The Messenger

SKU: BT.DHP-1145330-401

ISBN 9789043135559. 9x12 inches. English-German-French-Dut ch.

KUROSHIO´S MESSENGER was written for Yukihiro Ikeda, the tuba player with the NHK symphony orchestra of Tokyo, Japan. The première was given on 21 March 2010 at the Yamaha Hall in Tokyo. Kuroshio is the Japanese name for a warm current in thePacific Ocean. In this free-form composition, various sea creatures such as whales and tuna are depicted. This demanding solo piece is characterised by frequent changes in tempo and mood.

Kuroshio� �€™s Messenger is geschreven voor Yukihiro Ikeda, de tubaspeler van het NHK Symphony Orchestra uit Tokio (Japan). De première vond op 21 maart 2010 plaats in de YAMAHA Hall in Tokio. Kuroshio is de Japanse naam vaneen warme golfstroom in de Grote Oceaan. In een vrije muzikale vorm worden in dit werk verschillende zeewezens beschreven - zoals de walvis en tonijn. Het lastige sologedeelte wordt gekenmerkt door frequente tempo- en sfeerwisselngen.

K UROSHIO´S MESSENGER wurde für Yukihiro Ikeda, den Tubisten des NHK Symphony Orchestra, Tokio (Japan), geschrieben. Die Uraufführung fand am 21. März 2010 in der YAMAHA Hall in Tokio statt. Kuroshio ist der japanische Name einer warmen pazifischenMeeresström ung. In freier musikalischer Form werden in diesem Werk einige Meereskreaturen wie Wale und Thunfische vorgestellt. Das anspruchsvolle Solostück ist geprägt von häufigen Tempo- und Charakterwechseln.

Kuroshio’s Messenger est une pièce écrite pour Yukihiro Ikeda, tubiste de l’orchestre symphonique NHK de Tokyo, au Japon. Cette œuvre a été créée le 21 mars 2010 au Yamaha Hall de Tokyo. Kuroshio est le nom d’un courant chaud de l’océan Pacifique. Cette composition de forme libre dépeint diverses créatures marines telles que les baleines et les thons. Cette pièce solo très exigeante se caractérise par des changements fréquents de tempo et de climat.

Kuroshi o’s Messenger was written for Yukihiro Ikeda, the tuba player with the NHK symphony orchestra of Tokyo, Japan. The première was given on 21 March 2010 at the Yamaha Hall in Tokyo. Kuroshio is the Japanese name for a warm current in the Pacific Ocean. In this free-form composition, various sea creatures such as whales and tuna are depicted. This demanding solo piece is characterised by frequent changes in tempo and mood.

SKU: KJ.JZB400F

Jim Cifelli has written a chart that is a terrific way to introduce students to the great Jazz Messengers bands of Art Blakey. The Messenger combines a soulful melody and solid straight ahead rhythm section writing into a winning combination for bands of all levels. Younger bands will appreciate the moderate brass ranges and easy solo changes while more advanced groups can listen closely to classic recordings and work to copy the Blakey sound. This chart has something for everyone.

SKU: CY.CC2838

Mercury, The Winged Messenger, written in 1916 is the 3rd movement of Gustav Holst's iconic 7-movement suite. It is light, flitting and scherzando in style.
Mr. Sauer has used a very ingenious scoring technique for the brass to keep the music flowing for the very fast, long phrases used by the composer.
* 4 minutes in length for advanced performers.
Instrumen tation is for:
4 Trumpets in C (1st part includes Piccolo)
4 Horns
3 Trombones
Euphonium (Tenor Tuba), 2 Tubas
Timpani and Glockenspiel
Mr. Sauer has also transcribed other selections (also available on this site) from Holst's Planets Suite including:
Mars, Jupiter, Venus, Saturn and Uranus.

SKU: HL.49015932

ISBN 9783795768775. UPC: 841886001879. 7.5x10.5x0.477 inches.

Preface * Faksimile * The Planets: * 1. Mars, the bringer of war * 2. Venus, the bringer of peace * 3. Mercury, the winged messenger * 4. Jupiter, the bringer of jollity * 5. Saturn, the bringer of old age * 6. Uranus, the magician * 7. Neptune, the mystic.

SKU: ST.PP002

We Can Be Messengers is a collection of 15 songs for worship, from Thanksgiving to Epiphany. Designed for singing by congregations, We Can Be Messengers includes simple rounds, intergenerational songs with children in mind, songs for Advent in each lectionary year, and fresh songs for the Christmas season.

SKU: ST.PP001

We Can Be Messengers is a collection of 15 songs for worship, from Thanksgiving to Epiphany. Designed for singing by congregations, We Can Be Messengers includes simple rounds, intergenerational songs with children in mind, songs for Advent in each lectionary year, and fresh songs for the Christmas season.

A CD of the songs from the book is also available.

SKU: CF.CPS234

ISBN 9781491156346. UPC: 680160914883. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!

SKU: CF.CPS234F

ISBN 9781491156353. UPC: 680160914890. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!

SKU: HP.8149

UPC: 763628181499. Susan Heafield & Brian Wren.

Fourteen worship songs This is a collection of songs for worship, from Thanksgiving to Epiphany. Though they can be used as choral or solo songs, they are especially intended for congregational singing.

SKU: HP.8150

UPC: 763628181505. Susan Heafield & Brian Wren.

This is a collection of songs for worship, from Thanksgiving to Epiphany. Though they can be used as choral or solo songs, they are especially intended for congregational singing.

SKU: PR.114419850

ISBN 9781491135808. UPC: 680160681044. 9 x 12 inches.

Both a spectacular concerto for saxophone, and a dramatic tone poem on Roman mythology, QUICKSILVER is a 23-minute concerto for Alto Saxophone and Wind Ensemble by one of the sax literature’s most commissioned and admired composers.Through worded captions as well as gorgeously expressive tone painting, Movement 1 depicts the birth and childhood pranks of Mercury, Movement 2 shows him escorting souls to the gates of the Underworld, and Movement 3 is a phantasmagoric finale portraying Mercury as messenger amid the conflicts of other mythological figures. There are many YouTube performances available, both in the original version with Wind Ensemble, and with Piano.
In addition to being another name for the element mercury, “quicksilver” is used to describe something that changes quickly or is difficult to contain. My concerto of the same name was inspired by the Roman god Mercury, as well as the mercurial nature of the saxophone: unpredictable, very lively, and volatile. Mercury (known as Hermes in Greek mythology) is best known for his winged shoes, which allowed him to fly swiftly as the messenger of his fellow Olympians. Mercury had other duties too, including serving as the god of merchants, travelers, and tricksters; he also ushered souls of the departed to the Underworld.Quicksilver tells three tales of the Roman god. The first movement (Antics of a Newborn God) opens with the birth of Mercury; after he takes his first steps, he toddles around, gleefully looking for mischief. He stumbles across a herd of cows that belong to his brother Apollo; Mercury slyly lets the cows out of their pen before toddling onward with his mischief-making.In the second movement (Guiding Souls to the Underworld), Pluto, god of the Underworld, bids Mercury to bring him fresh souls. The movement begins with death-knells tolling for humans who are about to die; Mercury picks up these souls and leads them down to the gates of the Underworld.The third and final movement (Messenger of Olympus) depicts Mercury as he is busily running errands for various gods and goddesses. We first encounter him mid-flight as he dashes to earth to find Aeneas, a Trojan lieutenant who had been run out of Troy by the invading Greeks. Aeneas is on a quest to find land on which to establish a new city that would eventually become Rome. While traveling, he is distracted from his quest when he meets the beautiful queen Dido. They live together for many years before Mercury intervenes; he chastises Aeneas for giving up on his quest and persuades him to pick it up again. As Aeneas mournfully resumes his journey, we hear Dido perish of a broken heart. Mercury then takes to the skies to seek out Perseus, who is preparing to kill Medusa, the hideous gorgon who has snakes for hair and a gaze that turns those who catch her glance into stone. Mercury advises Perseus on how to slay Medusa and lends Perseus his sword to do the deed. We hear Perseus victorious in the beheading of Medusa, after which Mercury takes to the skies once more to fly home to Olympus.

SKU: CF.CPS173F

ISBN 9781491140871. UPC: 680160628933. 9 x 12 inches.

Meaning messenger in Inuit, Carl Strommen's piece Kivgik was inspired by the composer's observance of a large gathering of the Inuit people in Alaska. Carl has tried to emulate the sound of their drums being used to communicate between tribes. The piece also contains bold harmonic colors and driving 6/8 rhythms. There is a nice repose section in the middle of the piece that symbolizes the more solemn parts of this annual gathering or Kivgik. This multicultural piece offers many unique, cross-curriculum teaching opportunities and will be perfect at your next contest or festival performance.

SKU: CF.CPS173

ISBN 9781491140222. UPC: 680160628285. 9 x 12 inches.

Meaning messenger in Inuit, Carl Strommen's piece Kivgik was inspired by the composer's observance of a large gathering of the Inuit people in Alaska. Carl has tried to emulate the sound of their drums being used for communication. The piece also contains bold harmonic colors and driving 6/8 rhythms. There is a nice repose section in the middle of the piece that symbolizes the more solemn parts of this annual gathering or Kivgik. This multicultural piece offers many unique, cross-curriculum teaching opportunities and will be perfect at your next contest or festival performance.

SKU: LO.99-2866L

UPC: 000308129441.

In Shout the Good News!, composer Lloyd Larson has created a celebration of Jesus' birth and of those messengers who helped God's purposes to be fulfilled. New material is blended with beloved carols, creating a rich tapestry of music for Christmas worship. The biblical narrative is rich as well. It starts with the Old Testament prophets who foretold the Messiah's coming, then touches on angels, shepherds, wise men, John the Baptist, Mary, Joseph, and others as it weaves its way through the miraculous Christmas story. The culmination is a congregational affirmation that all of us are called to be messengers of this good news of Christ's birth and love! Available in SATB or SAB versions, this versatile work for choirs large or small offers opportunities to involve the congregation in the singing of beloved carol melodies. It is equally effective whether accompanied by piano alone or by the colorful orchestration utilizing either the accompaniment CD or live instrumentalists.

SKU: SU.80300200

This medieval English carol has question-and-answer dialogue between refrain and verses, making it very effective for pageant performance, as well as for church or concert use. SSA a cappella (optional percussion). Easy-Medium. SSA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.

SKU: PR.14440672S

UPC: 680160637560. 9 x 12 inches.

Imagining life in the ancient English lands of Mercia (600-900 AD), Martin wrote 12 scenes of what he believed life was like in the kingdom. Martin's twelve quintets were completed in the Spring of 2016 and have already been performed in their entirety. The numbering reflects the composer's suggested performance sequence, but individual quintets may, of course, be performed separately.

SKU: CL.016-0176-00

SKU: TM.12328SET

Transposed: cl 1+2, tpt 1+2. No. 3.

SKU: HP.C6206

UPC: 763628162061. Herb Frombach. Matthew 5:9, Matthew 5:14-16, Matthew 38-48, Matthew 6:9-15, Luke 6:27-31, John 14:27, Roman 12:9-21, I Corinthians 13:13.

Original anthem Who doesn't wonder if peace will ever come? This earnest prayer for peace is a thoughtful, provocative anthem which features both children and adult choirs. The inclusion of the Prayer of St. Francis, Lord, make me an instrument of peace, a messenger of hope for all to hear, draws us in and expands the message to include the whole world.