Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns, 2 trumpets, timpani, 2 (3) violins, 2 violas, cello, basso continuo

SKU: CA.5507509

Ode. Version of the first performance and version of 1751. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. 2x 55.075/21 2 flutes, 1x 55.075/22 oboe 1, 1x 55.075/23 oboe 2, 3x 55.075/24 3 bassoons, 2x 55.075/31 2 horns, 3x 55.075/32 2 trumpets, 3x 55.075/32 2 trumpets, 3x 55.075/32 2 trumpets, 3x 55.075/32 2 trumpets. Stuttgart Urtext Edition: Handel. Harmony parts. Innovative practice aids, Sacred vocal music, Oratorios. Set of Orchestra Parts. Composed 1736/1751. HWV 75. Duration 85 minutes. Carus Verlag #CV 55.075/09. Published by Carus Verlag (CA.5507509).

ISBN 9790007226794. Text language: German/English.

For the magnificent opening of the oratorio season at the beginning of 1736 Handel presented a composition which, like hardly any of his other oratorios, gave him the opportunity to display his musical artistry: John Dryden's ode Alexander's Feast or the Power of Music, published in 1696, demonstrates the power of music by the example of the ancient hero, Alexander the Great. From the impressive lament on the death of Darius, the King of Persia, to the boisterous Praise of Bacchus Handel avails himself of the entire breadth of the musical representation of the emotions and the possibilities for expression. In the text by Newburg Hamilton added at the end of work St. Cecilia elevates the events of the ancient heathen story, which Handel expressed in plastic, skillful polyphony. Later, this homage to the patron saint of church music, Handel also present the opportunity to perform the work on St. Cecilia's Day (22 November). For the first time the present new edition is based consistently on Handel's conducting score, which he used for his own performances of the oratorio, thus not only eliminating timeworn errors, but also offering clarity concerning the choruses, the arias and recitatives, actually performed in Handel's concerts, as well as their sequence of performance. The new Carus edition offers two performance versions: the version of the premiere in 1736, as well as a revised version from 1751. Furthermore, the inclusion of the Concerto for Harp HWV 294 (CV 55.294) is also possible; Handel composed this work especially for Alexander's Feast (as an illustration of Timotheus, the ancient poet who played the lyre). For this purpose the edition contains the appropriate alternatives for the sequence of the movements. Score and parts available separately - see item CA.5507500.

SSATB vocal soli, SATB choir, 2 flutes (horn), 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3911509

Composed by Georg Philipp Telemann. Edited by Klaus Hofmann. This edition: urtext. 2x 39.115/21 flute 1, 2x 39.115/22 flute 2, 1x 39.115/23 oboe 1, 1x 39.115/24 oboe 2. Stuttgart Urtext Edition: Telemann-Archiv. Harmony parts. Sacred vocal music, Cantatas, Christmas. Set of Orchestra Parts. TVWV 1:1452. 16 pages. Duration 22 minutes. Carus Verlag #CV 39.115/09. Published by Carus Verlag (CA.3911509).

ISBN 9790007215590. Language: German.

Uns ist ein Kind geboren is one of Telemann's most beautiful Christmas cantatas, which features an opening duet for two sopranos based on Polish-Moravian folklore, as well as two substantial choral movements. The two horns allotted to the second choral movement to the text Ehre sei Gott in der Hohe can be replaced by two flutes. This is supported by a source from the Telemann tradition in Frankfurt, in which these parts are present. Score and parts available separately - see item CA.3911500.

SATB vocal soli, SATB choir, 2 flutes, 2 clarinets, 2 bassoons, 2 horns, timpani, 2 violins, 2 violas, cello/contrabass

SKU: CA.2300809

Composed by Jose Nunes Garcia. 1x 23.008/21 flute 1, 1x 23.008/22 flute 2, 1x 23.008/23 clarinet 1, 1x 23.008/24 clarinet 2, 1x 23.008/25 bassoon 1, 1x 23.008/26 bassoon 2, 1x 23.008/31 horn 1, 1x 23.008/32 horn 2, 1x 23.008/41 timpani. Harmony parts. Sacred vocal music, Requiem. Set of Orchestra Parts. 80 pages. Duration 35 minutes. Carus Verlag #CV 23.008/09. Published by Carus Verlag (CA.2300809).

ISBN 9790007037741. Language: Latin.

Garcia, born in 1767 in Rio de Janeiro, and priest and music director at the cathedral there, is still hardly known. Among his spiritual works are four settings of the Mass for the Dead. The present ,,Missa dos Defunktos was commissioned by the Portuguese King Dom Joao VI in the memory of Queen Maria I, who died in 1816. The composition, in the key of D minor, shows parallels in several places to Mozart's Requiem, which Garcia performed two years later (1819) for the first time in Brasil. Score and parts available separately - see item CA.2300800.

SATB vocal soli, SATB choir, 2 flutes, 2 bassoons, 2 horns, 2 trumpets, timpani, 2 violins, viola, basso continuo

SKU: CA.9700609

Composed by Franz Xaver Richter. Edited by Hans Gurski, Annette Naumann. 1x 97.006/21 flute 1, 1x 97.006/22 flute 2, 1x 97.006/23 bassoon 1, 1x 97.006/24 bassoon 2, 1x 97.006/31 horn 1, 1x 97.006/32 horn 2, 1x 97.006/33 trumpet 1, 1x 97.006/34 trumpet 2, 1x 97.006/41 timpani. Harmony parts. Sacred vocal music, Masses, Latin, Christmas. Set of Orchestra Parts. Composed 1775. Reutter A 23. 88 pages. Duration 40 minutes. Carus Verlag #CV 97.006/09. Published by Carus Verlag (CA.9700609).

ISBN 9790007238865. Key: G major. Language: Latin.

Several elements contribute to the Christmas character of this mass, which is distinguished by the fine skillfulness of its composition: structural means, such as motives in triads, the symbol of gently rocking, traditional themes and a fitting instrumentation with trumpets and flutes. Because of its catchy, easiliy graspable quality this Messa Pastorale, published here in a first edition, is highly suited for liturgical use. Score and parts available separately - see item CA.9700600.

By Franz Joseph Haydn (1732-1809). Edited by Friedrich Lippmann. For voice/mixed choir/orchestra (Solo Soprano/Solo Alto/Solo Tenor/Solo Bass/Mixed Choir: SATB/Flute/2 Oboes/2 Clarinets/2 Bassoons/2 Horns/2 Trumpets/Timpani/Strings/ Basso continuo). This edition: Clothbound, Urtext edition. Clothbound. Urtext from: Joseph Haydn Werke, G. Henle Verlag Munich. Messen (Masses). Score. Hob. XXII:14. Duration 45 minutes. Published by Baerenreiter Verlag

Orchestra SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 horns, 2 trumpets, 3 trombones, timpani, 2 violins, viola, cello, double bass

SKU: CA.4009009

Composed by Luigi Cherubini. Edited by Oliver Schwarz-Roosmann. 1x 40.090/21 piccolo, 1x 40.090/22 flute 1, 1x 40.090/23 flute 2, 1x 40.090/24 oboe 1, 1x 40.090/25 oboe 2, 1x 40.090/26 clarinet 1, 1x 40.090/27 clarinet 2, 1x 40.090/28 bassoon 1, 1x 40.090/29 bassoon 2, 1x 40.090/31 horn 1, 1x 40.090/32 horn 2, 1x 40.0. Harmony parts. Sacred vocal music, Motets. Set of Orchestra Parts. Composed 1829. 52 pages. Duration 12 minutes. Carus Verlag #CV 40.090/09. Published by Carus Verlag (CA.4009009).

ISBN 9790007217518. Language: Latin.

In this occasionally unusual, expressive work, Cherubini sensitively follows the drama of the psalm texts, on which the work is based. In concert the work is suitable as an impressive pendant to the masses and requiem settings of Cherubini, Haydn, or Mozart, and also in combination with the great sacred works of the 19th century. Score and parts available separately - see item CA.4009000.

SATB vocal soli, SATB choir, 2 oboes, 2 clarinets, 2 trombones, timpani, violin solo, 2 violins, basso continuo

SKU: CA.2703509

Composed by Karl Ditters von Dittersdorf. Edited by Johannes Kirner. 1x 27.035/21 oboe 1, 1x 27.035/22 oboe 2, 1x 27.035/31 clarino 1, 1x 27.035/32 clarino 2, 1x 27.035/33 trumpet 1, 1x 27.035/34 trumpet 2, 1x 27.035/41 timpani. Harmony parts. Sacred vocal music, Masses, Latin. Set of Orchestra Parts. Composed circa 1769. KreD 326. 44 pages. Duration 42 minutes. Carus Verlag #CV 27.035/09. Published by Carus Verlag (CA.2703509).

ISBN 9790007199159. Key: C major. Language: Latin.

Of the 19 Masses by Dittersdorf which have been handed down, the present Mass, which is being published for the first time, enjoyed a special popularity during the composer's lifetime and it was even performed for the coronation of emperor Franz II in the Frankfurt Cathedral. This solemn, prestigious Mass shows evidence of choral movements in traditional contrapuntal church style as well solo parts with a modern, cantabile character. In addition, the Gloria includes a lengthy virtuosic violin solo, which also lends the work a concertante character (Dittersdorf was a professional violinist). Score and parts available separately - see item CA.2703500.

SATB vocal soli, SATB choir, 2 oboes d'amore, 2 violins, viola, [cello piccolo], basso continuo

SKU: CA.3113909

Cantata for the 23rd Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Arranged by Sven Hiemke. This edition: urtext. 1x 31.139/21 oboe d'amore 1, 1x 31.139/22 oboe d'amore 2. Stuttgart Urtext Edition: Bach vocal. Harmony parts. Sacred vocal music, Cantatas, End of the church year, Trinity, Praise and thanks. Set of Orchestra Parts. Composed 1724. BWV 139. Duration 20 minutes. Carus Verlag #CV 31.139/09. Published by Carus Verlag (CA.3113909).

ISBN 9790007208233. Text language: German/English. Text: Rube, Johann Chr.

Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score and parts available separately - see item CA.3113900.

(Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - Grade 3

SKU: CA.1025003

Composed by Henry Purcell. Edited by Julia Rosemeyer. Vocal score. Composed 1692. Z 328. Duration 55 minutes. Carus Verlag #1025003. Published by Carus Verlag (CA.1025003).

ISBN 9790007251833. Key: D major. English.

“Hail ! bright Cecilia, hail to thee. Great patroness of us and harmony!” – this exclamation opens the final chorus of Henry Purcell’s eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time.

A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Cecilia’s Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexander’s Feast, HWV 75 (Carus 55.075), and his Ode for St. Cecilia’s Day, HWV 76 (Carus 55.076).

Purcell⠀™s magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the “Orpheus Britannicus”, as Purcell was admiringly called by contemporaries.

- Festive, rousing ode to music
- Highlight of the choral ode genre in the 17th century
. Score available separately - see item CA.1025000.

Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc - Grade 3

SKU: CA.1025000

Composed by Henry Purcell. Edited by Julia Rosemeyer. Carus digital: Extra digital products. Full Score. Composed 1692. Z 328. Duration 55 minutes. Carus Verlag #1025000. Published by Carus Verlag (CA.1025000).

ISBN 9790007251826. Key: D major. English.

â??Hail! bright Cecilia, hail to thee. Great patroness of us and harmony!â? â?? this exclamation opens the final chorus of Henry Purcellâ??s eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time. A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Ceciliaâ??s Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexanderâ??s Feast, HWV 75 (Carus 55.075), and his Ode for St. Ceciliaâ??s Day, HWV 76 (Carus 55.076).Purcellâ ??s magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the â??Orpheus Britannicusâ?, as Purcell was admiringly called by contemporaries.- Festive, rousing ode to music- Highlight of the choral ode genre in the 17th century

(Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - Grade 3

SKU: CA.1025005

Composed by Henry Purcell. Edited by Julia Rosemeyer. Choral Score. Composed 1692. Z 328. Duration 55 minutes. Carus Verlag #1025005. Published by Carus Verlag (CA.1025005).

ISBN 9790007251840. Key: D major. English.

“Hail ! bright Cecilia, hail to thee. Great patroness of us and harmony!” – this exclamation opens the final chorus of Henry Purcell’s eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time.

A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Cecilia’s Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexander’s Feast, HWV 75 (Carus 55.075), and his Ode for St. Cecilia’s Day, HWV 76 (Carus 55.076).

Purcell⠀™s magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the “Orpheus Britannicus”, as Purcell was admiringly called by contemporaries.

- Festive, rousing ode to music
- Highlight of the choral ode genre in the 17th century
. Score available separately - see item CA.1025000.

Organ (Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - Grade 3

SKU: CA.1025049

Composed by Henry Purcell. Edited by Julia Rosemeyer. Composed 1692. Z 328. Duration 55 minutes. Carus Verlag #1025049. Published by Carus Verlag (CA.1025049).

ISBN 9790007329808. Key: D major. English.

“Hail ! bright Cecilia, hail to thee. Great patroness of us and harmony!” – this exclamation opens the final chorus of Henry Purcell’s eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time.

A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Cecilia’s Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexander’s Feast, HWV 75 (Carus 55.075), and his Ode for St. Cecilia’s Day, HWV 76 (Carus 55.076).

Purcell⠀™s magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the “Orpheus Britannicus”, as Purcell was admiringly called by contemporaries.

- Festive, rousing ode to music
- Highlight of the choral ode genre in the 17th century
. Score and part available separately - see item CA.1025000.

(Soli SAATBB, Coro SATB (auch SSAATB), 2 Bfl, 2 Ob, 2 Tr, Timp, 2 Vl, Va, Bc) - Grade 3

SKU: CA.1025009

Composed by Henry Purcell. Edited by Julia Rosemeyer. Set of Orchestra Parts. Composed 1692. Z 328. Duration 55 minutes. Carus Verlag #1025009. Published by Carus Verlag (CA.1025009).

ISBN 9790007329815. Key: D major. English.

“Hail ! bright Cecilia, hail to thee. Great patroness of us and harmony!” – this exclamation opens the final chorus of Henry Purcell’s eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time.

A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Cecilia’s Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexander’s Feast, HWV 75 (Carus 55.075), and his Ode for St. Cecilia’s Day, HWV 76 (Carus 55.076).

Purcell⠀™s magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the “Orpheus Britannicus”, as Purcell was admiringly called by contemporaries.

- Festive, rousing ode to music
- Highlight of the choral ode genre in the 17th century
. Score and parts available separately - see item CA.1025000.

Youth Choir Leadership, Education, and Artistry. Composed by Robyn Lana. Book; Choral Resources; Reference Textbooks; Textbook - Choral / Vocal. 180 pages. Published by Alfred Music

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,”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.”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,”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 praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”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 “Amen” 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 sight”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.

3-5 octave handbells - Grade 2/2+

SKU: BP.HB525

Arranged by Patricia Hurlbutt. Handbell choir music. Handbell score. 12 pages. Beckenhorst Press #HB525. Published by Beckenhorst Press (BP.HB525).

UPC: 748769305256.

For 3 to 5 octave handbell choir. Rated level 2/2+. The set includes: Come, Thou Long Expected Jesus; Restoration; I Come With Joy. These arrangements from Southern Harmony provide easy yet interesting and varied selections for worship. Each piece presents small challenges for early intermediate choirs, though none should prove insurmountable, and the tunes are so enjoyable that the effort to learn them is well worth it. Ideal choices for the group looking for something a little different!

Composed by David Berkman. Instructional book & 2 CDs. Published by Sher Music Company

By Austin C. Lovelace. For SAB choir, organ. Parish. Choral, General, Hymn. Easy/Medium. Choral octavo. Published by Paraclete Press

Emotional Expression in Group Singing. Music Pro Guide Books and DVDs. Softcover. 272 pages. Published by Hal Leonard (HL.156135).

By Traditional. Arranged by Ben Parry. For SSAATTBB choir a cappella. Kikapust Choral Series. Choral, Christmas. Grade 3. Sheet Music. Duration 2 minutes, 30 seconds. Published by Edition Peters

The Oxen by Traditional. Arranged by Jonathan Rathbone. For SSAATTBB choir a cappella. Kikapust Choral Series. Choral, Christmas. Grade 3. Sheet Music. Duration 2 minutes. Published by Edition Peters

Arranged by Craig Cassils. For SA choir and piano. Christmas. Grade 3-8. Vocal score and performance/accompaniment CD. Published by Themes and Variations

By Greg Gilpin. Choir Secular. 2-Part Choir. Choral Octavo. Choral Designs. 8 pages. Published by Alfred Music Publishing

(A Workbook for Beginning, Intermediate or Advanced Students). Composed by Miles Okazaki. For guitar. Spiral- bound. Guitar Methods, Scales, Arpeggios, Technique, Theory, Harmony. Book. 166 pages. Published by Mel Bay Publications, Inc

(In Harmony). By Sally K. Albrecht and Jay Althouse. Choir Secular. 2-Part Choir. Choral Octavo. Choral Designs. 12 pages. Published by Alfred Music Publishing

(In Harmony). By Sally K. Albrecht and Jay Althouse. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. 12 pages. Published by Alfred Music Publishing