(SATB choir, Bass and Drums Parts)

SKU: HP.C6056P

Composed by Pepper Choplin. (A Cappella) with OptionalBass, Congas & Shaker. Thanksgiving, General Worship, Adoration & Praise, Stewardship, Sacred. Instrumental parts. Hope Publishing Company #C6056P. Published by Hope Publishing Company (HP.C6056P).

UPC: 763628260569. Pepper Choplin. I Chronicles 29:13, I Thessalonians 5:18.

Original Composition Ideal for Thanksgiving, stewardship or any service dealing with thanks and praise, this Pepper Choplin original is sure to have appeal with its lively rhythmic energy. A vocal solo runs throughout and adds to the presentation, proclaiming that In gratitude, we share with those around us and care for those who have great need. We are giving thanksgiving - and there's no better way than to take God's gifts and give them away.

By Ruth Elaine Schram. Unison/2-Part Treble. Harold Flammer WorshipSongs Jr. 8 pages. Published by Shawnee Press

2-part mixed voices and piano, with optional congregation and descant - Early Intermediate

SKU: MN.50-6154

Composed by Mark Shepperd. Thanksgiving. MorningStar Music Publishers #50-6154. Published by MorningStar Music Publishers (MN.50-6154).

UPC: 688670561542. English. Psalm 105:1-5.

A festive composition focused on the theme of giving thanks to God.

Chamber Music soprano 1, soprano 2, soprano 3, soprano 4, soprano 5

SKU: PR.111401770

For Five Sopranos. Composed by Shulamit Ran. Contemporary. Set of performance scores. With Standard notation. Composed 1981. 16 pages. Duration 4 minutes. Theodore Presser Company #111-40177. Published by Theodore Presser Company (PR.111401770).

UPC: 680160003372.

This text of this piece use four languages - English, Hebrew, Italian, and French - to express joy and give thanks. Except for the word 'joy' which is presented simultaneously in all four languages at the outset of the work, the rest of the composition was composed initially without words.
In 1981, WFMT Radio in Chicago commissioned twelve composers to write short fanfares in celebration of the station’s thirtieth anniversary.  For one month at a time, each composer’s Fanfare was heard every day at a previously unannounced time slot.  Because of my special fondness for the human voice as an instrument, I decided to make my Fanfare a vocal one.  “My” month in this series being the month of November, the idea of giving thanks naturally suggested itself.  Though the work can be performed live by a minimum of five female voices, I really wanted to limit timbre differentiation to a minimum — hence the idea of pre-recording two singers and multi-tracking them.  And, in any event, it seemed especially appropriate to compose a work of this nature for the radio, a medium that is certainly quite distinct from the concert-hall. For a text, I put together a series of words in English, Hebrew, Italian and French, all concerned with joy and giving thanks.  Except for the word joy which is presented simultaneously in all four languages at the outset of the work, the rest of the composition was composed initially without words.  In a process akin, perhaps, to the orchestrating of music already composed, the words were then strung together by me to fit the sounds and the rhythms (a reversal, at least for me, of the usual process of combining text and music).

By Cynthia Clawson; Larry Shackley. Arranged by Larry Shackley. For SATB choir, piano. Sacred Anthem, Christmas, Eastertide, General. Octavo. Published by Lorenz Publishing Company

(Songs for the Soul-Winning Church). By Mike Speck and Cliff Duren. Musical. Sacred. CD Preview Pack. Published by Lillenas Publishing Company

By Mary Mcdonald. For SATB choir and piano. Holy Communion, Sacred. Sacred Anthem. Published by Monarch Music. (10/3227M)

Composed by Andrew Bruhn. For unison/2-part voices with piano. Sacred anthem. General. Octavo. Published by Chorister's Guild

Composed by Faye Lopez. Arranged by Patricia Mock. Choral. Sacred Anthem. Octavo. Lorenz Publishing Company #10/5395L. Published by Lorenz Publishing Company

Hymntunes of Sally Ann Morris. By Sally Ann Morris. Text by: Various Various. For Chorus and Keyboard accompaniment. Hymn Collection. Sacred. Level: easy. 104 pages. Published by GIA Publications.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Flute 1, Flute 2, Oboe 1, Oboe 2, Piccolo, alto Saxophone, soprano Saxophone, tenor Saxophone

SKU: PR.165001000

Hymns for Wind Ensemble. Composed by Dan Welcher. Folio. Set of Score and Parts. 4+24+24+16+8+4+4+24+12+12+8+4+4+4+4+8+8+8+8+4+4+4+4+8+8+8+8+8+8+8+8+4+16+4+8+4+8+8+4+4+4+48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100. Published by Theodore Presser Company (PR.165001000).

ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.

Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

SKU: HL.1215599

Pioneer DJ. DJ Gear. Duration 153 seconds. Hal Leonard #DDJ-FLX10. Published by Hal Leonard (HL.1215599).

UPC: 841300102304. 6.75x31.0x18.75 inches.

The 4-channel DDJ-FLX10 for rekordbox and Serato DJ Pro includes a host of brand-new features that enables new creative possibilities, including functions DJs can use to easily perform mashups on the fly with no need to prepare tracks in advance. Thanks to the controller's new Track Separation technology, DJs can easily load tracks from their music library to the DDJ-FLX10 and manipulate different musical parts to create infinitely unique performances including live mashups. The controller focuses on 3 track elements that are crucial to DJing – vocals, drums, and inst (other instruments)Ÿ– so DJs can easily play around each one. DJs can reference important information and customize the loof of the controller, thanks to the expanded On Jog Display. Improving on the jogs from popular DDJ-1000, there are 4 On Jog Display modes to choose from, giving DJs the option to display different types of waveform information. The DDJ-FLX10 introduces Mix Point Link, a new rekordbox-compatible feature that enables the user to neatly and seamlessly link the playback of tracks in their set while freeing up their hands to help foster creativity.