Classical Music For The Church Service, Volume 1

SKU: CZ.9798854439596

Are you ready to embark on a musical journey through the timeless classics? Thirty Classical Piano Solos is the perfect companion for pianists of all ages and skill levels. This delightful collection features simply arranged pieces of easy to intermediate classical music, offering a delightful challenge for beginners and a refreshing repertoire for more seasoned players. Experience the Joy of Playing: From the elegant simplicity of Minuet in G to the grandeur of Symphony No. 9, these thirty masterpieces will captivate your heart and invigorate your fingers. This book is not just a musical treasure trove; it's an invitation to explore the rich tapestry of classical music that has stood the test of time. Versatile and Dynamic: Thirty Classical Piano Solos is more than just a collection of sheet music – it's a versatile resource for a multitude of occasions. Whether you're preparing for a recital, competition, graduation, wedding, talent show, church service, celebration, family gathering, or simply looking for beautiful pieces to play, this book has you covered. A Range of Emotions: Let the expressive melodies of Ave Maria stir your soul or revel in the triumphant spirit of Pomp and Circumstance. Play the charming Barcarolle or immerse yourself in the enchanting Swan Lake. Each piece tells its unique story, allowing you to explore a vast spectrum of emotions through your playing. Ideal for Beginning and Intermediate Players: Designed with simplicity in mind, Thirty Classical Piano Solos includes accessible arrangements that retain the essence of the original compositions while providing an approachable challenge for those still honing their skills. With practice and dedication, you'll soon be performing these cherished classics with confidence and grace. A Beautiful Gift: Looking for the perfect gift for a piano enthusiast? Look no further! Thirty Classical Piano Solos is a thoughtful and cherished gift for children, adult beginners, or anyone who appreciates the beauty of classical music. Begin your musical odyssey today with this exceptional collection of classical piano solos. Let the melodies of the great composers resonate through your fingertips and transport you to a world of timeless beauty.

SKU: HL.269148

UPC: 888680737658. 5.0x5.0x0.151 inches. Isaiah 60:1, Romans 12:1.

Exploding from the page with a clarion call to service, this epic song is something to be experienced. Written in a timeless poetic style, the significant text covers the spiritual journey of the church with respect and lofty aspirations. The resolute hymn-like theme is tastefully harmonized, interspersed with unison and two-part writing for power and clarity. A new bridge recently added by the songwriters and artist Chris Tomlin proclaims a glorious call to the church to Arise, shine, for your light has come. A luxurious orchestration is also available bringing a cinematic scope to a song that has already become a modern-day sacred classic. Highly recommended! Score and Parts (fl 1-2, ob, cl 1-2, bn, hn 1-2, tpt 1-3, tbn 1-2, tbn3/tba, perc 1-3, timp, pno, hp, vn 1-2, va, vc, db) available as a digital download.

SKU: M7.DOHR-88828

ISBN 9790202098288. Latin.

On my composition wish list for some time has been a Missa Brevis, a work that can be used within a church service or used as an opening item in a choral concert. Since 2018 and my appointment as musical director of The Marlowe Singers my desire to write an original work for upper voice choir and piano has been foremost in my mind. I started writing my Missa Brevis with the idea that it would be a straight forward classical setting but my sketches soon indicated that this was going to be a more popular style of work. Having enjoyed recently returning to performing light hearted music, it was the right time to combine my writing of choral music with the many years' experience I had of playing jazz. The result is my Dance Missa Brevis, each movement is influenced by a dance rhythm and uses basic jazz chords. This work is dedicated to The Marlowe Singers, who I enjoy working with and I look forward to many years of making music with them. Performance Notes While I would encourage performances with jazz bass and drums, both of these parts are optional. I would not want to restrict the work for use within a church service that did not have these instruments available or where the clergy would object to this style of music. While the drum part is fully notated these rhythm patterns are just a suggestion and the drummer is free to explore their own dance rhythms as long as they fit the style for that movement. (Adrian Connell).

SKU: GI.G-RCP57

Edited by Edward Tambling Thomas Tomkins wrote no fewer than seven services: three full and four verse settings. The first two full services, as numbered in the posthumous publication of ‘Musica Deo Sacra’ (1668), are straightforward settings in the central Elizabethan style. The First Service is in the major mode, and the Second Service in the minor: the Third Service is a radical departure in style from these settings and is presented as a ‘Great Service’ in homage to Tomkins’ ‘ancient and much reverenced master, William Byrd’. The Fourth and Fifth are verse services, and a further two are present only in manuscript sources: the Sixth Service received its first modern publication in this series (CP17), edited and reconstructed by Peter James. The Seventh to date is unpublished, and survives only in the form of an organ part, the vocal parts having been lost to history. This numbering system of one to seven is misleading, however, as it confuses the chronology of the compositions: some attempt to clarify this ordering is given in a table at the end of this edition in order to address this matter. Tomkins’ relatively late death places him well into the seventeenth century, at a time when musical fashions were changing and the Civil War was altering the course of British History. However, it is correct to describe him as ‘the last Elizabethan’, as his style remained conservative, as did the genres with which he worked and cultivated. ‘Musica Deo Sacra’ is supposed to have been supervised by his son Nathaniel, and collates much of Tomkins’ music not found in other sources. As such, it is a valuable resource for the material it contains, and is also a landmark in music publishing, in that it presents the first known printed organ book set in moveable type on two staves, an unrewarding process which seems to have caused considerable trouble for its printer, William Godbid. Even John Barnard in preparing his ‘First of Selected Church Musick’ (1641) did not go to the trouble of printing an organ part to supplement his vocal partbooks, instead providing his customers with a blank manuscript book into which the already ubiquitous organ parts could be copied by hand. As a result, Tomkins’ source as a whole contains a number of errors, but all of which can be corrected without distortion to the musical text, and the composer’s intention can be realised without too much difficulty.  In addition to the note on the ordering of the various services by Tomkins, I have endeavoured to give some brief information concerning the pitch of church music of this period with regards to the organ part, a subject much misunderstood and obfuscated by variously contradictory information.  It is hoped that this new edition of Tomkins’ First Evening Service will fill a need for short, attractive settings of the canticles for Evensong, furthering an appreciation of the music of the last great composer of the Renaissance era in Britain.