Prepared for Praise

Anytime Anthems for the Sanctuary-Prepared for Praise is an excellent compilation of anthems created especially for the smaller church choir or ensemble. Many of your favorite writers are represented in this helpful and approachable collection. Conveniently arranged for Two-Part Mixed voices along with one anthem for Unison voices this book has something for everyone! Acoustic adornments are also offered for a special touch. Grow the confidence of your choir by arranging for their success! Songs include: Let Us Rejoice! Rejoice Ye People of the Faith Jesus Teach Me I Am Thine O Lord A Joyful Jubilant Song Be Strong in the Lord God Is My Shepherd Live Your Love.

Lightly dancing, this gently contemporary anthem of praise features new music for the classic Charles Wesley text 'O For a Thousand Tongues.' From the 'Ready, Set, Sing!' Choral Series, this anthem is easily prepared in one or two rehearsals, yet is a shining addition to any service. / Choeur Mixte (SATB)

In this new publication in the Novello Handel Edition under the general editorship of Donald Burrows Graydon Beeks has prepared the first modern performing edition to have examined all known sources of Handel's ever popular so-called Chandos Anthem No. 9 HWV 254 written between 1717 and 1719 for his patron Earl of Carnarvon.

Three songs of Christmas worship are blended in this intimate manger medley: Still Still Still; Silent Night and Jesus Draw Me Close. With easily prepared vocals it's perfect for a Christmas Eve and/or candlelight service.

with Suggested Chordal Accompaniment. Par BAY WILLIAM. This collection contains 100 favorite gospel songs and hymns for flute and guitar. Inside you will find rousing camp meeting songs, sentimental expressions of a deep-rooted faith, and gospel oriented hymns with an old-time music flavor. In preparing this collection I felt the sincere and solid faith of America's 'revivalist era”, staunchly embedded in the rural and southern regions of America, but also in the dedicated inner city missions founded in sprawling urban centers. These solos will bring joy, exuberance, nostalgia and a renewed sense of commitment to any worship celebration. They serve as a vehicle for and witness to the Christian faith. / Gospel / Recueil / Flûte Traversière et Guitare

A jubilant anthem of praise! Joseph Martin has crafted an anthem with a light classical touch that is easily prepared and performed, but highly effective. Smooth two-part writing is seamlessly woven with four-part sections. Optional flute obbligato. / Choeur Mixte (SATB)

With a text based on Psalm 33, this anthem poses questions of what makes a Christian sing, rejoice, and lift one's voice...all answered by 'God's unfailing love.? Upbeat and positive, it's a perfect call to praise at any time during the year. Easily prepared. / Choeur SAB

Eleven songs to warm the heart and praise the Lord. Par THOMAS RUTHIE. The words and music of Ruthie Thomas proclaim the power of Christ in our world, through a distinctive voice and vision blending African-Caribbean, jazz, soul and calypso styles. Singing in her father´s Pentecostal Church was an important part of herchildhood, preparing the ground for her vocation to offer the Lord´s praises through her very special gifts as performer and songwriter. Her message flows from the heart, affirming the good tidings of faith and of the Bible as balm and inspirationfor all believers./ Recueil / Piano, Chant et Guitare

25 gro??artige Songs f?r die Ukulele mit Tipps zum Spielen-The internationally successful guitarist and teacher Justin Sandercoe?has become enormously popular for his numerous online publications and Guitar courses. His books have been highly-praised by the press and his fans due to his ability to appeal to beginners amateurs and advanced musicians alike. This Ukulele Songbook contains 25 songs that are perfect for any aspiring Ukulele player. ? In his first Ukulele Songbook Sandercoe?has prepared 25 songs in his own inimitable tuition style. The songs all feature clear lyrics chords and song parts as well as many hints tips and backgroundinformation for a better understanding of each tune.

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

Uses: Praise Heaven Scripture: I Thessalonians 4:17 Choirs and ensembles of all types will enjoy preparing and presenting this a cappella medley of three popular heaven songs: I'll Fly Away Sweet By and By and When We All Getto Heaven. Available separately: SATB SSA TTBB. Duration: ca. 2:20.

Uses: Praise Heaven Scripture: I Thessalonians 4:17 Choirs and ensembles of all types will enjoy preparing and presenting this a cappella medley of three popular heaven songs: I'll Fly Away Sweet By and By and When We All Getto Heaven. Available separately: SATB SSA TTBB. Duration: ca. 2:20.

Uses: Praise Heaven Scripture: I Thessalonians 4:17 Choirs and ensembles of all types will enjoy preparing and presenting this a cappella medley of three popular heaven songs: I'll Fly Away Sweet By and By and When We All Getto Heaven. Available separately: SATB SSA TTBB. Duration: ca. 2:20.

Helen Kemps outstanding success with childrens choirs has been observed in her workshops at festivals throughout the us. Her plan for 'Hymns Plus' encourages enjoyment of singing by young choristers of grades 4 through 8. The choice of vocalrange and style willassist in the training of the singers to develop beautiful tone and to use it sensitively.Includes suggestions for preparation and performance of each hymn.Contents:Sing A New Song To The LordWhen In Our Music God Is GlorifiedPraise My SoulO Come O Come EmmauelOf The Fathers Love BegottenCarol Of The AdventBorn In The Night Marys ChildLong Ago And Far AwayRing A BellEvery Star Shall Sing A CarolTwas In The Moon Of WintertimeNow Every Child That Dwells On EarthO Morning Star How Fair And Bright!As Jacob With Travel Was Weary One DayNow The Green Blade RisethNow Let The Heavens Be JoyfulTheres A Spirit In The AirThe Day Of The Pentecost ArrivedJesus Loves Me Jesus Loves MeWith Jesus For HeroOur Father By Whose NameMy Shepherd Is The LordMy Shepherd Will Supply My NeedOne More StepMay The Road Rise To Meet You