Handbells (3-4 octaves) - Level 2

SKU: LO.HB344

Composed by Merle J. Petersen. Bellmark Series. Sacred. Handbell score. Lorenz Publishing Company #HB344. Published by Lorenz Publishing Company (LO.HB344).

UPC: 000308009484.

The traditional Irish tune SLANE provides the theme for this stunning work. Familiar melodies always evoke favorable congregational response and this lovely gem is no exception.

Composed by Craig Courtney. Choral, cantatas. Holy Week, Eastertide. SA/TB part-dominant rehearsal CDs (reproducible). Lorenz Publishing Company #99/3226L. Published by Lorenz Publishing Company

Composed by David Kidwell. Sacred. Lorenz Publishing Company #70/2140L. Published by Lorenz Publishing Company

Composed by Lloyd Larson. Sacred. Lorenz Publishing Company #70/2108L. Published by Lorenz Publishing Company

Arranged by Douglas Smith. Print Music Collection (Instrumental Book). Published by Hope Publishing Company.

Composed by Mark Schultz. Arranged by Jay Dawson. Arrangers' Publ Marching Band. Christian. Published by Arrangers' Publishing Company (HL.146089).

(Violin Solo Arrangements of Favorite Hymns with Piano Accompaniment). By Don Whitman. String ensemble. For violin, piano. Moderately easy. Published by Lillenas Publishing Company

Arranged by Lee Dengler. Collection for solo piano. Published by Lorenz Publishing Company.

Arranged by Lee Dengler. Collection for solo piano. Published by Lorenz Publishing Company.

Arranged by Douglas Smith. Sacred. Print Music Collection (Instrumental Book). Published by Hope Publishing Company.

Piano 4-Hand

SKU: HP.9195

Arranged by Allen Pote. Score. Hope Publishing Company #9195. Published by Hope Publishing Company (HP.9195).

UPC: 763628191955.

Seven traditional hymn settings These seven familiar hymns are set creatively to folk melodies from five different countries. Some are energetic, some are reflective, but all are sure to connect with both performers and listeners. Contents: Be Thou My Vision (SLANE); Brethren, We Have Met to Worship (HOLY MANNA); Come, Christians, Join to Sing (MADRID); Go, My Children, with My Blessing (AR HYD NOS); Immortal, Invisible (ST. DENIO); In Heavenly Love Abiding (NYLAND); Let All Things Now Living (ASH GROVE).

Composed by Lloyd Larson. Sacred, Christmas. Lorenz Publishing Company #70/2309L. Published by Lorenz Publishing Company

Handbells 3-5 octave handbell choir - Level 3

SKU: HP.2710

Arranged by Sandra Eithun. General Worship, Sacred. Handbell score. 8 pages. Hope Publishing Company #2710. Published by Hope Publishing Company (HP.2710).

UPC: 763628127107.

Medle y of hymn tunes Written to honor the life and work of a pastor, this handbell setting brings two great hymns of stewardship and service together: Take My Life and Let It Be and O Jesus, I Have Promised. Suspended bells and lyrical handchime lines open to provide the tender backdrop to these melodies. The piece eventually grows to a full treatment of the hymns in the middle section and winds down with a contemplative close to reflect on a life of work and commitment.

SKU: LO.99-3223L

Composed by Craig Courtney. Choral, cantatas. Eastertide, Holy Week. Bulk performance CDs. Lorenz Publishing Company #99/3223L. Published by Lorenz Publishing Company (LO.99-3223L).

UPC: 000308137996.

In My Place is a poignant musical journey to the cross of Christ. It is a compelling reminder of the sacrifice that Jesus willingly made as He gave His life for each of us. Craig Courtney's masterful compositions and Pamela Stewart's inspired narrative will facilitate a memorable and meaningful worship experience for Lent or Holy Week. The music is a distinctive blend of original melodies and creative hymn settings. The narrative focuses on the observations of five first-hand witnesses to Christ's final hours: Judas, Peter, the thief on the cross, the Roman centurion, and a crowd member who called for Christ's death. Moving, dramatic, and life-changing are all appropriate descriptors of this exceptional Craig Courtney cantata.

By Jane Bastien. (Older Beginner Piano Library). Bastien Piano. Solo Collections. Level: Level 1. Music Book. Size 232. Published by Neil A. Kjos Music Company.

World's Favorite Series Volume 27. By Albert Gamse. By Various. Edited by Albert Gamse. World's Favorite (Ashley). Folk. Softcover. Composed 2005. 160 pages. Ashley Mark Publishing Company #AS10027. Published by Ashley Mark Publishing Company

SSAA choir, piano

SKU: LO.10-5646L

Composed by Mary McDonald. Choral. Sacred Anthem, General, Lent. Octavo. Lorenz Publishing Company #10/5646L. Published by Lorenz Publishing Company (LO.10-5646L).

ISBN 9780787776176.

Mary McDonald is well known for her ability to create beautiful new melodies for time-honored texts, and this anthem is no exception. Commissioned by the Women's Chorus of the Arkansas Master Singers, this SSAA piece features an artfully crafted piano part and soaring vocal textures. Perfect as a general anthem and for Lent, it is also available in an SATB voicing.

Arranged by Joel Raney and Arnold Sherman. General Worship, Sacred. Handbell score. Hope Publishing Company #2834. Published by Hope Publishing Company (HP.2834).

Composed by Patrick Roszell. Choral. Octavo. Lorenz Publishing Company #15/3520H. Published by Lorenz Publishing Company (LO.15-3520H).

By Jane Bastien. (Older Beginner Piano Library). Bastien Piano. Solo Collections. Level: Level 2. Music Book. Size 232. Published by Neil A. Kjos Music Company.

Composed by Marty Parks. Sacred. Lillenas Publishing Company #9780787772819. Published by Lillenas Publishing Company

(Celebrated Folk Melodies with Stirring Hymn Texts for Medium Voice). By Thomas Fettke. For medium voice and piano. Sacred Vocal. Vocal score and accompaniment CD. Published by Lorenz Publishing Company

This is My Song arranged by Peter J. Morabito. For SSAA choir, piano. Treble Spotlight. Choral. Octavo. 12 pages. Published by Neil A. Kjos Music Company

By James Bastien. For piano. (Bastien Supplementary Books). Bastien Piano. Classic Themes. Level: Level 3. Music Book. Published by Neil A. Kjos Music Company.

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.

By Various. Jazz. Fake Book. 550 pages. Published by Sher Music Company. CD Included with the book contains 37 melodies played by the following artists: Bob Sheppard - saxes and flute Steve Houghton - drums Dave Carpenter - acoustic bass Paul van Wageningen - drums Marc van Wageningen - electric bass Larry Dunlap - piano and synthesizer Dave Mac Nab - guitar.