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

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

C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

(A Suite for Lent or Holy Week). By Lloyd Larson. For SAB choir, piano and narrator (with optional flute, clarinet, digital keyboard, descant, congregation). Worship Works. Holy Week, Lent, Palm Sunday, Sacred. Sacred Anthem

Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Arranged by Mark A. Brymer. Octavo for SSA choir and piano accompaniment. With chord names. Choral. F/G Major. 8 pages. Published by PraiseSong.

(Play 30 Hymns with 3 Easy Chords!). By Various. For Guitar. Guitar Collection. Softcover. 32 pages. Published by Hal Leonard

By William H. Doane. Edited by Michael Perry. Arranged by Joel Raney and Arnold Sherman. Handbell choir. For 3-5 octave handbells w/optional 3 octave handchimes. Hymntune. Sacred. Grade 2 . 8 pages. Published by Hope Publishing Company

For the Later Beginner. By Willard A. Palmer, Morton Manus, and Amanda Vick Lethco. For Piano. Piano Method. Alfred's Basic Piano Library. Sacred. Book. 48 pages. Published by Alfred Publishing.

String quartet String Quartet

SKU: PR.16400272S

Cassatt. Composed by Dan Welcher. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Full score. With Standard notation. Composed 2007. WRT11142. 52 pages. Duration 24 minutes. Theodore Presser Company #164-00272S. Published by Theodore Presser Company (PR.16400272S).

UPC: 680160588442. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

Chamber Music String Quartet

SKU: PR.164002720

Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720).

UPC: 680160573042. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

By Various Composers. E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and electronic keyboard). Size 9x12 inches. 64 pages. Published by Hal Leonard

Guitar - Intermediate

SKU: MB.WBM75M

Saddle-stitched. Folk. Book and online audio. Mel Bay Publications, Inc #WBM75M. Published by Mel Bay Publications, Inc (MB.WBM75M).

ISBN 9781737795353. 8.75X11.75 inches.

This is a collection of 86 guitar solos in notation only from William Bayâ??s books, Solo Guitar in Worship, Communion, Psalms, Timeless Gospel Melodies and Spirituals. The solos work well as preludes, offertories, communion hymns, recessionals or they can be played for enjoyment.  All 86 solos have been recorded and are available as online downloads with this book.

(Holy Week Reflections for Organ). By Robert Hebble (1934-). For organ. Holy Week. 3-staff. Sacred organ

(Artistic Organ Settings of Enduring Meditative Hymns). By James Southbridge. For organ: 3-staff. Sacred. Intermediate. Published by Lorenz Publishing Company

Composed by Various. Arranged by Joel Raney. For SAB choir, piano. Adult Easter Musical. Vocal score. Published by Hope Publishing Company

Handbells (2-3 octaves) - Moderately Easy

SKU: LO.20-1045L

Composed by Douglas E. Wagner. Lent, Sacred. Handbell score. Lorenz Publishing Company #20/1045L. Published by Lorenz Publishing Company (LO.20-1045L).

UPC: 000308026740.

The William Doane tune which poignantly brings to mind the Fanny Crosby text is sensitively and elegantly captured in this setting. For use anytime throughout the church year, but especially effective during the Lent and Easter seasons.

Handbells - Grade 3

SKU: HL.3770437

Handbells. Composed by Janis Mather. Miscellaneous. Southern Music Percussion. Christian, General Worship, Sacred. 32 pages. Hal Leonard #B313. Published by Hal Leonard (HL.3770437).

UPC: 884088704445. 8.5x11.0x0.164 inches.

This collection of easier hymn arrangements, limited to two octaves and in progressive order, has been compiled and arranged by Janis Mather. It is dedicated to each handbell ringer who performs these works, that he or she may be inspired to use these pieces to the honor and the glory of the Lord so that His Gospel may be proclaimed through this music.

Choral, cantatas. Eastertide, Lent. Choral score. Lorenz Publishing Company #55/1187L. Published by Lorenz Publishing Company (LO.55-1187L).

Arranged by Kevin Costley. Sight-Reading. Intervallic Reading Series. Book. Published by The FJH Music Company Inc (FJ.FJH2306).

By James Bastien. (Bastien Supplementary Books). Bastien Piano. Hymns. Level: Level 3. Music Book. Published by Neil A. Kjos Music Company.

Cello; handbell; violin - Level 2

SKU: HP.2548P

Composed by William H. Doane. Arranged by Arnold B. Sherman and Joel Raney. Hymntune, Lent, Sacred. String Parts. 6 pages. Hope Publishing Company #2548P. Published by Hope Publishing Company (HP.2548P).

UPC: 763628225483. Ephesians 1:6, Galatians 6:14, Isaiah 55:1, John 19:25, Luke 23:47-49, Mark 13:37, Matthew 10:8, Matthew 27:54, Revelation 22:16, 2 Corinthians 5:20-21, 2 Corinthians 6:1-10.

Lenten Hymn tune Fanny Crosby's hymn text, Near the Cross, is a meaningful, devotional prayer that is especially useful for the Lenten season or communion service. Joel Raney captured its spiritual essence in a piano solo that Arnold B. Sherman has now adapted for 3-5 octaves handbells and 3 octaves of optional handchimes. The addition of strings (Violin 1 & 2, Cello or Synth)added by Joel Raney, makes this an enthralling musical experience.

Handbells

SKU: MN.30-301

Composed by Sharon Elery Rogers. Lent. Handbell score. MorningStar Music Publishers #30-301. Published by MorningStar Music Publishers (MN.30-301).

UPC: 688670303012.

Incor porates RATHBUN and NEAR THE CROSS. Melodious, lush harmonies. Varied techniques: LV, optional use of mallets, shakes, and accented melodies. 2-3 octaves (20, 28 bells).