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Yours Are the Hands : SATB a Cappella, Drums and opt. Soprano Solo or Soli and Body Percussion

Praise To The Lord The Almighty

Despite looking more difficult, this is a great piece for a level 2 group. The eighth notes are in repeated patterns against the melody in the bass clef at first. There is some mild synocopation and plenty of big chords all rung together. A middle reflective section may be played on handchimes. Then the bass clef melody returns against the upper eighth notes. LV, martellato, shakes, and RT give the ringers plenty of variety.

Praise Ye the Lord

This setting of Psalm 150 was the winner of the 2019 Fyfe Prize sponsored by the Sewanee Church Music Conference. Big and joyful with a rollicking organ accompaniment, the music bounces motives back and forth energetically, between the sections of the choir and between the choir and the organ. A wonderful piece for a festival or celebration. Duration: 3:45

The Love of God

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

The Five Graces Gloria

This flexible setting of the Glory to God can be performed simply with cantor, assembly, and organ or dressed up with choir harmonies and handbells. The refrain is exuberant and memorable, and the verses, sung by either cantor or choir, are paced to move along steadily without feeling rushed. The return of the descending fifth in the melody ties the piece together, and the chromaticism adds a bit of excitement but never undermines the melody. Choirs and assemblies alike will delight in singing this exultant Gloria!

To Follow the Star

This Epiphany carol by Julian Revie for 3-part treble voices and organ was written for a children's choral festival. The inventive organ accompaniment occasionally mimics shimmering starlight. The melodic phrases rise and fall very naturally, sung in unison or 2 parts until the final section of the piece where 3 parts sing canonically. The original text is both poetic and immediate- "To follow the star is our joy, our delight" sums up the radiant and mystical nature of this piece. Duration 5:00This Epiphany carol by Julian Revie for 3-part treble voices and organ was written for a children's choral festival. The inventive organ accompaniment occasionally mimics shimmering starlight. The melodic phrases rise and fall very naturally, sung in unison or 2 parts until the final section of the piece where 3 parts sing canonically. The original text is both poetic and immediate- "To follow the star is our joy, our delight" sums up the radiant and mystical nature of this piece. Duration 5:00

In the Bleak Midwinter

Matthew Culloton always brings a unique touch to the carols in this series, but this one will melt you down. Beautiful textural and harmonic touches, sometimes very simple and sometimes more complex, illumine and elevate the text. For example, the descant functions as a lone voice just as the text becomes the most personal, "What can I give him?" The thought, beauty, and emotion in this setting are not to be missed.

Carol of the Birds

Only four handbells are used to creat a mysterious and haunting accompaniment in this very effective setting of the Catalan carol EL CANT DES OCELLS. (A piano accompaniment is provided as an alternative option.) There are a few moments when the choir sings unaccompanied until the bells re-enter, but overall the music is approachable and not difficult. Duration 3:45 Only four handbells are used to creat a mysterious and haunting accompaniment in this very effective setting of the Catalan carol EL CANT DES OCELLS. (A piano accompaniment is provided as an alternative option.) There are a few moments when the choir sings unaccompanied until the bells re-enter, but overall the music is approachable and not difficult. Duration 3:45

Joy to the World

Featured on the CD "Carols We Love to Sing" by the National Lutheran Choir, this setting involves the congregation, SATB choir, and organ. This makes it useful in a church service or for an audience-participation feature in a concert setting.

To First Seek the Kingdom

This is the kind of piece that might sound more difficult than it is. Michael Trotta employs an economy of choral writing: The SATB parts are sometimes unison, move often by steps, are repeated in the outer sections, and have only occasional divisi in the treble voices. The text is an innovative combination of Old and New Testament passages, put in a question-and-answer format with the question sung in a subdued matter and the answer intensifying in range, complexity, and volume. The piano and flute parts flow more quickly than the voices—save for a short, contrasting middle section—and provide an underlying momentum to this expressive work. Duration: 4:30

The Imprint of God's Face

This anthem setting of the tune TODOS LOS COLORES from the recent Presbyterian hymnal has a decidedly Latin-American feel, especially with the optional inclusion of guitar, flute, shaker, and claves. The bold text acknowledges that we are divided by hate when we judge each other on our differences but calls us to remember we are made in God's image and that we must learn the language of love. Very accessible writing for SATB, but the composer gives instructions for performance by SAB, Two-Part Mixed, SA, or Unison Choirs. Guitar plays from choir score. Duration: 4:00 Part of the Presbyterian Association of Musicians Series.This anthem setting of the tune TODOS LOS COLORES from the recent Presbyterian hymnal has a decidedly Latin-American feel, especially with the optional inclusion of guitar, flute, shaker, and claves. The bold text acknowledges that we are divided by hate when we judge each other on our differences but calls us to remember we are made in God's image and that we must learn the language of love. Very accessible writing for SATB, but the composer gives instructions for performance by SAB, Two-Part Mixed, SA, or Unison Choirs. Guitar plays from choir score. Duration: 4:00 Part of the Presbyterian Association of Musicians Series.

Philip W. J. Stopford: In The Land Of The Living (Arr. Burkhardt) (SATB)

In the Land of the Living by Philip W. J. Stopford, arranged by Michael Burkhardt for SATB with Organ accompaniment.

Blessèd Are Those : The Beatitudes

This through-composed setting moves peacefully through the moods of the text, with a unifying element of gentle triplets in the accompaniment. The tonal center changes as if to center on each "blessed" and then, midway, settles back into D major for a calm but assuring conclusion. Duration: 4:00

I Sought the Lord

Karen Marrolli provides an original melody for a text first published anonymously in London in 1878. Set in four parts with a fair amount of unison singing, the almost-folk-like tune is singable and satisfying. The text speaks of God's unending love which reaches for us even as we think we are the ones reaching out. Duration: 2:15

Take Me to the Water

This SAB setting of the African American spiritual is varied and creative, with vocal percussion and a chill but supportive piano part. Not difficult, although the three vocal lines are sometimes quite independent. Duration: 2:00 Part of the National Lutheran Choir Series.

Jesus Christ the Apple Tree

An original, unaccompanied setting of this ancient text, this was written to be quickly learned but is quite satisfying in all respects. The melody in Dorian mode is timeless, the texture builds from unison to four part, the final verse is almost all in unison. Manageable but memorable.

Thy Strong Word Did Cleave the Darkness

From the mysterious to the glorious, Biery perfectly captures the wide-ranging moods of this text, set to the enduring tune EBENEZER. This hymn concertato was written for the Schola Cantorum of Concordia Theological Seminary, Fort Wayne, Indiana in observance of the 500th anniversary of the Reformation. So, it's no surprise that the setting has considerable sweep and gravitas, with some fresh harmonic twists. A beautiful choir-only section spans stanzas three and four in major tonalities that nicely complement the staid minor of the rest of the hymn. The sixth and final stanza is unison with descant and concludes with a choir Alleluia and Amen. Stirring and majestic. Duration4:00 Instrumental Parts include: Trumpet I and II in B-flat and C, Horn in F (substitute for Trombone I), Trombone I and II, Timpani From the mysterious to the glorious, Biery perfectly captures the wide-ranging moods of this text, set to the enduring tune EBENEZER. This hymn concertato was written for the Schola Cantorum of Concordia Theological Seminary, Fort Wayne, Indiana in observance of the 500th anniversary of the Reformation. So, it's no surprise that the setting has considerable sweep and gravitas, with some fresh harmonic twists. A beautiful choir-only section spans stanzas three and four in major tonalities that nicely complement the staid minor of the rest of the hymn. The sixth and final stanza is unison with descant and concludes with a choir Alleluia and Amen. Stirring and majestic. Duration4:00 Instrumental Parts include: Trumpet I and II in B-flat and C, Horn in F (substitute for Trombone I), Trombone I and II, Timpani

Come Before the Table

The music is constructed with a duet or semi-chorus singing above a choir ostinato with hand drum, creating a multicultural, polyrhythmic effect. As with all such constructions, what looks a little complex on the page ends up feeling completely natural when sung. Especially appropriate for World Communion Sunday.   Video Credits:Music Recorded by The Singers, under the direction of Matthew Culloton, Minneapolis, MN. Recording Engineer: David Trembley, Soundmaster Productions. Copyright ©℗ 2019 MorningStar Music Publishers, Inc. Stock footage provided by Videvo, downloaded from https://www.videvo.net. Stock photos provided by Pixabay,downloaded from https://www.pixabay.com.

It Came Upon the Midnight Clear

Brand new music refreshes this timeless text. For SATB a cappella, the rising major 6th motif is lilting and lush. The men briefly divide into four parts and the sopranos divide for a descant on the final stanza. This composer's previous settings of well-known Christmas texts with brand new tunes have been very popular. Duration: 3:00 Brand new music refreshes this timeless text. For SATB a cappella, the rising major 6th motif is lilting and lush. The men briefly divide into four parts and the sopranos divide for a descant on the final stanza. This composer's previous settings of well-known Christmas texts with brand new tunes have been very popular. Duration: 3:00

Paraphrase on "Thine Is the Glory"

The original organ piece by Alexandre Guilmant makes a great tour de force for brass and organ. Varied, whimsical, and celebratory, the arrangement puts the melody through various paces, including a brief fughetta. Ending, as it should, with a broad final statement of the melody completely intact, this would make a great finale or postlude. Duration: 4:00

For the Music of Creation

An easy but striking congregational hymn setting of the tune RUSTINGTON to a text by Shirley Erena Murray. Stanzas one and three are in unison (three with descanting "ahs"). Stanza two invites the choir and even the congregation to sing in four parts! This can be as streamlined as you need it to be, but can also expand by use of the optional Brass Quintet, Handbells, Timpani, and Crash Cymbals. Instrumental Parts include: Trumpets I and II in B-flat and C, Horn in F, Trombone I and II, Hanbells (3 or 5 octaves), Timpani, Crash Cymbals

Savior of the Nations, Come

A beautiful Advent work with just a couple rehearsals needed. The oboe or C instrument adds nice reinforcement.

Acclamation For The Church Year

Using only four or five ringers, these eleven acclamations could be used as processionals (the first eight measures can be repeated ad lib,) or as interludes or responses. Often the briefest snippet of a seasonally-appropriate hymn tune is quoted:1. Advent2. Christmas3. Epiphany4. Lenten5. Easter6. Ascension7. Pentecost8. Trinity/General9. Reformation10. All Saints11. Thanksgiving

May the Lord Bless You and Keep You

This original setting of the classic benediction text has the flute, piano, and choir interweaving through motifs in a lovely interplay. Mostly chordal and homophonic until the beautiful many-fold Amen, your choir will love to sing this.