Inspirational Hymns with CD - Trumpet

SKU: SP.TS035

ISBN 9781585603237. UPC: 649571100353.

Spiri tual enlightenment is at the heart of this sacred collection from Santorella Publications. Inspirational Hymns for Trumpet arranged by Tony Santorella and Jonathon Robbins features thirty-three well known hymns written specifically for brass and reed instruments and includes a piano accompaniment CD. Each piece is edited and arranged in a comfortable key and range for wind players of any level. A great addition to any church music library, this assortment of sacred titles is sure to bring the congregation to its feet with songs of praise. Written in accommodating keys for Bb, Eb, C treble and C bass clef instruments, now everyone can sing His praise and worship in song. Includes: Nearer My God To Thee - Fairest Lord Jesus - Where He Leads Me - O God, Our Help in Ages Past - Rock of Ages - There is a Happy Land - Holy, Holy, Holy - Lead Kindly Light - Faith of Our Fathers - The Little Brown Church in the Vale - A Mighty Fortress is Our God - Hark! The Vesper Hymn is Stealing - Abide With Me - Now The Day is Over - Praise God From Whom All Blessings Flow - The Lord is My Shepherd - Blest The Tie That Binds - Eternal Father, Strong to Save (The Navy Hymn) - Bringing in The Sheaves - Jesus Loves Me - Evening Prayer - Jesus, Lover of My Soul - Prayer of Thanksgiving - Softly Now The Light of Day - When I Survey The Wond'rous Cross - I Need Thee Every Hour - He Leadeth Me - Jesus, Saviour, Pilot Me - Let The Lower Lights Be Burning - Stand Up For Jesus - God Be With You 'Till We Meet Again - Amazing Grace.

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,”cons tantly 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,”cons tantly 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: GI.G-5010

This profound collection for Palm Sunday, Triduum, and Easter, deeply infused with the passion of the season, evolves from the worship in the parishes where Rory Cooney and Gary Daigle have served over the years. Trumpet in the Morning, Rory Cooney's highly inspirational hymn for the millennium, is set to the haunting strains of an early-American melody. The text draws on jubilee imagery, especially from the book of Leviticus, but its point of view is distinctly modern. New hymns resound with the emotions of the season, including the solemn strains of Good Friday's Precious Blood and the truly uplifting title song, This Very Morning. Also included is a new concertato arrangement of Suzanne Toolan's classic, I Am the Bread of Life. Highlights of this collection include a stirring acclamation for baptism that has been expanded into a song for the sprinkling of the assembly. There is an upbeat Litany of Saints to accompany the baptismal procession to the font, appropriately based on When the Saints Go Marchin' In and incorporating the refrain from that enduring spiritual. One each of the following octavos: TRUMPET IN THE MORNING (G-4970) • QUIET STRENGTH (G-5011) • PALM SUNDAY PROCESSIONAL (G-5012) • LENTEN GOSPEL ACCLAMATION (G-5013) • PRECIOUS BLOOD (G-5014) • FRACTION RITE AND “TABLEPRAYER” (G-5015) • CONCERTATO ON “I AM THE BREAD OF LIFE” (G-5016) • PSALM 31: I PLACE MY LIFE (G-3613) • GENESIS READING FOR THE GREAT VIGIL (G-5018C) • PSALM 118 (EASTER ALLELUIA) FOR THE GREAT VIGIL (G-5019) • A LITANY OF SAINTS: WHEN THE SAINTS COME MARCHIN’ IN (G-5020) • YOU HAVE PUT ON CHRIST (G-5021) • THIS VERY MORNING (G-5022).

SKU: GI.G-CD-431

This profound collection fo Palm Sunday, Triduum, and Easter, deeply infused with the passion of the season, evolves from the worship in the parishes where Rory Cooney and Gary Daigle have served over the years. Trumpet in the Morning, Rory Cooney's highly inspirational hymn for the millenium, is set to the haunting strains of an early-American melody. The text draws on jubilee imagery, especially from the book of Leviticus, but its point of view is distinctly modern. New hymns resound with the emotions of the season, including the solemn strains of Good Friday's Precious Blood and the truly uplifting title song, This Very Morning. Also included is a new concertato arrangement of Suzanne Toolan's classic, I Am the Bread of Life. Highlights of this collection include a stirring acclamation for baptism that has been expanded into a song for the sprinkling of the assembly. There is an upbeat Litany of Saints to accompany the baptismal procession to the font, appropriately based on When the Saints Go Marchin' In and incorporating the refrain from that enduring spiritual.

SKU: HL.35028637

ISBN 9781476868066. UPC: 884088792411. 5x5 inches.

10-Pack Listening CDs: Inspired by Celtic music traditions, this new work for Lent or Holy Week presents Christ's journey to the cross. Utilizing folk songs, hymns and newly composed sacred songs, the music adorns the heart-felt message of God's love and grace displayed in Christ's redemptive work on Calvary. A thoughtful narration weaves the movements of the work together with Scripture, prayer and poetry, while delivering a reflective message of hope and assurance. Gentle orchestrations capture the Celtic spirit of the music in a smaller, more restrained approach in keeping with Holy Week considerations. A full line of support products is available. Duration: approx. 30 minutes. Titles include: Prologue, The Song of the Cross, A Celtic Hosanna, Come to the Upper Room, The Garden of Tears, The Carpenter, A Tree Once Stood, Consolation of the Cross, Epilogue. Available separately: SATB, Listening CD, Preview Pack (Book/CD), StudioTrax CD (Accompaniment only), RehearsalTrax CDs, 10-Pack Listening CDs, Digital Resource Kit, Chamber Orchestration (Score & Parts for Soprano Recorder/Penny Whistle, Alto Recorder, Oboe/English Horn, Clarinet 1&2, Bassoon, Horn 1&2, Trumpet 1-3, Trombone 1&2, Tuba, Timpani, Percussion 1&2, Harp, Piano, Violin 1&2, Viola, Cello, Double Bass) and Chamber Orchestration CD-ROM. Duration: ca. 30:00.

SKU: BT.DHP-0930481-030

A composition of much contrast based on a well-known psalm melody. As its title announces, it starts with a majestic introduction in which parts of the psalm melody can be heard. Next we hear the complete psalm melody in the trombones, interrupted by passages full of dance in the discant. This is continued in a lively Allegro Molto, in which the psalm melody emerges in the trumpets and cornets, again interrupted by rhythmically pulsing quaver movements. The work ends with a flashing passage in a presto tempo. Majestic Prelude typically is a composition for the start of a concert.