Par BAY WILLIAM. This collection contains 100 favorite Gospel songs and hymns for trumpet and guitar. Inside you will find rousing camp meeting songs, sentimental expressions from a deep-rooted faith, and Gospel oriented hymns with an old-time music flavor. In preparing this collection I felt the sincere and solid faith of America's 'revivalist era”, staunchly embedded in the rural and Southern regions of America, but also in the dedicated inner city missions founded in sprawling urban centers. These solos will bring joy, exuberance, nostalgia and a renewed sense of commitment to any worship celebration. They serve as a vehicle for and witness to the Christian faith. / Gospel / Recueil / Trompette et Guitare

Arrangeur: Faye Lopez. An Impressionist-Style Service combines favorite hymns with excerpts from beloved masterworks by Impressionist period composers---Fauré, Debussy, Ravel, and others. These medleys range from prayerful to jubilant and can be used for various types of services./ Recueil / Piano

This year celebrate our national holidays by programming this splendid montage of American hymns. “When I Can Read My Title Clear ” “I Know That My Redeemer Lives ” and the beloved “I WillArise” make up this trio of praises and the general nature of these early hymns make programming a breeze for any time of the year. An extraction from the commemorative cantata Legacy of Faith.

Framed through variation around the great old shape-note melody “When I can read my title clear ” James Curnow's significant new composition Land of Tomorow is a wonderful expression of the composer's art.While traversing countless moods the flow and continuity never falter and the interest never fades. The band that plays at this level can only gain skill and knowledge through meticulous preparation of this enthrallingcomposition. Every player can take deep satisfaction from a solid performance of this masterpiece. Powerful!

This book presents 18 solos with Piano accompaniment from the early American shaped-note tradition. Includes many well-known favourites: Come Ye Sinners Poor and Needy; O Thou Son of David;Farewell My Dear Brethren; All Hail the Power of Jesus' Name; Jesus I My Cross Have Taken; Ye Sould Are Bound Unto Canaan; Brethren We Have Met to Worship; Glorious Things ofThee are Spoken; Hark! The Jubilee Is Sounding; Amazing Grace; On Jordan's Stormy Banks I Stand; My Shepherd Will Supply My Need; Come Ye Sinners; Rock of Ages; When ICan Read My Title Clear; Farewell Vain World; Come Thou Font of Every Blessing; and What Wondrous Love Is This?72 pages with a convenient 40-page folio for the soloist.

From Kentucky Harmony and Isaac Watts comes a tune that rings with American 19th centruy harmonies. Tim Sharp has set an 8 part a cappella version that follows the mood of the text changing key and tempo accordingly. A most satisfying arrangement it is a great concert or festival number for high school through college.

Score and Parts.Commissioned by the Chamber Music Society of Lincoln Centre. First performance 19 May 1998 Merkin Concert Hall New York City.Quoting Weir: 'In my previous work I have often enjoyed inventing titles whichattempt to encapsulate the particular world of each composition but this fifteen minutes piece for violin cello and piano is simply entitled Piano Trio . What is the reason for this unusually abstract description? I thinkperhaps that in this piece the many external impressions which habitually make up my musical world have become too numerous and too personal to be pinned down in the space of few words that a composition title allows.The firstmovement began in my mind with impressions of Venice as relayed in Schubert's song Gondelfahrer; the crisp midnight air the dark choppy water the bells tolling the gondolier alone in emotional turmoil. Schubert's world is aplace where I can find constant inspiration and strength.The second movement recalls a time when I was called from a phone box in Africa. At one moment I was alone in my room the next (or so it seemed in my imagination)surrounded by light heat and sudden energy and activity. The movement is not however an evocation of African music; it takes the form of a scherzo and trio which collide with each other at the movement's conclusion.Thethird movement formed in my mind whilst I was reading some Gaelic poetry from the Hebridean island of Lewis on Scotland 's far flung Atlantic fringe. I was thinking of the bleached white beaches in that part of the world whereevery object lying on the sand - a washed-up bottle or a bird's skeleton - is a major event in a deserted landscape. The same might be said of this short set of musical variations where melodic fragments are laid out with plentyof space around them clear and plain for everyone to hear.