Nico Muhly's Looking Up for SATB and Orchestra. Programme note:Looking Up is a piece for large chorus and orchestra and is in three sections played without pause. In the 16th century a variety of psalters in meter were printed in England with the idea of making psalm-singing something that could happen easily at home with the rhyming meter being an aid to memorization. These translations are wonderful exercises in brevity and sometimes clumsy rhymemaking and were usually prefaced by a lengthy explanation as to their merits; the title of one of the first such volumes in English is: The Psalter of Dauid newely translated into Englysh metre in such sortthat it maye the more decently and wyth more delyte of the mynde be reade and songe of al men. I thought it would be appropriate to set one of these introductions and the first section of Looking Up sets the preface to Thomas Ravenscroft’s psalter (1621) in which he writes: “The singing of Psalmes (as say the Doctors) comforteth the sorrowfull pacifieth the angry strengtheneth the weake humbleth the proud gladdeth the humble stirres up the slow reconcileth enemies lifteth up the heart to heavenly things and uniteth the Creature to his Creator.” It begins meditatively but eventually grows agitated and fervent with a vision of the “quire of Angels and Saints” “redoubling and descanting” — an ecstatic and terrifying vision of the skies opening up. Ravenscroft then encourages the use of instrumental music for worship at which point a long acrobatic orchestral interlude with jagged edges antagonizes the choir who sing a kind of private anxious meditation on two pitches. One of the most delicious biblical texts is an Apocryphal prayer known as the Benedicite or the Prayer of the Three Children (the same who were rescued by an angel after King Nebuchadnezzar tried to have them burnt in an oven for not bowing to his image). The text is repetitive obsessive and a gift to composers

Uses: General Scripture: Acts 4:12 Philippians 2:9 Here is a feel good anthem that is as much fun to sing as it is to hear. A pleasing tune joined with great gospel choral writing decorates this original song with engaging moments rich with joy! The message of affirmation is at home in any worship gathering and the bass part is sure to be a favorite feature. A real winner!

This well-known spiritual of assurance with its slow gospel tempo and underlying pulsating drive is full of heartfelt emotion and soul. This accessible anthem written primarily in two-parts will be uplifting to both your choir and congregation and the optional vocal stack at the end brings it all home. Performance Time: Approx. 4:00.

Par GRIFFIN MICHAEL. This clear and well organised text is suitable for students of arranging and composition, and for classically trained musicians wishing to further grasp the simple logic of jazz harmony. Essential understandings: - Triad structures and inversions - How to select chords - chord symbols - Simple but effective voicing formulae - The circle of 4th progressions, - Extensions to the 9ths and dominant 13ths, and altered 5ths and 9ths. Included in the 107 pages are comprehensive explanations, examples, exercises and solutions. For school students, the course can be started in year 9 and worked through to year 13. 'This book certainly delivers. Mr. Griffin does a superb job giving clear and concise steps that students should take when approaching the task of harmonizing a melody. The book is laid out in a clean, easy-to-understand format. Mr. Griffin is obviously a gifted teacher, and has developed a book that would be a great resource for any music teacher or student interested in understanding and implementing more complex theory/harmony concepts.' - Natalie Wickham, Music Matters, USA. 'Particularly good for A Level pupils composing in a pop and jazz style. The material gradually increases in difficulty and there are a lot of useful exercises to be completed by students”- Music teacher, UK. 'Excellent resource which will save teachers hours of preparatory work. Useful for a general understanding of options when harmonising in composition. An essential part of KS5 harmony work which goes beyond the common chords and progressions. Very professionally set out.”- ZigZag Education, UK./ Méthode / Tout Instrument

My song is love unknown. My song is love unknown is an expressive and fluid setting of the well-known Lenten text by Samuel Crossman. McGlade highlights the phrase 'take frail flesh and die' with a sighing musical motif, before the work closes with the affirmation 'heaven was his home, but mine the tomb where he lay'.

Non, pas depuis la publication de The Great Songbook australien y a-t-il eu un livre de mammouth compilation de chansons Aussie. Cette collection caractéristiques 200 rock australien classics et contemporains chansons australiennes, dont beaucoup n'ont pas paru dans imprimer avant ! Toutes les chansons ont été organisées dans la clé originale de réels succès enregistrements. Complet avec paroles complètes, symboles de la guitare et graphique d'arrachement chord. Petit et facile pour l'adapter à votre cas de guitare, la couverture de vinyle noir durable signifie vous utiliserez ce livre pendant de nombreuses années. / Chant Et Guitare / 288 pages / Partition

Songs from The Wiz-A Song from the Broadway Musical The Wiz. Arranged for SATB Choir and Piano by Hawley Ades.Although based on L. Frank Baum's Wizard of Oz in which a little girl named Dorothy is abducted from her home by a Tornado and transported to the Land of Oz The Wiz takes the classic fairy tale in an all-new direction with an all-black cast an exciting rock score and a decidedly modern libretto that reframes the story in such a way that it seems somehow more relevant.

The Great Keyboard Songbook 2 has a fantastic collection of over 100 classic pop songs. This super songbook contains full lyrics, chords and chord diagrams for each song. This huge collection of brilliant pop songs has been split down in to 3 sections love songs, Christmas songs, and classic hits. Each section contains some of the best loved Pop songs ever performed such as Baby, It's Cold Outside, Wonderwall, You Raise Me Up and many more. / Clavier

When the BBC commissioned this work for the Last Night of the Proms 2018 I was given quite a detailed brief. First the work should be for the BBC Singers and BBC Symphony Chorus (with the BBC Symphony Orchestra) and the two choirs should be quite independent of each other. Secondly the words should acknowledge the centenary of the end of World War I but look optimistically to the future. For the centenary I chose In the Underworld by World War I poet Isaac Rosenberg written in 1914. Originally about unrequited love it can read if you do not know its context as a prophetic look at the next four years with the sense that the women left at home cannot begin tocomprehend the horrors their men face in the trenches. The BBC Singers represent Rosenberg and their music is based on a beautiful Ashkenazi-Jewish prayer mode â?? also known as the â??Ukrainian Gypsyâ?? mode. While I was reading The Prophet by Kahlil Gibran (written in 1923) I came across these lines which seem to answer and assuage the fears expressed in Rosenbergâ??s poem. The BBC Symphony Chorus take on the role of Gibran singing in a beautiful melismatic Maronite Syriac chant into which faith Gibran was born in Lebanon. Later in his life he became very interested in Islam particularly Sufism; therefore the whole piece is in the form of a Sufi Zikr with Sufi devotional rhythms in the percussion starting quiet and low but slowly becoming higher faster and louder. The two choirs start separately but merge into a â??conversation â?? sometimes overlapping and ending on a positive note: Rosenbergâ??s Creature of light and happiness over Gibranâ??s We shall build a tower in the sky. Quite by accident all three Abrahamic faiths are represented in this piece â?? but as Kahlil Gibran famously said: â??You are my brother and I love you. I love you when you prostrate yourself in your mosque and kneel in your church and pray in your synagogue. You and I are sons of one faith â?? the Spirit.'