Performed by The King's Singers. Arranged by Robert Sells. (TTBB a cappella). King's Singer's Choral. Size 6.7x10.5 inches. 12 pages. Published by Hal Leonard.

Composed by Jeremy Riddle, Phil Wickham and Joshua Neil Farro. Arranged by Lloyd Larson. Christ the King, Easter, General Worship, Sacred. Octavo. 12 pages. Published by Hope Publishing Company (HP.C6070).

Composed by Joshua Evanovich. For SATB choir, organ. Sacred Anthem, General, Lent. Octavo. Lorenz Publishing Company #10/4671L. Published by Lorenz Publishing Company

Jazz Ensemble

SKU: AP.1-ADV31004

From The Departure. Composed by Miles Davis and Victor Feldman. Arranged by Bob Mintzer. Jazz Ensemble; Performance Music Ensemble; Single Titles. Advance Music. Jazz. Score and Part(s). Advance Music #01-ADV31004. Published by Advance Music (AP.1-ADV31004).

UPC: 805095310047. English.

Joshua lends itself nicely to the big band instrumentation. Harmonically and rhythmically challenging arrangement, with rapid harmonic modulations and shifts from 4/4 to 3/4. Arranged with moderate brass ranges by Bob Mintzer.

Arranged by Sally K. Albrecht. For Choir. (3-Part). Choral Octavo. Choral Designs. Spiritual. Choral Octavo. 12 pages. Published by Alfred Publishing.

Arranged by Sally K. Albrecht. For Choir. (SATB). Choral Octavo. Choral Designs. Spiritual. Choral Octavo. 12 pages. Published by Alfred Publishing.

Choral, Electric Bass, Congas (TTBB divisi)

SKU: HL.154104

Composed by Traditional Spiritual. Arranged by Rollo Dilworth. Festival Choral. African-American, Concert, Festival, Male Voices, Spiritual. Octavo. 24 pages. Published by Hal Leonard (HL.154104).

UPC: 888680098421. 6.75x10.5 inches.

Opening with a slow, unaccompanied statement of the refrain, this contemporary setting of the traditional spiritual then unfolds into a dramatic layering thematic treatment that is tremendously exciting. Includes optional congas and electric bass.

Arranged by Lloyd Larson. For piano, 4-hands. Blues-Gospel-Spirituals, Jazz/SwingStyle, General, Sacred. 4-hand piano part. Published by Hope Publishing Company

Arranged by Kirby Shaw. (SSA). Discovery Choral. Festival. Size 6.7x10.5 inches. 12 pages. Published by Hal Leonard.

Arranged by Kirby Shaw. (3 Part Mixed). Discovery Choral. Festival. Size 6.75x10.5 inches. 12 pages. Published by Hal Leonard.

Flute and piano - Level 3

SKU: LM.27958

Composed by Jean Marc Allerme and Vincent Charrier. Pop, jazz. Score and CD. Editions Henry Lemoine #27958. Published by Editions Henry Lemoine (LM.27958).

ISBN 9790230979580.

Josh ua Fit the Battle of Jericho (trad.) - TCHAIKOVSKI P.I. : Fantasia, Valse des Fleurs extr. de Casse-noisette - CARMEN E. : All by Myself - BETTI H. / HORNEZ A. : C'est si bon - MENDELSSOHN F. : Les Visiteurs, Concerto pour violon - Nobody Knows The Trouble l've Seen (Trad.) - MANCINI H. : The Pink Panther - SCHIFFRIN L. : Mission impossible - WILLIAMS J. : Les Aventuriers de l'Arche perdue, Raider's March - ALBINONI T. : Quatre mariages et un enterrement, Adagio.

Arranged by Kirby Shaw. (TTB). Discovery Choral. Festival. Size 6.75x10.5 inches. 12 pages. Published by Hal Leonard.

Performed by Joshua Kadison. For voice, piano and guitar chords. Format: piano/vocal/chords single. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Adult contemporary. Eb Major. 5 pages. 9x12 inches. Published by Hal Leonard.

Arranged by Stacey V. Gibbs. Gentry Publications. Octavo. 12 pages. Gentry Publications #JG2553. Published by Gentry Publications

By M. Susan Brown. For SSA choir, a cappella. Concert, General, Spiritual. Octavo. Published by Santa Barbara Music Publishing

By Miles Davis. By Victor Feldman. Arranged by Mark Taylor. For Jazz Ensemble (Score and Parts). Jazz Ensemble Library. Grade 4. Published by Hal Leonard

Arranged by Teresa Wilhelmi. For Piano. The FJH Sacred Piano Library. Contents include: Poor Wayfaring Stranger; Ezekiel Saw the Wheel; Swing Low, Sweet Chariot; Joshua Fit the Battle of Jericho; Nobody Knows the Trouble I've Seen. Sacred. Level: Early Advanced. Book. Published by The FJH Music Company Inc.

Arranged by Joshua Spacht. Anthem. Octavo. Published by Word Music (WD.080689438233).

Guitar

SKU: HL.122015

The Basics and Beyond by Joshua Ray. By Joshua Ray. Guitar Educational. Instruction, Technique. Softcover Video Online. With guitar tablature. 16 pages. Published by Hal Leonard (HL.122015).

ISBN 9781480354074. UPC: 884088946586. 9x12 inches.

The exceptionally talented Joshua Ray, lead guitarist for Shania Twain, brings you this exclusive instructional book and video pack, featuring his full video lessons with demonstrations and discussion of every lick and concept. Joshua's rock, blues and country lick lessons take you deep into the anatomy of each idea through examination of their applications, variations, scale sources, possibilities, and beyond. The accompanying book includes easy to-use rhythm tab notation for every lick and scale in the video. The video is accessed online for download or streaming using the unique code found inside each book. Great for the beginning to advanced guitarist!

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

For Violin and Orchestra. Composed by Behzad Ranjbaran. Contemporary. Large Score. With Standard notation. Composed 1994. 144 pages. Duration 31 minutes. Theodore Presser Company #416-41366L. Published by Theodore Presser Company (PR.41641366L).

UPC: 680160585755.

From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violins open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movements primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violinas open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movementas primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violin's open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement's primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.

Choir

SKU: WD.080689348235

Composed by Joshua Bryant Spacht. Arranged by Joshua Spacht. Choral. Sacred Anthem. Octavo. Word Music #080689348235. Published by Word Music (WD.080689348235).

UPC: 080689348235.

Grace . A message of hope. A message of redemption. One of unfailing, unconditional love. Grace…God’s grace. A message beautifully conveyed in this moving new song, Oh, What Grace, arranged by Joshua Spacht.

Choir

SKU: WD.080689645143

Composed by Joshua Bryant Spacht. Arranged by Joshua Spacht. Choral. Sacred Anthem. Stem mixes. Word Music #080689645143. Published by Word Music (WD.080689645143).

UPC: 080689645143.

This traditional Christmas classic is transformed through the powerful, dynamic artistry of arranger Joshua Spacht. Opening with a catchy flute motif and then transitioning to robust guitars and a driving pulse, this powerhouse arrangement will be one you'll want to program again and again. It's 'Spachtacular'!

Choir

SKU: WD.080689405235

Composed by Joshua Bryant Spacht. Arranged by Joshua Spacht. Choral. Sacred Anthem, Eastertide. Octavo. Word Music #080689405235. Published by Word Music (WD.080689405235).

UPC: 080689405235.

With his trademark style and sound, Joshua Spacht creates a remarkably creative orchestral framework around an impressive combination of lyric and melody that exhorts the listener to bow and cry Holy before the Lamb of God. This new song from Integrity Music will be a wonderful complement to your Easter repertoire for years to come.

Choir

SKU: WD.080689343230

Composed by Joshua Bryant Spacht. Arranged by Joshua Spacht. Choral. Sacred Anthem. Octavo. Word Music #080689343230. Published by Word Music (WD.080689343230).

UPC: 080689343230.

Joshu a Spacht’s haunting vocal and orchestral arranging is a perfect match for this new favorite Praise and Worship song, Oceans (Where Feet May Fail), made popular by Hillsong. Now your choir can be featured on a powerful song that draws the worshipper’s heart to long for complete surrender to Christ!

Choir

SKU: WD.080689145339

Composed by Joshua Bryant Spacht. Arranged by Joshua Spacht. Choral. Sacred Anthem. CD choraltrax. Word Music #080689145339. Published by Word Music (WD.080689145339).

UPC: 080689145339.

This traditional Christmas classic is transformed through the powerful, dynamic artistry of arranger Joshua Spacht. Opening with a catchy flute motif and then transitioning to robust guitars and a driving pulse, this powerhouse arrangement will be one you'll want to program again and again. It's 'Spachtacular'!

Choir

SKU: WD.080689432231

Composed by Joshua Bryant Spacht. Arranged by Joshua Spacht. Choral. Sacred Anthem. Octavo. Word Music #080689432231. Published by Word Music (WD.080689432231).

UPC: 080689432231.

This gentle ode to the gift He left us is gently and approachably arranged by Joshua Spacht, reminding and encouraging us: “…We only want to hear Your voice; when You speak and when You move…it changes us…changes what we see and what we seek.”.