Choral TTBB choir, piano

SKU: PR.312419270

From Terra Nostra. Composed by Stacy Garrop. Performance Score. 8 pages. Duration 2 minutes. Theodore Presser Company #312-41927. Published by Theodore Presser Company (PR.312419270).

ISBN 9781491137918. UPC: 680160692606. English. Charles Mackay.

Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

Choral SATB Choir and Piano

SKU: PR.312419020

From Terra Nostra. Composed by Stacy Garrop. Sws. Performance Score. 12 pages. Duration 3:15. Theodore Presser Company #312-41902. Published by Theodore Presser Company (PR.312419020).

ISBN 9781491131862. UPC: 680160680474. 6.875 x 10.5 inches. English.

Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, alto voice, bass voice, soprano voice, tenor voice

SKU: PR.31241902A

From Terra Nostra. Composed by Stacy Garrop. Set of Score and Parts. Duration 3:15. Theodore Presser Company #312-41902A. Published by Theodore Presser Company (PR.31241902A).

UPC: 680160690510. English.

Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

Guitar

SKU: HL.146362

Book Only. Guitar Tab Method. Instruction. Softcover. Published by Hal Leonard (HL.146362).

ISBN 9781495023354. UPC: 888680070212. 9.0x12.0x0.11 inches.

“The ultimate learning tool to go from zero to guitar hero in no time!” –Guitar World magazine Designed for electric or acoustic guitar. Get started quickly and easily – with songs you want to play! This method introduces notes with riffs like “Crazy Train” and “Smoke on the Water,” power chords with classics by AC/DC and the Who, chord-strumming with songs from Neil Young and Nirvana, and much more. The method's unique, well-paced, and logical teaching sequence will get students playing more easily than ever before, and music from popular artists like the Beatles, Jimi Hendrix, and Led Zeppelin will keep them playing and having fun. Book 1 includes: parts of the guitar, easy-to-follow guitar tablature, notes & riffs starting on the low E string, tempo & time signatures, understanding notes and rests, palm muting, vibrato, power chords, open chords, strumming, slides and slurs, hammer-ons and pull-offs, many music styles, nearly 100 riffs and songs, and more!

Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Published by Hal Leonard.

Choral Percussion, Piano, alto voice, bass Guitar, bass voice, soprano voice, tenor voice

SKU: CF.CM9743IN

Composed by Traditional African-American Spiritual. Arranged by Kevin Phillip Johnson. Set of Score and Parts. 44+32+2 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9743IN. Published by Carl Fischer Music (CF.CM9743IN).

ISBN 9781491162231. UPC: 680160920990. Key: E minor. English. Iyana Davis. Negro Spiritual with Rap crafter by Ayana Davis.

This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version.  The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ.  Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego.  Four for the four that stood at the door:  Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways?  Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven.  Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!

Choral Bass Guitar, Percussion, Piano, alto voice, soprano 1, soprano 2

SKU: CF.CM9742

Composed by Traditional African American Spiritual. Arranged by Kevin Phillip Johnson. 16 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9742. Published by Carl Fischer Music (CF.CM9742).

ISBN 9781491161555. UPC: 680160920204. Key: E minor. English. Iyana Davis.

This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version.  The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ.  Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego.  Four for the four that stood at the door:  Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways?  Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven.  Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!

(Low Voice Edition). By Various. Fake Book. 352 pages. Published by Hal Leonard

Arranged by Jim Beloff and Liz Beloff. For Baritone Ukulele. Fake Book. Softcover. 336 pages. Published by Hal Leonard

Portable Edition. Arranged by Jim Beloff and Liz Beloff. Fake Book. Softcover. 464 pages. Published by Hal Leonard

(Book/USB Flash Drive Play-Along Pack). By Various. For C Instruments. Real Book Play-Along. USB Flash Drive. 462 pages. Published by Hal Leonard

Book/USB Flash Drive Pack. Composed by Various. Real Book Play-Along. Softcover with USB. 464 pages. Published by Hal Leonard

(Sixth Edition) For C instrument. Format: fakebook (spiral bound). With melody, standard notation and chord names. Jazz. Series: Hal Leonard Instrumental Fake Books. 512 pages. 8.5x11 inches. Published by Hal Leonard.