SATB choir with piano or full orchestra or wind ensemble (Men's Voices)

SKU: EC.RBM-115

Composed by Randol Alan Bass. Christmas. 21st Century. Choral score. Randol Bass Music #RBM-115. Published by Randol Bass Music (EC.RBM-115).

English.

This work was originally scored for mixed chorus and symphonic wind ensemble, in 2005, for the opening of a new concert hall in Corpus Christi, Texas. The commissioning institution, Texas A & M University at Corpus Christi, asked one of their professors – Dr. Robb Jackson – to write a poem for the occasion and the result formed the basis used by the composer to create this new work. Since the academic institution in question is situated on the Texas coast the writer chose to fill his poem with sea imagery and musical metaphors related to shore-side living. This portrayed well the sense of an ocean-side artistic retreat – appropriate to the dedication of a new concert hall in a coastal community.

SATB choir with piano or full orchestra or wind ensemble

SKU: EC.RBM-115A

Composed by Randol Alan Bass. 21st Century. Choral score. Randol Bass Music #RBM-115A. Published by Randol Bass Music (EC.RBM-115A).

French.

This work was originally scored for mixed chorus and symphonic wind ensemble, in 2005, for the opening of a new concert hall in Corpus Christi, Texas. The commissioning institution, Texas A & M University at Corpus Christi, asked one of their professors – Dr. Robb Jackson – to write a poem for the occasion and the result formed the basis used by the composer to create this new work. Since the academic institution in question is situated on the Texas coast the writer chose to fill his poem with sea imagery and musical metaphors related to shore-side living. This portrayed well the sense of an ocean-side artistic retreat – appropriate to the dedication of a new concert hall in a coastal community.

SATB choir, keyboard accompaniment

SKU: GI.G-527

Level 2. Composed by John M. Feierabend. Choral. Conversational Solfege. Music Education. Octavo. GIA Publications #527. Published by GIA Publications (GI.G-527).

Text by Noel Goemanne.

Conversat ional Solfege is a dynamic and captivating first-through-eighth grade general music program that enables students to become independent musical thinkers with the help of a rich variety of folk and classical music. It is organized around increasingly complex rhythmic and melodic content. Each new rhythmic or melodic element is discovered first in patterns and then reinforced with folk songs, rhymes, and classical examples. Central to the Conversational Solfege program is the use of music harvested from our rich and diverse American musical history. This variety of music serves as a common thread that spans and bonds generations. Each book contains varied song material so the teacher can select appropriate music for the lower grades or older beginners. This 12-step teaching method carefully brings students from readiness to, ultimately, creating music through inner hearing and then transferring their musical thoughts into notation—in other words, to compose music! This CD provides 14 classical selections referenced in Conversational Solfege Level 2. These examples provide reinforcement for emerging literacy skills, and they also enable students to listen to wonderful classical examples with greater attention. Listening to classical music can be challenging for elementary students. With nothing to hang onto, the many notes can be too much to comprehend and attention soon wanes. But with minimal literacy skills, students will have enough musical information to discover that classical music can be accessible and appealing. In the included booklet, timings are given for each selection and the portions of the music that are readable by the students are reproduced. Whether using this CD with Conversational Solfege instructional materials or simply as a resource of classical music with simple to read rhythmic and melodic material, both teachers and students will delight in discovering this wonderful music through literacy. This series is a complete, innovative approach to teaching music that will stay fresh year after year. CONTENTS Conversational Solfege Unit 5: 1. Antonin Dvorak • New World Theme Conversational Solfege Unit 6: 2. Franz Joseph Haydn • Theme from  the Surprise Symphony, 3. Camille Saint-Sans • Turtles from Carnival of the Animals, 4. Ludwig van Beethoven • Symphony No. 7, 2nd Movement, 5. Josef Strauss • Feuerfest (Fireproof) Polka, Op. 269 Conversational Solfege Unit 7: 6. Jacques Offenbach • Can-Can, 7. Dmitry Kabalevsky • Pantomime from the Comedians, 8. Edvard Grieg • In the Hall of the Mountain King Conversational Solfege Unit 9 and Unit 11: 9. Jacques Offenbach • Barcarolle Conversational Solfege Unit 10: 10. Edvard Grieg • Morning Conversational Solfege Unit 11: 11. Ottorino Respighi • Ground in G Conversational Solfege Unit 12: 12. Johann Sebastian Bach • Jesu, Joy of Men's Desiring, 13. Jean Sibelius • Finlandia Conversational Solfege Unit 13: 14. Ludwig Van Beethoven • Symphony No. 6, Movement 5  John M. Feierabend is Professor Emeritus and former Director of Music Education at The Hartt School of Music, University of Hartford, Connecticut.

(The Groovy Version of OX). By Christoph Schonherr. Edited by Klaus Konrad Weigele. For Solo, SATB Choir, 2 Trumpet/Flugelhorn, Sax/Flute, 2 Violin, Viola, Cello, Pianoforte (Keyboard), Electric Bass (Contrabass), Percussion. Magnificats, Advent, Christmas. Choral score. Language: Latin. Composed 2004/2005. 28 pages. Duration 40 min. Published by Carus Verlag

Mixed choir

SKU: ST.B923

Composed by Alan Gaunt. Hymns & Relgious Drama. Hymn Texts 2003-2011. Choral Score. Stainer & Bell Ltd. #B923. Published by Stainer & Bell Ltd. (ST.B923).

ISBN 9780852499238.

The fourth collection of hymns by Alan Gaunt, Beyond All Words, brings together 89 texts on a variety of themes that are both contemporary and yet grounded in the perennial questions of theology.

In his Foreword, Emeritus Professor David M. Thompson writes 'One could see this collection as a diary of the first decade of the third millennium, during which so many of the bright hopes with which the new era began were ruthlessly smashed with the most up-to-date military technology available. So again and again the human existential question Why? is translated into the ultimate question in Christian theology of the Why? of the cross.'.