Canon Of Praise

Exuberance and joy fill this work and its dramatic call to praise. A triumphant nuematic alleluia melody alternates between the voices giving the song a thorough and continuous theme of praise. Available separately: SATB SAB Brass Parts.

Diane Bish has carefully selected some of her most loved organ selections and made them available in one wonderful collection. Songs include: Adagio in G minor (Thomaso Albinoni) ? Canon in D (Pachelbel) ? Overture (fromHandel's Royal Firework Music) ? Sicilienne (Theresia V. Paradis) ? and Apres Un Reve (Faure).

Based on Psalm 98:1-4 this ancient psalm of praise is redressed in modern classical sounds. Intertwined is the canonic melody from 19th century hymn-writer Lowell Mason O Music. The combination honors music as the educational value Mason professed along with praise to God for skillful singing the psalmist scribed. A great festival piece of general praise optional handbell choir and children's choir add to the possibilities.

For SATB and Piano or Organ or Brass quintet.This joyful and vibrant carol will delight youth and adult choirs alike. The strong unison opening with a pealing bell-like accompaniment builds to a climactic two-part canon brilliantly capturing the joyous message of Christmas.

A jolly Christmas carol-This lively carol was commissioned in 2005 by Lichfield Cathedral Special Choir (now called the Cathedral Chorus) to celebrate the birth of Hannah Scriven and Holly Mason the daughters of the two cathedral organists at that time. The words were specially written by Tony Barnard the then Canon Chancellor at Lichfield and a member of the choir. This carol whilst not entirely foreign to my normal style touches more ‘country and western’/popular buttons than I am in the habit of touching. But I wanted to write a tuneful piece which swayed and danced and reflected the colourful imagery of Tony Barnard’s text. Recommended recording: Comeout Lazar – The shorter choral works of Paul Spicer (Regent REGCD280) by The Chapel Choir of Selwyn College Cambridge and Claire Innes-Hopkins (organ) directed by Sarah MacDonald. Text: This child of God who’s born on Christmas day whom shepherds view to whom kings homage pay is called to be a shepherd and a king. Sing alleluias praise this wondrous thing. This child of God is shepherd born to lead through pastures green by banks of golden reed; nor left nor right but ever on the way which leads to Calvary and endless day. This child of God this Son of David’s line is root of tree a shoot a fruitful vine it shelter gives to all who see the way which leads them to the cross and Easter day. This child of God this many spangled star is light’ning flash which dazzles near and far; bright light to guide our feet along the way that leads to Calvary and endless day. This child of God is called to save mankind to open eye and ear the heart and mind; to heal and make the lame man leap and play along the road that leads to Easter Day. This child of God let angel voices praise. Give God the glory live his loving ways. Let peace on earth o’er come our worldly strife through all who walk his road throughout their life. Tony Barnard

Songs of Grace and Hope. Filled to the brim with recognizable tunes and texts, this hymn montage is a splendid piece for slim Sundays. Anchored by a newly composed song, the anthem opens with confidence and moves through some of the most beloved grace-inspired gospel hymns in the sacred canon. Lilting with joy and assurance, the music navigates quickly and easily between the songs. Your congregation's hearts will be smiling as you remind them of the promises of God through this cheerful menagerie of praise. Songs include: What a Wonderful Savior; Grace Greater than Our Sin; Wonderful Grace of Jesus.

These fifteen numbers form what is called in Russian Combined Prayer Service or All Night Vigil consisting of the vesper and matin service linked together for the nights of vigil preceding the great holidays. I must not therefore be confused with the liturgy or the communion service for which Rachmaninov has also written a musical setting. A word of praise should be spoken for the English text provided by Canon Winfred Douglas. This indefatigable champion of the Russian school has labored lovingly over these translations and adaptations and has achieved a truly notable result.

Uses: General Thanksgiving Call to Worship Concert Scripture:I Chronicles 16:31-36 - Psalm 100 - Psalm 118:1-4 Leaping confidently from Scripture this anthem is a sturdy acclamation of worship and praise. A strong unison theme announces the joyful spirit that permeates this psalm while a contrasting richly harmonized section provides expressive potential for thoughtful directors. Effective canonic writing builds the intensity to a dramatic moment in the text God's love endures forever! There is a final statement of the theme and the piece ends with an exclamation point of praise!

Arrangement For Piano-In 1786 Haydn was commissioned by the cathedral canon in Cádiz to write meditative music which was to be performed alternately with readings of Christ's last words on Good Friday. Already in the spring of 1787 the orchestralversion and an arrangement for string quartet (HN851 and HN9771) were published by Artaria in Vienna. Barely ten years later he also made an oratorio version which Henle has published as a study score (HN9830). Although Haydn didnot undertake the version for 'Clavicembalo o Forte Piano' (harpsichord or fortepiano) himself he received the proofs and praised the piano reduction as being 'very good and conceived with particular care'. In addition thisexpressive work is also extremely well-suited to being performed on the organ.

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)

Psalm 15:6-Bright mixed meters syncopation hand claps and canonic imitation bring spirit and life to this accessible work for young and developing voices. The text from Psalm 150 is sung in accessible Hebrew and English: Let everything that hath breath praise the Lord.

100 Hymns for Violin and Guitar is a collection of all-time favorite hymns arranged for violin solo with suggested written chordal accompaniment. Fingerstyle guitar and strum styles are indicated on each solo. Other chordal instrumentalists can also use the written material. The repertoire spans centuries and represents a wonderful assortment of solos which may be used as preludes or offertories throughout the various seasons in the church year./ Recueil / Violon et Guitare