SKU: MN.90-70

Text: Marilyn Biery.

This collection of twenty-five original hymn texts flows from the writers years of experience as a practicing Church musician. The texts cover many aspects of the church year and includes texts for many particular needs such as confirmation and stewardship. Eleven new hymn tunes are also included in this collection. Complete tune, title, topic, meter, and scriptural indexes are included, making this a very useful collection of hymns. Hymns include: Break Forth in Joyous Song Christ is the Vine, We are the Branches Come To Us, O Holy Spirit Easter Dawn, Streaming Bright Embrace the Love that Makes Us One Emmanuel Comes! From the Word of God, Creation Jesus Walked Among the People Joined Together As One Body Lift Up Your Hearts, You Poor in Spirit Listen to the Voice of Gladness Lord God, The Source of Every Gracious Gift May Peace from Christ Come Dwell in You O Dearest Jesus O God of All Life, Now Hid from Our Sight O God of Love, Enable Us O God, Hear My Cry Our Gifts, O Lord, to You We Bring Radiant Light, Love Divine Rejoice, Rejoice, God's Kingdom is Coming Seek a Place of Breathless Beauty The Ancient Story Thrills Our Modern Ear The Frozen Earth Begins to Thaw The Spirit Makes Us One in Christ We Sing our Love for Jesus.

SKU: CF.BPS127

ISBN 9781491156209. UPC: 680160914746. 9 x 12 inches.

Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists.   At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended.
Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists.   At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended.
Program NotesElephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it’s their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant’s slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or “lunch-bag mutes,” over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age.Note to the ConductorThis piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece.Younger students will likely need a reasonable amount of practice in successfully using the “lunch-bag mutes.” Allowing additional rehearsal time for this is recommended.

SKU: BT.GOB-000712-010

The Egyptian pharaoh Amenhotep IV, better known as Achnaton, was the second son and successor of Amenhotep III.
He reigned the New Kingdom from 1353 until 1336 BC.
Achnatons lack of interest in the economic well-being of Egypt ushered ina revolutionary period in Egyptian history.
His harsh reign induced much suffering under the population.
During this period when it was customary for a pharaoh to have many wives, he had taken his cousin Nefertete to reign as queen at hisside.
An elegant and very beautiful woman, she used her influence to ease the turmoil caused by Achnaton.
Combined with her grace, her presence at public functions led to a greater popularity among her subjects than the pharaoh enjoyedhimself.
Being mostly preoccupied with religious questions, he declared that all the other gods did not exist. There was only one god, the Aten, and it was the sun itself.
It was now necessary to change his name: ‘Amenhotep’ meaning ‘the god Amun is satisfied’, because he didnt want to be associated with Amun or any of the other deities.
He renamed himself ‘Achnaton’ which means ‘servant of the Aten’ -- a much more appropriate title!
In the sixth year of his reignAchnaton also moved the capital to a brand new city called Achet-Aton (‘the Horizon of the Aten’) which was where Tel el-Amarna stands today. He did this to further isolate himself from the ‘old’ religion, since the previous capital Thebes was thecentre of worship of Amun.
This new religion created an up rise among the population and high priests. In spite of Nefertetes influence, the falling economy and religious conflict resulted in the decline of the Egyptian empire.
Hoping toforget it ever happened, people later tried to eradicate all traces of Achnaton and his successors rule by smashing their statues, mutilating their mummies, and ruining their relief carvings.
From that moment on he was remembered as the‘heretic king’.

This composition was partially funded by the ‘Prins Bernhard Cultuurfonds’.

De Egyptische farao Achnaton was de zoon en opvolger van Amenhotep III en besteeg de troon als Amenhotep IV.
Hij regeerde van 1353 tot 1336 voor Christus.
Achnaton was nauwelijks ge?nteresseerd in politiek en handel waardoorhet Egyptische rijk onder zijn bewind in economisch verval raakte. Hij regeerde per decreet waaronder de bevolking zwaar te leiden had.
In die tijd was het gebruikelijk dat de farao’s meerdere vrouwen hadden waarvan hij eréén tot zijn hoofdvrouw koos waarmee hij zijn rijk regeerde.
Nefertete was de uitverkorene. Een zeer mooie, elegante vrouw, die met haar invloed op het harde beleid van Achnaton nog voor enige verlichting zorgde. Dit en haar aanwezigheidbij openbare presentaties leidde ertoe dat zij bij de bevolking een veel grotere populariteit genoot dan de farao zelf.
Achnaton hield zich vooral bezig met religieuze vraagstukken. Hij brak met het idee dat er meergoden zouden bestaan. Volgens hem was er slechts één god, namelijk de zon. Deze zonnegod noemde hij Aton.
Nadat deze gedachte zich bij hem had geopenbaard veranderde hij zijn naam van Amenhotep in Achnaton, hetgeen in het Egyptisch“Aton welgevallig” betekent.
In zijn zesde regeringsjaar stichtte Achnaton de nieuwe regeringszetel “Achet-Aton”, ver van de bewoonde wereld in de woestijn.
Deze stad, het huidige Tell el-Amarna in Midden-Egypte,stond geheel in het teken van de zonnegod. Deze nieuwe godsdienst stuitte op veel weerstand bij de bevolking en de priesters. De godsdienststrijd die hierdoor ontstond gekoppeld aan het economische verval zorgde, ondanks de invloedvan Nefertete, voor de ineenstorting van het Egyptische rijk als grote mogendheid.
Na de dood van Achnaton werd de regeringszetel “Achet-Aton” gebruikt als steengroeve. Zijn naam werd verwijderd van de alle bouwwerken en herinneringszuilen.

SKU: YM.GTP01096422

ISBN 9784636964226. 12 x 9 inches.

This sheet music is an official and complete matching collection of PIANO OPERA FINAL FANTASY IV/V/VI (released on May 16, 2012). The worlds of Final Fantasy IV, V, and VI are beautifully revived with delicate and brilliant piano sounds. The piano arrangements, supervised by Nobuo Uematsu, are faithfully reproduced. This is a piano score that allows you to play the sound of emotionally stirring adventures, with melodies that will never fade away, using high-quality piano tones!

SKU: AP.49019S

ISBN 9781470645410. UPC: 038081563992. English.

This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental---free of charge.

Imagine riding through Camelot on a quest to save the kingdom. Every player will be the hero in this medieval inspired tune, Camelot Quest by Katie Katie O'Hara LaBrie. Written in E minor, students will be introduced to D-sharps through low 1st finger as well as dotted-quarter rhythms in every part. Students and audiences alike will love the mixed energy of marcato ostinato patterns vs. the legato melodies. The journey concludes with a joust-like battle, adding excitement to any concert or festival program. Optional percussion adds to the medieval flair. (2:45) This title available in MakeMusic Cloud.