Classroom SKU: BT.9781408114551 Book with CD. Collins Music Publishing #9...(+)
Classroom
SKU:
BT.9781408114551
Book
with CD. Collins Music
Publishing
#9781408114551. Published
by Collins Music
Publishing
(BT.9781408114551).
ISBN 9781408114551.
English.
I
Hear The Band is
one of three new
Earlybirds music activity packs
guaranteed to get
under-fives moving,
listening and having fun
with music. Each pack has
twelve songs, a CD and
cross-curricularactivity
plans.
Earlybirds develops singing,
dancing and musical
understanding in a
practical, easy-to-use
format. Enjoy!
The
packs includes a CD with
full performance tracks
for all twelve songs,
lyrics for alltwelve
songs, and activity plans
with cross-curricular
activities for all twelve
songs.
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.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
By Lloyd Larson. For keyboard. General, Thanksgiving, Christmas, Lent, Holy Week...(+)
By Lloyd Larson. For
keyboard. General,
Thanksgiving, Christmas,
Lent, Holy Week, Palm
Sunday, Eastertide.
Level: 2-staff. Sacred
instrumental. Published
by Exaltation
Publications.
By Lloyd Larson. For handbells (3-5 octaves). General, Thanksgiving, Christmas, ...(+)
By Lloyd Larson. For
handbells (3-5 octaves).
General, Thanksgiving,
Christmas, Lent, Holy
Week, Palm Sunday,
Eastertide. Sacred organ.
Published by Exaltation
Publications. (30/2161L)
By Lloyd Larson. For keyboard, 2 trumpets, 2 tormbones, tuba and percussion (con...(+)
By Lloyd Larson. For
keyboard, 2 trumpets, 2
tormbones, tuba and
percussion (conductor's
score). General,
Thanksgiving, Christmas,
Lent, Holy Week, Palm
Sunday, Eastertide.
Sacred organ. Published
by Exaltation
Publications. (30/2160L)
366 More Great Songs for Better Living. Arranged by Jim Beloff, Liz Belof...(+)
366 More Great Songs
for Better Living.
Arranged by Jim Beloff,
Liz Beloff. Fake Book.
Country, Pop,
Standards. Softcover. 416
pages. Published by Hal
Leonard (HL.212971).
Voice and Accompaniment SKU: BT.MUSM570361922 By Michael Hooper. Book Onl...(+)
Voice and Accompaniment
SKU:
BT.MUSM570361922
By
Michael Hooper. Book
Only. 4 pages. University
of York Music Press
#MUSM570361922. Published
by University of York
Music Press
(BT.MUSM570361922).
English.
The
song repertoire has its
origins in the late
nineteenth century when
every household had a
piano and for much of the
twentieth century,
singers and their pianist
collaborators were able
to create recital
programmes from a deep
reservoir of European and
North American song. The
recital genre became more
sophisticated as the
century progressed and
metamorphosed from a
miscellaneous collection
of lollipops to something
altogether more
sophisticated, often
featuring elaborate
themes which would enable
the music to be presented
in a variety of new
contexts. In the twenty
first century
opportunities for
recitalists are fewer and
programmes still tend to
focus on the much-loved
butwell-explored
repertoire. We hope this
collection will
contribute to a
broadening of
possibilities for
recitalists or anyone who
just wants something new
to sing. There are
several songs for voice
and piano but some
require other
instruments. There is a
wide range of styles. We
have resisted the
temptation to grade them
by difficulty, as our
criteria were more
broadly performative and
musical rather than
didactic. All selected
composers have a
particular sympathy for
the singing voice, so
there is nothing that
cannot be sung by a
competent performer. The
songs generally have a
designated voice type,
but this shouldn't be
thought of as
prescriptive; they are
designed to be flexible
and to offer the maximum
opportunity for creative
interpretation. They
range from the curious
and quirky to the
virtuosic and
challenging, the intense
and mysterious to the sad
and the light-hearted. We
hope that many performers
will find their tastes
represented here.
Compiled by David Blake
and John Potter. Edited
by Michael Hooper.
Choral (SSA opt. a cappella) SKU: HL.360222 Composed by Pepper Choplin. S...(+)
Choral (SSA opt. a
cappella)
SKU:
HL.360222
Composed by
Pepper Choplin. Shawnee
Sacred. General Worship,
Sacred. Octavo. Duration
150 seconds. Published by
Shawnee Press
(HL.360222).
UPC:
840126948851.
6.75x10.5x0.029 inches.
Isaiah 41:10, Matthew
28:20.
This anthem
touches the heart with
its reassuring message of
God's faithfulness and
power. The choir supplies
rhythmic energy with its
repetitive phrase, We Are
Not Alone, while the
soloist glides above in
smooth sustained lines.
The piece will leave the
congregation singing this
simple but profound truth
long after the service
has ended. Score and
Parts (fl 1-2, ob, cl
1-2, bn, tpt 1-3, hn 1-2,
tbn 1-3/tba, perc 1-2,
timp, hp, pno, vn 1-2,
va, vc, db, kybd)
available as a digital
download. An a cappella
SATB voicing is also
available. NOTE: Full
Performance and Part
Dominant MP3's are for
the SATB voicing
only.
Choral (TTBB OPT. A CAPPELLA) SKU: HL.360223 Composed by Pepper Choplin. ...(+)
Choral (TTBB OPT. A
CAPPELLA)
SKU:
HL.360223
Composed by
Pepper Choplin. Shawnee
Sacred. General Worship,
Sacred. Octavo. Duration
150 seconds. Published by
Shawnee Press
(HL.360223).
UPC:
840126948868.
6.75x10.5x0.029 inches.
Isaiah 41:10, Matthew
28:20.
This anthem
touches the heart with
its reassuring message of
God's faithfulness and
power. The choir supplies
rhythmic energy with its
repetitive phrase, We Are
Not Alone, while the
soloist glides above in
smooth sustained lines.
The piece will leave the
congregation singing this
simple but profound truth
long after the service
has ended. Score and
Parts (fl 1-2, ob, cl
1-2, bn, tpt 1-3, hn 1-2,
tbn 1-3/tba, perc 1-2,
timp, hp, pno, vn 1-2,
va, vc, db, kybd)
available as a digital
download. An a cappella
SATB voicing is also
available. NOTE: Full
Performance and Part
Dominant MP3's are for
the SATB voicing
only.
SKU: GI.G-10833 Composed by Daniel Gregerman. Music Education. 150 pages....(+)
SKU: GI.G-10833
Composed by Daniel
Gregerman. Music
Education. 150 pages. GIA
Publications #10833.
Published by GIA
Publications
(GI.G-10833).
ISBN
9781574635614.
From
philosophy, auditions,
and lesson planning to
improvisation and
literature selection,
this diverse group of
nationally recognized
educators at all levels
discuss these topics and
more. Each director
practically walks you
through a rehearsal!
Whether you are a
seasoned vocal jazz
director or someone
looking to get started,
the authors’
concepts on running an
outstanding vocal jazz
program has something for
everyone. There are
different vocal timbres
that we expect to hear in
different styles, and I
believe that there are
ways to produce a variety
of sounds in a healthy
way with sound technique.
—Andrew Dahan Â
 Niles North High
School, Skokie, IL When
starting a vocal jazz
ensemble, I keep the
literature on the easy
side so concepts of
style, tone, vibrato,
balance, and blend can be
focused on without
pounding out notes.
—Roger Emerson
  Professional
Composer and Arranger As
with any language, one of
the fastest ways to learn
about different styles,
genres, and other
idiosyncrasies is to
immerse ourselves in the
language. —Daniel
Gregerman  Â
Glenbrook South High
School, Glenview, IL I
think of the audition
process as a necessary
means to help me
‘cast’ the
ensemble. —Greg
Jasperse  Â
Western Michigan
University My overall
philosophy is that
teaching jazz is
extremely important. The
creation of this music is
unique to America, and it
is imperative that we
keep our youth informed.
—Connaitre Miller
  Howard
University We
don’t really ever
‘finish’ a
piece or arrangement, do
we? We work on the
repertoire and the music
arrives to an artistic
place. —Kate Reid
  University of
Miami, Frost School of
Music Jazz is a genre
that has to be primarily
learned from listening.
Exposing students to a
wide variety of jazz and
contemporary styles is
one of the most important
things we need to do.
—John Stafford II
  Kansas City
Kansas Community College
My jazz singers are the
best music readers in the
department, and I never
do any sight singing with
the jazz choirs. That is
all done in the
traditional choirs.
—Janice Vlachos
  Fairview High
School, Boulder, CO It
takes a good amount of
work to achieve a unified
sound, however, within
working on the minute
details and repetition,
it is those moments of
victory during the
rehearsals that make it
all worth it. —Gaw
Vang Williams  Â
Sacramento State College
Vocal jazz encourages
personal expression
through which
improvisation has become
a hallmark trait of the
genre. —Natalie
Wilson   Grass
Valley Elementary School,
Camas, WA.
Composed by Will Lopes.
Henry Leck Creating
Artistry. Concert,
Festival, Inspirational.
Octavo. 12 pages.
Duration 210 seconds.
Published by Hal Leonard
(HL.388333).
UPC:
196288025504.
6.75x10.5x0.029
inches.
Created and
imagined for either SATB
or SSA or both, this
flexible original
celebrates the power of
music. Full chords
celebrate the ringing,
singing and healing that
music is capable of
creating.
The singing heart by Bob Chilcott. For Double SATB choir and handbells. Mixed Vo...(+)
The singing heart by Bob
Chilcott. For Double SATB
choir and handbells.
Mixed Voices. Secular,
Choral Leaflet. Vocal
score. 16 pages. Duration
4'. Published by Oxford
University Press
Choral (Studiotrax CD) SKU: HL.35028268 Composed by Joseph M. Martin. Sha...(+)
Choral (Studiotrax CD)
SKU: HL.35028268
Composed by Joseph M.
Martin. Shawnee Sacred.
General Worship, Lent,
Youth Choir. CD only.
Published by Shawnee
Press (HL.35028268).
UPC: 884088638221.
4.75x5.5
inches.
Uses: General, Lent, Youth
Choir, Church
Anniversary
Scr
ipture: Psalm 67:3;
Psalm 30:4; Romans
12:1
A clarion
call to commitment is at
the heart of this ballad
of praise. Soaring on the
wings of melody and a
powerful accompaniment,
this contemporary sacred
song springs with
confidence from
Scripture. The stately
gait of the theme is
solidly supported with
strong unison singing and
sturdy harmonies. The
anthem moves as a
unifying credo of purpose
ending in a mighty
crescendo of praise.
Available separately:
SATB, StudioTrax CD
(Accompaniment/Split-Trax
/Performance),
Orchestration (Score &
parts for Flute 1&2,
Oboe, Clarinet 1&2,
Bassoon, Horn 1&2,
Trumpets 1-3, Trombones
1-3, Bass Trombone/Tuba,
Timpani, Percussion 1&2,
Harp, Piano, Violin 1&2,
Viola, Cello, Double
Bass). Duration: ca.
3:38.
2-Part opt. a cappella (2-Part optional a cappella) SKU: HL.1224306 Compo...(+)
2-Part opt. a cappella
(2-Part optional a
cappella)
SKU:
HL.1224306
Composed
by Greg Gilpin. Shawnee
Press. Concert, Festival,
Light Concert,
Multicultural. Octavo. 16
pages. Duration 180
seconds. Published by
Shawnee Press
(HL.1224306).
ISBN
9781705196373. UPC:
196288143321. 6.75x10.5
inches.
Originally
written and premiered at
Carnegie Hall by the
composer, this is the
ultimate choral for
musical unity! Set in a
very rhythmic style with
optional percussion
parts, it can be sung a
cappella or with piano.
The text is a wonderful
mix of Swahili and
English singing,
“Together we are
better, friend to friend,
heart to heart.†In
any voicing, this one
will rock your concert
with energy and
sound!