Choral (ChoirTrax CD)

SKU: HL.284385

Arranged by John Leavitt. Sacred Choral. General Worship, Pentecost, Sacred. CD. Duration 230 seconds. Published by Hal Leonard (HL.284385).

UPC: 888680827397. 5.0x5.0x0.189 inches. Ephesians 1:3, I Peter 2:10, Revelation 21:6.

When hymnody is made into an anthem, it connects with the congregation in a profound way. The early-American hymn tune NETTLETON appears in nearly every denominational hymnal and this incarnation speaks with inspiring grace. The part-writing is solid and approachable with glistening innovations in the upper voices and variety which moves the parts from unison to two-part and then to full four-part textures. A refreshing quieter ending with the use of a lesser-known verse puts a devotional spin on this classic and opens it up to a variety of usages. Score and Parts (fl 1-2, ob, cl 1-2, bn, perc 1-2, hp, vn 1-2, va, vc, db) available as a digital download.

(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 268 pages. Published by Mel Bay Pub., Inc.

Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Fiddle - Intermediate

SKU: MB.30815M

Renaissance, Saddle-stitched. Celtic / Irish. Book and online audio. 48 pages. Mel Bay Publications, Inc #30815M. Published by Mel Bay Publications, Inc (MB.30815M).

ISBN 9781513466828. 8.75x11.75 inches.

Early Music Gems contains 49 tunes dating from 1300-1791, including Medieval, Renaissance, and ancient melodies as well as a â??best ofâ? John Playford's The Dancing Master. These delightful melodies are perfect for contradance, English country dance and concert settings. Suggested bowings, chords, tempos, and variations are included. An audio recording of each of the tunes includes the fiddle melody with guitar accompaniment. Includes access to online audio.

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

SKU: PR.165001000

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

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

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

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Folk. Series: Hal Leonard Fake Books. 536 pages. 9.6x12 inches. Published by Hal Leonard.

Choral (Accompaniment CD)

SKU: HL.8754817

Arranged by Glenn A. Pickett. Bluegrass Accompaniment CD. Fred Bock Publications. Anthem, General Worship, Hymn, Sacred. CD only. Fred Bock Music Company #BGTD2576. Published by Fred Bock Music Company (HL.8754817).

UPC: 884088664015. 5.5x5 inches.

Stop and take notice of this novel arrangement of “Come Thou Fount of Every Blessing.” It isn't like any you have heard before. Glenn Picket's accompaniment grabs your attention first, but the vocal lines follow suit quickly. His playful reharmonization should satisfy but then he launches into a quasi-counterpoint that is simply heavenly. The rhythmic return brings us home with joy in our hearts.

Instrumental, Strings, Solo violin and piano

SKU: HP.9025

Composed by Various. Arranged by Abby Lockaby. Essential Vocal Duets. Hymn Arrangements, General Worship, Adoration, Assurance, God - Faithfulness, Gratefulness, Jesus Christ - Majesty, Jesus Christ - Name. Instrumental parts. 54 pages. Hope Publishing Company #9025. Published by Hope Publishing Company (HP.9025).

UPC: 763628190255.

Traditional hymns arranged for violin & piano This collection of exquisite violin solos, based on classic hymn tunes, with piano accompaniments, are finely crafted and useful for many occasions.

Enduring Hymns for Today's Church. Composed by Barny Robertson. Sacred. Lillenas Publishing Company #9780834175204. Published by Lillenas Publishing Company (LO.9780834175204).

(B-flat Edition). Composed by Various. For C Instruments. Fake Book. Softcover. 440 pages. Published by Hal Leonard

Bb Edition. By Various. Fake Book (Includes melody line and chords). Size 8.5x11 inches. 464 pages. Published by Hal Leonard.

E Flat Edition. By Various. Fake Book (Includes melody line and chords). Softcover. Size 9x11 inches. 464 pages. Published by Hal Leonard.