The Crossing

SKU: WD.080689520099

UPC: 080689520099.

Ginger Breadhouse, Carolyn Bells, Holly Branch, Candy Cane, Mary, and...Ned, Ted and Jed! These are a few of the names to be found among the cast of the new Simply WordKidz Christmas musical, The Christmas Cross! Created by Jeff Slaughter, with tracks produced and arranged by the team of Preston and Spencer Dalton, The Christmas Cross is a super-easy-to-learn, 27-minute musical designed to help you celebrate the season with the perfect setting for your kids choir!

In the opening scene, Miss Carolyn Bells, our children's choir director, is leading the kids through their first rehearsal for this year's Christmas Extravaganza. As they begin to share their thoughts on Christmas, the heart of the story comes to the forefront as Mary begins to tell everyone about the Christmas Cross - a very special ornament with special significance - an heirloom, handed down by her grandmother. As she explains the meaning behind the ornament...You can't have Christmas without the Cross..., this fun, lighthearted musical is beautifully and simply transformed into a powerful message about the love of God and the message of the Gospel.

Full of great new songs, in tandem with traditional carols and a humor-filled, Biblically-sound script, The Christmas Cross highlights Jeff Slaughter's signature brand of creativity. And, for the first time, he brings his unique style and infectious spirit to the Simply WordKidz Series, a fresh line of EZ-to-Sing-EZ-to-Perform musicals designed for both excellence and accessibility by the smallest of choirs, or for choirs with little rehearsal time. Bring an extra dose of Christmas cheer to your performance through the use of the production-enhancing DVD Accompaniment Track available, from WordKidz.

SKU: WD.080689807725

UPC: 080689807725.

Ginger Breadhouse, Carolyn Bells, Holly Branch, Candy Cane, Mary, and...Ned, Ted and Jed! These are a few of the names to be found among the cast of the new Simply WordKidz Christmas musical, The Christmas Cross! Created by Jeff Slaughter, with tracks produced and arranged by the team of Preston and Spencer Dalton, The Christmas Cross is a super-easy-to-learn, 27-minute musical designed to help you celebrate the season with the perfect setting for your kids choir!

In the opening scene, Miss Carolyn Bells, our children's choir director, is leading the kids through their first rehearsal for this year's Christmas Extravaganza. As they begin to share their thoughts on Christmas, the heart of the story comes to the forefront as Mary begins to tell everyone about the Christmas Cross - a very special ornament with special significance - an heirloom, handed down by her grandmother. As she explains the meaning behind the ornament...You can't have Christmas without the Cross..., this fun, lighthearted musical is beautifully and simply transformed into a powerful message about the love of God and the message of the Gospel.

Full of great new songs, in tandem with traditional carols and a humor-filled, Biblically-sound script, The Christmas Cross highlights Jeff Slaughter's signature brand of creativity. And, for the first time, he brings his unique style and infectious spirit to the Simply WordKidz Series, a fresh line of EZ-to-Sing-EZ-to-Perform musicals designed for both excellence and accessibility by the smallest of choirs, or for choirs with little rehearsal time. Bring an extra dose of Christmas cheer to your performance through the use of the production-enhancing DVD Accompaniment Track available, from WordKidz.

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: HL.4005518

UPC: 888680746537. 9.0x12.0x0.037 inches.

The title for this thrilling work for young players comes from the small rural town of Level Cross, North Carolina, which is home to one of America's sports royal families: the legendary racing Petty family. Using the 'King of NASCAR' as motivation for the work, The King of Level Cross combines the imagery of medieval knights and royalty with the thrill of stock car racing - including a victory lap at the end of the piece! Dur: 2:25.

SKU: HL.35030558

UPC: 888680084981. 6.75x10.5 inches. John Parker/David Lantz III.

Confident in its message yet humble of heart, this text speaks to our reliance on Calvary's cross and reminds us of the grace that is at the heart of our faith. The beautifully contoured tune is written in a gracious Celtic hymn style and is given nobility by dotted rhythms that punctuate the powerful text. The effective piano chords of the accompaniment contain many impressionistic color tones, giving the piece a modern sensibility. Strong!

SKU: CF.CM9608

ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892).

The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.  19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep” in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark” in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,” which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.”Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray.

SKU: CF.YAS176

ISBN 9781491146569. UPC: 680160904068. 9 x 12 inches. Key: G major.

This triumphant work by composer Alan Lee Silva will be a perfect selection for your next contest or festival performance. Atlantic Crossing contains all the signature flowing lines and warm harmonies that have made Silva's music so popular and fresh.
A joyous journey across the ocean begins in the opening measures, featuring triumphant violins and violas and accented cellos and basses. After the celebratory introduction, Atlantic Crossing comes down in dynamics and transitions to the lyrical A melody in the violins (m. 9) and continues with an AAB form.The violas take over with the flowing B-theme in m. 17 as the rest of the ensemble accompanies the tune with lush harmonies at a lower dynamic. A two-measure build in mm. 24-25 with ascending violins leads back to a reprise of the powerful introductory statement where the ensemble plays full-out with precise articulations and accents. A two-measure interlude in mm. 34-35 slows the energy down to return to the legato A-theme in the violins and violas. Violas carry the B-theme once again in m. 44 with syncopated and accented answer motifs in the violins. The key center shifts at m. 53, and the violins play the melody in a legato interpretationof the introductory theme. The rest of the group plays their accompaniment figures smoothly and expressively underneath. After the molto ritardando at m. 61, the piece returns to the original key center of G. From there the group plays with driving energy as before in the introduction to the final punctuated note in m. 76.

About Carl Fischer Young String Orchestra Series

This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels