SKU: HL.14042691

8.25x11.5x0.145 inches.

Vocal Score For John Tavener'S Three Hymns Of George Herbert For Satb Chorus, Percussion And Strings. Commissioned By The Legatum Institute [Www.Li.Com] As Part Of Its British And American Notions Of Liberty Programme, In The Year Of The Diamond Jubilee Of Her Majesty Queen Elizabeth Ii. First Performance On 21St April 2013 In Washington National Cathedral, By The City Choir Of Washington Conducted By Robert Shafer. The Three Hymns Of George Herbert Were Written After A Long Illness, And Represent For Me A Hymn Of Thanksgiving To God For A Relative Return To Health. They Are Intended To Be Sung In A Large, Resonant Acoustic, With The Main Choir And String Orchestra At One EndOf The Building, And An Echo Choir And String Quartet At The Other. The Percussion (Tubular Bells, Gongs And Tam-Tams) Should Sound From A Gallery Or Other Raised Position. The Hymns Were Inspired By The Transparent Poetry Of George Herbert, And Are Dedicated In Gratitude And Love To The Memory Of Mother Thekla, Former Abbess Of The Orthodox Monastery Of The Assumption, Normanby, Near Whitby, Who Died In 2011. - John Tavener.

SKU: HL.35032465

UPC: 888680868444. 6.75x10.5x0.029 inches. Dueteronomy 11:4, Philippians 4:19, Psalm 132:15.

This sacred song is an evocative and poetic prayer of need and thanksgiving. Contending with the deep matter of “wants” versus “needs” in our petitions to God, this choral is truly a sermon in song as it probes the heart's priorities. A very different and needed teaching anthem! Score and Parts (ob, vn, vc, perc) available as a digital download. Note that StudioTrax CD (35028906) works only with the SATB voicing. Note that Score and Parts (35028904) works only with the SATB voicing. Note that Score and Parts (35032466) works only with the SSA voicing.

SKU: WD.080689636172

UPC: 080689636172.

Chris tmas is a time for gratitude, a time for celebration and expectation! And it is a time for music! Songs of the season are everywhere around us, reminding us of the birth of the Savior, the anticipated coming of the Christ Child, the advent of the Messiah, and the JOY that is ours as believers. As followers of Christ, we have done more than just anticipate His coming; we have lived the reality of having received the Son of God into our hearts, of knowing Him as Savior, and worshipping Him as the King of kings and Lord of lords! And because of the wonderful gift of God’s Son, given to us, we not only hear the music of Christmas, we SING the song of Christmas, the Song of Joy!

Songs both new and old, celebratory and worshipful, joy-filled and awe-inspired, soul-searching and soul-soothing, weave a tapestry of Christmas wonder that invites the believer to worship and rejoice in His presence, while offering Hope to the downtrodden and Salvation to the lost. In perhaps some of its most powerful moments, Song of Joy ushers the listener into the serene and peaceful strains of the beloved carol Silent Night! Holy Night!, followed by compelling narration leading to the poignant and reflective new song, Somewhere in Your Silent Night (made popular by Casting Crowns). That is followed by a song of invitation and worship with Crowder’s Come As You Are, encouraging the lost to come to Christ and give Him their heart. This song of invitation leads us into the declaration that He is the King of kings who will reign forever in the medley featuring Tomlin’s, He Shall Reign Forevermore, and Elevation Worship’s, Only King Forever.

SKU: HL.1192563

UPC: 196288132691. 6.75x10.5x0.029 inches. I Chronicles 16:34, I Thessalonians 5:16-18, Isaiah 12:4-5.

An offering of gratitude for the seasons of life, this bittersweet anthem reminds us to live abundantly with a heart of praise. This sacred song provides many moments for expressive singing and beautiful harmonies.

SKU: HL.345972

ISBN 9781540093134. UPC: 840126921182. 6.75x10.5x0.019 inches. Ephesians 1:3, Psalm 100, Psalm 126:2-3.

Reminding us of God's abundant blessings, this anthem of gratitude combines a stirring 18th century text with a beautiful new melody perfectly suited for treble voices. The addition of Praise God, from Whom All Blessings Flow makes the piece an excellent selection for any Sunday of the year or Thanksgiving worship. Available separately: Unison/opt. 2-Part Treble. Duration: ca. 3:52.

SKU: HL.379631

UPC: 196288018131. 6.75x10.5x0.029 inches. Colossians 1:10, Lamentations 3:22-23, Psalm 4:8.

A tune from Kentucky Harmony is expertly set to this provocative text of resolve and gratitude for the daily experience of life and faith. The sturdy piano accompaniment offers support to the vocal lines, making this easy-to-learn piece a great option for many types of services. Solid!

SKU: YM.GTP01100826

ISBN 9784636106039.

A collection of all-time favorite J-POP songs appropriate for the graduation season and farewells. The songs are filled with touching content about friendship, gratitude, and encouragement for the future.

SKU: PR.16500104F

ISBN 9781491132159. UPC: 680160681082.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

SKU: HL.14023340

ISBN 9788759871911. 8.25x11.75x0.115 inches. English.

To Nocturner (2001) - for Chamber Choir (12 or 24 Voices). Texts by Ole Sarvig and Ib Michael. English version available: KP01444E Programme note: These two choral pieces for 12 voices consists of radical recompositions on of earlier themes: in Summer's Sleep we hear new combinations of two 'Sarvig melodies' from the 1970s (one of which is now in the Danish Hymnbook under the title aret, The Year): Michael's Night is based on an earlier, simple choral song (Star Mirror,1987), now for 12 voices and composed such that an original idea of simultaneously displaced, opposite motions cf. the poem) comes out as desired. Of the Nocturnes Norgard writes: Summer's Sleep wascomposed to stanzas of Ole Sarvig's poem The Year (from the collection Forstadsdigte ('Suburban Poems')) and forms the picture of the summer of life, which is asleep - while the heaven seed waits for the summer wind (invisible to every mind). The many layers of text are expressed musically in a multilayered choral texture with 'looks' up and down through the various tempo and time-worlds: summer sleep, summer dream. The second nocturne, Michael's Night, takes its name from the author Ib Michael, whose poem Star Mirror (from the collection Himmelbegravelse ('Sky Funeral') (1986) I pushed/coaxed him to expand from one to nine stanzas. The four selected stanzas set in the nocturne focus on the pan-erotic elements of the moonlit, starlit night. With the titles I have chosen I have stressed the mythic layer of the text, the summer night not as a dream but as sensual reality. The two nocturnes are dedicated to Ivan Hansen on the occasion of his fiftieth birthday on 25th February 2003, out of gratitude for over a quarter of a century of inspiring collaboration.

SKU: PR.16500101F

ISBN 9781491131725. UPC: 680160680252.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

SKU: HL.35031221

UPC: 888680641825. 5.0x5.0x0.155 inches.

Uses: General, Music Appreciation, Youth Choir Scripture: Isaiah 62:5; Zephaniah 3:17 Vibrant and attractive, this easy-to-achieve contemporary song celebrates the watch care of our loving heavenly Father. Based on scripture, the imagery of God rejoicing over His creation fills the sanctuary with a sense of gratitude. The remarkable melodic character of the music makes it instantly appealing for traditional and blended churches alike. Don't miss this one! Score and Parts (vn 1-2, va, vc, db) available as a digital download.

SKU: GI.G-017304

English.

Include s 20 songs from the Voices As One Volume 2 hymnal. Great for listening in the car or at home, and a fine musical addition to your next youth group gathering, service project day, Teen Night, or Sunday liturgy. You'll find some of your favorite contemporary yet prayer songs of gratitude from the Contemporary Christian genre here, as well as several great songs by favorite Catholic artists like John Angotti, Ed Bolduc, Matt Maher, Jesse Manibusan, Steve Angrisano, Paul Tate, Steve Warner, Donna Peña, and Rory Cooney. A impressive collection for teens, young adults, and anyone who appreciates vibrant new music!

SKU: AP.49753

UPC: 038081568409. English.

This expressive song of gratitude celebrates plentiful good things. Starts and ends sweetly, builds to a sweeping descant-topped refrain.

The PerformancePlus series is an innovative addition to the ever-expanding MakeMusic Cloud interactive library. These engaging selections are presented with educational resources designed to enrich the rehearsal process and create outstanding performances. Including:

• Assignm ent, recording, and assessment tools within MakeMusic Cloud
• Part-predom inant and accompaniment tracks
• Printable sheet music (with a standard MakeMusic Cloud subscription)
• Cor related rehearsal guides and performance notes
• Rights to perform in a live or virtual setting

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

SKU: HL.8621812

UPC: 884088617370. 5x5 inches.

The beloved Godspell song becomes a sweeping anthem of gratitude in this stunning setting. With a classic hymn text and rich music by Stephen Schwartz, it is equally appropriate for concert and church use, enveloping all in a spirit of joyful celebration. Includes Oboe and Cello parts. Score and parts (ob, vn1-2, va, vc, db) available as a digital download.