This collection aims to provide a comprehensive survey of a highly significant part of the Christian Year: Ash Wednesday and Lent, Passiontide, Palm Sunday, Maundy Thursday, Good Friday, and Easter. Its contents span all musical periods of what is a marvellously rich area of church music and it contains much that is not widely available elsewhere under one cover. Ash Wednesday to Easter for Choirs includes a number of less familiar works together with new or recent arrangements of well-known tunes, such as Philip Ledger's 'This joyful Eastertide', Simon Lindley's 'Now the green blade riseth', and Bob Chilcott's setting of 'Were you there?'. Some of the anthems, for example Richard Shephard's 'Sing, my tongue' and Grayston Ives' 'Ride on', have been newly commissioned specifically for this collection, thus filling certain gaps. Wherever possible new practical performing editions of 16th-century repertoire have been prepared, reflecting current scholarship and including an English singing translation and, where, the original had none, a dynamic scheme. Such dynamics are the editors' suggestions only and may be freely ignored or adapted. Note values have in some instances been halved. Unaccompanied items include keyboard reductions for rehearsal.

Contains nearly 1000 pages of precise and accessible information on all musical subjects.

"There are a couple of hundred songs that are sung by millions across the world each day, that school children know by heart and sports fans belt out perfectly even after eight beers. And they aren't pop songs u they are national anthems. These are songs which inspire the fiercest of feelings: for some they are a declaration of nationalistic pride; for others a rallying cry for revolution; and for others still they serve as a shameful reminder of past wrongs. And yet, despite the fact that for many of us they form a fundamental part of our national consciousness, the fascinating stories underlying the creation and adoption of each national anthem have rarely, if ever, been told. In Republic or Death, Alex Marshall brings the incredible stories of the world's national anthems to life. Taking in Europe, the Middle East, Asia, Africa and the Americas North and South, he embarks on an adventure that includes cycling the route along which French revolutionaries marched as they first sang La Marseillaise; entering a competition for the best singer of the Star-Spangled Banner; and attempting to bribe his way to an audience with the king of Nepal in order to uncover the story behind the only national anthem written on a Casio keyboard. In the course of his enthralling and often hilarious travels, Alex encounters everyone from senior politicians and anthem composers to the sports fans and activists from whom these songs evoke such a wide range of emotions. Along the way, he uncovers the fascinating cultural and musical history of the world's anthems, and also asks us to consider what they mean for us today."

"Sunday by Sunday: Music for the Second Service Lectionary offers a wide range of selected music - for congregations, organists, choirs and other ensembles - that resonates with the biblical readings and liturgical emphasis of the day wherever the Second Service Lectionary is used." "Covering each Sunday of Lectionary Years A, B and C as well as Holy Days and major Feasts, this volume will be a companion for all who plan and lead worship, and for church musicians."--BOOK JACKET.

A definitive collection of 100 anthems from Tudor times to the present, this book includes favorites as well as lesser-known pieces. The anthems were selected for their practical usefulness for church choirs today, bearing in mind the needs of smaller choirs: the anthems are mostly for SATBwith or without keyboard accompaniments.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.