By Stuart K. Hine (1899-1989). Arranged by Paul Leddington Wright. For SATB cho...(+)
By Stuart K. Hine
(1899-1989). Arranged by
Paul Leddington Wright.
For SATB choir and organ
w/optional brass, timpani
and congregation . Choral
octavo. Published by Hope
Publishing Company
He Lives! Chorale SATB SATB, Orgue [Octavo] Hope Publishing Company
By Allen Pote. Edited by Michael Perry. For SATB choir and organ w/optional bras...(+)
By Allen Pote. Edited by
Michael Perry. For SATB
choir and organ
w/optional brass and
timpani. Easter and
Sacred. Choral octavo. 12
pages. Published by Hope
Publishing Company
Timpani (Timpani) - intermediate SKU: HP.8342 Arranged by Hal H. Hopson. ...(+)
Timpani (Timpani) -
intermediate
SKU:
HP.8342
Arranged by
Hal H. Hopson. He is
living on the inside,
roaring like a lion.
Classics, General
Worship, Sacred. Timpani
Part. 12 pages. Hope
Publishing Company #8342.
Published by Hope
Publishing Company
(HP.8342).
UPC:
763628183424.
This
Accessible Edition of
Mendelssohn's classic
oratorio, Elijah, has
been modestly adapted by
Hal Hopson for the
purpose of making this
esteemed work less of a
monumental challenge and
vastly more approachable
for a wide range of
choral groups. Several
considerations were made
in the editing and
adapting of the score
starting with every
effort to maintain the
musical integrity of the
original. Modifications
include: reducing the
overall length of the
work while maintaining
the dramatic flow, lower
keys for solos and
choruses, updates to the
text, making the organ
accompaniment more user
friendly with designated
manual and pedal parts,
providing an optional
timpani part derived from
Mendelssohn's original
orchestration, and
providing scriptural
references for the entire
text.
(I Wonder As I Wander and We Three Kings). Composed by Nathan Daughtrey. Percu...(+)
(I Wonder As I Wander
and We Three Kings).
Composed by Nathan
Daughtrey. Percussion
Ensemble. For Percussion
Ensemble (Bells
Vibraphone 1 Vibraphone 2
a!! optional Chimes
Marimba 1 (4-octave)
Marimba 2 (4.3-octave)
Marimba 3 (5-octave) a!!
optional Percussion (2
Timpani [29a!! and
26a!!], Triangle, Mark
Tree, Suspended Cymbal)
Optional Piano a!! Only
two marimbas are needed).
Medium. Score and parts.
Duration 4:30. Published
by C. Alan Publications
By Robert A. Hobby (1962-). For optional brass quintet, timpani, handbells, orga...(+)
By Robert A. Hobby
(1962-). For optional
brass quintet, timpani,
handbells, organ,
suspended /crash cymbals,
or optional orchestra
(SATB choir, optional
Congregation). Choral.
Lessons and Carols,
Communion, Christmas.
Easy. Published by
MorningStar Music
Publishers
Now thank we all our God. (No. 1 of Two Hymns of Praise). By John Rutter (1945-)...(+)
Now thank we all our God.
(No. 1 of Two Hymns of
Praise). By John Rutter
(1945-). For SATB choir
and brass/orchestra
(Brass: 4 trumpets, 2
trombones (or 2 horns),
bass trombone, tuba (opt,
), timpani, percussion,
organ; Orchestra: 2, 2,
2, 2-4, 4, 4, 1-timpani,
percussion-organ-harp-str
ings). Chamber/Ensemble.
Miscellaneous. Set of
brass parts. 60 pages.
Duration 4'. Published by
Oxford University Press
Christmas Gloria Chorale SATB SATB [Octavo] Hope Publishing Company
By Allen Pote. For Brass, Timpani. (SATB). Latin Text and Sacred. Print Music S...(+)
By Allen Pote. For Brass,
Timpani. (SATB). Latin
Text and Sacred. Print
Music Single (SATB w/opt.
Brass and Timpani). 12
pages. Published by Hope
Publishing Company.
By Charles Villiers Stanford (1852-1924). Arranged by Cathy and David Moklebust....(+)
By Charles Villiers
Stanford (1852-1924).
Arranged by Cathy and
David Moklebust. For 3-7
octave handbells with
optional organ, brass
quintet timpani SATB
choir and congregation.
General. Level 2 . Choral
score. Published by
Chorister's Guild
Composed by Richard Strauss (1864-1949). Arranged by Michael Huff. For 9 Trumpet...(+)
Composed by Richard
Strauss (1864-1949).
Arranged by Michael Huff.
For 9 Trumpets and Opt.
Timpani. Brass - Large
Cornet (Trumpet)
Ensemble; Masterworks;
Part(s); Score. Eighth
Note Publications. Form:
Fanfare. 20th Century;
Masterwork Arrangement;
Romantic. Published by
Eighth Note Publications
Forth He Came at Easter Chorale SATB SATB, Orgue [Set de Parties séparées] Hope Publishing Company
By Allen Pote. For SATB choir and organ or piano with brass and timpani (3 B-fla...(+)
By Allen Pote. For SATB
choir and organ or piano
with brass and timpani (3
B-flat trumpets, 2
trombones [horn sub for
trombone I], and
timpani). Easter, Sacred.
Brass parts. Published by
Hope Publishing Company
Timpani, 2 trumpet, 2 trombone, organ SKU: LO.30-3674S Composed by Larry ...(+)
Timpani, 2 trumpet, 2
trombone, organ
SKU:
LO.30-3674S
Composed
by Larry Shackley.
Choral. Sacred Anthem.
Score and parts. Sacred
Music Press #30/3674S.
Published by Sacred Music
Press (LO.30-3674S).
UPC:
000308153941.
Brass
and Timpani Score and
Parts for 10/5268S Larry
Shackley arranged Robert
Leaf’s energetic
song of praise into a
festive anthem with
optional brass and
percussion. The bouncing
rhythms drive the music
forward throughout this
joyous evocation of the
words of Psalm 148.
Now thank we all our God. (No. 1 of Two Hymns of Praise). By John Rutter (1945-)...(+)
Now thank we all our God.
(No. 1 of Two Hymns of
Praise). By John Rutter
(1945-). For SATB choir
and brass/orchestra
(Brass version: 4
trumpets, 2 trombones (or
2 horns), bass trombone,
tuba (opt, ), timpani,
percussion, organ;
Orchestral version: 2, 2,
2, 2-4, 4, 4, 1-timpani,
percussion-organ-harp-str
ings). Scores.
Miscellaneous. Brass and
organ score. 20 pages.
Duration 4'. Published by
Oxford University Press
By Charles Villiers Stanford (1852-1924). Arranged by Cathy Moklebust. For handb...(+)
By Charles Villiers
Stanford (1852-1924).
Arranged by Cathy
Moklebust. For handbells
(3-7 octaves) (with
optional organ, brass
quintet, timpani, SATB,
congregation). Level 2 .
Handbell score. Published
by Chorister's Guild
By Bob Chilcott. For SA, SATB choir, piano and optional timpanis. Mixed Voices. ...(+)
By Bob Chilcott. For SA,
SATB choir, piano and
optional timpanis. Mixed
Voices. Contemporary,
Choral Works. Vocal
score. 48 pages. Duration
15'. Published by Oxford
University Press
(Love Divine, All Loves Excelling God, the Spirit, Guide and Guardian). By Cathy...(+)
(Love Divine, All Loves
Excelling God, the
Spirit, Guide and
Guardian). By Cathy
Moklebust. Arranged by
David Moklebust. For
handbells (3-6 octaves)
(with optional organ,
brass quintet, timpani,
SATB, congregation).
Level 3. Full score.
Published by Chorister's
Guild
By Jeremy J. Bankson. For SATB choir, optional congregation, organ accompaniment...(+)
By Jeremy J. Bankson. For
SATB choir, optional
congregation, organ
accompaniment, optional
brass quintet, timpani,
percussion, handbells.
Easter. Moderately Easy.
Published by MorningStar
Music Publishers
John Gardner Carols Chorale SATB SATB A Cappella [Vocal Score] Oxford University Press
By John Gardner. For SATB choir accompanied and a cappella (A Gallery Carol: per...(+)
By John Gardner. For SATB
choir accompanied and a
cappella (A Gallery
Carol: percussion
(optional: timpani,
xylophone, glockenspiel,
triangle, tambourine,
snare drum, cymbal),
organ; (from vocal score)
How bright the morning
star does shine: flute
(optional), oboe,
clarinet (optional),
bassoon, horn, trumpet
(opti). Mixed Voices.
Composer Carol
Collections. Christmas,
Choral Collection. Vocal
score. 64 pages.
Published by Oxford
University Press
Arranged by Janet Linker and Jane McFadden. For handbell choir (3-5 octaves) and...(+)
Arranged by Janet Linker
and Jane McFadden. For
handbell choir (3-5
octaves) and organ with
optional 3-5 octave
handchimes. Hymntune,
Sacred. Grade 2 .
Handbell score only. 8
pages. Published by Hope
Publishing Company
Composed
by Philip W. J. Stopford.
Advanced/Collegiate.
Epiphany, Triduum/Three
Days, Building
Dedication, Church
Anniversary, 21st
Century. Choral score.
MorningStar Music
Publishers #50-5103.
Published by MorningStar
Music Publishers
(MN.50-5103).
UPC:
688670551031.
Latin.
The Locus
Iste text is a
celebration of the work
of God. This setting
features a recurring
theme with flowing
melodic lines and a
soaring ending. The
optional brass parts add
a great deal of color to
the overall effect. Very
appropriate for Chrism
Mass or for the opening
of a service.
Composed
by Michael Boo. Sws. Bps.
Full score. 16 pages.
Duration 2:20. Carl
Fischer Music #BPS137F.
Published by Carl Fischer
Music (CF.BPS137F).
ISBN 9781491158494.
UPC: 680160917099. 9 x 12
inches.
Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future.
Forth He Came at Easter Chorale SATB SATB, Orgue [CD d'accompagnement] Hope Publishing Company
By Allen Pote. For SATB choir and organ or piano with brass and timpani. Easter,...(+)
By Allen Pote. For SATB
choir and organ or piano
with brass and timpani.
Easter, Sacred.
Performance/accompaniment
CD. Published by Hope
Publishing Company