By James M. Peterik. Arranged by Ralph Ford. By James M. Peterik / arr. Ralph Ford. For Jazz Ensemble. Jazz Ensemble. Young Jazz Ensemble. Level: 2 (Medium Easy) (grade 2). Conductor Score

By Ralph Ford. By Ralph Ford. For Jazz Ensemble. Jazz Ensemble. First Year Charts for Jazz Ensemble. Level: 1 (Easy) (grade 1). Conductor Score. Published by Alfred Publishing.

Vocal and Piano (Voice and Piano)

SKU: HL.14029674

Composed by Ralph Vaughan Williams. Music Sales America. Folk Music. Book [Softcover]. 88 pages. Music Sales #NOV190038. Published by Music Sales (HL.14029674).

ISBN 9780853606208. 8.5x11.75x0.44 inches.

A selection of collected Folk Songs arranged by Cecil Sharp and Ralph Vaughan Williams.

By Ralph Ford. By Ralph Ford. For Jazz Ensemble. Jazz Ensemble. First Year Charts for Jazz Ensemble. Level: 1 (Easy) (grade 1). Conductor Score & Parts. 64 pages. Published by Alfred Publishing.

By Ralph M. Johnson. For SATB choir, percussion. St. Olaf Choral Series. Sacred. Easy Medium. Choral Octavo. 12 pages. Published by Augsburg Fortress

By Ralph Vaughan Williams (1872-1958). Arranged by Leroy Osmon. Concert Band. Band Music. Score and set of parts

By Ralph M. Johnson. For SATB Choir and Piano. General. St Olaf. Anthem. Choral Octavo. Published by Augsburg Fortress

Composed by Ralph M. Johnson. For SATB choir, piano, oboe or clarinet, optional assembly. Choral. Octavo. Published by Augsburg Fortress

Composed by Ralph M. Johnson. American Colleges and Universities Choral Series. Octavo. Published by MorningStar Music Publishers (MN.50-9929).

Composed by Ralph M. Johnson. For 2-part mixed choir, piano. Published by Augsburg Fortress

SATB choir, voice solo, piano accompaniment - Early intermediate

SKU: GI.G-10552

Arranged by Christin Kieckhafer. Good Friday. Choral. Sacred. Octavo. 16 pages. GIA Publications #10552. Published by GIA Publications (GI.G-10552).

English. Text Source: Alas! and Did My Savior Bleed?, Isaac Watts, 1674-1748, alt., At the Cross, Ralph E. Hudson, 1843-1901, alt. Text by Isaac Watts.

“At the Cross” contains the very rich texts of Isaac Watts and Ralph Hudson. My desire is to treat each verse with utmost respect by highlighting—throu gh music—the suffering, shame, hope, beauty, and glory of the cross. The cross embodies all of these attributes. You will notice there is a somberness that begins at m. 84, mirroring the darkness that ensued while Christ hung on the cross (Mark 15:33). A “darker” sound from the altos is encouraged. This is the turning point in the song, preparing the singers for the response to such a sacrifice. Although the text speaks of grief and debt (starting at m. 93), one can see the hope that builds, with the realization that complete surrender is the only response to such a sacrifice. Much thought and energy (under control) should be expended to aid this verse in building to the climactic point of the song, when hope is found in the cross and the burden has been lifted.

By James M. Peterik. Arranged by Ralph Ford. By James M. Peterik / arr. Ralph Ford. For Jazz Ensemble. Jazz Ensemble. Young Jazz Ensemble. Conductor Score. 12 pages. Published by Alfred Publishing.
Level: 2 (Medium Easy) (grade 2).

Piano Solo. Arranged by Carol Tornquist. Sacred Folio. Size 9.25x12 inches. 248 pages. Published by Word Music.

Triangles

SKU: M7.VOGG-781

Edited by Voggenreiter. Musical instrument. Wood, ca. 10x10 cm. Voggenreiter #VOGG 781. Published by Voggenreiter (M7.VOGG-781).

Dieser Triangel mit griffigem Haltegriff aus Holz und Metallstab zum Anschlagen bietet endlose Möglichkeiten, Klänge wie das Hämmern einer Schmiede oder eine Schiffsglocke zu imitieren. Natürlich kann der glockenhelle Triangel auch als Essens-Signal verwendet werden oder einfach die tobende Kinderschar zur Ruhe ermahnen ... Wir bieten Ihnen hier kein Spielzeug an, sondern Musikinstrumente!Ralph & Charles Voggenreiter.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Tambourine, Timpani, Triangle and more.

SKU: CF.FPS163F

A Medieval Carol. Composed by French carol. Arranged by Gene Milford. Full score. 16 pages. Carl Fischer Music #FPS163F. Published by Carl Fischer Music (CF.FPS163F).

ISBN 9781491163894. UPC: 680160922680.

The melody of The Friendly Beasts (“Orientis Partibus”) originated in twelfth-century France and has been attributed to Pierre de Corbeil, Bishop of Sens. The song migrated to England by the thirteenth century, where its popularity grew and in the early twentieth century the familiar English words were added. The melody has been set in both quadruple and triple meter and is presented in both meters here. Ralph Vaughan Williams (1872–1958) included the carol in his English Hymnal (1906).The words in both the original Latin and modern English versions pay homage to the place of animals in the Christmas story. The carol has also been known as The Donkey Carol and The Animal Carol.This setting is intended to reflect the Medieval origins of the melody. Some freedom of tempo would be appropriate during the “chant” version of the melody (mm. 6–18). Adding poco ritardando at m. 28, at the discretion of the director, should lead to a stricter tempo in mm. 31–53, in the manner of a medieval round dance. A gentle approach to the performance is appropriate. Finger cymbals could be added to or replace all or part of the triangle part, again at the director’s discretion.

(2vn,2va,vc)

SKU: TM.550-6202SET

Composed by Ralph Vaughan Williams. Set of parts. Lucks Music Library #M 2725. Published by Lucks Music Library (TM.550-6202SET).

Choral alto 1, alto 2, solo Voices, soprano 1, soprano 2

SKU: CF.CM9768

Composed by Z. Randall Stroope. Duration 3 minutes, 19 seconds. Carl Fischer Music #CM9768. Published by Carl Fischer Music (CF.CM9768).

ISBN 9781491160343. UPC: 680160923298. Key: G major. English.

About the WorkThe text of this work is most often attributed to Ralph Waldo Emerson, although it doesn't mirror his style, and no research credits an essay, book or letter with its source. Other individuals are occasionally suggested as possible authors, but equally unsubstantiated. Even whether the textis a poem or a quote seems unclear. But there is one thing that is without question: that this beloved text has inspired countless people and contributed toward a view of the world through eyes of hope, resilience, courage, beauty, and joy. Music for this text flowed more easily than about any text I have ever set. It has an emotional connection that is mystical, and after I read it for the first time, I immediately sat down and wrote this work without stop.Rehearsal NotesIn many cases, art is more expressive and reaches a wider range of human emotions when multiple artistic fields are fused together. Such is the case with choral music: the intertwining of literature, music, and very often dance, visual arts, and more. The story in choral music is often quite specific, much like film scoring. At times, the music is the picture frame (score) around the picture (text), while at others the music is the leading dramatic/emotional impetus.In the present case (My Farewell Wish), the text is sincere, innocent, heartfelt, and earnest. By all accounts, the message is altruistic, expressing selfless desire for another's present/future happiness. Capturing this message has a strong reliance on the performers to not only carry the emotional intent of the moment (a phrase of text or a measure), but the the energy and continuance of the message throughout.The use of the [o] vowel functions almost as instrumental interludes or underpinning of strings. The conductor may use the [o] as indicated in the score, or a [u] vowel, a hum (with [o] as the vowel inside the mouth), or all three at different times for different reasons. In an acoustical performance (no mic), the soloist and the ensemble are a reflection of each other's natural sound. And, even gentle, warm solo voices should have no trouble projecting.Two final thoughts: 1) the obbligato or added voice or two on high passages (m. 66) or a single note (final chord) will be best delivered by lyrical, pure voices with demonstrated control; and 2) the metronome marking of 80 bpm (mm. 1–81) was strongly considered and should be followed.About the ComposerZ. Randall Stroope is an American composer and conductor. His composition teachers were Normand Lockwood and Cecil Effinger, both students of the Nadia Boulanger, the famous French teacher (and student of Gabriel Fauré). Randall is the artistic director of two international summer music festivals, is an Honorary Board Member of the NationalAssociation of Italian Choral Directors, and has conducted in 25 countries. He has directed over 40 times at Carnegie Hall, and is a frequent conductor at other prestigious concert venues. Randall has 190 published works, and his music can be heard on Spotify, YouTube and other platforms, including his website (www.zrstroope.com).

Percussion

SKU: M7.VOGG-783

Edited by Voggenreiter. Musical instrument. Wood, ca. 6 cm. Voggenreiter #VOGG 783. Published by Voggenreiter (M7.VOGG-783).

Voggy's Egg-Shaker Dieser Egg-Shaker aus Holz wurde speziell für kleine Hände gestaltet und rasselt so fröhlich, dass man gar nicht mehr aufhören möchte! Ob alleine oder in der Kindergruppe, Voggy's Egg-Shaker ist immer ein Hit! Gut zu wissen: Die Idee: Instrumente und Lehrbuch zu einem stimmigen Gesamtpaket kombiniert! Ausgesuchte und für Anfänger geeignete Instrumente für die musikalische Früherziehung. Von erfahrenen Musikern und Muskpädagogen sorgfältig auf die Zielgruppe abgestimmte Buch-Konzepte, zum Teil mit Audio-CD. Alle Instrumente von namhaften unabhängigen Prüfinsituten getestet. Hervorragender Klang, der Kinder sofort begeistert. Hochwertige Verarbeitung. Hervorragendes Preis/Leistungs-Verhäl tnis. Wir bieten Ihnen hier kein Spielzeug an, sondern Musikinstrumente! Ralph & Charles Voggenreiter.

The Complete Christmas Collection. Arranged by Bill Wolaver, Bob Krogstad, Bruce Greer, Carol Tornquist, Mark Hayes, Phil Perkins, Richard Huggins, Teresa Wilhelmi. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Size 9.5x12 inches. 248 pages. Published by Word Music.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Tambourine, Timpani, Triangle and more. - Grade 1.5

SKU: CF.FPS163

A Medieval Carol. Composed by French carol. Arranged by Gene Milford. Set of Score and Parts. Carl Fischer Music #FPS163. Published by Carl Fischer Music (CF.FPS163).

ISBN 9781491163498. UPC: 680160922284.

The melody of The Friendly Beasts (“Orientis Partibus”) originated in twelfth-century France and has been attributed to Pierre de Corbeil, Bishop of Sens. The song migrated to England by the thirteenth century, where its popularity grew and in the early twentieth century the familiar English words were added. The melody has been set in both quadruple and triple meter and is presented in both meters here. Ralph Vaughan Williams (1872–1958) included the carol in his English Hymnal (1906).The words in both the original Latin and modern English versions pay homage to the place of animals in the Christmas story. The carol has also been known as The Donkey Carol and The Animal Carol.This setting is intended to reflect the Medieval origins of the melody. Some freedom of tempo would be appropriate during the “chant” version of the melody (mm. 6–18). Adding poco ritardando at m. 28, at the discretion of the director, should lead to a stricter tempo in mm. 31–53, in the manner of a medieval round dance. A gentle approach to the performance is appropriate. Finger cymbals could be added to or replace all or part of the triangle part, again at the director’s discretion.

(Orch I str=1.1.1.1-1.1,Orch II str=1.1.1.1.1,solo str=1.1.1.1.0)

SKU: TM.08618SET

Composed by Ralph Vaughan Williams. Set Type: M. Set of parts. Lucks Music Library #A8191. Published by Lucks Music Library (TM.08618SET).

All extra parts should be for Orchestra I. Extra cellos should be tutti cello with Cello II only 1 copy for last desk. Orchestra II should only have 1 stand on each part for violins, violas, and cello, and only 1 bass part. Typeset 2018. Solo parts are now on separate parts from the Orchestra I parts.

Band Concert Band - Grade 3

SKU: CF.CPS220

March. Composed by John Pasternak. Concert Band (CPS). Set of Score and Parts. With Standard notation. 8+8+4+8+16+16+4+4+4+4+4+4 +8+8+8+4+4+6+6+6+8+2+2+4+ 2+20+4 pages. Duration 2 minutes, 57 seconds. Carl Fischer Music #CPS220. Published by Carl Fischer Music (CF.CPS220).

ISBN 9781491152461. UPC: 680160909964.

An exciting new original march in classic American march form and style.  Composer John Paternak has captured the essence of the great marches of Sousa and Fillmore in a new tuneful and fresh sound traditional march.  The trio melody is essential catchy and the march is worthy of use as a solid warm-up march for festival by advancing level concert bands.
I wrote this piece for my friend Ralph Meyer and the members of the Western Reserve Community Band, who are always there for me when I need a group to read or record one of my compositions. I would also like to thank Larry Clark for helping this march come to life.There are a lot of sudden dynamic changes in this piece. It is crucial that there is dynamic contrast, so the piece can be performed effectively. There are also several instances with contrast in articulation styles. Make sure your group is playing short notes different from the legato passages. At m. 87 during the second time through, I have made the tempo jump to 152. Feel free to take it faster if your group is capable of it.

Band Concert Band - Grade 3

SKU: CF.CPS220F

March. Composed by John Pasternak. Concert Band (CPS). Full score. With Standard notation. 20 pages. Carl Fischer Music #CPS220F. Published by Carl Fischer Music (CF.CPS220F).

ISBN 9781491153147. UPC: 680160910649.

An exciting new original march in classic American march form and style.  Composer John Paternak has captured the essence of the great marches of Sousa and Fillmore in a new tuneful and fresh sound traditional march.  The trio melody is essential catchy and the march is worthy of use as a solid warm-up march for festival by advancing level concert bands.
I wrote this piece for my friend Ralph Meyer and the members of the Western Reserve Community Band, who are always there for me when I need a group to read or record one of my compositions. I would also like to thank Larry Clark for helping this march come to life.There are a lot of sudden dynamic changes in this piece. It is crucial that there is dynamic contrast, so the piece can be performed effectively. There are also several instances with contrast in articulation styles. Make sure your group is playing short notes different from the legato passages. At m. 87 during the second time through, I have made the tempo jump to 152. Feel free to take it faster if your group is capable of it.

SATB choir, organ, violin - Late Intermediate

SKU: MN.50-5204

Composed by David M. Cherwien and Susan Palo Cherwien. Arranged by Susan Cherwien. St. Luke's United Methodist Choral Series. 21st Century. Choral score. MorningStar Music Publishers #50-5204. Published by MorningStar Music Publishers (MN.50-5204).

UPC: 688670552045.

Set in an English style reminiscent of Ralph Vaughan Williams and Herbert Howells, David CherwienÕs music merges with an original text by Susan Palo Cherwien to evoke images of the music now made in heaven: the ÒEternal Praise.Ó Commissioned in memory of a violinist, mystical winds of Òhymning choirÓ move in and out of a string of sound in the violin. Part of the St. Luke United Methodist Series.

SKU: GI.G-8462

Composed by James Abbington. Edited by James Abbington. African American Church Music Series. Sacred. Book. 824 pages. GIA Publications #8462. Published by GIA Publications (GI.G-8462).

ISBN 9781622771004. English.

The volume you are holding is a vivid testimony …to the value of examining this variety and dynamism from multiple, overlapping points of view …to the value of both realist and idealist voices …to the value of articulating wisdom. From the foreword by John D. Witvliet, Calvin Institute of Christian Worship Since the publication of the first volume of Readings in African American Church Music and Worship, public and academic interest in the music and worship in black churches has significantly increased. This second volume makes available the most recent scholarship on twenty-first-century developments and trends, through a representative number of articles, essays, and chapters written by brilliant musicians, authors, and theologians of our time. The list of contributors includes some of the finest emerging scholars, whose voices we will be hearing for years to come, as well as offerings from seasoned authors, whose research and writings are well regarded by peers and the worshiping community at large. The significant contributions—from names new and familiar—greatly broaden the field of study. The 43 chapters of this volume are divided into 7 categories: Worship and Liturgical Practices Perspectives on Praise and Worship Liturgical Theologies Hip Hop and/in the Church Proclamation of the Word Perspectives on Women and Gender Hymnody: Sound and Sense Insightful, thought-provoking, challenging, hopeful—this volume will be a source of knowledge, a stimulus for discussion, and a call to (re)consider the many and varied viewpoints of the African American church. Featuring the writings of: James Abbington, LaTrese Adkins, Sandra L. Barnes, Tuere A. Bowles, Ruthlyn Bradshaw, Michael Joseph Brown, Melvin L. Butler, James H. Cone, David Douglas Daniels III, Robert Darden, Leo H. Davis Jr., Valerie Bridgeman Davis, Michael Fox, Kenyatta R. Gilbert, Daniel White Hodge, Birgitta J. Johnson, Alisha Jones, Tammy L. Kernodle, S T Kimbrough, Jr., Cheryl A. Kirk-Duggan, Cleophus J. LaRue, Monica T. Leach, Tamura Lomax, Pamela P. Martin, Marvin A. McMickle, Monica R. Miller, Stephanie Y. Mitchem, Thomasina Neely-Chandler, Deborah S. Pollard, Luke A. Powery, Samuel D. Proctor, Teresa L. Reed, Braxton D. Shelley, Martha Simmons, Josef Sorett, Rodney A. Teal, Frank Thomas, Kathleen S. Turner, Kenneth C. Ulmer, Gayle Wald, James Melvin Washington, Ralph C. Watkins, Lisa M. Weaver, Melinda E. Weekes, Christina Zanfagna James Abbington is Associate Professor of Church Music and Worship, Candler School of Theology, Emory University, Atlanta, Georgia. He also serves as Executive Editor of the African American Church Music Series, published by GIA Publications, Inc.

By Ralph Vaughan Williams. Arranged by Frank M. Hudson. For concert band. Overture. Approved contest/festival piece for the University Interscholastic League (UIL). Level: Grade 4.5. Full score. Duration 9:40. Published by TRN Music Publisher.