SKU: HL.244978

UPC: 888680709334. 6.75x10.5x0.052 inches.

Here is a high-energy piece suitable for either the concert stage or the sanctuary. Body percussion adds energy, and the gospel-style piano accompaniment drives it all to a powerful conclusion.

SKU: CF.CM9740

ISBN 9781491161203. UPC: 680160919789. Key: Bb major. English. Siegfried Sasson.

Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom... These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the Great War finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he was feeling dull-minded and depressed. Perhaps his time in the trenches was still too recent. One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to.   The poem itself has so much rhythm and musicality. The appearance of suddenly in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush. There are expressive opportunities with so many of the poet's bold choices of action words - burst, winging, and shaken. Then there's alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance. Suddenly/singing (measures 6-7 and 10-11) Find/freedom (measure 21-22) Winging/wildly (measure 23) Setting/sun (measures 47-49) Was/wordless (measures 65-75) Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text.   And just as O is set apart in the poem by punctuation, I wanted the musical setting - in measure 57 - to honor that feeling of wonder - ...O, but Everyone Was a bird; and the song was wordless; the singing will Never be done. Friends, there is so much good ahead, so much to be excited about. May the singing never be done.
Everyone suddenly burst out singingAnd I was filled with such delightAs prisoned birds must find in freedom…These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the “Great War” finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he “was feeling dull-minded and depressed.” Perhaps his time in the trenches was still too recent.One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality.The appearance of “suddenly” in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush.There are expressive opportunities with so many of the poet’s bold choices of action words – burst, winging, and shaken.Then there’s alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance.Suddenly/singing (measures 6-7 and 10-11)Find/freedom (measure 21-22)Winging/wildly (measure 23)Setting/sun (measures 47-49)Was/wordless (measures 65-75)Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as “O” is set apart in the poem by punctuation, I wanted the musical setting – in measure 57 - to honor that feeling of wonder –…O, but EveryoneWas a bird; and the song was wordless; the singing willNever be done. Friends, there is so much good ahead, so much to be excited about.May the singing never be done.

SKU: HP.GC996

UPC: 763628051143. Words by Fanny Crosby.

Original anthem with words by Fanny Crosby This exhilarating, high-energy composition uses an uplifting text by Fanny Crosby and can be done both with piano accompaniment, orchestra, or track. This exhilarating, high-energy composition uses an uplifting text by Fanny Crosby and can be done both with piano accompaniment, orchestra, or track.

SKU: HP.C5008B

UPC: 763628144883.

Original Anthem Overflowing with energy and joyful celebration, here is an original anthem from composer Stan Pethel that affirms the joy of worship throught music with a text drawn from several biblical passages that make reference to music. Overflowing with energy and joyful celebration, here is an original anthem from composer Stan Pethel that affirms the joy of worship throught music with a text drawn from several biblical passages that make reference to music.

SKU: SU.91480570

Text: Angier Brock.

SATB Chorus, Organ Duration: 7' Text: Angier Brock Composed: 2010 Published by: Subito Music Publishing YouTube: Ms. Brock’s moving poem is lyrical throughout. Even in its beautiful originality, the poem invokes The Book of Common Prayer and biblical scripture (the latter through references to dust and breath from Genesis 2 to the final line of the poem invoking the opening of Psalm 62). Ms. Brock’s poetry is also filled with wonderful twists on traditional texts (such as in the creative and reverse naming of the Trinity in speaking of Inventing Wind, Generous Christ, and Luminous God). Musically, the main melodic material of the piece is immediately heard on a solo organ color accompanied by organ strings over a recurring pedal pulse on the pitch C. The chorus soon enters with the first stanza of the text. As this stanza unfolds, the harmony starts to gradually change as the pulsing pedal rhythm begins to move upward by step. An organ interlude, reflective of the opening introduction, soon emerges (though now over a C-sharp recurring pedal pulse), and leads to a similar choral setting as found in stanza one. As the poem’s second stanza moves forward, it eventually folds into the more harmonically rich stanza three. A fast, dance-like section evolves at Inventing Wind, what a lively dance your energy creates! eventually bringing the work to its climax point. The spirit of dance soon subsides and leads to a quiet and gentle close on the words …for you alone my soul in silence waits.


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