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.

Performed by Various. Easy Guitar (Simplified arrangements for guitar). With notes and tablature. Size 9x12 inches. 400 pages. Published by Hal Leonard.

Composed by Various. Instrumental Folio. Christian, General Worship, Worship. Softcover. 120 pages. Published by Hal Leonard

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor score and set of parts. Duration 9:00. Published by Manhattan Beach Music.

Arranged by Daniel Kelley. For Clarinet, Piano. Solos. Recital, Church. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.

Arranged by Michael Sweeney. Essential Elements Band Folios. Book and CD package. Size 9x12 inches. 24 pages. Published by Hal Leonard.

Clarinet Solo and Play-Along Orchestrations. Composed by Bernard De La Monnoye, James Murray, John Hopkins, Lewis Redner, George Frideric Handel (1685-1759), French carol, Franz Xaver Gruber, Welsh Carol, English Carol, Felix Bartholdy Mendelssohn (1809-1847), Richard Storrs Willis, and John Wade. Arranged by Sean O'Loughlin. SWS. Christmas and Holiday. Book with download. With Standard notation. Carl Fischer Music #WF135. Published by Carl Fischer Music

Bb Clarinet/Bass Clarinet

SKU: WD.080689418877

Composed by John E. Coates. Modern Christian: Sacred. Hym-bb clarinet/bass clarinet. Word Music #080689418877. Published by Word Music (WD.080689418877).

UPC: 080689418877.

In the past twenty years, worship styles in many churches have transformed, emphasizing a personal worship that strives for intimacy with the Father. This renewal led some ministries, perhaps unintentionally, to abandon the great hymns of our faith in favor of newly composed worship songs. Other ministries, in an effort to create a balanced worship style, mixed the new with the old, sometimes with results that only amplified the differences between the two. Hymns for Praise & Worship bridges the stylistic gap between modern-day worship songs and the hymns of our Christian heritage. A select advisory board of active music ministers, Word Music staff and key choral arrangers were assembled to pinpoint fifty-six hymns from the vast array of hymnody, not only for their musical quality, but for the messages that they bring to worshippers today. Veteran choral arrangers John E. Coates and Travis Cottrell have been creating new settings of hymns for their own congregations for years. Their experience as worship leaders brought not only musicality, but also congregational and choral pragmatism to each new arrangement in Hymns for Praise & Worship. With all of the same editions and features as the Songs for Praise & Worship series, this collection is designed to work hand-in-hand with existing resources for worship. Various stylistic changes make these settings flow easily, appeal to the modern ear, and correlate with the styles of contemporary praise & worship songs. Throughout this book you will encounter variations from traditional time signatures, intuitive syncopated rhythms, and substituted chords and harmonies. Even the few hymns with more traditional settings are treated in a manner that takes the congregation on a journey through the verses, sometimes in a more through-composed manner, and usually culminating in a climactic conclusion. Each of the changes was not implemented arbitrarily, but with the goal of making the timeless messages of each hymn leap from the page in new and exciting ways. Two added features of Hymns for Praise & Worship are the demonstration and accompaniment recordings. While the songs in the collection are well known, the new arrangements are not. The staff of Word Music felt that it was vital to provide audible resources to teach and lead worship to best communicate the desires of the arrangers. All of the core editions (Choir/Worship Team, Worship Planner, Keyboard Edition, Guitar Edition) reflect the verses and voicings used on the recordings.

Composed by Geraldine Green. For bass clarinet and piano. Classical; 21st century. Solo part and piano reduction. Composed 1992. Duration 23 minutes. Published by Alea Publishing

By Erik Satie (1866-1925). Arranged by David Marlatt. For Clarinet and Keyboard. Masterworks; Solo; Woodwind - B-Flat Clarinet Solo. Romantic. Part(s). Duration 00:08:35