C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 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.

The Great Trees: 1. Peace of Wild Things. Composed by Gwyneth W. Walker (1947-). Concerts, Secular, 21st Century. Octavo. Published by E.C. Schirmer Publishing (EC.7744).

Choral (SAB Choir)

SKU: HL.1118224

Composed by Bruce W. Tippette. Shawnee Press. Concert, Poetry. Octavo. Duration 180 seconds. Published by Shawnee Press (HL.1118224).

ISBN 9781705180938. UPC: 196288106890. 6.75x10.5x0.029 inches.

Bruce Tippette's setting of the Johnson poem is gentle and graceful, capturing the music-themed text. The piano accompaniment is supportive yet has an orchestral quality that moves with the dynamic vocal contrasts and melodic phrases. “No nights are dark, no days are long, while in my heart there dwells a song I softly sing.”.

Choral (SSA Choir)

SKU: HL.1118225

Composed by Bruce W. Tippette. Shawnee Press. Concert, Poetry. Octavo. Duration 180 seconds. Published by Shawnee Press (HL.1118225).

ISBN 9781705180945. UPC: 196288106906. 6.75x10.5x0.029 inches.

Bruce Tippette's setting of the Johnson poem is gentle and graceful, capturing the music-themed text. The piano accompaniment is supportive yet has an orchestral quality that moves with the dynamic vocal contrasts and melodic phrases. “No nights are dark, no days are long, while in my heart there dwells a song I softly sing.”.

Choral (SATB)

SKU: HL.1118223

Composed by Bruce W. Tippette. Shawnee Press. Concert, Poetry. Octavo. Duration 180 seconds. Published by Shawnee Press (HL.1118223).

ISBN 9781705180921. UPC: 196288106883. 6.75x10.5x0.029 inches.

Bruce Tippette's setting of the Johnson poem is gentle and graceful, capturing the music-themed text. The piano accompaniment is supportive yet has an orchestral quality that moves with the dynamic vocal contrasts and melodic phrases. “No nights are dark, no days are long, while in my heart there dwells a song I softly sing.”.

Choral (10 listening CDs)

SKU: HL.35028637

10-Pack Listening CDs. Composed by Joseph M. Martin. Harold Flammer Easter. Holy Week, Lent. CD only. Published by Shawnee Press (HL.35028637).

ISBN 9781476868066. UPC: 884088792411. 5x5 inches.

10-Pack Listening CDs: Inspired by Celtic music traditions, this new work for Lent or Holy Week presents Christ's journey to the cross. Utilizing folk songs, hymns and newly composed sacred songs, the music adorns the heart-felt message of God's love and grace displayed in Christ's redemptive work on Calvary. A thoughtful narration weaves the movements of the work together with Scripture, prayer and poetry, while delivering a reflective message of hope and assurance. Gentle orchestrations capture the Celtic spirit of the music in a smaller, more restrained approach in keeping with Holy Week considerations. A full line of support products is available. Duration: approx. 30 minutes. Titles include: Prologue, The Song of the Cross, A Celtic Hosanna, Come to the Upper Room, The Garden of Tears, The Carpenter, A Tree Once Stood, Consolation of the Cross, Epilogue. Available separately: SATB, Listening CD, Preview Pack (Book/CD), StudioTrax CD (Accompaniment only), RehearsalTrax CDs, 10-Pack Listening CDs, Digital Resource Kit, Chamber Orchestration (Score & Parts for Soprano Recorder/Penny Whistle, Alto Recorder, Oboe/English Horn, Clarinet 1&2, Bassoon, Horn 1&2, Trumpet 1-3, Trombone 1&2, Tuba, Timpani, Percussion 1&2, Harp, Piano, Violin 1&2, Viola, Cello, Double Bass) and Chamber Orchestration CD-ROM. Duration: ca. 30:00.

(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

Voice and piano

SKU: BR.EB-8888

Urtext. Composed by Pauline Viardot-Garcia. Edited by Miriam-Alexandra Wigbers. Voice. Edition Breitkopf. Song; Romantic. Score. 112 pages. Breitkopf and Haertel #EB 8888. Published by Breitkopf and Haertel (BR.EB-8888).

ISBN 9790004185117. 0 x 0 inches. German.

The piano-accompanied Lied is undoubtedly the main genre of Pauline Viardot-Garcia's oeuvre. With this volume, we present settings of German texts by such poets as Ludwig Uhland, Eduard Morike, Johann Wolfgang von Goethe, Heinrich Heine, Emanuel Geibel, Ludwig Rellstab and Richard Pohl. Except for the Uhland settings, these German Lieder were written between 1862 and 1871 during Viardot's Baden-Baden period, when she shifted the focus of her activities from singing to composing and teaching. Here she worked, among other things, on the poetry of Eduard Morike, which she called the greatest and most genuine in all German poetry after Goethe.One of her first published songs was the setting of the Uhland poem Des Knaben Berglied. Accompanying herself on the piano, she performed it in 1838 on her first concert tour of Germany. A performance of the song at the Leipzig Gewandhaus prompted Robert Schumann to remark: She showed three talents here [composition, singing and piano playing], each of which would grace its artist. Through her music, Viardot brings the creatures in the poems to life, tracing their different characters and inner states, thus giving the texts a new level of interpretation.

Mi riam-Alexandra Wigber's recordings of songs from this edition can be found on YouTube.

Choral (SATB)

SKU: HL.379621

The Poetry of Faith Series. Composed by Amber R. Maxwell. Arranged by Heather Sorenson. Shawnee Sacred. General Worship, Sacred. Octavo. 12 pages. Duration 240 seconds. Published by Shawnee Press (HL.379621).

ISBN 9781705151310. UPC: 196288018070. 6.75x10.5x0.029 inches. Acts 5:20, Colossians 3:10, Romans 6:4-5.

A time-honored poem brings the promise of spring into an insightful message of faith in this artfully composed anthem. With classic purity, the song emerges out of a delicate pattern from the piano. The choral writing uses unison and two-part textures mingled with fuller sounds for both clarity and power. Changes in tempo and a wide dynamic vocabulary invite choirs to linger on each precious phrase, sharing the abundant life that is ours through grace. Score and Parts (vn, vc) available as a digital download.

SAB chorus, piano - Easy

SKU: AU.978-1-5064-8498-3

Composed by Thomas Keesecker. Augsburg Choral Library. Church. Octavo. Augsburg Fortress #978-1-5064-8498-3. Published by Augsburg Fortress (AU.978-1-5064-8498-3).

ISBN 9781506484983. 7 x 10.25 inches.

Thomas Keesecker is a master at crafting tuneful melodies, and here he pairs a new melody with a Herb Brokering text, creating a graceful and approachable anthem. Representative of Brokering's poetry, the text lists numerous attributes of God's expansive character, making this anthem useful throughout the year. Consider programming it during communion, for creation-themed worship, Reign of Christ, or Holy Trinity Sunday. _x000D_.

((from Testament of Praise)). By Joseph M. Martin. For SATB choir (SATB). Shawnee Press. Sacred. 16 pages

(The Great Trees: 4. The Steps of the City). By Gwyneth W. Walker (1947-). For soprano voice solo, clarinet, piano. Concerts, Secular. Moderately Easy. Published by E.C. Schirmer Publishing

(The Great Trees: 2. The Silence). By Gwyneth W. Walker (1947-). For soprano voice solo, clarinet, piano. Concerts, Secular. Moderately Easy. Published by E.C. Schirmer Publishing

By Bohuslav Martinu. Czech title: Pisni ky na dve stranky. Published by Praha (Czech import).

Composed by David Barton. Text: 15th century texts. Medieval-flavor motet. Christmas. Octavo. Published by CanticaNOVA Publications (C5.5054).

Choral SSA Choir and Piano

SKU: CF.CM9718

Composed by Meredith Tompkins. 8 pages. Duration 2 minutes, 23 seconds. Carl Fischer Music #CM9718. Published by Carl Fischer Music (CF.CM9718).

ISBN 9781491160978. UPC: 680160919574. Key: D major. English. Manmohan Ghose.

Manmohan Ghose was a professor, poet, and brilliant scholar from Eastern India in the late 19th century. He was educated in London, and was one of the first poets originally from India to publish poetry in English. A Lament is one of his earliest published poems; it progresses with vivid, scenic language from lullaby to permanent goodbye. Much later in life, Manmohan experienced a series of family tragedies that gave him a unique perspective on grief. After returning to India to mourn his father's death and eventually the passing of his wife, he never again made it back to England as he had wished to before his own death. The text of this piece has been paired with a mixolydian modal structure and a blend of musical elements designed to invoke a nostalgic, dream-like atmosphere. In the words of the composer: I like to think of this piece as a metaphorical hall of mirrors. The original 'image' of the melody becomes the source for multiple echoes and imitations that blossom into layers of polyphonic movement. As a nod to the poet's birth place, notes reminiscent of the kan-swar grace note technique of Hindustani classical music add ornamental interest to the piano and voices. This piece functions as an excellent educational introduction or further study into the concept of modes. When presenting this piece to a choir, directors may find it helpful to identify G as the tonal center and follow up with an explanation that G mixolydian has the same key signature as the key of C, because it naturally has no sharps or flats.
Manmohan Ghose was a professor, poet, and brilliant scholar from Eastern India in the late 19th century. He was educated in London, and was one of the first poets originally from India to publish poetry in English. “A Lament” is one of his earliest published poems; it progresses with vivid, scenic language from lullaby to permanent goodbye. Much later in life, Manmohan experienced a series of family tragedies that gave him a unique perspective on grief. After returning to India to mourn his father’s death and eventually the passing of his wife, he never again made it back to England as he had wished to before his own death. The text of this piece has been paired with a mixolydian modal structure and a blend of musical elements designed to invoke a nostalgic, dream-like atmosphere. In the words of the composer: “I like to think of this piece as a metaphorical hall of mirrors. The original ‘image’ of the melody becomes the source for multiple echoes and imitations that blossom into layers of polyphonic movement.” As a nod to the poet’s birth place, notes reminiscent of the kan-swar grace note technique of Hindustani classical music add ornamental interest to the piano and voices. This piece functions as an excellent educational introduction or further study into the concept of modes. When presenting this piece to a choir, directors may find it helpful to identify G as the tonal center and follow up with an explanation that G mixolydian has the same key signature as the key of C, because it naturally has no sharps or flats.

Choral (Studiotrax CD)

SKU: HL.35032127

Composed by Joseph M. Martin. Shawnee Sacred. Advent, Christmas/Advent Sacred, General Worship, Sacred. CD. Duration 245 seconds. Published by Shawnee Press (HL.35032127).

UPC: 888680736200. 5.0x5.0x0.147 inches. Isaiah 26:12, Job 37:6-10, John 1:9-14, Matthew 1:23, Song of Solomon 2:11.

This graceful original song for Advent is extracted from the best-selling cantata Winter's Grace. Invoking the images of winter as a spiritual metaphor, the text conveys a deep yearning spirit. Unison singing delivers the poetry of the verse with clarity before surrendering to the harmonic richness of the refrain. Precious and powerful, this anthem can also be used as a prayer response. Highly recommended! Score and Parts (fl 1-2, ob, cl 1-2, bn, hn 1-2, tpt 1-3, tbn 1-2, btbn/tba, timp, perc 1-2, hp, pno, vn 1-2, va, vc, db) available as a digital download.

Composed by Brad Nix. Harold Flammer. Holy Week, Sacred. Octavo. 12 pages. Published by Harold Flammer Music

2-Part Treble Voices [SS], Piano and oboe

SKU: BT.BHI47573

Composed by David L. Brunner. Boosey Choral Music Experience. Choral Score. Boosey & Hawkes #BHI47573. Published by Boosey & Hawkes (BT.BHI47573).

English.

Inspire d by the art and spirit of early Americans in the Southwest, as well as the contemporary art of the sculptor whose poetry forms the text, this imaginative work gracefully evokes mystery and awe.

Inspiriert von der Kunst und dem Geist der Menschen, die in früheren Jahrhunderten den amerikanischen Südwesten besiedelten, sowie von zeitgenössischer Bildhauern, deren Poesie den Text diesess Liedes formten, beschwört dieses fantasievolle und anmutige Stück etwas Geheimnis- und Ehrfurchtvolles.

By Stephanie Boosahda. By David J. Stearman III and Stephanie Boosahda. Arranged by John Leavitt. Daybreak Choral Series. Christmas, Communion, General Worship, Sacred. Octavo. 12 pages. Published by Daybreak Music