Composed by Keith Getty / Stuart Townend. Arranged by Lloyd Larson. For Vocal Solo (Medium Voice - Key of E-flat). Easter, Creed, Cross of Christ, Hope, Love, Second Coming. Published by Hope Publishing Company

Bell Tree

SKU: HP.3001

Arranged by Jason W. Krug. Handbell score. 124 pages. Hope Publishing Company #3001. Published by Hope Publishing Company (HP.3001).

UPC: 763628130015.

45 Selections to Enhance Hymn Singing For each of these 45 descants to familiar hymns there is an intermediate and a more advanced setting for bell tree ringers. Many of the tunes are offered in more than one key to make this collection compatible with most hymnals. Common title and tune indexes are provided for easy reference. Adding the sparkle of bells is sure to enhance and enliven your congregational hymn singing.

(Praise Everlasting for Choir and Congregation). By Hillsong. By Eric Liljero, Jonas Myrin, and Reuben Morgan. Arranged by Heather Sorenson. For Choral (SATB). PraiseSong Choral. 16 pages. Published by PraiseSong

(Praise Everlasting for Choir and Congregation). By Hillsong. By Eric Liljero, Jonas Myrin, and Reuben Morgan. Arranged by Heather Sorenson. For Choral (CHOIRTRAX CD). PraiseSong Choral. CD only. Published by PraiseSong

Composed by Keith Getty and Stuart Townend. Arranged by Lloyd Larson. For choir. Second Coming, Creed, Cross of Christ, Hope, Love Easter, General, Sacred. Performance/Accompaniment CD. Published by Hope Publishing Company

By Keith Getty / Stuart Townend. Edited by Michael Perry. Arranged by Lloyd Larson. For SATB choir. Sacred. Choral octavo. 12 pages. Published by Hope Publishing Company

Handbell Ensemble

SKU: HP.2985

Arranged by Jason W. Krug. Twelve Bells | Small(er) But Mighty. Hymntune, Hymn Arrangements, Lent, Holy Week, Easter Sunday, Christ The King, General Worship, Faith & Faithfulness, God, Grace, Hope, Joy, Love, Adoration & Praise, Worship. Handbell score. 20 pages. Hope Publishing Company #2985. Published by Hope Publishing Company (HP.2985).

UPC: 763628129859.

Volum e 3 in the Smaller But Mighty Series The eight titles contained in this collection are versatile, musical, and fun. Playable with two, three, or four ringers, these are ideal for socially distant ringing without tables. Perfect for the small ensemble looking for a diverting challenge, or for the larger choir on those Sundays when you're missing members. All the arrangements have been written for the treble clef, F5-F6.

Composed by Gwyneth W. Walker (1947-). 21st Century, Hope/Assurance. Octavo. Published by MorningStar Music Publishers

By Chris Tomlin and Louis Giglio. Arranged by Joel Raney. For SAB choir and piano with optional rhythm section. Octavo. 8 pages. Published by Hope Publishing Company

Composed by Chris Tomlin and Louie Giglio. Arranged by Joel Raney. For medium vocal solo. Sacred non-seasonal. Vocal score. Published by Hope Publishing Company

Composed by Chris Tomlin and Louie Giglio. Arranged by Joel Raney. For 3-5 octaves handbells with optional 8 handchimes. NEW BRITAIN. General, Contemporary, Hymntune. Level 3-. Handbell score. 8 pages. Published by Hope Publishing Company

Composed by Chris Tomlin and Louie Giglio. Arranged by Joel Raney. For 2-part mixed choir. NEW BRITAIN. General, Contemporary, Hymntune. Octavo. 82 pages. Published by Hope Publishing Company

Composed by Glenn Burleigh. Arranged by Jack Schrader. For SSA choir with optional rhythm. Hope's Recent Best Sellers Series. Ordination, Blues-Gospel-Spirituals, Commitment, Dedication, Devotion, Discipleship, Gospel, Guidance, Renewal, Spiritual, Wisdom, General. Octavo. Published by Hope Publishing Company

ge My Heart/Lord, Be Glorified by Espinosa Kilpatrick. Arranged by John Wilson. For SAB choir or 3-part choir (2-part). Choral music. General, Commitment, Dedication, Devotion, Discipleship, Humility, New Life in Christ, Praise and Worship, Renewal, Contemporary, Sacred. Choral octavo. 8 pages. Published by Hope Publishing Company

Composed by Mary McDonald. Sacred, Lent/Holy Week, Lent. Octavo. Published by Hope Publishing Company (HP.C6074).

Arranged by Joel Raney. Sacred. Level: (Moderate Advanced). Print Music Collection (Piano Book). 40 pages. Published by Hope Publishing Company.

Arranged by Joel Raney. For Piano. This edition: Complete. Collection. Sacred. Moderately Difficult. CD. Published by Hope Publishing Company

Arranged by Karissa Dennis. For handbell choir (3-5 octaves) with optional 3-5 octave handchimes. Christmas. Level 2. Handbell score. 8 pages. Published by Hope Publishing Company

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.

For congregation. This edition: Complete. Author's Collections. Congregation, General, Sacred. Collection. Published by Hope Publishing Company

By John Carter. For Choir. (2-part). Sacred. Print Music Collection (Choral Book). Published by Hope Publishing Company.

Arranged by John A. Behnke. For 3-5 octave Handbells. Sacred, General. Grade 3. Handbell score. Published by Hope Publishing Company handbell score Sacred, General

By Melody Green. Arranged by Lloyd Larson. (SATB). Christ The King, Joy, Redemption, Hymntune and Sacred. Print Music Single (SATB). 8 pages. Published by Hope Publishing Company.

Arranged by John Wilson. Musicals, Collection. School Musicals. Patriotic, Secular. Song pack (includes 2 full scores, 30 singers editions, and 15 actors scripts). Published by Hope Publishing Company (HP.1176).

By Dennis Jernigan. Arranged by Patricia Cota. Contemporary and Sacred. Print Music Single (3-5 oct.). Published by Hope Publishing Company. (2279) Level: L3-.

By Glenn Burleigh. Arranged by Jack Schrader. (SAB or Three-Part). Blues/Gospel, Commitment, Dedication, Devotion, Discipleship, Gospel, Guidance, Renewal, Spiritual, Wisdom, Blues-Gospel-Spirituals and Sacred. Print Music Single (SAB w/opt. Rhythm). 12 pages. Published by Hope Publishing Company.