SKU: A0.1405996

For intermediate SATB choir, 4 verses of this beloved hymn have been dramatically arranged to emphasize the song's classic beauty by using dynamics, articulation, key changes, and a moderate level of polyphony. Throughout most of the song, the soprano and alto voices move together, as do the tenor and bass voices.

SKU: A0.1151796

This humorous piece is designed to keep SAB choir members interested (and to keep them guessing). Für Elise Toot (Who Tooted?) is by the fictional composer Kent U. Händel (a pseudonym for my wackier side), parodying Beethoven's well-known bagatelle and pairing it with lyrics based on a well-known limerick. (The final page also includes a disclaimer about Kent U. Händel's fictional background and an admission that he is, in fact, fictional, created in my own mind.).

SKU: A0.893710

This moving Spiritual, with new verses for the Easter season, is appropriate for church services or school concerts. To Christians, it's a commemoration of Jesus' self-sacrifice and resurrection. To schools, it's an opportunity to develop students' musical horizons in the important styles of choral and Gospel. This versatile arrangement may be sung with choral or Gospel vocal technique, either a cappella or with the written piano score.

SKU: A0.893701

Christian music ministers and bands! Are you worried that people will focus too much on the hype and excitement, instead of on Jesus? Are you looking for a way to express your concerns that will get them to listen? The old-time rock style of Has Jesus Left the Building is meant as an ice breaker to broach this difficult subject and lead up to a more sobering setting, such as a sermon or a call to prayer dealing with the song's tough but important message: that no matter how we get with it to Christian music, we'll eventually lose the glory of God if we don't focus our worship and submission on Him.
Appropriate as a special in a contemporary church service.
Suggested improvisatory style: 1950s R&B/rock 'n' roll.
For more information, contact revelation.and.restoration@gmail.com.

SKU: A0.893704

Music teachers -- piano, vocal, or music theatre! Are you wondering how to pique the interest of your students (and their recital audiences) in the heightened and ever shifting musical emotionalism of the Romantic style, while staying relevant to today by using a timeless story that arrests their attention? Do you need an expressive recital piece that will demonstrate your students' abilities in a wide range of expression? The solution to both of these problems is this dramatic piano-vocal arrangement of Behind The Maestro's Mask, from Revelation & Restoration's musical The Maestro's Mask: The Untold Story of the Opera Ghost.
The song allows intermediate singers to moderately challenge their vocal emotional expression, and you may wish to accompany them yourself on the piano, yet it's also useful as an instrumental solo piece for a piano student. With music based on the A-C sections of Chopin's Polonaise, Op. 26, No. 1 in C# minor and Db major, but transposed and adapted in the easier keys of G minor and G major, this piece will act as a step up for your moderately advanced piano student, preparing for Chopin's work. (There are significant differences between this song and Chopin's Polonaise, particularly on pages 1 and 8-11.)
Disclaimer: This piece quotes from Frédéric Chopin's public domain work, Polonaise, Op. 26, No. 1 and is part of Revelation & Restoration's musical The Maestro's Mask: The Untold Story of the Opera Ghost, which is based on a sequel to Gaston LeRoux's public domain novel Le Fantôme de l'Opéra. The musical is not a sequel to Andrew Lloyd Webber's musical version of The Phantom of the Opera. Revelation & Restoration is not affiliated with Andrew Lloyd Webber or The Really Useful Group.