SKU: BT.DHP-0991451-050

English.

Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting Pacific Dreams Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of Pacific Dreams, he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti.Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his Pacific Dreams.Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.

Wir schlüpfen in die Haut von Miguel und reisen mit ihm nach Australien. Einigermaßen entfremdet von seiner spanischen Heimat schlendert er durch das Viertel The Rocks in Sydney. Auf einem kleinen Markt entdeckt er einen Druck des Gemäldes Pacific Dreams von William DeShazo. Das Bild stellt die Meeresbrandung auf einer exotischen Insel im Pazifik dar. Während die eindrucksvolle Harbour Bridge von Sidney vor ihm auftaucht, ist er in Gedanken bei den heißen Stränden im Stillen Ozean. Auf einmal kommt ihm das Thema in den Sinn, das er einst über die Gewässer Japans komponiert hatte. Liegt es an den asiatischen Einflüssen, die im kosmopolitischen Sydney so vielfältig vertretensind? Oder sind es die Wasser rund um Sydney, über die er nach Tahiti segeln könnte? Er ist sich unsicher. Könnte er genau dieses Thema für eine neue Komposition über die Metropole Sydney verwenden? Wie sollte er seine Träume vom Pazifik, seine Pacific Dreams, in diese Mixtur einbringen? Vielleicht könnte er den Wortschatz von Inseln wie Hawaii und Tahiti für seine Komposition verwenden. Und einen gemischten Chor die schönen Vokalverbindungen ad libitum singen lassen. Mit diesen Ideen im Kopf steigt er in die Metro am Circular Quay. Auf ins Hotel und frisch ans Werk! Jetzt muss er einfach komponieren....

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.”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: WD.080689630170

UPC: 080689630170.

We’re counting down the days to Christmas…that most wonderful time of the year! And somehow, it always feels so much longer than the actual 364 days it takes for that special day to arrive…that one day each year when family and friends come together to celebrate the joy, peace, hope, and love that came into our world through the birth of our Savior!

What better way to bring all that anticipation into focus and usher in the season than with the new Christmas musical from Marty Parks and Word Music & Church Resources, Waiting for Christmas! This delightful, nostalgic, and heartfelt musical comes to you wrapped in Marty Park’s signature format… Large-Print-No-Repeats-Perfect-For-Any-Choir! More specifically, these specially designed musicals from Marty come your way perfect for Senior Adult Choirs, yet perfectly appropriate for every choir!

Featuring a heartwarming story of a letter found in an old family Bible, this musical introduces a young girl named Sarah writing to her “Nana”, expressing her joy and delight as she anticipates the holiday and, once again, getting the family together at Christmastime. The memories of past Christmases combined with the expectation of precious new memories yet to be made create a vivid backdrop for sharing the real reason for the season…Jesus!

SKU: BT.MUSMF272

ISBN 9788774840954.

Anthology for mixed choir. Suitable for use colleges, high schools etc.

SKU: GI.G-8450

UPC: 785147845003. English. Text by Delores Dufner.

A long-time admirer of Sr. Delores Dufner’s craft, Michael Joncas was especially taken with her morning hymn inviting us to greet not only the rising sun but “Christ who comes in every friend and guest.”.

SKU: AU.9781451479454

This anthem beautifully welcomes the congregation to worship. The text speaks about the all the wonderful things the church has to offer those who come, the sounds within, the activities, and the presence of God, and the people. Appropriately, an assembly part is included and encouraged, and the accompanying instrumentation does much for the work.

SKU: MN.CH-1380

UPC: 765844006396.

The melody for The Wonders of Dawn comes from a tune called Kedron, attributed to Elkanah Kelsay Dare (1782-1826). The Wonders of Dawn highlights the celebration of the joy of our Savior during Holy Week. The performance approach for this piece should be one of reverence and restraint. Both vocal parts and piano accompaniment should be performed legato throughtout. Singers should take care as not to sing with an overly heavy tone but not at the expense of vocal support. The dynamics in m. 29-30 should be carefully observed to insure the maximum expression of the final declaration of faith of the text.