Composed by Alex Shapiro (1962-). For Concert Band (Score & Parts). Activist Music. Grade 5. Softcover. Published by Hal Leonard

By Alexandre Desplat. Arranged by John Ross. For Concert Band. Concert Band. Pop Concert Band. Movie; Pop. Level: 3 (Medium Easy) (grade 3). Conductor Score and Parts. 268 pages. Published by Alfred Publishing.

(Piano/Vocal/Guitar). By Rascal Flatts. By Diane Warren. For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vocal/Guitar. Artist/Personality; Piano/Vocal/Chords; Sheet; Solo. Original Sheet Music Edition. Country; Movie. 8 pages. Published by Alfred Music

By Lady Antebellum. For Piano/Vocal/Guitar. Piano Vocal. 8 pages. Published by Hal Leonard

By Alexandre Desplat. Arranged by John Ross. For Concert Band. Concert Band. Pop Concert Band. Movie; Pop. Level: 3 (Medium Easy) (grade 3). Score. 36 pages. Published by Alfred Publishing.

SA choir and piano

SKU: OU.9780193561359

Composed by Jenny Mahler. Songbird. Octavo. 12 pages. Duration 4'. Oxford University Press #9780193561359. Published by Oxford University Press (OU.9780193561359).

ISBN 9780193561359. 10 x 7 inches.

SA and piano The Compass uses evocative imagery to describe how feelings of being lost and adrift can be assuaged by journeying towards self-acceptance and positive change. A characterful four-note motif punctuates the piano part, which provides a steady rhythmic cushion for the stylistically syncopated and catchy melodic lines.

By Alice Parker. For 2-part or unison mixed chorus and optional congregation a cappella, optional organ. General, Love/Compassion, Justice/Peace/Social Concerns, Benediction/Sending, Service. Easy. Published by E.C. Schirmer Publishing

(The Compassion Hymn). By Keith Getty, Kristyn Lennox Getty and Stuart Townend. Arranged by Lloyd Larson. For SATB choir and piano with optional C instrument. Octavo. 12 pages. Published by Hope Publishing Company

Composed by Gwyneth W. Walker (1947-). 21st Century, Justice/Peace/Social Concerns, Prayer. Octavo. Duration 1 minute, 45 seconds. E.C. Schirmer Publishing #8730. Published by E.C. Schirmer Publishing

Composed by Faye Lopez. Sacred. Lillenas Publishing Company #9780787771461. Published by Lillenas Publishing Company

Choral SSA choir

SKU: CF.CM9580

Composed by Richard Rasch. Arranged by Richard Rasch. Fold. Performance Score. 4 pages. Duration 2 minutes, 42 seconds. Carl Fischer Music #CM9580. Published by Carl Fischer Music (CF.CM9580).

ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.

The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase  translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.

By Robert Mueller. For Tenor. This edition: Book 1. Soft Cover. 61 pages. Published by Carl Fischer

Showing Complete Tonal Compass and Exact Location of the Tones, Semitones and Positions. Charts and Scales Showing The Compass and Fingering of Various Instruments. Merchandise. Published by Carl Fischer.

SATB choir, assembly, organ accompaniment, trumpet in B-flat, trumpet in C - Beginning

SKU: GI.G-7249

Concertato on ELLACOMBE. Arranged by Stephen Folkemer. Ordinary Time 14 A, Ordinary Time 23 B, Ordinary Time 32 B, Sacred Heart A. Choral. Tune name: Ellacombe. Sacred. Octavo. 12 pages. GIA Publications #7249. Published by GIA Publications (GI.G-7249).

UPC: 785147724902. English. Text by Herman G. Stuempfle, Jr.

A stirring concertato on ellacombe with a text that prays that our hearts may beat in time with the compassionate heart of Christ. Masterfully arranged for organ, trumpet, congregation and choir, with a stirring instrumental intro, re-echoed in the interlude before the final stanza.

Mixed choir

SKU: ST.B934

Composed by Brian Wren. Hymns & Relgious Drama. Hymns & Psalms 2009-2012. . If ordering from USA, Canada, Australia or New Zealand please contact. Collection. Stainer & Bell Ltd. #B934. Published by Stainer & Bell Ltd. (ST.B934).

ISBN 9780852499344.

This , the ninth of a series of books begun in 1983, contains Brian Wren's 36 most recent hymns (2009 to 2012). It is nicely presented and laid out in a user-friendly way. The hymns are divided into five thematic sections: Jesus from Cradle to Cross; Easter Hymns; Church and Mission; Praise; and Metrical Psalms. This last section, rooted in (though not bound by) the Old Testament, is often influenced by Isaac Watts and will be of more use to some than others; it concludes with a tremendous rendering of Psalm 8; a paean of praise which all will love, set to a stirring tune.

Each section is prefaced with a single page introduction listing the contents and, in some instances, giving an interesting insight into Brian Wren's theology and thinking which provides food for contemplation. Each hymn is printed in words format with all the necessary information for inclusion in an order of worship. Every hymn is also printed with full score music for accompaniment interlined with the words. The book is slightly larger than A5, and there are various useful indexes.

The tunes range from ancient to modern, some very familiar, including Candler (better known as Ye Banks and Braes). A number are of a metre where alternative tunes are available. Those tunes which are new vary in ease of use; some will be readily picked up, others would prove challenging for occasional use in a small congregation but could be used as music group items.

These are hymns which need to be read as a whole and require thought. The words are chosen with care and notable as much for those not used as those included e.g.: 'Christ, untameably alive,/ breathe your life upon us - / Compass, Governor and Guide, / with us and beyond us,/ Sky and Sunlight, / spreading Vine./ Spring of Living Water,/ Truth and Wisdom, Way and Word,/ here, and then hereafter.' These hymns will be useful in worship as either sung or read pieces, and will also prove an invaluable resource for private devotion.

Robert Canham, Reform

(The Biggest Movies * The Greatest Artists (Easy Piano)). Arranged by Dan Coates. For Piano. This edition: Easy Piano; Deluxe Annual. Book; Piano - Easy Piano Collection; Piano Supplemental. Greatest Hits. Movie; Pop. Easy Piano. 116 pages. Published by Alfred Music

Wind ensemble; guitar ensemble; string ensemble; children's orchestra

SKU: HH.HH314-FSP

12 ensemble pieces for young musicians. Composed by Ming Wang. Edited by English edition. This edition: English edition. Wind Ensemble; Guitar Ensemble; String Ensemble; Children'S Orchestra. Full score and CD with parts. Edition HH Music Publishers #HH314-FSP. Published by Edition HH Music Publishers (HH.HH314-FSP).

ISBN 9790708092636.

Ming Wang's A Child's Universe is a strikingly novel and versatile set of ensemble pieces intended to introduce young instrumentalists of beginner-intermediate level to the world of contemporary music. Immediately accessible in style, attractive, tuneful and rhythmically uncomplicated, the twelve pieces are divided into four groups -- one each for winds, guitars, and strings, all with percussion ad lib., together with a final group for all the instruments combined. Though each group is conceived as a unity, the pieces can be played in any order, or even performed individually. The number of musicians playing each instrumental line can vary, provided that a suitable balance within the ensemble is maintained. If a particular instrument is unavailable, another of similar compass and timbre may be substituted (versions of the parts in C are provided where a non transposing instrument is used). Included with the score is a CD containing the parts (PDF format), which may be printed out as necessary. Imbued with a playful and childlike spirit, A Child's Universe is an exciting new addition to the contemporary musical repertoire for young players.

(for Violoncello). By Louis R. Feuillard. For cello. This edition: ED1117. Essential Exercises. Instructional and Studies. Instructional book. 44 pages. Published by Schott Music

Timpani - difficult

SKU: HL.49046028

Timpani. Composed by Thierry Pé and cou. This edition: Saddle stitching. Sheet music. Percussion. Classical. Softcover. Composed 2016. 12 pages. Duration 540 seconds. Schott Music #BAT54. Published by Schott Music (HL.49046028).

ISBN 9790001166485. UPC: 841886026605.

Writt en for the timpanist Philippe Serra, this work is reminiscent of North American Indian tribal dances. The pulsation - relating to the earth and the landscape and, naturally, also to the circle (a symbol itself for the points of the compass and the cycle of life) - sets the character of the music, which exploits the sonic possibilities of the instrument as well as the evocative force of the pulsing beat itself on the timpani. Thierry Pecou.

By Joseph-Hector Fiocco. Arranged by Wilby/Childs. Solo. For Euphonium and Piano. Two varied movements illustrate the flexibility of the instrument. Classical. Level: Advanced. Piano score and parts. Standard Notation. Duration 6:15. Published by Winwood Music (U.K. Import).

Jazz Ensemble - Grade 3

SKU: KN.61466S

Composed by Rick Lawn. Jazz Journey. Kendor Music Inc #61466S. Published by Kendor Music Inc (KN.61466S).

UPC: 822795614664.

Built on an extended 16-bar minor blues, this relaxed original shifts between two and four feels to create subtle contrasts within the swing style. Ideal for advancing groups and dedicated to the Compass Jazz Quartet, it features an open solo section for guitar, trumpet or trombone. A guitar chord chart by Jim Greeson is included in each set. Duration 4:10.

(Spanish Language Edition). By Gary Chaffee, translated by Jose Manuel Mena Cuevas. For Drumset. Method/Instruction; Percussion - Drum Set Method or Collection. Patterns. Book and CD. Text language: Spanish. 88 pages

(Technique and Artistry, Book 1). By Nancy Faber and Randall Faber. For Piano. Faber Piano Adventures®. Methods. SMP Level 1 (Elementary). Softcover. 64 pages. Faber Music #FF1420. Published by Faber Music