SKU: HL.295404
ISBN 9781540064264. UPC: 888680946944. 5.0x5.0x0.185 inches.
Exceptional quality accompaniment tracks, plus performance tracks for 11 anthems on one convenient CD. Includes: Christmas Songs of Praise; Clap Your Hands!; Fairest Lord Jesus; If We Wait for the Lord; Light a Little Candle; May the Words of My Mouth; O Lord, Our God, We Thank You; Silent Night, Holy Night; Sing a New Song!; Sing Hosanna!; Welcome Easter Morning.
SKU: HL.369160
ISBN 9781705142912. UPC: 840126989496. 5.0x5.0x0.119 inches.
This outstanding new resource is sure to be useful for choirs returning to the loft. Presented with a sensitivity to musical diversity, this approachable collection will provide wonderful options for slim Sundays or for times when quick learning is necessary. Cued notes are also included for range considerations, and tasteful accompaniment tracks will give additional choices for directors to consider. Songs include: A Joyful One Hundred; Lord, I Worship You; Come, Sing to the Lord; Dreamers and Doubters; Ascribe to the Lord; Every Valley Needs a Lily; Mercy Still; Come and See; In Everything Give Thanks; Write Your Truth Upon My Heart; May the Words of My Mouth. For the Accompaniment Tracks: Audio is accessed online using the unique code generated upon purchase and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. HL00380829: Accompaniment Tracks.
SKU: LP.MU-5513T
UPC: 765762021327.
Chora ltrax CD includes stereo and split-channel mixes as well as demo recording for two Lillenas octavos: AN-2662 MAY THE WORDS OF MY MOUTH and AN-2661 RIVER OF LIFE.
SKU: CF.CM9588
ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin.
Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller.TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller.Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,†which sounds similar to the English words bought and got. The letter “t†should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s†should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.
SKU: GI.G-017285
English.
This addition to the WorshipWorks. series explores the merits of the texts we sing in worship. Whether you are the person responsible for evaluating sung texts for your community or someone who crafts texts for sung prayer (be they your community‚ intercessions or your own musical compositions), author Alan Hommerding offers helpful insights and practical tools to help you. His background as a hymn writer, a pastoral musician, and an editor of the musical texts of others well qualifies him to author this useful little volume. Words That Work for Worship .approaches the task of text evaluation from two perspectives. In the first section of the book, the various ways that the tenets of the Christian faith should‚Äîand shouldn't‚Äî be offered in song are examined. Particular attention is paid to scriptural adaptation. In the second half, the use of imagery, metaphor, rhyme, and other devices of language are presented briefly. This section includes some simple writing exercises. Throughout, the stress is on the care that we must take to create and select the words that we musicians put in the mouths of our worshiping assemblies. Words That Work for Worship .provides the critical tools that will help your community to sing God‚ praises faithfully and beautifully.
SKU: GI.G-003019
Scripture: Psalm 19, Psalm 110, Psalm 121, Psalm 126, Psalm 131.
The first piece, Call to Worship and Dance, is inspired by Psalm 19, “He has pitched a tent for the sun, which comes forth like the groom from his bridal chamber.†This piece begins with evocative figures before moving to a syncopated dance. In the second piece, Kate takes her inspiration from Psalm 110. Psalm 121, “I will lift up my eyes†consists of long, arching phrases.  Psalm 126, “Our mouths were filled with laughter†is another dance. Kate depicts the laughter with a highly chromatic melody and harmonic shifts. The concluding psalm is Psalm 131, “I have stilled my soul, like a weaned child on its mother’s lap, so is my soul within me.â€Â .
SKU: PR.114422170
UPC: 680160683567. 9 x 12 inches.
During the 2020 Coronavirus pandemic, saxophonist Paul Nolen asked if I might have a choir piece that I could transcribe for saxophone choir which his Illinois State University students could learn and record their parts in their homes; he would then mix together and share online. I immediately thought of the text of Lo Yisa Goy: And they shall beat their swords into plowshares, and their spears into pruning hooks: nation shall not lift up a sword against nation, neither shall they learn war anymore. But they shall sit every man under his vine and under his fig tree; and none shall make them afraid: for the mouth of the Lord of hosts hath spoken it. May all nations learn once again to listen to each other, and may we find a global peace to preserve both mankind and our planet.During the 2020 Coronavirus pandemic, saxophonist Paul Nolen asked if I might have a choir piece that I could transcribe for saxophone choir which his Illinois State University students could learn and record their parts in their homes; he would then mix together and share online. I immediately thought of the text of Lo Yisa Goy:And they shall beat their swords into plowshares,and their spears into pruning hooks:nation shall not lift up a sword against nation,neither shall they learn war anymore.But they shall sit every man under his vineand under his fig tree;and none shall make them afraid:for the mouth of the Lord of hosts hath spoken it.May all nations learn once again to listen to each other, and may we find a global peace to preserve both mankind and our planet.
SKU: MN.50-9000
UPC: 688670590009. Scripture: Psalms 19.
Part of longer anthem, Who Can Tell How Oft He Offendeth. Text (Psalm 19:14) and musical style make appropriate for Lenten season or general. Serves specific liturgical functions.
SKU: HL.49045600
ISBN 9790001166249. UPC: 841886032675. 7.5x10.75 inches. Latin. Book of Wisdom 18:14-15.
The composer, chorus and organist Janusz Krzysztof Korczak, who was born in Krakow in 1994, was awarded the 3rd prize at the International Composition Competition Musica Sacra Nova 2016 for his choral piece Cum enim quietum silentium contineret omnia, .... This sophisticated Latin-language choral work is designed for four four-part ensembles (SATB / SATB / SATB / SATB) a cappella,for which the Polish composer delivers an exact arrangement. The Korczak, which is divided into a number of musical thematic sections, for which Korczak foresees a maximum of four singers per voice within the individual ensembles, has, according to his own statement, musically implemented a kind of programmatic visualization of the underlying words from Liber Sapientiae 18, 14-15b searched. And so there are lecture notes such as delicate or sharp whispering, singing with closed and open mouth, ad libitum to declaiming parts, a general pause with explicit seconds, strong dynamic accents and an abrupt descending Glissando at the end of thestriking features of this 16-voice A -cappella-choral work. Ideal literature for singers with a high degree of experimentation.
SKU: SU.80300244
These seven sacred songs are suitable for treble, mixed, or men's choirs, or for solo performance. The texts are taken from various Sabbath services; many are suitable for use as anthems in Christian worship. While all are easy, each has distinctive features-rhythmic extension of a phrase, shifting meters, or harmonic subtleties-which make the set rank very, very high on the simple does not have to mean stupid scale. Please, before you buy another boring dreidel song, look at these. This blessing in 12/8 time is a setting of Psalm 19:4. Phrases alternate between E Minor and G Major, giving the piece harmonic vitality over a cross-meter piano figure. Unison; piano; Hebrew; Easy. Unison, piano Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: GI.G-6202
UPC: 785147620204. English. Text Source: Psalm 43:3, Psalm 62, Psalm 19, adapt. JLB. Scripture: Psalm 19:14, Psalm 43, Psalm 62:1–2.
Thes e brief settings of psalm verses with music and text adaptations by John L. Bell have seemingly limitless uses—a number of suggestions are given in the notes. The recording for the Choral Subscription Series includes “Send Out Your Light.â€.
SKU: LP.OR-2430
UPC: 765762115507.
Based on passages from Psalms this arrangement offers choirs an anthem setting with a traditional Sunday morning feel. Bruce Greer's original music beautifully portrays the scriptural message.
SKU: MN.50-9045
UPC: 688670590450. Scripture: Psalms 19.
Brief motet-like setting of Psalms 19:14.