Edited by Dale Tucker. Arranged by David Lasky. Classical and sacred organ. Level: intermediate. 28 pages. Published by Alfred Publishing.

By Michael Lawrence. Instrumental ensemble (brass). For brass quintet and piano. Brass and Ivory Series. Published by Lorenz Publishing Company

By Dennis W. Larson. For SATB choir, congregation, organ, 2 trumpets and timpani. General. Augsburg Choral Library. Anthem. Choral Octavo. Published by Augsburg Fortress

Composed by Noel Rawsthorne. This edition: paperback. Book. 48 pages pages. Published by Kevin Mayhew Publishers (KV.1400209).

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more.

SKU: PR.41641366L

For Violin and Orchestra. Composed by Behzad Ranjbaran. Contemporary. Large Score. With Standard notation. Composed 1994. 144 pages. Duration 31 minutes. Theodore Presser Company #416-41366L. Published by Theodore Presser Company (PR.41641366L).

UPC: 680160585755.

From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violins open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movements primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violinas open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movementas primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violin's open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement's primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.

SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, trombone 1, trombone 2 - Beginning

SKU: GI.G-6665

Concertato on MOVILLE. Arranged by John Ferguson. Eastertide, Christ the King, Ascension, OT 20 C. Choral. Tune name: Moville. Sacred. Octavo. 12 pages. GIA Publications #6665. Published by GIA Publications (GI.G-6665).

UPC: 785147666509. English. Text Source: St. Columba, 521–597, tr. Duncan MacGregor, 1854–1923, alt.

This Irish hymn, moville, is set for brass, organ, choir, and assembly. The tune is fresh, readily singable, and delightfully scored, including a 16-measure third stanza that will require the choir to work a bit. All in all, a fabulous piece for Christ the King or any festive occasion. John Ferguson has skillfully set a traditional, sturdy Irish melody for SATB voices and brass with optional assembly. The inner verse is for choir without assembly and is punctuated by short phrases in the brass. Good for Eastertide or general use.

A fabulous piece for Christ the King or any festive occasion.

SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C - Beginning

SKU: GI.G-4361

Concertato on ST. CATHERINE and ST. ANNE. Composed by Henri Freidrich Hemy. Arranged by Carl Johengen. All Saints, All Souls. Concertato Series. Tune Name: St. Catherine, St. Anne. Sacred. Octavo. 12 pages. GIA Publications #4361. Published by GIA Publications (GI.G-4361).

Text by Ruth Duck.

The perfect hymn for festive celebrations. Text by Ruth Duck. 

The perfect hymn for festive celebrations. Text by Ruth Duck.

Trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, horn in F, trombone 1, trombone 2, timpani - Early intermediate

SKU: GI.G-8077

For Organ and Brass. Composed by James Ellor and Oliver Holden. Arranged by Joshua A. Evanovich. Christ the King. Tune Name: Coronation, Diadem. Sacred. 12 pages. GIA Publications #8077. Published by GIA Publications (GI.G-8077).

UPC: 785147807797.

A highly accessible and festive arrangement that takes the tune coronation through three keys and interestingly quotes diadem in the transitions and for the finale. The organ and brass carry equal weight in this setting, the timpani is nice if you have it, but isn’t missed if you don’t. However, if you add the optional handbells, they take this piece to a whole new level. Horn in F can be substituted for Trombone I.

Composed by Jeremy J. Bankson. Reformation, Christ the King, 21st Century. Choral score. MorningStar Music Publishers #60-7040. Published by MorningStar Music Publishers

(Trumpet and Timpani Parts) - Level 2

SKU: HP.2365T

Arranged by Jane McFadden and Janet Linker. Hymntune, General Worship, Sacred. Trumpet & Timpani Parts. 6 pages. Hope Publishing Company #2365T. Published by Hope Publishing Company (HP.2365T).

UPC: 763628423650. 1 Corinthians 12:12-13, Acts 20:28, Galatians 2:20, Galatians 4:4-5, Galatians 5:25-26, Hebrews 9:28, Matthew 16:18, Matthew 5:1-12,15, Psalms 30:5, Revelation 21:9, Revelation 5:9.

Popular Hymn tune This new setting for handbells, organ, optional handchimes plus optional trumpet and timpani, begins with a rousing fanfare introduction, followed by two festive verses of the revered hymn. A meditative interlude on Old Hundredth provides a lovely, quiet contrast before returning to a final statement of the tune, Aurelia, with an exciting reprise of the fanfare for a stunning conclusion. Brass parts are also available for use in lieu of the organ.

SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, horn in f, trombone, tuba, timpani - Early intermediate

SKU: GI.G-9044

Concertato on MARION. Composed by Arthur Henry Messiter. Arranged by Carlton R. Young. Choral. Tune Name: Marion. Sacred. Octavo. 8 pages. GIA Publications #9044. Published by GIA Publications (GI.G-9044).

UPC: 785147904403. English. Text Source: Edward H. Plumptre, 1821–1891, alt., words adapt. Ruth C. Duck. Text by Edward Hayes Plumptre.

Scored for SATB voices, assembly and organ with optional brass quintet and timpani, the time-honored tune MARION is set most festively in traditional style. Vocal parts are easy to master, and the brass quintet and timpani parts make the anthem crackle with energy. The organ accompaniment is printed in the full score.

Handbells 3-5 octave handbell choir - Level 3

SKU: HP.1547

Composed by Samuel Sebastian Wesley. Arranged by Paul A. McKlveen. Hymntune, General Worship, Sacred. Handbell score. 8 pages. Hope Publishing Company #1547. Published by Hope Publishing Company (HP.1547).

UPC: 763628115470. By Samuel S. Wesley. 1 Corinthians 12:12-13, Acts 20:28, Galatians 2:20, Galatians 4:4-5, Galatians 5:25-26, Hebrews 9:28, Matthew 16:18, Matthew 5:1-12,15, Psalms 30:5, Revelation 21:9, Revelation 5:9.

Hymn tune by Samuel S. Wesley Combine organ and trumpet with your bells for a festive performance of this grand tune. A rhytmic variation on the last stanza provides contrast to the traditional rhythms. Trumpet part is in full score. Brass Ensemble consists of 2 Trumpets, Horn, Trombone, Tuba.

3-5 octave handbell choir with organ and optional brass sextet, trumpet/timpani and congregation/choir - Level 3

SKU: HP.2261T

Arranged by Cynthia Dobrinski. General Worship, Sacred. Timpani Parts. 3 pages. Hope Publishing Company #2261T. Published by Hope Publishing Company (HP.2261T).

UPC: 763628422615. 1 Corinthians 15:54-57, 1 Timothy 1:17, 1 Timothy 6:15, Hebrews 2:7-9, John 20:25-28, John 5:12-13, Revelation 17:14, Revelation 19:6-12,16.

Powerfu l Hymn Tune This festive Cynthia Dobrinski setting of the powerful hymn tune Diademata has several performance options:

3-5 octave handbells with organ
Handbells with brass sextet
Handbells with organ and brass sextet
Handbells with organ and trumpet/timpani
Handbe lls with all of above and congregational/choir singing the hymn.

SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, horn in f, trombone, timpani - Beginning

SKU: GI.G-8848

Concertato on AGAIN, REJOICE!. Composed by Marty Haugen. Choral. Tune Name: Again, Rejoice! Sacred. Octavo. 12 pages. GIA Publications #8848. Published by GIA Publications (GI.G-8848).

UPC: 785147884804. English. Text by Marty Haugen. Scripture: Philippians 4:4–7, Galatians 5:22–23, Romans 15:13.

This vibrant anthem is a great way to start or end a festive occasion. Presented in a “concertato” structure with brass, timpani, and organ accompaniment, and also offered here as a traditional hymn, this strong melody will be a favorite with your SATB choir and congregation.

SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, trombone 1, trombone 2, timpani - Beginning

SKU: GI.G-6837

Concertato on ENGELBERG. Composed by Charles Villiers Stanford. Arranged by Marty Haugen. Choral. Choral. Tune Name: Engelberg. Sacred. Octavo. 12 pages. GIA Publications #6837. Published by GIA Publications (GI.G-6837).

UPC: 785147683704. English. Text by Fred Pratt Green.

This festive arrangement utilizes the Stanford harmonization along with new, fresh stanza settings by Marty Haugen. The text, while most often associated with the ministry of music, is a joyful call to praise and adoration, expanding its appropriate use throughout the church year. Brass quartet and timpani parts are optional.

SATB choir, congregation, optional children's choir, organ, trumpet - Early Intermediate

SKU: MN.60-7001

Composed by Robert A. Hobby. 21st Century. Octavo. MorningStar Music Publishers #60-7001. Published by MorningStar Music Publishers (MN.60-7001).

Based on the familiar tune ST. DENIO, this concertato begins with a festive introduction for organ and trumpet. The inner two choir stanzas range in mood from reflective to playful to support the text. Trumpet part and reproducible page for Congregation included.

Composed by Julian Wachner (1969-). Advanced/Collegiate. Year A Advent2. Christmas, 21st Century. Octavo. Published by E.C. Schirmer Publishing (EC.8276).

Brass; handbell; timpani - Level 2

SKU: HP.2365B

Arranged by Jane McFadden and Janet Linker. Hymntune, General Worship, Sacred. Brass & timpani parts. 22 pages. Hope Publishing Company #2365B. Published by Hope Publishing Company (HP.2365B).

UPC: 763628323653. 1 Corinthians 12:12-13, Acts 20:28, Galatians 2:20, Galatians 4:4-5, Galatians 5:25-26, Hebrews 9:28, Matthew 16:18, Matthew 5:1-12,15, Psalms 30:5, Revelation 21:9, Revelation 5:9.

Popular Hymn tune This new setting for handbells, organ, optional handchimes plus optional trumpet and timpani, begins with a rousing fanfare introduction, followed by two festive verses of the revered hymn. A meditative interlude on Old Hundredth provides a lovely, quiet contrast before returning to a final statement of the tune, Aurelia, with an exciting reprise of the fanfare for a stunning conclusion. Brass parts are also available for use in lieu of the organ.

Composed by Julian Wachner (1969-). Advanced/Collegiate. Catholic Year A The Nativity of Our Lord. Christmas, 21st Century. Octavo. Published by E.C. Schirmer Publishing (EC.8271).

Choral Timpani, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, alto voice, bass voice, keyboard, soprano voice, tenor voice

SKU: CF.CM8808

Welsh Melody: SATB Voices with Keyboard Ad Optional Brass, Timpani and Congrgational Refrain. Composed by John Roberts. Arranged by Patrick M. Liebergen. Choral. Performance Score. With Standard notation. 12 pages. Carl Fischer Music #CM8808. Published by Carl Fischer Music (CF.CM8808).

ISBN 9780825850462. UPC: 798408050467. 6.875 X 10.5 inches. Key: G major. Text: Walter Chalmers Smith. Walter Smith.

The sturdy Welsh hymn-tune “Joanna” is provided with a grand, almost Handelian setting employing optional brass and timpani, by the skillful Patrick M. Liebergen. This treatment involves the congregation on verses 1 and 4, and it is an especially appropriate choice for any special or festive occasion.

Choral Handbells, Horn, Organ, Timpani, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, alto voice, bass voice, choir, soprano voice, tenor

SKU: CF.CM8607

For SATB Chorus, Unison Chorus or Soloist, and Organ with Optional: Congregation, Brass Quartet or Quintet, Timpani and Handbells. Composed by Charles Hubert Parry. Arranged by Hal H. Hopson. SWS. Hal H. Hopson Choral Series. Choral. Vocal Score. With Standard notation. Carl Fischer Music #CM8607. Published by Carl Fischer Music (CF.CM8607).

ISBN 9780825839122. UPC: 798408039127. 6.875 X 10.5 inches. Key: Bb major. English. Text: Anonymous. Henry Baker, Hal Hopson.

From a composite text derived from Psalms 148 and 150 and a 19th Century hymn tune by Charles Hubert Hasting Parry, Hal Hopson has fashioned a grand, festive anthem of praise to the creator. The vocal parts are very manageable (much of the piece is unison - only the 2nd stanza and the final cadence are in parts), and the additional instrumental resources, while not required, will enhance the effect of grandeur that Mr. Hopson intends. There is also a descant on Stanza 4. Moderately easy. General Church/Festival occasion.

Choral Handbells, Horn, Timpani, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba

SKU: CF.CM8607A

Composed by Charles Hubert Parry. Arranged by Hal H. Hopson. Instrumental Parts. With Standard notation. Carl Fischer Music #CM8607A. Published by Carl Fischer Music (CF.CM8607A).

ISBN 9780825839429. UPC: 798408039424. 6.75 X 10.5 inches. Key: Bb major.

From a composite text derived from Psalms 148 and 150 and a 19th Century hymn tune by Charles Hubert Hasting Parry, Hal Hopson has fashioned a grand, festive anthem of praise to the creator. The vocal parts are very manageable (much of the piece is unison - only the 2nd stanza and the final cadence are in parts), and the additional instrumental resources, while not required, will enhance the effect of grandeur that Mr. Hopson intends. There is also a descant on Stanza 4. Moderately easy. General Church/Festival occasion.

SATB choir, trumpet or treble instrument, and organ, with optional congregation - Early Intermediate

SKU: MN.50-4420

Composed by Robert A. Hobby. Reformation, Easter, 21st Century. MorningStar Music Publishers #50-4420. Published by MorningStar Music Publishers (MN.50-4420).

UPC: 688670544200. English.

Looking for a brand new Easter anthem that's not on a melody you're already using for a hymn? This one is perfect, because it's based on an entirely original text and tune! It's approachable and flexible; you can use a trumpet or other treble instrument and involve the congregation or not. Four verses, the final one unison with descant. Majestic and festive, this is also appropriate for general use and for Reformation. Duration 4:00.

Choir

SKU: HP.C5537C

Arranged by Joel Raney. Piano with Optional B-Flat Instrument, Handbells, Organ, Percussion, Timpani, Trumpet, Windchimes. Hope's Recent Best Sellers Series. Hymntune, Celebration, Commemoration, Dedication, General Worship, Commitment, Discipleship, Guidance, Kingdom, Wisdom, Sacred. Performance/Accompaniment CD. Hope Publishing Company #C5537C. Published by Hope Publishing Company (HP.C5537C).

UPC: 763628955373. Matthew 3:2, Matthew 4:17, Matthew 7:21, James 1:5, 1 Chronicles 22:13, 1 Chronicles 28:20, 2 Chronicles 32:7, Acts 4:13, Acts 4:29, Deuteronomy 31:6-7, Deuteronomy 31:23, Ephesians 2:8-9, Esther 4:14, Hebrews 3:6, James 1:5, Joshua.

Classic hymn
Joel Raney pairs the text of this profound hymn with his own original melody and additional words to capture the power and glory of God's grace. The essential elements of this stately anthem call for SATB choir and piano accompaniment, but the addition of organ, handbells, 3 trumpets and percussion makes this an ideal selection for any festive service of praise. The appearance of the hymn tune, CWM RHONDDA, pulls everything together along with the deeply felt refrain: Grant us hearts and hands for service, Lord. On your people pour your holy power! The Instrumental Parts contain a Conductor's Score and parts for Organ, 3-5 octave Handbells, 3 Trumpets in B-flat, and Percussion (Timpani, Suspended Cymbal & Windchimes).

Composed by Julian Wachner (1969-). Advanced/Collegiate. Catholic Year A The Nativity of Our Lord. Christmas, 21st Century. Octavo. Published by E.C. Schirmer Publishing (EC.8279).

Unison voices (assembly and choir), and organ, with optional descant and brass quartet (Instrumental Parts include: Trumpets I and II in B-flat and C, Horn in F (substitute for Trombone I), Trombones I and II) - Early Intermediate

SKU: MN.80-407

Composed by Matthew Koraus. Easter, Christ the King, 21st Century. MorningStar Music Publishers #80-407. Published by MorningStar Music Publishers (MN.80-407).

UPC: 688670804076. English.

Matthew Koraus has crafted a sturdy and very singable set of acclamations for the Eucharistic Prayer based on the hymn tune Diademata, ideal for the long season of Easter as well as Christ the King and other festive times. His adaptation of Elvey's hymn tune includes unexpected touches such as passing tones, rhythmic variations, and inventive harmonies, enabling the acclamations to remain fresh over time. Holy, Holy, Holy, all 3 Memorial Acclamations, and Amen are arranged for Assembly, Choir (in unison or with Descant), and Organ, with optional Two Trumpets or Brass Quartet.

Choir; B-Flat instrument; piano; trumpet

SKU: HP.C6101C

Arranged by Joel Raney. Piano with Optional 4-Hand Piano & B-flat Trumpet (Included). General Worship, Sacred. Performance/Accompaniment CD. Hope Publishing Company #C6101C. Published by Hope Publishing Company (HP.C6101C).

UPC: 763628961015.

Well- known hymn This festive setting of the well-known hymn text incorporates the hymn tunes, ST. ANNE and ST. COLUMBA. The options to add 4-hand piano accompaniment and trumpet heighten the excitement and proclamation of Psalm 90, our hope for years to come.

By Lyra Davidica / Charles Wesley. Arranged by Joel Raney. For SATB choir with optional Unison Choir and Brass. Scripture References: 1 Corinthians 15 -- Philippians 3:10-11. Sacred, Easter, Hymntune. Choral octavo. 16 pages