Composed by John S. Dixon. Sacred, Eastertide, Holy Week, Lent. Lorenz Publishing Company #70/2072L. Published by Lorenz Publishing Company (LO.70-2072L).

Composed by John S. Dixon. Sacred. Lorenz Publishing Company #70/2178L. Published by Lorenz Publishing Company

Composed by John S. Dixon. Sacred Anthem, Christmas. Octavo. Sacred Music Press #10/4862S. Published by Sacred Music Press (LO.10-4862S).

Composed by John S. Dixon. For organ: 2-staff. Sacred, Christmas. Moderately easy. Lorenz Publishing Company #70/1965L. Published by Lorenz Publishing Company

Composed by John S. Dixon. Choral. Sacred Anthem. Octavo. Lorenz Publishing Company #10/4936S. Published by Lorenz Publishing Company (LO.10-4936S).

SATB choir, piano

SKU: LO.10-5436S

Composed by John S. Dixon. Choral. Sacred Anthem, Advent, Christmas. Octavo. Sacred Music Press #10/5436S. Published by Sacred Music Press (LO.10-5436S).

ISBN 9780787770983.

John S. Dixon has set the beloved Basque carol, which is suitable for either Advent or Christmas, to memorable original music. A flowing accompaniment supports the haunting choral lines.

SATB choir, organ (2-staff)

SKU: LO.10-5357S

Composed by John S. Dixon. Choral. Sacred Anthem, Eastertide. Octavo. Sacred Music Press #10/5357S. Published by Sacred Music Press (LO.10-5357S).

ISBN 9780787768706.

John S. Dixon arranged the familiar tune LANCASHIRE into a vibrant Easter anthem with optional parts for trumpets and congregation. The choral parts are not difficult, but the impact is grand and stirring.

SATB choir (a cappella)

SKU: LO.10-5213S

Composed by John S. Dixon. Choral. Sacred Anthem. Octavo. Sacred Music Press #10/5213S. Published by Sacred Music Press (LO.10-5213S).

ISBN 9780787763787.

John S. Dixon presents lovely Celtic blessing music from three countries in his native British Isles: Ireland, Scotland, and Wales. These short selections will be useful throughout the year.

Organ: 2-staff - Moderately Easy

SKU: LO.70-2449L

Composed by John S. Dixon. Sacred. Lorenz Publishing Company #70/2449L. Published by Lorenz Publishing Company (LO.70-2449L).

ISBN 9780787779085.

Draw ing from over 250 years of evolving American hymnody, John Dixon has curated a diverse series of 12 organ settings that capture the essence of this rich heritage. Featuring a variety of tunes, half of which are rooted in 19th-century folk hymn tradition and the remainder hailing from the late 19th and early 20th centuries, these settings are designed to inspire, uplift, and console.

Organ: 3-staff - Intermediate

SKU: LO.70-2401L

Composed by John S. Dixon. Sacred, Christmas, Eastertide, Epiphany, General, Holy Communion, Lent, Pentecost, Patriotic, Thanksgiving, Transfiguration, Trinity Sunday. Lorenz Publishing Company #70/2401L. Published by Lorenz Publishing Company (LO.70-2401L).

ISBN 9780787775919.

In this delightful musical calendar, John Dixon has provided 12 organ pieces, one for each month of the year. Each piece is based on a tune associated with a liturgical or cultural holiday. A number of the tunes are ones for which organ settings are less-frequently found helping to achieve the goal that every one of these pieces can find a useful place in worship or concert.

Composed by John S. Dixon. Sacred, Eastertide, General, Lent. Lorenz Publishing Company #70/2270L. Published by Lorenz Publishing Company

By John S. Dixon. For SAB choir (SAB). Shawnee Press. Choral. 8 pages. Shawnee Press #D0740. Published by Shawnee Press

Organ

SKU: SU.80101120

For Organ. Composed by Various. Keyboard, Organ. Score. Zimbel Press #80101120. Published by Zimbel Press (SU.80101120).

Six contemporary composers were invited to write new hymn preludes for this collection. The result is a set of fresh, accessible compositions, highly suitable for worship or recital use. The six compositions are: Prelude on Wachet auf (Frederick Frahm), Prelude on Melita (John S. Dixon), Prelude on Kingsfold (Bruce Polay), Trio on Wareham (Sandra Gay), Prelude on Gelobt sei Gott (David W. Solomons), and Jubilee-Postlude on Converse (Carson Cooman).
Published by: Zimbel Press.

Manuals Only

SKU: SU.80101207

For Manuals Only. Composed by John S. Dixon. Keyboard, Organ. Score. Zimbel Press #80101207. Published by Zimbel Press (SU.80101207).

This extensive and incredibly useful collection contains twenty short, original organ pieces that require only manuals to perform. These highly melodic and energetic compositions are well suited for service playing or teaching. Pieces of varying characters -- preludes, offertories, and postludes -- have been included. Published by: Zimbel Press.

Organ

SKU: SU.80101138

For Organ. Composed by John S. Dixon. Keyboard, Organ. Score. Zimbel Press #80101138. Published by Zimbel Press (SU.80101138).

This collection contains six delightful and useful works for organ on familiar hymns and carols from the Advent, Christmas, and Epiphany seasons. The six compositions are: Prelude on Sleepers Wake, The Angel Gabriel from Heaven Came, Bagatelle on Il Est Ne, Sing We Now of Christmas!, How Far Is It to Bethlehem?, and Fantasia on We Three Kings. The American Organist (Mar 2004) describes the volume as: very creative, colorful, and only moderately difficult. You will love the entire collection! Highly recommended. 28 pages Published by: Zimbel Press.

Organ

SKU: SU.80101190

For Organ. Composed by John S. Dixon. Keyboard, Organ. Score. Zimbel Press #80101190. Published by Zimbel Press (SU.80101190).

This work is a beautiful and hushed meditation for organ. Originally composed in memory of the US space shuttle Columbia disaster in February 2003. It is suitable as a work for general offertory, communion, prelude, or a specific memorial occasion. 8 pages Published by: Zimbel Press.

Composed by John S. Dixon. Choral. Sacred Anthem, Thanksgiving. Octavo. Lorenz Publishing Company #10/4857S. Published by Lorenz Publishing Company (LO.10-4857S).

Arranged by John S. Dixon. Mark Foster. Christmas. Octavo. 12 pages. Published by Shawnee Press

Composed by John S. Dixon. Sacred. Lorenz Publishing Company #70/2018L. Published by Lorenz Publishing Company (LO.70-2018L).

Arranged by John S. Dixon. For Choral (SATB). Mark Foster. Octavo. 8 pages. Published by Shawnee Press

Organ

SKU: SU.80101103

For Organ. Composed by John S. Dixon. Keyboard, Organ. Score. Zimbel Press #80101103. Published by Zimbel Press (SU.80101103).

This collection contains five appealing, accessible, and useful postludes for organ. The five pieces are Rondo Benvenuto, Gaudeamus in Musica, Joyful Hymn, Trumpet Tune, and Paean. Each would make an excellent service postlude.
24 pages
Published by: Zimbel Press.

Organ

SKU: SU.80101164

For Organ. Composed by John S. Dixon. Keyboard, Organ. Score. Zimbel Press #80101164. Published by Zimbel Press (SU.80101164).

This work is a brief prelude on the familar hymn tune. It begins quietly, builds to climax in the middle, and ends quietly. Suitable for prelude or offertory. 8 pages Published by: Zimbel Press.

Organ

SKU: SU.80101191

For Organ. Composed by John S. Dixon. Keyboard, Organ. Score. Zimbel Press #80101191. Published by Zimbel Press (SU.80101191).

An attractive and melodic aria. Easy to play and suitable for countless occasions. 8 pages Published by: Zimbel Press.

Organ

SKU: SU.80101116

For Organ. Composed by John S. Dixon. Keyboard, Organ. Score. Zimbel Press #80101116. Published by Zimbel Press (SU.80101116).

This collection contains six short and contemplative works for organ. They are highly suitable as service offertories, preludes, or other voluntaries. The six pieces are Elegy, Priere, Elevation, Berceuse, Offertoire, and Chant Solonnel. All are lyrical and melodic.
24 pages
Published by: Zimbel Press.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Flute 1, Flute 2, Oboe 1, Oboe 2, Piccolo, alto Saxophone, soprano Saxophone, tenor Saxophone

SKU: PR.165001000

Hymns for Wind Ensemble. Composed by Dan Welcher. Folio. Set of Score and Parts. 4+24+24+16+8+4+4+24+12+12 +8+4+4+4+4+8+8+8+8+4+4+4+ 4+8+8+8+8+8+8+8+8+4+16+4+ 8+4+8+8+4+4+4+48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100. Published by Theodore Presser Company (PR.165001000).

ISBN 9781491129241. UPC: 680160669776. 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.

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.

(Six Favorites for 2-part Voices). By Mort Dixon, Ray Henderson, Jay Althouse, Richard M. Sherman, Robert B. Sherman, Jeff Funk, Billy Hill, Jay Althouse, Bobby Pickett, Leonard Capizzi, Jeff Funk, Harold Arlen, E. Y. Harburg, Audrey Snyder, John August, Danny Elfman, and Andy Beck. Choir Secular. 2-Part Choir. Choral Collection. Signature Series. Pop. Book. 48 pages