Ready To Sing Inspirational Favorites

Intermediate

SKU: WD.080689612176

Composed by Various. Book. Word Music #080689612176. Published by Word Music (WD.080689612176).

UPC: 080689612176.

“BIG RED”&mdash ;the most audaciously awesome, music-and-value-driven choir book ever released is finally here—THE BIG RED CHOIR BOOK! It’s big. It’s bold. THE BIG RED CHOIR BOOK is the most comprehensive, all-encompassing church choir resource you’re likely to ever see! 25 Best-Selling Arrangements by some of the industry’s favorite arrangers, compiled just for you into one, bigger-than-big choir book! “Musically diverse, stylistically broad, budget-saving, resourceful, convenient, uniquely wide in variety” are just a few ways to describe Word Music & Church Resources’ BIGGEST and BOLDEST collection yet, featuring 25 proven, best-selling arrangements containing 34 of your favorite songs. 

Created with your music ministry budget in mind, this collection is a great way to save money while enjoying your favorite songs and arrangements, all contained in one, valuable resource. From worship services to holidays, THE BIG RED CHOIR BOOK has something for everyone! Your choir will sound their best when presenting the vast array of styles and songs offered in this collection, highlighting everything from Praise & Worship, CCM, Southern Gospel, Patriotic, Christmas, Easter, and more!

< span style=color: #000000; font-size: small;>Get ready to offer to your congregation these inspirational and heartrending arrangements of Dove award-winning hit songs, originally made popular by worship leaders and artists such as Chris Tomlin, Matt Redman, Matt Maher, Casting Crowns, David Crowder, Zach Williams, Lauren Daigle, and many more!

SATB chorus, piano

SKU: GI.G-8644

Composed by M. Roger Holland, II. African American Church Music Series. Sacred. Collection. GIA Publications #8644. Published by GIA Publications (GI.G-8644).

UPC: 785147864431. English.

Welcome to the revival! Come on in and leave your troubles at the door. This exciting collection from a true talent and vibrant voice in sacred music takes you to church. The eclectic fusion of styles like gospel, R & B, jazz, and traditional organ-based hymnody ensures that there is something in this collection to please absolutely everyone.  “Lord, Make Me an Instrument,” a setting of the classic Prayer of St. Francis text, builds to a powerful and stirring climax. “Worthy God” is a moving declaration of faith and devotion, and the infectious and inspiring title track, “Building Up the Kingdom,” encourages God’s call to action. Rhythmic drive, a singable melody, and an impassioned text will make “Daily Bread” a congregation favorite that begs to be sung. The songs of Building Up the Kingdom are sure to ignite the fire of the Holy Spirit in the hearts of all the assembled, and their raised voices will set the rafters ablaze. Contents: Give the Lord Glory and Honor, Remember Your Mercies, Blessed, Worthy God, Mary's Song (The Annunciation), Worship the Newborn King, Hail, Queen of Heaven, Getting Ready, Daily Bread, The Christ in Me, Building Up the Kingdom, Lord, Make Me an Instrument, Anchored in de Lord.

Orchestra Orchestra

SKU: PR.11641373S

Composed by Peter Schickele. Full score. Duration 24 minutes. Theodore Presser Company #116-41373S. Published by Theodore Presser Company (PR.11641373S).

UPC: 680160680344.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

(4-DVD Collector's Edition). Rock House. DVD. Guitar tablature. Published by Hal Leonard

Orchestra Orchestra

SKU: PR.11641373L

Composed by Peter Schickele. Large Score. Duration 24 minutes. Theodore Presser Company #116-41373L. Published by Theodore Presser Company (PR.11641373L).

UPC: 680160680337.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.