Draw Me Close

SKU: GI.G-017397

Winner of the 2017 Gold Medal Moonbeam Children's Book Award! Draw--and color!--closer to God with these faith-filled, fun, and inspirational line drawings by Brother Mickey McGrath. The twenty-four pictures in this book vary from minimally to highly, perfect for expressing your own creativity when you color them in with crayons, markers, or colored pencils.

SKU: ST.C501

ISBN 9790570815012.

Close Encounters for Clarinet in B flat & Piano draws on historic themes connected to the medieval closes (also know as wynds or vennels) of the Scottish burgh town of Lanark, situated in the rural Clyde Valley. Often named after prominent resident business owners, these otherwise unremarkable narrow lanes are given life by the records of their occupiers or through local tales.

Aside from the more self explanatory titles, ‘Luminare’ describes the astronomical interests of electrical pioneer David Hunter; ‘Jumbo Jive’ relates to the legend of an inebriated circus elephant escapee who became stuck in the arch of Wide Close; ‘Amber Sky’ connects the India Ale trade of Brewery Close with an occasional, evocative dusk light that cloaks the town before sunset.

Close Encounters comprises five fascinating and contrasted short movements each set within its own very vivid sound world. The colourful harmonic language is drawn from a number of musical influences including flavours of Jazz, the silver screen and the French impressionists, all adding up to music that is both engaging to play and to listen to. The five movements are set at a comfortable technical level for the intermediate to advanced clarinettist, cover the entire range of the instrument, and the set would make for an intriguing addition to any clarinet recital.

- Paul Harris (composer & clarinettist)

SKU: HP.C5561C

UPC: 763628955618. By Rick Founds. Psalms 40:8, John 12:32, Hebrews 7:19, Hebrews 10:1,22.

Popular praise song by Rick Founds The time-honored, Fanny Crosby hymn Close to Thee, is combined here with the popular praise song, Jesus, Draw Me Close by Rick Founds in a fresh, contemporary setting for blended worship. This heart-felt worship medley is a useful prayer, calling each of us to follow and obey. With or without the addition of the tasteful rhythm parts, this accessible anthem is easily learned and a delightful addition to any worship service. The Rhythm packet contains parts for Acoustic Guitar and Electric Bass.

SKU: HP.C5561R

UPC: 763628255619. By Rick Founds. Psalms 40:8, John 12:32, Hebrews 7:19, Hebrews 10:1,22.

Popular praise song by Rick Founds The time-honored, Fanny Crosby hymn Close to Thee, is combined here with the popular praise song, Jesus, Draw Me Close by Rick Founds in a fresh, contemporary setting for blended worship. This heart-felt worship medley is a useful prayer, calling each of us to follow and obey. With or without the addition of the tasteful rhythm parts, this accessible anthem is easily learned and a delightful addition to any worship service. The Rhythm packet contains parts for Acoustic Guitar and Electric Bass.

SKU: MB.20881BCD

ISBN 9780786607464. UPC: 796279036368. 8.75 x 11.75 inches.

Top traditional praise songs scored in notation and tab for easy to play flatpicking guitar. Songs include Sanctuary, As the Deer, Give Thanks, Lord, Reign in Me, Draw Me Close and many more. A companion CD is included. On the CD each piece is played twice, once as a guitar solo with accompaniment and again as a back-up track so the guitarist may practice the piece and use in a worship setting; ideal for small group or church performance.

SKU: PR.114423980

ISBN 9781491136591. UPC: 680160689439.

Origi nally composed for solo cello, this work has been adapted by the composer in response to requests from violists. The melodic theme comes from the final chorus of Hailstork’s Earthrise, a profoundly bold cantata using Schiller’s “Ode to Joy” as text, and full of allusions to all four movements of Beethoven’s Symphony No. 9. Hailstork’s Earthrise features a festival chorus singing in German, alternating with an African American chorus singing in English with vernacular verve. The two choirs ultimately unite to end the cantata together with “Draw the Sacred Circle Closer,” a translation of lines from Schiller’s “Ode to Joy.”.

SKU: FJ.B1740

UPC: 241444392430. English.

Hold on for this whimsical work intended to paint the picture of a person galloping by horse across a snowy plain to a Hanukkah celebration. The songs Hanukkah, Oh Hanukkah, The Dreidel Song, and Sevivon, Sov, Sov, Sov are heard as the celebrants draw closer and closer to their destination. A Hannukah celebration unlike any other!

About FJH Young Band

Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

SKU: FJ.B1740S

English.

Hold on for this whimsical work intended to paint the picture of a person galloping by horse across a snowy plain to a Hanukkah celebration. The songs Hanukkah, Oh Hanukkah, The Dreidel Song, and Sevivon, Sov, Sov, Sov are heard as the celebrants draw closer and closer to their destination. A Hannukah celebration unlike any other!

About FJH Young Band

Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

SKU: LO.000308151503

UPC: 000308151503.

Liste ning CD for Devotion - Popular for his signature contemporary approach to traditional hymn tunes, Jay Rouse brings captivating keyboard music that will engage pianists and congregations across worship styles. Built around the themes of faith, hope, and love, the meditative hymn arrangements in “Devotion” will inspire worshipers to draw closer to God as they listen and pray.

SKU: BT.MUSM570368662

Secret garden is a composition that is based on a homonymous pencil drawing by the young Armenian artist Arshak Sarkissian. I have been interested in Arshak’s pencil drawings for a while now since attending his solo exhibition at the Pharos Arts Foundation in Nicosia. Apart from the technical realization, I was also interested in the thematic approach. Animal sounds play an important role in my works and animals play a big role in many of Arshak’s drawings. Human and animal hybrids appear often in his work, such as the humanoid creatures with bird heads, and the artist also gives great importance to the dress or hairstyle of his exotic subjects. Looking at some of these drawings, I feel that in some ways, the artist is trying to create an abstract mythology that transcends over time, combining different cultural elements to create new mythical creatures. I have found his art to be in close alignment with the imagery of Primitivism as well as my own interest in mythology, animals, and the music of previous centuries. My strictly traditional formal training together with my contemporary aesthetic outlook, the frequently used process of mixing reality with fiction and traditional techniques and methods with unique thematics, yet always leaving room for interpretation, are some of my artistic qualities that I also see in Arshak’s work. The work is dedicated in utmost gratitude to the magnificent musicians of Klangforum Wien and also as a farewell sonic gesture to Sven Hartberger, the ensemble’s wonderful General Manager of several years.

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!