Electric organ

SKU: HL.49007035

Die zundensten Stimmungslieder. Composed by Hans Enzberg. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 56 pages. Schott Music #ED 7189. Published by Schott Music (HL.49007035).

ISBN 9790001075374.

Composed by Jimmie Davis. Arranged by Mike Sheppard. De Haske Clarinet Series. Pop and Rock. Set (Score and Parts). Composed 2020. De Haske Publications #DHP 1206218- 070. Published by De Haske Publications

Composed by Jimmie Davis. Arranged by Mike Sheppard. De Haske Saxophone Series. Pop and Rock. Set (Score and Parts). Composed 2020. De Haske Publications #DHP 1206219- 070. Published by De Haske Publications

Composed by Jimmie Davis. Arranged by Mike Sheppard. De Haske Flute Series. Pop and Rock. Set (Score and Parts). Composed 2020. De Haske Publications #DHP 1206217- 070. Published by De Haske Publications

Chamber Orchestra (Print & Digital) Choral (Chamber Orchestra Accomp.)

SKU: HL.156857

Arranged by John Leavitt. Sacred Choral. Anthem, Christ The Good Shepherd, Christ The King, General Worship, Hymn, Sacred. Softcover. Duration 160 seconds. Published by Hal Leonard (HL.156857).

UPC: 888680608323. 8.5x11.0x0.276 inches.

Uses: Christ the Good Shepherd, General, Hymn Arrangement Scripture: Psalm 23; Psalm 79:13 Exquisite artistry is extended to this winsome Irish folk song in this elegant arrangement. The pastoral qualities of the celebrated Shepherd's Psalm are front and center in the tone painting of the lyrical piano accompaniment, while the vocals add a rich quality that make this an ideal sanctuary or concert choice for anytime. Score and Parts (fl 1-2, ob, cl 1-2, bn, perc 1-2, hp, vn 1-2, va, vc, db) available as a Printed Edition and as a digital download.

By Various. Jazz. Fake Book. 550 pages. Published by Sher Music Company. CD Included with the book contains 37 melodies played by the following artists: Bob Sheppard - saxes and flute Steve Houghton - drums Dave Carpenter - acoustic bass Paul van Wageningen - drums Marc van Wageningen - electric bass Larry Dunlap - piano and synthesizer Dave Mac Nab - guitar.

Arranged by Nancy & Randall Faber. For Piano. PreTime to BigTime Piano Supplementary Lib Sacred. Hymns. Level: 3A-3B. Book. Published by The FJH Music Company Inc.

Choral (SATB)

SKU: HL.365751

Composed by Diane Hannibal and Michael Barrett. Daybreak Christmas Choral. Christmas. Octavo. Duration 155 seconds. Published by Daybreak Music (HL.365751).

UPC: 840126961867. 6.75x10.5x0.029 inches. Isaiah 53:5-7, John 10:26-28, Psalm 79:13.

Bright and lively, this original anthem has the feeling of a middle-European folk song. Incorporating NOEL NOUVELET, the piano and percussion bring the vibe, adorning the catchy minor melody with colorful timbres. In troubadour style, the text tells the story of faithful shepherds looking for their lost sheep. The second verse uses an ostinato to create a rustic folk band with vocal sounds instead of instruments. Unforgettable sonic joy! Score and Parts (cl, perc 1-2) avialable as a digital download.

America's All-Time Favorite Songs for God and Country (Library of Series). Arranged by Amy Appleby. Music Sales America. Gospel, Sacred, Sacred. Softcover. 320 pages. Music Sales #AM985314. Published by Music Sales

Arranged by Nancy and Randall Faber. For Piano. PreTime to BigTime Piano Supplementary Library. Classics. Level: Primer. Book. Published by The FJH Music Company Inc.

Arranged by Nancy and Randall Faber. For Piano. PreTime to BigTime Piano Supplementary Lib Sacred. Hymns. Level: 2A. Book. Published by The FJH Music Company Inc.

Choral (orchestration on CD-rom)

SKU: HL.35028318

Composed by Joseph M. Martin and Robert Sterling. Shawnee Sacred. Advent, Christmas Sacred, Epiphany, General Worship. CD-ROM, Score and Parts. Published by Shawnee Press (HL.35028318).

UPC: 884088650322. 4.75x5 inches. Joseph M. Martin/Robert Sterling.

Uses:< /b> Advent, Epiphany, General

Scriptu re: John 10:3

This anthem is a sacred tone poem shining with the light of hope. Illuminated with the warmth of a rich harmonic syntax, this singular choral is refreshing to the ears and spiritually encouraging to the heart. The lush and colorful orchestration creates a sound track to this message of divine faithfulness. Available separately: SATB, StudioTrax CD, iPrint Orchestration (Score and parts for Piccolo, flute, oboe, Bb Clarinet, Bass Clarinet, Bassoon, Horns 1&2, Glock, Perc, Timp, Harp, Piano, Violin 1&2, Viola, Cello, Double Bass). Duration: ca. 2:49.

Composed by Mark Shepperd, Robyn Lensch. Epiphany House. Octavo. 12 pages. Epiphany House Publishing #EH1061. Published by Epiphany House Publishing

Loving shepherd of thy sheep by Bob Chilcott. For SSS choir and keyboard. Upper Voices. Sacred, Choral Leaflet. Vocal score. 8 pages. Duration 3'. Published by Oxford University Press

Handbells (3-5 octaves) - Moderately Easy

SKU: LO.20-1056L

Composed by Bill Ingram. Christmas, Spiritual, Sacred. Handbell score. Lorenz Publishing Company #20/1056L. Published by Lorenz Publishing Company (LO.20-1056L).

UPC: 000308025347.

Westw ard leading, still proceeding ... following yonder star is the appropriate introduction to this lively spiritual. The setting is full sounding and should require a minimum of rehearsal time to prepare.

Brass Quartet - intermediate

SKU: BT.DHP-1206220-070

Composed by Jimmie Davis. Arranged by Mike Sheppard. De Haske Brass Series. Pop & Rock. Set (Score & Parts). Composed 2020. De Haske Publications #DHP 1206220-070. Published by De Haske Publications (BT.DHP-1206220-070).

ISBN 9789043158961. International.

With its simple, memorable melody and folk-song style, You Are My Sunshine is undoubtedly one of America’s most successful love songs of the 20th century. Its success in the 1940s massively boosted the popularity of the song’s original performers, Jimmie Davis and Charles Mitchell, so much so that it helped to springboard Davis’ political career, culminating in his successful election as Governor of Louisiana in 1944. This arrangement for a quartet line-up is very playable and was arranged by Mike Sheppard. This piece effectively guarantees success at your next concert.

Met zijn eenvoudige, herkenbare melodie in folksongstijl is You Are My Sunshine zonder twijfel een van Amerika’s succesvolste liefdesliedjes uit de 20e eeuw. Het succes van de song in de jaren 1940 was een enorme boost voor de populariteit van de oorspronkelijke performers, Jimmie Davis en Charles Mitchell, zodanig dat Davis’ politieke carrière een zetje kreeg, met als resultaat zijn verkiezing tot gouverneur van Louisiana in 1944. Deze versie voor kwartet, gearrangeerd door Mike Sheppard, is uitstekend speelbaar en zal gegarandeerd bij het publiek in de smaak vallen.

Mit seiner einfachen, einprägsamen Melodie und seinem volksliedhaften Stil ist You Are My Sunshine zweifellos eines der erfolgreichsten amerikanischen Liebeslieder des 20. Jahrhunderts. Sein Erfolg in den 1940er-Jahren steigerte enorm die Popularität der ursprünglichen Interpreten des Songs, Jimmie Davis und Charles Mitchell, was sogar Davis politische Karriere ankurbelte und schließlich zu seiner erfolgreichen Wahl zum Gouverneur von Louisiana im Jahr 1944 führte. Dieses Arrangement von Mike Sheppard für eine Quartettbesetzung ist sehr gut spielbar und garantiert ein Erfolg bei Ihrem nächsten Konzert.

Écrit e dans un style traditionnel et dotée d’une mélodie accrocheuse, You Are My Sunshine est certainement l’une des chansons d’amour américaines les plus populaires du XXe siècle. Dans les années 1940, sa popularité stimula énormément la réputation de ses interprètes d’origine, Jimmie Davis et Charles Mitchell au point où elle servit de tremplin la carrière politique de Davis, qui fut élu, en 1944, au poste de gouverneur de la Louisiane. Arrangée par Mike Sheppard, cette version pour quatuor est très accessible et obtiendra un beau succès lors de votre prochain concert.

Choral Descant, Piano, Tambourine, alto voice, soprano 1, soprano 2

SKU: CF.CM9624

Psalm 23. Composed by Meredith Tompkins. Fold. Performance Score. 12 pages. Duration 4 minutes, 10 seconds. Carl Fischer Music #CM9624. Published by Carl Fischer Music (CF.CM9624).

ISBN 9781491156971. UPC: 680160915538. 6.875 x 10.5 inches. Key: G minor. English, English. Adapted from NKJV.

With a variety of musical elements reminiscent of Eastern European and Middle Eastern folk songs, Tompkins aptly utilizes the cultural background of Biblical poetry in this dance-like setting for the emerging treble chorus. Mood shifts in the piano part, chorus, and text make this an excellent piece for experimenting with a variety of timbres, vocal colors, and expression. Highly suitable for year-round programming needs.
Adonai, My Shepherd (Psalm 23) is an English translation* of a song taken from the Tehillim (Psalms), an ancient Hebrew text which is also part of a larger collection of sacred writings, called the Ketuvim. The book of Psalms can also be found in the Bible's Old Testament. Designed to recognize the cultural background of the poetry, the musical elements of this piece are reminiscent of Eastern European and Middle Eastern folk songs. The tambourine has been added as a rhythmic device, appropriate to some types of Middle Eastern folk music, and to suggest a dance-like atmosphere. Mood shifts in the piano, chorus and text make this an excellent piece for experimenting with a variety of timbres, vocal colors and expression. For ensembles looking to incorporate added artistic dimension to performances, choirs are encouraged to make use of the performance space through creative blocking and/or movement appropriate to the style of each section. *English translation is adapted from The Complete Jewish Bible, (tr. Stern, used with permission) and The New King James Version (ed. Farstad). https://www.britannica.co m/art/tambourine.
Adon ai, My Shepherd (Psalm 23) is an English translation* of a song taken from the Tehillim (Psalms), an ancient Hebrew text which is also part of a larger collection of sacred writings, called the Ketuvim. The book of Psalms can also be found in the Bible’s Old Testament.Designed to recognize the cultural background of the poetry, the musical elements of this piece are reminiscent of Eastern European and Middle Eastern folk songs. The tambourine has been added as a rhythmic device, appropriate to some types of Middle Eastern folk music, and to suggest a dance-like atmosphere.Mood shifts in the piano, chorus and text make this an excellent piece for experimenting with a variety of timbres, vocal colors and expression. For ensembles looking to incorporate added artistic dimension to performances, choirs are encouraged to make use of the performance space through creative blocking and/or movement appropriate to the style of each section.*English translation is adapted from The Complete Jewish Bible, (tr. Stern, used with permission) and The New King James Version (ed. Farstad).https://www.brit annica.com/art/tambourine .

Composed by Dan Forrest. Church Choral. All Saints' / Remembrance, Comfort / Healing / Hope, General, Good Shepherd, Memorial / Funeral. Octavo. Beckenhorst Press #BP2318. Published by Beckenhorst Press

Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2

SKU: CF.CM9634

Composed by Traditional Christmas Spiritual. Arranged by Ken Berg. Sws. Performance Score. 16 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CM9634. Published by Carl Fischer Music (CF.CM9634).

ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual.

Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part” henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio part”, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position” cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio” role and actually become a “Men’s Choral Ensemble”. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vamp”. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp” and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy.