SKU: A0.746791

An arrangement of Little Brown Jug for String Orchestra & Drum Kit.

Little Brown Jug is a song written in 1869 by Joseph Winner, originally published credited to Eastburn (Winner’s middle name).

It was originally a drinking song. It remained well known as a folk song into the early 20th century. Like many songs which make reference to alcohol, it enjoyed new popularity during the Prohibition era. In 1939, bandleader Glenn Miller recorded and broadcast his swing instrumental arrangement of the tune with great success, and the number became one of the best known orchestrations of the American Big Band era His version did not have the lyrics.

In 1939, Glenn Miller and His Orchestra released a hit version of the song on RCA Bluebird, as an A side 78 single, B-10286-A, in a new arrangement by Bill Finegan backed with Pavanne. The recording was an early chart hit for Glenn Miller. The song was performed in Glenn Miller’s Carnegie Hall concert that year and became a staple of the Glenn Miller Orchestra repertoire and a classic of the Big Band era.

The song was featured in and was central to the plot of the 1953 Universal Pictures film biography The Glenn Miller Story starring James Stewart and June Allyson.

For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret 

http://www.sheetmusicplus.com/search?Ntt=keith+terrett

SKU: A0.747198

About the song: In John 14, Jesus says, I am the way, the truth and the life. No one comes to the Father except through me. We are severely mistaken if we think that any other road leads to peace with God. No amount of good deeds could pay for the debt we owe. But we are also mistaken if we think that we are too far gone from Christ's reach. This song is a message for both the self-righteous and the hopeless. There is a Way that leads to life forevermore with our Heavenly Father, and His Name is Jesus Christ. All who enter through the gate of Christ by faith will be saved. He came that you might have life, and have it to the full. Rejoice! If you can believe, believe!

Can be performed with piano accompaniment only, OR with additional band members (rhythm chart included), OR with full orchestra.

Please Note:
You can purchase individual copies of the choral score separately on Sheet Music Plus. Performance of this piece requires the purchase of one choral score per singer.

Included in your Purchase:
Full Score
Choral Score (SATB with Solo)
Piano Accompaniment
Rhythm Chart
Drumset
Flute 1, 2
Oboe (opt. Soprano Sax doubles)
Clarinet 1, 2
Horn 1, 2 (opt. Alto Sax doubles)
Trumpet 1, 2
Trumpet 3
Trombone 1, 2 (opt. Tenor Sax doubles)
Trombone 3/ Tuba (opt. Bari Sax doubles)
Percussion 1, 2
Harp
Violin 1, 2
Viola
Cello
String Bass (opt. Bass Clarinet/ Bassoon doubles)

Lyrics:
Verse 1
There’s a way that seems right to the human eye,
A path that we think is best.
We pretend to go on believing,
That a good life can pass the test.
But the best that we have to offer,
Is no more than a filthy rag.
When we stand before God, the Father,
There is only one Name that will save.

Chorus 1
Jesus is The Way,
Jesus is The Truth,
Jesus is The Life for me and you.
Jesus is The Door,
And all who enter through,
Will be saved and be made new.
Jesus is The Way.

Verse 2
We were shackled in chains of sin and shame,
Walking blinded by selfish gain.
Every turn led to disappointment,
Wanting more with each passing day.

Prechorus 2
But the blood of a precious Saviour,
Can remove every guilty stain.
He will carry your ev’ry burden,
There is hope in Him today!

Chorus 2
Jesus is The Way,
Jesus is The Truth,
Jesus is The Life for me and you.
Jesus is The Door,
And all who enter through,
Will be saved and be made new.
Jesus is The Way,
Jesus is The Way.

Bridge
Straight and narrow is the road that leads to life forevermore,
There’s only One Who paid the price,
The perfect, spotless sacrifice,
Only Jesus Christ!

Chorus 3
Jesus is The Way,
Jesus is The Truth,
Jesus is The Life for me and you.
Jesus is The Door,
And all who enter through,
Will be saved and be made new.
Jesus is The Way,
Jesus is The Way,
Jesus is The Way!

SKU: A0.1496954

This is bluesy arrangement of a 1944 classic swing tune with a Jazzy baseline.

Accessible enough f0r ay intermediate performer, yey incredibly rewarding for even the most accomplished pianist. Phyllis Love's instrumental arrangements for jazz piano remain true to the original melodies, with inventive harmonies and dynamic rhythmic patterns perfect for solo players! Each is a tasty addition to your show set, whether a classic show tune or a Standard from the Great American Songbook.

Check out these other Phyllis Love arrangements for students of jazz piano.

The Breeze and I
The Last Time I Saw Paris
Yesterdays
You and the Night and the Music
We'll Be Together Again
A Nightingale Sang In Berkeley Square
For All We Know
I Thought About You
I'll Remember April
I'm ld Fashioned
It Might As Well Be Spring
It's Only A Paper Moon
Love Walked In
M0na Lisa
On the Atchison, Topeka and the Santa Fe
Once In A While
Summertime
Surrey With the Fringe On Top
Tenderly
That Old Black Magic

Phyllis Lovwe is a professional jazz pianist in the New York City area who's appeared at storied venues including Windows on the World, Gramercy Hotel, and Mama Leone's. She's performed with the Bill Lombardo's Orchestra, scored music for film (Brighty of the Grand Canyon co composer], and written jingles for Harvey's BristolCreme, Estee Lauder, Seiko watches and many others.

SKU: A0.535382

The Revelations of Divine Love (Metaphors from Sea and Sky) (2009), an oratorio for soprano,
baritone, chorus, and chamber orchestra (0000.1100.1perc.strings), was commissioned for and is dedicated to the choir of
Royal Holloway, University of London and Rupert Gough, director of choral music.
The texts of the work are adapted primarily from the writings of Julian of Norwich (c. 1342–1416).
Julian is best-known for her Sixteen Revelations of Divine Love (c. 1393), believed to be the first Englishlanguage
book written by a woman. Considered one of the most significant English mystics of all
time, Julian lived a reclusive life as an anchoress at the Church of St. Julian in Norwich, England (her
true name is unknown). Regarded even during her lifetime as a spiritual authority, her optimistic
visions have been very influential in the years that have followed.
Texts are also drawn from three additional sources: an excerpt from the Book of Margery Kempe
(translated by Christopher M. Brunelle), two poems by English poet Robert Herrick (1591–1674),
and a poem by the American writer Elizabeth Kirschner (b. 1955).
The primary concept underlying this oratorio is the presence of two distinct discourses. One is a
sequence taken from Julian’s religious visions. The other is a sonic geography of Nantucket Island
(located 30 miles off the coast of Massachusetts in the United States). This interconnected concept
was inspired by the writings of the great Scottish poet George Mackay Brown (1921–1996). Living
his entire life on Scotland’s Orkney Islands, Mackay Brown consistently explored the transposition
of religious imagery and events to his native landscape. (For example, the poem Apple-Basket, Apple-
Blossom takes the story and structure of the Stations of the Cross, and maps them onto imagery of
distinctly Orcadian character.)
The landscape of Nantucket Island has been the driving force behind a large number of my
compositions for many years. In this oratorio, Julian’s visions are transposed from Norwich and
mapped onto the Nantucket landscape. Each movement of the work thus has two parallel purposes:
a setting of the visionary words, and a portrayal of a specific place in Nantucket’s geography. Much
of the music was planned in the actual locations. Since the soloists and choir must, by necessity, sing
the words, a great deal of the landscape is left to the orchestra. Thus, the orchestra’s role is
substantially greater than simply accompaniment.
Because of these two discourses, the oratorio is not intended as comprehensive working out of all
aspects of Julian’s visions, nor does it use her own structure and sequence. Rather, it takes her
beautiful words, and the fundamentals of her visions, and attempts to create a new narrative and
spiritual experience from them.

This is the full score.  The vocal score is available for sale.  The parts are available on rental from the publisher.