A Touch of Blue

Part of our Presbyterian Association of Musicians Series this hymn-anthem is based on a new tune of the composer's own devising. The 1806 text is given a lyrical treatment rather than the usual rollicking one and the result is expressive and effective. The first stanza is in unison the second split between TB and SA alternating. The third stanza is set for SATB voices. The fourth and final stanza has lower voices in unison and sopranos descanting. Duration: 4:10Part of our Presbyterian Association of Musicians Series this hymn-anthem is based on a new tune of the composer's own devising. The 1806 text is given a lyrical treatment rather than the usual rollicking one and the result is expressive and effective. The first stanza is in unison the second split between TB and SA alternating. The third stanza is set for SATB voices. The fourth and final stanza has lower voices in unison and sopranos descanting. Duration: 4:10

Kathy Gladen Johnson's composition for unaccompanied SATB divisi voices sets the incarnation stanzas of this classic text adding Lully lulla lullay as a tag to each stanza to create a unique Christmas piece. Unexpected harmonies accent the short work drawing out the richness of the imagery. Ample places to breathe and dynamic variations facilitate a meditative expressive performance. Kathy Gladen Johnson's composition for unaccompanied SATB divisi voices sets the incarnation stanzas of this classic text adding Lully lulla lullay as a tag to each stanza to create a unique Christmas piece. Unexpected harmonies accent the short work drawing out the richness of the imagery. Ample places to breathe and dynamic variations facilitate a meditative expressive performance.

The poetic early 20th-century text explores the vast reach of God's love by contrasting it to human experiences. The first half of Benjamin Kornelis's tune is sturdy and pentatonic—lending an early American feel and the second half softens introducing the 7th of the scale. Additional contrasts—between unison and divisi voices accompanied and a cappella sections and the build-up and release of tension—act in service to the text throughout. The piece ends after a climax in the last stanza with a gentle restatement of the opening phrase: The love of God is greater far than tongue or pen can ever tell. Duration 3:00The poetic early 20th-century text explores the vast reach of God's love by contrasting it to human experiences. The first half of Benjamin Kornelis's tune is sturdy and pentatonic—lending an early American feel and the second half softens introducing the 7th of the scale. Additional contrasts—between unison and divisi voices accompanied and a cappella sections and the build-up and release of tension—act in service to the text throughout. The piece ends after a climax in the last stanza with a gentle restatement of the opening phrase: The love of God is greater far than tongue or pen can ever tell. Duration 3:00

Written in a sparkly joyous 6/8 this is brand new music set to the beloved traditional text. He has specified piano for the accompaniment but one can hear it being done on organ just as well. Alternatively there are parts for flute oboe cello and harp. This composer's previous settings of well-known Christmas texts with brand new tunes have been very popular. Duration 3:30 Chamber Ensemble: Flute Oboe Cello and Harp Written in a sparkly joyous 6/8 this is brand new music set to the beloved traditional text. He has specified piano for the accompaniment but one can hear it being done on organ just as well. Alternatively there are parts for flute oboe cello and harp. This composer's previous settings of well-known Christmas texts with brand new tunes have been very popular. Duration 3:30 Chamber Ensemble: Flute Oboe Cello and Harp

Lively Clarinet Tunes is a collection of 57 spirited clarinet solos. The selections include reels hornpipes jigs sea chanteys dance tunes and more. These clarinet solos are ideal for performance or just enjoyment while playing the instrument. Guitar chords are included for accompaniment and can be used by any chordal instrument.

One of the most popular Broadway choral arrangements of all time this selection is a fantastic selection for graduation and many more concert occasions. Available separately: SATB SAB SSA 2-Part and ShowTrax CD. Rhythm partsavailable digitally (gtr b dm). Duration: ca. 3:50.Available: SATB SAB SSA SA.

Stand against bullying. The composer offers a YouTube video showing this piece performed with dancers and offers background information speaking to and offering help in the midst of bullying. This is a beautiful song and a beautiful resource for this important topic. Stand against bullying. The composer offers a YouTube video showing this piece performed with dancers and offers background information speaking to and offering help in the midst of bullying. This is a beautiful song and a beautiful resource for this important topic.

Incorporating the concept of drones (included on every part) here is the second volume of tuning chorales from Richard Saucedo. These will become invaluable to helping your players strive for tone development balance and blend in addition to the focus on intonation.

Somewhere I Have Never Traveled

Concerto for Violin and Orchestra

In the words of Anne Frank: How wonderful it is that nobody need wait a single moment before starting to improve the world. These sage words from a young Anne are the foundation for this original song. One child can change the world. No matter how big and no matter how small. These powerful lyrics gently set provide a message that all young children need to hear. In the words of Anne Frank: How wonderful it is that nobody need wait a single moment before starting to improve the world. These sage words from a young Anne are the foundation for this original song. One child can change the world. No matter how big and no matter how small. These powerful lyrics gently set provide a message that all young children need to hear.

The Vision

The SATB version of Moonlight Sound Design was commissioned and premiered by the youth choir Kam r conducted by M ris Sirmais in Riga Latvia in 2012. In USA it was performed by the Wartburg Choir conducted by Lee Nelson at the 2017 National Convention of the American Choral Directors Association in Minneapolis Minnesota. Moonlight Sound Design is dedicated to my father who died by way of an accident. The title of the piece is inspired by the fact that the studio I have is in my father’s country house in an attic room and the night moon shines directly into it. Moonlight Sound Design is here arranged for 3 or 4 Soprano Soli SSAA Chorus and Hang* but can be performed withPiano or Guitar accompaniment as well. The piece should not sound sad but rather ethereal. It is more about longing than sadness. To create a more ethereal mood the soloists may be staggered throughout the audience if possible. This will also provide more dimension to the sound. The Alto section should sing the pitches in bars 5–23 and bars 38–56 with a “didgeridoo” effect. *The Hang (pronunced ha in German) is a musical instrument created by Felix Rohner and Sabina Schärer in Bern Switzerland. Its name comes from the Bernese-German word for “hand.” The instrument is constructed from two half-shells of deep-drawn nitrided steel sheets glued together at the rim leaving the inside hollow and creating a distinct “UFO” shape. The top (“Ding”) side has a center “note” hammered into it and seven “tone fields” hammered around the center. -Raimonds Tiguls Duration: 4:10 Part of the Lee Nelson Choral Series. The SATB version of Moonlight Sound Design was commissioned and premiered by the youth choir Kam r conducted by M ris Sirmais in Riga Latvia in 2012. In USA it was performed by the Wartburg Choir conducted by Lee Nelson at the 2017 National Convention of the American Choral Directors Association in Minneapolis Minnesota. Moonlight Sound Design is dedicated to my father who died by way of an accident. The title of the piece is inspired by the fact that the studio I have is in my father’s country house in an attic room and the night moon shines directly into it. Moonlight Sound Design is here arranged for 3 or 4 Soprano Soli SSAA Chorus and Hang* but can be performed withPiano or Guitar accompaniment as well. The piece should not sound sad but rather ethereal. It is more about longing than sadness. To create a more ethereal mood the soloists may be staggered throughout the audience if possible. This will also provide more dimension to the sound. The Alto section should sing the pitches in bars 5–23 and bars 38–56 with a “didgeridoo” effect. *The Hang (pronunced ha in German) is a musical instrument created by Felix Rohner and Sabina Schärer in Bern Switzerland. Its name comes from the Bernese-German word for “hand.” The instrument is constructed from two half-shells of deep-drawn nitrided steel sheets glued together at the rim leaving the ins

“The Friendly Beasts” portrays the animals who have protected Jesus and Mary during the birth. Each animal proudly takes its turn announcing its contribution. The donkey carried Mary “up hill and down.” The dove “cooed” the Child to sleep. At the end of the song all of the animals reappear in quick succession: donkey cow sheep dove. They recount the gifts they brought to Immanuel. The Clarinet plays a featured role enhancing the message of the lyrics. For example the Clarinet associates with each animal braying as a donkey warmly mooing as a cow embellishing as a sheep with “curly horns ” and fluttering upward with trills as a dove in flight. Duration: 4:15“The Friendly Beasts” portrays the animals who have protected Jesus and Mary during the birth. Each animal proudly takes its turn announcing its contribution. The donkey carried Mary “up hill and down.” The dove “cooed” the Child to sleep. At the end of the song all of the animals reappear in quick succession: donkey cow sheep dove. They recount the gifts they brought to Immanuel. The Clarinet plays a featured role enhancing the message of the lyrics. For example the Clarinet associates with each animal braying as a donkey warmly mooing as a cow embellishing as a sheep with “curly horns ” and fluttering upward with trills as a dove in flight. Duration: 4:15

The 18th-century poem Jesus Christ the Apple Tree found its way into an American hymnal compiled by Joshua Smith in 1784. Most often classified as a carol. A soprano soloist introduces the simple melody which is then harmonized in verse 2 and passed down to the tenor line in verse 3. Verse 4 finds the melody transposed up a third then embellished by a soprano descant on the final verse. Duration: 2:00 The 18th-century poem Jesus Christ the Apple Tree found its way into an American hymnal compiled by Joshua Smith in 1784. Most often classified as a carol. A soprano soloist introduces the simple melody which is then harmonized in verse 2 and passed down to the tenor line in verse 3. Verse 4 finds the melody transposed up a third then embellished by a soprano descant on the final verse. Duration: 2:00

The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church Boston Lewis Redner in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices with the SATB and SSAA arrangements following in 2018. Duration: 3:30The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church Boston Lewis Redner in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices with the SATB and SSAA arrangements following in 2018. Duration: 3:30

The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church Boston Lewis Redner in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices with the SATB and SSAA arrangements following in 2018. Duration: 3:30The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church Boston Lewis Redner in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices with the SATB and SSAA arrangements following in 2018. Duration: 3:30

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

Today's best way to practice jazz! Accurate easy-to-read lead sheets and professional customizable audio tracks accessed online for 10 songs. The interactive online audio interface includes: tempo control looping buttons to turn each instrument on or off lead sheet with follow-along marker and melody performed by a saxophone or trumpet on the head in and head out. The full stereo tracks can also be downloaded and played off-line. Separate lead sheets are included for C B-flat E-flat and Bass Clef instruments. This volume includes 10 songs: Blue Train (Blue Trane) - Central Park West - Cousin Mary - Giant Steps - Impressions - Lazy Bird - Moment's Notice - My FavoriteThings - Naima (Niema) - Syeeda's Song Flute.