Gathered and Sent

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: 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 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.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: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 “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 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.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: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 “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.

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: 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: HL.35031862

ISBN 9781540006769. UPC: 888680713317. 5.0x5.0x0.077 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: 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: 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.