(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(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 ...(+)
(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
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
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,â€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.â€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,â€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 praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€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
“Amenâ€
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
sightâ€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.
Handbell Ensemble handbell SKU: HP.2977 Arranged by Jason W. Krug. Small(...(+)
Handbell Ensemble
handbell
SKU:
HP.2977
Arranged by
Jason W. Krug. Small(er)
But Mighty. Handbell
score. 20 pages. Hope
Publishing Company #2977.
Published by Hope
Publishing Company
(HP.2977).
UPC:
763628129774.
Eight
Settings for 12 Bells
Intended for the small
ensemble, this collection
includes 8 arrangements
that have been written
for the treble clef,
F5-C7. They can be used
for 3 to 6 ringers.
Reproducible Score SKU: HP.9171 Musicals for Youth. General Worship. Chor...(+)
Reproducible Score
SKU: HP.9171
Musicals for Youth.
General Worship. Choral
score. Hope Publishing
Company #9171. Published
by Hope Publishing
Company (HP.9171).
UPC: 763628191719.
Allen Pote.
A
Musical for Young Voices
- The Story of the Tower
of Babel Leading to
Pentecost In Genesis 11
and Acts 2 we read about
two events where
languages helped fulfill
God's purpose. When the
people of Babel built the
tower, they were led by
the human spirit and
ended up in confusion,
scattered over the earth,
speaking different
languages. At Pentecost,
people from many nations,
speaking different
languages, were led by
the Holy Spirit; and even
in their diversity, they
were united. This
35-minute musical for
young voices (Unison
w/opt. Two-Part) links
together these Old
Testament and New
Testament stories with
songs, humor and heart.
The message is, if we
follow the Great
Commandments - ?loving
God and loving our
neighbors, no matter how
different from us they
are or what language they
speak - we will surely be
filled with the Holy
Spirit. A score with
piano accompaniment and a
singers edition without
the piano part are both
included for the one
price. You may make as
many copies as you
require for use by your
choir. Separate audio
MP3s and instrumental
parts are available, and
there is a video of the
debut performance on the
Hope YouTube channel.
Arranged by Brenda
Austin. Advent, Birth of
Jesus Christ, Sacred.
Handbell score. Hope
Publishing Company #2844.
Published by Hope
Publishing Company
(HP.2844).
UPC:
763628128449.
Medle
y of Christmas Carols
This Advent setting
is intended to reflect
the wonder and mystery of
the birth of Jesus.
Conflict surrounded him
from the moment of his
birth, and this
arrangement attempts to
convey that turmoil
through the use of
dissonance. Care should
be taken that the melody
is heard above all other
notes, and a smooth,
legato line should be
used for the entire
piece.
(Leadsheets for Performance and Personal Enjoyment). Composed by David Mcdonald....(+)
(Leadsheets for
Performance and Personal
Enjoyment). Composed by
David Mcdonald. For voice
solo. Sacred Vocal.
Published by Lillenas
Publishing Company
(253 of the finest praise and worship songs). Composed by Various. For voice, pi...(+)
(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
SATB choir with optional rhythm SKU: HP.C5468C Composed by Dan Schutte, G...(+)
SATB choir with optional
rhythm
SKU:
HP.C5468C
Composed by
Dan Schutte, Gary Sadler,
and Martin Nystrom.
Arranged by Mark Kellner.
Contemporary, Hymntune,
Outreach, General
Worship, Discipleship,
Global, Mission, Sacred.
Performance/Accompaniment
CD. Hope Publishing
Company #C5468C.
Published by Hope
Publishing Company
(HP.C5468C).
UPC:
763628954680. By Martin
Nystrom & Gary Sadler &
Daniel Schutte. Acts 1:8,
Matthew
9:36-38.
Popular
hymn by Martin
Nystrom & Gary
Sadler & Daniel
Schutte This
arrangement combines a
prayer of commitment,
asking for God's heart
for the nations, with an
echo of Samuel's response
to God, Here I am, Lord.
It is a fitting call to
missions or service for
all Christians. The
inclusion of the popular
Daniel Schutte song
rounds out the
composition. Rhythm parts
consist of: Guitar, Bass
& Drums.
SATB choir with optional
rhythm; guitar (guitar,
bass & drums)
SKU:
HP.C5468R
Composed by
Dan Schutte, Gary Sadler,
and Martin Nystrom.
Arranged by Mark Kellner.
Contemporary, Hymntune,
Outreach, General
Worship, Discipleship,
Global, Mission, Sacred.
Rhythm Parts. Hope
Publishing Company
#C5468R. Published by
Hope Publishing Company
(HP.C5468R).
UPC:
763628254681. By Martin
Nystrom & Gary Sadler &
Daniel Schutte. Acts 1:8,
Matthew
9:36-38.
Popular
hymn by Martin
Nystrom & Gary
Sadler & Daniel
Schutte This
arrangement combines a
prayer of commitment,
asking for God's heart
for the nations, with an
echo of Samuel's response
to God, Here I am, Lord.
It is a fitting call to
missions or service for
all Christians. The
inclusion of the popular
Daniel Schutte song
rounds out the
composition. Rhythm parts
consist of: Guitar, Bass
& Drums.
Chamber Music Cello, Piano SKU: PR.114418880 Composed by Eric Ewazen. Sws...(+)
Chamber Music Cello,
Piano
SKU:
PR.114418880
Composed
by Eric Ewazen. Sws. Set
of Score and Parts. 12+4
pages. Duration 6:30.
Theodore Presser Company
#114-41888. Published by
Theodore Presser Company
(PR.114418880).
ISBN
9781491129289. UPC:
680160668618. 9 x 12
inches.
Idealism,
humanity, world peace,
and altruism, have been
recurring themes and
inspirations in many
compositions by Eric
Ewazen. In 2007, the
Sejong Soloists
commissioned this work
for Cello and Strings to
feature Paula Zahn as
guest soloist –
the celebrated
telejournalist is an
exceptional cellist, and
a frequent and
distinguished host for
the concerts Sejong
performs in New York
City. The work was
written for a gala
concert honoring Ban
Ki-Moon, Secretary
General of the United
Nations, and therefore
the ultimate leader of
international
peacekeeping efforts. The
resulting work, equally
suitable for Cello and
Piano, is appropriately
titled A POEM OF
HOPE.
Arranged by Brent Jorgensen. Christian, Contemporary Christian, Gospel, In...(+)
Arranged by Brent
Jorgensen.
Christian, Contemporary
Christian, Gospel,
Inspirational. Jackman
Music
Corporation #01965.
Published
by Jackman Music
Corporation
By Hal H. Hopson. Edited by Various authors. Arranged by Various Authors. Author...(+)
By Hal H. Hopson. Edited
by Various authors.
Arranged by Various
Authors. Author's
Collections. Sacred.
Book. 96 pages. Published
by Hope Publishing
Company
Harbor Music Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (stu...(+)
String Quartet
SKU:
PR.16400222S
Composed
by Dan Welcher. Full
score (study). With
Standard notation.
Duration 11 minutes.
Theodore Presser Company
#164-00222S. Published by
Theodore Presser Company
(PR.16400222S).
UPC:
680160037841.
This
work follows my Quartet
No. 1 by five years. In
terms of style and
aesthetic aim, however,
it seems light years
away. Where the first
work, a 28-minute,
four-movement piece, took
aim at cosmic conflicts
and heroic resolutions,
the present work is
intended as a kind of
divertissment. Harbor
Music lasts a mere eleven
minutes, is cast in a
single movement with six
sections, and should
leave both performers and
listeners with a feeling
of good humor and
affection. The
title comes from my
experience as a guest in
the magnificent city of
Sydney, Australia. One of
its most attractive
features is its unique
system of ferry boats:
the city is laid out
around a large,
multi-channeled harbor,
with destinations more
easily approached by
water than by land.
Consequently, inhabitants
of Sydney get around on
small, people-friendly
boats that come and go
from the central docks at
Circular Quay. During a
week's visit in 1991, I
must have boarded these
boats at least a dozen
times, always bound for a
new location - the resort
town of Manley, or the
Zoo at Taronga Park, or
the shopping district at
Darling Harbour.
In casting about for a
form for my second string
quartet, a kind of loose
rondo came to mind. Each
new destination would be
approached from the same
starting-out point
(although there are
subtle variations in the
repeating theme; it's
always in a new key, and
the texture is never the
same). The result, I
hope, is a sense of
constant new information
presented with
introductory frames of a
more familiar nature.
The embarkation
theme, which begins the
piece, is a sort of
bi-tonal fanfare in which
the violins are in G
major and the viola and
cello are in B-flat
major. It is bold, eager,
and forward-looking. The
first voyage maintains
this bi-tonality,
beginning as a 9/8 due
for second violin and
viola in a kind of
rocking motion -much as a
boat produces when
reaching the deeper water
in the harbor. A sweet,
nostalgic theme emerges
over this rocking
accompaniment. This music
is developed somewhat,
then transforms quickly
into a much faster and
lighter episode, filled
with rising and falling
scales (again, in
differing keys). A
scherzando interlude in
short notes and changing
meters provides contrast,
and the episode ends with
a reprise of the scales.
The second
embarkation follows, this
time in A major/C major.
It leads quickly into a
very warm and slow theme,
in wide-leaping intervals
for the viola. This
section is interrupted
twice by solo cadenzas
for the cello, suggesting
distant boat-horns in
major thirds. The end of
the episode becomes a
transition, with
boat-horns leading into
the final appearance of
the embarkation music,
this time in trills and
tremolos instead of
sharply accented chords.
The nostalgic theme of
the first episode makes a
final appearance, serving
now as a coda. The
rocking motion continues,
in a lullaby fashion,
leaving us drowsy and
satisfied on our homeward
journey. Harbor
Music was written for the
Cavani Quartet, and is
dedicated to Richard J.
Bogomolny. Commissioned
by his employees at First
National Supermarkets as
a gift, it represents a
thank you from many of
the people (including
this composer) who have
benefitted from his
vision and generosity. An
ardent advocate of
chamber music (and a
cellist himself), Mr.
Bogomolny has for many
years been Chairman of
the Board of Chamber
Music America. -- Dan
Welcher.