SKU: MN.60-8701
UPC: 688670687013.
New tune WEHMEYER by composer with new text (Trinitarian/Doxological last stanza). Theme: Church Anniversary/Dedication/Mission. Choir sings stanza 4, Two-Part Mixed; stanzas 5-6, SATB. Congregation and/or choir sings stanzas 1-3 and optional congregation on stanzas 5-6. Trumpet part and reproducible congregational page included.
SKU: MN.50-4420
UPC: 688670544200. English.
Looking for a brand new Easter anthem that's not on a melody you're already using for a hymn? This one is perfect, because it's based on an entirely original text and tune! It's approachable and flexible; you can use a trumpet or other treble instrument and involve the congregation or not. Four verses, the final one unison with descant. Majestic and festive, this is also appropriate for general use and for Reformation. Duration 4:00.
SKU: MN.CH-1190
From Come Ye Sons of Art. Originally a duet for two voices,s this lively piece was written in 1694 for the birthday of Queen Mary and is the fourth movement of a work entitled Come Ye Sons of Art. Optional B-flat Trumpet part included with the score. Duration 3:04.
SKU: MN.50-0084
UPC: 688670500848. English.
This charming Christmas anthem pairs an 1866 text with a fresh, new tune. Approachable writing with some unison and two-part mixed textures. It specifies piano, but could be adapted for organ almost at sight. Tender and lyrical, this would be a great Christmas Eve piece for even a smaller SATB choir.
SKU: HL.49007567
ISBN 9790001081313. 8.25x11.75x0.07 inches. Latin.
SKU: MN.CH-1023
Text from James: Every good and perfect gift is from above...
SKU: MN.60-7003A
UPC: 688670700378.
This unique setting makes primary use of the traditional hymntune MARION, commonly associated with this text. One SATB stanza is creatively set to the hymntune ST. MICHAEL. This setting may be sung by choir alone or choir and congregation. Optional instrumental parts are available for brass quartet (quintet), timpani, and 7 handbells. Choral Score includes reproducible page for congregation. Organist may play from either the Full Score or the Choral Score.
SKU: AU.9781506495248
ISBN 9781506495248. 7 x 10.25 inches.
The text of this carol was first published in 1567 and is a translation of the Martin Luther hymn “From Heaven Above. Paul Lohman writes new music for the carol and includes quotations from the tune VOM HIMMEL HOCH. The expressive contours in the melody along with rich harmonic language provide a fresh and beautiful setting of this well-loved Christmas text.
SKU: MN.50-3106
UPC: 688670531064. English. John 3:16.
A setting of the familiar passage from John 3:16. Particularly appropriate for the beginning of the Lenten season.
SKU: GI.G-10483
English. Text Source: Wilt heden nu treden, Dutch folk hymn, tr. Theodore Baker, 1851&ndash,1934 alt.; Translation: Theodore Baker.
SKU: MN.80-776
UPC: 688670807763.
Acclamatory majestic processional with Brass accompaniment which alternates between refrainKyrie eleison, Christe eleison sung by choir and congregation. Verses extracted from various psalms sung by two cantors or Two-Part choir.
SKU: MN.CH-1158
Both Hebrew and English texts, drawn from the Psalms express the hope that ones prayer be acceptable. The piece can be performed either in one of the two languages or in alternating languages. Duration 5:20.
SKU: MN.50-1153
UPC: 688670511530. English.
Written in a sparkly, joyous 6/8, this is brand new music set to the beloved traditional text. The composer has specified piano for the accompaniment, but one can hear it being done on organ just as well. Alternatively there are parts for flute, oboe, cello, and harp. This composer's previous settings of well-known Christmas texts with brand new tunes have been very popular. Duration 3:30.
SKU: GI.G-2896
Scripture: Psalm 32.
SKU: AU.9781506495231
ISBN 9781506495231. 7 x 10.25 inches.
David Sims skillfully weaves a Susan Palo Cherwien text with Psalm 50 in this gently flowing anthem filled with graceful text-painting reflecting Godâ??s promises of healing and new life. The writing is both musically engaging and accessible for SATB choirs of any size.
SKU: P2.80062
These settings of the Galliard bassoon sonatas grew out of a perceived need for more intermediate-early advanced solo literature for the bass trombone, as well as more settings of Baroque-period works for that instrument. While the sonatas are playable on the bass trombone in their original keys (whether at pitch or down one octave), by setting them in lower keys I have endeavored to make them useful for developing tone quality and technique in the valve register, while not going so low that clarity and facility might be compromised (as can be the case when playing in the original keys down one octave). The new keys I have chosen for each of the sonatas are closely related to the original ones, in every case down a perfect fourth or perfect fifth, so something of the sound of the original keys is maintained. Other than the key changes I have made very few adjustments to the intervals in the solo or left hand keyboard parts; in the places where I have done the most editing I have provided cues for the original intervals and/or rhythms so that the player can choose whether to perform the simplified part I have provided or something closer to the original. The new keys (as well as copyright considerations) necessitated that I provide entirely new figured bass realizations for the accompanist's right hand. These are entirely my own, though in the early stages of this project I did consult with Professor Stacy Rodgers, my colleague and collaborator at the University of Mississippi. I have provided more than a simple harmonic accompaniment in my realization; each movement has a number of short melodic passages to provide interest in the keyboard part for both performer and listener. Still, I have been purposefully reserved in writing these parts, and in no case should the keyboardist feel obligated to strictly adhere to the part as I have written it. I have left the figured bass in the score so that the performer can modify and/or build upon what I have provided, particularly in the repeats (as Professor Rodgers did when playing and recording one of the sonatas with me). I have labeled the accompaniment part simply as keyboard with the understanding that these sonatas were originally intended for performance with harpsichord (assisted by cello or bassoon) or organ, though I am sure that the vast majority of performances of these arrangements will have piano as the accompanying instrument. My keyboard part has thus been written with that instrument in mind. If performing with harpsichord assisted by cello or bassoon those players will need to make adjustments in places where the bass lines extend below the ranges of their instruments. While I am confident that my right hand part is a faithful realization of the harmonic structure indicated by the composer, no attempt has been made either in my keyboard realization or in my light editing of the solo part to adhere to present scholarly conventions regarding the interpretation of early music. I have constructed these arrangements to meet the needs of twenty-first-century student (and professional) bass trombonists, and thus I have provided the interpretive markings which I believe will yield the most pleasing performances on that instrument. That said, I have sought to be modest in my indications of tempo, dynamics, articulation, and ornamentation, as these sonatas will admit varying interpretations in those respects. Performers and teachers are welcome and encouraged to experiment in order to find the interpretations which they think most effective. Although I originally created these arrangements with the bass trombone in mind, I am sure that they will work equally well on tuba. Due to range considerations similar to those I mentioned above for the bass trombone, they might be particularly better-suited to performance on the F or E-flat tubas than previous editions of these sonatas. I am looking forward to using these arrangements with my students on both instruments, and hope that others will find them useful, as well.
SKU: MN.56-0107
UPC: 688670221248. English, Latin.
Invictus: A Passion addresses one of the worldââ¬â¢s most powerful stories through the lens of the modern world. The texts, written or inspired by women, describe not only human suffering and persecution but also the human capacity for love and humility in the face of tyranny. Composer Howard Goodall is uniquely suited to bring these texts to life with music of emotional clarity and sweeping force. This excerpt is scored for SATB (divisi) choir and piano. A text by Ãâ melia Lanyer (née Bassano) (ââ¬ÅWhy should unlawful actions use the Light?ââ¬Â) is set as a homophonic chorale with a supportive accompaniment. Duration 3:32.
SKU: MN.56-0071
UPC: 688670220746. English.
Howard Goodall's The Marlborough Canticles were first performed by Marlborough College Choir at St George’s Chapel, Windsor in April 1996. A work that combines beautiful, lyrical melodies with gentle swaying dance rhythms to tremendous effect.
SKU: GI.G-1554
Scripture: Philippians 2:8.
SKU: MN.50-9916
UPC: 688670599163.
Setting of early American text and tune from The Christian Harmony, 1805. Accompaniment and part-writing are indicative of Ingalls' rustic harmonies and musical style.
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