SKU: HL.49003005

ISBN 9780901938787. UPC: 073999922370. 6.5x10.0x0.214 inches. English.

Alleluia (Mozart) * Alleluia (Boyce) * Cedit Hiems Eminus * Christ is Risen Again * Death and Darkness * Early Morning * Easter Eggs * Easter Morning * Good Christian Men * Good Joseph had a Garden * Hail, Easter Bright * Hilariter * I Danced in the Morning * Jesus Christ is Risen Today * Jesus, Life and Comfort Given * Let the Merry Church Bells Ring * Let the Song be Begun * Let us Sing this Easter Morning * Lord of the Dance * Now the Green Blade Riseth * O Sons and Daughters * Ring the Bell, Ring it Well * Slowly Winter Fades Away * The Angel rolles the Stone away * The Drums of Calvary * The Glory of our King * The Lamb's High Banquet * The Whole Bright World * They were Beating as he dragged himself * The World itself keeps Easter day * This joyful Eastertide * Tomorrow shall be my dancing day * While Christ lay dead * Ye choirs of New Jerusalem.

SKU: LO.10-5582MD

ISBN 9780787773915.

Originally featured in the popular choral collection Redeemed (55/1202MD), this bright Easter morning song opens with a festive brass fanfare and driving instrumentation. The lyrics tell of the Easter morning story of the discovery of the empty tomb and the hope found in the resurrection. A perfect opener to an Easter service, this classic is re-energized in this fresh and upbeat arrangement.

SKU: HL.35032529

ISBN 9781540040183. UPC: 888680896898. 5x5 inches.

Written to commemorate the Passion of Christ, this cantata is a moving tribute to His life and ministry. Composed for maximum flexibility and scored for SA(T)B voices, the optional cued notes make it possible for the cantata to grow with your choir. Smaller choirs will enjoy the rich textures and larger ensembles will be able to engage their full resources. For churches that desire an instrumental component, a very modest consort instrumentation creates a reverent accompaniment. The narration contains scriptures and prayers to convey the graceful theme of Christ's sacrificial love. Ending with the crucifixion, A Gathering of Grace will set the stage for Easter morning. Songs include: Prelude of Shadows; In the Stillness of This Moment; Ask of Me; Palm Branches; A Light in the Upper Room; Jesus, in Gethsemane; The Day the Cross Held Up the Sky; A Green Hill Far Away; Recessional. Score and Parts (fl, cl, hn, perc, pno, hp, vn, vc) available as a Printed Edition and as a digital download.

SKU: WD.080689790720

UPC: 080689790720.

There has rarely been a resource as spectacular, as exhaustive, and ultimately as practical as Easter! The Best of David T. Clydesdale. Between the covers of one book you will find a treasure house of outstanding material to meet every ministry need during the Lenten season. The collection features fifteen of David T. Clydesdale's most dynamic and passionate arrangements of Easter favorites, including Blessed Redeemer, Grace Flows Down, and Arise. These individual songs have also been sequenced into an Easter musical titled Blessed Redeemer that features narration and optional dramatic character parts. In addition, this resource includes service plans for Easter Sunday, Palm Sunday, Maundy Thursday and Good Friday along with Scripture and responsive readings. There are also three dramatic sketches that can be used in tandem with various songs from the collection. Whether you are looking for an individual anthem for Easter morning or an entire week of worship material, Easter promises to become an indispensable part of your library that you will go to again and again for many years to come.

SKU: WD.080689698026

UPC: 080689698026.

There has rarely been a resource as spectacular, as exhaustive, and ultimately as practical as Easter! The Best of David T. Clydesdale. Between the covers of one book you will find a treasure house of outstanding material to meet every ministry need during the Lenten season. The collection features fifteen of David T. Clydesdale's most dynamic and passionate arrangements of Easter favorites, including Blessed Redeemer, Grace Flows Down, and Arise. These individual songs have also been sequenced into an Easter musical titled Blessed Redeemer that features narration and optional dramatic character parts. In addition, this resource includes service plans for Easter Sunday, Palm Sunday, Maundy Thursday and Good Friday along with Scripture and responsive readings. There are also three dramatic sketches that can be used in tandem with various songs from the collection. Whether you are looking for an individual anthem for Easter morning or an entire week of worship material, Easter promises to become an indispensable part of your library that you will go to again and again for many years to come.

SKU: LO.10-1668L

UPC: 000308037784.

SATB Easter Medium - Based on a traditional spiritual, the amended text by Frank L. Cross makes a definitive Easter statement: My Lord, what a morning, when the Son of God arose..

SKU: CF.FPS128F

ISBN 9781491143117. UPC: 680160900619.

The Cherokee nation had a vibrant culture for many centuries in what is now the southeastern United States. The beginning and ending sections of this piece are based on a folk song that is commonly referred to as Cherokee Morning Song. Kevin Mixon's piece is beautiful, lush, and reverent to the original Cherokee song while using all of the colors of the modern concert band to full effect. This piece will make your developing band sound wonderful.

SKU: PR.16500104F

ISBN 9781491132159. UPC: 680160681082.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.