Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760).

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Composed by David Conte (1955-). Vocal Anthology/Vocal Solo. Secular, 21st Century. Vocal score. 35 pages. Published by E.C. Schirmer Publishing (EC.8454).

Composed by David Conte (1955-). Vocal Anthology/Vocal Solo. Secular, 21st century. Vocal score. 35 pages. Published by E.C. Schirmer Publishing (EC.8455).

(Percussion Trio Feature). Composed by Gregory Danner. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1/2, F Horn 3/). Band Music. Grade 4. Score and parts. Duration 14:50. Published by C. Alan Publications

Orchestra; Violin

SKU: UT.NAP-4

Vol. 1. Critical Edition. Composed by Nicola Fiorenza. Edited by Giovanni Borrelli. Hardback (Cloth Hard Cover). Napoli e l’Europa (Naples and Europe). Classical. Critical commentary. Ut Orpheus #NAP 4. Published by Ut Orpheus (UT.NAP-4).

ISBN 9790215318373. 9 x 12 inches.

Concerto in Mi bem. magg. per Violino principale, 2 Violini, Viola e Basso; Concerto in Re min. per 2 Violini e Basso (1728); Concerto in La magg. per 3 Violini e Basso (1728)_x0008_; Concerto in La min. per 3 Violini e Basso (1727)_x0008_; Concerto in La min. per 3 Violini e Basso; Sinfonia in Fa min. a 2 Violini e Basso; Sinfonia in Sol magg. a 3 Violini e Basso; Sinfonia fugata in Fa min. a 3 Violini e Basso; Sinfonia in Do min. a 4 Violini e Basso; Trio in Si min. per 2 Violini e Cembalo

Nicola Fiorenza (1700?-1764), composer and virtuoso Neapolitan violinist, lived during the first half of the 1700s. His musical production, whose manuscripts are preserved for the big part in the Library of the Conservatorio di Musica S. Pietro a Majella in Naples, is composed of 15 concerts with different instrumental organics, 9 symphonies whose principal instrument is the violin – that sometimes proposes pieces with a lot of virtuosities typical of the solo concert –, some pieces for one or two instruments with continuo and two cantatas.
Skilled virtuoso, Fiorenza had assimilated both the style of the elegant Baroque of French school, and the a terrazze style, the improvised language typical of the Venetian composers. He knew the style of the Concerto Grosso of Corelli very well, to which he joined a dressy counterpoint maybe too much present for the style of that time. Fiorenza elaborated different styles, filtering them through his sensitive predilection towards the Neapolitan party music and the popular melody, developing a personal composite language that doesn’t consider him belonging to one of the schools of his time. From a formal point of view and for the choice of the instrumental organic, his compositions have not a strong stylistic individuality in comparison with the composite canons of the first part of the XVIII century, but the production of Fiorenza seems to reflect the schemes and the composite forms typical of the late Baroque. His choice of the incisive brevity of the thematic figures is typical of the XVII century, that almost never overcomes the breath and the circle of one or few beats. Fiorenza’s solo compositions show his research of virtuosities, but he never lapses into a rash virtuosity, on the contrary he maintains a gallant taste.

Hymn Collection

SKU: MN.90-70

Composed by James Biery and Marilyn Biery. Hymn Collections. Hymnary. MorningStar Music Publishers #90-70. Published by MorningStar Music Publishers (MN.90-70).

Text: Marilyn Biery.

This collection of twenty-five original hymn texts flows from the writers years of experience as a practicing Church musician. The texts cover many aspects of the church year and includes texts for many particular needs such as confirmation and stewardship. Eleven new hymn tunes are also included in this collection. Complete tune, title, topic, meter, and scriptural indexes are included, making this a very useful collection of hymns. Hymns include: Break Forth in Joyous Song Christ is the Vine, We are the Branches Come To Us, O Holy Spirit Easter Dawn, Streaming Bright Embrace the Love that Makes Us One Emmanuel Comes! From the Word of God, Creation Jesus Walked Among the People Joined Together As One Body Lift Up Your Hearts, You Poor in Spirit Listen to the Voice of Gladness Lord God, The Source of Every Gracious Gift May Peace from Christ Come Dwell in You O Dearest Jesus O God of All Life, Now Hid from Our Sight O God of Love, Enable Us O God, Hear My Cry Our Gifts, O Lord, to You We Bring Radiant Light, Love Divine Rejoice, Rejoice, God's Kingdom is Coming Seek a Place of Breathless Beauty The Ancient Story Thrills Our Modern Ear The Frozen Earth Begins to Thaw The Spirit Makes Us One in Christ We Sing our Love for Jesus.

Saint Francis of Assisi is an opera in 3 acts by Olivier Messiaen. This volume is part of the edition that includes the books with the full Orchestra scores, as well as the explanations, analysis and comments of each tableau. It is focused on the ?Act II, 5. L'Ange musicien? which describes the appearance of the ?Musician Angel? to Saint Francis. This tableau is introduced by St Francis on his knees, next to the cave. Three themes stand out in the opening of this tableau: the Decision, the Joyce and the Calling. Some bird songs can be heard, and the Angel appears in the light with a Viol and a bow. The Angel Musician plays alongside some birds and leave St Francis fainting. He is soon joined by Brother Leon, Brother Massee and Brother Bernard who try to help him. The last theme played is the Joyce one with some notes on the Viol, while the tableau finishes with the three Brothers looking at the sky. Based on the life of Saint Francis of Assisi, this opera is set in Italy and is composed divided as per below: Act I: 1. La croix 2. Les laudes 3. Le baiser au lepreux Act II 4. L?ange voyageur 5. L?ange musicien 6. Le preche aux oiseaux Act II 7. Les stigmates 8. La mort et la nouvelle vie This opera was played at the Paris Opera in 1983. Olivier Messiaen (1908-1992) was a French Organist and composer passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music, he had a very special way of composing and his work can be identified by its complexity, its diatonic aspect, its harmony with limited transposition, its colour and its additive rhythms. He composed many works related to ornithology and birdsongs, including the 'Bird Catalogue' in 7 volumes and the 'Treatise on rhythm, colour and ornithology' in 7 volumes.

SATB Choir

SKU: BT.MUSM570200641

Composed by Anne Boyd. Classical. Vocal Score. 64 pages. University of York Music Press #MUSM570200641. Published by University of York Music Press (BT.MUSM570200641).

English.

Jesus Reassures His Mother is a setting of medieval lyric poetry written anonymously in the 14th century. The poet recounts a vision of the young Mary rocking the infant Christ to sleep. The child requests his mother to sing a lullaby but, alas, knowing her child’s fate she is too sad to sing. Jesus tells her that all mothers worry about their children’s futures and insists that she should sing nevertheless. Mary recounts the visit of Gabriel and the events of Christ’s birth but reflects how sad it is to have delivered a child to such a fate. Jesus reassures his mother that he will be with his father in heaven where Mary will come to join Him at the end of time, there to livein eternal bliss. At this point Mary is persuaded by and echoes her child’s reassuring words, and she is joined in this by the choir (now representing us all). The vision fades away in the voice of the narrator whose loneliness and longing return. We learn that it is Christmas Day. This setting grows from the visionary mystical world inhabited by Julian of Norwich whose Revelations of Divine Love provided the inspiration for a work Anne Boyd composed in 1994. The medium has been expanded from the Song Company’s six solo voices used in the Revelations to the double motet choir of the Sydney Philharmonia who commissioned this work for their 75th anniversary. The parts of the infant Jesus, Mary, the Narrator and the angel Gabriel are taken by choir soloists: soprano, alto, tenor and bass. The work is situated in the context of Boyd ’s personal musical aesthetic which she describes as the intersection of Christian Love with Buddhist silence.

(Easy Piano). Arranged by Dan Coates. For Piano. This edition: Easy Piano. Book; Piano - Easy Piano Collection. The Giant Book of Sheet Music. Jazz. Easy Piano. 252 pages. Published by Alfred Music

Orchestra; children's choir (2 equal voices) and speakers ad libitum (STR ERG) - intermediate to advanced

SKU: HL.49001883

Eine kleine Instrumentenschau. Composed by Gerhard Maasz. Sheet music. Concertino (Chamber Orchestra). Classical. Set of supplemental string parts. 30 pages. Duration 15'. Schott Music #CON 184-60. Published by Schott Music (HL.49001883).

ISBN 9790001024693. German.

Gerhard Maasz studied composition with Paul Graener and sympathized with the youth music movement around Fritz Jode. In the kleine Instrumentenschau created in 1977 he uses the popular folk song Wir sind die Musikanten (which can be joined in by a one-part chorus) introducing systematically the individual orchestral ins-tru-ments. A work for children's and school concerts allowing the players and listeners an insight into the structure of an orchestra in a cheerful way.

Orchestra; children's choir (2 equal voices) and speakers ad libitum (ST CHOR) - intermediate to advanced

SKU: HL.49001882

Eine kleine Instrumentenschau. Composed by Gerhard Maasz. Sheet music. Concertino (Chamber Orchestra). Classical. Set of Parts. 142 pages. Duration 15'. Schott Music #CON 184-50. Published by Schott Music (HL.49001882).

ISBN 9790001024686. German.

Gerhard Maasz studied composition with Paul Graener and sympathized with the youth music movement around Fritz Jode. In the kleine Instrumentenschau created in 1977 he uses the popular folk song Wir sind die Musikanten (which can be joined in by a one-part chorus) introducing systematically the individual orchestral ins-tru-ments. A work for children's and school concerts allowing the players and listeners an insight into the structure of an orchestra in a cheerful way.

Orchestra; children's choir (2 equal voices) and speakers ad libitum - intermediate to advanced

SKU: HL.49013780

Eine kleine Instrumentenschau. Composed by Gerhard Maasz. Sheet music. Concertino (Chamber Orchestra). Classical. Choral Score. 1 pages. Duration 15'. Schott Music #CON 184-01. Published by Schott Music (HL.49013780).

ISBN 9790001135924. German.

Gerhard Maasz studied composition with Paul Graener and sympathized with the youth music movement around Fritz Jode. In the kleine Instrumentenschau created in 1977 he uses the popular folk song Wir sind die Musikanten (which can be joined in by a one-part chorus) introducing systematically the individual orchestral ins-tru-ments. A work for children's and school concerts allowing the players and listeners an insight into the structure of an orchestra in a cheerful way.

Orchestra; children's choir (2 equal voices) and speakers ad libitum - intermediate to advanced

SKU: HL.49001881

Eine kleine Instrumentenschau. Composed by Gerhard Maasz. Sheet music. Concertino (Chamber Orchestra). Classical. Score. 36 pages. Duration 15'. Schott Music #CON 184. Published by Schott Music (HL.49001881).

ISBN 9790001024679. German.

Gerhard Maasz studied composition with Paul Graener and sympathized with the youth music movement around Fritz Jode. In the kleine Instrumentenschau created in 1977 he uses the popular folk song Wir sind die Musikanten (which can be joined in by a one-part chorus) introducing systematically the individual orchestral ins-tru-ments. A work for children's and school concerts allowing the players and listeners an insight into the structure of an orchestra in a cheerful way.

By Dennis Scott, Ruth Elaine Schram. (preview pak). Daybreak Christmas Choral. CD only. Size 6.75x10.5 inches. Published by Hal Leonard.

Voice, Piano

SKU: FG.042-08585-1

Composed by Armas Jarnefelt. Edited by Matti Tuloisela. Album. Published by Fennica Gehrman (FG.042-08585-1).

ISBN 979-0-042-08585-1.

The collection of the main solo songs by Armas Jarnefelt was accelerated by a donation made by his son, Arvi, in Stockholm to the University of Helsinki: dozens of previously unpublished manuscripts thus found their way home to Finland. Sweden was father Jarnefelt's second home, since he spent a couple of decades as conductor of the Royal Opera in Stockholm. He concentrated almost exclusively on solo songs, the reason no doubt being that his father-in-law was Jean Sibelius, a master of large-scale form. Jarnefelt's vocal lyrics spring from the National-Romantic ethos nurtured on the archaic rune-singing of the national epic, the Kalevala, and the distant lands of Karelia. The folk-like elements of his youthful songs were in time joined by Impressionistic and in places even Expressionistic timbres. This collection is edited by Matti Tuloisela. Contents: Aallon kehtolaulu / Vagens vaggsang / Der Welle Wiegenlied * Am stillen Dorfe erhebt sich * Berceuse / Kehtolaulu * En spel- och dansvisa * Hamara / Skymning / Dammerung * I solnedgangen / Im Sonnenuntergang * Isanmaan kasvot * Kanteleelle * Kehtolaulu / Vaggsang (Liekku liiku) * Kehtolaulu / Vaggsang (Hiljaa, hiljaa) * Laula, laula! * Leivo / Larkan * Liina / Lina / Line * Milloin muistelet minua? / Sag, nar minnes du mig? / Sag', gedenkst Du meiner? * Nar alla klockor klamtat tolf / Wenn alle Uhren zwolf geschlagen * Sina / Du * Solsken / Sonnenschein * Sunnuntaina / Sondag * Suvirannalla / Sommarnatt pa stranden * Titania * Toivoni / Onskan * Uneksijan laulu elamalle / En drommarens sang till livet / Eines Traumers Sang an das Leben * Unelma / Drom * Viel' ois virtta tieossani / An en visa vill jag sjunga.

Organ: 2-staff - Moderately Easy

SKU: LO.70-2181L

Composed by Matthew Mcconnell. Sacred. Lorenz Publishing Company #70/2181L. Published by Lorenz Publishing Company (LO.70-2181L).

ISBN 9780787764982.

Each organ arrangement in this collection from Matthew McConnell combines two well-known hymn tunes. The tunes have been paired according to various factors: key relationships, melodic contours, textual associations, similarities between liturgical themes, and more. All pieces, when used creatively, can help reinforce the thematic message of a particular service, especially before or after the congregation sings a hymn from a given pairing.

By Moira Hayward. Songbooks and Methods. Tune a Day. Book and CD (97 tracks), Instrumental Tutor. Text language: English. 64 pages. Published by Boston Music

By Moira Hayward. Songbooks and Methods. Tune a Day. Book/CD/DVD, Instrumental Tutor. Text language: English. 64 pages. Published by Boston Music

Vocal Solo. Fred Bock Music Company. Size 9x12 inches. Published by Fred Bock Music Company.

Moderately Easy

SKU: WD.080689521171

Composed by Marty Parks. Choral, cantatas. Choral Festival Favorites. Book. Word Music #080689521171. Published by Word Music (WD.080689521171).

UPC: 080689521171.

Imagi ne almost a thousand voices raised in glorious harmony, singing songs of the faith and accompanied by a grand church band and orchestra, as together they offer their adoration and worship to our Lord and Savior Jesus Christ!

That is exactly what has happened each and every year for the past decade or more at the annual Choral Festival in Spartanburg S. C., sponsored by our friends at Christian Supply. Each year, Choral Festival has commissioned one of the church's favorite choral arrangers and personalities, Marty Parks, to arrange The Opener – a medley of hymns, praise choruses, worship songs, and gospel favorites blended together in an opening presentation that gives the event its signature launch every year! Having long been a favorite element of the conference year after year, many have asked, Where can I get those arrangements for my church? or Are those arrangements available for my choir?.

Well, your wait is over! Word Music & Church Resources is excited to present CHORAL FESTIVAL FAVORITES, created, arranged and orchestrated by Marty Parks! We have joined hands with Marty and Christian Supply to bring you this highly-anticipated book of blended medleys for your choir and congregation. Taking the same arrangements created for Choral Festival, Marty has adapted them for use on Sundays with your choir, band, and orchestra, while leaving plenty of room and encouragement for your congregation to join in and sing along! We also offer a powerful DVD accompaniment and performance track to support and enhance your presentation of these proven medleys on Sunday mornings!

Choral Festival Favorites...direct to your choir from the pen of Marty Parks and the platform of one of the most influential choral music conferences over the past 25 years, bringing all the parts and pieces together in one new, ministry-focused choral project that will equip your church for the ministry of music and worship worldwide!

Lead Guitar Method Book 1 - Tab Edition. Willis. Play Along. Softcover Audio Online. With guitar tablature. 32 pages. Published by Willis Music

(Christmas Carols and Fiddle Tunes from Scrooge's Time). Arranged by Tim McCarrick. Orchestra. For String Orchestra. String Orchestra. Belwin Intermediate String Orchestra. Christmas; Winter. Score. 20 pages

(Christmas Carols and Fiddle Tunes from Scrooge's Time). Arranged by Tim McCarrick. Orchestra. String Orchestra. Belwin Intermediate String Orchestra. Christmas; Winter. Conductor Score and Parts. 144 pages

Composed by Gwyneth W. Walker (1947-). Americana, Faith, Folk Song, Hope/Assurance, Spiritual, Children's Sabbath/Emphasis. Octavo. Published by E.C. Schirmer Publishing (EC.8230).

Performed by The Carter Family. Homespun Tapes (Instructional). DVD . Size 5.25x7.5 inches. Published by Homespun Video.

SATB Choir and Piano (Choral Score)

SKU: HL.14008386

Composed by Sir Peter Maxwell Davies. Music Sales America. Classical. Book [Softcover]. Composed 1999. 20 pages. Chester Music #CH59618. Published by Chester Music (HL.14008386).

ISBN 9780711927797. UPC: 884088447434. 7.0x10.0x0.051 inches.

Peter Maxwell Davies' 1990 work for unaccompanied SATB choir, written for the BBC singers. Words by George Mackay Brown. 'Written for the BBC Singers, this piece requires a high level of choral expertise in its rhythms, intricate textures (though nearly always in four parts), wide-ranging vocal lines and characteristically dark but luminous harmony, impregnated with tritones and seconds. Not for the first time, Davies and George Mackay Brow follow the Stations of the Cross, though the fourteen sections are joined into a continuous slow-fast-slow musical movement, and the references to the events of Holy Week are oblique. Vocal score with piano accompaniment for rehearsal purposes.