A Study Guide with Amy Porter. Composed by Georg Philipp Telemann (1681-1767). DVD. Theodore Presser Company #PO-DVD2. Published by Theodore Presser Company (PR.PODVD20).

Sacred Inspirations arranged by George Peter Tingley. For Piano. Piano Collection; Piano Supplemental. Sacred. Early Intermediate; Intermediate. Book. 24 pages. Published by Alfred Music Publishing

(Eight Piano Etudes Inspired by the Masters). By Jeremy Siskind. Educational Piano Solo. Intermediate to Late Intermedi. Softcover. 32 pages. Published by Hal Leonard

(Transcriptions). By Tommy Emmanuel. For Guitar (Fingerpicking). Transcribed Solos. Acoustic Music. Intermediate-Advanced. Book. 136 pages. Published by Mel Bay Publications, Inc

Easy Piano Piano/Keyboard

SKU: HL.362575

By Various. Easy Piano Songbook. Inspirational, Pop. Softcover. 128 pages. Duration 165 seconds. Published by Hal Leonard (HL.362575).

ISBN 9781705131022. UPC: 840126954432. 9.0x12.0x0.349 inches.

Play 25 uplifting and musically satisfying arrangements at an easy level. These simplified presentations include melody, original harmonies with chord labels, easy-to-read rhythms, and lyrics – everything you need to enjoy playing your favorite songs right away. Includes: Beautiful Day • Circle of Life • Don't Stop Believin' • Hallelujah • Hero • Imagine • One Moment in Time • Stronger (What Doesn't Kill You) • True Colors • Walking on Sunshine • The Wind Beneath My Wings • You Raise Me Up • and more.

Performed by Elvis Presley. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Inspirational, rock 'n' roll and rockabilly. 112 pages. 9x12 inches. Published by Hal Leonard.

The Lord Is My Strength and My Song by Lloyd Larson. For SATB Choir (SATB). Glory Sound. Choral. 12 pages. GlorySound #A7965. Published by GlorySound

Chamber Music bass trombone

SKU: PR.114418410

Composed by Stacy Garrop. Sws. Performance Score. 8 pages. Duration 6:30. Theodore Presser Company #114-41841. Published by Theodore Presser Company (PR.114418410).

ISBN 9781491133644. UPC: 680160641932. 9 x 12 inches.

Stormy, Husky, Brawling takes its name from the 4th line of the poem Chicago, written by Carl Sandburg in 1916 when Chicago was the heart of the meatpacking and railroad industries. When bass trombonist Sun He commissioned Garrop, he mentioned a deep love for Chicago, adding, “I remember the first time I walked on the street in Chicago, by the corner of Michigan and Roosevelt, and how I felt the energy of this city almost brought my blood to a boil...” Those images inspired Garrop to write a piece that conveys the beating pulse of the city, as well as its grandeur.
Stormy, Husky, Brawling takes its name from the 4th line of the poem Chicago, written by the American poet Carl Sandburg. Dating from 1916, the city of Chicago at that time served as the heart of the meatpacking and railroad industries. The poem’s lines mingle the dark underbelly of the city:And they tell me you are brutal and my reply is: On the faces of women                      and children I have seen the marks of wanton hunger.with immense pride felt by its inhabitants:        Come and show me another city with lifted head singing so proud to be alive          and course and strong and cunning.As a Chicagoan myself, I find much of Sandburg’s unabashed view of the city very appealing and still relevant over a hundred years later.When bass trombonist Sun He commissioned me for a solo trombone piece, he mentioned his deep love for Chicago. He wrote to me in an email:“I remember the first time I walked on the street in Chicago, by the corner of Michigan and Roosevelt, and how I felt the energy of this city almost brought my blood to a boil...”His words inspired me to write a piece that conveys the beating pulse of the city, as well as its grandeur. Carl Sandburg’s poem became the perfect inspiration to tell the story of the pride Sun He and I have for Chicago.Sun He has dedicated Stormy, Husky, Brawling to Jane Addams and the Hull House of Chicago. Ms. Addams (1860-1935) was a distinguished sociologist, social worker, philosopher, and author, who opened the Hull House in 1889. She provided many services to immigrant families at the Hull House, including kindergarten, day care, an employment bureau, and classes in English, citizenship, music, theater, and the arts.

Choral (SATB)

SKU: HL.1312735

Composed by Irving Berlin. Arranged by Mark Hayes. Shawnee Press. Concert, Festival, Oldies, Swing. Octavo. 16 pages. Duration 210 seconds. Published by Shawnee Press (HL.1312735).

ISBN 9798350109528. UPC: 196288177661. 6.75x10.5x0.036 inches.

Two of Irving Berlin's most lively songs are married perfectly here in this fun swing, perfect for mixed voices of many ages as well as men's choirs and ensembles. What fun to add simple choreography and some costume flair to your performance pulling inspiration from the many generations of artists that have performed and recorded these songs for radio, television, and movies. A wonderfully classy performance piece your singers and audience will love!

Choral (SAB Choir)

SKU: HL.1312736

Composed by Irving Berlin. Arranged by Mark Hayes. Shawnee Press. Concert, Festival, Oldies, Swing. Octavo. 16 pages. Duration 210 seconds. Published by Shawnee Press (HL.1312736).

ISBN 9798350109535. UPC: 196288177678. 6.75x10.5x0.036 inches.

Two of Irving Berlin's most lively songs are married perfectly here in this fun swing, perfect for mixed voices of many ages as well as men's choirs and ensembles. What fun to add simple choreography and some costume flair to your performance pulling inspiration from the many generations of artists that have performed and recorded these songs for radio, television, and movies. A wonderfully classy performance piece your singers and audience will love!

Choral (TTB Choir)

SKU: HL.1312737

Composed by Irving Berlin. Arranged by Mark Hayes. Shawnee Press. Concert, Festival, Oldies, Swing. Octavo. 16 pages. Duration 210 seconds. Published by Shawnee Press (HL.1312737).

ISBN 9798350109542. UPC: 196288177685. 6.75x10.5x0.036 inches.

Two of Irving Berlin's most lively songs are married perfectly here in this fun swing, perfect for mixed voices of many ages as well as men's choirs and ensembles. What fun to add simple choreography and some costume flair to your performance pulling inspiration from the many generations of artists that have performed and recorded these songs for radio, television, and movies. A wonderfully classy performance piece your singers and audience will love!

Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 864 pages. Published by Hal Leonard.

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.

(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 856 pages. 9x12 inches. Published by Hal Leonard.

Inspirational Hymns for Trombone with CD composed by Various. Arranged by Tony Santorella and Jonathon Robbins. For trombone. This edition: Paperback. Collection. Sacred. Book and CD. Text Language: English. 32 pages. Published by Santorella Publications

Inspirational Hymns * Piano Accompaniment composed by Various. Arranged by Tony Santorella and Jonathon Robbins. For piano accompaniment. This edition: Paperback. Collection. Sacred. Book. Text Language: English. 32 pages. Published by Santorella Publications

Inspirational Hymns for Alto Sax with CD composed by Various. Arranged by Tony Santorella and Jonathon Robbins. For alto sax. This edition: Paperback. Collection. Sacred. Book and CD. Text Language: English. 32 pages. Published by Santorella Publications

Inspirational Hymns for Flute with CD composed by Various. Arranged by Tony Santorella and Jonathon Robbins. For flute. This edition: Paperback. Collection. Sacred. Book and CD. Text Language: English. 32 pages. Published by Santorella Publications

Inspirational Hymns for Clarinet with CD composed by Various. Arranged by Tony Santorella and Jonathon Robbins. For clarinet. This edition: Paperback. Collection. Sacred. Book and CD. Text Language: English. 32 pages. Published by Santorella Publications

What Sammy Said arranged by Gordon Goodwin. For big band. Medium to difficult. Score and parts. Published by Walrus Music Publishing

(Inspirational Hymn Settings for the Piano Soloist). By Susan Caudill. Sacred. Performance CD. Published by Lillenas Publishing Company

(Inspirational Hymn Settings for the Piano Soloist). By Susan Caudill. For piano. Sacred. Advanced. Published by Lillenas Publishing Company

Arranged by Shawn Kirchner. BH Secular Choral. General Worship, Gospel, Inspirational. Octavo. 12 pages. Duration 360 seconds. Boosey & Hawkes #M051485826. Published by Boosey & Hawkes

Choral (VoiceTrax CD)

SKU: HL.251767

Discovery Level 1. Composed by Cristi Cary Miller and John Jacobson. Discovery Choral. Concert, Patriotic. CD. Duration 145 seconds. Published by Hal Leonard (HL.251767).

UPC: 888680716233. 5.0x5.0x0.15 inches. John Jacobson and Cristi Cary Miller.

Combining a new song of patriotism with the much beloved My Country 'tis of Thee this is a wonderful addition to any patriotic concert. The meter for My Country.. has been changed from 3/4 to 4/4 which will draw special attention to the familiar tune and highlight the inspiring text.