| For the Mystic Harmony [Score] Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3 and more. SKU: PR.16500100F Hymns for Wind Ensemble. Composed by Dan Welcher. Sws. Full score. 48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100F. Published by Theodore Presser Company (PR.16500100F). ISBN 9781491114421. UPC: 680160669783. 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,â€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.â€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,â€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 tuneâ€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 sightâ€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. $25.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Mary, Did You Know? Choral SATB [Vocal Score] Hope Publishing Company
Composed by Buddy Greene. Arranged by Jack Schrader. For medium and high voice d...(+)
Composed by Buddy Greene. Arranged by Jack Schrader. For medium and high voice duet (key of D Minor). Hope's All-Time Best Sellers series. Christmas, Devotion, Contemporary, Contemporary Gospel. Vocal score. 12 pages. Published by Hope Publishing Company
$7.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Let The Church Say Amen Choral CD Hope Publishing Company
Composed by Andrae Crouch. Arranged by Joel Raney. Guidance, General Worship, Sa...(+)
Composed by Andrae Crouch. Arranged by Joel Raney. Guidance, General Worship, Sacred. Performance/accompaniment CD. Hope Publishing Company #C 6038C. Published by Hope Publishing Compan
$29.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Come, Now Is the Time to Worship Orchestra [Octavo] Hope Publishing Company
By Doerksen, Brian. Arranged by Jack Schrader. For Orchestra. (SAB or Three-Par...(+)
By Doerksen, Brian. Arranged by Jack Schrader. For Orchestra. (SAB or Three-Part). Call To Worship, Commitment, Gathering, Gospel, Praise and Worship and Sacred. Print Music Single (SAB). Published by Hope Publishing Company.
$3.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Come, Now Is the Time to Worship Choral SATB [Listening CD] Hope Publishing Company
By Brian Doerksen. Arranged by Jack Schrader. Call To Worship, Commitment, Gathe...(+)
By Brian Doerksen. Arranged by Jack Schrader. Call To Worship, Commitment, Gathering, Gospel, Praise and Worship and Sacred. CD Single (R/P CD). Published by Hope Publishing Company.
$29.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Mary, Did You Know? Choral 2-part 2-part [Octavo] Hope Publishing Company
By Buddy Greene. Arranged by Jack Schrader. For Choir. (2-part). Gospel, Contem...(+)
By Buddy Greene. Arranged by Jack Schrader. For Choir. (2-part). Gospel, Contemporary and Sacred. Print Music Single (2-part). Published by Hope Publishing Company.
(2)$3.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Mary, Did You Know? Choral 3-part SAB [Octavo] Hope Publishing Company
By Buddy Greene. Arranged by Jack Schrader. For Choir. (SAB or Three-Part). Gos...(+)
By Buddy Greene. Arranged by Jack Schrader. For Choir. (SAB or Three-Part). Gospel, Contemporary and Sacred. Print Music Single (SAB). Published by Hope Publishing Company.
$3.25 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Because He Lives Choral 3-part SAB [Octavo] Hope Publishing Company
By Gloria; William Gaither. Arranged by Jack Schrader. (SAB or Three-Part). Fun...(+)
By Gloria; William Gaither. Arranged by Jack Schrader. (SAB or Three-Part). Funeral and Sacred. Print Music Single (SAB). 8 pages. Published by Hope Publishing Company.
(1)$3.25 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Come, Now Is the Time to Worship Choral SATB SATB [Octavo] Hope Publishing Company
By Doerksen, Brian. Arranged by Jack Schrader. For Choir. (SATB). Call To Worsh...(+)
By Doerksen, Brian. Arranged by Jack Schrader. For Choir. (SATB). Call To Worship, Commitment, Gathering, Gospel, Praise and Worship and Sacred. Print Music Single (SATB). 8 pages. Published by Hope Publishing Company.
$3.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Come, Now is the Time to Worship Concert band, Choral [Set of Parts] Hope Publishing Company
By Brian Doerksen. Arranged by Jack Schrader. For SATB choir, orchestra (flute, ...(+)
By Brian Doerksen. Arranged by Jack Schrader. For SATB choir, orchestra (flute, oboe, clarinet, horn 1 and 2, trumpet 1, 2, and 3, trombone 1 and 2, tuba, percussion 1 and 2, harp, rhythm (drums, bass and guitar), violin 1 and 2, viola, cello, and bass). Gathering, P. set of instrumental parts. Gathering, Peace, Spiritual, General, Sacred.
$89.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| He's Always Been Faithful
Choral SATB SATB, Orchestra Hope Publishing Company
By Sara Groves. Sacred. Print Music Single (Vocal Solo (Medium Voice)). Publishe...(+)
By Sara Groves. Sacred. Print Music Single (Vocal Solo (Medium Voice)). Published by Hope Publishing Company.
$7.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Because He Lives Choral SATB [Vocal Score] Hope Publishing Company
Composed by William and Gloria Gaither. Arranged by Jack Schrader. Funeral, Eas...(+)
Composed by William and Gloria Gaither. Arranged by Jack Schrader. Funeral, Easter, Sacred. Vocal score. Published by Hope Publishing Company (HP.8828).
$7.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Let the Church Say Amen Choral SATB SATB, Organ [Octavo] Hope Publishing Company
Composed by Andrae Crouch. Arranged by Joel Raney. For SATB choir, orchestra. Gu...(+)
Composed by Andrae Crouch. Arranged by Joel Raney. For SATB choir, orchestra. Guidance, General. Octavo. Published by Hope Publishing Company
$3.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Lord, Listen to Your Children Choral 3-part SAB [Octavo] Hope Publishing Company
By Ken Medema. Arranged by Jack Schrader. For SAB or Three-Part Mixed choir. Scr...(+)
By Ken Medema. Arranged by Jack Schrader. For SAB or Three-Part Mixed choir. Scripture References: Psalm 17:6 -- Psalm 55:1 -- Ephesians 6:18. Blues, Gospel, Spirituals, Sacred, Pentecost. Choral octavo. 12 pages
$3.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Canticle of the Cross Shawnee Press
Choral (10 listening CDs) SKU: HL.35028637 10-Pack Listening CDs. ...(+)
Choral (10 listening CDs) SKU: HL.35028637 10-Pack Listening CDs. Composed by Joseph M. Martin. Harold Flammer Easter. Holy Week, Lent. CD only. Published by Shawnee Press (HL.35028637). ISBN 9781476868066. UPC: 884088792411. 5x5 inches. 10-Pack Listening CDs: Inspired by Celtic music traditions, this new work for Lent or Holy Week presents Christ's journey to the cross. Utilizing folk songs, hymns and newly composed sacred songs, the music adorns the heart-felt message of God's love and grace displayed in Christ's redemptive work on Calvary. A thoughtful narration weaves the movements of the work together with Scripture, prayer and poetry, while delivering a reflective message of hope and assurance. Gentle orchestrations capture the Celtic spirit of the music in a smaller, more restrained approach in keeping with Holy Week considerations. A full line of support products is available. Duration: approx. 30 minutes. Titles include: Prologue, The Song of the Cross, A Celtic Hosanna, Come to the Upper Room, The Garden of Tears, The Carpenter, A Tree Once Stood, Consolation of the Cross, Epilogue. Available separately: SATB, Listening CD, Preview Pack (Book/CD), StudioTrax CD (Accompaniment only), RehearsalTrax CDs, 10-Pack Listening CDs, Digital Resource Kit, Chamber Orchestration (Score & Parts for Soprano Recorder/Penny Whistle, Alto Recorder, Oboe/English Horn, Clarinet 1&2, Bassoon, Horn 1&2, Trumpet 1-3, Trombone 1&2, Tuba, Timpani, Percussion 1&2, Harp, Piano, Violin 1&2, Viola, Cello, Double Bass) and Chamber Orchestration CD-ROM. Duration: ca. 30:00. $65.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Appalachian Winter Shawnee Press
Choral (digital production kit) SKU: HL.35028867 Composed by Joseph M. Ma...(+)
Choral (digital production kit) SKU: HL.35028867 Composed by Joseph M. Martin. Harold Flammer Christmas. Advent, Cantata, Christmas. Published by Shawnee Press (HL.35028867). UPC: 884088888633. 5.25x7.5 inches. From the composer of Festival of Carols and The Winter Rose comes a cantata that celebrates the legacy of early American carols and hymnody. Composed in the spirit of folk music, the cantata combines traditional sounds with more rustic elements creating a blend that is fresh and pleasing. Popular American carols like Away In a Manger and O Little Town of Bethlehem dance with traditional spirituals such as Children, Go Where I Send Thee and Go, Tell It on the Mountain. Sacred Harp tunes are re-tooled for Advent and stand alongside new versions of Shaker hymns and Appalachian melodies. Thoughtful narration weaves the movements together in a meaningful tapestry of song and Scripture. Two orchestral options are available allowing maximum flexibility in performance. A full line of support products is also available. Available separately: SATB, CD-ROM Full Orchestration (Score & Parts for Flute 1 & 2, alto recorder, Oboe/English Horn, Clarinet 1 & 2, Bassoon, Horn 1 & 2, Trumpet 1-3, Trombone 1 & 2, Bass Trombone/Tuba, Timpani, Percussion, Acoustic Guitar, Banjo, Harp, Piano, Synth, Solo fiddle, Violin 1 & 2, Viola, Cello, Double Bass), Printed Full Orchestration, Appalachian Consort Orchestration (Score & parts for Flute, Violin, Cello, Mandolin, Guitar, Percussion and Piano), StudioTrax CD (accompaniment only), SplitTrax CD, Listening CD, 10-Pack Listening CDs, Preview Pack (Book/CD combo), RehearsalTrax CDs (part predominant, reproducible), Digital Resource Kit (PowerPoint, Choir Devotionals, Poster, Program, Flyers, Children's Program PDFs). Duration: approx. 40 min. $64.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| How Beautiful Choral [Singles] Hope Publishing Company
By Twila Paris. Arranged by Lloyd Larson. For Medium Voice. Communion, Contempor...(+)
By Twila Paris. Arranged by Lloyd Larson. For Medium Voice. Communion, Contemporary, Wedding, Commemoration, Cross of Christ, Discipleship, Good Friday, Life of Christ, Lord's Supper, Maundy Thursday, Sacrifice, Unity, General, Lent, Sacred. Single. Published by Hope Publishing Company
$7.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hope Has Come Choral SATB SATB Integrity Music
Arranged by Geron Davis/Bradley Knight. (SATB). Integrity Choral. 152 pages. Pu...(+)
Arranged by Geron Davis/Bradley Knight. (SATB). Integrity Choral. 152 pages. Published by Integrity Music.
$8.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hosanna to the King! Choral CD Hope Publishing Company
(Orchestra) SKU: HP.C5178C Composed by Carl Tuttle and Melchior Teschner....(+)
(Orchestra) SKU: HP.C5178C Composed by Carl Tuttle and Melchior Teschner. Arranged by Jack Schrader. Piano Accompaniment with Optional Orchestra. Confirmation / Graduation, Palm Sunday, Peace, Sacred. Performance/Accompaniment CD. Hope Publishing Company #C5178C. Published by Hope Publishing Company (HP.C5178C). UPC: 763628951788. By Melchior Teschner & Carl Tuttle. Choral medley of songs by Melchior Teschner & Carl Tuttle Choral medley incorporating Melchior Teschner's All Glory, Laud and Honor with Carl Tuttle's Hosanna - skillfully arranged by Jack Schrader. The orchestration by Mark Kellner contains a Conductor's Score and parts for: Piano, Rhythm, Flute, Oboe, Clarinet, Trumpet 1, Trumpet 2 & 3, Horns 1 & 2, Trombone 1 & 2, Trombone 3/Tuba, Percussion, Timpani, Harp, Violins, Violas, Cellos and Basses. $29.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Lord, Listen to Your Children Hope Publishing Company
Vocal Duet (2 Med. Voices) SKU: HP.9141 Composed by Ken Medema. Arranged ...(+)
Vocal Duet (2 Med. Voices) SKU: HP.9141 Composed by Ken Medema. Arranged by Arr. By Jack Schrader. Piano Accompaniment with Optional Orchestra. Vocal Score. 12 pages. Hope Publishing Company #9141. Published by Hope Publishing Company (HP.9141). UPC: 763628191412. Original anthem Jack Schrader's blues-gospel setting of this ever popular Ken Medema song continues to be one of the top-selling choral pieces in our catalog. Available in multiple voicings. The Orchestration by Don Hart contains a Conductor's Score and parts for: Flute, Oboe, Clarinet, Horn 1 & 2, Trumpets 1, 2 & 3, Trombone 1 & 2, Trombone 3 & Tuba, Percussion 1 & 2, Harp, Rhythm, Violin 1 & 2, Viola, Cello, and Bass. $7.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Future of Tomorrow - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Glockenspiel, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 3 SKU: CF.CPS245 Composed by Benjamin Yeo. Folio. Cps. Set of Score and Parts. 8+2+8+8+2+4+4+4+4+2+4+4+4+4+6+6+4+4+8+2+2+1+4+1+2+24 pages. Duration 2 minutes, 42 seconds. Carl Fischer Music #CPS245. Published by Carl Fischer Music (CF.CPS245). ISBN 9781491158128. UPC: 680160916726. 9 x 12 inches. ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this anew ideaa needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo. ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this 'new idea' needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo. ABOUT THE MUSICFuture of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang.Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work.EDUCATIONAL NOTESKey: Eb MajorSECTIONBARSEVENT / SCORING / SUGGESTIONSIntroduction1-4Opens in Eb major with dotted rhythm motif.1st Strain5-20Take note of melodic phrasing above the (light) oom-pah ostinato;melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this ‘new idea’ needs to be heard clearly for contrast with the previous statement.2nd Strain21-36C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29.Trio37-56Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps.Break Strain57-62Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain.Final Strain63-82Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79.NOTE TO THE CONDUCTORThis march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece.This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets.I wish you the best in the performance of this work.- Benjamin Yeo. $85.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Let the Church Say "Amen" with Amen Hope Publishing Company
Choir; orchestra SKU: HP.C6038O Composed by Andrae Crouch. Arranged by Jo...(+)
Choir; orchestra SKU: HP.C6038O Composed by Andrae Crouch. Arranged by Joel Raney. Piano Accompaniment with Optional Orchestra. General Worship, Guidance, Sacred. Set of Instrumental Parts. Hope Publishing Company #C6038O. Published by Hope Publishing Company (HP.C6038O). UPC: 763628260385. By Andra, Crouch. Nehemiah 8:6. Medley of a traditional spiritual and a song by Andrae Crouch This setting pairs a popular Andrae Crouch song with the Traditional Spiritual Amen in an effective gospel treatment by Joel Raney. As the church responds to the word of God, the church collectively says Amen. Useful for any worship setting affirming God's guidance, direction and leadership of the church. Orchestrations: Conductor's Score, Horn 1 & 2 (or Alto Sax or Clarinet), Percussion, Piano, Synth, Electric Bass, Violin 1 & 2, Drums, Viola (or Clarinet) and Cello/Bassoon (or Bass Clarinet). $89.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Future of Tomorrow [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Glockenspiel, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 3 SKU: CF.CPS245F Composed by Benjamin Yeo. Sws. Cps. Full score. 24 pages. Carl Fischer Music #CPS245F. Published by Carl Fischer Music (CF.CPS245F). ISBN 9781491158135. UPC: 680160916733. 9 x 12 inches. ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this anew ideaa needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo. ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this 'new idea' needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo. ABOUT THE MUSICFuture of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang.Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work.EDUCATIONAL NOTESKey: Eb MajorSECTIONBARSEVENT / SCORING / SUGGESTIONSIntroduction1-4Opens in Eb major with dotted rhythm motif.1st Strain5-20Take note of melodic phrasing above the (light) oom-pah ostinato;melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this ‘new idea’ needs to be heard clearly for contrast with the previous statement.2nd Strain21-36C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29.Trio37-56Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps.Break Strain57-62Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain.Final Strain63-82Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79.NOTE TO THE CONDUCTORThis march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece.This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets.I wish you the best in the performance of this work.- Benjamin Yeo. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Because He Lives Hope Publishing Company
Vocal ensemble (duet, 2 med voices) SKU: HP.8893 Composed by Bill Gaither...(+)
Vocal ensemble (duet, 2 med voices) SKU: HP.8893 Composed by Bill Gaither and Gloria Gaither. Arranged by Jack Schrader. Piano Accompaniment with Optional Orchestra. Easter Sunday. Vocal score. 8 pages. Hope Publishing Company #8893. Published by Hope Publishing Company (HP.8893). UPC: 763628188931. By William & Gloria Gaither. Popular worship song by William & Gloria Gaither The 'classic' Gloria & Bill Gaither song is showcased in this gleaming, artistic arrangement by Jack Schrader. This standard favorite has been given a fresh, dignified treatment and should meet the needs of many choirs during the Easter/Lenten season, as well as many other Sundays throughout the church year. The orchestration consists of a Conductor's Score and parts for: Flute, Oboe, Clarinet, Trumpets 1, 2, & 3, Horns 1 & 2, Trombone 1, 2, and 3 (or Sub. Tuba for Trombone 3), Percussion, Timpani, Harp, Violins, Violas, Cellos, and Basses. $7.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Sleep, My Child Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone and more. - Grade 2 SKU: CF.YPS208 Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6+3+2+3+1+1+2+6+12 pages. Duration 4 minutes, 31 seconds. Carl Fischer Music #YPS208. Published by Carl Fischer Music (CF.YPS208). ISBN 9781491152287. UPC: 680160909780. Key: D minor. A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece. Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017. $70.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lamb of God - Easy Hope Publishing Company
Vocal, Solo Solo Voice (Choral, Handbells, Orchestra, Vocal Solo/Duet) - Level 2...(+)
Vocal, Solo Solo Voice (Choral, Handbells, Orchestra, Vocal Solo/Duet) - Level 2 SKU: HP.8822 Composed by Twila Paris. Arranged by Lloyd Larson. Contemporary, Lent, Good Friday, General Worship, Atonement, Devotion, Discipleship, Lamb of God, Sacrifice, Sacred. Vocal score. 8 pages. Hope Publishing Company #8822. Published by Hope Publishing Company (HP.8822). UPC: 763628188221. By Twila Paris. John 1:29, Matthew 27:27, Matthew 27:41, Revelation 5:12. Popular song by Twila Paris Lloyd Larson's earnest, sensitive setting for Twila Paris' popular song was Hope's top-seller in 2001. Appropriate for Lent, Holy Week, baptism, and special dedication or confirmation services, this blockbuster arrangement is now available in SATB, SAB and Two-Part Mixed voicings. Accompaniment can be provided by keyboard, rhythm, CD track or handbell choir. The new optional handbell accompaniment can also stand alone as a setting for 3-5 octaves of bells. The orchestration includes parts for two flutes and one oboe; three trumpets, two horns, two trombones and a tuba; percussion (bells, mark tree, shaker, timpani) and harp; strings and shared rhythm part (piano, acoustic guitar, electric bass, drum kit). $7.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Sing with the Angels!: A Christmas Musical [Score and Parts] Hope Publishing Company
By Joel Raney. For instrumental parts ( violin 1-2, cello, clarinet, trumpet, ho...(+)
By Joel Raney. For instrumental parts ( violin 1-2, cello, clarinet, trumpet, horn, electric bass, percussion ). Score and parts. Published by Hope Publishing Company
$175.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| In The Name Of The Lord Choral SATB Hope Publishing Company
Composed by Sandi Patty. Arranged by Mary McDonald. Palm Sunday, Sacred. Octavo...(+)
Composed by Sandi Patty. Arranged by Mary McDonald. Palm Sunday, Sacred. Octavo. Hope Publishing Company #C 6133. Published by Hope Publishing Company (HP.C6133).
$3.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
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