SKU: JK.10280
2 Nephi 25:23, 26, 29, Mormon 7:5-7*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
A musical fireside presentation for choir, soloists and narrators. Includes the songs The Book of Mormon Has Come Forth (#1847), By The Waters of Mormon (#1131) and When Jesus Came to Bountiful (#1857), which can be purchased separately.Composer: Janice Kapp PerryLyricist: Bonnie Hart Murray Difficulty: Medium Performance time: 55:00Reference: 2 Nephi 25:23, 26, 29, Mormon 7:5-7*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
SKU: PR.466000470
UPC: 680160099405. 11 x 17 inches.
This is the second incarnation of a work I first composed in 1994 for symphonic wind ensemble. The earlier version was intended to be the summation of three-part suite, each part being named for a different national park in the Western United States. This orchestral version, commissioned in 1999 by the Utah Symphony and dedicated to the memory of Aaron Copland, is more than a re-scoring of the earlier piece; it is a re-thinking of all its elements. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both his Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph.
SKU: PR.16500092L
UPC: 680160039531. 11 x 17 inches.
Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.
SKU: JK.05027
Hebrews 4:14-16, Mormon 9:27.
Accompaniment CD for Praiseworthy Singer, Vol. 3 (#01605). When the CD is purchased at the same time as the songbook, the price of the CD is reduced to $5.00.Composer: Crawford Gates, A. Laurence Lyon, Darwin Wolford, Robert Manookin, and K. Newell Dayley Arranger: A. Laurence LyonReference: Hebrews 4:14-16, Mormon 9:27.
SKU: JK.01605
Vocal solo collection for medium voice--a contemporary presentation of the original volume of Especially for Vocalists Vol. 2 by A. Laurence Lyon. Accompaniment CD is also available (#05027).Titles included in this volume: Three Songs for the Young Heart I Need Thee Every Hour In Heavenly Love Abiding Behold, How Easy To Give Heed Those Who Will Follow The Touch of the Hand Composer: Crawford Gates / A. Laurence Lyon / Darwin Wolford / Robert Manookin / K. Newell Dayley Arranger: A. Laurence Lyon Difficulty: MediumReference: Hebrews 4:14-16, Mormon 9:27.
SKU: OU.9780193528017
ISBN 9780193528017. 12 x 9 inches.
for string orchestra, with optional organ This moving piece for string orchestra is full of pathos and emotion. Stylistically evocative of Samuel Barber's Adagio for Strings and the distinctive musical language of Arvo Pärt, Lament is based around a two-bar arching ostinato, artfully developing musical fragments and enriching the texture to reach a powerful central climax. This is a welcome addition to the string orchestra repertory. This piece was recorded on the 2019 Mormon Tabernacle Choir and Orchestra CD Tree of Life under the title 'And Wept Bitterly (Lament on an Ostinato for String Orchestra)'.
SKU: JK.01424
1 Ne. 8; 11:21-22, 25; 15:36.
Scriptural anthem arranged for mixed chorus (SATB). Music and lyrics feature the story and meaning behind Lehi's dream from the Book of Mormon.Composer: Janeen Brady Arranger: Janeen Brady Lyricist: Janeen Brady Difficulty: Medium / medium-difficult acc. Performance time: 3:00Reference: 1 Ne. 8; 11:21-22, 25; 15:36.
SKU: JK.09194
2 Nephi 25:23, 26, 29, Mormon 7:5-7.
Violin obbligatos to accompany Hymnplicity Ward Choir Book 11 (#01802). Created to add color and warmth to the arrangements.Arrangements in this packet:I Believe in ChristThere Is Sunshine in My Soul TodayO thou Kind and Gracious FatherThey the Builders of the NationHow Great the Wisdom and the LoveGuide Us, O Thou Great JehovahCome Ye DisconsolateArranger: Brent JorgensenDifficulty: Medium/EasyReference: 2 Nephi 25:23, 26, 29, Mormon 7:5-7.
SKU: JK.00614
Doctrine and Covenants 88:63, Isaiah 55:6, Psalm 63:1.
Original arrangement for a cappella mixed chorus (SATB), originally from Dan Carter's cantata A Dawning Light. Rehearsal accompaniment is included. For those who seek the Lord with a contrite heart, they are promised that they may know the truth if they ponder and pray on the words of the Book of Mormon.Composer: Dan L. Carter Lyricist: Dan L. Carter Difficulty: Medium / medium acc.Reference: Doctrine and Covenants 88:63, Isaiah 55:6, Psalm 63:1
SKU: JK.09206
Violin obbligatos to accompany Hymnplicity Ward Choir Book 12 (#01007). Created to add color and warmth to the arrangements. Arrangements in this packet:The Lord Is My LightGod Is LoveAn Angel from on HighChoose the RightOn This Day of Joy and GladnessJesus, Savior, Pilot MeLet Zion in Her Beauty RiseOh Love That Glorifies the SonArranger: Brent JorgensenDifficulty: Medium/EasyReference: 2 Nephi 25:23, 26, 29, Mormon 7:5-7.
SKU: JK.00735
Choral anthem for mixed chorus (SATB), flute obbligato and organ accompaniment (with sustained pedaling), sung as a prayer to guide us and grant us heavenly peace within. Flute obbligato part available separately (#09161).Composer: William Bradbury Lyricist: James L. Sorenson Difficulty: Medium-easy Performance time: 3:00Reference: 2 Nephi 25:23, 26, 29, Mormon 7:5-7.
