Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
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,â€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.â€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,â€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 praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€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
“Amenâ€
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
sightâ€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,â€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.â€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,â€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 praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€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
“Amenâ€
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
sightâ€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.
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030).
ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches.
A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018.
Chamber Music Trumpet, Piano SKU: PR.114418940 For Trumpet in C and Pi...(+)
Chamber Music Trumpet,
Piano
SKU:
PR.114418940
For
Trumpet in C and
Piano. Composed by
Adolphus Hailstork. Sws.
Score and parts. With
Standard notation. 28
pages. Duration 10
minutes. Theodore Presser
Company #114-41894.
Published by Theodore
Presser Company
(PR.114418940).
UPC:
680160669653. 9 x 12
inches.
Hailstork
names his four diverse
pieces for trumpet Hymns,
because of the hymn-like
impression of the opening
statements. These short
pieces can be played
individually or as a set,
and can well serve within
the worship service as
processional or
recessional. Four Hymns
Without Words is
available in two versions
for piano or organ
accompaniment. Music
for trumpet and organ has
a long grand history,
especially as written by
English composers. These
four pieces were written
to be used as separate
service pieces or as a
suite. I then decided to
orchestrate them as a
concert suite I had some
themes that reminded me
of church hymns,
especially processionals,
from my early years
growing up as a singer in
an Episcopal cathedral. I
kept envisioning entrance
music when I worked on
Hymns 1 and 2, then quiet
hymn (with a minor key
ending!) as might occur
in a Black church for no.
3, and, finally, a
buoyant exit song for the
recessional as the church
doors are flung open to
the sun.. Music for
trumpet and organ has a
long grand history,
especially as written by
English composers.These
four pieces were written
to be used as separate
service pieces or as a
suite. I then decided to
orchestrate them as a
concert suite I had some
themes that reminded me
of church hymns,
especially processionals,
from my early years
growing up as a singer in
an Episcopal cathedral. I
kept envisioning entrance
music when I worked on
Hymns 1 and 2, then quiet
hymn (with a minor key
ending!) as might occur
in a Black church for no.
3, and, finally,
a buoyant exit song for
the recessional as the
church doors are flung
open to the
sun.. Music for
trumpet and organ has a
long grand history,
especially as written by
English composers.These
four pieces were written
to be used as separate
service pieces or as a
suite. I then decided to
orchestrate them as a
concert suitexa0I had
some themes that reminded
me of church hymns,
especially processionals,
from my early years
growing up as a singer in
an Episcopal cathedral. I
kept envisioning entrance
music when I worked on
Hymns 1 and 2, then quiet
hymn (with a minor key
ending!) as might occur
in a Black church for no.
3, and, finally,
axa0buoyantxa0exit song
for the recessional as
the church doors are
flung open to the
sun..
Hymns of Praise 2 Violons, Piano [Conducteur] - Facile Latham Music Enterprises
Violin Duet and Piano with optional Viola and Cello - Grade 2.5 SKU: AP.36-52...(+)
Violin Duet and Piano
with optional Viola and
Cello - Grade 2.5
SKU:
AP.36-52711050
Composed by Catherine
McMichael. Duet or Duo;
Performance Music
Ensemble; Violin Duet.
Ludwig Masters. Sacred.
Score. 56 pages. Latham
Music Enterprises
#36-52711050. Published
by Latham Music
Enterprises
(AP.36-52711050).
ISBN
9781628762013. UPC:
679360706787.
English.
The word
"hymn" comes
from the Greek
"hymnos",
meaning a festive song.
To hymnologists
(people who study hymns),
the HYMN is the poetry,
the lyrics, which is then
set to a HYMN TUNE.
Many wonderful hymn
tunes have been used over
the centuries with
several completely
different sets of words.
The name of a hymn
tune seldom matches the
name of its hymn, and
most people refer to
hymns by their poetic
names rather than their
tune names.
However, some hymn
tunes are so powerful, so
flexible and so rooted in
the collective social
consciousness that they
transcend whatever poetry
is put with them.
Several tunes in
this set have been used
for many poems, most of
which are unfamilar.
But we know the
melody instantly!
Written for two
violins and piano, both a
viola and cello part are
include to substitue for
the 2nd violin.
Hymns (tunes)
include: 1. All Glory,
Laud and Honor (St.
Theodulph), 2. Crown Him
With Many Crowns
(Diademata), 3. Glorious
Things of Thee Are Spoken
(Austria), 4. I Love to
Tell the Story (Hankey),
5. Immortal, Invisible,
God Only Wise (St.
Denio), 6. O For a
Thousand Tongues to Sing
(Axnon), 7. O Worship the
King (Lyons), 8. Praise
Ye the Lord, the Almighty
(Lobe Den Herren).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(The Epistles in Song for the Advent-Christmas-Epiphany Seasons - Series A). By ...(+)
(The Epistles in Song for
the
Advent-Christmas-Epiphany
Seasons - Series A). By
Charles R. Symmank.
Advent, Christmas,
Epiphany. Book. Published
by MorningStar Music
Publishers . Textbook.
Advent, Christmas,
Epiphany.
Hymn of Cittaslow Fanfare [Conducteur] - Facile De Haske Publications
Fanfare Band - Grade 2.5 SKU: BT.DHP-1196181-120 Composed by Jacob De Haa...(+)
Fanfare Band - Grade 2.5
SKU:
BT.DHP-1196181-120
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Hymns & Chorals.
Score Only. Composed
2020. 11 pages. De Haske
Publications #DHP
1196181-120. Published by
De Haske Publications
(BT.DHP-1196181-120).
Hymn of Cittaslow Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 2.5 SKU: BT.DHP-1196181-020 Composed by Jacob De Haa...(+)
Fanfare Band - Grade 2.5
SKU:
BT.DHP-1196181-020
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Hymns & Chorals.
Set (Score & Parts).
Composed 2020. De Haske
Publications #DHP
1196181-020. Published by
De Haske Publications
(BT.DHP-1196181-020).
Hymn of Cittaslow Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1196181-140 Composed by Jac...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1196181-140
Composed by Jacob De
Haan. Concert and Contest
Collection CBHA. Hymns &
Chorals. Score Only.
Composed 2020. 11 pages.
De Haske Publications
#DHP 1196181-140.
Published by De Haske
Publications
(BT.DHP-1196181-140).
Hymn of Cittaslow Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1196181-010 Composed by Jac...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1196181-010
Composed by Jacob De
Haan. Concert and Contest
Collection CBHA. Hymns &
Chorals. Set (Score &
Parts). Composed 2020. De
Haske Publications #DHP
1196181-010. Published by
De Haske Publications
(BT.DHP-1196181-010).
SKU: HP.8287 Composed by Carl Daw, Jr. This edition: Complete. Author Col...(+)
SKU: HP.8287
Composed by Carl Daw, Jr.
This edition: Complete.
Author Collections. Carl
Daw Hymn Collection.
General Worship, Sacred.
Book. 86 pages. Hope
Publishing Company #8287.
Published by Hope
Publishing Company
(HP.8287).
UPC:
763628182878. Carl P.
Daw, Jr.
Fifty new
psalms & hymns written by
the past-Executive
Director of The Hymn
Society in the United
States and Canada, Carl
P. Daw, Jr. The book
contains texts only and
can be viewed on our
website under Online
Hymnody. Suggested tunes
will be posted soon as
well.
(Hymns and Anthems). Composed by Orlando Gibbons (1583-1625). Edited by David Sk...(+)
(Hymns and Anthems).
Composed by Orlando
Gibbons (1583-1625).
Edited by David Skinner.
For Choral (SATB).
Choral. Softcover. 160
pages. Novello and Co
Ltd. #NOV294360.
Published by Novello and
Co Ltd.
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby.
Collection and examples
CD for easy solo piano.
Over 200 best-loved
Christian hymns that have
inspired praise and
worship for over four
centuries. Series: Piano
Treasury Series. 392
pages. Published by Music
Sales.
Composed by Bill Ingram. For 3 octave handbells; cued to 4 to 5 octaves in spots...(+)
Composed by Bill Ingram.
For 3 octave handbells;
cued to 4 to 5 octaves in
spots. This edition:
Loose-Leaf. Hymnals and
Congregational Songbooks.
Hymn singing
accompaniment or handbell
choir special music.
Hymns and Sacred.
Moderately Easy.
Orchestration. Published
by Lillenas Publishing
Company
SKU: LP.MB-664 This edition: Hardcover, Pew Edition, Brown. Hymnals and C...(+)
SKU: LP.MB-664
This edition: Hardcover,
Pew Edition, Brown.
Hymnals and
Congregational Songbooks.
Hymns and Sacred. Hymnal.
Published by Lillenas
Publishing Company
(LP.MB-664).
ISBN
9780834193970.
Sing
to the Lord offers many
of the greatest hymns of
all the ages. In it
you'll hear the heart and
faith of the Psalmist the
early church fathers
Martin Luther the Wesleys
and hundreds of others
who are now among that
great cloud of witnesses.
Millions of believers
have sung and memorized
its hymns finding their
expressions true to
Scripture and experience.
They lived and died with
them passing them on to
their children. And as
each generation discarded
some and embraced others
these hymns were chosen
and treasured century
after century.
The Piano Student's Hymnal arranged by Gayle Kowalchyk and E. L. Lancaster. For ...(+)
The Piano Student's
Hymnal arranged by Gayle
Kowalchyk and E. L.
Lancaster. For Piano.
Piano Collection; Piano
Supplemental. Late
Elementary/Early
Intermediate level piece
for the Hymn Playing
event with the National
Federation of Music Clubs
(NFMC) Festivals Bulletin
2008-2009-2010. Hymn;
Sacred. Early
Intermediate; Late
Elementary. Book. 32
pages. Published by
Alfred Music Publishing
SATB choir and chamber orchestra or piano SKU: MN.CH-1343 Composed by Dal...(+)
SATB choir and chamber
orchestra or piano
SKU: MN.CH-1343
Composed by Dale
Jergenson. 21st Century.
Laurendale Associates
#CH-1343. Published by
Laurendale Associates
(MN.CH-1343).
UPC:
765844006727.
English.
Isaac
Watts (1674 –1748) was
born in Southampton,
England and was brought
up in the home of a
committed religious
Nonconformist; his
father, also Isaac Watts
had been incarcerated
twice for his views.
Watts could not attend
Oxford or Cambridge
because of being a
Noncomformist and because
these universities were
restricted to Anglicans,
instead attending the
Dissenting Academy at
Stoke Newington in 1690.
Watts lived at Abney Hall
in Stoke Newington until
his death in 1748; he was
buried in Bunhill Fields.
He left an extensive
legacy of hymns,
treatises, educational
works, and essays. His
work was influential
amongst Nonconformist
independents and
religious revivalists of
the 18th century by
contributing to English
hymnody with new poetry
to be used in worship.
The older tradition was
based on the poetry of
the Bible which was
developed from the
teachings of the
16th-century Reformation
leader John Calvin.
Watts’ introduction of
extra-Biblical poetry
opened up a new era of
Protestant hymnody with
other poets following in
his path. Many of
Watts’ hymns are
included in the
Christadelphian Hymnal,
the Episcopal Church’s
Hymnal 1982, Evangelical
Lutheran Worship, the
Baptist Hymnal, the
Presbyterian Trinity
Hymnal, and the Methodist
Hymns and Psalms. Many of
his texts are also used
in the American Hymnal
and The Sacred Harp.
Several of his hymns are
used in the hymnals of
the Church of Christ,
Scientist and The Church
of Jesus Christ of
Latter-day Saints. Of the
more that 600 tunes in
the Sacred Harp, 149 of
them have words by Isaac
Watts. Similarly, of the
180 tunes in the Missouri
Harmony 2005 Edition,
Isaac Watts is credited
with the words for 75 of
them. The majority of
these words come from
Watts monumental Psalms
and Hymns, first
published in 1707.
