When the Spirit Says Sing

Three favorite songs are inventively combined in this short medley that's equally effective for young mixed or treble choirs. A great concert feature it practically sings itself! Includes: Every Time I Feel The Spirit I'm GonnaSing When The Spirit Says Sing Siyahamba (We Are Marching In The Light of God).Available separately: : 3-Part Mixed 2-Part and ShowTrax CD. Approx. Performance Time: 2:30.

Discovery Level 1-This contemporary setting of a spiritual combines the text I'm Gonna Sing When the Spirit Says Sing with a traditional folk melody creating an accessible and motivational work that will energize your ensemble. Availableseparately: 3-Part Mixed 2-Part VoiceTrax CD. Duration: ca. 3:00.

Arrangements for Children's Voices and Orff Instruments by Shelley Nordlund and Jan Hall. 'Voices in Harmony' is a collection of 12 delightful songs for young voices and accompanying Orff instruments that encouragesuccess-oriented experiences with beginning part singing. These 'kid-tested' arrangements are suitable for singers as young as 2nd/3rd grade through upper elementary / middle school. Whether you are a beginner or a veteran Orffinstructor this collection gives you all the necessary conceptual information to present each song along with a sequential teaching process to help you present each lesson easily and effectively. Available: Song Collection. ForGr. 3-8.

Easy Piano-Easy Piano. 35 songs perfect for Sunday School or family gatherings including: The B-I-B-L-E · God Is So Good · I Am a C-H-R-I-S-T-I-A-N · I'm Gonna Sing When the Spirit Says Sing · I'm in the Lord's Army · If You're Happy and You Know It · Jacob's Ladder · Jesus Loves the Little Children · Kum Ba Yah · Simple Gifts · This Is My Father's World · This Little Light of Mine · When the Saints Go Marching In · Zacchaeus Was a Wee Little Man · and more.

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

Jóhann Jóhannsson was an award-winning Icelandic composer, renowned for his compositions across film, television, theatre and dance, including his stunning score to James Marsh?s Stephen Hawking biopic The Theory of Everything (2014), which earned him a Golden Globe Award for Best Original Score. Jóhann Jóhannsson: Piano Works brings together for the first time transcriptions of his best-loved works in a special limited-edition collection for solo piano, which celebrates music from his solo albums alongside his highly acclaimed and powerfully moving film scores. Featuring 30 pieces accurately transcribed for solo piano, this collection will allow fans of Jóhannsson to immerse in his unique sound-world with music from across his career including The Theory of Everything, Odi et Amo and Flight From the City. Suitable for intermediate piano.With only a thousand copies available, Jóhann Jóhannsson: Piano Works is presented as a stunning high-end cloth-bound hardback limited-edition book. Alongside the scores, it includes a wealth of striking photographs and a specially written introduction from American composer Dustin O?Halloran, a longtime friend of Jóhannsson.?I believe that music acts as a time capsule, preserving the very essence of an individuals heart. When we play music from the past, we possess the ability to summon their spirit and bring them back to life. Jóhann?s music, in its timelessness, will forever remain vibrant and alive. By playing these pieces, you will find yourself drawing closer to his musical world, ensuring its eternal resonance?. Dustin O?Halloran, composer.?Jóhann Jóhannsson: Piano Works offers a superb tribute and testament to the musical achievement of this much-missed composer.? Andrew Eales, pianodao.com A Game of Croquet (from The Theory of Everything) A Model of the Universe (from The Theory of Everything) Bað A Sparrow Alighted Upon Our Shoulder Be Over (from The Shadow Play soundtrack) Beauty (from Blind Massage) By the Roes, and by The Hinds of the Field Dressing Up (from Personal Effects) The Drowned World Eleven Thousand Six Hundred and Sixty-Nine Died of Natural Causes Englabörn (piano version) Flight From the City Flugeldar II Good Morning, Midnight He Says It?s the Future Indian Wedding (from Personal Effects) Innocence (from Free the Mind) Já, Hemmi Minn Jói