(B-flat Edition). By Various. By Various. For Bb Instruments. Fake Book. Softcover. 512 pages. Published by Hal Leonard

(C Edition). By Various. By Various. Fake Book. Softcover. 464 pages. Published by Hal Leonard

(E-flat Edition). By Various. By Various. For Eb Instruments. Fake Book. Softcover. 464 pages. Published by Hal Leonard

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.

Fake Book (Includes melody line and chords). Size 9x12 inches. 384 pages. Published by Hal Leonard.

SATB choir - Moderate

SKU: LP.765762174603

Composed by Wayne Haun & Ernie Haase Joel Lindsey. Arranged by Wayne Haun. Anthems. Southern Gospel and Sacred. CD-ROM orchestration. Published by Lillenas Publishing Company (LP.765762174603).

UPC: 765762174603.

Hold on to your seats everyone! With tight harmonies a great bass line and an accompaniment that cooks everyone will be up on their feet shouting Hallelujah! Christ is born! This brand new rip-roarin' Southern gospel treat emerges from the creative genius of Dove Award-winner Wayne Haun popular gospel songwriter Joel Lindsey and Ernie Haase of Signature Sound and is guaranteed to set your hands a-clappin' and your toes a-tappin'. Pure fun! Instrumentation: Flute Oboe Clarinet Trumpet 1 & 2 Trumpet 3 & 4 Trombone 1 &2 Trombone 3 & 4 Rhythm Violin 1 & 2 Viola Cello String Bass Subustitue Instrumentation: Keyboard String Reduction; Soprano Sax (sub for Oboe); Tenor Sax/Baritone T.C. (sub for Trombone 1 & 2); Baritone Sax (sub for Trombone 3 & 4); Clarinet (sub for Viola); Bassoon/Bass Clarinet (sub for Cello).

By Joel Raney / Joel Raney. For SAB or Three-Part Mixed choir with optional Unison Choir or Soloist. Scripture References: Luke 2. Christmas Hymntune, Sacred. Choral octavo. 8 pages

By Joel Raney. (SATB). Children, Hymntune, Hymntune and Sacred. Print Music Single (SATB w/opt. Unison Choir or Soloist). 8 pages. Published by Hope Publishing Company.

Handbells choir; 3-5 octave handbell accompaniment; orchestra

SKU: HP.C6099HB

Composed by Joel Raney. Piano Accompaniment with Optional Orchestra. Sing & Ring Series. Hymntune, Ring & Sing, Christmas, Children, Sacred. Handbell score. Hope Publishing Company #C6099HB. Published by Hope Publishing Company (HP.C6099HB).

UPC: 763628260996.

Origi nal Christmas composition Written for adult choir with optional children's choir or soloist, this pairing of an original composition with a Christmas classic affords a unique way to present Away in a Manger during the holiday season. The simple part for the children's voices fits perfectly with Raney's gentle, original lullaby. The flowing piano accompaniment provides a lush underpinning for this re-telling of the night Christ was born. This setting originally appeared in Joel Raney's popular Christmas musical, Celebrate the Season. In 2007 the SATB setting was our top-selling anthem. New for this year we offer an SAB voicing. The orchestration contains a Conductor's Score and parts for: Synth, Percussion, Bass, Harp, Flute, Oboe, Trumpet, French Horn, Violin, Cello and Handbells. Product C 5436HB could be used with choir, handbell & piano. Product C 6099HB is suitable for choir & handbell no piano.

By Smith, Michael W.; Kirkpatrick, Wayne. Arranged by Lloyd Larson. (SATB). Assurance, Contemporary and Sacred. Print Music Single (SATB). 8 pages. Published by Hope Publishing Company.

Composed by Michael W. Smith / Wayne Kirkpatrick. Arranged by Lloyd Larson. For SSA choir. Christmas, Assurance. Octavo. Published by Hope Publishing Company

SATB choir with optional congregation and (organ) or (brass quartet, percussion, and organ) or (organ and orchestra) - Beginning

SKU: MN.50-1953

Composed by Robert A. Hobby. Christmas, 21st Century. Choral score. MorningStar Music Publishers #50-1953. Published by MorningStar Music Publishers (MN.50-1953).

UPC: 688670519536. English.

The traditional French carol IL EST NÉ is set here in a simple but beautiful way. The beauty of the melody shines throughout this exquisite arrangement. From the larger work Holy Light.

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Performance Options:
Option 1: SATB Choir, Brass Quartet (Two Trumpets in B-flat, Two Trombones), Glockenspiel, Triangle, Tambourine, and Organ, with opt. Congregation

Opt ion 2: SATB Choir, Organ, and Orchestra (Flute, Oboe, Clarinet, Bassoon, Two Trumpets in B-flat, Two Trumpets in C, Two Trombones, Organ, Two Violins, Viola, Cello, Double Bass, Percussion [Glockenspiel, Triangle, Tambourine]), with opt. Congregation

Opt ion 3: SATB Choir and Organ.

Composed by Claude Debussy (1862-1918). Arranged by Keith Terrett. For 2 clarinets, alto clarinet, 3 bass clarinets. Classical; 20th century. Score and parts. 47 pages (score); parts vary. Published by Alea Publishing

Composed by Michael W. Smith / Wayne Kirkpatrick. Arranged by Lloyd Larson. For SAB choir. Christmas, Assurance. Octavo. Published by Hope Publishing Company

For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord names and guitar chord chart. Gospel and worship. Series: Hal Leonard Fake Books. 295 pages. 9x12 inches. Published by Hal Leonard.

(25 Famous Guitar & Bass Parts Adapted for Diatonic Harp). For Harmonica. Harmonica. Softcover with CD. Guitar tablature. 48 pages. Published by Hal Leonard

(Holiday Songs from Around the World). Arranged by William Ryden. For Cello/Bass. Mixed Instruments - Flexible Instrumentation. 24 pages. Published by Alfred Publishing.

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS10

Composed by Doris Gazda. Edited by Amy Rosen. Carl Fischer Young String Orchestra Series. Classical. Score and Parts. With Standard notation. 16+4+16+10+10+4+10+12 pages. Carl Fischer Music #YAS10. Published by Carl Fischer Music (CF.YAS10).

ISBN 9780825848261. UPC: 798408048266. 8.5 X 11 inches. Key: D major.

When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody of Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course, Roadrunner Rally ends with a loudly emphasized honking noise, the beep that we associate with the humorous picture of the roadrunner.
When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody ofA Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course,A Roadrunner Rally ends with a loudly emphasized honking noise, theA beep that we associate with the humorous picture of the roadrunner.
When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody ofA Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course,A Roadrunner Rally ends with a loudly emphasized honking noise, theA beep that we associate with the humorous picture of the roadrunner.
When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody of Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course, Roadrunner Rally ends with a loudly emphasized honking noise, the beep that we associate with the humorous picture of the roadrunner.
When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody of Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course, Roadrunner Rally ends with a loudly emphasized honking noise, the beep that we associate with the humorous picture of the roadrunner.
When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners.The repeated notes in the opening melody of Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course, Roadrunner Rally ends with a loudly emphasized honking noise, the  beep that we associate with the humorous picture of the roadrunner.

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 sev enfold spirit of God or  the seven early  Christian churches  or the sevenÂ� �stars in the right hand of Ch rist 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!

Compiled by Joan Frey Boytim. Songbook for low voice and piano accompaniment. 160 pages. Published by Hal Leonard.

Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass, Contrabass Clarinet, Contrabassoon, Crash Cymbals, Euphonium, Flute 1, Flute 2, Flute 3, Glockenspiel, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1 and more.

SKU: PR.11540233F

A Period Piece for Bands of Winds. Composed by Carter Pann. Sws. Full score. 60 pages. Duration 12:30. Theodore Presser Company #115-40233F. Published by Theodore Presser Company (PR.11540233F).

ISBN 9781491114452. UPC: 680160667734. 9 x 12 inches.

At Her Ladyships Request (2016) was an idea born out of admiration for the wind works of Percy Grainger most notably his Lincolnshire Posey. The names and places here are all fictitious. Four countrymen have come forward at Her Ladyships request as we com.
At Her Ladyshipas Request (2016) was an idea born out of admiration for the wind works of Percy Grainger a most notably his Lincolnshire Posey. The names and places here are all fictitious. Four countrymen have come forward at Her Ladyshipas request as we commoners (and for as long as I can remember) have been led to believe Her Highness has grown complacent in her aged betrothal to His Lordship. I. It has long been established in this hill country that young, svelte Tom Abel has caught her fancy eye. He knocks about with the swagger of a visiting dignitary, confident and cocksure. And then there is his fatheras fortune. Cecil Abel may be the richest man in the land save for His Lordship. Tom, his only son, will run his face straight into that pile the moment his old man kicks. II. It is rare to spy Father Daniel Bennett, High Priest from the Abbey at Lockwood Cross, loitering in our very own town squarea|but not as of late. III. Is Her Ladyship so desperate as to call upon Old Man Dimplesweet? Were you to confirm this, I would have straightened my back and spit the ground before you. Then I saw what could not possibly be misconstrued. And where is His Lordship anyway? IV. Pettybone! Connivinga| insidious. I donat believe there has been a greater rivalry among men for generations. The Dukeas ego alone could run our nation. The grudges he grows are notorious. His mount is legendary. The day has come to collect his toll.
At Her Ladyship's Request (2016) was an idea born out of admiration for the wind works of Percy Grainger - most notably his Lincolnshire Posey. The names and places here are all fictitious. Four countrymen have come forward at Her Ladyship's request as we commoners (and for as long as I can remember) have been led to believe Her Highness has grown complacent in her aged betrothal to His Lordship. I. It has long been established in this hill country that young, svelte Tom Abel has caught her fancy eye. He knocks about with the swagger of a visiting dignitary, confident and cocksure. And then there is his father's fortune. Cecil Abel may be the richest man in the land save for His Lordship. Tom, his only son, will run his face straight into that pile the moment his old man kicks. II. It is rare to spy Father Daniel Bennett, High Priest from the Abbey at Lockwood Cross, loitering in our very own town square...but not as of late. III. Is Her Ladyship so desperate as to call upon Old Man Dimplesweet? Were you to confirm this, I would have straightened my back and spit the ground before you. Then I saw what could not possibly be misconstrued. And where is His Lordship anyway? IV. Pettybone! Conniving... insidious. I don't believe there has been a greater rivalry among men for generations. The Duke's ego alone could run our nation. The grudges he grows are notorious. His mount is legendary. The day has come to collect his toll.
At Her Ladyship’s Request (2016) was an idea born out of admiration for the wind works of Percy Grainger – most notably his Lincolnshire Posey.The names and places here are all fictitious. Four countrymen have come forward at Her Ladyship’s request as we commoners (and for as long as I can remember) have been led to believe Her Highness has grown complacent in her aged betrothal to His Lordship.I. It has long been established in this hill country that young, svelte Tom Abel has caught her fancy eye. He knocks about with the swagger of a visiting dignitary, confident and cocksure. And then there is his father’s fortune. Cecil Abel may be the richest man in the land save for His Lordship. Tom, his only son, will run his face straight into that pile the moment his old man kicks.II. It is rare to spy Father Daniel Bennett, High Priest from the Abbey at Lockwood Cross, loitering in our very own town square…but not as of late.III. Is Her Ladyship so desperate as to call upon Old Man Dimplesweet? Were you to confirm this, I would have straightened my back and spit the ground before you. Then I saw what could not possibly be misconstrued. And where is His Lordship anyway?IV. Pettybone! Conniving… insidious. I don’t believe there has been a greater rivalry among men for generations. The Duke’s ego alone could run our nation. The grudges he grows are notorious. His mount is legendary. The day has come to collect his toll.

Choral SATB Choir, Bass Guitar, Percussion, Piano

SKU: CF.CM9743

Composed by Traditional African-American Spiritual. Arranged by Kevin Phillip Johnson. 20 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9743. Published by Carl Fischer Music (CF.CM9743).

ISBN 9781491161562. UPC: 680160920211. 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 sev enfold spirit of God or  the seven early  Christian churches  or the sevenÂ� �stars in the right hand of Ch rist 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 sev enfold spirit of God or  the seven early  Christian churches  or the sevenÂ� �stars in the right hand of Ch rist 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 Double bass voice, Piano, Viola, Violin 1, Violin 2, SATB chorus

SKU: CF.CM9735

Jubilate Agno. Composed by Z. Randall Stroope. 16 pages. Duration 0:03:05. Carl Fischer Music #CM9735. Published by Carl Fischer Music (CF.CM9735).

ISBN 9781491161159. UPC: 680160919741. Key: A minor. Latin, English. Christopher Smart and ZRS.

Origins of the Tarantella The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (little spider), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the poison, the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship. Origins of the Text Christopher Smart (1722-1771), also known as Kit Smart or Jack Smart, was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke's Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor's prison, was common during this period if one's debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [Rejoice in the Lamb] was set to music by English composer, Benjamin Britten.) Smart's writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart's Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance: theraphosa [teh-rah-fo-sa] a genus of tarantula spiders bellicose [beh-lee-ko-sah] hostile; aggressive odiosa [o-dee-o-sa] hateful; vexation tenebrosa [teh-neh-bro-sa] creeping; dark nemorosa [neh-mo-ro-sa] wooded; shady lapidosa [lah-pee-do-sa] stony area; gritty The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work. About the Composer Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. Performance Notes Text: In Latin, the r is flipped; use s instead of z on endings such as phosa, cosa, and so on; the Latin o is a cross between oh and aw; in the transliteration above, I chose to simply use an o for consistency. The director will blend the oh and aw in the rehearsals to his/her own preference. Lastly, tarantula is pronounced tah-rah-n-too-lah (avoid teh-ran-choo-luh) within the confines of this text. Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.
The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spider”), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,” the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart” or “Jack Smart,” was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lamb”] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. In Latin, the “r” is flipped; use “s” instead of “z” on endings such as “phosa,” “cosa,” and so on; the Latin “o” is a cross between “oh” and “aw”; in the transliteration above, I chose to simply use an “o” for consistency. The director will blend the “oh” and “aw” in the rehearsals to his/her own preference. Lastly, “tarantula” is pronounced “tah-rah-n-too-lah� �€ (avoid “teh-ran-choo-luhâ €) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.
The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spider”), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,” the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart” or “Jack Smart,” was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lamb”] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico.In Latin, the “r” is flipped; use “s” instead of “z” on endings such as “phosa,” “cosa,” and so on; the Latin “o” is a cross between “oh” and “aw”; in the transliteration above, I chose to simply use an “o” for consistency. The director will blend the “oh” and “aw” in the rehearsals to his/her own preference. Lastly, “tarantula” is pronounced “tah-rah-n-too-lah� �€ (avoid “teh-ran-choo-luhâ €) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.

Orchestra 2 Bassoons, 2 Oboes, 3 Clarinets, 3 Flutes, 3 Trombones, 3 Trumpets, 4 Horns, Bass Drum, Contra-bassoon, Cymbal, English Horn, Percussion: Snare Drum, Strings, Timpani, Tuba

SKU: PR.466411770

Composed by Harl Mcdonald. This edition: Study Score. Contemporary. Full score. With Standard notation. 84 pages. Duration 15 minutes. Theodore Presser Company #466-41177. Published by Theodore Presser Company (PR.466411770).

UPC: 680160640850. 9 x 12 inches.

Mississippi I. Father of Waters: born of the Highlands and the Lakes; the Glaciers, the Mountains, and the Prairies. The picture of your birth is clounded in the ice and mists of ancient ages but your spirit remains our life stream. II. The Red Man knew your bountiful gifts and gave thanks to the Great Spirit on your banks. -- The Spanish and French Fathers brought the glory of Christianity to America on Mississippi. But all men, white and dark; -- Indian, Spaniard, and Negro; Bourbon and Yankee, combined to make Mississippi the heart of America. Saga of the Mississippi Harl McDonald Born near Boulder, Colorado, July 27, 1899 Now living in Philadelphia The original suggestion for a symphonic work on the subject of the Mississippi came indirectly from the late Booth Tarkington who saw in it color and movement and atmosphere translatable into the terms of music. In the course of time, by the mysterious processes of composers' chemistry, it took shape as a tone-poem of two sections, one representing the rise of the great stream from its primeval geologic sources, the other the human history of the river. Mr. McDonald devised the following verbal outline of the general scheme of his diptych: I. Father of Waters: born of the Highlands and the Lakes; the Glaciers, the Mountains, and the Prairies. The picture of your birth is clounded in the ice and mists of ancient ages but your spirit remains our life stream. II. The Red Man knew your bountiful gifts and gave thanks to the Great Spirit on your banks. -- The Spanish and French Fathers brought the glory of Christianity to America on Mississippi. But all men, white and dark; -- Indian, Spaniard, and Negro; Bourbon and Yankee, combined to make Mississippi the heart of America. The first of the two movements, beginning molto andante, is vaguel modal to hint at antiquity. It is built upon the conventional two themes, with an episode, poco piu mosso, misterioso, for prehistoric murk and muck. There are various changes of pace and mood. The second, Allegro ma vigorosamente, prefigures an Indian ceremony. A theme presented by flute, clarinet and bassoon is a Canadian Indian fishing call collected by the late J.B. Beck. A later passage of quasi-Gregorian chant identifies the French and Spanish priests who made the great river their highway. The fishing-call is altered in rhythm and harmony to represent Negro field hands and roustabous. A turbulent close brings all these elemts together in the muddy swirling currents of the Mississippi. The work was begun in the summer of 1945, and was revised and completed in the summer of 1947. Harl McDonald, who is the manager of The Philadelphia Orchestra, has concerned himself with music as an art, as a science and as a business in course of his career. He was born on a cattle ranch in the Rockies, but since his was a musical family, his up-bringing combined piano lessons with ranch life. Years of study and professional experience followed in Los Angeles and in Germany. In 1927 he was appointed lecuter in composition at the University of Pennsylvania and he has since then made is home in Philadelphia. In 1933 under a grant of the Rockefeller FOundation he collaborated with physicists in research dealing with the measurement of instrumental and vocal tone, new scale divisions and the resultant harmonies. In that same year he was named head of the University's music faculty and conductor of its choral organizations. In 1939, having been a member of the Board of Directors for five years, he was appointed manager of The Philadelphia Orchestra. He continus to write, but otherwise his entire attention is now devoted to managerial duties. Chief items in the catalogue of his compositions are four symphonies, three orchestra suites, a half-dozen tone-poems, three concertos and considerable quantity of choral music.

Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass, Contrabass Clarinet, Contrabassoon, Crash Cymbals, Euphonium, Flute 1, Flute 2, Flute 3, Glockenspiel, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1 and more.

SKU: PR.11540233L

A Period Piece for Bands of Winds. Composed by Carter Pann. Spiral. Large Score. 58 pages. Duration 12:30. Theodore Presser Company #115-40233L. Published by Theodore Presser Company (PR.11540233L).

ISBN 9781491129418. UPC: 680160674367. 11 x 14 inches.

At Her Ladyship's Request (2016) was an idea born out of admiration for the wind works of Percy Grainger - most notably his Lincolnshire Posey. The names and places here are all fictitious. Four countrymen have come forward at Her Ladyship's request as we commoners (and for as long as I can remember) have been led to believe Her Highness has grown complacent in her aged betrothal to His Lordship. I. It has long been established in this hill country that young, svelte Tom Abel has caught her fancy eye. He knocks about with the swagger of a visiting dignitary, confident and cocksure. And then there is his father's fortune. Cecil Abel may be the richest man in the land save for His Lordship. Tom, his only son, will run his face straight into that pile the moment his old man kicks. II. It is rare to spy Father Daniel Bennett, High Priest from the Abbey at Lockwood Cross, loitering in our very own town square...but not as of late. III. Is Her Ladyship so desperate as to call upon Old Man Dimplesweet? Were you to confirm this, I would have straightened my back and spit the ground before you. Then I saw what could not possibly be misconstrued. And where is His Lordship anyway? IV. Pettybone! Conniving... insidious. I don't believe there has been a greater rivalry among men for generations. The Duke's ego alone could run our nation. The grudges he grows are notorious. His mount is legendary. The day has come to collect his toll.
At Her Ladyship’s Request (2016) was an idea born out of admiration for the wind works of Percy Grainger – most notably his Lincolnshire Posey.The names and places here are all fictitious. Four countrymen have come forward at Her Ladyship’s request as we commoners (and for as long as I can remember) have been led to believe Her Highness has grown complacent in her aged betrothal to His Lordship.I. It has long been established in this hill country that young, svelte Tom Abel has caught her fancy eye. He knocks about with the swagger of a visiting dignitary, confident and cocksure. And then there is his father’s fortune. Cecil Abel may be the richest man in the land save for His Lordship. Tom, his only son, will run his face straight into that pile the moment his old man kicks.II. It is rare to spy Father Daniel Bennett, High Priest from the Abbey at Lockwood Cross, loitering in our very own town square…but not as of late.III. Is Her Ladyship so desperate as to call upon Old Man Dimplesweet? Were you to confirm this, I would have straightened my back and spit the ground before you. Then I saw what could not possibly be misconstrued. And where is His Lordship anyway?IV. Pettybone! Conniving… insidious. I don’t believe there has been a greater rivalry among men for generations. The Duke’s ego alone could run our nation. The grudges he grows are notorious. His mount is legendary. The day has come to collect his toll.