Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.845954 Composed by Maria Thompson Corley/William Steffe. Arranged by Maria Thompson Corley. Concert,Contemporary,Holiday,Patriotic. Score. 24 pages. Maria Thompson Corley #6679339. Published by Maria Thompson Corley (A0.845954). Commissioned by Julia Carey and Juventas Ensemble, this duet was premiered in early July of 2021 by Kelley Hollis, soprano, James Dargan, baritone, and Julia Carey, piano as a tribute to Dr. Martin Luther King. The title of the concert was Yearning to Breathe Free. Julia conceived of the idea of combining Dr. King's I've been to the mountaintop speech with Julia Ward Howe's Battle Hymn of the Republic, however, the rights to Dr. King's speech weren't made available in time. As a result, the composer wrote a poem based on the portion of Exodus to which King alluded in his famous speech, in which Moses is giving a final speech to the Israelites from Mount Nebo. He knows he won't be allowed to cross over, and so he urges his people to be courageous as they continue on without him. The opening is very dissonant, because the images of a terrible swift sword unleashing fateful lightning struck me as terrifying. After commanding the heavens to let him speak, Moses also acknowledges his fear, as well. As the piece progresses, the familiar Battle Hymn Melody appears, as does Go Down Moses.James Dargan, for whom the piece was written, has an unusual range. Alternate notes are provided, as a result. The piece starts at about 1:18:10 of the concert, which can be found on the Juventas website.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1193572 Composed by William Heath. Classical,Contemporary,Romantic Period. Score. 14 pages. William Heath #793038. Published by William Heath (A0.1193572). Opus 5 was written in February 2023 for the Leeds University Union Music Society Spring Showcase. The pieces are simple art songs dedicated to Amy Howe. This recording is performed by Amy Howe (Soprano) and Christopher Hughes (Piano)1. Take, o take those lips away2. Hope3. Music, When Soft Voices DieThese pieces are simple yet pretty, perfect to programme as a cycle or as individual works.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1137156 Composed by William Steffe. Arranged by James J Morehead. Classical,Opera,Patriotic,Sacred,Traditional. Score. 5 pages. James J. Morehead #737305. Published by James J. Morehead (A0.1137156). Lovely Patriotic Arrangement of The Battle Hymn of the Republic, also known as Mine Eyes Have Seen the Glory or Glory, Glory, Hallelujah. Each verse modulates to a new exciting key with Julia Ward Howe's original lyrics from her first, sixth and fifth published verses. A lovely call and response between the piano and the singer complete the final chorus. Exciting solo setting.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.741369 Composed by Julia Ward Howe and William Steffe. Arranged by Brian Lockard. Christian,Holiday,Patriotic. Score. 4 pages. Brian Lockard #5307841. Published by Brian Lockard (A0.741369). Straight-forward march setting of four verses.  Great for congregational singing.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1126313 Composed by Philip Le Bas. Christian,Christmas,Praise & Worship,Religious,Sacred. Score. 8 pages. Philip Le Bas #727017. Published by Philip Le Bas (A0.1126313). A new Christmas carol by Philip Le Bas for unison voices (with occasional divisi) and piano, setting the words of William Blake's poem A Cradle Song from his collection entitled Songs of Innocence. The very title of Blake's poem calls out for it to be set to music. Indeed the poem is a straightforward lullaby for the first few stanzas, sung softly by a mother over her sleeping baby, as she marvels at the wonder of this beautiful infant and expresses her love for the child. Her own anxieties and weeping for the child remind her of the Christ-child who also wept as a vulnerable baby. But as God incarnate he wept for me, for thee, for all, and brought peace to heaven and earth. (Blake uses the word beguile perhaps to indicate the paradoxical nature of a weeping God bringing redemption to a suffering world by becoming a vulnerable human baby himself.) The composition aims to avoid unnecessary complexity in the vocal parts, so that it can be sung easily particularly by a parish choir. However, it also attempts to capture some of the beauty, drama and mystery of the scene expressed by Blake. The piece begins and ends in stillness, and there are gentle climaxes here and there, reflecting some of the rise and fall of the poem's lyrics. It could be sung by a mixed or single-voice choir, but note should always be taken of the predominantly quiet dynamics of the piece, especially in the first half. https://www.sheetmusicdirect.com/en-US/se/ID_No/1216185/Product.aspx https://plbmusic.blogspot.com A Cradle Song from Songs of Innocence by William Blake (1757-1827) Sweet dreams, form a shade O'er my lovely infant's head! Sweet dreams of pleasant streams By happy, silent, moony beams! Sweet Sleep, with soft down Weave thy brows an infant crown! Sweet Sleep, angel mild, Hover o'er my happy child! Sweet smiles, in the night Hover over my delight! Sweet smiles, mother's smiles, All the livelong night beguiles. Sweet moans, dovelike sighs, Chase not slumber from thy eyes! Sweet moans, sweeter smiles, All the dovelike moans beguiles. Sleep, sleep, happy child! All creation slept and smiled. Sleep, sleep, happy sleep, While o'er thee thy mother weep. Sweet babe, in thy face Holy image I can trace; Sweet babe, once like thee Thy Maker lay, and wept for me: Wept for me, for thee, for all, When He was an infant small. Thou His image ever see, Heavenly face that smiles on thee! Smiles on thee, on me, on all, Who became an infant small; Infant smiles are His own smiles; Heaven and earth to peace beguiles.