Hymns (Strum & Sing Series).

SKU: HL.365041

ISBN 9781705135259. UPC: 840126960624. 9.0x12.0x0.359 inches.

The Strum Together series enables players of five different instruments – or any combination of them – to “strum together” on 70 great songs. This new, easy-to-use format features melody, lyrics, and chord diagrams for five popular folk instruments: standard ukulele, baritone ukulele, guitar, mandolin, and banjo. This collection includes 70 gospel/hymn favorites: Amazing Grace • Blessed Be the Name • Down by the Riverside • Great Is Thy Faithfulness • His Eye Is on the Sparrow • In the Garden • Just As I Am • Love Lifted Me • Nothing but the Blood • The Old Rugged Cross • Precious Memories • Rock of Ages • Shall We Gather at the River? • There Is a Balm in Gilead • What a Friend We Have in Jesus • When the Saints Go Marching In • and more.

SKU: JK.01976

UPC: 093285019768.

Intro ducing Path to Serenity, the advanced sacred instrumental series for C instruments. This series of C instrument solo books is the answer to many inquiries for advanced sacred solo repertoire from a variety of instrumentalists. These elegant arrangements were composed to enfold the souls of all listeners in the messages of hope and healing found in the hymns. This series will accommodate the oboe, flute, violin, cello, bassoon, and many other instruments. Appropriate settings include sacred occasions such as funerals, sacrament meetings, and firesides, as well as recitals and concerts.

The series includes three books (SOLD SEPARATELY):
Piano Accompaniment Book - #01976
C Instrument - Treble Clef - #01977
C Instrument - Bass Clef - #01978



Arr angements found in this book:
Be Still, My Soul
Come, Thou Fount of Every Blessing (Treble/Bass Duet - use all three books)
Where Can I Turn for Peace?
If You Could Hie to Kolob
I Need Thee Every Hour
More Holiness Give Me
Jesus, the Very Thought of Thee
Amazing Grace
Our Savior's Love
Composer: Various
Arranger: Sarah Brough Blomquist
Difficulty: Late-Intermediate/Advance d.

SKU: JK.01978

UPC: 093285019782.

Intro ducing Path to Serenity, the advanced sacred instrumental series for C instruments. This series of C instrument solo books is the answer to many inquiries for advanced sacred solo repertoire from a variety of instrumentalists. These elegant arrangements were composed to enfold the souls of all listeners in the messages of hope and healing found in the hymns. This series will accommodate the oboe, flute, violin, cello, bassoon, and many other instruments. Appropriate settings include sacred occasions such as funerals, sacrament meetings, and firesides, as well as recitals and concerts.

The series includes three books (SOLD SEPARATELY):
Piano Accompaniment Book - #01976
C Instrument - Treble Clef - #01977
C Instrument - Bass Clef - #01978

Arrangement s found in this book:
Be Still, My Soul
Come, Thou Fount of Every Blessing (Treble/Bass Duet - use all three books)
Where Can I Turn for Peace?
If You Could Hie to Kolob
I Need Thee Every Hour
More Holiness Give Me
Jesus, the Very Thought of Thee
Amazing Grace
Our Savior's Love
Composer: Various
Arranger: Sarah Brough Blomquist
Difficulty: Late-Intermediate/Advance d.

SKU: JK.01977

UPC: 093285019775.

Intro ducing Path to Serenity, the advanced sacred instrumental series for C instruments. This series of C instrument solo books is the answer to many inquiries for advanced sacred solo repertoire from a variety of instrumentalists. These elegant arrangements were composed to enfold the souls of all listeners in the messages of hope and healing found in the hymns. This series will accommodate the oboe, flute, violin, cello, bassoon, and many other instruments. Appropriate settings include sacred occasions such as funerals, sacrament meetings, and firesides, as well as recitals and concerts.

The series includes three books (SOLD SEPARATELY):
Piano Accompaniment Book - #01976
C Instrument - Treble Clef - #01977
C Instrument - Bass Clef - #01978

Arrangement s found in this book:
Be Still, My Soul
Come, Thou Fount of Every Blessing (Treble/Bass Duet - use all three books)
Where Can I Turn for Peace?
If You Could Hie to Kolob
I Need Thee Every Hour
More Holiness Give Me
Jesus, the Very Thought of Thee
Amazing Grace
Our Savior's Love
Composer: Various
Arranger: Sarah Brough Blomquist
Difficulty: Late-Intermediate/Advance d.

SKU: GI.G-10430INST

UPC: 785147043096.

** This is the spiral-bound edition for instruments other than keyboard and guitar.   The third volume in this popular series, Revival III features arrangements of fourteen familiar Christmas carols for contemporary ensembles. Christmas carols, like many traditional hymns, are often arranged for four-part choir and organ. With this collection, Tony Alonso focuses instead on the needs of the piano- or guitar-based ensemble, creating accessible carol arrangements for SAB voices, piano, and guitar. Also included is an optional alternate harmonization for the final stanza of each piece featuring a soprano descant. Although these arrangements can be utilized as choral anthems, they are truly intended to lead and inspire congregational song. They are compatible with the texts found in GIA’s hymnals and yet can be edited easily to agree with the version of the carol most familiar to the assembly. CONTENTS: Angels We Have Heard on High (G-10431) • Away in a Manger (G-10432) • Hark! The Herald Angels Sing (G-10434) • It Came Upon a Midnight Clear (G-10435)  • We Three Kings of Orient Are (G-10443) • O Little Town of Bethlehem (G-10439) • Joy to the World (G-10436) • Once in Royal David’s City (G-10440) • What Child Is This? (G-10444) • O Come, All Ye Faithful (G-10437) • The First Nowell (G-10442) • O Come, O Come Emmanuel (G-10438) • Good Christian Friends, Rejoice (G-10433) • Silent Night (G-10441).

SKU: CA.1301211

ISBN 9790007029548. Language: German.

Score available separately - see item CA.1301200.

SKU: BT.EMBZ14552

Hungarian.

With the publication of the first collective, scholarly edition of the a cappella works of Sándor Veress (1907-1992), the publishers were paying a long-standing debt in the Veress centenary year. Volume I contains all the already published works for children s, female and male choirs, together with those of the works of his mature period preserved in manuscript which have attained their definitive form: seven choral cycles or suites, and five single-movement works. The musical concept of the mainly 3- or 4-movement Hungarian folksong suites and cantatas is closely akin to that of the composer s instrumental folksong series written at the same time. Also included in thevolume are a musical setting of Sándor Pet fi s poem Orbán and arrangements of two Swiss folksongs and a children s song of American origin (Mary had a little lamb).

Mit der von wissenschaftlichem Anspruch geprägten Veröffentlichung der ersten Sammelausgabe der Chorwerke von Sándor Veress (1907-1992) im Jahre des Veress-Zentenariums 2007 tilgte der Verlag alte Schulden. Der erste Band beinhaltet neben allen schon früher publizierten Kinder-, Frauen- und Männerchören auch als Manuskript erhalten gebliebene, ausgereifte Werke, die über eine endgültige Form verfügen: sieben Chorzyklen bzw. Chorsuiten und fünf einsätzige Werke. Das musikalische Konzept der großteils 3-4-sätzigen Volksliedsuiten und -Kantaten ist eng mit den zur selben Zeit komponierten instrumentalen Volksliedserien des Komponisten verwandt. Weitere Bestandteile desBandes sind die Vertonung des Gedichts Orbán von Sándor Pet fi und die Bearbeitung der zwei schweizerischen Volkslieder sowie eines aus Amerika stammenden Kinderliedes (Mary Had a Little Lamb).

SKU: PR.165001000

ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

SKU: PR.16500100F

ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

SKU: CL.011-2117-02

Three familiar hymns usually associated with the celebration of the Thanksgiving season. The music has been carefully arranged using traditional harmonies so that each selection can be played as an individual piece or tied together in a simple setting. Requires minimum rehearsal.

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

SKU: GI.G-CD-440

The songs contained in the volumes of the Catholic Classics series have stood test of time. These are definitive Catholic songs—the one's that are always popular, that everyone sings, knows by heart, and wants to hear over and over again. Perhaps, best of all Catholic Classics is not for Catholics only. Catholics are joined by Christians across the other denominations in singing these wonderful and beloved hymns. This volume contains instrumental renditions of favorite hymns and songs arranged for guitar and other instruments by Bobby Fisher.  .

SKU: CL.012-3326-99

For band with optional choir, strings, narrator and audience sing-a-long. This glorious setting of two of America's favorite hymns, Amazing Grace and Battle Hymn of The Republic, is destined to be the work of choice when selecting that special number for your program's grand finale. Playable by band alone, this patriotic arrangement also offers the creative option of adding choir, strings, narrator, bagpiper and even a group sing-a-long. Musically appealing for bands of varied levels, this spectacular production number will offer grateful audiences, young and old alike, a wonderful opportunity to experience the ultimate in listening pleasure. A guaranteed winner!

About Heritage of the March

Full -sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style