Concert Band - Level 4 - Digital Download

SKU: A0.1024060

Composed by John Dorhauer. 20th Century,Contemporary. Score and Parts. 126 pages. John J Dorhauer #59173. Published by John J Dorhauer (A0.1024060).

Back to School 2015 This standalone movement balances chaotic, breakneck ensemble writing with placid, luscious quieter moments. Inspired by the fifth chapter of the Book of Revelation, the music vividly depicts the duality of the lion/lamb character (hence the plurality of the title), and the ample use of mixed meter and solo opportunities (particularly for flute and percussion) will offer an engaging challenge to most high school ensembles. Although this is the middle movement of a three-movement work, it works in its own self-contained world. Contact information: johnjdorhauer@gmail.com PRO: ASCAP Social Media: https://www.facebook.com/JohnDorhauer?fref=ts / https://twitter.com/JohnDorhauer Duration: 9 minutes Year of Release: 2011 Program Notes: This composition is intended to function on two different levels: it is simultaneously a programmatic depiction of the events that unfold in Revelation 5 and a musical representation of the duality found in the scripture. It was this sense of duality that persuaded me to keep the s at the end of Revelation in the title – it is as if there are multiple revelations to be found within both the scripture and my musical interpretation of it. In the book of Revelation, the prophet John is sharing an apocalyptic vision to a group of churches in Asia as a means of hope – even though these people were being persecuted for their beliefs, John promises the rapture in which God will save the believers and destroy the nonbelievers. The fifth chapter begins with John’s ascension to heaven, and it concludes just before the Christ-like Lion of Judah breaks the seals of the scroll that will unleash the rapture. While this is intended to be a message of hope, it will also bring about cataclysmic death and destruction. Herein lies the duality – how can a message of hope come as the result of such a violent outcome? Movement II (of three) corresponds with only verse 6, and it is more of a character study than a programmatic narrative. It examines the Lion of Judah character, which is portrayed at first as an overwhelming and aggressive figure after it approaches from the distance in the hazy beginning section. This character is also depicted in the scripture as a lamb, though, and this is reflected in the piece’s latter half, which is a softer reimagining of the Lion character’s material. The Lion and the Lamb are not two different characters but, rather, different sides of the same character. It is this duality that drives the movement, and it explains the connections between these otherwise distinct sections. This movement was originally performed by the CCPA Wind Ensemble in April 2010 when it received first place in CCPA’s wind ensemble composition contest.

Vocal Solo,Voice - Level 4 - Digital Download

SKU: A0.1518018

Composed by John Newell. 21st Century,A Cappella,Medieval,Sacred. 8 pages. Abierto Music #1092162. Published by Abierto Music (A0.1518018).

This is a setting for unaccompanied soprano of selected passages from Revelations of Divine Love, by the 14th-15th century mystic Julian of Norwich. Her work is widely acknowledged to be one of the great Christian spiritual classics. It is also the earliest surviving book in middle English written by a woman. The short text was written soon after Julian recovered from a severe illness and describes sixteen visions that she had received: revelations of Christ's suffering and God's love. The second version (long text) was written perhaps twenty years later; it is a greatly expanded volume that includes her meditations on what she had been shown.

This work begins with a spoken passage, the very first words of her work, directly followed by a soliloquy that includes some of Julian's best known quotations (e.g. all shall be well). I chose to adapt Julian's language into modern English, while remaining as faithful as possible to the style and intent of her original text. For more information about this and all my other works visit: www.johnnewellmusic.com.

Choral Choir (4-Part) - Level 5 - Digital Download

SKU: A0.535382

Composed by Carson Cooman. Contemporary,Sacred. Octavo. 187 pages. Musik Fabrik Music Publishing #3025403. Published by Musik Fabrik Music Publishing (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.

Choral Choir (SATB) - Level 4 - Digital Download

SKU: A0.891025

Composed by Juan Carlos Davila. A Cappella,Christian,Praise & Worship,Sacred. Octavo. 79 pages. Juan C. Davila #6363677. Published by Juan C. Davila (A0.891025).

  Songs from the Book Of Revelation is a powerful new cantata (SATB) and piano accompaniment consisting of 14 original songs from the book of Revelation that may be performed on any occasion throughout the year. I wrote this work during the height of the Coronavirus pandemic. I was inspired to praise God and compose new music using text from the book of Revelation. Next to each song title, I have provided the bible verses for easy access. I arranged the songs in chronological order, but may be sung in any order. Most of the songs are easy to medium in difficulty level, including the piano accompaniment. One of the songs titled Amen! Amen! (Revelation 7:12) is sung and played in whole tone scale and is challenging to perform. There is a couple of short solos, and acapella sections throughout the cantata. Check out the MIDI sample and video of this entire cantata in my YouTube channel with the link provided. All lyrics are shown on the screen as the music is playing. Enjoy performing this cantata and to God be the glory! Performance time is about 38 minutes (with repeats).

Choral Choir (SATB) - Level 3 - Digital Download

SKU: A0.926664

Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 8 pages. M.A. Morizio #3588427. Published by M.A. Morizio (A0.926664).

The Apostle John’s visions in Revelation are nothing less than astounding to all readers. However, little is it known that another Hymn to Christ is neatly tucked into the very first seven verses of this last book of the Bible. John begins his Revelation (verses 1-3) with a prelude, introducing Jesus Christ and the apocalypse (revelation) that was made to him via the angel sent to describe all the things about which he was to write. He says, Blessed is the one who reads aloud the words of this prophecy, and blessed are those who hear, and keep what is written in it, for the time is near. After this short prelude, John delivers an epistolary opening (a greeting identifying the author and recipients), then pronounces a blessing upon the recipients-verses 4-6. After both the prelude and the opening, John immediately proceeds to another known Hymn to Christ, in verse 7, which I have called, Behold He Is Coming.  

When presented with the text in Revelation 1:7, I immediately thought, Where is the Gospel, the good news, in this piece? After several minutes of meditating on the text, I realized the Gospel message was right there in front of me-in the very last line: Yes, so be it [Lord], so be it, [Amen!] There will be peace! All will be known. Every single person will understand, at that point. The end, is the ushering in of a new beginning.

The piece is scored in G minor for SATB with flute and Bâ™­ clarinet accompaniment. In the opening phrase, we hear the clarinet on a sustained high (concert) G, which crescendos into a quick, descending sixteenth note pattern.

There is urgency! The flute joins the clarinet in a duet to complete the introduction to the anthem. Then, the choir begins their haunting chant, Behold, He is coming with the clouds. Every eye will see Him, even those who pierced Him. Every eye will see Him and all the tribes of the earth will mourn over Him . Alas, there is peace! The two instruments dissolve into an a cappella four-part chorale where the choir creates the agreement between the text and the music, modulating to the relative major (Bâ™­)-all is reconciled in a final Amen!

Choral Choral, Guitar, Percussion, Rhythm - Digital Download

SKU: H1.C5831DP

Composed by Jennie Lee Riddle. Arranged by Lloyd Larson. Piano with Optional Rhythm Parts: Guitar, Bass, Synth & Drums. General Worship. Octavo. 11 pages. Hope Publishing - Digital #C5831DP. Published by Hope Publishing - Digital (H1.C5831DP).

By Jennie Lee Riddle. Revelation 4:8 - Revelation 4:11 - Revelation 5.

Popular praise song by Jennie Lee Riddle The theme of God's Holiness is captured in this Lloyd Larson setting of Jennie Lee Riddle's popular praise song which blends two texts based on chapters 4 and 5 from the Book of Revelation. This contemporary ballad builds to a worshipful proclamation of honor and glory to God. A contemplative coda follows creating a devotional ending and a breath-taking moment of reflection.

Choral, Guitar, Percussion, Rhythm - Digital Download

SKU: H1.C5831RDP

Composed by Jennie Lee Riddle. Arranged by Lloyd Larson. Piano with Optional Rhythm Parts: Guitar, Bass, Synth & Drums. General Worship. Rhythm parts. 9 pages. Hope Publishing - Digital #C5831RDP. Published by Hope Publishing - Digital (H1.C5831RDP).

By Jennie Lee Riddle. Revelation 4:8 - Revelation 4:11 - Revelation 5.

Popular praise song by Jennie Lee Riddle The theme of God's Holiness is captured in this Lloyd Larson setting of Jennie Lee Riddle's popular praise song which blends two texts based on chapters 4 and 5 from the Book of Revelation. This contemporary ballad builds to a worshipful proclamation of honor and glory to God. A contemplative coda follows creating a devotional ending and a breath-taking moment of reflection.

Concert Band - Level 4 - Digital Download

SKU: A0.983168

Composed by Craig Wadley. 20th Century,Concert,Contemporary,Standards. Score and parts. 16 pages. Wadley Publications #3046241. Published by Wadley Publications (A0.983168).

This is a full score in LEGAL SIZE format for Revelation by Craig Wadley, PARTS SOLD SEPARATELY.

Revelation was commissioned in 2002 by Dru Davison, then Director of the Brookland High School Band in Brookland, Arkansas.  

In 2002, the United States was still reeling from the deadly and devastating terrorist attacks of September 11, 2001. In the wake of the tragic loss of life and the shaking of the nation’s sense of security, many people feared what the future might bring.  Revelation begins with a question: Where do we go from here? The piece presents the uncertainty and sense of foreboding felt by so many Americans at that point in history, followed shortly by the only possible response: We must move forward. The music moves toward its climax with new energy, driving onward with a sense of urgency, reflecting the heart and will of a nation determined to rise above tragedy.

Soli section for Flute, Clarinet, Alto Sax, and Tuba soloists, with percussion.

Concert Band - Level 4 - Digital Download

SKU: A0.983167

Composed by Craig Wadley. 20th Century,Concert,Contemporary,Standards. Score and parts. 48 pages. Wadley Publications #3046237. Published by Wadley Publications (A0.983167).

This is a complete set of parts for Revelation by Craig Wadley, SCORE SOLD SEPARATELY.

Revelation was commissioned in 2002 by Dru Davison, then Director of the Brookland High School Band in Brookland, Arkansas.  

In 2002, the United States was still reeling from the deadly and devastating terrorist attacks of September 11, 2001.  In the wake of the tragic loss of life and the shaking of the nation’s sense of security, many people feared what the future might bring.  Revelation begins with a question: Where do we go from here?  The piece presents the uncertainty and sense of foreboding felt by so many Americans at that point in history, followed shortly by the only possible response: We must move forward.  The music moves toward its climax with new energy, driving onward with a sense of urgency, reflecting the heart and will of a nation determined to rise above tragedy. 

Soli section for Flute, Clarinet, Alto Sax, and Tuba soloists, with percussion.

Concert Band - Level 4 - Digital Download

SKU: A0.983169

Composed by Craig Wadley. 20th Century,Concert,Contemporary,Standards. Score and parts. 13 pages. Wadley Publications #3046247. Published by Wadley Publications (A0.983169).

This is a full score in STANDARD SIZE (8.5 X 11) format for Revelation by Craig Wadley, ATTENTION - SMALL PRINT, recommended only for adjudication purposes.

PARTS SOLD SEPARATELY.

Revelation was commissioned in 2002 by Dru Davison, then Director of the Brookland High School Band in Brookland, Arkansas.  

In 2002, the United States was still reeling from the deadly and devastating terrorist attacks of September 11, 2001. In the wake of the tragic loss of life and the shaking of the nation’s sense of security, many people feared what the future might bring.  Revelation begins with a question: Where do we go from here? The piece presents the uncertainty and sense of foreboding felt by so many Americans at that point in history, followed shortly by the only possible response: We must move forward. The music moves toward its climax with new energy, driving onward with a sense of urgency, reflecting the heart and will of a nation determined to rise above tragedy.

Soli section for Flute, Clarinet, Alto Sax, and Tuba soloists, with percussion.

Choral Choir (SATB) - Digital Download

SKU: A0.891023

Composed by Juan Carlos Davila. A Cappella,Christian,Praise & Worship,Sacred,Spiritual. Octavo. 19 pages. Juan C. Davila #6210477. Published by Juan C. Davila (A0.891023).

This is the final composition for choir (SATB) with piano accompaniment on my 14 songs Songs From The Book Of Revelation project. Each song can be performed on its own or as a complete work. Alleluia To The Lord Our God! from Revelation chapter 19 starts with a catchy chorus before the fast paced verse that follows. It ends with a quick key change and Acappella section singing the last verse in the bible, Revelation 22:21. Thank you for listening and God bless you all.

Choral Choir (SATB) - Level 3 - Digital Download

SKU: A0.891017

Composed by Juan C. Davila. Christian,Praise & Worship,Sacred. Octavo. 12 pages. Juan C. Davila #6136267. Published by Juan C. Davila (A0.891017).

This is a choir composition (SATB) with piano accompaniment based on Revelation 11:17-18. I'm currently working on a set of 14 choir pieces based on the book of Revelation.

Cello,Instrumental Solo,Piano - Level 4 - Digital Download

SKU: A0.987858

Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 32 pages. Robert M. Greenberg #115605. Published by Robert M. Greenberg (A0.987858).

Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Video: https://mail.google.com/mail/?tab=wm#inbox/14f3cea616cb0a88?projector=1 Duration: ca. 12 minutes Year of composition: 2014 Program Note: I. Overture II. Nigun no. 9 III. Molad’ti IV. Gilu Hagalilim V. Y’mey Hanoar VI. The Gigue Is Up My apologies upfront for all the first person pronouns in this program note! A few years back, Nina Flyer asked me to write for her a piece of music that would contain or make reference to Jewish/Yiddish/Hebrew dance music and/or folk songs. The more I thought about it, the more difficult I realized the challenge would be. As best as I could tell, I had three options. Option one: I could set said dance music/songs for cello and piano, with the result being a series of arrangements: nice, but artlessly unoriginal (meaning dull). Option two: I could weave the tunes into a single narrative and in doing so write another version of Schlomo (a self-proclaimed Hebraic work for cello and orchestra by Ernst Bloch). Option three: I could make up my own ethnic-sounding melodies and either arrange them for cello and piano or weave them into some sort of Hebraic narrative: options one and two all over again. So I came up with option four. I selected four folk tunes (movements II, III, IV, and V) and composed a counter-melody to each. The first half of movements II, III, IV, and V set that counter-melody without any reference to the original folk tune. The second half of those movements then combines the counter-melody with the original tune (and thus the revelation, as the original tune is revealed). The generally two-part shape described above (excepting movement IV, which is A-B-A in structure) suggested Baroque binary dance form, and so I turned the piece into a sort of Baroque dance suite. It begins with a French Overture based on the counter-melodies of movement III and V, and concludes with a gigue based on the counter melodies of movements II and IV. The historical references are supposed to be tongue-in-cheek and I can only hope they will be taken that way. A thousand-and-one thanks to Nina Flyer and Lori Lack for their patience, hard work, and musical brilliance. Suite Revelation is dedicated – with the greatest respect and affection – to Nina Flyer.