Andrea Ramsey Choral Series-Introducing Four Shape Note singing to your young singers this arrangement from the Sacred Harp is full of energy. Young singers will relate to the positive message and they will be surprised that 19th century music can be so much fun to sing.

Uses: General Call to Worship Concert Scripture: Romans 15:13 - I Peter 1:6-9 From the early American songbook comes this beautiful anthem that affirms our legacy of faith. Framed by original material this classic text heralds the joy of worship with assuring melodic gestures. Your choir is sure to find success with this creative and inspirational arrangement of a sacred song!

This short setting of the sacred text Miserere Mei is a four part canon for SATB chorus and organ by Henry Purcell (1659-1695) written in 1687 during the reign of the catholic monarch James II. It is presented separately for the first time in an edition prepared by Anthony Lewis and Nigel Fortune.

Uses: General Invitation Lent Scripture: Romans 12:1: Luke 14:33 This powerful sacred ballad is an anthem that truly ministers to the heart. A reverent melding of music and message this piece invites us to surrender to God even the hidden things that keep us from living abundantly. The chorus is among the composer's best and when sung with conviction this song will create a special moment in your worship service.

Contents include: Praise to the Lord the Almighty; Come Thou Fount of Every Blessing; O Sacred Head Now Wounded; Guide Me O Thou Great Jehovah; O Worship the King; My Jesus I Love Thee; Children of the Heavenly Father; O for a Thousand Tonques to Sing.

Using music as a spiritual metaphor the text of this piece reminds the listener to celebrate compassion and charity in all of life. A lyrical theme arches gracefully throughout the anthem carrying the challenge to live our praise through service. There is also a strong message of unity reminding us that we are bonded together in love and grace. The well-balanced approach in the part-writing provides an opportunity for strong unison singing as well as the exploration of harmonic color. A sacred call to purpose!

(Novello New Choral Series)-There is no rose of such virtue is an anonymous mediaeval text already well known through beautiful settings by Britten (in his Ceremony of Carols) John Joubert and others. The poem is ‘macaronic’ (it presents a verse in English followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting the second gives the melody to the tenors and surrounds them with hushed wordless writing for the other parts and the third explores a freely canonic relationshipbetween the tenor and soprano lines before carrying the previous verse-endings to a higher more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse where the texture of the music attenuates again to four parts and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence.Francis Pott (b. 1957) began musical life as a chorister at New College Oxford. He held open music scholarships at Winchester College and at Magdalene College Cambridge where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda’s College Oxford and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music University of West London later leading research across the University’s Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in

Uses: Commitment General Missions Revival Scripture: Exodus 3:11 I Samuel 3:10 Psalm 139:23 Acts 9:15 A sturdy statement of faith and dedication is at the center of this sacred choral piece. Set as a traditional ballad the gentle syncopations give the anthem a modern appeal. The lyric is filled with stirring lines that will linger in the heart and soul and the appearance of Take My Life and Let It Be is inspired! Let every warm embrace reflect Your love and grace so all may know You and believe.

Part 2 in F (F Horn English Horn)-Flexible Praise has been designed with the sacred ensemble conductor in mind. Arranged by internationally known composers/arrangers these ten pieces will work well with every instrumental ensemble imaginable including quartets of mixed instruments praise bands full band or orchestra and brass band. Designed to be playable by an average grade 3 (strong middle school or average high school) player each arrangement includes optional descant (fifth part) keyboard (with chords included for guitar) percussion (mostly drum set) and electric bass parts. These parts enhance the overall sound of the arrangements but are not required for performance providing theconductor with unlimited ways to use the arrangements.

2 Solo Sopranos, 2 Solo Altos, 3 Solo Tenors, 2 Solo Basses, Mixed Choir and Orchestra. Par MONTEVERDI CLAUDIO. Scholarly-critical Urtext edition orientated towards performance practice. Detailed critical commentary (Eng) in the full score. Movements 10, 13 and 14 are included in their original high clef in the appendix of the full score. These movements are also available with Piano reduction as print-on-demand. Claudio Monteverdi’s “Vespro della Beata Vergine” is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in its entirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under thedirection of the Monteverdi specialist Hendrik Schulze. The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “Lauda Jerusalem” oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books. These new musical and performance practice insights make a modern interpretation of this 400-year-old work possible. Full score & performance material available for sale./ Répertoire / 2 Solo Sopranos/3 Solo Ténors/2 Solo Basses/Orches

Uses: General Epiphany YouthScripture: I Corinthians 2:12-15; I John 2:20; John 1:3-7Sizzling with a jubilant rhythmic syntax this original sacred choral is unrelenting in its drive and appeal. Themixed meter elements are easily learned and are very natural to the flow of the words that proclaim the attributes of God. A lyrical second theme brings a poetic touch before the spirited opening theme returns and drives theanthem to a festive conclusion. Duration: ca. 2:56.

All the motets in this volume are quite early works taken from the collection 'Sacrae Cantiones Quinque Vocum' published in 1562 at Nuremburg. The typical features of these works are their virtuoso character and exuberance. These are achieved through the use of predominantly bright tonalities frequent variation of textures and dramatic harmonic and melodic touches.Edited by Ivan Moody this is part of a series of short volumes each devoted to a single composer or appropriate group of composers thoroughly exploring the unlimited resources of Renaissance sacred polyphony. Contains keyboard part for rehearsal purposes.

These editions taken from the acclaimed Tudor Anthems anthology represent some of the most popular musical works from the volume. They include sacred works of various lengths and standards of difficulty for mixed voice choir accompanied and unaccompanied by an array of composers including Batten Byrd Gibbons Philips Sheppard Tallis Taverner and Weelkes. The works are prepared in an easily understood performing edition by Lionel Pike.

Par BACH JOHANN SEBASTIAN. Schwingt Freudig Euch Empor BWV 36 (final version) Cantata for the First of Advent - Urtext of the New Bach Edition - Performance material (BA10036), vocal score (BA10036-90) and study score (TP1036) available for sale Bärenreiter's editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach ’s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, for every Sunday and festival of thechurch year, as well as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays. Unfortunately, not all cantatas have survived. However, over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then./ Répertoire / Solistes (STB), Choeur Mixte (SSATB) et Orchestre