SKU: JK.20420
Doctrine and Covenants 138:47-48, Alma 37:35*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
A cantata written to celebrate the Proclamation on the Family, for chorus, soloists, and readers.Original songs include: Children of God, In Whose Image Am I Made?, Half a Million Skies, We'll Make Our Father's Dream Our Own, God Gave You to Me, The Song of Ages, Travelers Who Shelter Here, Father Mother We Need Your Love, Come to the River, No Other Love, The Path to Joy, Our Brother Walked This Way, Turning the Hearts, Love One Another, and We'll Make Our Father's Dream Our Own/This Is Our ChoiceComposer: Steven Kapp Perry & Marvin PayneLyricist: Steven Kapp Perry & Marvin PayneReference: Doctrine and Covenants 138:47-48, Alma 37:35*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
SKU: AP.43592
UPC: 038081491325. English.
A unison pitch becomes a cluster chord and then blossoms into full contemporary choral harmony. Ample text painting, passing dissonance, and sensitive tempo and dynamic changes make this an excellent choice for accomplished choirs.
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: GI.G-5922
English. Text by Francis Patrick O'Brien.
“Welcome All!†is a jovial, wassaillike piece that welcomes everyone “to our Christmas feastâ€: the prophets, Elizabeth, John the Baptist, Anna, Simeon—even Herod!—and oh, all of us too! The choral writing has a bell-like quality, especially the clusters at the final climax. Definitely fun, and no other Christmas song like it! .
SKU: HL.601755
UPC: 196288077954. 6.75x10.5x0.036 inches.
The four original members of the Swedish pop sensation ABBA are back after a 40-year hiatus! From their brand new album “Voyage,†comes this harmonically rich and cozy number that sounds like it was released in both 1977 and in 2022. What a comeback!
SKU: ST.CN16P
ISBN 9790220224737.
As well as traditional genres, Richard Bullen's music embraces several contemporary ones including video and electronics, and shows a keen interest in location both in its formal possibilities and in its genius loci - its spirit of place. A five-minute stand-alone piece for SATB chorus, The Seven Arches was written for a site-specific project at the Dartington International Summer School: an invocation of the rich cultural and mythic past of the celebrated gardens. In poet Steve Willey's multi-layered text the remaining seven arches of the medieval courtyard become metaphors for this continuing presence. Bold arched melodies springing from resilient, purposeful chords likewise animate the music, a sonic tableau of the sites / sights and sounds of history. Click video tab for the premiere performance conducted by David Lardi with the Finchley Chamber Choir, and view the full text as presented in Willey's intriguing original visual conception of his poem about Dartington Hall.
SKU: MN.CH-1246
Evening Comes is the first piece in a series of commissions for the Saint Cyril's Music Series and is composed specifically for an evening service. Cardinal Newman's prayer, suggests a quiet, hushed, prayerful attitude which is evoked by an abundance of suspensions and resolutions within a relatively conservative harmonic context. The beginning tempo marking of Espressivo is intended to convey a feeling of rubato throughout, but not overly so. The fortes should never be thunderous, but the pianos should be exquisite, with the final amen eliciting a sense of renewed beginning rather than a final ending.lDuration 2:45.
SKU: JK.19990
Hebrews 9:28, John 14:6*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
46 new hymns, inspired by the General Conference addresses of Elder Jeffry R. Holland. (October 1994 - April 2017).Collection includes: All Ye Who Watch the Master's Sheep Are the Heavens Truly Open? Are We Not All Beggars? As an Ensign to the Nations A Sinless, Pure and Holy Man Be Clean, Oh House of Israel Be Not Afraid, But Be Believing Bless Me to Be a Little More Like Thee Do You Love Me? Christ Can Heal the Broken Hearted ever We'll Remember For God Loves Us With All His Heart For God So Loved the World God Has Raised Up Noble Daughters God will Never Leave the Weary He Will Bring Rest to Your Soul His More Excellent Way Holy Father, King of Heaven How Fair Upon the Mountain I Am a Child of Destiny I Bear My Witness of the Lord In Heaven There Is a Law Inviting All to Come to Christ I Testify I Would Be Thy True Disciple let Not Your Heart Be Troubled Let Thy Word Be In Our Hearts Lord, Accept My Humble Offering Lord, I Believe Lord, I'll Strive to Live Worthy of Thy Love Lord, We Pray For All the Children May We Have the Tongues of Angels My Life is Not My Own None Were With Him Oh Come Ye Heavy Laden Come Our Faith Unites Us With One Heart The Keys of the Kingdom The Love of God Is Without End The Mother of All Living The Words of God Will Never Cease The Worth of Souls Is Great Indeed Through a Thousand Generations To the Rising Generation Who Will Now Speak For the Widow? Wilt Thou, Lord, In Me Abide You Can Always Come Back HomeComposer: Janice Kapp Perry Lyricist: David B. LarsenReference: Hebrews 9:28, John 14:6*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
SKU: CF.CM9608
ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892).
The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep†in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark†in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,†which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.â€Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray.
SKU: MN.50-1149
UPC: 688670511493. English.
Written for the 2018 National Lutheran Choir Christmas Festival, this setting of IHR KINDERLEIN KOMMET is moderately easy for the choir but can be brightened up even more by use of optional harp, oboe, and cello. A light and playful ritornello introduces the piece and each subsequent verse, and concludes as well. Playful and charming.
SKU: ST.B642
ISBN 9790220208744.
CONTENTS HORSLEY, William: When in the silent midnight grove MORNINGTON, Lord: Here in cool grot PEARSALL, R. L.: Shoot false love, I care not; Sweet as a flower in May SPOFFORTH, Reginald: Come bounteous May SULLIVAN, Arthur: Joy and sorrow alternate WALMISLEY, Thomas: Music, all powerful.
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