(Vocal Solos for Medium Voice). By Larry Carrier. For medium voice, piano. Solo collection. Sacred. Published by SoundForth . Sacred.

For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (1778-1837). Edited by Elisa Koehler. Arranged by Elisa Koehler. Romantic. Score and part(s). With Standard notation. 36 8 pages. Carl Fischer #W002681. Published by Carl Fischer (CF.W2681).

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.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5

SKU: CF.FAS121

Composed by Kirt Mosier. Carl Fischer First Plus String Orchestra Series. Set of Score and Parts. 8+1+1+2+5+5+5+1 pages. Duration 1 minute, 53 seconds. Carl Fischer Music #FAS121. Published by Carl Fischer Music (CF.FAS121).

ISBN 9781491159163. UPC: 680160917747.

Searc hing for Destiny’s Diamond is a tension-filled, and mysterious work depicting young people seeking out their destiny during dark times — and ultimately towards the diamond that is their bright future. All parts can be learned at the same time since every section gets the melody in this work. The melodic figure in the second half is offset by one measure in Violin II, Viola and Bass, making for some intriguing harmonies that will increase the students' hearing ability. While optional, the piano part will add intrigue to your performance and was written to be accessible to developing pianists. If no pianist is available, a recorded piano part is available online.
Searching for Destiny’s Diamond is a mysterious work that centers around the idea of young people searching out their destiny during dark times. It involves intrigue and tension, as they journey towards their purpose and the diamond that is their bright future.Every instrument in the orchestra begins with the melody and plays it throughout the piece, making this work an excellent teaching piece since all parts can be learned at the same time. The second half of the work is a musical stretto with the melodic figure offset by one measure in Violin II, Viola and Bass. This makes for some intriguing harmonies that will increase the student’s hearing ability and bring tension to the piece.While this piece can be performed without piano, it is desired that the piano be played in performance, as it adds intrigue to the sound. The piano part has been written so that it can be performed by developing pianists. To facilitate performances when no player is available, a recorded piano part is available at www.carlfischer.com/FAS12 1.

Piano Solo - Easy-Intermediate

SKU: FP.FWS06

Composed by Stanley Wilson. Sheet Music and Books. A classic tale of Ancient Rome for piano solo by Stanley Wilson. Suggested grade 1-2. Classical. Collection. Forsyths Publications #FWS06. Published by Forsyths Publications (FP.FWS06).

ISBN 9790570503186.

Stan ley Wilson tells the story of Androcles and the Lion with these imaginative pieces for the early grade player.

The composer gained an open scholarship to study composition at the Royal College of Music and spent most of his career as Director of Music at Dulwich College. His piano albums show his gift for writing perfect miniature programmes, each album representing a story is told with unfailing truth and extraordinary economy of line.

By Jamey Aebersold. Arranged by Corey Christiansen. Book and CD. Published by Jamey Aebersold Jazz

(Vocal Solos for Medium Voice). By Larry Carrier. For medium voice, piano. This edition: spiral bound. Solo collection. Sacred. Published by SoundForth . Sacred.

Etudes for Jazz Piano: Conversations of the Hands by Emiko Hayashi. Learn to get the left and right hand working together and independently. Book. Published by Jamey Aebersold Jazz

By Brian Wren. Sacred. Print Music Collection (Hymn Texts). Published by Hope Publishing Company.

Choral (Studiotrax CD)

SKU: HL.35031603

By Tommy Walker. By Tommy Walker. Arranged by Heather Sorenson. Shawnee Sacred. Anthem, Commitment, General Worship, Gospel, Invitation, Praise And Worship. CD. Duration 300 seconds. Published by Shawnee Press (HL.35031603).

UPC: 888680676056. 5.0x5.0x0.2 inches. 2 John 1:9, James 4:8, Jeremiah 23:23, Psalm 34:18.

A slow gospel ballad, this choral adaptation is filled with characteristic stylings that will lift the spirit. Set as a passionate prayer for those seeking assurance and God's presence in their spiritual walk, this affirming song can be programmed any time of the year. A stellar piano part sets the message soaring, and the rhythm/strings and track options give choirs of any size a chance to do something current. Feature a soloist for a powerful and poignant moment of worship. Stirring! Score and Parts (rhy, pno, vn 1-2, va, vc, db) available as a digital download.

[200 New Melodic and Gradual Studies for Horn - Book 3: 40 Medium Difficulty]. Composed by Maxime-Alphonse. Leduc. Classical. Softcover. 26 pages. Alphonse Leduc #AL16721. Published by Alphonse Leduc

By Andre Bush. For Guitar (All). Method. Jazz. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75. 104 pages. Published by Mel Bay Publications, Inc.

Violoncello - Level 5

SKU: BA.BA11071

Composed by Matthias Pintscher. In a folder. Part II of the cycle Profiles of Light. Performance score. Composed 2015. 4 pages. Baerenreiter Verlag #BA11071_00. Published by Baerenreiter Verlag (BA.BA11071).

ISBN 9790006562015. 42 x 29.7 cm inches.

“Now II” is the second part of a triptych of chamber pieces entitled “Profiles of Light”. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013).

All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities.

This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'.

Piano (Piano)

SKU: HL.48182061

Composed by Olivier Messiaen. Leduc. Post-1900. Softcover. 24 pages. Alphonse Leduc #AL22937. Published by Alphonse Leduc (HL.48182061).

UPC: 888680850685. 9.0x12.0x0.237 inches.

“Oliv ier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms, harmony, melodies and his passion for ornithology, his Catalogue of Birds for Piano is no exception to the composer's popular, distinctive style. Messiaen became fascinated by birdsong from an early age, however, it wasn't until the 1950s that he took his passion to a new level, incorporating birdsong in to all of his compositions. Catalogue of Birds, composed in 1958, comprises thirteen movements, each depicting a specific bird. The first volume contains the first three movements; 1) The Alpine Chough, 2) The Oriole, and 3) The Blue Merle. Catalogue of Birds is essential to all advanced pianists seeking to expand and vary their repertoire.”.

Score and Parts String Orchestra (Score and Parts) - Grade 1

SKU: HL.4493082

Composed by John Williams. Arranged by Robert Longfield. Easy Music For Strings. Movies. Softcover. Published by Hal Leonard (HL.4493082).

UPC: 196288182122.

Unlea sh awe-inspiring beauty of â??Theme from Jurassic Parkâ? with this enchanting string orchestra arrangement by Robert Longfield. John Williams' iconic score comes to life, allowing your orchestra to recreate the majestic wonder of prehistoric times. Elevate your performance with luch harmonies and captivating melodies that transport audiences to the heart of Jurassic Park. Perfect for young orchestras seeking a timeless cinematic experience, this arrangement promises to captivate and inspire, making your performance a Jurassic journey like never before.

Edited by Judith Blezzard. Choir Sacred. Women's Choir. Book; Choral (Sacred); Choral Worship Collection; Worship Resources. Faber Edition. Masterwork; Sacred. Published by Faber Music

Concert band - Grade 4

SKU: MH.0-931329-53-1

Composed by Gregory B.Rudgers. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 7:30. Published by Manhattan Beach Music (MH.0-931329-53-1).

ISBN 9780931329531.

Jour ney back to ancient Greece and view a place of long-gone legend. Follow the trail to the Kingdom of Ithaca, from the heroic palace, to a place of tranquility, to a reckless dance of abandon, to the return of Odysseus. The melodic material used in 200 B.C. is from a two thousand year old Greek hymn to Apollo. The legendary adventures of Odysseus as described by Homer in the Odyssey (ca. 700 B.C.) provide the programmatic material. The music is freely based upon the First Delphic Hymn (or Paen to Apollo), composed ca. 200 B.C. The source is a transcription appearing on pages 363 - 367 of Ancient and Oriental Music, Edited by Egon Wellesz (Oxford University Press: London, 1957). Each movement of the work depicts a key event in the epic Homeric poem, as described below. Movement I: Intrada - The first four notes of this movement, C - Bb - G - Bb, are the melodic and harmonic foundation for the entire work. These pitches, introduced in a simple and direct manner, are subsequently developed in more complex fashions throughout the suite. Following this stately introduction is a militaristic fanfare that introduces the dotted-eighth and sixteenth-note figure later reprised in the second and fourth movements. Indeed, all the musical ideas which will be central to the remaining movements first appear in the Intrada. This movement depicts the grandeur of Odysseus and his kingdom in Ithaca, and establishes the heroic mood of the entire work. Movement II: Ballad - After a brief restatement of the opening dotted-eighth-and-sixteen th fanfare, the second movement extracts the falling third (Bb to G) from the C - Bb - G - Bb motif and extends it and expands it into a haunting solo for alto saxophone. The C - Bb - G - Bb motif appears again (see measures 23 - 33 in trumpets) as counterpoint to this melody, now pulsing through the thick texture of the band. Many performers have come to view the Ballad as the emotional epicenter of the entire suite; my conception of the Ballad is to achieve a union of pathos and strength. Programmatically, this movement depicts Odysseus's son, Telemachos, as he both longs for Odysseus's return and stoically defends his father's kingdom. Movement III: Dance - It will take Odysseus twenty years to return to Ithaca. During his absence, noblemen besiege his palace, violating the sanctity of the household and seeking the hand of his wife, Penelope. This movement depicts the wanton revelries that result. The original four-note motif is chromatically altered and the meter is made irregular. The rapid tempo, driving percussion, and angular meter and melodies combine in an explosion of reckless abandon. Movement IV: March Building from a delicate woodwind ensemble accompanied by finger cymbals to a fully orchestrated statement replete with thundering percussion, this is a resounding march of victory. Odysseus has returned in triumph to restore dignity to his household and to reclaim the throne of the Kingdom of Ithaca. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 - 2, 2 Oboe 1 - 2, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 1 Eb Alto Clarinet, 3 Bb Bass Clarinet, 2 Bassoon 1 - 2, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 3 Euphonium (B.C.), 2 Euphonium T.C., 4 Tuba, 1 Timpani, 2 Mallet Percussion: Bells, Xylophone, 2 Percussion 1: Snare Drum, Tambourine, 2 Percussion 2: Crash Cymbals, Suspended Cymbal, Tom-Tom, Finger Cymbals, 1 Percussion 3: Bass Drum.

[Two Hundred New Melodic and Progressive Studies] for Horn. Composed by Maxime- Alphonse. Leduc. Classical. Softcover. 28 pages. Alphonse Leduc #AL16543. Published by Alphonse Leduc

For Organ. Composed by Olivier Messiaen (1908-1992). Leduc. Classical. Softcover. 10 pages. Alphonse Leduc #AL20071. Published by Alphonse Leduc

Piano

SKU: HL.368695

Composed by Herbert Howells. Piano. Classical. Softcover. 132 pages. Novello & Co Ltd. #NOV100463. Published by Novello & Co Ltd. (HL.368695).

ISBN 9781705141779. UPC: 840126969085. 9.0x12.0x0.289 inches.

This collection of 27 pieces, transcribed and edited by the Howells scholar Jonathan Clinch and published for the first time to coincide with Matthew Schellhorn's recording of the complete piano music by Howells for Naxos, reveals a previously neglected aspect of this celebrated English composer. The pieces chart the musical development of Howells, from his earliest known work “The Arab's Song,” written when he as 16, to the “Petrus Suite,” completed in his 80s, as well as demonstrating his fascination with French music (“Phantasy,” “Harlequin Dreaming”) and the Tudor period (“Pavane” and “Galliard.”) The volume also includes the moving tribute to his friend and fellow composer Finzi. Comprising a wide array of pieces from characterful miniatures to more substantial suites, the collection will appeal to Howells devotees and lovers of 20th century English music, as well as to anyone seeking fresh and distinctive piano repertoire. Includes: The Arab's Song • To a Wild Flower • Romance • Melody • Legend • Summer Idyls: I. Meadow-Rest • II. Summer-Song • III. June-Haze • IV. Down the Hills • V. Quiet Woods • VI. Near Midnight • VII. In the Morning • Phantasy • Harlequin Dreaming • Minuet for Ursula • My Lord Harewood's Galliard • Finzi: His Rest • Siciliana • “Comme le cerf soupire...” • Pavane and Galliard • Petrus Suite: Finnicle's Scherzo • Gavotte • Vagrant Flute • Minuet • 'Sine Nomine' • Bassoonic's Dance • Odd's Minuet • Toccatina.

SATB chorus, piano (opt. guitar) - intermediate

SKU: BP.DF1022

Composed by Dan Forrest. Choral, School, Church, Community, Collegiate. Justice. Octavo. The Music of Dan Forrest #DF1022. Published by The Music of Dan Forrest (BP.DF1022).

6.88 x 10.5 inches.

From the composer: Written as a statement of support for, and allyship with, our Black brothers and sisters (as well as all people of color). Too often, in any aspect of life, we explain away other people’s experiences instead of seeking to understand experiences that differ from our own; we’re so busy talking about our own viewpoints that we fail to listen to the voices we most need to hear. I asked Tony Silvestri to write a text that could function as a personal statement from me to people I need to listen to—especially to my friends of color. This the text that resulted—words that speak powerfully for any situation where we need to listen to those who have been marginalized or mistreated, not heard or believed. For SATB or SSAA choir with piano and optional guitar.