SKU: A0.596415

This Lux Aeternam is one of just a few surviving portions of the Missa Brevis ad Puerum (Small Mass for a Boy) by composer Daniel Hay. The mass was written as memorial for the composer's cousin, Farley McDaniel. The majority of this a capella mass was lost in the aftermath of Hurricane Katrina. Originally written for SATB solo voices it could be performed by SATB choral group. The Lux Aeternam is for tenor voice only although it could fit an alto voice.

SKU: A0.1466548

Song: Lux Æterna
Artist: Metallica
Album: 72 Seasons

Tab Information:
This bass tab has been arranged by Pearce Hamblin from The Bass Diaries to provide you with the most accurate representation of the bass line from this song.

For more information, please visit https://www.thebassdiaries.com

A note about the author:
Pearce started The Bass Diaries back in 2013 and has been transcribing bass lines to popular songs since 2015; currently in the top 100 highest rated tabbers over on Ultimate Guitar for the quality tabs posted to their website over the years.

SKU: A0.533554

I. (Flowing)
II. (Fast, nimble)
III. (Funereal) (in memoriam Donald Martino)
IV. (Dancing)
V. (Distant, echoing) (for Richard and Dee Wilson)
VI. (Moderate, singing, with humor) (for Michael Finnissy)
VII. (Slow, very lyrical)
VIII. (March)
IX. (Envoi: Very slow, from afar)
Nine Preludes (2007) for piano was written for and is dedicated to pianist Marilyn Nonken; it was commissioned by
Richard Mason.
Although the work is composed as a set of discrete movements, the preludes are very much interconnected, as motivic
and developmental ideas run throughout the entire set. The basic musical material (founded upon collections of minor
and major thirds) is shared among all nine movements. An elegiac quality runs throughout the work.
The first prelude (Flowing) is inspired by the piano music of Johannes Brahms, whose contributions to the instrument’s
literature have been a significant and ongoing influence on my work.
The second prelude is fast and bright. Consistent staccato textures are maintained as the two hands intertwine.
The third prelude (Funereal) is dedicated to the memory of American composer Donald Martino (1931–2005). The music
refers very obliquely to Martino’s setting of Robert Herrick’s poems of death and eternity in The White Island (1985).
The fourth prelude (Dancing) is light and buoyant. After a melodic middle section, the opening music reverses itself to the
end.
The fifth prelude (Distant, echoing) is dedicated to Richard and Dee Wilson. Through large blocks of sustained sound (both
quiet and loud), the movement explores certain harmonic colors of the piano.
The sixth prelude (Moderate, singing, with humor) is dedicated to English composer Michael Finnissy. The opening is
marked “like an ‘off-kilter’ folk song,� and this original melody is subjected to a variety of transformations and textures.
The rhythmic patterns are constantly in flux.
The seventh prelude (Slow, very lyrical) is melodic and passionate, with a nocturnal character. The middle builds to an
intense climax before dying away.
The eighth prelude (March) is spiky and crisp. In the trio, the march theme is turned first into a tonal ballad before
gradually transforming back into the language of the march. A faster reprise of the opening music follows.
The ninth prelude (Envoi: Very slow, from afar) is an elegaic “farewell.� Romantic gestures and harmonies try to assert
themselves before the music dies away.

Performance Note: Although it is preferred that the entire set of nine preludes be played in concert, individual preludes (or smaller
assembled groupings) may be performed when necessary for programming needs. If the entire set is played, however, the order of the
preludes should not be changed. The movements should be listed in the program in the format shown at the top of this page.

Recorded by Donna Amato on Carson Cooman: Piano works  ALTARUS AIR-CD-9015

SKU: A0.775982

Capriccio after Dickinson (2010) for solo oboe was written for Toni Marie Marchioni. The two movements of the work take their titles from Emily Dickinson’s famous poem Wild Nights. Wild Nights-Wild Nights! Were I with thee Wild Nights should be Our luxury! Futile-the Winds- To a Heart in port- Done with the Compass- Done with the Chart! Rowing in Eden Ah, the Sea! Might I but moor-Tonight- In Thee!

SKU: A0.882290

Thank you for your interest in this title! You can purchase individual copies for a lower price at PersonagePress.com.


O Nata Lux is a setting of the liturgical text from the Morning Office Lauds for the Feast of the Transfiguration in the Christian church. It was originally composed for and premiered by the Choir of St. Paul's Carroll Street in Brooklyn, NY and was dedicated to its then Rector, The Revered Peter Cullen. The premiere was conducted by the composer in Sunday Mass on the Feast of the Transfiguration. This harmonically surprising setting is suitable for liturgical or concert use and is short and simple enough to put together when rehearsal time is at a premium.

SKU: A0.1022787

Music for Sonora is an orchestral piece built on a short Navajo hymn that comes from the Native American Church in Arizona. Written in a free variation form and conceived in a stream-of-consciousness manner, the music reflects the composer’s memory of his childhood home in the Arizona desert.

SKU: A0.1022786

This one document includes all of the following orchestral parts needed to perform Music for Sonora (Choir Parts sold separately): Piccolo, Flute 1.2, Oboe 1.2, Clarinet in B-flat 1.2, Bassoons 1.2, Horn in F 1-2, Horn in F 3-4, Trumpet in B-flat 1.2, Trombone 1.2.3.4, Tuba, Timpani, Percussion 1.2.3.4, Harp, Piano, Solo Violin I (with others), Violin I (tutti), Violin II and Solo, Viola and Solo, Violoncello and Solo, Double Bass.

SKU: A0.533605

Rossini in the Kitchen (2005) is a comic staged monodrama for tenor and piano. It was
composed for and is dedicated to Frank Napolitano.
The work imagines the Italian composer Gioacchino Rossini (1792-1868) in his later years in
Paris. After his rather young retirement at age 37, Rossini wrote no more opera and instead
led a life of leisure and luxury, pursuing his great love of gourmet cooking.
Although Rossini was from the northernmost regions of Italy, known for their elegant Frenchinfluenced
cuisine, the recipes in this work are familiar Tuscan style Italian fare. It is
assumed that Rossini would perhaps have enjoyed these dishes as well and made them as a
nod to his native country, whose national musical style he had so impacted with his
compositional work.
The musical language of this work is ecletic, drawing upon the common practice language of
Rossini's time, distorted and amplified through more contemporary sounds and textures.
Some of the contemporary sounds and textures are derived from popular music traditions of
the second half of the 20th century. Since, like more modern popular music, Rossini's own
work was some of the most popular and widely known music of its time. His tunes were
whistled by people in the streets, in the same way that today's pop songs are.
Thus, the musical language of the work sometimes switches abruptly or transforms from one
style into another. There are numerous allusions to Rossini's own music as well as that of
other later opera composers who were indebted to him.

SKU: A0.1224772

Key: C major.

SKU: A0.1497880

Lux Aeterna is a setting of the traditional Latin text for a capella treble voices (SSAA). It was composed in 2015 as part of the composer's A Requiem for Peace. Beginning with the traditional plainsong chant, it blossoms into four-part harmony as Lux aeterna, luceat eis Domine (Let light perpetual shine upon them, Lord is heard. Harmonic tension builds as the plea Requiem aeterna dona eis Domine (Grant them eternal rest, O Lord is sung three times. The final chord builds with the single word Lux, an entreaty for eternal light to shine upon the souls of the departed.

SKU: HL.8738726

UPC: 073999387261. 9.0x12.0x0.023 inches.

Serious organists will welcome this new work from one of America's foremost contemporary writers. Recipient of the Fullbright Scholarship for music composition, David Carlson adds to several important Operas and other works, this new composition for the king of instruments - a heroic and challenging piece.

SKU: MQ.8705-E

Latin. John 1:5.

The text of Lux in tenebris—a single verse from the prologue to the gospel of John—was chosen in conjunction with the commissioning party, who requested a sacred text with universal appeal that could address the hopes and fears that all people share. The composition elaborates on the text's juxtaposition between the darkness of despair and the light of hope. Dissonant, layered ostinati built on fragments of the text illustrate the omnipresent darkness (mm. 1-25). The second half of the piece (m. 29ff.) changes key and meter, employing the entire text to emphasize the persistent shining and eternal triumph of the light. Duration: 4:30
Lux in tenebris was premiered in December 2016 by the Chamber Singers of First Community Church (Columbus, Ohio) at the church’s annual Candlelight Christmas concert, and reprised for the Holy Week Tenebrae service in April 2017.