Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Library. Softcover. Size 8.5x11 inches. 373 pages. Published by Hal Leonard.

The Lord is My Shepherd (Psalm 23). (Theme from the BBC TV series The Vicar of Dibley). By Howard Goodall. Choir Sacred. For SATB choir and piano/organ (SATB choir). Choral (Sacred); Choral Octavo; Worship Resources. Faber Edition. Sacred. Published by Faber Music

By Greg Gilpin. For SATB choir, piano. Sacred Anthem. Octavo. 8 pages. Published by Chorister's Guild

ge My Heart/Lord, Be Glorified by Espinosa Kilpatrick. Arranged by John Wilson. For SAB choir or 3-part choir (2-part). Choral music. General, Commitment, Dedication, Devotion, Discipleship, Humility, New Life in Christ, Praise and Worship, Renewal, Contemporary, Sacred. Choral octavo. 8 pages. Published by Hope Publishing Company

Chorus; Organ

SKU: HL.14048027

For 2-Part Choir and Organ. Composed by Rupert Jeffcoat. Choral. Classical. Octavo. Composed 2016. Music Sales #NOV295955. Published by Music Sales (HL.14048027).

English.

Hear My Voice, O Lord is a work by Rupert Jeffcoat for 2-Part Choir and Organ Accompaniment. A setting of words from Psalm 27, the piece lasts around 2 minutes.

SATB Choir

SKU: HL.14028172

Composed by Samuel Wesley. Music Sales America. Sacred. Choral Score. 16 pages. Music Sales #NOV280059. Published by Music Sales (HL.14028172).

6.75x9.75x0.055 inches.

Praise the Lord, O My Soul is a long anthem for Chorus SATB with solo lines.Composer and Organist Samuel Sebastian Wesley is the grandson of Charles Wesley, founder of Methodism, and son of composer Samuel Wesley. He composed music almost entirely for the Anglican church and his works are frequently performed there.

By Gaelic. Arranged by Jeremy Young. For Voices: SATB, assembly. Instruments: Violin, percussion (finger cymbals, tambourine) (instruments optional). Keyboard accompaniment. Gather the Faithful by Jeremy Young Lord of all Hopefulness by Jan Struther ! Oxford University Press. Choral Sacred. Level: easy. 9 pages. Published by GIA Publications.

Vocal and Guitar (BR)

SKU: HL.49023860

Lieder und Geschichten. Composed by Dapper. Edited by Beate Dapper. This edition: Paperback/Soft Cover. Sheet music. Kunter-bund-edition. Melody line (with chords). 96 pages. Schott Music #BUND 71153. Published by Schott Music (HL.49023860).

ISBN 9783795756864. German. Viktoria Lundgruen.

Diese Sammlung von insgesamt 36 Liedern, Mythen, Marchen, Gedichten und Wissenswertem fuhrt auf eine faszinierende Reise durch die Sternenwelt.

The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.

Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.

Guitar

SKU: HL.48182557

Composed by John Dowland. Leduc. Classical. Softcover. 2 pages. Alphonse Leduc #AL23894. Published by Alphonse Leduc (HL.48182557).

UPC: 888680841997. 9x12 inches.

John Dowland: My Lady Hunsdon's-My Lord Willobe's (coll. Guitare No.66) (Guitar solo).

SSAATTBB chorus - Medium-difficult

SKU: JK.01318

Composed by Robert Millett. Arranged by Robert Millett. Choral SATB, Difficulty Medium Hard, Piano Choir, Jesus Christ - Savior, Jesus Christ - Shepherd. Christian, Inspirational. Duration 2:57. Jackman Music Corporation #01318. Published by Jackman Music Corporation (JK.01318).

Psalm 23.

Worshipful anthem for mixed chorus (SSAATTBB) in E flat major, based on Psalm 23, proclaiming My Lord, My Shepherd! Soprano high note: E.
Composer: Robert Millett
Arranger: Robert Millett
Lyricist: Robert Millett
Difficulty: Medium-difficult
Performance time: 2:57
Reference: Psalm 23.

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.

Commissione d 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,”cons tantly 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.

Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 best-loved Christian hymns that have inspired praise and worship for over four centuries. Series: Piano Treasury Series. 392 pages. Published by Music Sales.

Crown Him Lord of All. (Early-advanced Piano Duets). By Dan Forrest. Keyboard. For 1 piano, 4 hands. Piano duets. Sacred. Early Advanced. Published by SoundForth

(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

(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

Tommy Clufetos. For Drum. Percussion - Drum DVD. Artist for Artist Series. Rock. DVD. Published by Alfred Publishing.

Composed by Michael Larkin. Offertories, Preludes, Postludes, Hymn Intros/Reharmonizations, Communion. 21st Century. MorningStar Music Publishers #15-744. Published by MorningStar Music Publishers

Arranged by Roger Emerson. (3 Part Mixed). Choral. Size 6.7x10.5 inches. 8 pages. Published by Hal Leonard.

Composed by Douglas E. Wagner. Sacred Anthem. Octavo. Published by Chorister's Guild (LO.CGA272).

Arranged by John A. Behnke. For 3-5 octave Handbells. Sacred, General. Grade 3. Handbell score. Published by Hope Publishing Company handbell score Sacred, General

((Incorporates My Lord What a Morning)). By Joseph Graham. For SATB choir, a cappella (SATB). Shawnee Press. Choral. 8 pages

By Jay Althouse. For Choir. (3-Part Mixed). Choral Octavo. Choral Designs. Spiritual. Choral Octavo. 8 pages. Published by Alfred Publishing.

SATB vocal soli, SATB choir, bassoon, 2 violins, basso continuo

SKU: CA.3115019

Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Arranged by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Nach dir, Herr, verlanget mich. Sacred vocal music, Cantatas. Set of Orchestra Parts. Composed circa 1706. BWV 150. Duration 17 minutes. Carus Verlag #CV 31.150/19. Published by Carus Verlag (CA.3115019).

ISBN 9790007136819. Key: B minor. Language: German/English.

The cantata Nach dir, Herr, verlanget mich (O my Lord, I long for thee) BWV 150 is one of the earliest cantatas from Bach's Muhlhausen period. Its authenticity was long disputed, partly because of the stylistic characteristics of this early work, but also because the cantata only survives in sources dating from the period after Bach's death. However, in recent years a hidden dedication to Conrad Meckbach, a member of the Muhlhausen town council and patron of Bach, has been deciphered: the initial letters of the free poetry reveal the acrostic Doctor Conrad Meckbach (in the 18th century spelling), revealing a link to the city of Muhlhausen and almost certainly confirming Bach's authorship of the cantata. The occasion of the composition of the work is still unknown. The small instrumental scoring for just two violins, bassoon, and continuo, plus the fact that only the soprano is given a solo movement, suggest a performance with modest resources. Score and parts available separately - see item CA.3115000.