(A flexible collection of piano settings for altar calls or moments of reflective meditation in worship). By Todd Kendall. For Piano. Sacred. Level 1. Book. Published by Lorenz Publishing Company

E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and electronic keyboard). Size 9x12 inches. 80 pages. Published by Hal Leonard.

Songbook for voice, piano and guitar chords. 80 pages. Published by Hal Leonard.

SATB choir and Piano - Early Intermediate

SKU: MN.50-6124

Composed by Terre Johnson. Lent, 21st Century, Commitment/Discipleship, Healing, Trust/Guidance. Instrument parts. MorningStar Music Publishers #50-6124. Published by MorningStar Music Publishers (MN.50-6124).

UPC: 688670561245. English.

A brand new melody graces this beloved text. Four stanzas, the first two handled by the women and men, respectively.  The third stanza is contrasting material, in parts. The original melody returns majestically for the fourth stanza. This sensitive setting with approachable choral writing and a gorgeous piano accompaniment is sure to be a hit with your choir and listeners. Duration: 4:00.

(Artistic Organ Settings of Enduring Meditative Hymns). By James Southbridge. For organ: 3-staff. Sacred. Intermediate. Published by Lorenz Publishing Company

SATB choir, piano

SKU: LO.10-4983S

Composed by Christina Harmon. Choral. Sacred Anthem. Octavo. Sacred Music Press #10/4983S. Published by Sacred Music Press (LO.10-4983S).

ISBN 9780787759377.

This classic text celebrates God working through each person (Thou art the potter; I am the clay). Christina Harmon's gorgeous original music uplifts with exultation.

Arranged by Marilyn Thompson. For Piano. The FJH Sacred Piano Library. Sacred. Book. Published by The FJH Music Company Inc.
Level: Early Advanced.

By Edwin McLean. For Piano. The FJH Sacred Piano Library. Sacred. Level: Late Elementary / Early Intermediate. Book. Published by The FJH Music Company Inc.

SATB choir, keyboard - Intermediate

SKU: MN.50-9094

Composed by Donna Butler Douglas and William B. Cooper. Arranged by William B. Cooper. Commitment/Discipleship, Trust/Guidance. Octavo. MorningStar Music Publishers #50-9094. Published by MorningStar Music Publishers (MN.50-9094).

UPC: 688670590948.

This anthem is in quasi-contemporary Christian music style. Makes use of William Coopers tune SOMETIMES A LIGHT SUPRISES and a hint of hymn Have Thine Own Way, Lord in accompaniment. Appropriate for high school level or adults.

(Timeless Hymns for the Piano Soloist). By Brian Howell. For piano. Sacred. Moderate. Published by Lillenas Publishing Company

Easy piano solos. Composed by Gina Sprunger. Sacred. SoundForth #229658. Published by SoundForth

Keyboard Treasury Volume 2. By Davis. For piano. Keyboard. Level: Elementary. Published by SoundForth.

By Harold Decou. For organ and Piano. Level: 3-staff. Sacred organ and piano. Published by Lorenz Publishing Company.

By Robert J Powell. For Organ. Moderately Easy. Published by MorningStar Music Publishers

By Don Phillips. For piano. Sacred piano. Published by Monarch Music. (70/1294M)
Level: Level 2.

By Dale Wood. Organ. Level: 3-staff. Sacred organ. Published by Sacred Music Press.

50 Favorite Hymns of Faith. By Various. For Piano/Vocal/Guitar. Sacred, Hymns. Level: Intermediate. Songbook. 103 pages. Published by Shawnee Press.

Paperback Songs (Melodies, lyrics, and chords in a convenient format). Size 4.1x6.7 inches. 256 pages. Published by Hal Leonard.

For Autoharp, Guitar, Ukulele, Mandolin, Banjo, and Keyboard. Compiled by Meg Peterson. For Autoharp/Chromaharp. Songbook. Sacred. Level: Beginning. Book. Size 8.5x11. 40 pages. Published by Mel Bay Publications, Inc.

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Traditional pop and vocal standards. Series: Hal Leonard Fake Books. 424 pages. 9x12 inches. Published by Hal Leonard.

By Pamela Cooper Bye. For piano/vocal. SongBook. Sacred. Book. 148 pages. Published by Mel Bay Publications, Inc.
Level: Intermediate.

For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord names and guitar chord chart. Gospel and worship. Series: Hal Leonard Fake Books. 295 pages. 9x12 inches. Published by Hal Leonard.

Mezzo-Soprano/Alto. By Various. Arranged by Max Spicker. Vocal Collection. Size 7.5x10.8 inches. 200 pages. Published by G. Schirmer, Inc.

Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, alto voice, bass voice, soprano voice, tenor voice

SKU: PR.31241902S

From Terra Nostra. Composed by Stacy Garrop. Full score. Duration 3:15. Theodore Presser Company #312-41902S. Published by Theodore Presser Company (PR.31241902S).

UPC: 680160690589. English.

Commission ed by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

Choral SATB Choir and Piano

SKU: PR.312419020

From Terra Nostra. Composed by Stacy Garrop. Sws. Performance Score. 12 pages. Duration 3:15. Theodore Presser Company #312-41902. Published by Theodore Presser Company (PR.312419020).

ISBN 9781491131862. UPC: 680160680474. 6.875 x 10.5 inches. English.

Commission ed by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?