Matériel : Partition
SKU: WD.080689612176
UPC: 080689612176.
“BIG RED”&mdash ;the most audaciously awesome, music-and-value-driven choir book ever released is finally here—THE BIG RED CHOIR BOOK! It’s big. It’s bold. THE BIG RED CHOIR BOOK is the most comprehensive, all-encompassing church choir resource you’re likely to ever see! 25 Best-Selling Arrangements by some of the industry’s favorite arrangers, compiled just for you into one, bigger-than-big choir book! “Musically diverse, stylistically broad, budget-saving, resourceful, convenient, uniquely wide in variety” are just a few ways to describe Word Music & Church Resources’ BIGGEST and BOLDEST collection yet, featuring 25 proven, best-selling arrangements containing 34 of your favorite songs.
Created with your music ministry budget in mind, this collection is a great way to save money while enjoying your favorite songs and arrangements, all contained in one, valuable resource. From worship services to holidays, THE BIG RED CHOIR BOOK has something for everyone! Your choir will sound their best when presenting the vast array of styles and songs offered in this collection, highlighting everything from Praise & Worship, CCM, Southern Gospel, Patriotic, Christmas, Easter, and more!
< span style=color: #000000; font-size: small;>Get ready to offer to your congregation these inspirational and heartrending arrangements of Dove award-winning hit songs, originally made popular by worship leaders and artists such as Chris Tomlin, Matt Redman, Matt Maher, Casting Crowns, David Crowder, Zach Williams, Lauren Daigle, and many more!
SKU: WD.080689493171
UPC: 080689493171.
Ameri ca is a nation that sings! And we are a people who have always shared our extraordinary story through song. This exhilarating musical heritage is beautifully celebrated in Word Music’s newest patriotic musical, It’s America! from the stellar creative team of Russell Mauldin and Deborah Craig-Claar. Brimming with patriotic exuberance and nostalgic charm, It’s America! includes a stirring George M. Cohan tribute, a rich medley of traditional folk songs, and a uniquely moving vocal setting of “Taps†to honor our fallen heroes. At a rehearsal-friendly 30 minutes in length, Russell Mauldin’s signature vocal arrangements and orchestrations and Deborah Craig-Claar’s well-crafted, historically flavored narrations make the musical accessible for choirs of any size. A spectacular DVD Accompaniment Track is the crowning touch, making this down-home, up-lifting slice of Americana the perfect choice for both community and church presentations.
SKU: WD.080689486173
UPC: 080689486173.
The Easter story is ultimately about changed lives – ordinary people transformed forever by the mercy of a Cross and the victory of an empty tomb. This is the powerful theme of Glorious Day, an impactful new musical from Simply Word that looks at Jesus’ life through the eyes of those He touched. Featuring a dynamic mix of titles from Casting Crowns and Aaron Shust along with new poignant character-specific songs from Lee Black and Gina Boe, Glorious Day will speak directly to the heart of each individual in your congregation. Marty Hamby has expertly arranged this accessible work so that choirs of all sizes can perform the musical in its entirety or as individual numbers during the Lenten season. Deborah Craig-Claar has written a beautifully-crafted two-person narration that recounts the stories of calling the disciples, the adulterous woman, and different miracles, in addition to the key events of the Passion week. A vibrant accompaniment DVD will offer all the additional help you need to make Glorious Day an unforgettable experience for your church and community.
SKU: WD.080689636172
UPC: 080689636172.
Chris tmas is a time for gratitude, a time for celebration and expectation! And it is a time for music! Songs of the season are everywhere around us, reminding us of the birth of the Savior, the anticipated coming of the Christ Child, the advent of the Messiah, and the JOY that is ours as believers. As followers of Christ, we have done more than just anticipate His coming; we have lived the reality of having received the Son of God into our hearts, of knowing Him as Savior, and worshipping Him as the King of kings and Lord of lords! And because of the wonderful gift of God’s Son, given to us, we not only hear the music of Christmas, we SING the song of Christmas, the Song of Joy! Songs both new and old, celebratory and worshipful, joy-filled and awe-inspired, soul-searching and soul-soothing, weave a tapestry of Christmas wonder that invites the believer to worship and rejoice in His presence, while offering Hope to the downtrodden and Salvation to the lost. In perhaps some of its most powerful moments, Song of Joy ushers the listener into the serene and peaceful strains of the beloved carol Silent Night! Holy Night!, followed by compelling narration leading to the poignant and reflective new song, Somewhere in Your Silent Night (made popular by Casting Crowns). That is followed by a song of invitation and worship with Crowder’s Come As You Are, encouraging the lost to come to Christ and give Him their heart. This song of invitation leads us into the declaration that He is the King of kings who will reign forever in the medley featuring Tomlin’s, He Shall Reign Forevermore, and Elevation Worship’s, Only King Forever.
SKU: BT.PWM5447
''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka].