There is a hopeful spirit to this refreshing folk-styled anthem. Replete with images of God's great faithfulness, worshippers are reminded that His mercies are ever new. An easy-to-learn melody supports this encouraging message, and the harmonic qualities of the work contain a few tasteful surprises. The gentle guitar-like keyboard accompaniment is a sheer delight to play. Gracefully contemporary! / SATB
SKU: GI.G-4900
ISBN 9781579990824.
The texts portray God as a gentle, loving God who cares for us and is a great and creative force in our world. The tunes and melodies represent a wide variety of time periods, styles, and cultures. The full-color illustrations are truly beautiful, creative, and stimulate the imaginations of children through art as well as music. Together, they are the basis for Chatter with the Angels, a of hymns and songs for children. This beautiful, collectible edition features ecumenical Christian songs, including both traditional and new songs and hymns like “For the Beauty of the Earth,†“Ev’ry Morning Brings Us Blessings,†“Ol’ Noah Got Mad,†“Amazing Grace,†“Away in a Manger,†“Peace Is Flowing like a River,†and “Shall We Gather at the River.†There are 90 songs and hymns in all! All songs are recorded on two accompanying CDs, perfect for singing along! Chatter with the Angels is perfect for use by child and parent at home, yet is also appropriate for children in Christian education settings or with young choirs. Simplified piano accompaniments can be played by adults or children who have learned to play piano. Guitar chords are also provided. Makes a great gift! .
SKU: GI.G-7419
UPC: 785147741909. English. Text Source: Original Sacred Harp, 1971 ed. Text by John Leland.
A favorite hymn from The Sacred Harp for many people, the opening measures are reflective of the version that was originally published, but then Heider expands the piece in a style that brings to mind the great choral settings of shape-note tunes. There is divisi in all parts as the piece progresses, but much of it is simply doubling of the melody in octaves. A great choral anthem for worship, but also a crowd pleaser for concerts! Â .
SKU: WD.080689561177
UPC: 080689561177.
ALL ABOUT THE CALL is the newest non-seasonal addition to the Simply WordKidz Series, a best-selling performance-friendly, easy-learn-easy-sing series for children’s choir from Word Music & Church Resources!< b>ALL ABOUT THE CALL takes place during the first summer morning of Prayground (a church day camp), and the very old-fashioned Coach Walker is about to be schooled in cell phone technology. But as his kid-campers teach him about apps and text codes and selfies, he teaches them about the most important call of all—the call of God on our lives. With humor, fun, and unforgettable songs, this little musical blends the modern cell phone obsession with Biblical truth in an engaging w. y that will have you laughing, praying and singing, all at the same time!In less than 25 minutes, ALL ABOUT THE CALL brings to light an important, Bible-centric lesson not only for your kids, but for you and your audience, reminding us all to be present in each other’s lives and to focus on the Lord and the people who make up His body…not on our cell phones. Our call as sons and daughters of Christ is so much greater than apps, text codes, selfies, or even selfie-sticks! This playful, easy-learn Simply WordKidz musical serves as a great reminder of that Biblical truth, and will have everyone leaving the performance hugging more tightly to their families and less tightly to their mobile devices!A LL ABOUT THE CALL from the Simply WordKidz Series…the perfect w. y to bring your church and community together to refocus on the most important “call†of all!
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: GI.G-527
Text by Noel Goemanne.
Conversat ional Solfege is a dynamic and captivating first-through-eighth grade general music program that enables students to become independent musical thinkers with the help of a rich variety of folk and classical music. It is organized around increasingly complex rhythmic and melodic content. Each new rhythmic or melodic element is discovered first in patterns and then reinforced with folk songs, rhymes, and classical examples. Central to the Conversational Solfege program is the use of music harvested from our rich and diverse American musical history. This variety of music serves as a common thread that spans and bonds generations. Each book contains varied song material so the teacher can select appropriate music for the lower grades or older beginners. This 12-step teaching method carefully brings students from readiness to, ultimately, creating music through inner hearing and then transferring their musical thoughts into notation—in other words, to compose music! This CD provides 14 classical selections referenced in Conversational Solfege Level 2. These examples provide reinforcement for emerging literacy skills, and they also enable students to listen to wonderful classical examples with greater attention. Listening to classical music can be challenging for elementary students. With nothing to hang onto, the many notes can be too much to comprehend and attention soon wanes. But with minimal literacy skills, students will have enough musical information to discover that classical music can be accessible and appealing. In the included booklet, timings are given for each selection and the portions of the music that are readable by the students are reproduced. Whether using this CD with Conversational Solfege instructional materials or simply as a resource of classical music with simple to read rhythmic and melodic material, both teachers and students will delight in discovering this wonderful music through literacy. This series is a complete, innovative approach to teaching music that will stay fresh year after year. CONTENTS Conversational Solfege Unit 5: 1. Antonin Dvorak • New World Theme Conversational Solfege Unit 6: 2. Franz Joseph Haydn • Theme from  the Surprise Symphony, 3. Camille Saint-Sans • Turtles from Carnival of the Animals, 4. Ludwig van Beethoven • Symphony No. 7, 2nd Movement, 5. Josef Strauss • Feuerfest (Fireproof) Polka, Op. 269 Conversational Solfege Unit 7: 6. Jacques Offenbach • Can-Can, 7. Dmitry Kabalevsky • Pantomime from the Comedians, 8. Edvard Grieg • In the Hall of the Mountain King Conversational Solfege Unit 9 and Unit 11: 9. Jacques Offenbach • Barcarolle Conversational Solfege Unit 10: 10. Edvard Grieg • Morning Conversational Solfege Unit 11: 11. Ottorino Respighi • Ground in G Conversational Solfege Unit 12: 12. Johann Sebastian Bach • Jesu, Joy of Men's Desiring, 13. Jean Sibelius • Finlandia Conversational Solfege Unit 13: 14. Ludwig Van Beethoven • Symphony No. 6, Movement 5 John M. Feierabend is Professor Emeritus and former Director of Music Education at The Hartt School of Music, University of Hartford, Connecticut.
