SKU: CF.CPS13F

ISBN 9780825843617. UPC: 798408043612. 9 X 12 inches.

Commissioned by the South Carolina Chapter of Phi Beta Mu Band Fraternity in honor of Lorraine Paris, Band Director for 47 years at Newberry High School, Newberry, SC. Lorraine Paris is a native of Greenville, South Carolina, where she graduated from Parker High School. She received her B.S. in Music Education from Winthrop College and her M.A. from Furman University. She began her teaching career in 1948 in Newberry, South Carolina, where she taught for the next 47 years until her retirement in 1995. A member of numerous musical organizations, including Phi Beta Mu and the Theta chapter of Alpha Delta Kappa, she served as the first president of the South Carolina Band Directors Association and currently serves as their first Executive Secretary-Treasurer. She has been named Outstanding Bandmaster and Outstanding Contributor by the South Carolina Chapter of Phi Beta Mu, and was also named to that organization's Hall of Fame. Other honors include the South Carolina Career Service Award from ASBDA, the Silver Baton and Scroll of Excellence Awards from WBDNA, and the Band World Legion of Honor. In 1993, she was presented the Key to the City of Newberry, and at her retirement, was awarded the Order of the Palmetto from the State of South Carolina. It is to this legacy that the Phi Beta Mu fraternity commissions Prelude to an American Spiritual and it is Lorraine Paris' love of the hymn song that prompted this arrangement of My Lord, What a Momin'.
Commissioned by the South Carolina Chapter of Phi Beta Mu Band Fraternity in honor of Lorraine Paris, Band Director for 47 years at Newberry High School, Newberry, SC.Lorraine Paris is a native of Greenville, South Carolina, where she graduated from Parker High School. She received her B.S. in Music Education from Winthrop College and her M.A. from Furman University. She began her teaching career in 1948 in Newberry, South Carolina, where she taught for the next 47 years until her retirement in 1995. A member of numerous musical organizations, including Phi Beta Mu and the Theta chapter of Alpha Delta Kappa, she served as the first president of the South Carolina Band Directors Association and currently serves as their first Executive Secretary-Treasurer.She has been named Outstanding Bandmaster and Outstanding Contributor by the South Carolina Chapter of Phi Beta Mu, and was also named to that organization’s Hall of Fame. Other honors include the South Carolina Career Service Award from ASBDA, the Silver Baton and Scroll of Excellence Awards from WBDNA, and the Band World Legion of Honor. In 1993, she was presented the Key to the City of Newberry, and at her retirement, was awarded the Order of the Palmetto from the State of South Carolina.It is to this legacy that the Phi Beta Mu fraternity commissions Prelude to an American Spiritual and it is Lorraine Paris’ love of the hymn song that prompted this arrangement of My Lord, What a Momin’.

SKU: CF.YPS77F

ISBN 9780825870194. UPC: 798408070199.

Based on three famous African-American spirituals - Children Go Where I Send Thee, Rise Up Shepherd and Follow, and Go Tell It on the Mountain - arranger Andrew Balent weaves these beloved tunes into a concert rhapsody for the holiday season.

SKU: PR.145400220

UPC: 680160031795. Key: C major.

American Hymn was commissioned by the American Bandmasters Association and the United States Air Force Band. It received its premiere on March 5th, 1980 as part of the 40th anniversary of the American Bandmasters Association in Washington, DC. It is based on an earlier choral work which Schuman contributed to a comprehensive survey entitled American Hymns Old and New, published by Columbia University Press. The Langston Hughes text that inspired the original human is simple and straightforward, which is reflected in the melodic setting (quasi hymn-spiritual).

SKU: HL.4005037

UPC: 888680669560. 9.0x12.0x0.114 inches.

The African-American spiritual “Down in the River to Pray” forms the basis for this creative and dramatic work for mature ensembles. Opening with a tender chorale-like statement, the piece evolves throughout with variations in mood and intensity, ultimately building to a majestic and powerful conclusion. Dur: 5:20.

SKU: CL.LDP-7167-00

Early railroad songs, gold-rush tunes and African-American spirituals molded into an exuberant, spirited musical celebration! A masterpiece! Sure to become an important part of the concert band repertoire! Movements: I. Patrick on the Railway. II. Sweet Betsy, III. Little David, Play On!

SKU: CF.CPS224F

ISBN 9781491153185. UPC: 680160910687.

Rainbow in the Clouds is based on an old traditional spiritual, possibly an African-American song from the 19th century, entitled God Put a Rainbow in the Clouds.  Composer Carol Brittin Chambers was inspired by poetic Maya Angelou to create of setting of this beautiful song. It is lush and beautiful throughout and will highlight the musicianship of your students.  This would serve as a welcome change of pace piece on your program for concert or contest.
Rainbow in the Clouds was commissioned by the Pflugerville Middle School Wind Ensemble in Pflugerville, Texas, directed by Shauna Satrom. The piece premiered in May 2017, in memory and celebration of Luis Ham, who was an Assistant Principal at Pflugerville Middle School.This piece is based on an old traditional spiritual, possibly an African-American song from the nineteenth century, entitled God Put a Rainbow in the Clouds. The first time I heard reference to this song was in a Maya Angelou video, in which she sings a portion of it: “When it looked like the sun wouldn’t shine anymore, Oh, God put a rainbow in the clouds.” In the video, Dr. Angelou honors those who have demonstrated kindness to her in the past, and she suggests that we all try to be a blessing to others. The Pflugerville community believed that Mr. Ham, with his positive outlook, was definitely a “rainbow in the clouds” for other people.The piece begins with a full ensemble introduction, followed by a woodwind treatment of the first verse with a fairly reserved tempo and straight eighth-note rhythm. When brass pick up the melody on the second phrase, we start to hear the song more like the original spiritual, with dotted-eighth, sixteenth rhythms. The middle section of the piece at m. 22 begins to move at a slightly quicker tempo, and the mood becomes lighter. This section becomes a call-and-response between a euphonium solo and upper woodwinds. The final section of the piece involves everyone playing together joyously and full, eventually winding down with two more solo statements in flute and euphonium.Note to the Conductor:Use this piece to introduce or reinforce the following musical concepts:Lyrical, expressive playing varied stylesSolo responsibilitiesKey changes, tempo changes.

SKU: CF.YPS214

ISBN 9781491152331. UPC: 680160909834. Key: Bb major.

This new piece from composer George Sweet is a delightful combination of Scotland the Brave and Amazing Grace. Each tune on its own is wonderful, but in Sweet's setting, they are masterfully layered to reflect the composer's Scottish-American heritage. This presentation of a Scottish melody with Americana-inspired harmonies is a stunning example of compositional craft.
Bravery and Grace is a setting of the unofficial Scottish national anthem, Scotland the Brave. While the melody is taken from Scotland the Brave, the accompaniment and harmony both have a “Western Americana” feel, reminiscent of composers like Roy Harris and Aaron Copland.  This combination of a Scottish melody with American harmony is a reflection of the composer’s Scottish-American Heritage.The piece begins with a fragment of Scotland the Brave presented in a lush and reflective context. The main theme is performed in full by the upper voices at m. 9. The middle voices perform the material at m. 17, and the lower voices perform it again at m. 33. This results in a loud passage representing pipers at m. 46. The traditional spiritual Amazing Grace appears suddenly at m. 51 in a somewhat polytonal setting. This is, once again, reminiscent of practices of the aforementioned American composers.  After this lyrical presentation, a fragment of the main theme returns at m. 66. This is followed by a broad restatement of the theme at m. 70 and a brisk conclusion with a final flair of polytonality.