This book contains 50 easy piano arrangements of popular praise and worship songs that are sung in churches everywhere. The arrangements, by leading Christian music arranger Carol Tornquist, sound great both as piano solos and for sing-alongs. Complete lyrics are included along with basic chord symbols. Titles: 10,000 Reasons * Amazing Grace (My Chains Are Gone) * Be the Centre * Beautiful One * Better Is One Day * Blessed Be Your Name * Blessings * Breathe * Come, Now Is the Time to Worship * Cry of My Heart * Draw Me Close * Everlasting God * Forever * Give Thanks * God of Wonders * Great Is the Lord * Hallelujah (Your Love Is Amazing) * He Knows My Name * The Heart of Worship * Here I Am to Worship * Holy, Holy, Holy * Holy Is the Lord * Hosanna (Praise Is Rising) * How Deep the Father's Love for Us * How Great Is Our God * I Could Sing of Your Love Forever * I Lift My Eyes Up (Psalm 121) * I Love You, Lord * In Christ Alone (My Hope Is Found) * In the Secret * Indescribable * Jesus Messiah * Lord I Lift Your Name on High * Lord Reign In Me * Majesty (Here I Am) * Mighty to Save * More Love, More Power * Open the Eyes of My Heart * Our God * Revelation Song * Shout to the Lord * Sing to the King * Take My Life (Holiness) * Untitled Hymn (Come to Jesus) * We Fall Down * The Wonderful Cross * You Are My All in All * You Are My King (Amazing Love) * Your Grace Is Enough * You're Worthy of My Praise.

for SATB choir, cor anglais (or clarinet in A or viola) and organ This reflective setting of verses from Psalm 139 opens with a folk-like melody from the cor anglais. The work grows in intensity with sombre choral harmonies, leading to an ecstatic climax; it then gently subsides, tailing into silences with a return to the opening cor anglais melody. The work is a highly effective Lenten or contemplative anthem.

Taking seriously the practice and not just the theory of music, this ground-breaking collection of essays establishes a new standard for the interdisciplinary conversation between theology, musicology, and liturgical studies. The public making of music in our society happens more often in the context of chapels, churches, and cathedrals than anywhere else. The command to sing and make music to God makes music an essential part of the DNA of Christian worship. The book's three main parts address questions about the history, the performative contexts, and the nature of music. Its opening four chapters traces how accounts of music and its relation to God, the cosmos, and the human person have changed dramatically through Western history, from the patristic period through medieval, Reformation and modern times. A second section examines the role of music in worship, and asks what-if anything-makes a piece of music suitable for religious use. The final part of the book shows how the serious discussion of music opens onto considerations of time, tradition, ontology, anthropology, providence, and the nature of God. A pioneering set of explorations by a distinguished group of international scholars, this book will be of interest to anyone interested in Christianity's long relationship with music, including those working in the fields of theology, musicology, and liturgical studies.

SATB (with divisions) unaccompanied Am Abend is a setting of 'Grodek', which is thought to be the last work of the Austrian poet Georg Trakl. Written in 1913, the year before Trakl committed suicide at the age of 27, the poem is set in the town of Grodek on the Eastern Front, where he had served as a medical officer. Jackson's setting is agonizingly moving, opening with an eerie alto melody before the rest of the choir enter with haunting harmonies and cluster chords, reflecting the darkness of the text. Grace notes and glissandi add an Eastern flavour and evoke the 'wild lament' and 'dark flutes' of Trakl's poem. Jackson's setting builds to a powerful climax, before the altos close with a quiet, repeated fragment on 'die ungebornen Enkel' ('the unborn grandsons'). First performed by the BBC Singers, directed by Paul Brough, at Milton Court Concert Hall, London, on 11 February 2016.

for SSA and piano or string orchestra or full orchestra This is an exuberant and animated chorus from the cantata In Windsor Forest, which was itself adapted from the opera Sir John in Love. The text is from Act II, Scene 3 of Shakespeare's Much Ado About Nothing, and features the women's chorus gleefully denouncing men as 'deceivers'. The colourful orchestral accompaniment is available on hire in versions of full orchestra or string orchestra and piano.

The Hispanic rite, a medieval non-Roman Western liturgy, was practiced across the Iberian Peninsula for over half a millennium and functioned as the most distinct marker of Christian identity in this region. As Christians typically began every liturgical day throughout the year by singing a vespertinus, this chant genre in particular provides a unique window into the cultural and religious life of medieval Iberia. The Hispanic rite has the largest corpus of extant manuscripts of all non-Roman liturgies in the West, which testifies to the importance placed on their transmission through political and cultural upheavals. Its chants, however, use a notational system that lacks clear specification of pitch and has kept them barred from in-depth study. Text, Liturgy and Music in the Hispanic Rite is the first detailed analysis of the interactions between textual, liturgical, and musical variables across the entire extant repertoire of a chant genre central to the Hispanic rite, the vespertinus. By approaching the vespertini through a holistic methodology that integrates liturgy, melody, and text, author Raquel Rojo Carrillo identifies the genre's norms and traces the different shapes it adopts across the liturgical year and on different occasions. In this way, the book offers an unprecedented insight into the liturgical edifice of the Hispanic rite and the daily experience of Christians in medieval Iberia.

This is the last of three volumes designed, in the author's words, to tell 'the story of America's popular songs, the people who wrote them, and the business they created and sustained'. Volume III, covering the twentieth century, discusses vaudeville, music boxes, the relationship of Hollywood to the music business, the 'fall and rise' of the record business in the 1930s, new technology after the Second World War, the dominance of rock'n'roll and the huge increase in the music business in the 1950s and 1960s, and, finally, the changing scene from 1967 to 1984, especially regarding government regulations, music licensing, and the record business.

This is the only English translation of this important book by the world's most distinguished Bach scholar. This work is widely regarded as the most authoritative and comprehensive treatment of the Bach cantatas. It begins with a historical survey of the seventeenth-century background to the cantatas, and performance practice issues. The core of the book is a work-by-work study in which each cantata in turn is represented by its libretto, a synopsis of its movements, and a detailed analytical commentary. This format makes it extremely useful as a reference work for anyone listening to, performing in, or studying any of the Bach cantatas. In this edition all the cantata librettos are given in German-English parallel text. The most recent (sixth) German edition appeared in 1995. For the English edition the text has been carefully revised to bring it up to date, taking account of Bach scholarship since that date.

The Campaign Choirs Network is a loose affiliation of like-minded choirs across the UK sharing a belief in a better world for all and dedicated to taking action by singing about it; the Campaign Choirs Writing Collective is a part of that network. The book intends to inspire the reader to engage with this world: to find out more, to join a choir in their community, to enlist their local street choir to support campaigns for social change and, more generally, to mobilize artistic creativity in progressive social movements. It is an introduction to street choirs and their history, exploring origins in and connections with other social movements, for example the Workers Education Association, the Clarion movement, Big Flame and the Social Forum movement. The book identifies the political nodes where choir histories intersect, notably Greenham Common, the Miners' Strike, anti-apartheid and Palestinian struggles. The title of the book is taken from a song by the respected American musician and activist Holly Near, and is popular in the repertoire of many street choirs. Exploring the role of street choirs in political culture, Singing For Our Lives introduces this neglected world to a wider public, including activists and academics. Signing for Our Lives also elaborates the personal stories and experiences of people who participate in street choirs, and the unique social practices created within them. The book tells the important, if often overlooked, story of how making music can contribute to non-violent, just and sustainable social transitions. www.singing4ourlives.net/about.html

This is the second of three volumes designed, in the author's words, to tell 'the story of America's popular songs, the people who wrote them, and the business they created and sustained'. Volume II concentrates on the 19th century, and among the topics discussed are: the effect of changing technology upon the printing of music; the growth of the American musical theatre; popular religious music; black music (including spirituals and ragtime); music during the Civil War; and 'music in the era of monopoly' (covering copyright, changing technology and distribution, the invention of the phonograph, and the establishment of Tin Pan Alley).

The transition from the valveless natural horn to the modern valved horn in 19th-century Paris was different from similar transitions in other countries. While valve technology was received happily by players of other members of the brass family, strong support for the natural horn, with its varied color palette and virtuoso performance traditions, slowed the reception and application of the valve to the horn. Using primary sources including Conservatoire method books, accounts of performances and technological advances, and other evidence, this book tells the story of the transition from natural horn to valved horn at the Conservatoire, from 1792 to 1903, including close examination of horn teaching before the arrival of valved brass in Paris, the initial reception and application of this technology to the horn, the persistence of the natural horn, and the progression of acceptance, use, controversies, and eventual adoption of the valved instrument in the Parisian community and at the Conservatoire. Active scholars, performers, and students interested in the horn, 19th-century brass instruments, teaching methods associated with the Conservatoire, and the intersection of technology and performing practice will find this book useful in its details and conclusions, including ramifications on historically-informed performance today.

The performance and composition of liturgical music at El Escorial re-examined. Philip II of Spain founded the great Spanish monastery and royal palace of El Escorial in 1563, promoting within it a musical foundation whose dual function as royal chapel and monastery in the service of a Counter Reformation monarch was unique; this volume explores the performance and composition of liturgical music there from its beginnings to the death of Charles II in 1700. It traces the ways in which music styles and practices responded to the the changing functions of the institution, challenging notions about Spanish musical patronage, scrutinising musical manuscripts, uncovering the biographical details of hundreds of musicians, and examining musical practices. Michael Noone is Professor of Musicology at the University of Hong Kong.

Compositional Choices and Meaning in the Vocal Music of J. S. Bach collects seventeen essays by leading Bach scholars. The authors each address in some way such questions of meaning in J. S. Bach's vocal compositions-including his Passions, Masses, Magnificat, and cantatas-with particular attention to how such meaning arises out of the intentionality of Bach's own compositional choices or (in Part IV in particular) how meaning is discovered, and created, through the reception of Bach's vocal works. And the authors do not consider such compositional choices in a vacuum, but rather discuss Bach's artistic intentions within the framework of broader cultural trends-social, historical, theological, musical, etc. Such questions of compositional choice and meaning frame the four primary approaches to Bach's vocal music taken by the authors in this volume, as seen across the book's four parts: Part I: How might the study of historical theology inform our understanding of Bach's compositional choices in his music for the church (cantatas, Passions, masses)? Part II: How can we apply traditional analytical tools to understand better how Bach's compositions were created and how they might have been heard by his contemporaries? Part III: What we can understand anew through the study of Bach's self-borrowing (i.e., parody), which always changed the earlier meaning of a composition through changes in textual content, compositional characteristics, the work's context within a larger composition, and often the performance context (from court to church, for example)? Part IV: What can the study of reception teach us about a work's meaning(s) in Bach's time, during the time of his immediate successors, and at various points since then (including our present)? The chapters in this volume thus reflect the breadth of current Bach research in its attention not only to source study and analysis, but also to meanings and contexts for understanding Bach's compositions.