SKU: GI.G-8782
UPC: 785147878209. English. Text by Rory Cooney.
The easy gospel swing of this original piece by Rory Cooney is infectious and will add a cheerful tone to your worship. The versatile text makes it practical for use as a song for gathering, meditation, or sending forth. Intuitive three-part writing will require nominal rehearsal but will deliver a rewarding result.
SKU: BT.CMP-0625-02-140
Now your band can boldly go where no band has gone before, and bring the “final frontier†to your concert band stage! Here’s James L. Hosay’s imaginative new tone poem SPACE PROBE. Since the 1970's, NASA has been launching long-range, solar-powered probes into space. Over the past 30 years, the Voyager, Pioneer, and Galileo series’ probes have sent back incredible photographs. The data sent to Earth by these probes, along with recent photos and information gathered by the orbital telescope, Hubble, has helped astronomers chart the ever-expanding universe all the way back to its origins. This composition provides excellent opportunities for cross-curriculum teaching withscience. A scintillating musical spacescape ushers in the bold thematic statement in the Trumpets and Alto Saxophones. French Horns join in thrilling variation. A boundless contrasting espressivo theme soars through to the reprise of the initial ideas. Explore SPACE PROBE with your band this year. Inspiring!
SKU: HL.44004207
UPC: 073999914436. 9.0x12.0x0.086 inches. James L. Hosay.
Your band can boldly go where no band has gone before with James L. Hosay's imaginative tone poem SPACE PROBE. Since the 1970s NASA has been launching long-range, solar-powered probes into space. This composition provides excellent opportunities for cross-curriculum teaching with science -- over the past 30 years, the Voyager, Pioneer, and Galileo series probes have sent back incredible photographs. The data sent to Earth by these probes (along with photos and information gathered by the Hubble telescope) has helped astronomers chart the ever-expanding universe all the way back to its origins. A scintillating musical spacescape ushers in a bold thematic statement in the trumpets and alto saxophones; French horns join in thrilling variation. A boundless contrasting espressivo theme soars through to the reprise of the initial ideas. Explore this inspiring work with your band this year.
SKU: CF.CM9735
ISBN 9781491161159. UPC: 680160919741. Key: A minor. Latin, English. Christopher Smart and ZRS.
Origins of the Tarantella The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (little spider), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the poison, the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship. Origins of the Text Christopher Smart (1722-1771), also known as Kit Smart or Jack Smart, was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke's Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor's prison, was common during this period if one's debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [Rejoice in the Lamb] was set to music by English composer, Benjamin Britten.) Smart's writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart's Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance: theraphosa [teh-rah-fo-sa] a genus of tarantula spiders bellicose [beh-lee-ko-sah] hostile; aggressive odiosa [o-dee-o-sa] hateful; vexation tenebrosa [teh-neh-bro-sa] creeping; dark nemorosa [neh-mo-ro-sa] wooded; shady lapidosa [lah-pee-do-sa] stony area; gritty The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work. About the Composer Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. Performance Notes Text: In Latin, the r is flipped; use s instead of z on endings such as phosa, cosa, and so on; the Latin o is a cross between oh and aw; in the transliteration above, I chose to simply use an o for consistency. The director will blend the oh and aw in the rehearsals to his/her own preference. Lastly, tarantula is pronounced tah-rah-n-too-lah (avoid teh-ran-choo-luh) within the confines of this text. Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spiderâ€), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,†the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart†or “Jack Smart,†was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lambâ€] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. In Latin, the “r†is flipped; use “s†instead of “z†on endings such as “phosa,†“cosa,†and so on; the Latin “o†is a cross between “oh†and “awâ€; in the transliteration above, I chose to simply use an “o†for consistency. The director will blend the “oh†and “aw†in the rehearsals to his/her own preference. Lastly, “tarantula†is pronounced “tah-rah-n-too-lah†(avoid “teh-ran-choo-luhâ€) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spiderâ€), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,†the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart†or “Jack Smart,†was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lambâ€] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico.In Latin, the “r†is flipped; use “s†instead of “z†on endings such as “phosa,†“cosa,†and so on; the Latin “o†is a cross between “oh†and “awâ€; in the transliteration above, I chose to simply use an “o†for consistency. The director will blend the “oh†and “aw†in the rehearsals to his/her own preference. Lastly, “tarantula†is pronounced “tah-rah-n-too-lah†(avoid “teh-ran-choo-luhâ€) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.
SKU: GI.G-9489
UPC: 785147948933. English, Spanish.
This captivating collection of liturgical music in varied styles highlights the scriptural themes of love, discipleship, healing, reconciliation, and praise. The best-selling title track, “To You Who Bow,†shows us an alternative path for humanity. Each song in this collection invites us to follow the way of Jesus, shaping a world of peace and justice. CONTENTS: Acts of God • To You Who Bow • Gathered and Sent • God Is Love • Eyes on the Prize • Jesus Christ, the Cornerstone • Psalm 18: I Love You, Lord • Psalm 29 • Psalm 23: The Lord Is My Shepherd • Turn Around • Psalm 13: How Long, O Lord • O Agape • Psalm 104: Send Out Your Spirit • If You Have Faith • Mary Don’t You Weep.
SKU: AU.9798889832768
ISBN 9798889832768. 9 x 12 inches.
In this collection, six hymn tunes are each set with a prelude and a postlude in varying styles by skilled Prelude and Gigue, and more. In medium-difficult range, each piece is a significant work and can be played on its own or both settings could be used during worship to emphasis the hymn or a theme.
SKU: GI.G-8782G
English. Text by Rory Cooney.
SKU: CF.FPS162
ISBN 9781491161548. UPC: 680160920198.
Music for a Noble Gathering captures the pomp and dignity of a regal celebration. The composition opens with a percussion flourish to a fanfare. Perform this passage at a stately tempo with marked separation. A legato, lyrical theme appears (m. 17) that contrasts the opening passage. Emphasize the ritard and crescendo in m. 24 in preparation for the return of the opening theme (m. 25) that completes the A section. Although thematically related to the fanfare, the B section (m. 35) provides contrast in tempo, key, and style. Strive for a connected and sustained presentation with careful attention to the shaping of the phrases. Proper balance between the melody and countermelody at m. 45 is paramount. The climax in m. 53 quickly subsides but immediately rebuilds for a lively percussion feature. The restatement of the A section (m. 61) leads to a final climax (m. 91), a brief coda (m. 93) and a dynamic closure. William Harbinson is Professor Emeritus and former Dean of the Hayes School of Music at Appalachian State University. He has received nine J.W. Pepper Editors' Choice Awards that identify the very best of the new music available. His compositions for band appear on contest/festival literature lists of several states and are performed worldwide.  .Music for a Noble Gathering captures the pomp and dignity of a regal celebration. The composition opens with a percussion flourish to a fanfare. Perform this passage at a stately tempo with marked separation. A legato, lyrical theme appears (m. 17) that contrasts the opening passage. Emphasize the ritard and crescendo in m. 24 in preparation for the return of the opening theme (m. 25) that completes the A section. Although thematically related to the fanfare, the B section (m. 35) provides contrast in tempo, key, and style. Strive for a connected and sustained presentation with careful attention to the shaping of the phrases. Proper balance between the melody and countermelody at m. 45 is paramount. The climax in m. 53 quickly subsides but immediately rebuilds for a lively percussion feature. The restatement of the A section (m. 61) leads to a final climax (m. 91), a brief coda (m. 93) and a dynamic closure.William Harbinson is Professor Emeritus and former Dean of the Hayes School of Music at Appalachian State University. He has received nine J.W. Pepper Editors’ Choice Awards that identify the very best of the new music available. His compositions for band appear on contest/festival literature lists of several states and are performed worldwide. .
SKU: GI.G-3753INST
This edition with many optional features allows you to present a Gathering Rite as simply or magnificently as your needs require. Parts for assembly, cantor, guitar, organ, and optional mixed choir are in the vocal edition, G-3753. A full score, which includes the parts for priest and piano, is available, G-3753FS. Parts for brass quartet, 20 Handbells (9-E), and a percussion part for timpani and suspended cymbal are all optional, G-3753INST.
SKU: HL.35031863
ISBN 9781540006776. UPC: 888680713324. 5.0x5.0x0.83 inches.
Portraits in Grace is a musical gallery of faith displaying the life, ministry and passion of Jesus. Through scripture, narration and song, the backdrop is created for the reflections of the Lenten season, particularly during Holy Week. As the cantata moves through Christ's extraordinary life, each song displays the sacred beauty of the Savior, and lingers with His many graceful acts of love. The work ends with Christ's death on the cross and the bittersweet beauty of this redemptive gift to the world. With options that include the visual arts, the presentation can be expanded to include more members of your congregation, taking the cantata beyond the loft. A small consort of instruments is available, as well. Songs include: Prelude; Portrait; Fairest Lord Jesus; The Healer; Behold the King; We Remember; A Sacred Garden; Let Us Gather in the Shadow of the Cross; Portrait of the Cross, Recessional of Shadows. Score and Parts (fl, cl, hn, hp, pno, vn, vc) available as a Printed Editional and as a digital download.
SKU: CL.032-4788-00
This happy, joyous medium-tempo gospel swing with a truly sunny disposition takes the listener in immediately and just does not let go! An animated full-ensemble introduction leads the way to the sun-beamy, chirrupy melody, at first presented by trumpet and alto over a stop-time rhythm section. The entire sax section takes the melody next, while the brass offer uplifting commentary by way of stop-time chords. Plunger-muted trumpet is featured at the solo section, with inspiring backgrounds from the ensemble; this section may be repeated as desired to feature additional solos. Some deft linear writing follows the solo section, providing exciting dialog throughout the ensemble before leading up to an intriguing and effective pyramid that leaps forward into the stirring shout chorus. A clever tag alights on the ending plagal cadence, offering a place for the plunger-muted Trumpet to shine above the final chord. Gather ‘Round is sure to bring a smile, and destined to be a mainstay!
SKU: HL.35031862
ISBN 9781540006769. UPC: 888680713317. 5.0x5.0x0.077 inches.
SKU: CL.032-4788-01
SKU: HL.35031861
ISBN 9781540006752. UPC: 888680713300. 5.0x5.0x0.15 inches.
SKU: GI.G-008388
UPC: 641151082882.
John's latest album and his first recording that presents a complete collection of all liturgical songs. A truly enriching experience for any listener, this album also includes John's revised Mass setting, Mass of Rejoicing.
SKU: LO.20-2128L
ISBN 9780787766795.
Sondra Tucker presents an exciting medley for Thanksgiving that includes the ASH GROVE, ST. GEORGE’S WINDSOR, and KREMSER hymn tunes. Each tune receives a creative setting, and handchimes effectively highlight the melodies. Various techniques are implemented, including echoes, mallets and shakes. Your ringers will love this energetic selection!
SKU: GI.G-017289
English.
This new resource provides all ministers of initiation, catechists, directors of religious education, sponsors, and liturgical ministers with the tools needed to facilitate a variety of reflection and retreat experiences for RCIA candidates, catechumens, and others. All of the retreat options are rooted in the Gospel and the liturgical life of the church and offer opportunities for incorporating local tradition and current events. From twilight retreats lasting for a couple of hours to full weekend retreats, the options for gatherings presented here are truly suited to the spiritual journey of adults. Two CDs to help with the retreats, including downloadable files of retreat handouts (with some art by Jean Morningstar, SNJM), are included. Paperback with CD/CD-ROM.
SKU: MB.31087
ISBN 9781513478043. 8.75X11.75 inches.
All of us can probably be rightfully described as being too unappreciative and too quick to complain. Few individuals have been criticized for being overly thankful.This book is presented to help generate a focus on giving thanks for and being aware of our innumerable blessings provided by our Creator.May these wonderful gospel songs and great hymns arranged in the popular Southern Gospel style be an encouragement to everyone.
SKU: AP.20138UK
UPC: 038081461243. English.
In this collection we have gathered fifty Christmas Carols from around the world carefully arranging them for Voice and Piano. Each piano accompaniment is playable by a competent pianist, and there are additional optional harmonies added to the vocal part for choral use if desired. Every country puts its own unique cultural stamp on celebrating the holiday season and this volume can be used to explore those celebrations as part of a wider exploration of the World of Christmas. To this end we have included interesting Christmas related facts, a translation of the text, and both versions where they exist, so each Carol can be easily sung and understood, or compared. Ideal for use in the classroom, or by choirs, and provides wonderful presentational opportunities for themed Christmas concerts.
SKU: BA.BA08860-01
ISBN 9790006558131. 33.5 x 25.5 cm inches. Text Language: French. Preface: Sylvie Bouissou. Text: Louis Fuzelier.
The main body of the new edition of Les Indes galantes, published in Opera Omnia Rameau (OOR IV.2, 7), restores the version authorised by Rameau in 1736. This basic editorial decision has made it possible to present a fully coherent and authenticated reading of the work (after the adjustments from the earliest performances). All other versions before and after 1736 are gathered together in 19 complements.Sylvie Bouissou's new edition differs markedly from previous modern editions and all existing recordings. With its complements she does justice to the performer's need for Rameau's various revisions while finally making accessible a version actually authorised by Rameau. For the first time it is presented in its complete stylistic and dramatic context.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding