Refrains

SKU: GI.G-3746A

Text Source: Refrains: Lectionary for Mass, verses: Stewart, Roy James. Text by Roy James Stewart.

C Instrument, some trumpet.  CONTENTS: PSALM 126: THE LORD HAS DONE GREAT THINGS • PSALM 96: TODAY IS BORN OUR SAVIOR • PSALM 128: HAPPY ARE THOSE WHO FEAR THE LORD • PSALM: 33 LORD, LET YOUR MERCY BE ON US • PSALM 116: I WILL WAKL IN THE PRESENCE OF THE LORD • PSALM 95: IF TODAY YOU HEAR HIS VOICE • PSALM 103: THE LORD IS KIND AND MERCIFUL • PSALM 137: LET MY TONGUE BE SILENCED • PSALM 118: THIS IS THE DAY • PSALM 32: I TURN TO YOU, LORD • PSALM 107: GIVE THANKS TO THE LORD • PSALM 63: MY SOUL IS THIRSTING FOR YOU, O LORD • PSALM 145: THE HAND O THE LORD • PSALM 78: THE LORD GAVE THEM BREAD • PSALM 138: LORD, YOUR LOVE IS ETERNAL • PSLAM 146: PRAISE THE LORD • PSALM 90: FILL US WITH YOUR LOVE, O LORD • PSALM 17: LORD WHEN YOUR GLORY APPEARS.

SKU: GI.G-3612A

UPC: 785147361206. Scripture: various.

11 more psalm settings for use on various Sundays, feasts, and rites. Lectionary listings provided. Reprintable refrains for assembly included. SATB (many), Guitar, Acc. CONTENTS: PSALM 32: I TURN TO YOU/FORGIVE THE WRONG I HAVE DONE • PSALM 30: I WILL PRAISE YOU LORD • PSALM 34: CRY OF THE POOR • PSALM 31: I PLACE MY LIFE • PSALM 8: HOW GLORIOUS IS YOUR NAME • PSALM 119: HAPPY ARE THOSE WHO FOLLOW • PSALM 95: HARDEN NOT YOUR HEARTS • PSALM 63: MY SOUL IS LONGING • PSALM 68: YOU HAVE MADE A HOME FOR THE POOR • PSALM 116: I WILLW ALK IN THE PRESENCE OF GOD • PSALM 146: PRAISE THE LORD, MY SOUL.

SKU: LM.28683

ISBN 9790230811705.

Chan t d'entree 4' - Kyrie 3' - Gloria 9' - Psaume 46 1'30 - Alleluia 2'30 - Refrain d'intercession 15' - Antienne (No. 1) 2' - Sanctus 2'30 - Anamnese 1' - Agnus Dei 3' - Psaume 116 3' - Antienne (No. 2) 2'30.

SKU: OU.9780193522930

ISBN 9780193522930. 10 x 7 inches.

For S/A TB unaccompanied More sweet than my refrain is a tender miniature for three-part choir set to the text of a poem by Ralph Waldo Emerson. The motet features on the new Ars Nova Copenhagen recording, 'First Drop' (Canteloupe: CA21127).

About Oxford New Horizons

N ew Horizons showcases the wealth of exciting, innovative, and occasionally challenging choral music being written today. It encompasses the whole gamut of small-scale choral genres, both secular and sacred, and includes pieces for upper-voice and mixed choirs. With titles by some of the most accomplished choral composers active in Great Britain and abroad, the series introduces new repertoire and fresh talent to a broad spectrum of choirs. New Horizons features composers with growing reputations for quality composition reflecting a strong individual voice. The series is continually expanding and should be the first place to look for attractive and performable contemporary choral music.

SKU: HL.49014138

ISBN 9790220104084. 7.0x10.0x0.338 inches.

Prelude: Spring-Hush,Nightingale-R efrain-Prelude: Summer-Summer has a Heart of Drums-Prelude: Autumn-Victoria Rules an Autumn Land-Prelude: Winter-Hurl of the Wind.

SKU: CF.CM9578

ISBN 9781491154007. UPC: 680160912506. 6.875 x 10.5 inches. Key: E minor. English. William C. Dix.

This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singers the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singersA the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singersA the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singers the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sureall singers agree on the notes actually written. This will make the singers  the listeners much more comfortable with your performance.The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout.The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word.To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty.Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.

SKU: GI.G-8153

ISBN 9781622770724. English, Spanish. Text Source: English refs.: Lectionary for Mass, English vv.: The Revised Grail Psalms or NAB, Spanish: Leccionario Edición Hispanoamericana

SKU: CF.CM9582

ISBN 9781491154045. UPC: 680160912544. 6.875 x 10.5 inches. Key: Bb major. English. Original.

English composer William Boyce was born in London in 1711 and died in 1779. He began his musical career as a choir boy at St. Pauls cathedral and throughout his career, he wrote symphonies and church music. Alleluia was originally written for four voices a cappella; however, this arrangement has an accompaniment that may be used for rehearsal or in performance. The key has also been lowered from the original key of C major to Bb major, making this arrangement of this beautiful work for SSA voices more accessible for SSA choirs. The form consists of homophonic sections followed by canons and refrains with the homophonic sections. Whether performing a cappella or with piano, sing Alleluia by William Boyce with joy and enthusiasm.
English composer William Boyce was born in London in 1711 and died in 1779. He began his musical career as a choir boy at St. Paulas cathedral and throughout his career, he wrote symphonies and church music. Alleluia was originally written for four voices a cappella; however, this arrangement has an accompaniment that may be used for rehearsal or in performance. The key has also been lowered from the original key of C major to Bb major, making this arrangement of this beautiful work for SSA voices more accessible for SSA choirs. The form consists of homophonic sections followed by canons and refrains with the homophonic sections. Whether performing a cappella or with piano, sing Alleluia by William Boyce with joy and enthusiasm.
English composer William Boyce was born in London in 1711 and died in 1779. He began his musical career as a choir boy at St. Paul's cathedral and throughout his career, he wrote symphonies and church music. Alleluia was originally written for four voices a cappella; however, this arrangement has an accompaniment that may be used for rehearsal or in performance. The key has also been lowered from the original key of C major to Bb major, making this arrangement of this beautiful work for SSA voices more accessible for SSA choirs. The form consists of homophonic sections followed by canons and refrains with the homophonic sections. Whether performing a cappella or with piano, sing Alleluia by William Boyce with joy and enthusiasm.
English composer William Boyce was born in London in 1711 and died in 1779. He began his musical career as a choir boy at St. Paul's cathedral and throughout his career, he wrote symphonies and church music. Alleluia was originally written for four voices a cappella; however, this arrangement has an accompaniment that may be used for rehearsal or in performance. The key has also been lowered from the original key of C major to Bb major, making this arrangement of this beautiful work for SSA voices more accessible for SSA choirs. The form consists of homophonic sections followed by canons and refrains with the homophonic sections. Whether performing a cappella or with piano, sing Alleluia by William Boyce with joy and enthusiasm.
English composer William Boyce was born in London in 1711 and died in 1779. He began his musical career as a choir boy at St. Paul’s cathedral and throughout his career, he wrote symphonies and church music.Alleluia was originally written for four voices a cappella; however, this arrangement has an accompaniment that may be used for rehearsal or in performance. The key has also been lowered from the original key of C major to Bb major, making this arrangement of this beautiful work for SSA voices more accessible for SSA choirs.The form consists of homophonic sections followed by canons and refrains with the homophonic sections.Whether performing a cappella or with piano, sing Alleluia by William Boyce with joy and enthusiasm.

SKU: GI.G-7400

ISBN 9781579999698.

Inte nded especially for the growing number of multicultural, bilingual (Latino/Anglo) parishes and communities in the United States, Oramos Cantando / We Pray in Song is a hymnal and service book that is comprehensive enough to satisfy the liturgical needs of such communities, when they are worshipping in Spanish, in English, or bilingually. Bilingual from the first page to the last. Organized to reflect the liturgical life of the Church: morning, evening and night prayer from the Liturgy of the Hours, the sacramental rites of Christian initiation of adults, baptism of children, holy communion outside Mass, eucharistic exposition and benediction, reconciliation of penitents, anointing of the sick, marriage, and funerals, the Order of Mass, service music, hymns and songs, lectionary responsorial psalms. All ritual texts are from the English- and Spanish-language liturgical books approved for use in the dioceses of the United States of America Seventy settings of psalms and biblical canticles in a variety of styles, for use in the Liturgy of the Hours, at Mass, and in other liturgical rites. Many employ Gelineau, Guimont, or Conception Abbey tones. Standards from the “Celebration-style” repertoire by Haugen, Joncas, Haas, and others. All with Spanish and English texts ICEL chants for the Order of Mass, accompanied by the complementary plainsong chants in Spanish. Five bilingual settings of the ordinary of the Mass, along with one Latin and two English-only Mass settings, plus a number of additional service music items to serve the liturgical needs of Anglo/Latino parishes for many years to come A broad and stylistically diverse collection of nearly 550 hymns, psalms, and inspired songs, containing the best and most beloved traditional and contemporary music of Latino and Anglo communities, with more than 300 items newly translated according to guidelines for preserving meaning, rhyme, and meter Music from around the world, encompassing plainsong chants, classical hymnody, contemporary scripture-based songs, Taizé chants, and world music from Asia and Africa. Settings originally with Spanish texts are from the United States, Spain, Mexico, Central and South America, and the Caribbean Lectionary psalms with USCCB-approved refrains in both English and Spanish and verses from The Revised Grail Psalms and the salterio of Spain’s Conferencia Episcopal Española (CEE). These bilingual lectionary psalms have been included in the Sacred Song missalette program of The Liturgical Press since 2005 Eleven indexes: liturgical, topical, psalms and canticles, service music, scripture references in hymns, hymn tunes, tune meters, musical settings using languages other than Spanish and English, psalm refrains set to music, common titles and first lines, and hymnal contributors (composers, authors, translators, sources) A hymnal which not only addresses the liturgical experience of today, but also opens the door to new possibilities in the future. Fulfilling the statement of the American bishops: Liturgical music today must reflect the multicultural diversity and intercultural relationships of the members of the gathered liturgical assembly. The varied use of musical forms such as ostinato refrains, call and response, song translations, and bilingual or multilingual repertoire can assist in weaving the diverse languages and ethnicities of the liturgical assembly into a tapestry of sung praise. Sing to the Lord, 60 Destinado especialmente para el creciente número de parroquias y comunidades multiculturales, bilingües (Latinas/Anglas) en los Estados Unidos, Oramos Cantando / We Pray in Song es un himnario y ceremonial lo suficientemente completo para satisfacer las necesidades litúrgicas de tales comunidades, cuando oran en español, en inglés, o de una manera bilingüe. Bilingüe desde la primera página hasta la última. Organizado para reflejar la vida litúrgica de la Iglesia: oración matutina, vespertina y nocturna tomada de la Liturgia de las Horas, los ritos sacramentales de la iniciación cristiana de adultos, del bautismo de niños, para la sagrada comunión fuera de la Misa, para la exposición y bendición eucarística, para la reconciliación de varios penitentes, para la unción de los enfermos, el matrimonio, y las exequias, el Ordinario de la Misa, música para las ceremonias, himnos y cantos, salmos responsoriales del leccionario. Todos los textos de los ritos están tomados de los libros litúrgicos en inglés y en español aprobados para su uso en las diócesis de los Estados Unidos de América. Setenta arreglos de salmos y cánticos en una variedad de estilos, para usarlos en la Liturgia de las Horas, en la Misa, y en otros ritos litúrgicos. Muchos emplean los tonos de Gelineau, Guimont, o Conception Abbey. Normas del repertorio del “estilo-de-celebración ” por Haugen, Joncas, Haas, y otros. Todos con el texto en español y en inglés. Cantos de ICEL para el Ordinario de la Misa, acompañados por los cantos llanos complementarios en español. Cinco arreglos bilingües para el ordinario de la Misa, junto con uno en latín y dos arreglos para la Misa sólo en inglés, además de un número de cantos adicionales para responder a las necesidades litúrgicas de las parroquias anglas/latinas por muchos años en el futuro Una colección amplia y de diversos estilos de casi 550 himnos, salmos y cantos inspirados, que contienen lo mejor y lo más apreciado de la música tradicional y contemporánea de las comunidades latinas y anglas, con más de 300 composiciones recientemente traducidas según las normas para la preservación del significado, del ritmo, y del metro Música de todo el mundo, incluyendo cantos llanos, himnos clásicos, cantos contemporáneos basados en la biblia, cantos de Taizé, y música mundial de Asia y África. Arreglos originales con textos en español que vienen de los Estados Unidos, de España, de México, de Centro y Sud América, y del Caribe. Salmos del Leccionario con estribillos aprobados por la Conferencia Episcopal de Estados Unidos (USCCB) tanto en inglés como en español y versos del salterio: The Revised Grail Psalms y del salterio de la Conferencia Episcopal Española (CEE) de España. Estos salmos bilingües del leccionario se han incluido en el programa del misalito Sacred Song de la editorial: The Liturgical Press desde 2005 Once índices: litúrgico, temático, salmos y cánticos, música para celebraciones, referencias bíblicas en himnos, tonadas de himnos, metros de himnos, arreglos con idiomas además de español e inglés, antífonas musicalizadas para los salmos, títulos comunes y primeras frases, y contribuyentes al himnario (compositores, autores, traductores, fuentes) Un himnario que no sólo responde a la experiencia litúrgica de hoy, sino también abre la puerta a nuevas posibilidades en el futuro. Cumple la declaración de los obispos americanos: “La música litúrgica de hoy debe reflejar la diversidad multicultural y las relaciones interculturales de los miembros de la asamblea litúrgica reunida. El uso variado de formas musicales como estribillos en ostinato, llamado y respuesta, traducción de cantos, y el repertorio bilingüe o multilingüe puede ayudar a entretejer los diferentes idiomas y etnias de la asamblea litúrgica en un tapiz de alabanza cantada.” Cantemos al Señor, 60 There is no doubt that the goal of singing each other's liturgical music as an expression of the catholicity of our faith embodied in this volume, does in fact allow bilingual and multicultural parishes through the United States—and beyond—to respond to the liturgical needs of today while opening the door to new possibilities. — Becca Whitla The Hymn Society Journal. Volume 66, No. 4.

SKU: CF.CPS244

ISBN 9781491157985. UPC: 680160916580. 9 x 12 inches.

On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.

SKU: CF.CPS244F

ISBN 9781491157992. UPC: 680160916597. 9 x 12 inches.

On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.

SKU: GI.G-003384

These psalm refrains and Gospel acclamations are crafted to be singable and expressive. For each Sunday and Holy Day, a carefully selected musical refrain is paired with a Gregorian or modern psalm tone with the verse text set under the notation in large print. Through-composed verse settings for a number of the psalms are included, and many refrains have choral harmony. The CD-set contains recordings of all the responsorial psalms and Gospel Acclamations for Sundays, feasts, and solemnities, as well as common seasonal psalms, psalms for funerals, and other music. These psalm settings and acclamations coordinate with WLP’s worship resources but will find a welcome home in any parish setting.

SKU: GI.G-003383

These psalm refrains and Gospel acclamations are crafted to be singable and expressive. For each Sunday and Holy Day, a carefully selected musical refrain is paired with a Gregorian or modern psalm tone with the verse text set under the notation in large print. Through-composed verse settings for a number of the psalms are included, and many refrains have choral harmony. The CD-set contains recordings of all the responsorial psalms and Gospel Acclamations for Sundays, feasts, and solemnities, as well as common seasonal psalms, psalms for funerals, and other music. These psalm settings and acclamations coordinate with WLP’s worship resources but will find a welcome home in any parish setting.

SKU: GI.G-003386

These psalm refrains and Gospel acclamations are crafted to be singable and expressive. For each Sunday and Holy Day, a carefully selected musical refrain is paired with a Gregorian or modern psalm tone with the verse text set under the notation in large print. Through-composed verse settings for a number of the psalms are included, and many refrains have choral harmony. The CD-set contains recordings of all the responsorial psalms and Gospel Acclamations for Sundays, feasts, and solemnities, as well as common seasonal psalms, psalms for funerals, and other music. These psalm settings and acclamations coordinate with WLP’s worship resources but will find a welcome home in any parish setting.

SKU: GI.G-003382

These psalm refrains and Gospel acclamations are crafted to be singable and expressive. For each Sunday and Holy Day, a carefully selected musical refrain is paired with a Gregorian or modern psalm tone with the verse text set under the notation in large print. Through-composed verse settings for a number of the psalms are included, and many refrains have choral harmony. The CD-set contains recordings of all the responsorial psalms and Gospel Acclamations for Sundays, feasts, and solemnities, as well as common seasonal psalms, psalms for funerals, and other music. These psalm settings and acclamations coordinate with WLP’s worship resources but will find a welcome home in any parish setting.

SKU: GI.G-4803

Text source: Psalm 96. Scripture: Psalm 96.

Trumpet part is optional.

Refrains and verses included for Ordinary Time and Christmas Midnight.

SKU: GI.G-9260

UPC: 785147926023.

Now the entire lectionary section of Ritual Song—Second Edition is here! It not only serves as an accom- paniment and cantor resource but is also a stand-alone collection for use apart from the hymnal. These refrains draw on a distinguished corpus of compositions found in GIA’s Worship II and Worship—Third Edition as well as many other hymnals, making them useable in a wide range of settings. They are also available as downloads through OneLicense.net. With the inclusion of additional descants for most major feasts and an order based on the Roman Mis- sal, the new Lectionary Psalms will stand for years to come as a practical resource you’ll turn to over and over again. Features a Gelineau tone plus and alternate tone for each Sunday and Feast day. Refrains are from a variety of composers, including James Chepponis, Randolph Curie, Michael Joncas, Columba Kelly, and many more.

SKU: GI.G-CD-560

SKU: FJ.ST6428S

English.

A fun new piece to help ring in the holiday season! An original theme based on the sound of chimes in D major recurs (and includes a very simple vocal part if you choose to add choir!) throughout the work. In between refrains are melodies from Ding Dong Merrily on High and Jingle Bells. Optional keyboard and simple percussion adds a great deal of holiday spirit. This one will be easy for your beginners, and they will surely enjoy the sleigh riding spirit!

About FJH Beginning Strings

Ap propriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5