Draw Me Close

SKU: GI.G-017397

Winner of the 2017 Gold Medal Moonbeam Children's Book Award! Draw--and color!--closer to God with these faith-filled, fun, and inspirational line drawings by Brother Mickey McGrath. The twenty-four pictures in this book vary from minimally to highly, perfect for expressing your own creativity when you color them in with crayons, markers, or colored pencils.

SKU: HP.C5561C

UPC: 763628955618. By Rick Founds. Psalms 40:8, John 12:32, Hebrews 7:19, Hebrews 10:1,22.

Popular praise song by Rick Founds The time-honored, Fanny Crosby hymn Close to Thee, is combined here with the popular praise song, Jesus, Draw Me Close by Rick Founds in a fresh, contemporary setting for blended worship. This heart-felt worship medley is a useful prayer, calling each of us to follow and obey. With or without the addition of the tasteful rhythm parts, this accessible anthem is easily learned and a delightful addition to any worship service. The Rhythm packet contains parts for Acoustic Guitar and Electric Bass.

SKU: HP.C5561R

UPC: 763628255619. By Rick Founds. Psalms 40:8, John 12:32, Hebrews 7:19, Hebrews 10:1,22.

Popular praise song by Rick Founds The time-honored, Fanny Crosby hymn Close to Thee, is combined here with the popular praise song, Jesus, Draw Me Close by Rick Founds in a fresh, contemporary setting for blended worship. This heart-felt worship medley is a useful prayer, calling each of us to follow and obey. With or without the addition of the tasteful rhythm parts, this accessible anthem is easily learned and a delightful addition to any worship service. The Rhythm packet contains parts for Acoustic Guitar and Electric Bass.

SKU: MB.20881BCD

ISBN 9780786607464. UPC: 796279036368. 8.75 x 11.75 inches.

Top traditional praise songs scored in notation and tab for easy to play flatpicking guitar. Songs include Sanctuary, As the Deer, Give Thanks, Lord, Reign in Me, Draw Me Close and many more. A companion CD is included. On the CD each piece is played twice, once as a guitar solo with accompaniment and again as a back-up track so the guitarist may practice the piece and use in a worship setting; ideal for small group or church performance.

SKU: PR.114423980

ISBN 9781491136591. UPC: 680160689439.

Origi nally composed for solo cello, this work has been adapted by the composer in response to requests from violists. The melodic theme comes from the final chorus of Hailstork’s Earthrise, a profoundly bold cantata using Schiller’s “Ode to Joy” as text, and full of allusions to all four movements of Beethoven’s Symphony No. 9. Hailstork’s Earthrise features a festival chorus singing in German, alternating with an African American chorus singing in English with vernacular verve. The two choirs ultimately unite to end the cantata together with “Draw the Sacred Circle Closer,” a translation of lines from Schiller’s “Ode to Joy.”.

SKU: FJ.B1740

UPC: 241444392430. English.

Hold on for this whimsical work intended to paint the picture of a person galloping by horse across a snowy plain to a Hanukkah celebration. The songs Hanukkah, Oh Hanukkah, The Dreidel Song, and Sevivon, Sov, Sov, Sov are heard as the celebrants draw closer and closer to their destination. A Hannukah celebration unlike any other!

About FJH Young Band

Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

SKU: FJ.B1740S

English.

Hold on for this whimsical work intended to paint the picture of a person galloping by horse across a snowy plain to a Hanukkah celebration. The songs Hanukkah, Oh Hanukkah, The Dreidel Song, and Sevivon, Sov, Sov, Sov are heard as the celebrants draw closer and closer to their destination. A Hannukah celebration unlike any other!

About FJH Young Band

Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

SKU: LO.000308151503

UPC: 000308151503.

Liste ning CD for Devotion - Popular for his signature contemporary approach to traditional hymn tunes, Jay Rouse brings captivating keyboard music that will engage pianists and congregations across worship styles. Built around the themes of faith, hope, and love, the meditative hymn arrangements in “Devotion” will inspire worshipers to draw closer to God as they listen and pray.

SKU: CF.CPS234

ISBN 9781491156346. UPC: 680160914883. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!

SKU: CF.CPS234F

ISBN 9781491156353. UPC: 680160914890. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!