For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.

Concert Band/Harmonie and Piano

SKU: BT.BMP8095417

Composed by Leroy Anderson. Arranged by Jörg Murschinski. Score Only. Composed 2008. Beriato Music #BMP8095417. Published by Beriato Music (BT.BMP8095417).

A lot is known about the American composer Leroy Anderson. This son of Swedish immigrants played the piano, organ, accordion, trombone, tuba and double bass. He spoke several languages fluently and graduated from Harvard with first-class honours.While on military service, the army also commissioned him to write a manual on Icelandic grammar.He already started writing musical arrangements as a student, and from his 30th year arranged and composed for the Boston Pops Orchestra. Such melodiesas Serenata, The Typewriter, Sleigh Ride and Bugler�s Holiday made him world famous. His best-known work, Blue Tango, reached number one in the US charts in 1952, and it sold more than a million copies. In 1975, a year after hisdeath, he was given a star at the Walk of Fame in Hollywood.Most of his works last no longer than three minutes, about the maximum length of a single at that time. One work that lasts longer is his 1953 Piano Concerto in C for piano and orchestra.The first performance was in Chicago, conducted by the composer and with Eugene List at the piano. However, after three performances he was no longer happy with the work and withdrew it. He always intended to revise it, but never got round to it. Itwas only in 1989 that the Anderson family decided to republish the work.This three-part composition is on the one hand characterised by a careless elegance, but on the other one can hear the influence of Rachmaninoff, Copland, Gershwin, and evenBeethoven and Mozart, as well as the Viennese classics.Anderson used the sonata form for the first movement. It ends with a cadenza that carries us on into the second part (in e minor). The third part is a typically cheerful American folk dance in2/4 time, a so-called Hoe Down, with a lilting, lyrical passage as its middle section. At the end comes a solo passage followed by a rapid close.In this piano concerto, Anderson combines a rigidly classical form of composition with simple andappealing themes and elements from light music. So this work is a perfect synthesis of light music and what is called serious music, in the same way as Gershwin�s Rhapsody in Blue. A work that can be played equally well in a concerthall, at an open-air concert or even a pop concert.

Over de Amerikaanse componist Leroy Anderson is veel bekend. Deze zoon van Zweedse immigranten speelde piano, orgel, accordeon, trombone, tuba en contrabas. Hij sprak vloeiend verschillende talen en studeerde met grote onderscheidingaf aan Harvard en schreef tijdens zijn legerdienst in opdracht van het leger een handboek grammatica Ijslands.Al in zijn studententijd begon hij met het maken van arrangementen, en vanaf zijn 30ste arrangeerde en componeerde hijvoor het Boston Pops Orchestra. Melodieën zoals Serenata, The Typewriter, Sleigh Ride en Bugler's Holiday maakte hem wereldberoemd. Zijn bekendste werk Blue Tango stond in 1952 op nummer één in de VS Charts, ener werden meer dan een miljoen exemplaren van verkocht. Een jaar na zijn dood in 1975 kreeg hij een ster op de Walk of Fame in Hollywood.Zijn meeste werken duren niet langer dan drie minuten, ongeveer de maximumduur van een singletoen. Een werk dat wel langer duurt, is het pianoconcerto in C voor piano en orkest uit 1953. Het werd in Chicago gecreëerd onder zijn leiding met Eugene List aan de piano. Na drie uitvoeringen echter, was hij niet meer tevredenover zijn werk en trok dit terug. Hij had zijn leven lang de intentie het te herwerken doch kwam er niet meer toe. Pas in 1989 besliste de Anderson Familie zijn pianoconcerto toch opnieuw uit te geven.Dit driedelige werk wordtenerzijds getypeerd door een zorgeloze elegantie, maar anderzijds zijn invloeden van Rachmaninoff, Copland, Gerschwin en zelfs Beethoven en Mozart alsook de Weense klassiekers te horen.Voor de eerste beweging, past Anderson de sonatevormtoe. Op het einde volgt een cadenza die ons in het tweede deel (in mi klein) voert. Het derde deel is een typische Amerikaanse, vrolijke volksdans in 2/4, een zogenaamde Hoe Down met als middengedeelte een zangerige, lyrische

Über den amerikanischen Komponisten Leroy Anderson lässt sich vieles berichten: Der Sohn schwedischer Immigranten spielte Klavier, Orgel, Akkordeon, Posaune, Tuba und Kontrabass, sprach neun Sprachen fließend, absolvierte mit einemMagna-cum-laude-Absc hluss die Harvard Universität und verfasste während seiner Militärzeit im Zweiten Weltkrieg für die amerikanische Armee eine Grammatik des Isländischen. Schon während seiner Studentenzeit begann er zu arrangieren, ab Mitte der30er Jahre des letzten Jahrhunderts arrangierte und komponierte er für das Boston Pops Orchestra. Aus seiner Feder stammen so bekannte Werke der leichten Muse wie Serenata, The Typewriter, Sleigh Ride oder Bugler�s Holiday. Sein wohlbekanntestes Stück, Blue Tango, wurde als erste Instrumentalkomposition über eine Million Mal verkauft und belegte im Jahr 1952 Platz 1 der US-Charts. Für seine Verdienste um die Schallplattenindustrie erhielt er ein Jahr nach seinem Tod einenStern auf dem Walk of Fame in Hollywood.Charakteristisc h für seine Werke ist die Dauer: die meisten sind rund drei Minuten lang � mehr passte nicht auf den damals gebräuchlichen Tonträger, eine Singleschallplatte. Nur wenige seinerKompositionen sprengen diesen Zeitrahmen. Dazu gehört sein Konzert C-Dur für Klavier und Orchester. Er komponierte es 1953, die Uraufführung fand unter seiner Leitung und mit Eugene List am Klavier im selben Jahr in Chicago statt. Da Anderson mit demWerk aber nicht zufrieden war, zog er es im Sommer 1954, nach nur drei Aufführungen, wieder ein. Er hatte zeitlebens die Absicht, es zu überarbeiten, allein, es kam nicht mehr dazu. Erst 1989 entschied sich die Anderson-Familie dazu, dasKlavierkonzert wieder zu veröffentlichen.Das dreisätzige Werk zeigt die Unbeschwertheit und Eleganz, die Andersons sämtliche Kompositionen auszeichnen. Dennoch findet man darin auch Anklänge an Komponisten wie Rachmaninoff, Copland, Gershwin, undeben Beethoven und Mozart, sowie die Wiener Klassiker. Der erste Satz folgt der Sonatenhauptsatzform. An seinem Ende steht eine Klavierkadenz, die direkt in den langsamen zweiten Satz (in e-Moll) überleitet. Der dritte Satz schließlich ist einwaschechter Hoe Down, ein fröhlicher amerikanischer Volkstanz im 2/4-Takt, in dessen Zentrum aber eine lyrisch-gesangliche Passage steht. Eine weitere Solo-Kadenz führt das Werk in einen spritzigen Schlussabschnitt.In seinem Klavierkonzertvereinigt Anderson einen klassisch-traditionellen Form- und Kompositionsstil mit Elementen der Unterhaltungsmusik und eingängigen Melodien, die schon immer sein Markenzeichen waren. Daher bildet dieses Werk eine perfekte Synthese von ernster undleichter Musik. Es passt � wie beispielsweise auch George Gershwins Rhapsody in Blue � gleichermaßen in einen vornehmen Konzertsaal, wie auch zur zwanglos-lockeren Atmosphäre einer sommerlichen Open-Air-Veranstaltung oder einesPops-Konzertes.
< br>Nous savons beaucoup de choses sur le compositeur américain Leroy Anderson. Ce fils dimmigrants suédois jouait du piano, de lorgue, de laccordéon, du trombone, du tuba et de la contrebasse. Il parlait couramment plusieurs langues et était diplômé avec grande distinction de Harvard. Pendant son service militaire, il écrivit un manuel de grammaire islandaise commandé par larmée.Étudiant, il avait déj commencé faire des arrangements et dès l ge de 30 ans, il arrangeait et composait pour le Boston Pops Orchestra. Des mélodies telles que Serenata, The Typewriter, Sleigh Ride et Buglers Holiday lui valurent une renommée mondiale. Son uvre phare, Blue Tango, fut numéro un descharts américains en 1952 et se vendit plus dun million dexemplaires. Un an après sa mort en 1975, il eut droit son étoile sur le Walk of Fame Hollywood.La plupart de ses uvres nexcèdent pas trois minutes, soit peu près la durée maximale dun single lépoque. Son concerto en ut pour piano et orchestre de 1953 est quant lui plus long. Il fut créé Chicago sous sa direction avec Eugene List au piano. Après trois exécutions, Anderson nétait toutefois plus satisfait de son travail et le retira. Toute sa vie, il eut lintention de le remanier mais ne le fit pas. Ce nest quen 1989 que la famille Anderson décida de tout de m?me rééditer son concerto pour piano.Cette uvre en trois parties se caractérise par son élégance nonchalante mais aussi par linfluence de Rachmaninoff, Copland, Gershwin et m?me de Beethoven et Mozart, ainsi que des classiques viennois.Pour le premier mouvement, Anderson opte pour une sonate. la fin, une cadence nous conduit la deuxième partie (en mi mineur). La troisième partie est une danse populaire joyeuse et typiquement américaine en 2/4, une Hoe Down avec un passage lyrique et mélodieux en son milieu. la fin, un solo est suivi par une clôture rapide.Dans son concerto pour piano, Anderson unit une composition pure et classique des thèmes beaux et simples, sans oublier des éléments de la musique légère. Cette uvre.

Concert Band/Harmonie and Piano

SKU: BT.BMP8091417

Composed by Leroy Anderson. Arranged by Jörg Murschinski. Set (Score & Parts). Composed 2008. Beriato Music #BMP8091417. Published by Beriato Music (BT.BMP8091417).

A lot is known about the American composer Leroy Anderson. This son of Swedish immigrants played the piano, organ, accordion, trombone, tuba and double bass. He spoke several languages fluently and graduated from Harvard with first-class honours.While on military service, the army also commissioned him to write a manual on Icelandic grammar.He already started writing musical arrangements as a student, and from his 30th year arranged and composed for the Boston Pops Orchestra. Such melodiesas Serenata, The Typewriter, Sleigh Ride and Bugler�s Holiday made him world famous. His best-known work, Blue Tango, reached number one in the US charts in 1952, and it sold more than a million copies. In 1975, a year after hisdeath, he was given a star at the Walk of Fame in Hollywood.Most of his works last no longer than three minutes, about the maximum length of a single at that time. One work that lasts longer is his 1953 Piano Concerto in C for piano and orchestra.The first performance was in Chicago, conducted by the composer and with Eugene List at the piano. However, after three performances he was no longer happy with the work and withdrew it. He always intended to revise it, but never got round to it. Itwas only in 1989 that the Anderson family decided to republish the work.This three-part composition is on the one hand characterised by a careless elegance, but on the other one can hear the influence of Rachmaninoff, Copland, Gershwin, and evenBeethoven and Mozart, as well as the Viennese classics.Anderson used the sonata form for the first movement. It ends with a cadenza that carries us on into the second part (in e minor). The third part is a typically cheerful American folk dance in2/4 time, a so-called Hoe Down, with a lilting, lyrical passage as its middle section. At the end comes a solo passage followed by a rapid close.In this piano concerto, Anderson combines a rigidly classical form of composition with simple andappealing themes and elements from light music. So this work is a perfect synthesis of light music and what is called serious music, in the same way as Gershwin�s Rhapsody in Blue. A work that can be played equally well in a concerthall, at an open-air concert or even a pop concert.

Over de Amerikaanse componist Leroy Anderson is veel bekend. Deze zoon van Zweedse immigranten speelde piano, orgel, accordeon, trombone, tuba en contrabas. Hij sprak vloeiend verschillende talen en studeerde met grote onderscheidingaf aan Harvard en schreef tijdens zijn legerdienst in opdracht van het leger een handboek grammatica Ijslands.Al in zijn studententijd begon hij met het maken van arrangementen, en vanaf zijn 30ste arrangeerde en componeerde hijvoor het Boston Pops Orchestra. Melodieën zoals Serenata, The Typewriter, Sleigh Ride en Bugler's Holiday maakte hem wereldberoemd. Zijn bekendste werk Blue Tango stond in 1952 op nummer één in de VS Charts, ener werden meer dan een miljoen exemplaren van verkocht. Een jaar na zijn dood in 1975 kreeg hij een ster op de Walk of Fame in Hollywood.Zijn meeste werken duren niet langer dan drie minuten, ongeveer de maximumduur van een singletoen. Een werk dat wel langer duurt, is het pianoconcerto in C voor piano en orkest uit 1953. Het werd in Chicago gecreëerd onder zijn leiding met Eugene List aan de piano. Na drie uitvoeringen echter, was hij niet meer tevredenover zijn werk en trok dit terug. Hij had zijn leven lang de intentie het te herwerken doch kwam er niet meer toe. Pas in 1989 besliste de Anderson Familie zijn pianoconcerto toch opnieuw uit te geven.Dit driedelige werk wordtenerzijds getypeerd door een zorgeloze elegantie, maar anderzijds zijn invloeden van Rachmaninoff, Copland, Gerschwin en zelfs Beethoven en Mozart alsook de Weense klassiekers te horen.Voor de eerste beweging, past Anderson de sonatevormtoe. Op het einde volgt een cadenza die ons in het tweede deel (in mi klein) voert. Het derde deel is een typische Amerikaanse, vrolijke volksdans in 2/4, een zogenaamde Hoe Down met als middengedeelte een zangerige, lyrische

Über den amerikanischen Komponisten Leroy Anderson lässt sich vieles berichten: Der Sohn schwedischer Immigranten spielte Klavier, Orgel, Akkordeon, Posaune, Tuba und Kontrabass, sprach neun Sprachen fließend, absolvierte mit einemMagna-cum-laude-Absc hluss die Harvard Universität und verfasste während seiner Militärzeit im Zweiten Weltkrieg für die amerikanische Armee eine Grammatik des Isländischen. Schon während seiner Studentenzeit begann er zu arrangieren, ab Mitte der30er Jahre des letzten Jahrhunderts arrangierte und komponierte er für das Boston Pops Orchestra. Aus seiner Feder stammen so bekannte Werke der leichten Muse wie Serenata, The Typewriter, Sleigh Ride oder Bugler�s Holiday. Sein wohlbekanntestes Stück, Blue Tango, wurde als erste Instrumentalkomposition über eine Million Mal verkauft und belegte im Jahr 1952 Platz 1 der US-Charts. Für seine Verdienste um die Schallplattenindustrie erhielt er ein Jahr nach seinem Tod einenStern auf dem Walk of Fame in Hollywood.Charakteristisc h für seine Werke ist die Dauer: die meisten sind rund drei Minuten lang � mehr passte nicht auf den damals gebräuchlichen Tonträger, eine Singleschallplatte. Nur wenige seinerKompositionen sprengen diesen Zeitrahmen. Dazu gehört sein Konzert C-Dur für Klavier und Orchester. Er komponierte es 1953, die Uraufführung fand unter seiner Leitung und mit Eugene List am Klavier im selben Jahr in Chicago statt. Da Anderson mit demWerk aber nicht zufrieden war, zog er es im Sommer 1954, nach nur drei Aufführungen, wieder ein. Er hatte zeitlebens die Absicht, es zu überarbeiten, allein, es kam nicht mehr dazu. Erst 1989 entschied sich die Anderson-Familie dazu, dasKlavierkonzert wieder zu veröffentlichen.Das dreisätzige Werk zeigt die Unbeschwertheit und Eleganz, die Andersons sämtliche Kompositionen auszeichnen. Dennoch findet man darin auch Anklänge an Komponisten wie Rachmaninoff, Copland, Gershwin, undeben Beethoven und Mozart, sowie die Wiener Klassiker. Der erste Satz folgt der Sonatenhauptsatzform. An seinem Ende steht eine Klavierkadenz, die direkt in den langsamen zweiten Satz (in e-Moll) überleitet. Der dritte Satz schließlich ist einwaschechter Hoe Down, ein fröhlicher amerikanischer Volkstanz im 2/4-Takt, in dessen Zentrum aber eine lyrisch-gesangliche Passage steht. Eine weitere Solo-Kadenz führt das Werk in einen spritzigen Schlussabschnitt.In seinem Klavierkonzertvereinigt Anderson einen klassisch-traditionellen Form- und Kompositionsstil mit Elementen der Unterhaltungsmusik und eingängigen Melodien, die schon immer sein Markenzeichen waren. Daher bildet dieses Werk eine perfekte Synthese von ernster undleichter Musik. Es passt � wie beispielsweise auch George Gershwins Rhapsody in Blue � gleichermaßen in einen vornehmen Konzertsaal, wie auch zur zwanglos-lockeren Atmosphäre einer sommerlichen Open-Air-Veranstaltung oder einesPops-Konzertes.
< br>Nous savons beaucoup de choses sur le compositeur américain Leroy Anderson. Ce fils dimmigrants suédois jouait du piano, de lorgue, de laccordéon, du trombone, du tuba et de la contrebasse. Il parlait couramment plusieurs langues et était diplômé avec grande distinction de Harvard. Pendant son service militaire, il écrivit un manuel de grammaire islandaise commandé par larmée.Étudiant, il avait déj commencé faire des arrangements et dès l ge de 30 ans, il arrangeait et composait pour le Boston Pops Orchestra. Des mélodies telles que Serenata, The Typewriter, Sleigh Ride et Buglers Holiday lui valurent une renommée mondiale. Son uvre phare, Blue Tango, fut numéro un descharts américains en 1952 et se vendit plus dun million dexemplaires. Un an après sa mort en 1975, il eut droit son étoile sur le Walk of Fame Hollywood.La plupart de ses uvres nexcèdent pas trois minutes, soit peu près la durée maximale dun single lépoque. Son concerto en ut pour piano et orchestre de 1953 est quant lui plus long. Il fut créé Chicago sous sa direction avec Eugene List au piano. Après trois exécutions, Anderson nétait toutefois plus satisfait de son travail et le retira. Toute sa vie, il eut lintention de le remanier mais ne le fit pas. Ce nest quen 1989 que la famille Anderson décida de tout de m?me rééditer son concerto pour piano.Cette uvre en trois parties se caractérise par son élégance nonchalante mais aussi par linfluence de Rachmaninoff, Copland, Gershwin et m?me de Beethoven et Mozart, ainsi que des classiques viennois.Pour le premier mouvement, Anderson opte pour une sonate. la fin, une cadence nous conduit la deuxième partie (en mi mineur). La troisième partie est une danse populaire joyeuse et typiquement américaine en 2/4, une Hoe Down avec un passage lyrique et mélodieux en son milieu. la fin, un solo est suivi par une clôture rapide.Dans son concerto pour piano, Anderson unit une composition pure et classique des thèmes beaux et simples, sans oublier des éléments de la musique légère. Cette uvre.

By Lloyd Larson. For SATB choir. Missions, Dedication, Confirmation, General, Sacred. Sacred Anthem. Published by Exaltation Publications. (10/3055L)

2 part chorus

SKU: JK.00001

Composed by Walter G. Tyler. Arranged by David R. Naylor. Choral 2 Part, Piano Choir, Special Events Missions, Commitment, Leadership, Missionary Work, Priesthood, Service. Christian, Inspirational. Duration 4:00. Jackman Music Corporation #00001. Published by Jackman Music Corporation (JK.00001).

Doctrine and Covenants 4:2-3, Doctrine and Covenants 20:19.

Reverent arrangement for two part chorus of the popular missionary hymn.
Composer: Walter G. Tyler
Arranger: David R. Naylor
Lyricist: Grace Gordon
Performance time: 4:00
References: Doctrine and Covenants 4:2-3, Doctrine and Covenants 20:19

Unison Chorus, Organ & piano - Medium

SKU: JK.00416

Composed by Adam Geibel. Arranged by John Longhurst. Choral Congregation, Difficulty Medium, Languages Spanish, Organ Choir, Piano Choir, Commitment, Leadership, Missionary Work, Priesthood, Service, Youth. Christian, Inspirational. Duration 2:10. Jackman Music Corporation #00416. Published by Jackman Music Corporation (JK.00416).

Doctrine and Covenants 4:2-3, Doctrine and Covenants 20:19.

For unison chorus, piano and organ. Trumpet fanfare from the organ begins this song which is sung with conviction! Words are in English, Spanish and Portuguese. Originally arranged for the youth of the Daybreak 7th Ward.
Composer: Adam Geibel
Arranger: John Longhurst
Lyricist: Grace Gordon
Difficulty: Medium
Performance time: 2:10
References: Doctrine and Covenants 4:2-3, Doctrine and Covenants 20:19.

Guitars solo

SKU: BR.KM-2491

Composed by Nicolaus A. Huber. Solo instruments; Folder. Kammermusik-Bibliothek (Chamber Music Library).

World premiere: Stuttgart (Festival eclat), February 3, 2002

Music post-1945; New music (post-2000). Performance score. Composed 2001. 36 pages. Duration 14'. Breitkopf and Haertel #KM 2491. Published by Breitkopf and Haertel (BR.KM-2491).

ISBN 9790004502945. 11.5 x 16.5 inches.

For many years, I have been repeatedly asked by solo guitarists and guitar duos to write pieces for them. The Aleph Guitar Quartet and I have finally brought it off! The piece is called Der entkommene Orpheus (The Escaped Orpheus).In the old equal rights movement everything was treated as equally as possible, right from the beginning. The tones felt democratically happy. Only discontent found cause to complain. It ultimately hated this complex explicitness. The meaning, also in cases of definite tendencies in the piece, should never be able to lead a definite life. This piece, naturally, is just a tiny contribution!In the myth, Orpheus even enchanted stones and trees, turned around too soon to look at his beloved Eurydice (just think of the punctuality fanatic Schonberg - at least according to Richard Buhlig), refused the service of Dionysus - and he, who had plucked the strings of the lyre his whole life long, was now himself torn up by the Thracian Maenads as a punishment. But his head and his lyre floated over the sea and landed on Lesbos. A string is a string is a side!!!Like a coded word, this text is placed at the service of the varied role of the organiser of New Music. Like an equation. Shouldn't an organiser ever actually turn around towards a lover, so that the Furies of present-day responsibility do not drive him into a state of inner conflict?Nicolaus A. HuberTranslation: David Babcock (CD NEOS, 2017)

World premiere: Stuttgart (Festival eclat), February 3, 2002.

Chamber Music alto Flute

SKU: PR.114423380

Composed by Christine Potter. Performance Score. 4 pages. Duration 3 minutes. Theodore Presser Company #114-42338. Published by Theodore Presser Company (PR.114423380).

ISBN 9781491135129. UPC: 680160686988.

Inspi red by her friends’ beatboxing and exploration of jazz, flutist Chris Potter joins the fun and brings us along in this introduction to swing rhythm and the basics of beatboxing. Playing off the multiple meanings of “mode” and “à la mode”, Dr. Potter fashionably explores a world of varied scales and modern percussive sonorities where the ch- ch- ch- beatboxing attack leads players to chant about ch-ch-chocolate!.
A Few Words from ChrisThis title came to me out of nowhere at 4 AM one morning, and I just had to write a piece to go along with it! I love words with multiple meanings, and “mode” has three!The French term à la mode means in a current, fashionable style: in other words, popular. The alto flute certainly fits that description!For Americans, the phrase is used when describing the dessert pie à la mode, meaning pie with ice cream, typically vanilla. Pie à la mode has an interesting history! The phrase and the American dessert is attributed to John Gieriet. He was born in Switzerland, later moved to France, and must have studied cooking because two years after moving to the U.S. in 1854, Gieriet was put in charge of all the food service at the White House. He served under two presidents, Franklin Pierce and James Buchanan. When that job ended, he moved to Duluth, Minnesota and bought a hotel. In 1885, a menu for the hotel offered a dessert called pie à la mode, the first time this phrase had appeared in print. Originally it was blueberry pie with vanilla ice cream.In music, the term mode means a series of notes that have an identifiable pattern of intervals encompassing an octave. Major and minor scales are modes, as are other scale forms such as pentatonic, dorian, phrygian, and lydian. ALTO À LA MODE uses three modes, all based on D. In this piece, you will find the D blues scale (D F G Ab A C D), the D dorian (D E F G A B C D), and the D minor natural form (D E F G A Bb C D).In addition to the three melodic modes, I wanted a rhythmic idea or two to unify the piece. I decided touse the rhythms of the word vanilla: three short notes with emphasis on the second note, and chocolate: two short notes with emphasis on the first note. Also please notice that the spoken syllable cha is the beginning sound of chocolate! All this and no calories!I credit my fabulous friend Ali Ryerson for the jazz influence, and the wonderful composer Nicole Chamberlain for the beatboxing inspiration.

Composed by Alfred V. Fedak. Sacred. Lorenz Publishing Company #70/2153L. Published by Lorenz Publishing Company

SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, trumpet, timpani, 2 violins, viola, cello/contrabass, organ - Level 2

SKU: CA.4067805

Bohmische Hirtenmesse. Composed by Jakub Jan Ryba. Edited by Milan Kuna. German title: Bohmische Hirtenmesse 1788. Sacred vocal music, Masses, German, Masses, Latin, Christmas. Choral Score. 20 pages. Duration 37 minutes. Carus Verlag #CV 40.678/05. Published by Carus Verlag (CA.4067805).

ISBN 9790007106263. Language: Czech/German.

The Missa pastoralis bohemica (Bohemian Shepherds' Mass), composed in 1796 by Mozart's contemporary Jakub Jan Ryba, is the most significant of the so-called Czech Christmas Masses. These are masses in a folkloristic style, in which the individual movements consist of a series of vocal-instrumental scenes in the Czech language; their topic is the birth of Christ and they are performed during the Christmas service. The story is about four Czech shepherds to whom the birth of Christ is announced, whereupon they visit the child in the manger. Ryba's mass became so famous that it is regarded - even today - as a symbol of Czech Christmas. The present critical edition represents the first edition of the work in its original form and the original keys; it contains a singable alternate text in German. Score available separately - see item CA.4067800.

SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, trumpet, timpani, 2 violins, viola, cello/contrabass, organ - Level 2

SKU: CA.4067814

Bohmische Hirtenmesse. Composed by Jakub Jan Ryba. Edited by Milan Kuna. German title: Bohmische Hirtenmesse 1788. Sacred vocal music, Masses, German, Masses, Latin, Christmas. Single Part, Cello/Double Bass. 16 pages. Duration 37 minutes. Carus Verlag #CV 40.678/14. Published by Carus Verlag (CA.4067814).

ISBN 9790007076528. Language: Czech/German.

The Missa pastoralis bohemica (Bohemian Shepherds' Mass), composed in 1796 by Mozart's contemporary Jakub Jan Ryba, is the most significant of the so-called Czech Christmas Masses. These are masses in a folkloristic style, in which the individual movements consist of a series of vocal-instrumental scenes in the Czech language; their topic is the birth of Christ and they are performed during the Christmas service. The story is about four Czech shepherds to whom the birth of Christ is announced, whereupon they visit the child in the manger. Ryba's mass became so famous that it is regarded - even today - as a symbol of Czech Christmas. The present critical edition represents the first edition of the work in its original form and the original keys; it contains a singable alternate text in German. Score and part available separately - see item CA.4067800.

Orchestra SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, trumpet, timpani, 2 violins, viola, cello/contrabass, organ - Level 2

SKU: CA.4067807

Bohmische Hirtenmesse. Composed by Jakub Jan Ryba. Edited by Milan Kuna. This edition: Paperbound. German title: Bohmische Hirtenmesse 1788. Sacred vocal music, Masses, German, Masses, Latin, Christmas. Study score. 240 pages. Duration 37 minutes. Carus Verlag #CV 40.678/07. Published by Carus Verlag (CA.4067807).

ISBN 9790007135638. Language: Czech/German.

The Missa pastoralis bohemica (Bohemian Shepherds' Mass), composed in 1796 by Mozart's contemporary Jakub Jan Ryba, is the most significant of the so-called Czech Christmas Masses. These are masses in a folkloristic style, in which the individual movements consist of a series of vocal-instrumental scenes in the Czech language; their topic is the birth of Christ and they are performed during the Christmas service. The story is about four Czech shepherds to whom the birth of Christ is announced, whereupon they visit the child in the manger. Ryba's mass became so famous that it is regarded - even today - as a symbol of Czech Christmas. The present critical edition represents the first edition of the work in its original form and the original keys; it contains a singable alternate text in German. Score available separately - see item CA.4067800.

SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, trumpet, timpani, 2 violins, viola, cello/contrabass, organ - Level 2

SKU: CA.4067813

Bohmische Hirtenmesse. Composed by Jakub Jan Ryba. Edited by Milan Kuna. German title: Bohmische Hirtenmesse 1788. Sacred vocal music, Masses, German, Masses, Latin, Christmas. Single Part, Viola. 20 pages. Duration 37 minutes. Carus Verlag #CV 40.678/13. Published by Carus Verlag (CA.4067813).

ISBN 9790007076511. Language: Czech/German.

The Missa pastoralis bohemica (Bohemian Shepherds' Mass), composed in 1796 by Mozart's contemporary Jakub Jan Ryba, is the most significant of the so-called Czech Christmas Masses. These are masses in a folkloristic style, in which the individual movements consist of a series of vocal-instrumental scenes in the Czech language; their topic is the birth of Christ and they are performed during the Christmas service. The story is about four Czech shepherds to whom the birth of Christ is announced, whereupon they visit the child in the manger. Ryba's mass became so famous that it is regarded - even today - as a symbol of Czech Christmas. The present critical edition represents the first edition of the work in its original form and the original keys; it contains a singable alternate text in German. Score and part available separately - see item CA.4067800.

SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, trumpet, timpani, 2 violins, viola, cello/contrabass, organ - Level 2

SKU: CA.4067811

Bohmische Hirtenmesse. Composed by Jakub Jan Ryba. Edited by Milan Kuna. German title: Bohmische Hirtenmesse 1788. Sacred vocal music, Masses, German, Masses, Latin, Christmas. Single Part, Violin 1. 24 pages. Duration 37 minutes. Carus Verlag #CV 40.678/11. Published by Carus Verlag (CA.4067811).

ISBN 9790007076498. Language: Czech/German.

The Missa pastoralis bohemica (Bohemian Shepherds' Mass), composed in 1796 by Mozart's contemporary Jakub Jan Ryba, is the most significant of the so-called Czech Christmas Masses. These are masses in a folkloristic style, in which the individual movements consist of a series of vocal-instrumental scenes in the Czech language; their topic is the birth of Christ and they are performed during the Christmas service. The story is about four Czech shepherds to whom the birth of Christ is announced, whereupon they visit the child in the manger. Ryba's mass became so famous that it is regarded - even today - as a symbol of Czech Christmas. The present critical edition represents the first edition of the work in its original form and the original keys; it contains a singable alternate text in German. Score and part available separately - see item CA.4067800.

SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, trumpet, timpani, 2 violins, viola, cello/contrabass, organ - Level 2

SKU: CA.4067819

Bohmische Hirtenmesse. Composed by Jakub Jan Ryba. Edited by Milan Kuna. German title: Bohmische Hirtenmesse 1788. Sacred vocal music, Masses, German, Masses, Latin, Christmas. Set of Orchestra Parts. Duration 37 minutes. Carus Verlag #CV 40.678/19. Published by Carus Verlag (CA.4067819).

ISBN 9790007133450. Language: Czech/German.

The Missa pastoralis bohemica (Bohemian Shepherds' Mass), composed in 1796 by Mozart's contemporary Jakub Jan Ryba, is the most significant of the so-called Czech Christmas Masses. These are masses in a folkloristic style, in which the individual movements consist of a series of vocal-instrumental scenes in the Czech language; their topic is the birth of Christ and they are performed during the Christmas service. The story is about four Czech shepherds to whom the birth of Christ is announced, whereupon they visit the child in the manger. Ryba's mass became so famous that it is regarded - even today - as a symbol of Czech Christmas. The present critical edition represents the first edition of the work in its original form and the original keys; it contains a singable alternate text in German. Score and parts available separately - see item CA.4067800.

SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, trumpet, timpani, 2 violins, viola, cello/contrabass, organ - Level 2

SKU: CA.4067800

Bohmische Hirtenmesse. Composed by Jakub Jan Ryba. Edited by Milan Kuna. This edition: Paperbound. German title: Bohmische Hirtenmesse 1788. Sacred vocal music, Masses, German, Masses, Latin, Christmas. Full score. 240 pages. Duration 37 minutes. Carus Verlag #CV 40.678/00. Published by Carus Verlag (CA.4067800).

ISBN 9790007076467. Language: Czech/German.

The Missa pastoralis bohemica (Bohemian Shepherds' Mass), composed in 1796 by Mozart's contemporary Jakub Jan Ryba, is the most significant of the so-called Czech Christmas Masses. These are masses in a folkloristic style, in which the individual movements consist of a series of vocal-instrumental scenes in the Czech language; their topic is the birth of Christ and they are performed during the Christmas service. The story is about four Czech shepherds to whom the birth of Christ is announced, whereupon they visit the child in the manger. Ryba's mass became so famous that it is regarded - even today - as a symbol of Czech Christmas. The present critical edition represents the first edition of the work in its original form and the original keys; it contains a singable alternate text in German.

SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, trumpet, timpani, 2 violins, viola, cello/contrabass, organ - Level 2

SKU: CA.4067849

Bohmische Hirtenmesse. Composed by Jakub Jan Ryba. Edited by Milan Kuna. This edition: Paperbound. German title: Bohmische Hirtenmesse 1788. Sacred vocal music, Masses, German, Masses, Latin, Christmas. Single Part, Organ. Duration 37 minutes. Carus Verlag #CV 40.678/49. Published by Carus Verlag (CA.4067849).

ISBN 9790007076535. Language: Czech/German.

The Missa pastoralis bohemica (Bohemian Shepherds' Mass), composed in 1796 by Mozart's contemporary Jakub Jan Ryba, is the most significant of the so-called Czech Christmas Masses. These are masses in a folkloristic style, in which the individual movements consist of a series of vocal-instrumental scenes in the Czech language; their topic is the birth of Christ and they are performed during the Christmas service. The story is about four Czech shepherds to whom the birth of Christ is announced, whereupon they visit the child in the manger. Ryba's mass became so famous that it is regarded - even today - as a symbol of Czech Christmas. The present critical edition represents the first edition of the work in its original form and the original keys; it contains a singable alternate text in German. Score and part available separately - see item CA.4067800.

SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, trumpet, timpani, 2 violins, viola, cello/contrabass, organ - Level 2

SKU: CA.4067809

Bohmische Hirtenmesse. Composed by Jakub Jan Ryba. Edited by Milan Kuna. 1x 40.678/21 flute, 1x 40.678/22 clarinet 1, 1x 40.678/23 clarinet 2, 1x 40.678/31 horn 1, 1x 40.678/32 horn 2, 1x 40.678/33 trumpet, 1x 40.678/41 timpani. German title: Bohmische Hirtenmesse 1788. Sacred vocal music, Masses, German, Masses, Latin, Christmas. Set of Orchestra Parts. 72 pages. Duration 37 minutes. Carus Verlag #CV 40.678/09. Published by Carus Verlag (CA.4067809).

ISBN 9790007076481. Language: Czech/German.

The Missa pastoralis bohemica (Bohemian Shepherds' Mass), composed in 1796 by Mozart's contemporary Jakub Jan Ryba, is the most significant of the so-called Czech Christmas Masses. These are masses in a folkloristic style, in which the individual movements consist of a series of vocal-instrumental scenes in the Czech language; their topic is the birth of Christ and they are performed during the Christmas service. The story is about four Czech shepherds to whom the birth of Christ is announced, whereupon they visit the child in the manger. Ryba's mass became so famous that it is regarded - even today - as a symbol of Czech Christmas. The present critical edition represents the first edition of the work in its original form and the original keys; it contains a singable alternate text in German. Score and parts available separately - see item CA.4067800.

SATB vocal soli, SATB choir, flute, 2 clarinets, 2 horns, trumpet, timpani, 2 violins, viola, cello/contrabass, organ - Level 2

SKU: CA.4067812

Bohmische Hirtenmesse. Composed by Jakub Jan Ryba. Edited by Milan Kuna. German title: Bohmische Hirtenmesse 1788. Sacred vocal music, Masses, German, Masses, Latin, Christmas. Single Part, Violin 2. 20 pages. Duration 37 minutes. Carus Verlag #CV 40.678/12. Published by Carus Verlag (CA.4067812).

ISBN 9790007076504. Language: Czech/German.

The Missa pastoralis bohemica (Bohemian Shepherds' Mass), composed in 1796 by Mozart's contemporary Jakub Jan Ryba, is the most significant of the so-called Czech Christmas Masses. These are masses in a folkloristic style, in which the individual movements consist of a series of vocal-instrumental scenes in the Czech language; their topic is the birth of Christ and they are performed during the Christmas service. The story is about four Czech shepherds to whom the birth of Christ is announced, whereupon they visit the child in the manger. Ryba's mass became so famous that it is regarded - even today - as a symbol of Czech Christmas. The present critical edition represents the first edition of the work in its original form and the original keys; it contains a singable alternate text in German. Score and part available separately - see item CA.4067800.

SKU: GI.G-9818

A Musical Guide for Catholics. Composed by Diana Kodner Gokce. Sacred. 48 pages. GIA Publications #9818. Published by GIA Publications (GI.G-9818).

ISBN 9781622773534.

â� �œFor a long time, there has been a perception that Catholics can’t or won’t sing in church. But this is not accurate: Catholics can and do sing… We all are called by Christ to love one another. If singing is a way to do that, why hold back?” --Diana Kodner Gökçe “Singing with one another,” the author reminds us, “is both prayer and an act of love. It heightens our worship, and helps us remember words of praise, thanks, petition, and most importantly, the Word of God. A great voice is not required. Singing is beneficial, and a precious gift from God.”Music is sung prayer, when we sing, we give voice to a mystery that cannot be expressed in mere words…and yet, many are hesitant to raise their voices in song when we gather together to worship.   Filled with wisdom for new Catholics as well as those who have been attending liturgy all their lives, this book gives the person in the pews prayerful insight and solid foundation in the basics of the music we sing every week at Mass. Why Do We Sing? examines why but also when and how we sing in church: What is the significance of the different things we sing? What difference does it make if I sing, especially since I am not a very good singer? How do I get over my self-consciousness with singing? A book for everyone in the parish, this book seeks to help every liturgical gathering find its musical voice and more fully embrace its ability to participate fully, actively, and consciously in the liturgy.  Diana Kodner Gökçe is the author of Handbook for Cantors, 3rd edition (GIA Publications, Inc.). She has taught liturgical music at Loyola University and worked as a music minister in numerous Chicagoland parishes including Holy Name Cathedral. She is currently Liturgical Music Coordinator at The Frances Xavier Warde School.  To receive the quantity discount (25 or more copies—$4.00 each) call our customer service department at 1-800-GIA-1358.  .

String quartet

SKU: FG.55011-484-5

Composed by Kai Nieminen. Score and parts. Fennica Gehrman #55011-484-5. Published by Fennica Gehrman (FG.55011-484-5).

ISBN 9790550114845.

In January 1999, Nieminen worked with his oboe piece Elegy for Agatha. The work kept running through his mind. Its musically intimate and intriguing setting seemed to include sufficient elements for explicating a bigger whole. The poem by Hannele Huovi was the inspiration of the sequel: Kuulen virtaavaa valoa ja se on pimeys (I can here streaming light and it is darkness).
In his work, Nieminen also looks back on his days in military service. The mental pictures created decades ago on guard during winter frost amid silence combined with Huovi's poem took a musical shape. I Hear Streaming Light (1999) for the String Quartet was created out of these ideas, which together with Elegy for Agatha constitute a whole called I Can Hear Northern Lights. All musical material and melodic themes of the string quartet piece originate from Elegy for Agatha but they do not appear in their original forms.

By John Purifoy. For unison/2-part choir and piano (with optional flute). Sacred Anthem, Advent, Christmas, Epiphany. Octavo. Published by Lorenz Publishing Company . Octavo. Sacred Anthem, Advent, Christmas, Epiphany.

By John Purifoy. For SAB choir and piano (with optional flute). Advent, Christmas, Epiphany, Sacred. Sacred Anthem

SKU: ST.EC13

Composed by Thomas Tallis. Edited by Leonard Ellinwood. Library Volumes. Edited by Leonard Ellinwood. First published in 1971. Pages: 232. Format: A4 spiral-bound. Choral Score. Stainer & Bell Ltd. #EC13. Published by Stainer & Bell Ltd. (ST.EC13).

ISBN 9790220216527.

Thou gh best known for his Dorian Service, Tallis also set the Preces and Responses, the Litany, and various psalms for service use, as well as providing the so-called 'tunes' for Archbishop Parker's Psalter. In addition to this important corpus of music, EC13 gathers together those fragments by Tallis for which a single part only is extant.