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The Church's One Foundation

Just as I Am, without One Plea

Angels and Shepherds

Based on two carols, one Polish, one French and conceived for use with children. There is a lesson plan included which suggests things to isolate, comment on, and practice. But the piece would be appropriate and enjoyable for any level 2 three octave group. (A few outside bells out of a five octave set are used as well.)

My Hope Is Built

The tradition hymn tune SOLID ROCK is given a Gospel piano accompaniment as only composer Tom Trenney can write. Highlights of the piece include a contrasting original stanza in the relative minor and fun section at the end where the basses begin and the other parts layer on one by one, creating a stunning effect that sounds complex but is actually not. Your choir will find this fun and different. Duration: 3:30 The tradition hymn tune SOLID ROCK is given a Gospel piano accompaniment as only composer Tom Trenney can write. Highlights of the piece include a contrasting original stanza in the relative minor and fun section at the end where the basses begin and the other parts layer on one by one, creating a stunning effect that sounds complex but is actually not. Your choir will find this fun and different. Duration: 3:30

Yet She Doth Shine

An original composition based on a deeply moving Samuel Rutherford text about the loss of a loved one. The addition of the cello makes this a particularly poignant piece that expresses a great deal of emotion.

With All Your Heart

Your choir and congregation will love this original piece with a text by the composer adapted from Proverbs and Isaiah. Tranquil but resolute, the music and message are one of trust and reassurance. Simple and sweet, this music is easy to learn and rewarding to sing. Duration 3:30 Your choir and congregation will love this original piece with a text by the composer adapted from Proverbs and Isaiah. Tranquil but resolute, the music and message are one of trust and reassurance. Simple and sweet, this music is easy to learn and rewarding to sing. Duration 3:30

The King of Love My Shepherd Is

This hymn concertato begins with a lovely flute and organ introduction which quotes the tune (ST. COLUMBA) with some elaborations. Six stanzas in all, three in unison, two in two-part mixed texture, and one written for choir (SAB) and flute alone. A reproducible congregational page is available as a complementary download. Duration 4:00 This hymn concertato begins with a lovely flute and organ introduction which quotes the tune (ST. COLUMBA) with some elaborations. Six stanzas in all, three in unison, two in two-part mixed texture, and one written for choir (SAB) and flute alone. A reproducible congregational page is available as a complementary download. Duration 4:00

There Is Joy in the Morning!

Commissioned by a church choir in honor of their director, this piece has a flowing accompaniment and energetic choir parts. The text, based on Psalm 30, brings a message of joy after darkness, dancing after sorrow. Accessible SATB writing with some brief divisi and one short a cappella passage. Duration: 3:15

Jesus Shall Reign

A big, bold hymn setting on the hymn DUKE STREET for congregation, SATB choir, descant, brass quintet, timpani, cymbals, and organ. (Instruments are not optional in this setting.) Stanza one is in unison, stanzas two and three in parts with organ only. The brass re-enters for stanza four. A brief interlude leads into stanza five which is unison with descant.

Hark! The Herald Angels Sing

Written in a sparkly, joyous 6/8, this is brand new music set to the beloved traditional text. He has specified piano for the accompaniment, but one can hear it being done on organ just as well. Alternatively there are parts for flute, oboe, cello, and harp. This composer's previous settings of well-known Christmas texts with brand new tunes have been very popular. Duration 3:30 Chamber Ensemble: Flute, Oboe, Cello, and Harp Written in a sparkly, joyous 6/8, this is brand new music set to the beloved traditional text. He has specified piano for the accompaniment, but one can hear it being done on organ just as well. Alternatively there are parts for flute, oboe, cello, and harp. This composer's previous settings of well-known Christmas texts with brand new tunes have been very popular. Duration 3:30 Chamber Ensemble: Flute, Oboe, Cello, and Harp

Hands of God

Written for the ELCA's 25th Anniversary, the composer himself describes this as a "one-rehearsal wonder." Essentially it's a brand new hymn tune and text arranged for SATB and piano, with optional trumpet and soprano descant. The tune is sweeping and majestic, the choral writing easy and effective. The tag line "God's work. Our hands" has been at the heart of the ELCA church since its inception, and the text reinforces that message. Duration 3:30 Written for the ELCA's 25th Anniversary, the composer himself describes this as a "one-rehearsal wonder." Essentially it's a brand new hymn tune and text arranged for SATB and piano, with optional trumpet and soprano descant. The tune is sweeping and majestic, the choral writing easy and effective. The tag line "God's work. Our hands" has been at the heart of the ELCA church since its inception, and the text reinforces that message. Duration 3:30

Hark, Ten Thousand Harps and Voices

Part of our Presbyterian Association of Musicians Series, this hymn-anthem is based on a new tune of the composer's own devising. The 1806 text is given a lyrical treatment rather than the usual rollicking one, and the result is expressive and effective. The first stanza is in unison, the second split between TB and SA alternating. The third stanza is set for SATB voices. The fourth and final stanza has lower voices in unison and sopranos descanting. Duration: 4:10Part of our Presbyterian Association of Musicians Series, this hymn-anthem is based on a new tune of the composer's own devising. The 1806 text is given a lyrical treatment rather than the usual rollicking one, and the result is expressive and effective. The first stanza is in unison, the second split between TB and SA alternating. The third stanza is set for SATB voices. The fourth and final stanza has lower voices in unison and sopranos descanting. Duration: 4:10

In the Bleak Midwinter

Matthew Culloton always brings a unique touch to the carols in this series, but this one will melt you down. Beautiful textural and harmonic touches, sometimes very simple and sometimes more complex, illumine and elevate the text. For example, the descant functions as a lone voice just as the text becomes the most personal, "What can I give him?" The thought, beauty, and emotion in this setting are not to be missed.

Great Creator

With a text that is contemporary but reflects on Isaiah 65:17-25, this is a perfect anthem for any size choir by one of our best-selling composers. A few divisi spots, but also a fair amount of unison singing. The accompaniment, for piano, could easily be adapted for organ on the fly. The text has Advent themes (waiting, re-birth, wolf/lamb) but is also appropriate for other Sundays, such as Pentecost 23 (Proper 28) in year C.

For the Music of Creation

An easy but striking congregational hymn setting of the tune RUSTINGTON to a text by Shirley Erena Murray. Stanzas one and three are in unison (three with descanting "ahs"). Stanza two invites the choir and even the congregation to sing in four parts! This can be as streamlined as you need it to be, but can also expand by use of the optional Brass Quintet, Handbells, Timpani, and Crash Cymbals. Instrumental Parts include: Trumpets I and II in B-flat and C, Horn in F, Trombone I and II, Hanbells (3 or 5 octaves), Timpani, Crash Cymbals

Come By Here

Yes, it's KUM BA YAH! But this sensitive and sweet setting for SATB and Piano is not to be missed. In one spot it is suggested that the piano plays a guided improvisation over the choir singing neutral syllables. In another there is the option to sing unaccompanied. There is a quote of the hymn tune NICAEA (Holy, Holy, Holy) in the accompaniment. An emotional high point occurs when the sections each sing out their situations, "longing, falling, hiding, rising, aching, laughing, praising, finding, breathing, dying." Then answer together, "You are here." This work hits every high mark in terms of vocal writing, a skillful accompaniment, and a beautiful effect.

People, Look East

Commissioned by the Thunder Bay Symphony Chorus, this is a creative setting of the familiar original material. There is a full orchestra accompaniment and a piano reduction which also works quite well to convey the spirit of the larger forces. The choral parts are challenging in spots where interpolations are written and the rhythm changes, but much of it is easy and fun to sing. The composer has written original music for two inner verses which provides a lovely contrast and variety to the main theme. These two verses are set to the same melody, the latter one featuring a soloist in a medium range. The overall effect is celebratory and joyful!

Requiem aeternam

J. Christopher Pardini's Requiem aeternam is a solemn and harmonically engaging composition for STB voices with viola or cello and organ. It begins with an ethereal statement of the E minor theme with words from the Requiem Mass, first by TB voices and then repeated with treble voices. (One might consider using children's voices.) A viola interlude leads into the middle section in E major, where voices gently but insistently entreat God to shine perpetual light on the dead. The original theme, this time with voices at pianissimo, returns after another viola interlude. The viola takes up the prayer [theme] in the end, sparingly underscored by voices, and harmonies gently move backto E major to accompany the choir's final, hopeful "Amen." A substitute part for cello is also available. J. Christopher Pardini's Requiem aeternam is a solemn and harmonically engaging composition for STB voices with viola or cello and organ. It begins with an ethereal statement of the E minor theme with words from the Requiem Mass, first by TB voices and then repeated with treble voices. (One might consider using children's voices.) A viola interlude leads into the middle section in E major, where voices gently but insistently entreat God to shine perpetual light on the dead. The original theme, this time with voices at pianissimo, returns after another viola interlude. The viola takes up the prayer [theme] in the end, sparingly underscored by voices, and harmonies gently move backto E major to accompany the choir's final, hopeful "Amen." A substitute part for cello is also available.

Two Pieces for Organ : Prelude in D and Exultation

Prelude in D, written for organist David Ball, is set in a languid 3/4 with a lyrical motif in the melody which passes through several harmonic developments but is consistently soothing and satisfying. Registration suggestions might be for a large instrument, but the elegance of the writing insures success on a smaller instrument as well. Duration: 3:30 Exultation was commissioned by Choir and Organ magazine for the dedication of the Miller-Scott Organ at Saint Thomas Church Fifth Avenue. It is a short, fiery postlude or recital piece. Of the two pieces, the difficulty level we've selected definitely comes from this final one. If you want to start or finish with a bang,consider Exultation. Duration: 1:30 Contents: Prelude in D Major Exultation Part of the Cathedral Series.