This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester New York for their weekly compline service. Duration: 3:15 This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester New York for their weekly compline service. Duration: 3:15

Released in 2007 this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus harp and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00 Released in 2007 this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus harp and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00

Velocity

Triptico Porteno for violin and guitar by Máximo Diego Pujol. Triptico Porteno for violin and guitar by Máximo Diego Pujol.

Three pieces for solo piano by Russian composer Ivan Wyschnegradsky. Three pieces for solo piano by Russian composer Ivan Wyschnegradsky.

Archipel 3

Full Score and Instrumenatal Parts for WW1806 Silent Night.

Holiday Pops for 12+ Bells/2-3 OCT

Jazzagility Book 2

Mass In Honor of St Rose Philippine Duchesne Parts

Missa Festiva

This is a beautiful piece setting an evocative text by Anne Bronte that explores natural imagery on a blustery day and the feelings they inspire. Supported by the piano acccompaniment Quartel's soaring melodies rich harmonies and syncopated rhythms illustrate the power of the wind.

Dat Groove

Haunted Halloween

Road Trip

From Stevie Wonder’s landmark 1976 album Songs in the Key of Life this smooth and tender hit has gone on to become a jazz standard recorded by many artists. In a moderate swing style John Berry perfectly captures the essence of the original in this version for younger bands. Includes brief solos for alto sax and trumpet.

Here's the familiar main theme from the Charlie Brown TV specials that everyone is sure to recognize. Carefully arranged for younger players this great sounding chart maintains all the charm and style of the original. A written or ad lib. alto sax solo is featured in the middle swing section.

Featuring a catchy melody and distinctive harmonies this 2018 hit from Zedd Maren Morris and Grey was nominated for a number of Grammy awards including best song and has demonstrated a rare quality of enduring popularity. Paul Murtha perfectly captures the flavor of this upbeat hit.

Even without the movie Shrek Smash Mouth has become an iconic band of the ‘90s. This entertaining and upbeat medley for flexible instrumentation includes the hits All Star Walkin’ on the Sun and I’m a Believer.

Johann Schelle was Kantor of St. Thomas’s Leipzig from 1677 until his death in 1701. He received his training under the direction of Heinrich Schütz at the Dresden court. As Kantor Schelle expanded the repertoire the choir sang in church services with numerous sacred concertos motets and cantatas. The motet “Komm Jesu komm” was composed after the death of Jacob Thomasius professor at Leipzig University and Rector of St. Thomas’s School and was performed at his funeral ceremony in 1684. The predominantly amiable and song-like character of the intimate five-part setting reflects a baroque attitude to dying and death: dying is not regarded as a painful event but is longedfor expectantly as a release from the earthly and the door to eternal life in paradise. The poem is by Paul Thymich who also worked at St Thomas’s School. About half a century later Johann Sebastian Bach took the first and last verses of Thymich’s 11-verse poem and used them as the basis for his double-choir motet Komm Jesu komm.