Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Digital Download SKU: A0.813726 Composed by Gustav Holst. Arranged by Regis Bookshar. 20th Century,Contemporary,Standards,Wedding. 9 pages. Regis Bookshar #6474731. Published by Regis Bookshar (A0.813726). Jupiter (Andante Maestoso from Jupiter, the Bringer of Jollity from The Planets) (Woodwind Quintet) - Intermediate - Digital Download. This marvelous arrangement of the Andante Maestoso section from Jupiter, the Bringer of Jollity from Gustav Holst's The Planets, would be a fabulous addition to any music library and could be performed for concerts and recitals but if you are considering using this selection for church services in which a congregation may sing along, I would suggest that you look for the arrangements of either I Vow to Thee, My Country, O God, Beyond All Praising, O Spirit All Embracing or Thaxted, also by Regis Bookshar. They are all based on the same excerpt from Jupiter, the Bringer of Jollity from The Planets. These arrangements are suitable for high school and college students but professional musicians would also enjoy playing these selections as well. Included are a score and a complete set of parts (9 pages). This selection is one of the many arrangements from The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time. We have performed the Trumpet Quintet version of this composition quite often for numerous weddings and other special occasions.The Planets, written between 1914 and 1917 by the English composer Gustav Holst, premiered at the Queen's Hall in London, on September 29, 1918 for an invited audience of about 250 people. In the fourth movement, Jupiter, the Bringer of Jollity, Holst portrays Jupiter's supposedly characteristic abundance of life and vitality. Nobility and generosity are allegedly characteristics of those born under Jupiter, and in the slower, middle section marked Andante Maestoso, perhaps the most well-known theme from The Planets (and the theme on which this arrangement is based), Holst provides a broad tune embodying these traits. In 1921, Holst adapted the theme to fit the patriotic poem I Vow to Thee, My Country by Cecil Spring Rice, and was written as a unison song with orchestra. It did not appear as the hymn tune until 1926, when Holst harmonized this melody, named Thaxted, named after the English village where he had lived for many years. Holst's friend Ralph Vaughan Williams included it in Songs of Praise. It has since been performed at numerous occasions, most notably for the wedding of Prince Charles and Diana, Princess of Wales in 1981, and also at the funerals of Princess Diana in 1997, Margaret Thatcher in 2013 and Senator John McCain where it was performed at the Washington National Cathedral on September 1, 2018. In addition to being used as the melody for the solemn, patriotic hymn I Vow to Thee, My Country, other settings of this hymn tune also include O God, Beyond All Praising, by Michael Perry in 1982, O Spirit All Embracing by Delores Dufner in 1995 and We Praise You and Acknowledge You, O God, a paraphrase of the Te Deum Laudemus by Stephen P. Starke in 1999.Regis Bookshar thought that it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to the Trumpet Quintet version and this version for a Woodwind Quintet, consisting of 1 Flute, 1 Oboe, 1 Clarinet, 1 French Horn and 1 Bassoon (which has the lead), he has made quite a few other arrangements of this selection. There are Quintets readily available for a wide variety of instrumental ensembles. Please take the time to look for other versions of this composition. You may find something else that may also suit your needs. I would also encourage you to search for other arrangements by Regis Bookshar, as well, as there are numerous arrangements in a variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are added as often as possible. I'm certain that this beautiful arrangement of Jupit.

Piano Solo - Level 5 - Digital Download SKU: A0.1285388 By Hakan Ali Toker. By Frederic F. Chopin. Arranged by Hakan Ali Toker. 19th Century,20th Century,Classical,Romantic Period. Score. 106 pages. Hakan Ali Toker #876505. Published by Hakan Ali Toker (A0.1285388). A set of 12 etudes, all based on music by Chopin. The first 10 etudes are created by cross-breeding music by Chopin with the work of another composer. The texture of one work has been applied to the harmony of another. The last two are created by a different approach: work by one composer has been recreated in the style of another. All based on ideas of Prof. Douglas HofstadterNo. 1: Texture of J. S. Bach's C Major Prelude BWV 846 from book I of the Well-tempered Clavier applied to the harmony of F. F. Chopin's C Major Etude Op. 10 no. 1No. 2: Vice versaNo. 3: Texture of J. S. Bach's ce minor Prelude BWV 847 from book I of the Well-tempered Clavier applied to the harmony of F. F. Chopin's c minor Etude Op. 25 no. 12 No. 4: Vice versaNo. 5: Texture of F. F. Chopin's Etude Op. 10 No. 6 applied to the harmony of the composer's own Prelude in A Major Op. 28 no. 7No. 6: Variations on F. F. Chopin's Prelude in c minor Op. 28 no. 20, each variation based on a different etude by Chopin himselfNo. 7: Texture of F. F. Chopin's Etude in A Flat Major Op. 25 no.1 applied to the harmony and melody of F. Loewe's song I Could Have Danced All Night from My Fair LadyNo. 8: Texture of F. F. Chopin's Etude in C Major Op. 10 no.1 applied to the harmony of the the composer's own Etude in c minor Op. 25 no. 12No. 9: Vice VersaNo. 10: Texture of F. F. Chopin's Prelude in f# minor Op. 28 no. 8 and his Fantaisie-Impromptu in c# minor Op. 66 applied to the harmony and melody of A. Dvořa�k's Humoresque Op. 101 no. 7No. 11: S. S. Prokofiev's Waltz Op. 65 no. 6 in the style of F. ChopinNo. 12: F. F. Chopin's Waltz in f#minor Op. 69 no. 2 in the style of S. S. Prokofiev.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1489376 Composed by Traditional. Arranged by James M. Guthrie. Chamber,Christmas,Historic,Standards,Traditional. 16 pages. Jmsgu3 #1066238. Published by jmsgu3 (A0.1489376). Carol of the Bells is a well-known Christmas carol with a rich history rooted in Ukrainian culture. Here are the key points to understand about this iconic piece:Original Composition: The melody of Carol of the Bells is derived from a Ukrainian folk song called Shchedryk, which Mykola Leontovych composed in 1914. Shchedryk, which translates to The Little Swallow, was originally a New Year's song celebrating the arrival of spring and good fortune.Cultural Context: The song's origins are tied to Ukrainian traditions, where it was sung by young girls going door-to-door on New Year's Eve, wishing families prosperity and good luck for the coming year. The swallow in the song symbolizes the arrival of spring and abundance.English Lyrics: In 1936, American composer Peter Wilhousky adapted the melody for Christmas, writing new lyrics that emphasized bells and Christmas cheer themes. This version transformed Shchedryk into Carol of the Bells, quickly gaining popularity in the United States and becoming a staple of Christmas music.Musical Structure: The carol features a distinctive four-note ostinato and is metrically bistable, allowing listeners to perceive the rhythm differently. It is typically arranged in 3/4 time and has a lively and festive feel, contributing to its widespread appeal.Widespread Adaptations: Carol of the Bells has been recorded in over 150 versions across various musical genres, including classical, jazz, rock, and heavy metal. Notable adaptations include those by Mannheim Steamroller and John Williams, which have helped to cement its status as a Christmas classic.Cultural Significance: The song's association with Christmas has overshadowed its Ukrainian roots, leading to a complex relationship with its cultural identity. In recent years, there has been a movement to reclaim Shchedryk as a significant part of Ukrainian heritage, especially amid ongoing geopolitical tensions.Modern Recognition: The song is frequently featured in films, television shows, and holiday concerts, making it a beloved part of the Christmas season. Its ability to evoke joy and nostalgia resonates with audiences worldwide.In summary, Carol of the Bells is not just a Christmas carol but a piece with deep cultural roots and a fascinating history of transformation from a Ukrainian folk song to a global holiday favorite.

Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.953625 Composed by Adrienne Inglis (ASCAP). Contemporary,Latin. Octavo. 5 pages. Adrienne Inglis (ASCAP) #6405603. Published by Adrienne Inglis (ASCAP) (A0.953625). La ciudad sumergida (The Submerged City) for four-part treble chorus and nature soundtrack by Adrienne Inglis (ASCAP) Commissioned for Dr. Ramona M. Wis and the North Central College Women’s Chorale A setting of an excerpt of Río de La Plata en lluvia from Mascarilla y Trébol (1938) by Alfonsina Storni (1938) Copyright © 2020 Adrienne Inglis Founder, composer, and singer with Inversion Ensemble of Austin, Texas, Adrienne Inglis also serves as principal flute with the Central Texas Philharmonic, flute instructor at Southwestern University, and flutist with flute/harp duo Chaski. She has music degrees from Lewis and Clark College and the University of Texas at Austin. An avid birder and environmentalist, she lives in the rural hill country of Central Texas. Poet Alfonsina Storni began writing during a tumultuous childhood fraught with economic hardships, many disruptive moves, and an alcoholic father. She danced with a theatrical troupe and then became a teacher and journalist. She bore a child out of wedlock and found herself working as a single mother during socially oppressive times. In Buenos Aires she joined the emerging world of women’s rights, becoming an important literary voice in the movement. When her breast cancer returned, her lifelong passion for the sea culminated in her suicide off of the coast of Argentina. Río de La Plata en lluvia from Mascarilla y Trébol (1938) lines 1-4 by Alfonsina Storni in the public domain Ya casi el cielo te apretaba, ciego, y sumergida una ciudad tenías en tu cuerpo de grises heliotropos neblivelado en su copón de llanto. [The sky was about to embrace you, blind, and you had in your body of gray heliotropes a submerged city, with the misty sky like a chalice about to overflow with tears.] Program note: Commissioned for Dr. Ramona M. Wis and the North Central College Women’s Chorale of Naperville, Illinois, La ciudad sumergida (The Submerged City) by Adrienne Inglis for four-part treble chorus with nature soundtrack captures the mood of a river, a city, the cloudy sky, and the poet’s own profound melancholy. The sound of rain creates both the ambiance of a misty day on the river and the sensation of cathartic crying from great sadness and pain. The city’s reflection on the river’s surface gives the illusion that the city is submerged in the water. The reflection of the clouds hovering low over Río de La Plata looks like gray heliotrope flowers. The apocalyptic images of a submerged city and of tears overflowing from the chalice-sky eerily foreshadow rising sea levels due to anthropogenic global warming. The nature soundtrack of rain was recorded by the composer in the hill country of central Texas, July 2020. Performance note: This aleatoric, asynchronous composition is suitable for remote singing along with the video score and nature soundtrack. Observe the order of entrances, but know that it’s not meant to line up exactly. Finish a phrase even if another phrase has started. Diphthongs move immediately to the second vowel sound. Ya begins with the [dʒ] sound and llanto begins with the [ʒ] sound, both typical of the Buenos Aires accent. Sing quite expressively except for the neblivelado section which is misty and veiled. The director may wish to indicate the rehearsals numbers or the singers may follow the time on the video-or both. Duration: 3:08 Link to video with soundtrack is available from the composer (http://adrienneinglis.com). Acknowledgements: The composer warmly thanks Pablo and Diana Donatti, �ngeles Rodríguez Cadena, and Emilio Torres for their contributions to this project and to Dr. Ramona M. Wis and the North Central College Women’s Chorale for the generous commission. Copyright © 2020 Adrienne Inglis | http://adrienneinglis.com

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting go�. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my door�. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean� of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdom�. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeterna�. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen� [“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning�] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben� [“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold�]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus� [“And my soul spread its wings wide. Flew through the still country as if homeward bound.�]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed� occupation with the “old� country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomer�. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).

Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1295732 Composed by Kevin G. Pace (ASCAP), Kathryn W. Hales. Christian,Praise & Worship,Religious,Sacred,Spiritual. 3 pages. Kevin G. Pace #886032. Published by Kevin G. Pace (A0.1295732). A joyful, cheerful, sacred hymn with music by Kevin G. Pace and text by Kathryn W. Hales.  The text is in reference to 2 Corinthians 9:7 for God loveth a cheerful giver.Text:The Lord has given us His all,His miracles and ministry.We show our gratitude and love,By helping others that we see.Sore trials and tribulationsMeet us on the path of life.We can lift another’s burdens,Providing comfort, settling strife.A hug, a smile, a listening ear,A call, a treat, a simple thing,A gift, a card, a meal or two,We’ll never know the good it brings.May the Holy Spirit guide us,To perceive another’s needs,That through our great abundance,We’ll join thoughts with loving deeds.So, we’ll give our imperfect offering,With willing heart and hands,And the Lord in His great mercyWill help feeble knees to stand.Yes, be a cheerful giver,With the charity of God’s pure love,That in equality and strengthWe’ll be united up above.Chorus:The Lord loves a cheerful giver,Don’t begrudge the mite you share.Open your heart with gladness,Showing others that you care.

SA choir divisi and piano - Digital Download SKU: OX.9780193536692 Composed by Bob Chilcott. Sheet music. Octavo. 15 pages. Oxford University Press Digital #9780193536692. Published by Oxford University Press Digital (OX.9780193536692). ISBN 9780193536692.For SA choir (with divisions) and piano In this energetic piece Chilcott sets both the original unpublished and familiar published version of 'The Mouse's Tale' from Lewis Carroll's Alice's Adventures in Wonderland. With jazz influences, an abundance of character, and a strong sense of fun, it is an unforgettable addition to any concert.

Clarinet SKU: HL.4474550 Composed by Various. Edited by H. Voxman. Arranged by H. Voxman. Ensemble Collection. Classical, Collection. 40 pages. Rubank Publications #RUBL273. Published by Rubank Publications (HL.4474550). ISBN 9781423444985. UPC: 073999745504. 9.0x12.0x0.101 inches.Easy clarinet trios in score form. Suitable for contest, concert or church performance, these pieces appear on several state contest lists. Includes works by Billings, Corelli, Faber, Grieg, Handel, Mozart, Schubert, Tchaikovsky and others.

Trumpet Duet Trumpet - Level 4 - Digital Download SKU: A0.1085356 Composed by Traditional Irish Reel. Arranged by Liza Zumbrunnen. Celtic,Classical,Folk,Irish,Multicultural,Traditional,World. Score. 4 pages. Liza Zumbrunnen #689504. Published by Liza Zumbrunnen (A0.1085356). This is a fun and lively Irish reel (usually played by fiddle). Here it is played by two trumpets (or any pair of like instruments)- but beware, it's not as easy as it looks! Once it is mastered at a medium tempo, then kick it up a notch to make this a tune that needs to be danced to! Also known as Donegall Boys, I Wish I Never Knew You, MacLean’s Favorite, MacLean’s Favourite, Maud Millar’s, Maud Miller’s, Maud Millers, Maude Millar, Maude Miller, Mrs Smullen, Mrs. Smullen’s, My Love Is Fair And Handsome, and Sporting Molly.

Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.4828 Composed by M. Keller. Seasons, Love, Death, Grief. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4828). Jane of Ravenswood. Ballad with Chorus (ad lib.). Words by Frank Spear. Music Composed by M. Keller. Published 1883 by Wm. A. Pond & Co, 547 Broadway in New York. Composition of strophic with chorus with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include Seasons, Love, Death, Grief. First line reads 'Twas springtime, as the wavelets play'd, and danced the rude rocks o'er.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

Piano - Digital Download SKU: A0.1064913 Composed by Betsy Lee Bailey. Children,Musical/Show. Accompaniment. Duration 43. Betsy Lee Bailey #2040135. Published by Betsy Lee Bailey (A0.1064913). Accompaniment tracks to Moroccan Scurry Scurry Dispatch is from the Children's Musical The Adventures of Dick Whittington. It is danced by the Mice and the Cat. The Director's Script, Piano/Vocal Score, Production Kit, and individual Accompaniment Tracks Mp3’s are available on SMP Press. Hardbound Director’s Script, hardbound Piano/Vocal Score, Show Order Tracks CD’s (also including Guide Vocals), and small Booklet Scripts (10 pack) are available from BaileyKidsMusicals.com.

Piano Solo - Level 3 - Digital Download SKU: A0.918274 Arranged by Brenda Dillon. Classical,Standards. Score. 3 pages. Dillon's Music Group #6052677. Published by Dillon's Music Group (A0.918274). Pavane is included in Classical Interpretations Collection.  Maurice Ravel's Pavane for a Dead Princess was written for solo piano and described by Ravel as a pavane that a little princess might have danced at the Spanish court.  Although he intended it to be performed slowly, he observed to overly slow performers that it was a pavane for a dead princess and not a dead pavane for a princess.About the arranger:  Brenda Dillon is best known for her contributions to the Recreational Music Making movement.  She served on the RMM Committee that designed the RMM Track for MTNA's Pedagogy Saturday.  She also presented group piano and RMM sessions throughout the U.S.  In addition to serving as a teacher trainer, she has written extensive articles on both group piano and RMM teaching.  She has publications with Hal Leonard and Alfred Music listed on her website (www.brendadillon.com).

Solo Guitar - Level 3 - Digital Download SKU: A0.899126 Composed by Rod Whittle. Classical. Individual part. 4 pages. Maggie Creek Music #37277. Published by Maggie Creek Music (A0.899126). 4 pages; for solo classical guitar; based on a theme from the Mass in C Minor; published by Maggie Creek MusicWolfgang Amadeus Mozart 1756 -1791 Mozart, whom his sister recounted as picking out thirds on the family clavier at the age of three for the pleasure of it, has been described as achieving miracles of sound across every emotion. Indeed one runs out of superlatives trying to do justice to the quality and originality of his compositions and the abundance of output. Anyone learning about his relatively short life must also pay tribute to his resolve and courage. I've noticed during my time in bands that the music I like sparks creativity, and the lovely theme from the Kyrie of the Mass in C minor spawned a lot of ideas once I'd decided to write something for guitar using it. Mozart's harmonies seem both exclusive and perfect, and I can't imagine my musical life without them. I got to know the Mass when I looked after Nigel's place while he was away, as it was in his record collection. My good friend died (of bone cancer) not long after that, and the Fantasy is a homage to him.

2 Pianos,8 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1508891 By Alexander Pomaz. By P. I. Tchaikovsky, Vince Guaraldi, Arthur Warrell, George Wyle. Arranged by Alexander Pomaz. Holiday. Score. 52 pages. Alexpomas #1084135. Published by alexpomas (A0.1508891). This bright Jazz Waltz Christmas Medley consists of 4 very nice songs - 1. Christmas Time Is Here, 2. Waltz Of The Flowers, 3. It's The Most Wonderful Time Of The Year, 4. We Wish You A Merry Christmas, and made in Jazz Waltz Style with abundance of complex Jazz harmonies. It's a very advanced level arrangement will be a great fun for players and for audience.

Handbell choir - Digital Download SKU: H1.C5598CSDP Arranged by Joel Raney. Piano with Optional Conductor's Score. Advent, Sacred. Conductor's Score. 8 pages. Hope Publishing - Digital #C5598CSDP. Published by Hope Publishing - Digital (H1.C5598CSDP). John 1:33.Traditional Carol Here is a sprightly Joel Raney Advent selection incorporating a classic poetic text. The stately tune expands to include the traditional carol Sing We Now of Christmas - filled with an abundance of noels. Energy abounds in this glorious SATB setting filled with the anticipation and excitement of the holiday season. Perfect for worship or concerts, this piece sparkles with the addition of the optional 3-4 octave handbells.