(253 of the finest praise and worship songs). Composed by Various. For voice, piano and guitar (chords only). Sacred Folio. Gospel and Worship. Difficulty: medium. Songbook (spiral bound). Vocal melody, piano accompaniment, lyrics and chord names. 420 pages. Hal Leonard #080689006395. Published by Hal Leonard

Fake Book (Includes melody line and chords). Size 9x12 inches. 640 pages. Published by Hal Leonard.

(12 Songs from Artists That Defined the Genre). For Ukulele. This edition: Easy Ukulele TAB. Book; Ukulele Method or Supplement. Just for Fun. Rock. 72 pages. Published by Alfred Music

Composed by Mark Hayes. Sacred. Lorenz Publishing Company #70/1940L. Published by Lorenz Publishing Company

SATB choir, organ - Intermediate

SKU: MN.50-7049

Composed by William P. Rowan. Octavo. MorningStar Music Publishers #50-7049. Published by MorningStar Music Publishers (MN.50-7049).

UPC: 688670570490.

Compo sers delightful tune FERLAND wedded to a new text by contemporary hymn-writer Mary Louise Bringle. The text is a joyous expression of praise and adoration filled with colorful metaphors. The Baroque-like tune is developed for organ in the composers MorningStar publication, Ferlands March and Recessional (10-962). A successful collaboration between two creative individuals who are very involved in the current church music scene.

By Charles Wesley; Joseph M. Martin. Arranged by Brant Adams. For SATB choir and orchestra. (instrumental pack). Score and set of parts. Published by Shawnee Press.

By Mary Mcdonald. For SATB Choir and Piano. Sacred Anthem: Baptism, Family Days, General. Octavo. 12 pages. Published by Lorenz Publishing Company

Concert Band - Grade 1

SKU: HL.44005027

Grade 1 - Score Only. Composed by Ludwig van Beethoven. Arranged by Philip Sparke. Anglo Music Concert Band. Festive and Solemn Music. Score Only. Composed 2004. 20 pages. Anglo Music Press #AMP121. Published by Anglo Music Press (HL.44005027).

UPC: 073999670998. 9x12 inches. English-German-French-Dut ch.

This beautiful melody is taken from the final movement of Beethoven's sixth symphony and has the title “Shepherd's Song: grateful feelings towards God after the storm.” Bring the classic period alive with this great arrangement by Philip Sparke.

SSAA, a cappella

SKU: SU.80300121

For SSAA, a cappella. Composed by Daniel E. Gawthrop. Vocal/Choral, Secular Choral. A cappella. Choral Octavo. Treble Clef Music Press #80300121. Published by Treble Clef Music Press (SU.80300121).

The central poem, by Madeleine L'Engle, depicts Neptune as a Sea Bishop who blesses all the creatures of sea and land. Gawthrop's vocally grateful text setting is particularly strong here, with occasional imitative entrances. SSAA a cappella. Medium. SSAA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.

Composed by Nigel Williams. Choral. Sacred Anthem. Octavo. Sacred Music Press #10/5361S. Published by Sacred Music Press

Thanksgiving and Praise. Arranged by Jan Sanborn. Piano Collection; Piano Supplemental. Sacred Performer Collections. Fall; Hymn; Sacred; Thanksgiving. Book. 48 pages. Alfred Music #00-21329. Published by Alfred Music

SATB vocal soli, SATB choir, 2 violins, 2 trumpets, 2 trombones, timpani, basso continuo

SKU: CA.2770212

Pfingstsequenz. Composed by Antonio Caldara. Edited by Guido Erdmann. Arranged by Guido Erdmann. Music from Vienna. German title: Veni Sancte Spiritus. Sacred vocal music, Motets, Whitsun. Single Part, Violin 2. Composed circa 1725. 2 pages. Duration 5 minutes. Carus Verlag #CV 27.702/12. Published by Carus Verlag (CA.2770212).

ISBN 9790007202644. Key: C major. Language: Latin. Text: Langton, Stephen. Text: Stephan Langton.

Antonio Caldara, with about 3,400 works to his credit, ranks among the most prolific composers of the Baroque era and of music history in general. From 1716 Caldara was employed as the Vice-Music Director at the Court of Vienna, where he quickly developed into the primary and favorite composer of the musically knowledgeable Emperor Karl VI. Caldara's festive setting of the sequence for Whitsun, Veni Sancte Spiritus, which may have been composed around 1725, is now made available for the first time in print. The catchy and compact piece is suited for concert performance and is also excellently suited for the liturgical context of Whitsun: during the Mass, for example, as entrance or exit music or as music for the offertory. Through similar scoring requirements Caldara's setting of the sequence can also be used with many compositions of the Ordinary without any additional effort. For most church choirs the tutti sections with Caldara's favored homophonic, yet effective vocal writing represent a grateful task. Score and part available separately - see item CA.2770200.

By Lloyd Larson. Arranged by Mary Kay Beall. (SAB or Three-Part). Scripture References: 1 Chronicles 23:30 -- Colossians 2:6-7 -- Colossians 3:15 -- Hebrews 12:28. Hymntune, Hymntune, Thanksgiving and Sacred. Print Music Single (SATB). 12 pages. Published by Hope Publishing Company.

By Christopher Gilliam. For SATB choir and keyboard. Sacred. Octavo. 8 pages. Published by Beckenhorst Press

Band

SKU: PR.16500104F

Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F).

ISBN 9781491132159. UPC: 680160681082.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Guitar solo - Advanced

SKU: DZ.DZ-4244

Composed by Konstantin Bliokh. Score. Les Productions d'OZ #DZ 4244. Published by Les Productions d'OZ (DZ.DZ-4244).

ISBN 9782898521614.

La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. � ce moment-là, ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.

Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.

Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.

Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.

Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol# â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.

Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ?? Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.

La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.

Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.

Sona ta No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.
Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.
The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.
The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.
The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ? ?B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.
Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.
The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.
I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.

Composed by John W. Duarte (1919-). Edited by Vladislav Blaha. Saddle stitching. Classical. Ut Orpheus #CH 361. Published by Ut Orpheus

By David Shaffer. For concert band. Concert Band series. Grade 3. Score and set of parts. Duration 5 minutes, 6 seconds. Published by C.L. Barnhouse

Choir

SKU: WD.080689446238

Composed by Joshua Bryant Spacht. Arranged by Joshua Spacht. Choral. Sacred Anthem, Christmas. Octavo. Word Music #080689446238. Published by Word Music (WD.080689446238).

UPC: 080689446238.

Writt en by Lincoln Brewster, Paul Baloche and Jason Ingram, and recorded by Paul Baloche, this modern worship song has been given a vibrant, upbeat, choral twist by Joshua Spacht. Lift up your grateful hearts to the Morning Star. He’s alive, and here with us. Shout for joy!

The Praise and Worship Fake Book (B Flat Edition). By Various. For Bb Instruments. Fake Book. Softcover. 432 pages. Published by Hal Leonard

SATB Choral (SATB Cello)

SKU: HL.1414555

Composed by Heather Sorenson. Sacred Choral. Octavo. Duration 270 seconds. Published by Hal Leonard (HL.1414555).

UPC: 196288197126. 6.75x10.5 inches. III John 1:12, James 1:17, John 1:6.

A beautiful affirmation of an abundant life, this anthem is a lovely choice for reminding us all to be grateful. Graceful melodic contours and moments of harmonic surprise add warmth and dimension to this pleasing soundscape.

SKU: WD.080689427671

Composed by Kathie Hill. Arranged by Melody Morris. Choral, cantatas. Orchestration. Word Music #080689427671. Published by Word Music (WD.080689427671).

UPC: 080689427671.

Fish Tales are stories that are supernatural, completely factual and actually occurred. Why? Because these tales about fish come from God's Word! Designed for versatility, Fish Tales provides you with three mini-musicals with a unique emphasis on Thanksgiving, Easter and missions. At the Fish Tales Fishing Tournament kids will join their host Mr. Gill for a great time of Bible songs and stories...about fish! * In Great Fish for Grateful Folks, kids will learn about gratitude, what the fish symbol meant for early believers, and how Jesus fed five thousand people a supernatural supper of real fish and bread. Jesus encourages us to be thankful to God . . . even for fish sandwiches! * In Good Fish for Easter Day, kids find out what was so good about Good Friday and the relationship of the cross to the resurrection. Children will really get their hooks into learning about God's patience with a doubting world through the story of the Resurrection and be challenged to respond to the gospel themselves. * Good Fish for Fishers of Men tells the tale of the disciples' commitment to follow Jesus. Kids learn to cast their nets to bring the world to Christ. So grab a rod and reel and meet us at the lake to catch the message in our Fish Tales! Ages: Preschool-6th grade.

Composed by Various. Edited by Richard Walters. Boosey and Hawkes Voice. Opera. Softcover. 306 pages. Published by Boosey and Hawkes

Realized from the original airs of John Gay's Ballad Opera (1728) 16 Songs for Various Voice Types. By John Gay, Benjamin Britten. This edition: M051933990. Boosey and Hawkes Voice. Softcover. 48 pages. Published by Boosey and Hawkes.