For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.

Organ - Easy

SKU: JK.01927

Composed by Various. Arranged by Brent Jorgensen. Christian, Contemporary Christian, Gospel, Inspirational. Jackman Music Corporation #01927. Published by Jackman Music Corporation (JK.01927).

UPC: 093285019270.

The Temple Organist is a series of hymn arrangements designed to support the sacred reverence found in temples of the Church of Jesus Christ of Latter-day Saints. The songs selected for the two volumes have been taken directly from approved lists of hymns appropriate for temples. The arrangements in this volume, like volume 1, are arranged to include the harmonizations from the 1985 hymnal, with a variation that follows in most cases. True to the style of Orgain Chains, they include interludes to connect each hymn so they can be played consecutively (including modulations that bridge different keys beautifully). You will enjoy serving temple patrons as you play these simple, contemplative hymn settings.


Cont ents Include:
Oh, May My Soul Commune with Thee
Nearer, My God, to Thee
O My Father
I Need Thee Every Hour
Jesus, Lover of My Soul
More Holiness Give Me
Guide Me to Thee
Did You Think to Pray?
Sweet Hour of Prayer
How Gentle God's Commands
Where Can I Turn for Peace?
Be Thou Humble
Dearest Children, God Is Near You
Be Still, My Soul
Lead, Kindly Light
Sweet Is the Peace the Gospel Brings
O Love That Glorifies the Son
God Loved Us, So He Sent His Son
How Great the Wisdom and the Love
With Humble Heart
Jesus, Once of Humble Birth
In Humility, Our Savior
There Is a Green Hill Far Away
I Stand All Amazed
Sweet Is the Work
Come, Follow Me
Love One Another
Dear to the Heart of the Shepherd
Lord, I Would Follow Thee
Composer: VariousArranger: Brent JorgensenDifficulty: Easy.

Part I, II, III and IV. Composed by Alex Poelman. The Best Original Compositions for Concert Band/Catalogue Master Works Vol. 1. Molenaar Masterpieces. Recorded on The Seven Wonders of the Ancient World (ML.311080720). Full set. Duration 20 minutes, 58 seconds. Published by Molenaar Edition (ML.012792100).

Chamber Music Violin

SKU: PR.114422260

For solo violin. Composed by Stacy Garrop. Sws. Performance Score. 12 pages. Duration 0:09:00. Theodore Presser Company #114-42226. Published by Theodore Presser Company (PR.114422260).

ISBN 9781491133866. UPC: 680160683352. 9 x 12 inches.

Legends of the phoenix are found in stories from ancient Egypt and Greece. While each culture possesses a range of stories encompassing the myth, these tales tend toward similar traits: a sacred bird with brilliantly colored plumage and melodious call lives for typically 500 years, then dies in a nest of embers, only to be reborn among the flames. Phoenix Rising consists of two movements: I. Dying in Embers represents an old phoenix settling on top of a pile of embers and breathing its last breath; II. Reborn in Flames depicts the newly-born phoenix getting its first taste of flight.
Legends of the phoenix are found in stories from ancient Egypt and Greece. While each culture possesses a range of stories encompassing the phoenix myth, these tales tend to share similar traits: a sacred bird with brilliantly colored plumage and melodious call lives for typically five hundred years; then the bird dies in a nest of embers, only to be reborn among the flames.In Egyptian stories, the phoenix gathers scented wood and spices for its funeral/rebirth pyre, then collects the ashes from its earlier incarnation and flies them to the temple of the sun in Heliopolis to offer as a tribute to the sun god.In Greek myths, the phoenix was approximately the size of an eagle and was adorned with red and gold feathers; it would fly from either India or Arabia to Heliopolis to give its offering. The bird’s association with immortality and resurrection are particularly intriguing aspects of these tales, giving numerous writers (including William Shakespeare, C.S. Lewis, and J.K. Rowling) a rich resource for their own stories.Phoenix Rising consists of two movements. I. Dying in embers represents an old phoenixwho is settling on top of a pile of embers and breathing its last breath. II. Reborn in flames depicts the newly-born phoenix getting its first taste of flight.Phoenix Rising was commissioned by saxophonist Christopher Creviston, who has recorded the work on the Blue Griffin label. The composer has also made editions of the work for flute and for clarinet (also available from Theodore Presser Company).

By Dakers. For Choral Collection: Mixed Choir Paper. Published by Oxford University Press.

Composed by Stan Pethel. Choral. Sacred Anthem. Octavo. Lorenz Publishing Company #10/5466L. Published by Lorenz Publishing Company

Arranged by Brent Jorgensen. Christian, Contemporary Christian, Gospel, Inspirational. Jackman Music Corporation #01926. Published by Jackman Music Corporation

SATB Choir and Organ

SKU: HL.14041484

Composed by John Tavener. Choral. Sacred. Octavo. Composed 2006. Chester Music #CH70411. Published by Chester Music (HL.14041484).

UPC: 884088593384. 6.75x9.75x0.025 inches.

Work for unaccompanied SATB from Tavener's The Veil Of The Temple.

The Veil of the Temple was commissioned by the Temple Music Trust. The world premiere took place on 27th June 2003 at the Temple Church, London,performed by the Choir of the Temple Church and the Holst Singers, with Patricia Rozario (soprano), conducted by Stephen Layton, as part of The City of London Festival, 2003. The anthem Awed by the beauty was arranged in 2005.Byzantine text, translated by Mother Thekla. 'Oh' should be sung as in the 'o' of 'log'. Breathe when necessary, but not simultaneously. ?? and ???? represent microtones, the characteristic 'breaks in the voice' of Eastern chant.

(Oratorio in Three Parts). By George Frideric Handel (1685-1759). Edited by Colin Timms. Arranged by Martin Focke. For Soprano Solo, 2 Mezzo-Soprano Solo, Alto Solo, Tenor Solo, Bass Solo, 2 Mixed Choir, Orchestra. Hallische Handel-Ausgabe. Serie I, Band 29. Piano Reduction/Vocal Score; Urtext Edition; Complete Edition (paperbound). HWV 68. Published by Baerenreiter Verlag

By Lynne Perry Christofferson, Janice Kapp Perry. Text: Janice Kapp Perry / Steven Kapp Perry / Lynne Perry Christofferson / John V. Pearson / Joy Saunders Lundberg / David B. Larsen. For Vocal Songbook. Level: Varied. Published by Jackman Music Corporation.

Chamber Music Flute, Piccolo, alto Flute

SKU: PR.164002480

Composed by Dan Welcher. Set of performance scores. With Standard notation. 23 pages. Duration 14 minutes. Theodore Presser Company #164-00248. Published by Theodore Presser Company (PR.164002480).

UPC: 680160038237.

This work is my second for a solo woodwind and a solo percussionist, following Firewing: The Flame and the Moth for oboe and percussion by nine years. The earlier piece followed a specific story line, and pitted the oboe against the percussionist as both adversary and lover. In Spirit Realms, my aim was not only to juxtapose the very different sounds of flute (plus alto flute and piccolo) against a large array of percussion, but also to attempt three different meditative spaces, each named for a different type of spiritual practice. The musical means of expression is very different for each of the three movements (as is the instrumentation), although they share a common scale-source: the looped pentatonic scale I have been developing over the last several years.   The first movement is called Prayer Tunnel, and is named for the Eskimo practice of solo meditation within a tunnel of ice blocks. This is said to be a means of overcoming demons within, and in my musical rendering it takes the form of an unaccompanied alto flute solo. The flute begins rather angrily, full of tension, but in the course of the solo passage manages to slowly unwind. The percussionist then plays the exact same music the alto flute had played....on seven tuned cymbals. Toward the end, the alto flute re-enters, its original meditation having fused with its mirror.   Kiva represents the circular, subterranean pit in which the Anasazi practiced their religion, a form of which still can be found in the Hopi tribes of the American southwest. These are not spaces for solo meditation, but rather a group meeting place in which only the sanctified are permitted. After an introductory invocation (dove call), the music begins. At first, it is flowing, in a repetitive double-five meter. It then traces several sections, with metric shifts forcing the pulse to race faster and faster, until it halves itself in the coda and returns to the exact pulse of the beginning. The flutist here uses the C flute, and the percussionist plays on both pitched (marimba) and unpitched instruments (various drums and struck sources).   Zendo is the meditation room used by Zen Buddhists. My music begins with another invocation (wind chimes, temple cup gongs, and temple blocks), then moves on to a slow subject stated by the flute. The subject is taken up by the vibraphone, and after several modulations and tempo changes, the flutist takes up the piccolo. The music continues higher and higher, and faster and faster (Zen meditation is NOT all about becoming lost!) until it breaks free at the very end. The percussionist is put through his paces in this movement, having to reach a staggering number of instruments in a short time.   Spirit Realms was commissioned by, and is dedicated to, the Armstrong Duo. -- Dan Welcher.

Flute, Percussion

SKU: PR.16400248S

Composed by Dan Welcher. With Standard notation. Duration 14 minutes. Theodore Presser Company #164-00248S. Published by Theodore Presser Company (PR.16400248S).

UPC: 680160038244.

This work is my second for a solo woodwind and a solo percussionist, following Firewing: The Flame and the Moth for oboe and percussion by nine years. The earlier piece followed a specific story line, and pitted the oboe against the percussionist as both adversary and lover. In Spirit Realms, my aim was not only to juxtapose the very different sounds of flute (plus alto flute and piccolo) against a large array of percussion, but also to attempt three different meditative spaces, each named for a different type of spiritual practice. The musical means of expression is very different for each of the three movements (as is the instrumentation), although they share a common scale-source: the looped pentatonic scale I have been developing over the last several years.   The first movement is called Prayer Tunnel, and is named for the Eskimo practice of solo meditation within a tunnel of ice blocks. This is said to be a means of overcoming demons within, and in my musical rendering it takes the form of an unaccompanied alto flute solo. The flute begins rather angrily, full of tension, but in the course of the solo passage manages to slowly unwind. The percussionist then plays the exact same music the alto flute had played....on seven tuned cymbals. Toward the end, the alto flute re-enters, its original meditation having fused with its mirror.   Kiva represents the circular, subterranean pit in which the Anasazi practiced their religion, a form of which still can be found in the Hopi tribes of the American southwest. These are not spaces for solo meditation, but rather a group meeting place in which only the sanctified are permitted. After an introductory invocation (dove call), the music begins. At first, it is flowing, in a repetitive double-five meter. It then traces several sections, with metric shifts forcing the pulse to race faster and faster, until it halves itself in the coda and returns to the exact pulse of the beginning. The flutist here uses the C flute, and the percussionist plays on both pitched (marimba) and unpitched instruments (various drums and struck sources).   Zendo is the meditation room used by Zen Buddhists. My music begins with another invocation (wind chimes, temple cup gongs, and temple blocks), then moves on to a slow subject stated by the flute. The subject is taken up by the vibraphone, and after several modulations and tempo changes, the flutist takes up the piccolo. The music continues higher and higher, and faster and faster (Zen meditation is NOT all about becoming lost!) until it breaks free at the very end. The percussionist is put through his paces in this movement, having to reach a staggering number of instruments in a short time.   Spirit Realms was commissioned by, and is dedicated to, the Armstrong Duo. -- Dan Welcher.

Score Only Concert Band (SCORE) - Grade 2

SKU: HL.4004275

Composed by Robert Buckley. MusicWorks Grade 2. Festival. 16 pages. Duration 200 seconds. Published by Hal Leonard (HL.4004275).

UPC: 888680067120. 9.0x12.0x0.058 inches.

Inspired by an exhibition of historic Peruvian art, Kingdom of the Sun and Moon takes us on a mythical journey reflecting the ancient Inca Empire. This imaginary movie score uses modal melodies, exotic percussion and dramatic orchestration to create an epic music experience. In cinematic style, this work opens with a panoramic picture of the great Inca city of Machu Picchu and ends with a colorful procession towards the Temple of the Sun. Though written for young band, Kingdom of the Sun and Moon's effective scoring gives it the sophisticated sound and intensity of a much more advanced piece. Dur: 3:20.

(The Music of Steven Reineke). Walking Frog Records CD. Play Along. Grade 4. Audio CD. Composed 2002

Fete with a Prologue and 3 Acts. Composed by Jean- Philippe Rameau (1683-1764). Edited by Julien Dubruque. This edition: urtext edition. Paperback. Symphonies / Versions of 1746 and 1745. Score, anthology. RCT 59. Baerenreiter Verlag #BA07563. Published by Baerenreiter Verlag

By Lawrence Grant (Editor). For Piano. Classical. 128 pages. Published by Music Sales.

SATB Choir and Organ

SKU: HL.14041481

Composed by John Tavener. Choral. Sacred. Choral Score. Composed 2006. 8 pages. Chester Music #CH70422. Published by Chester Music (HL.14041481).

UPC: 884088593353. 6.75x9.75x0.04 inches.

Work for SATB chorus with Organ, from Tavener's Veil Of The Temple.

T he Veil of the Temple was commissioned by the Temple Music Trust. The world premiere took place on 27th June 2003 at the Temple Church,London, performed by the Choir of the Temple Church and the Holst Singers, with Patricia Rozario (soprano), conducted by Stephen Layton, as part of The City of London Festival, 2003. The anthem O Mary Theotokos was arranged in2005.

Bass Drum, Chimes, Glockenspiel, Percussion, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Spring Coil, Tam-tam, Vibraphone, Wind Chimes

SKU: PR.11440986S

Composed by William Kraft. Full score. With Standard notation. 27 pages. Duration 10 minutes. Theodore Presser Company #114-40986S. Published by Theodore Presser Company (PR.11440986S).

UPC: 680160014651.

Here I have adapted a standard musical form to a contemporary medium. The concertino is a small concerto: a one-movement work that draws upon the basic principles of the concerto form - two bodies of sound which at times compete, contrast, or act together. The piece explores the musical possibilities of Roto-toms. The sound of these drums is a cross between a tom-tom and a timpani, and their pitch is changed by rotating the drum. During the course of the work, the various effects used include pitch and fingernail glissandi; playing on the rims; and playing on the heads with fingers, brushes, timpani sticks, wood mallets or rattan. Harmonics on the octave and the fourth above the fundamental pitch are produced by the drums when weights (in this case, small pitched cymbales called crotales) are placed in the center of the drum heads. In return the drum itself acts a resonator for the crotales, which also have a fundamental pitch when played on the face and a partial a fifth above when played on the center dome. The opening section of the concertino introduces a motive, played by the soloist, while the ensemble sustains a bowed chord on the vibraphone. Following this cadenza-like introduction, the piece gradually moves into a bright 6/8 tempo that is characterized by constant sixteenth notes in all parts. After a brief period of interaction, the ensemble continues its sixteenth notes patterns and the soloist plays and improvised solo. Next, an interlude is presented by the ensemble which leads to a dramatic recapitulation by the soloist of the motivic material. A thematically-derived coda concludes the work. Encounters VI, commissioned by Remo Belli, is dedicated to Jennifer Kraft, the composer's daughter. The premiere performance took place in 1976 at the MENC National Convention in Atlantic City, New Jersey, and was performed by the Temple University Percussion Ensemble conducted by Glenn Steele. --William Kraft.

Chamber Music Percussion, Percussion 1, Percussion 2, Percussion 3, Percussion 4

SKU: PR.114409860

Concertino for Roto Toms and Percussion Quartet. Composed by William Kraft. Encounters. Contemporary. Set of Score and Parts. With Standard notation. Composed 1976. 27+12+10+10+10+10 pages. Duration 10 minutes. Theodore Presser Company #114-40986. Published by Theodore Presser Company (PR.114409860).

UPC: 680160014644.

Here I have adapted a standard musical form to a contemporary medium. The concertino is a small concerto: a one-movement work that draws upon the basic principles of the concerto form - two bodies of sound which at times compete, contrast, or act together. The piece explores the musical possibilities of Roto-toms. The sound of these drums is a cross between a tom-tom and a timpani, and their pitch is changed by rotating the drum. During the course of the work, the various effects used include pitch and fingernail glissandi; playing on the rims; and playing on the heads with fingers, brushes, timpani sticks, wood mallets or rattan. Harmonics on the octave and the fourth above the fundamental pitch are produced by the drums when weights (in this case, small pitched cymbales called crotales) are placed in the center of the drum heads. In return the drum itself acts a resonator for the crotales, which also have a fundamental pitch when played on the face and a partial a fifth above when played on the center dome. The opening section of the concertino introduces a motive, played by the soloist, while the ensemble sustains a bowed chord on the vibraphone. Following this cadenza-like introduction, the piece gradually moves into a bright 6/8 tempo that is characterized by constant sixteenth notes in all parts. After a brief period of interaction, the ensemble continues its sixteenth notes patterns and the soloist plays and improvised solo. Next, an interlude is presented by the ensemble which leads to a dramatic recapitulation by the soloist of the motivic material. A thematically-derived coda concludes the work. Encounters VI, commissioned by Remo Belli, is dedicated to Jennifer Kraft, the composer's daughter. The premiere performance took place in 1976 at the MENC National Convention in Atlantic City, New Jersey, and was performed by the Temple University Percussion Ensemble conducted by Glenn Steele. --William Kraft.

Composed by Pepper Choplin. For SATB choir, piano accompaniment. Octavo. 11 pages. Published by Beckenhorst Press