For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Gospel. 288 pages. 9x12 inches. Published by Hal Leonard.

Arranged by Joel Raney. For SAB or Three-Part Mixed choir with Unison Choir or Soloist. Scripture References: Matthew 19:14 -- Ephesians 5:2 -- Jeremiah 31:3 -- Galatians 2:20 -- Matthew 18:2-4 -- Mark 10:13-16 -- Luke 18:15-17. Praise, Blues, Gospel, Spirituals, Hymntune, Sacred. Choral octavo. 12 pages

(Choral, Rhythm, SAB or Three-Part) - Level 2

SKU: HP.C5711C

Composed by Charitie Bancroft and Vikki Cook. Arranged by Joel Raney. Sing & Ring Series. General Worship, Sacred. Performance/Accompaniment CD. Hope Publishing Company #C5711C. Published by Hope Publishing Company (HP.C5711C).

UPC: 763628957117. By Charitie Bancroft & Vikki Cook. Revelation 4:2, Revelation 22:1 Matthew 6:1-6,16-21.

Popula r worship song by Charitie Bancroft & Vikki Cook This compelling new worship song conveys the pardon and forgiveness that is found before the throne of God. Joel Raney has beautifully arranged this for SAB choirs as part of our Ring and Sing series, which features a full, stand-alone handbell setting which can double as the accompaniment to the choral setting. The recording features acoustic guitar and bass playing off the guitar chords that are included in the octavo. The P/A CD includes one track with rhythm and handbells to accompany a vocal choir and a second track of just the rhythm to accompany a bell choir. The Rhythm Packet include a Conductor's Score and parts for Acoustic Guitar, Bass & Synth.

Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Published by Hal Leonard.

SKU: HP.8384

Arranged by Jack Schrader. This edition: Complete. Christmas, Cantata. Musicals & Cantatas, Orchestra. Christmas, Sacred. Set of Instrumental Parts. Hope Publishing Company #8384. Published by Hope Publishing Company (HP.8384).

UPC: 763628183844.

Chris tmas Musical
This Christmas cantata is a faithful retelling of the Christmas story, the gospel, in song and narration, and a wonderful mixture of the new and the old, the traditional and the freshness of the contemporary. The narrations are deep and insightful, demanding much passion and heartfelt emotion. The choir will enjoy these choral arrangements, including one of Jack Schrader's top-selling pieces, Mary, Did You Know? The work makes a strong impact when done with simply choir, piano, and narration; however, full orchestrations are available. Also, the narrations are perfect to suggest the inclusion of costumed actors creating tableaux of the various scenes, so, the work may be fully staged or as simply presented as necessary. Go Tell It! has moments of quiet worship and reflection, as well as the exuberant times of joy and celebration. The congregation is frequently involved, being asked to sing on four occasions, which leads to a satisfying experience for all who participate. Performance time is approximately 39 minutes.

The Orchestration contains a full Conductor's Score and parts for: Piano/Rhythm, Bass, Flute, Oboe, Clarinet, Trumpet I, II & III, Horns I & II, E-Flat Alto Sax, Trombones I, II (III), Tuba, Percussion, Timpani, Harp, Violins, Violas, Cellos, Basses.

Choir

SKU: HP.C5548C

Composed by Schutte, Daniel. Arranged by Jane Holstein. Contemporary, Hymntune, Celebration, General Worship, Comfort, Eternal Life, Kingdom, New Life in Christ, Promise, Sacred. Performance/Accompaniment CD. Hope Publishing Company #C5548C. Published by Hope Publishing Company (HP.C5548C).

UPC: 763628955489. By Daniel Schutte. Isaiah 9:1-21 -- Isaiah 60:1-22 -- 1 John 1:1-10.

Popular praise song by Daniel Schutte Ideal for Advent, Epiphany celebrations, and general occasions, this popular song by Dan Schutte captures the essence of living in the light of Christ, and together building the city of God. The inspiration comes from several familiar scriptural references charging the people of God to awake - arise - and proclaim that God is light and has turned the night into day! Arranger Jane Holstein grasps the joyful mood and vigorous energy of this spirited song in this fun-to-sing, 4-part choral setting with piano and optional rhythm. The rhythm packet contains parts for: Electric Bass, Acoustic Guitar and Drums.

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor score and set of parts. Duration 6:30. Published by Manhattan Beach Music.

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor Full Score. Duration 6:30. Published by Manhattan Beach Music.

By Brian Doerksen. Arranged by Arnold B. Sherman. (SATB). Scripture References: Psalm 29:2 -- Psalm 95:6,9 -- Psalm 100:2 -- Isaiah 55:1 -- Philippians 2:5-11. Call To Worship, Gathering, Jazz/SwingStyle, Praise and Worship, Worshiping, Contemporary and Sacred. Print Music Single (SATB with optional Handbells and Rhythm). 12 pages. Published by Hope Publishing Company.

Organ

SKU: CA.1808700

Composed by Kay Johannsen. Free organ music. Full score. Composed 2016. 8 pages. Duration 5 minutes. Carus Verlag #CV 18.087/00. Published by Carus Verlag (CA.1808700).

ISBN 9790007171360. Language: all languages.

Song of Hope, composed by Kay Johannsen the Kantor of the Stiftskirche in Stuttgart in 2016, is a Fantasia in G minor based on a six-measure melody. It is improvisatory in style and has a melancholy basic character. Over the course of the work, the melodic idea is varied rhythmically several times, and is heard in the treble, tenor and bass registers. Against a quiet basic pulse, the accompanying harmonies appear in the manuals and pedals mostly in subtly matching rhythms, reminiscent of a saxophone soloist with a discreet supporting jazz band. The dynamic of the piece grows from piano to a fundamental forte, and for the conclusion a fine pianissimo is required. Song of Hope is composed for two-manual organ, with a duration of four-and-a-half minutes. The expressive harmonies and the hidden swing of the music communicate directly with audiences, including those with less musical experience.

Vocal, Duet choir; flute; handbell; percussion

SKU: HP.8728

Composed by Jester Hairston. Arranged by Joel Raney. Piano with Optional Flute, Guitar, Handbells, Percussion. Christmas, Devotion, Sacred. Vocal score. 12 pages. Hope Publishing Company #8728. Published by Hope Publishing Company (HP.8728).

UPC: 763628187286. Key: Key of g. By Jester Hairston. Luke 2:8, Luke 2:9, Luke 2:10, Luke 2:11, Luke 2:12, Luke 2:13, Luke 2:14.

Calypso Lullaby by Jester Hairston By combining the lively Jester Hairston classic, Mary's Little Boy Child with additional new text and a beautiful lullaby setting, Joel Raney has crafted a spirited Christmas celebration for both SATB and Two-Part choirs. The calypso rhythms provide a joyful expression of the angels' song, Alleluia, shout for joy, alongside an original cradlesong, Sleep little one, rest your head. The addition of the optional flute, percussion, bass guitar, and handbells brings this stunning setting to life - a perfect Christmas selection for churches and schools. The Instrumental packet includes a Conductor's Score and parts for Flute, Bass Guitar, Percussion, and 3-Oct. Handbell.

Vocal ensemble choir; flute; handbell; percussion

SKU: HP.8929

Composed by Jester Hairston. Arranged by Joel Raney. Piano with Optional Flute, Guitar, Handbells, Percussion. Christmas, Devotion. Vocal Score. Hope Publishing Company #8929. Published by Hope Publishing Company (HP.8929).

By Jester Hairston.

Calypso Lullaby by Jester Hairston By combining the lively Jester Hairston classic, Mary's Little Boy Child with additional new text and a beautiful lullaby setting, Joel Raney has crafted a spirited Christmas celebration for both SATB and Two-Part choirs. The calypso rhythms provide a joyful expression of the angels' song, Alleluia, shout for joy, alongside an original cradlesong, Sleep little one, rest your head. The addition of the optional flute, percussion, bass guitar, and handbells brings this stunning setting to life - a perfect Christmas selection for churches and schools. The Instrumental packet includes a Conductor's Score and parts for Flute, Bass Guitar, Percussion, and 3-Oct. Handbell.

Composed by Andrae Crouch. Arranged by Joel Raney. Guidance, General Worship, Sacred. Performance/accompaniment CD. Hope Publishing Company #C 6038C. Published by Hope Publishing Compan

Choir, rhythm instruments

SKU: HP.C5548R

Composed by Schutte, Daniel. Arranged by Jane Holstein. Contemporary, Hymntune, Celebration, General Worship, Comfort, Eternal Life, Kingdom, New Life in Christ, Promise, Sacred. Rhythm Parts. Hope Publishing Company #C5548R. Published by Hope Publishing Company (HP.C5548R).

UPC: 763628255480. By Daniel Schutte. Isaiah 9:1-21 -- Isaiah 60:1-22 -- 1 John 1:1-10.

Popular praise song by Daniel Schutte Ideal for Advent, Epiphany celebrations, and general occasions, this popular song by Dan Schutte captures the essence of living in the light of Christ, and together building the city of God. The inspiration comes from several familiar scriptural references charging the people of God to awake - arise - and proclaim that God is light and has turned the night into day! Arranger Jane Holstein grasps the joyful mood and vigorous energy of this spirited song in this fun-to-sing, 4-part choral setting with piano and optional rhythm. The rhythm packet contains parts for: Electric Bass, Acoustic Guitar and Drums.

Composed by Sandi Patty. Arranged by Mary McDonald. Palm Sunday, Sacred. Octavo. Hope Publishing Company #C 6133. Published by Hope Publishing Company (HP.C6133).

(100 Songs Excerpted for Successful Auditions). Edited by Michael Dansicker. For baritone voice solo, bass voice solo and piano accompaniment. Vocal Collection. Broadway, Movies and Pop. Difficulty: medium. Songbook. Vocal melody, lyrics, piano accompaniment, chord names and introductory text. 172 pages. Published by Hal Leonard

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.

By Twila Paris. Arranged by Lloyd Larson. For Medium Voice. Communion, Contemporary, Wedding, Commemoration, Cross of Christ, Discipleship, Good Friday, Life of Christ, Lord's Supper, Maundy Thursday, Sacrifice, Unity, General, Lent, Sacred. Single. Published by Hope Publishing Company

Concert CD & DVD 3-6 octave handbell choir with optional rhythm - Level 3

SKU: HP.2647C

Composed by Adele Adkins and Fraser Smith. Arranged by Chris Peck. General Worship, Sacred. Performance/Accompaniment CD. Hope Publishing Company #2647C. Published by Hope Publishing Company (HP.2647C).

UPC: 763628926472. By Adele Adkins.

Popular secular song by Adele Adkins From Chris Peck, here is an accessible arrangement of Adele's pop hit. With a very legato eighth-note accompaniment, treble and bass bells alike have the opportunity to ring the melody, while mallets, martellatos, shakes, and LVs, add interest and variety. Optional Rhythm Parts for Guitar, Bass, Synth and Drums support the bells and recreate the catchy sound of this mega-hit. Rhythm parts include guitar, bass, synth & drums.

Composed by Stuart Townend and Keith Getty. Arranged by Lloyd Larson. Easter, Sacred. Octavo. Hope Publishing Company #C 6140. Published by Hope Publishing Company (HP.C6140).

Composed by Andrae Crouch. Arranged by Joel Raney. For SATB choir, orchestra. Guidance, General. Octavo. Published by Hope Publishing Company

Choir; rhythm (piano, bass, synthesizer, electric guitar, & drum kit)

SKU: HP.C5481R

Composed by Deborah Smith and Michael W. Smith. Arranged by Jack Schrader. Contemporary, General Worship, Call To Worship, Christ's Presence, Grace, Guidance, Light, Love, Worship, Sacred. Rhythm Parts. Hope Publishing Company #C5481R. Published by Hope Publishing Company (HP.C5481R).

UPC: 763628254810. By Michael W. Smith & Deborah Smith. Psalms 4:6, Acts 4:33.

Contemporary Christian song by Michael W. Smith & Deborah Smith
The classic Michael W. Smith song has been arranged in an earnest, prayer-like setting by Jack Schrader. The addition of an original counter-melody heightens the drama at just the right moments in this favorite song of prayer for God's light, God's grace, and God's love. The Rhythm accompaniment consists of parts for: Piano, Bass, Synthesizer, Electric Guitar, & Drum Kit.

God with Us! - Listening CD (Choral, Orchestra)

SKU: HP.8251

Arranged by Lloyd Larson. This edition: Complete. Christmas, choral cantata. Christmas Musicals. Advent, Christmas, Sacred. Listening CD. Hope Publishing Company #8251. Published by Hope Publishing Company (HP.8251).

UPC: 763628182519.

Chris tmas Musical
A Lessons & Carols service featuring both traditional and contemporary songs tied together with biblical readings telling the Christmas story. The Orchestration contains a Full Conductor's Score and parts for: Flute, Oboe, Clarinet, Horn in F, B-flat Trumpets 1 & 2, Trombones 1 & 2, Percussion (orch. bells, chimes, snare drum, susp. cymbal, congas), Timpani, Violins 1 & 2, Viola, Cello, and Bass.

Duration - 37 minute.

3-7 octave handbell choir with optional guitar, bass, synthesizer and drums - Level 3

SKU: HP.2654R

Composed by Esther Dean, Katy Perry, Mikkel Eriksen, Sandy Wilhelm, and Tor Erik Hermansen. Arranged by Michael Glasgow. Contemporary, Pop, Secular, General Worship. Rhythm parts. 11 pages. Hope Publishing Company #2654R. Published by Hope Publishing Company (HP.2654R).

UPC: 763628226541. By Mikkel Eriksen, Tor Erik Hermansen, Esther Dean, Sandy Wilhelm & Katy Perry.

Pop song by Mikkel Eriksen, Tor Erik Hermansen, Esther Dean, Sandy Wilhelm & Katy Perry
Katy Perry's record-breaking, Grammy-nominated song of encouraging affirmation is given an accessible and fun treatment for bells and chimes by Michael Glasgow. Optional Rhythm Parts for Guitar, Bass, Synth and Drums support the bells and capture the familiar hooks of this pop sensation - a terrific choice for concerts, special events, and festivals (especially youth festivals!).

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.

Budget Books. By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. 320 pages. Published by Hal Leonard.

Choral SATB choir

SKU: CF.CM9700

Composed by Hungarian Folk. Arranged by Stacy Garrop. 20 pages. Duration 4:44. Carl Fischer Music #CM9700. Published by Carl Fischer Music (CF.CM9700).

ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.

In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJa rba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).­­.

By Joel Raney. For choir with optional 4-hand piano, handbells, synthesizer, bass & percussion 1 & 2. Christmas, Cantata. Christmas Musicals. Devotion, Christmas, Sacred. Grade 2. Handbell part. 18 pages. Published by Hope Publishing Company