Guitar - Level 1 - Digital Download SKU: A0.877941 Arranged by Rebecca Bogardus. Children,Christian,Christmas,Standards. Guitar Tab. 63 pages. Lillwy Publishing #5797145. Published by Lillwy Publishing (A0.877941). This collection is a guitar teacher's dream! A First Position Christmas: Classic Favorites includes the melodies of 22 popular older Christmas favorites, each carefully edited for the beginning guitarist. Each song has at least two versions - one with TAB and chords included, and one edited for classically trained guitarists, including fingering suggestions. Special effort has been made into making the selections as accessible as possible to those in their first year of study, and all of the pieces are exclusively in first position. They are organized by difficulty level; the first few pieces use only the first three strings and no accidentals, while the final song includes quite a bit of chromaticism.In addition to this collection, there are also 16 Modern Singles in the First Position Christmas available on Sheet Music Plus, each of which includes a coupon for use on the Classic Favorites collection.Songs in the collection (those with asterisks* are Modern Singles and are NOT included in the Classic Favorites collection):Up On the Housetop O Come, All Ye Faithful Away in a Manger The Little Drummer Boy* Good King Wenceslas Jolly Old St. Nicholas We Three Kings We Wish You A Merry Christmas All I Want for Christmas (Is My Two Front Teeth)* Angels We Have Heard On High Blue Christmas* Feliz Navidad* Here Comes Santa Claus* Rudolph the Red-Nosed Reindeer* Silver Bells*The Chipmunk Song* Hark the Herald Angels Sing Jingle Bells O Christmas Tree O Holy Night Let It Snow* Winter Wonderland* Deck the Hall God Rest Ye Merry, Gentlemen O Come, O Come, Emmanuel O Little Town of Bethlehem Frosty the Snowman* Home for the Holidays* Rockin' Around the Christmas Tree* White Christmas* It Came Upon the Midnight Clear Joy to the World Silent Night The First Noel What Child Is This? Christmas Time* Coventry Carol Have Yourself a Merry Little Christmas*

String Orchestra - Level 5 - Digital Download SKU: A0.861931 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 46 pages. Mark O'Connor Musik International #6208107. Published by Mark O'Connor Musik International (A0.861931). The American Seasons (violas part – violin and string orchestra) MO148FViolas Part (score and parts available)Music by Mark O’Connor42 pages - 38:00 minutes in length The American Seasons(Seasons Of An American Life)The American Seasons (Seasons Of An American Life) is a concerto for Violin And Chamber Orchestra. Composed in 1999, the music celebrates the various stages of an American life at the waking of the 21st century. Constructed in four movements and representing four stages of life, birth, adolescence, maturity and old age, the music also pays homage to Shakespeare's Seasons Of Man His acts being seven ages, incorporated throughout the work.Spring introduces the ideas of birth and infancy. After the principal theme has been stated, there is a violin cadenza encountering all twelve major keys and a 13/8 time signature representing the ancient golden ratio. These elements recall birth with all the possibilities a new life offers. Ending the movement, the principal theme is repeated with more complexity... as if posing life's questions.Summer represents the excitement and bravado of youthful adolescence and young adulthood. For the style of this movement I use a happy-go-lucky Blues voice which melds into Swing. I identify swing rhythm in all of 20th century American music culture as a common thread that runs through Ragtime through Rock and Roll on to Rap. Swing means testing the waters and pushing the envelope for lovers and soldiers.Fall is the slow movement symbolizing the wisdom of maturity. It is a peaceful theme with nostalgic strokes. It is a time for sincere reflection and enjoying ones accomplishments in life.Winter embodies the complexities and knowledge of an older person and that of a dying person. The movement begins with the principal them from Spring, but with a dissonance that emanates from a lifetime full of emotions and responsibilities. In the middle of the movement is a transition to an old world. I use my personal ancestry from Ireland as a foundation from which to rediscover one's lineage and explore the meaning and value of a cultural legacy.The exploration evolves into a four- and five-part fugue with a reel, jig, air, countered bass and the motif from the principal theme. All these elements, dances and melodies appear simultaneously and converge to form a unique insight to life's consequences from a historical perspective. Following the fugue, the principal theme finds its way back in. It sounds much as it did at birth. In the end, the solo violin cadenza carries the last earthly breaths before the violin and orchestra once again join in harmony to focus on a new life being transformed somewhere else. Life's four seasons in perpetuity. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed by Mark O’ConnorCommissioned by the Troy Savings Bank Concert Hall for their 2000 Celebration Can be heard on American Seasons Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, Metamorphosen Chamber Orchestra, Scott Yoo Catalogue Number MO148FCopyright © 1999 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:

Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.

Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.

Guitar,Voice - Level 2 - Digital Download SKU: A0.1042566 By The Candlelight Guitarist. By Words by Samuel Francis Smith, Music: traditional. Arranged by Bradley Powell. Patriotic,Sacred,Traditional. Guitar Tab with Voice. 2 pages. Geofonica Artistworks #647335. Published by Geofonica Artistworks (A0.1042566). Beloved American patriotic hymn arranged for Guitar solo, in both standard notation an TAB (instrumental finger-style, also suitable for accompanying singers, with lyrics included), arranged by Bradley Powell, who has recorded many albums as The Candlelight Guitarist. Level: beginning to Intermediate classical guitar, written in standard notation. (NOTE: This same arrangement in standard notation only, without TAB, is also available.) Arrangement features a short serene introduction, which serves as a transition motif within arrangement. Harmony is a subtle blend of traditional, folk-jazz and classical. Suitable for patriotic occasions, memorials, celebrations and religious services. ABOUT: Bradley Powell (aka The Candlelight Guitarist) began guitar at age ten, inspired by The Beatles. At 15, he became a protégé of jazz guitarist Joe Pass, and later studied classical guitar under Vincent Macaluso and at California State University, Northridge under Ronald Purcell, with a master class under Andrés Segovia. Brad was featured performing Gerald Wilson's Sonata for Guitar and Orchestra at the Hollywood Bowl, with the composer conducting. Brad was mentored in composition by David Rose (composer for Little House on the Prairie). Brad has composed music for TV, including Hill Street Blues and The 'A' Team, working with Mike Post. Brad has ten albums as The Candlelight Guitarist. Brad is also the classical guitarist for Disney's Princess Breakfast Adventuire at Disneyland's Grand Californian Resort. When not making music, Brad is often out hiking with his dogs.COMMENTS FROM ESTABLISHED REVIEWERS...Dr. Beth - Amazon.com #1 Hall of Fame reviewerBrad has a knack for putting together gentle, soothing guitar medleys which provide the perfect background or relaxation soundtrack.Bill Binkelman - Music Reviewer for Zone Music Reporter and New Age RetailerThe Candlelight Guitarist is your tour guide to a land of easy-going, warm, and inviting instrumentals.Rebecca of Amazon - Amazon.com HALL OF FAME TOP 500 REVIEWERBradley Powell's flawless playing allows you to completely relax into sleep or relax into an evening of candlelight and romance. I've fallen into a peaceful sleep while listening to this music and have also spent relaxing afternoons reading while The Candlelight Guitarist wove an intricate tapestry of sounds to nurture my heart. ... Bradley Powell's music is infused with natural ambience. As rich sounds renew your spirit, you can relax into a deep sigh of the heart. His style is artistic, heart healing and filled with romantic and cultural influences.Vicki Blizzard (Editor, PaperWorks and Crazy for Cross-Stitch! magazines) in CREATIVITY e-Letter: Music to filter into my dreams. My new favorite to listen to is classical guitar music by Bradley Powell.Jana L. Perskie Ceruleana (New York, NY USA) ~ Amazon.com TOP 50 Reviewer.The talented and creative Bradley Powell is the Candlelight Guitarist. His music is original and some of the most soul soothing I have ever heard.Bob McKillop, founder and publisher, MaineFolkMusic.comBrad Powell is a talented and highly trained California guitarist and composer who calls himself The Candlelight Guitarist, and for good reason. His music is perfect for situations in which candlelight figures prominently. Quiet meditation, romance, intellectual stimulation – the soft, pure tones of his Spanish and classic instrumental style open up your heart and render it more receptive to the spiritual messages that these pursuits engender.Grady Harp - HALL OF FAME TOP 100 REVIEWERmusic to soothe and calm and enrich the psyche. Would that there were more Brad Powells out there to help us all through these times. The world would be a saner place!

Small Ensemble Harpsichord,Organ,Piano - Level 3 - Digital Download SKU: A0.913678 Arranged by Clay Boland, Jr. Folk,Traditional. Score and parts. 56 pages. BOLAND MUSIC LLC, P.O. BOX 493, CARBONDALE, CO 81623 #6880017. Published by BOLAND MUSIC LLC, P.O. BOX 493, CARBONDALE, CO 81623 (A0.913678). The piano scores used for the original sheet music of these folk songs, hymns, and spirituals of the 1800’s were purposely made simple in order to sell as many copies as possible. The idea being that if someone in every family could read the most basic piano score, then the rest of the family could gather around the piano (usually an inexpensive upright) and sing along in the days before records, cassette tapes, CD’s, Radio, Television, iPods, YouTube etc. Nowadays, the few people who can sight-read at the piano are more musically literate, often being able to read and play classical compositions by Bach, Handel, Scarlatti, Mozart, Haydn, and Beethoven. They, therefore, deserve more interesting and rewarding arrangements of these wonderful musical treasures of the 1800’s. Furthermore, since these arrangements for piano and voice can also be played as piano solos, the piano scores are designed to be of enjoyable musical interest on their own; that is, orchestrated for the piano as if they were sketches for an ensemble of instruments. These arrangements can also be considered theatrical improvisations on the original sheet music. Following the best improvisational guidelines, they are based on 1) the implications of the title; 2) the meaning and words of the lyrics; 3) the melody; & 4) the harmonic pattern. For example: Oh, Susanna! is obviously a humorous nonsense song and is therefore arranged to sound carefree, jaunty, and joyful. Also, since the singer refers to my banjo on my knee, the piano arrangement imitates the sound of a banjo as it is played for singing and dancing, strumming its rhythmic way through the simple harmonic changes. You can see and hear the music for most of these contemporary arrangements on Sheet Music Plus and some also on YouTube. And if you wish to play and/or sing along alone or with your friends or family, please do so. Happy time travel!!!

Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions

Tenor and string quartet - Digital Download SKU: S9.Q6385 Auf Texte aus der Bibel. Composed by Naji Hakim. This edition: score and parts. Downloadable, Score and parts. Duration 7 minutes. Schott Music - Digital #Q6385. Published by Schott Music - Digital (S9.Q6385). German • English.This piece shows my hope to have our churches not only in peace but also in full communion. Naji Hakim Die Taube (The Dove) was commissioned by �Kirchenmusik bei St. Anna Augsburg� to celebrate the 450th anniversary of the Augsburger Religionsfrieden (Religious peace of Augsburg). It is based on three biblical verses related to peace : Gen. 8/11, Luk. 1/79, Joh. 14/27. The music is through composed and develops the character of the verses with contrasted string textures, putting in relief the expressive vocal line, declamation of light and happiness. The work exists in three versions : 1. for Tenor and string quartet, 2. for Tenor and string orchestra, 3. for Tenor and organ. First performance : by Robert Sellier, Tenor, Capella St. Anna Streichquartett, St. Anna Augsburg, Festkonzert zum Hohen Friedensfest, 8 August 2005. Gen.8/11 : �And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off. � Luk. 1/79 : �To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace. � Joh.14/27 : �Peace I leave with you, my peace I give unto you. � ...to guide our feet into the way of peace. (Luke 1,79) Words and music bind people together to form fellowships which guide us into the way of peace. Singing or playing together combine bodies and souls, so that our rhythm and breathing becomes one - a sense of belonging to one another is created which instils the very nature of peace. So it is that by becoming an integral part of the music, our feet are guided 'into the way of peace'. In Luke chapter 1, both Maria and Zechariah are carried away, body and soul, in hymns of thanksgiving. They let God´s melody resound in their bodies. Ignatius, one of the Early Fathers of the Church, might have drawn his inspiration from them when he wrote to the Christians of Ephesus around the year 100, Let God´s melody resound in you. The melody of our life is a single voice within God´s great melody; an everlasting celestial melody, in which we join together as integral parts - with time, we are gradually shown which chords we are given to touch and which chords to form with one another. God´s inextinguishable melody has an infinite galaxy of variations. As you would know, a variation is rooted but limitless. At our christening, God gives us a variation - an inextinguishable variation because of his promise, I am with you always, even to the end of the age. (Matthew 28, 20). Deeply rooted as we are, God leads us through. He calls us to Life out of His Eternity, He lets his melody reverberate in us and finally calls us back, when we die, to His everlasting future. Let God´s melody resound in you and guide your feet into the way of peace. Pastor Hanne Margrethe Tougaard.

Flute - Advanced - Digital Download Composed by Ludwig van Beethoven (1770-1827). Arranged by Joe Procopio. Romantic Period, Classical Period. Set of Parts. 17 pages. Published by JoeCopio Music LLC

String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Published by Geoffrey Peterson (A0.942953). Link to complete recording: https://soundcloud.com/geoffrey-peterson/sets/the-edmund-fitzgerald-concerto On November 9th, 1975, the S.S. Edmund Fitzgerald left port in Superior, Wisconsin. The 729-foot-long iron ore carrier, loaded with 26 thousand tons of taconite pellets for the auto industry, was bound for Detroit. Earlier that day, the weather service had issued a gale warning. This was not unusual, considering that gale storms are typical during November on Lake Superior. The Fitzgerald’s Captain, Ernest McSorley, and her 29-member crew headed northeast unaware of the maelstrom they would soon encounter. At around 2 a.m., Bernie Cooper, captain of the Arthur M. Andersen, another freighter which was following a few miles behind the Fitzgerald, radioed Captain McSorley to consult with him about the worsening storm. They had both decided to take a more northerly route along the Canadian shore, which they hoped would provide some shelter from the violent gale winds and waves. The Fitzgerald’s long-range radar stopped working the following day and was needed in order to avoid Six-Fathom Shoal, a shallow area of Lake Superior that could rupture the ship’s hull. McSorley soon radioed the Anderson to report that the Fitzgerald had sustained some topside damage...a fence rail down, two vents lost or damaged, and a starboard list. A list meant that the Fitzgerald was taking on too much water and was causing it to lean to one side. The short-range radar also stopped working, and the radio direction beacon from nearby Whitefish Point vanished. This would make it impossible for the Fitzgerald to reach the lee waters of Whitefish Bay and escape the 80 mph winds churning 20 to 30-foot waves. At 7:10 p.m. that night, First Mate Morgan Clark of the Andersen radioed the Fitzgerald to see how they were doing. Captain McSorley replied, We’re holding our own. This was the last contact anyone would have with the Fitzgerald. Shortly thereafter, the Edmund Fitzgerald disappeared from the Anderson’s radar screen. All 29 of her crew were lost on November 10th, 1975. The Edmund Fitzgerald chronicles the tragic final voyage of the well-known shipwreck in 4 movements; Embarkment, The Gales, Six-Fathom Shoal (We’re holding our own.) and Entombment-Dirge. The concerto makes use of several musical quotes. The first is Spanish Ladies, an English sea chantey, which appears in both the 1st and 3rd movements. The second is the funeral march theme from the 2nd movement of Beethoven’s 3rd Symphony which is heard in the 4th movement of the concerto. In addition, a chime is rung 29 times during the final bars of the concerto to memorialize the men who lost their lives. The Crew of the S.S. Edmund Fitzgerald: Michael E. Armagost, Frederick J. Beetcher, Thomas D. Bentsen, Edward F. Bindon, Thomas D. Borgeson, Oliver J. Champeau, Nolan S. Church, Ransom E. Cundy, Thomas E. Edwards, Russell G. Haskell, George J. Holl, Bruce L. Hudson, Allen G. Kalmon, Gordon F. MacLellan, Joseph W. Mazes, John H. McCarthy, Ernest M. McSorley, Eugene W. O'Brien, Karl A. Peckol, John J. Poviach, James A. Pratt, Robert C. Rafferty, Paul M. Riippa, John D. Simmons, William J. Spengler, Mark A. Thomas, Ralph G. Walton, David E. Weiss, Blaine H. Wilhelm.

Songbooks - Intermediate - Digital Download Composed by Robert Burns. Theory and Reference. Voice. E-book. 240 pages. Mel Bay Publications - Digital Sheet Music #96840EB. Published by Mel Bay Publications - Digital Sheet Music

2 Pianos,4 Hands,Piano Duet - Level 2 - Digital Download SKU: A0.565178 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson Music. Children,Folk,Jazz,Sacred,Spiritual. Score. 12 pages. Sharon Wilson #3519273. Published by Sharon Wilson (A0.565178). This arrangement of the traditional spiritual When the Saints Go Marching In is presented here as a mixed level duet for two pianos, four hands. The PIANO 1 is the easier part (early-intermediate) and the PIANO 2 is slightly more challenging, though still only at the intermediate level. Both PIANO parts carry the melody at times beginning with PIANO 1 for the verse. Quick-paced and bright, this dual piano duet is an ideal selection for a church setting.The purchase price includes a 5-page score with combined PIANO 1 and PIANO 2 parts on each page (the grand staff) plus an alternate format with the PIANO 1 and PIANO 2 parts on separate pages (3 pages each). Duration is just under 1-1/2 minutes. This arrangement is one of the 5 spirituals in the collection Five Joyful Tunes for Two Pianos.This song has numerous verses and varying lyrics, most of which reference the joy of marching into heaven at Jesus' second coming. Bible verses from which the lyrics were gleaned include the following: . . .Yahweh's ransomed ones will return, and come with singing to Zion; and everlasting joy will be on their heads. They will obtain gladness and joy, and sorrow and sighing will flee away. Isaiah 35:10 WEBFor the Lord himself will descend from heaven with a shout, with the voice of the archangel, and with God's trumpet. The dead in Christ will rise first, then we who are alive, who are left, will be caught up together with them in the clouds, to meet the Lord in the air. So we will be with the Lord forever. Therefore comfort one another with these words. 1 Thessalonians 4:16-18 WEBBlessed are those who do his commandments, that they may have the right to the tree of life, and may enter in by the gates into the city. Revelation 22:14 WEBLyrics for my favorite 3 verses:O when the saints go marching in,O when the saints go marching in,O Lord I want to be in that number,When the saints go marching in.O when the trumpet sounds its call,O when the trumpet sounds its call,O Lord I want to be in that number,When the trumpet sounds its call.O when they crown him Lord of all,O when they crown him Lord of all,O Lord I want to be in that numberWhen they crown him Lord of all.

String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1491194 Composed by Traditional. Arranged by James M. Guthrie. Chamber,Christmas,Historic,Holiday,Traditional. 20 pages. Jmsgu3 #1067931. Published by jmsgu3 (A0.1491194). Good King Wenceslas is a well-known Christmas carol that narrates the story of a kind-hearted ruler who braves winter weather to help a poor peasant. The carol is inspired by the historical figure of Saint Wenceslas I, Duke of Bohemia, who lived from approximately 907 to 935 AD. Although he is referred to as a king in the carol, he was a duke during his lifetime; the title of king was conferred upon him posthumously by Holy Roman Emperor Otto I.Historical ContextWenceslas was born into a Christian family and raised primarily by his grandmother, Ludmila, who significantly influenced his faith. His mother, Drahomíra, was aligned with paganism and ultimately had Ludmila murdered to gain power. Upon becoming Duke at 18, Wenceslas sought to promote Christianity and was known for his charitable acts, especially towards the poor and marginalized. His reign was marked by efforts to end religious conflicts and to build churches, including part of what is now St. Vitus Cathedral in Prague. However, his commitment to Christianity and his benevolent nature made him a target for his jealous younger brother, Boleslav, who ultimately conspired to murder him in 929 or 935 AD.The CarolThe carol Good King Wenceslas was written in 1853 by English hymn-writer John Mason Neale, set to a melody from a 13th-century spring carol. It was designed to encourage Christian charity, particularly during Christmas, and is traditionally sung on the Feast of Stephen, December 26. The lyrics depict Wenceslas and his page witnessing a poor man gathering firewood and deciding to help him by bringing food and supplies. This story reflects the historical Wenceslas's reputation for generosity and compassion, which has led to his veneration as a saint and the patron saint of the Czech Republic. His legacy is celebrated in the Czech Republic, where he is known as Václav, and he is commemorated on September 28, known as St. Wenceslas Day.Cultural SignificanceThe carol has become a staple of Christmas music in the English-speaking world, performed by various artists and choirs. It serves not only as a festive song but also as a reminder of the values of charity and kindness, echoing the life and virtues of the historical Wenceslas.

Composed by Austin Ralphson. Funk Jazz, Classroom, General Instructional, Technique Training, Recital. Score, Set of Parts. 179 pages. Published by Austin Ralphson