Call Me Friend

SKU: HL.35028592

UPC: 884088694166. 5x5.5 inches.

Uses: General, Lent

Scripture: John 15:9-17

The companionship we experience in our personal walk of faith is explored in this compelling sacred lyric. Joined with an arching melodic gesture, this expressive theme develops into a rich harmonic chorus calling us into a deeper relationship with the Savior. Logical progressions enable learning while a supportive piano part provides a sure foundation for the success of your ensemble. Available separately: SATB, LiteTrax CD, Orchestration (Score & parts for 2 Tpts, Horn, Tbone, Tuba, Timp), Digital Handbells (4-5 octaves). Duration: ca. 4:14.

SKU: MB.93862

ISBN 9781562222123. UPC: 796279004459. 8.75 x 5.75 inches.

This book teaches fundamentals of music and gradually introduces new concepts such as eighth notes and double and triple tonguing into the bugle calls and studies. Concepts taught include: Basics of Bugle Playing, Producing a Tone, Music Theory, Note Values, Double Tonguing, Triple Tonguing, Note Studies and 40 All-time Favorite Bugle Calls. Its handy 8 3/4 by 5 3/4 size makes it easy to carry around.

SKU: CF.FPS164F

ISBN 9781491163900. UPC: 680160922697.

Call of the Ancient Clans takes players back to the time of the dawn of man, when neighboring tribes could communicate with each other not by racing through the harsh jungle or dry desert, but by the use of different rhythm instruments. Music was also used in religious rituals, celebrations and to share the history of the group.With an interesting, pulsating rhythm and catchy woodwind lines, Call of the Ancient Clans is sure to light a fire under students and get them involved in making some exhilarating music. The notes can be easily played by those with over a year of band experience, but will also provide a good challenge, as the first clarinets do go over the break a couple of times.Students will have a lot of fun playing double forte (who doesn’t?). However, caution students that playing “as loud as you can” can lead to bad-sounding notes. Balance with the person next to you; if you can’t hear them, you’re too loud. Double forte is a bit like calling to your friend from across the gym when nobody else is in there. You don’t want to be louder than that.Who has the melody at each rehearsal mark? Your students should know and if they do not, tell them. If they don’t have the melody, they need to back off their notes and play softer. Let the melody shine.Balance will make this piece truly sing. I hope you enjoy playing it; I loved writing it.

SKU: AP.45654

UPC: 038081513935. English. Words by Edgar Guest; William Shakespeare.

I can live my life on earth contented to the end, if but a few shall . . . call me friend. Success, by people's poet Edgar Guest is paired with a few lines from Shakespeare's Sonnet 50 to create a warm, reflective text on the importance of friendship. Subtle tempo changes and sensitive dynamics encourage expressive singing, and an optional obbligato allows for a C-instrument of your choice.

SKU: LM.27164

ISBN 9790230971645.

Here Comes the Jazz Show - Never in September - Two Days - Call me - When Charley meets Dan - Travel in Winter - My Friend Gabriel - White and Blue song - Maria's Memories - Somewhere in my Heart - Time to Rag - Fleeting Moment - For a Moment of Stillness - Like in a Dream - She is Gone.

SKU: WD.080689561177

UPC: 080689561177.

ALL ABOUT THE CALL is the newest non-seasonal addition to the Simply WordKidz Series, a best-selling performance-friendly, easy-learn-easy-sing series for children’s choir from Word Music & Church Resources!

ALL ABOUT THE CALL takes place during the first summer morning of Prayground (a church day camp), and the very old-fashioned Coach Walker is about to be schooled in cell phone technology. But as his kid-campers teach him about apps and text codes and selfies, he teaches them about the most important call of all—the call of God on our lives. With humor, fun, and unforgettable songs, this little musical blends the modern cell phone obsession with Biblical truth in an engaging w. y that will have you laughing, praying and singing, all at the same time!

In less than 25 minutes, ALL ABOUT THE CALL brings to light an important, Bible-centric lesson not only for your kids, but for you and your audience, reminding us all to be present in each other’s lives and to focus on the Lord and the people who make up His body…not on our cell phones. Our call as sons and daughters of Christ is so much greater than apps, text codes, selfies, or even selfie-sticks! This playful, easy-learn Simply WordKidz musical serves as a great reminder of that Biblical truth, and will have everyone leaving the performance hugging more tightly to their families and less tightly to their mobile devices!

ALL ABOUT THE CALL from the Simply WordKidz Series…the perfect w. y to bring your church and community together to refocus on the most important “call” of all!

SKU: PR.16500102F

ISBN 9781491131749. UPC: 680160680276.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.