Roland C30 Digital Harpsichord including stool. Experience the elegance of baroque music.While producing authentically exquisite centuries-old harpsichord sounds and drawing inspiration from 21st century ingenuity the Roland Classic Series C30 Digital Harpsichord uses digital technology to enhance playability and expressiveness. Whether you are a virtuoso or a novice the C30 makes it possible for you to spend as much quality time as you want with the harpsichord. Taking up little space the styling of the C30 is modelled on the virginals. With an authentic wooden cabinet and a high-quality mahogany finish the traditional and simple styling will beright at home in a classic or modern interior. The period styling is enhanced by stained glass on the stand and the decorative panel on the keyboard lid. The C30 can easily switch between the built-in French and Flemish types of harpsichord. Both of these have four dispositions— 8’ I (back eight) 8’ II (front eight) 4’ (upper octave) and lute (buff mute) — and each disposition has its own dedicated selection button. You can play with a single disposition or layer more than one. The C30 also has an excellent fortepiano sound and has two admirable sampled organ options - 8' flute (ideal for solo accompaniment) and 8'+4' Principal which is ideal for use with a choir. The digital C30 doesn’t need tuning and you can simply switch the pitch from a=440 to baroque (415 Hz) and French baroque (392 Hz). If for ensemble playing you need to match the C30 to other instruments fine pitch adjustments can be made. You can easily take the C30 with you to group rehearsals and live performances. Even if the temperature and humidity vary you can be sure that the pitch will remain accurate. Time-consuming maintenance is a thing of the past. Now you can just turn on and play. As well as equal temperament you can select Werckmeister Kirnberger Vallotti and Meantone tuning

Lord I Call Upon Thee is an anthem for evening or general use by Edward Bairstow for mixed chorus and Organ.

Another Look at Harmony Part 4 was written while Glass was working on Einstein on the Beach and it is easy to hear similarities between the two works. In Harmony the Voices use solfege and nonsense syllables where in Einsteinrecognizable words are sometimes set non-narratively. There are similar harmonic progressions that the two pieces share though it is less predictable in Harmony. In both works Glass takes all the time he needs to explore histheme. Another Look at Harmony requires approximately one hour to perform with intensity building through the many repetitions over time.American composer Philip Glass is widely known as one of the most celebrated influentialand prolific of the modern composers. He is frequently referred to as a minimalist though he prefers to call himself a composer of ‘music with repetitive structures.’ His operas among them the renowned Einstein On The Beach are performed across the globe and he has created work for small and large ensembles film and experimental theatre and founded his own performing group The Philip Glass Ensemble.

This anthem for SATB voices and organ has been written for HM the Queen’s Diamond Jubilee. Setting an original text by Michael Hampel Precentor of St Paul’s the text glorifies faith in God over worldly wealth or possessions. The upper voice version premiered at the Jubilee Service on 5 June 2012 in St Paul’s Cathedral by the choristers of the Chapel Royal and a special ‘Diamond’ Choir of children to be auditioned by the BBC and assembled for the service.Written for the Queen's Diamond Jubilee Service of Thanksgiving in St Paul's Cathedral on 5th June 2012.A gentle anthem suitable for all choirs not only as part of their Diamond Jubilee celebrations butalso for general concerts. The work is very easy and is achievable by choirs at all levels.

A choral collection by one of the most prolific of English composers of music for the church. Malcolm Archer's talent as a writer for voices is clearly demonstrated in these four substantial anthems taking the sopranos upto top G sharp and frequently calling for divisi voices.

Medley of gospel hymns including We Have Heard the Joyful Sound Shall We Gather at the River and When the Roll Is Called Up Yonder; fun to sing; some divisi - A triumph! Commissioned for Music Jubilee 2000 an annual Methodistconference in Pennsylvania this work was written for a mass choir of 2000 singers but is easily accessible to church choirs much smaller than that! Joseph Martin has masterfully woven together three beloved gospel hymns tocreate an exciting montage of joyful praise. Wonderful orchestration by Brant Adams adds power and might to this dynamic new medley. We Have Heard the Joyful Sounds is filled with energy and contagious excitement!

fur Pop- und Jazzchor-A new choral series that sets a new standard: Familiar traditionals are replaced by legendary pop and jazz classics the arrangers among them Jens Johansen Bertrand Gröger Oliver Gies Thierry Lalo Dylan Bell rank among the great figures of the European choral scene and the book comes along in an absolutely choir-friendly format: as a handy modern separate edition at an affordable price a valuable addition for all jazz pop and gospel ensembles looking to add new pieces to their repertoire.further editions: Straighten up and Fly right / Smells Like Teen Spirit / African Call / Washing of the Water / Blues on Sunday / As

Uses: Christmas Epiphany Concert Youth ChoirScripture: Matthew 2:1-11This Christmas gem is as much fun to sing as it is to hear! The traditional “call and response” format offers a number of options foradapting this anthem for your ensemble. Repetition makes for easy learning and the inclusion of the traditional spiritual “Rise Up Shepherd and Follow” is a masterstroke. A solid message inviting seekers to follow the light emboldensthe piece for use in worship as well as concert settings.

Lift Up Your Heads and Come Savior Come-David Kellermeyer brings us a splendid coupling of two introits for the season of lights. Majestically supported by a powerful organ accompaniment the first piece soars to an impressive crescendo celebrating the promises of Psalm24. The second piece uses well known musical and textural phrases to call the Advent event to purpose. Impressive!

There is a driving confidence in both the message and the music of this new invitation to faith. After a short slower quote from the traditional hymn Lead Me Lord the song energizes into a contemporary sound that will energizethe gathered faithful. This anthem is an excellent example of blended approach to stylistic inclusivity. Youth and adults alike will resonate with the festive spirit of this sacred choral. A winner! Included on LiteTraxAccompaniment CD. Supports: Proverbs 3:5-6 Psalms 5:8 4:8 Jeremiah 20:7-13 Genesis 21:8-21

Following the publication of Francis Jackson's organ reduction of Finzi's Requiem da Camera in 2014, Robert Gower, chairman of the Finzi Trust, recitalist and organist of Nottingham Cathedral, has created reductions of the full orchestra accompaniments to two more of Finzi's choral works. These reductions broaden the reach of these works to choirs which do not wish to present the works with orchestra, as with other standards from the sacred repertoire such the Requiems of Fauré and Duruflé. The reductions sympathetically recreate the orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particular instrument, size of choir and acoustic setting at each performance. The scores are user-friendly, in landscape format and with at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full. The reductions are fully compatible with the published piano vocal scores of the respective works which the singers will use. For St Cecilia, Ceremonial Ode for tenor solo, chorus and orchestra - words by Edmund Blunden. The original work was commissioned by the St Cecilia's Day Festival Committee for the 1947 celebration of music's patron saint. The ceremonial mood is established with fanfares, and the sonorous sweep of the choral writing reflects Finzi's admiration for Parry and Elgar. The 'catalogue' of saints, shared between the soloist and chorus, are deftly delineated: St Valentine, St George, St Dunstan, St Swithin and St Cecilia herself. In rapt stillness, the English composers of the past - Merbecke, Byrd, Dowland and Purcell - are summoned. To close, Finzi creates a festal summation with exultant counterpoint and the saint's name pealing around the chorus. / Choeur Mixte (SATB) Et Orchestre