Format : Octavo
SKU: HL.425014
UPC: 196288062073. 6.75x10.5x0.019 inches. Ephesians 6:8, I John 5:14, James 5:16.
The ministry of prayer is beautifully showcased in this lyrical anthem of devotion. A winsome melody carries the heartfelt text, while an elegant piano part provides expressive support.
SKU: GI.G-7400
ISBN 9781579999698.
Intended especially for the growing number of multicultural, bilingual (Latino/Anglo) parishes and communities in the United States, Oramos Cantando / We Pray in Song is a hymnal and service book that is comprehensive enough to satisfy the liturgical needs of such communities, when they are worshipping in Spanish, in English, or bilingually. Bilingual from the first page to the last. Organized to reflect the liturgical life of the Church: morning, evening and night prayer from the Liturgy of the Hours, the sacramental rites of Christian initiation of adults, baptism of children, holy communion outside Mass, eucharistic exposition and benediction, reconciliation of penitents, anointing of the sick, marriage, and funerals, the Order of Mass, service music, hymns and songs, lectionary responsorial psalms. All ritual texts are from the English- and Spanish-language liturgical books approved for use in the dioceses of the United States of America Seventy settings of psalms and biblical canticles in a variety of styles, for use in the Liturgy of the Hours, at Mass, and in other liturgical rites. Many employ Gelineau, Guimont, or Conception Abbey tones. Standards from the “Celebration-style†repertoire by Haugen, Joncas, Haas, and others. All with Spanish and English texts ICEL chants for the Order of Mass, accompanied by the complementary plainsong chants in Spanish. Five bilingual settings of the ordinary of the Mass, along with one Latin and two English-only Mass settings, plus a number of additional service music items to serve the liturgical needs of Anglo/Latino parishes for many years to come A broad and stylistically diverse collection of nearly 550 hymns, psalms, and inspired songs, containing the best and most beloved traditional and contemporary music of Latino and Anglo communities, with more than 300 items newly translated according to guidelines for preserving meaning, rhyme, and meter Music from around the world, encompassing plainsong chants, classical hymnody, contemporary scripture-based songs, Taizé chants, and world music from Asia and Africa. Settings originally with Spanish texts are from the United States, Spain, Mexico, Central and South America, and the Caribbean Lectionary psalms with USCCB-approved refrains in both English and Spanish and verses from The Revised Grail Psalms and the salterio of Spain’s Conferencia Episcopal Española (CEE). These bilingual lectionary psalms have been included in the Sacred Song missalette program of The Liturgical Press since 2005 Eleven indexes: liturgical, topical, psalms and canticles, service music, scripture references in hymns, hymn tunes, tune meters, musical settings using languages other than Spanish and English, psalm refrains set to music, common titles and first lines, and hymnal contributors (composers, authors, translators, sources) A hymnal which not only addresses the liturgical experience of today, but also opens the door to new possibilities in the future. Fulfilling the statement of the American bishops: Liturgical music today must reflect the multicultural diversity and intercultural relationships of the members of the gathered liturgical assembly. The varied use of musical forms such as ostinato refrains, call and response, song translations, and bilingual or multilingual repertoire can assist in weaving the diverse languages and ethnicities of the liturgical assembly into a tapestry of sung praise. Sing to the Lord, 60 Destinado especialmente para el creciente número de parroquias y comunidades multiculturales, bilingües (Latinas/Anglas) en los Estados Unidos, Oramos Cantando / We Pray in Song es un himnario y ceremonial lo suficientemente completo para satisfacer las necesidades litúrgicas de tales comunidades, cuando oran en español, en inglés, o de una manera bilingüe. Bilingüe desde la primera página hasta la última. Organizado para reflejar la vida litúrgica de la Iglesia: oración matutina, vespertina y nocturna tomada de la Liturgia de las Horas, los ritos sacramentales de la iniciación cristiana de adultos, del bautismo de niños, para la sagrada comunión fuera de la Misa, para la exposición y bendición eucarÃstica, para la reconciliación de varios penitentes, para la unción de los enfermos, el matrimonio, y las exequias, el Ordinario de la Misa, música para las ceremonias, himnos y cantos, salmos responsoriales del leccionario. Todos los textos de los ritos están tomados de los libros litúrgicos en inglés y en español aprobados para su uso en las diócesis de los Estados Unidos de América. Setenta arreglos de salmos y cánticos en una variedad de estilos, para usarlos en la Liturgia de las Horas, en la Misa, y en otros ritos litúrgicos. Muchos emplean los tonos de Gelineau, Guimont, o Conception Abbey. Normas del repertorio del “estilo-de-celebración†por Haugen, Joncas, Haas, y otros. Todos con el texto en español y en inglés. Cantos de ICEL para el Ordinario de la Misa, acompañados por los cantos llanos complementarios en español. Cinco arreglos bilingües para el ordinario de la Misa, junto con uno en latÃn y dos arreglos para la Misa sólo en inglés, además de un número de cantos adicionales para responder a las necesidades litúrgicas de las parroquias anglas/latinas por muchos años en el futuro Una colección amplia y de diversos estilos de casi 550 himnos, salmos y cantos inspirados, que contienen lo mejor y lo más apreciado de la música tradicional y contemporánea de las comunidades latinas y anglas, con más de 300 composiciones recientemente traducidas según las normas para la preservación del significado, del ritmo, y del metro Música de todo el mundo, incluyendo cantos llanos, himnos clásicos, cantos contemporáneos basados en la biblia, cantos de Taizé, y música mundial de Asia y Ãfrica. Arreglos originales con textos en español que vienen de los Estados Unidos, de España, de México, de Centro y Sud América, y del Caribe. Salmos del Leccionario con estribillos aprobados por la Conferencia Episcopal de Estados Unidos (USCCB) tanto en inglés como en español y versos del salterio: The Revised Grail Psalms y del salterio de la Conferencia Episcopal Española (CEE) de España. Estos salmos bilingües del leccionario se han incluido en el programa del misalito Sacred Song de la editorial: The Liturgical Press desde 2005 Once Ãndices: litúrgico, temático, salmos y cánticos, música para celebraciones, referencias bÃblicas en himnos, tonadas de himnos, metros de himnos, arreglos con idiomas además de español e inglés, antÃfonas musicalizadas para los salmos, tÃtulos comunes y primeras frases, y contribuyentes al himnario (compositores, autores, traductores, fuentes) Un himnario que no sólo responde a la experiencia litúrgica de hoy, sino también abre la puerta a nuevas posibilidades en el futuro. Cumple la declaración de los obispos americanos: “La música litúrgica de hoy debe reflejar la diversidad multicultural y las relaciones interculturales de los miembros de la asamblea litúrgica reunida. El uso variado de formas musicales como estribillos en ostinato, llamado y respuesta, traducción de cantos, y el repertorio bilingüe o multilingüe puede ayudar a entretejer los diferentes idiomas y etnias de la asamblea litúrgica en un tapiz de alabanza cantada.†Cantemos al Señor, 60 There is no doubt that the goal of singing each other's liturgical music as an expression of the catholicity of our faith embodied in this volume, does in fact allow bilingual and multicultural parishes through the United States—and beyond—to respond to the liturgical needs of today while opening the door to new possibilities. — Becca Whitla The Hymn Society Journal. Volume 66, No. 4.
SKU: GI.G-8153
ISBN 9781622770724. English, Spanish. Text Source: English refs.: Lectionary for Mass, English vv.: The Revised Grail Psalms or NAB, Spanish: Leccionario Edición Hispanoamericana
This psalm collection is arranged according to liturgical year, with the three-year temporal cycle being followed by solemnities, feasts of the Lord, and national holidays presented in chronological order, everything as it appears in the Oramos Cantando / We Pray in Song hymnal. Most of the musical settings of the 144 pairs of English and Spanish psalm refrains in this collection were composed in 2003 either by Tony Alonso, Ronald Krisman, or John Schiavone. In most cases, each pair of refrains share the same melody, occasionally they are counter-melodies to each other, allowing for both languages to be sung simultaneously. Some refrains were further edited, a few were replaced with new refrains composed by Michel Guimont, Kelly Dobbs Mickus, and Ronald Krisman. The psalm tones of Canadian composer Michel Guimont, which enjoy a wide popularity in North America, are used exclusively in this collection. The Lectionary psalms use USCCB-approved refrains in both English and Spanish and verses from The Revised Grail Psalms and the salterio of Spain's Conferencia Episcopal Española (CEE). These bilingual lectionary psalms have been included in the Sacred Song missalette program of The Liturgical Press since 2004. While this collection may be used as a bilingual Lectionary psalter with any musical resource found in the pew, it is specifically linked to GIA's hymnal Oramos Cantando / We Pray in Song.
SKU: LO.99-3104L
UPC: 000308132991.
Using Peter as the sole narrator and the dramatic focal point, Upon This Rock depicts the events of Holy Week while revealing Peter's personal perspective on the significance of each. Jesus' appearances to His disciples during those confusing and discouraging post-resurrection days are also included, as the plans for building God's church and spreading the Gospel are beautifully and dramatically portrayed through the creativity of composer Pepper Choplin. This unique presentation combines original material with best-selling favorites to create an extraordinarily accessible work for most choirs. Upon This Rock is indeed a representation of the very genesis of Christianity as we know it today, having as its foundation the solid Rock of Jesus and the steadfast devotion of Peter, whom Jesus proclaimed as His Rock.
SKU: LO.99-3102L
UPC: 000308133066.
SKU: GI.G-7400ENV
Hymnals that belong to the singing assembly! Easy and Effective Fundraising with DONOR BOOKPLATES and ENVELOPES Our donor envelopes make it easy for your parishioners to make their donation and include their dedication. The front of the envelope has space for the dedication and amount donated, while the back offers suggested dedication phrasing and space for contact information. The box contains 500 envelopes. By involving your parishioners in the purchase of a new hymnal you are offering them the opportunity to celebrate the memory of a departed loved one, commemorate an important event, or simply honor their family name. You can easily customize our free, downloadable donor bookplates. They adhere directly to the inside front cover of your hymnals, creating a lasting memory for years to come. The necessary funds will be raised quickly and easily.
SKU: HL.1254912
UPC: 864012000102. 1.25x1.25x4.0 inches.
The Vocal Eze Spray was developed in 2001 by an in-demand wellness coordinator who took care of artists and production crews in the national recording industry both on and off the road. Touring with Lilith Fair, the Dixie Chicks, Emmylou Harris, Shania Twain, Linkin Park, Earth, Wind & Fire... just to name a few! Only the best remedies were created to support these musicians at the highest level. While once only available to musicians “in the know,†these remedies are now available to you! What makes it so game-changing? • It's made from wellness-boosting, all-natural ingredients • Uses NO harsh chemicals, NO artificial flavoring, NO fillers, and NO additives (nothing you wouldn't want to put in your body) • Soothes, hydrates, warms, lubricates, and protects the throat • Fast-acting: feel ready-to-go after just a few sprays! • Acts as a bronchial-dilator to open up the airways and increase oxygen intake • Is a daily vocal care spray with anti-inflammatory, anti-bacterial and immune-boosting properties.
SKU: AP.36-A464991
ISBN 9798892700023. UPC: 659359968167. English.
While Felix Mendelssohn (1809-1847) modestly refers to Hear My Prayer (Hör' mein Bitten) in G Major, WoO 15, as a trifle, it is among his most popular works for chorus. On the autograph score, he inscribed the following: A sacred Solo, for a Soprano and Chorus, with Organ accompaniment, composed for W. Bartholomew, Esq., by Felix Mendelssohn Bartholdy. William Bartholomew wrote the text, which is derived on Psalm 55, and requested that Mendelssohn set it to music. This version premiered on January 8, 1845, at Crosby Hall in London. In 1847, Mendelssohn orchestrated the work, but he passed before he could hear this version, which premiered on December 21, 1848, in Dublin. Score and parts for orchestral accompaniment available separately. This edition adds reheasal numbers that match between the score, parts, and choral score.
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.
SKU: 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 calligraphicrepresentations, 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.
SKU: HL.49045282
ISBN 9781495078996. UPC: 888680651473. 9.0x12.0x0.138 inches. English.
Prayer is one of the composer's most original and sophisticated works. The typical African-American church service seems to be a source for this piece with its interplay of sections and colors, yet the work in form and rhythmic choices is clearly 'classical' and never breaks out into easy imitations of, for example, gospel music.The work opens with the choir singing the spiritual 'My Lord, What a Mornin'' in octaves, sung flat-out a cappella, as might happen in church. The instrumental section following this opening feels very much like a thoughtful response by the congregation. Instruments seem to behave like individual churchgoers, colorfully dressed and answering various episodes with individual thoughts. As for any fears that the mighty organ might drown out the proceedings, Singleton puts that to rest by employing it almost like another choir or section of the choir. The trumpet soloist does not blast us into heaven, it tends to sing and, we find out later, is preparing us for the spiritual 'Where Shall I Be When the Firs' Trumpet Soun'?' Even the tenor soloist behaves much like just another (but still important) instrument.The composer has chosen to not only feature spirituals, but also to set a poetic text called A Christian Prayer, whose main message, almost like some modern-day Kyrie, calls out 'save us teach us ' and extols the importance of humility and the defeat of violence. Singleton has always been a composer who has simultaneously answered the call to carry out what he feels is his duty to his fellow humans while using the finest of his art to do so, and Prayer finds him at the top of his game.- Carman Moore.
SKU: HL.49045281
ISBN 9781495078989. UPC: 888680651466. 9.0x12.0x0.3 inches. English.
SKU: GI.G-CD-968
UPC: 785147096825.
From one of GIA’s most accomplished composers comes a compelling collection of new music suitable for use throughout the liturgical year. Filled with expressive texts and exquisite melodies, Tony Alonso’s A House of Prayer shows a depth of wisdom and a maturity of craftsmanship that represents some of his finest work to date. Tony’s impassioned setting, “Be My Hands and Feet†evokes the heartbreaking imagery of Christ’s sacrifice while the stunning Mary Louise Bringle text calls us to be his hands and feet here on earth. “A Joyful Christmas Gloria†is exactly that! This contemporary rendering is a wonderful blending of the tune from “Angels We Have Heard on High†with the “Gloria†text from the 2010 Revised Order of Mass and features an uplifting piano arrangement by Jeanne Cotter. “From the Many Make Us Oneâ€â€”a collaboration with Gabe Huck—is sure to be an instant communion classic that you will come back to again and again. Each song provides exactly what good liturgical music should: they reach in, open the mind, touch the heart, and imprint on the soul. This music speaks to the needs of the church and will truly inspire the sung prayer your assembly. CONTENTS: From the Many, Make Us One • We Gather Round You • A House of Prayer • A Joyful Christmas Gloria • Be My Hands and Feet • Gabriel’s Message • Springs of Water • Sing Me Home to You • The Table of Emmanuel • The Rising Sun • Today Is Born Our Savior • Life to the Full • Glorify the Lord by Our Lives • The Greater Glory of God.  .
SKU: GI.G-8900
UPC: 785147890034. English.
From one of GIA’s most accomplished composers comes a compelling collection of new music suitable for use throughout the liturgical year. Filled with expressive texts and exquisite melodies, Tony Alonso’s A House of Prayer shows a depth of wisdom and a maturity of craftsmanship that represents some of his finest work to date. Tony’s impassioned setting, “Be My Hands and Feet†evokes the heartbreaking imagery of Christ’s sacrifice while the stunning Mary Louise Bringle text calls us to be his hands and feet here on earth. “A Joyful Christmas Gloria†is exactly that! This contemporary rendering is a wonderful blending of the tune from “Angels We Have Heard on High†with the “Gloria†text from the 2010 Revised Order of Mass and features an uplifting piano arrangement by Jeanne Cotter. “From the Many Make Us Oneâ€â€”a collaboration with Gabe Huck—is sure to be an instant communion classic that you will come back to again and again. Each song provides exactly what good liturgical music should: they reach in, open the mind, touch the heart, and imprint on the soul. This music speaks to the needs of the church and will truly inspire the sung prayer of your assembly. CONTENTS: From the Many, Make Us One • We Gather Round You • A House of Prayer • A Joyful Christmas Gloria • Be My Hands and Feet • Gabriel’s Message • Springs of Water • Sing Me Home to You • The Table of Emmanuel • The Rising Sun • Today Is Born Our Savior • Life to the Full • Glorify the Lord by Our Lives • The Greater Glory of God.
SKU: WD.080689458774
UPC: 080689458774.
Christy and Daniel Semsen, celebrated writers and creators of innovative, best-selling musicals for children's choir are back, and they're at it again! Their latest adventure, Back to the Cross, will take your Kids Choir on an inventive, fun-filled, rousing romp through time, discovering the message of the Cross along the way! A Semsen musical is guaranteed to deliver big on FUN and even bigger on a spiritual message that speaks to each child! In Back to the Cross, the long-awaited sequel to their hit musical, Back to the Manger, we find Norman and our cast of characters embarking on a time-travel excursion relying on the questionable reliability of the H/O-2000 Temporal Displacement Modulator...otherwise known as time travel machine.
SKU: P2.80164
Let My Prayer Arise, Op. 24, No. 6 was written in 1910 as part of the Liturgy of the Presanctified Gifts. This predominately Eastern Orthodox Lenten ceremony is held in the evening during Holy Week, usually on Wednesday and/or Friday. These vespers are quite solemn and are preceded by a day of total fasting and spiritual preparation. The Op. 24, No. 6 is a setting of Psalm 141. This Psalm is sung after the priest blesses a kneeling congregation with a lighted candle and the words, the light of Christ illumes all. While the Psalm is sung, an offering of incense is given. This mirrors the imagery of the Psalm; Let my prayer arise in Thy sight as incense; and let the lifting up of my hands be an evening sacrifice. The Holy Eucharist is not consecrated during this service. The Host offered is blessed on the previous Sunday, hence the name Presanctified Gifts.[1].
SKU: HP.9086
UPC: 763628190866. Prayer Rising Into Song.
Volume 1 contains Carl Daw's paraphrases of Psalms 1 thru 50, while Volume 2 contains Psalms 51 thru 100 and Volume 3 has Psalms 1010-150. The texts are presented individually and also interlined with a PD or Hope owned familiar and appropriate tune.
SKU: PR.11641600S
ISBN 9781491134689. UPC: 680160685271. English. Text: Ryan Carson.
Among the most intriguing of this pioneering American composer’s works, Three Songs on poems of Carl Sandburg is scored for Contralto with Oboe, Percussion, and Piano, plus an optional orchestra. The study score includes an essay introducing Crawford’s unique work in historical contexts as she sought a new musical language accessible to the many, while remaining uncompromisingly avant-garde.
SKU: PL.9106
Leslie Betteridge has approached this timeless prayer with a gentle firmness appropriate to its intimacy. His love of chant is apparent as he sets the first portion of St. Francis' requests in a chant style, while the second halves are once more strictly metered. The choral parts are well balanced by a colorful organ accompaniment.
SKU: PL.0039
Robert Roth has created a moving hymn-anthem for this beloved text from St. Francis of Assisi. The organ introduction hints at the musical material to follow and the first verse is in four parts a cappella. The second and third verses feature the men and women respectively while the fourth verse places the melody in the tenor voice. The climactic fifth verse features a descant for a few voices and the melody for the rest of the choir in unison. The harmonic setting is of interest as the second half of each verse is more chromatic in style. This anthem would be appropriate for general use as well as a choral prayer.
SKU: HL.360514
ISBN 9781789361698. UPC: 840126990829. 9.0x12.0x0.269 inches.
Learn to play rock and pop with Rockschool. These specially written arrangements develop the skills and techniques you need to help you achieve your musical goals. For Rockschool's piano series, Rockschool has commissioned arrangements of titles reflecting popular music's rich heritage in all its forms. Each piece has been tailored to fit the relevant grade level and support progression while learning your instrument. The music has been arranged and performed by top session musicians and was recorded at Abbey Road Studios. Songs include: All of Me (John Legend) • Goodbye Yellow Brick Road (Elton John) • I See Fire (Ed Sheeran) • Let It Go (from Frozen)• Livin' on a Prayer (Bon Jovi) • Respect (Aretha Franklin). Plus: • Band and artist fact files with recommended listening • In-depth walkthroughs of every track • Easy-access downloadable audio of backing tracks and full recordings of all performance pieces • Example tests and exercises.
