SKU: HP.C6307
UPC: 763628163075.
A medley of 'All Are Welcome' with 'Come Build A Church' Pairing Marty Haugen's hymn, All Are Welcome with Ken Medema's song, Come Build A Church, this choral setting is useful for building community in the house of the Lord. The instrumental parts add color and interest to this powerful reminder to build a house where love can dwell and all can safely live, a place where saints and children tell how hearts learn to forgive..
SKU: HP.C6307C
UPC: 763628963071.
SKU: HP.C6307P
UPC: 763628263072.
SKU: CL.032-4658-01
This Big‐League chart spotlights all of the sections of the jazz ensemble with high‐energy and verve. Opening with an effective piano solo/rhythm section soli, Welcome to the Majors features a driving, lite‐shuffle beat that propels the breezy melody and crisp ensembles over a set of slightly altered blues changes. A 4‐bar kick‐off leads to a tenor sax solo, and this solo section may be opened up for other players as desired. An 8 bar trombone soli leads way to the incisive and biting shout chorus that builds and builds. Fresh, spirited, and lots of fun for concert and contest alike. A real home run!
SKU: CL.032-4658-00
SKU: HL.48025282
UPC: 196288161431.
Let us build a house is the closing hymn of Kim André Arnesens large-scale work, The Stranger. Instead of a typical majestic endingto a large work, Arnesen went for a quiet one with only an unaccompanied choir. As the composer comments, 'sometimes a message feelsstronger like that and makes us listen more carefully'. The text is from the hymn by Marty Haugen, which concludes 'Let us bring an end to fear and danger: All are welcome in this place.' A stillness and serenity pervades this short piece, suitable for intermediate choirs.
SKU: CL.011-3433-01
An exciting overture that begins with a slow lyrical introduction before leading into a very rhythmic and energetic allegro section. The slow melodic middle section contains an optional trumpet solo. Cued throughout to allow for different musical colors and it offers the stability that less experienced players need. This effective composition provides a welcome opportunity for all instruments to experience playing the melody. Excellent for building confidence in young or inexperienced groups while providing a delightful concert or contest selection. Exceptional teaching material.
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: CL.026-4912-00
The famous Dutch hymn We Gather Together is scored for small bands with limited instrumentation, but will sound great with bands of all sizes! Dedicated to the Frontline Responders and Essential Workers who keep us safe, this is the perfect welcome back piece for both the band and your returning audience. With Build-A-Band scoring, you get to create unique sounds using the strengths of your instrumentation, and by following the suggested flexible interplay between sections. This beautiful arrangement includes optional vocal parts for performers and/or audience. Piano, bass, guitar and percussion can strengthen your sound as well. Flexible works wonders, and it’s perfect for distance learning situations!
SKU: CL.026-4912-01
SKU: CR.984361
ISBN 9780758669032. 7 X 10.25 inches.
This text by Lisa M. Clark is set to a memorable tune and two-part mixed setting by Jonathan Kohrs. The text highlights the story of salvation, while carrying themes of outreach, the new creation, and the end times. The choral texture builds from start to finish and blossoms with a descant in the final stanza.
In paradise, You shared Your bestWith us, Your children dear.Your bounty, presence, work, and rest:Secure from guilt or fear. But we brought shame upon the landAnd disobeyed Your clear command.Oh, we will never understandThe darkness we brought near.
In exile, driven from Your face, We hid and worked in vain.We lost the children's honored placeAnd earned Your just disdain.But Jesus came to take our blameAnd took away our horrid shameAnd gave to us His holy name,That we may life regain.
In restoration, we are freeAnd welcomed home anew.You smile on us abundantlyAnd bless us through and through.But as we wait for that great day,When all dishonor melts away,Let us, Your own beloved, say:'Our Lord, we honor You!'
Text copyright © 2020 Concordia Publishing House.
SKU: PR.11441271S
UPC: 680160587094. 8.5 x 11 inches. Poem by Du Fu (712-770 in Tang Dynasty).
It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. This music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 60-70 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehersal A and B (measures 1 - 41) represents the first four lines of the poem. The woodwind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high piano gestures. The music in Rehersal C and D (measures 42-87) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy key slaps on the flute creates a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehersal E, F, G (m 88 - 161) is a toccata, starting with the piano, which builds up a big shape, to reach the climax in m. 116, and keeps the vivid scene towards the coda (Rehersal H, m. 162 - the end), which stands on the energetic peak at the end of the piece.Commissioned by the Music From Copland House ensemble, supported by a grant from the NYSCA’s Composer’s Commissions program in 2002, my mixed ensemble piece Happy Rain on a Spring Night is written for all five instruments in the ensemble: flute, clarinet, violin, cello and piano, and premiered on Oct. 18, 2004, at Merkin Hall in New York. The musical imagination came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in the Tang Dynasty. Happy Rain on a Spring Nightby Du Fu (712-770 in the Tang Dynasty) Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) It’s like the welcome rain on a quiet spring night that nurtures the budding seeds; our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it’s being unfolded line by line. Although the tempo is set 60-70 quarter notes per minute throughout (played vividly, never slowing down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 1-41) represents the first four lines of the poem. The woodwind instruments respond to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high piano gestures. The music in Rehearsal C and D (measures 42-87) represents the next two lines of the poem. It’s so dark, a little light in the boat is shimmering on the lake... The breathy key slaps on the flute create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal E, F and G (m 88-161) is a toccata, starting with the piano, which builds up a big shape, to reach the climax in m. 116, and keeps the vivid scene towards the coda (Rehearsal H, m. 162-192), which stands on the energetic peak at the end of the piece. According to the principle of the Golden Section, I have constructed the piece with two large parts (m. 1-115 and m. 116-192). The GS falls onto the beginning of the climax section of the piece, which is exciting and loud. All subdivisions of the structures coincide with the numbers of proportions based on the GS principle. The music has textures changed according to the proportional arrangement throughout the piece. First Part (m. 1-115, total 115 measures), including two sectionsSection I (m. 1-69, total 69 measures), including two divisionsFirst Division (m. 1-41, total 41 measures), including two subdivisions:Subdivision I (m. 1-25, total 25 measures)Rehearsal A, violin triplets + cello metalic sound in small intervals, followed by woodwinds.Subdivision II (m. 26-41, total 16 measures)Rehearsal B, cello triplets + violin metallic sound in small intervals, overlapped by woodwinds.Second Division (m. 42-69, total 28 measures)Rehearsal C, breathy key slaps on flute, in dark.Section II (m. 70-115, total 46 measures), including two divisionsFirst Division (m. 70-87, total 18 measures)Rehearsal D, soft cello reciting, followed by string harmonics & woodwind “echo” passages.Second Division (m. 88-115, total 28 measures)Rehearsal E, starts to buildup the excitement, with piano toccata in the beginning. When it reachesthe patterns on the top of the keyboard, the lowest passages on piano and cello punch in, andreview the pitch material with small intervals.Second Part (m.116-192, total 77 measures), including two sectionsSection I (m. 116-161, total 46 measures), including two divisionsFirst Division (m. 116-133, total 18 measures)Rehearsal F, the excitement reaches the climax, GS located. All instruments join in.Second Division (m. 134-161, total 28 measures)Rehearsal G, combination of E and F, continue to buildup.Section II (m. 162-192, total 31 measures)Rehearsal H, coda, keep the excitement on the peak.