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Harmonization & Intonation Sampler Harmonization 1 & Intonation Sampler Fugue on the Carillon d’Alet From Harp to Pipe Craig Phillips Robert J. Powell )XJXHRQWKH&DULOORQG·$OHW The composer writes: “This piece is From Harp to Pipe Robert Powell has composed six RUJDQVROR based on the bells of the Eglise-St. André &UDLJ3KLOOLSV preludes on early American hymn in the village of Alet-les-Bains, France. Early American tunes: LENOX, BABEL’S STREAMS, THE This is a somewhat fanciful interpreta- SAINT’S DELIGHT, SAMANTHRA, SAVAN- tion of the simple, but very interesting Hymn Tunes NAH, and BETHEL. The beautiful and two-tone angelus that is heard three ruggedly modal character of the times daily from the bell tower of the original tunes is respected and church, which is adjacent to the ruins Robert J. Powell highlighted in Powell’s accessible of the 11th-century Notre-Dame Abbey.” settings. 160-663 • $15 160-852 • $10 Three Pastorales Clive Jenkins Improvisation Improvisation on “NICAEA” British composer Clive Jenkins on Nicaea Alfred V. Fedak delivers a delightful three movement This dignified treatment of the familiar organ suite, firmly within the great hymn NICAEA would make an excellent organ solo tradition of English pastoral music. postlude for any time in the church The subtitle “Organ pieces for odd Alfred V. Fedak Thee Pasoales year. Fedak takes the tune through times” refers to the fact that each seven key areas before returning to a movement is in a different meter with sturdy presentation of the entire tune in an odd number of beats (5, 3, and 7). the home key of D. 160-520 • $10 The first pastorale is lilting in char- acter, the second tender and lyric, and Ogan pieces fo odd imes the third bounding and joyful. They Clive Jenkins may be played either with manuals only or with pedal. 160-650 • $12 Scherzo Ostinato 6FKHU]R2VWLQDWR Fantasia: Alfred V. Fedak A Languedoc Landscape This exciting concert scherzo is based Craig Phillips on a theme by Thomas Ravenscroft. Fantasia Composer Craig Philips spends part The work begins quickly but quietly, A Languedoc of each summer on “composing Landscape with an apprehensive atmosphere. The retreat” in the Languedoc-Roussil- music gains in energy and volume, lon region of Southern France. The building towards a dramatic conclu- RUJDQVROR gorgeous and inspiring landscapes sion. An impressive (though only $OIUHG9)HGDN of this area have surrounded Phillips moderately difficult) work for recital, over the years as he created many or a Lenten postlude. 160-865 • $12 of his well-known works, but they T e poem for Organ, Bra Quintet, & Timpani are invoked explicitly in this “tone Craig Phi ips poem” for brass quintet, timpani, and organ. The work is cast in A Mohawk River Suite several sections of varying character, A Mohawk Ri r Suite Alfred V. Fedak ranging from warm to boisterous—including a lively evocation of a trouba- Originally composed for a house concert dour dance in the center that returns again at the very end. involving various keyboard instruments 160-910 (Full Score)–$75, 160-912 (Parts)–$75, 160-913 (Study Score)–$25 (harpsichord, piano, and organ), flute, and singers, this work can also be seen Three Reflections on Hymn as an anthology of musical settings and Tunes for solo piano variations on the familiar hymn “Shall David Ashley White 0CM@@.@]@>ODJIN Alfred V. Fedak We Gather at the River?” The keyboard These moderately easy piano pieces JI$THI0PI@N movements in various historical musi- are treatments of three hymn tunes: AJMNJGJKD<IJ cal styles can be easily adapted for any the Welsh tune AVON (also known as <QD?NCG@T3CDO@ keyboard instrument or performance MARTYRDOM), the Sacred Harp melody context. Several of the movements with A SONG OF TEXAS, and one of White’s voice could be used as stand-alone set- original tunes (GARDEN DISTRICT). tings, and there is also an ornamented Expressive and lyrically pianistic, the baroque-style air for flute and keyboard pieces are suitable for service preludes that would make an effective offertory. and interludes; or all three together as The suite concludes with a solo organ a concert suite. 830-612 • $10 toccata: an excellent postlude. 160-926 (includes parts) • $25 www.selahpub.com 800-851-6172 Harmonization & Intonation Sampler Volume I Richard Proulx: 15 Hymn Intonations Volume II V. Earle Copes: Intonations & Harmonizations Volume III Alfred V. Fedak: Harmonizations Volume IV Austin C. Lovelace: Two Preludes Contents Volume V ASH GROVE ......................7 Richard Proulx: More Intonations AURELIA.........................11 Volume VI CORONATION .................5, 9 Richard Proulx: Harmonizations FOUNDATION ...................12 Volume VII Austin C. Lovelace: Variations on NICAEA LAND OF REST ................11 Volume VIII LASST UNS ERFREUEN .........4 Richard Proulx: Still More Intonations LOBE DEN HERREN ............4 Volume IX NETTLETON ......................5 Alfred V. Fedak: 25 More Harmonizations OLD HUNDREDTH ........8, 10 Volume X SLANE ...........................13 Richard Proulx: Yet Even More Intonations STABAT MATER ..................6 Volume XI STUTTGART ......................6 Craig Phillips: Harmonizations & Descants VICTORY ..........................8 Volume XIII David Hurd: Intonations, Harmonizations & Interludes Volume XIV Wayne L. Wold: Intonations Volume XV David Hurd: More Harmonizations & Intonations Volume XVI Steve Pilkington: Intonations Volume XVII Alfred V. Fedak: Marian Hymn Harmonizations Look for these publications at your local music store. Call Selah toll-free at 1-800-852-6172 or order online at www.selahpub.com P.O. Box 98066 Pittsburgh, PA 15227 800.852.6172 • 412.886.1022 fax Lobe den Herren melody from Erneuerten Gesangbuch , 1665 Intonation by Richard Proulx LOBE DEN HERREN melody from Erneuerten Gesangbuch, 1665 Intonation by Richard Proulx 4 from Volume I j 3 j œ & b 4 œ œ œ ‰ œ ‰ œ. œ œ. œ œ œ œ. œ œ. œ œ Man. œ. œ œ œ œ œ œ nœ œ œ œœ œ œ œ bœ œ f œ œ œ œ ? 3 œ œ œ œ œ œ. b 4 œ œ bœ œ œ. œ œ œ œ œ œ & b Œ œ. œ œ. œ œ œ˙. œ œ. œ œ œ œ œ œ œ œœ œ ˙ ˙ œ œ. œ œ. œ œ œ œ œ œ œ œ œ nœ ? œ b œ œ œ œ œ œ œ œ œ œ bœ œ nœ œ . j U & b ˙. œ œ œ. œ œ. œ œ. œ œ. œ œ œ ‰ ˙. œ œbœ œ œ œ. œ œ. œnœ. œ. œ œ œ bœ œ œ œœ œœ œ ˙. œ œ œ œ . U ? œ œ œ ˙. ˙. ˙. b œ œ œ œ œ œ œ œ œ ˙. ˙. © 1991 Selah Publishing Co., Inc. All rights reserved. It is illegal to photocopy this music. Lasst uns erfreuen LASST UNS ERFREUEN melody from Geistliche Kirchengesänge, Cologne, 1623 Intonation by V. Earle Copes melody from Geistlichefrom KirchengesSˇnge Volume , Cologne, 1623II Intonation by V. Earle Copes # œ œ # 3 œ œ ˙ œ œ ˙ œ ˙ ˙ œ & 2 œ œ ˙ ˙ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ c.f. ? # 3 œ w œ # 2 ˙ œ œ œ œ œ ˙ œ œ œ œ œ c.f. ## ˙œ ˙œ œ œ œ œ œ ˙ w. & œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ ˙ w ˙ #˙ ˙ ˙ œ œ Copyright? ## © 1991, Selah Publishing Co., Accord,œ N.Y. œ 12404. All rights reserved. Duplication in any form is wprohibited by law. ˙ Proulx-Lobe den Herren-1 . © 1991 Selah Publishing Co., Inc. All rights reserved. It is illegal to photocopy1 this music. This collection © 2011 Selah Publishing Co., Inc. All rights reserved. It is illegal to photocopy this music. Copyright © 1991, Selah Publishing Co., Accord, N.Y. 12404. All rights reserved. Duplication in any form is prohibited by law. Composer-Selection-1 1 Nettleton J. Wyeth’s Repository of Sacred Music, Part II, 1813 NETTLETON J. WyethÕs RepositoryHarmonization of Sacred Music, by Alfred Part V. II Fedak , 1813 from Volume III Harmonization by Alfred V. Fedak 5 bb 3 œ & b 4 œ œ œ œ œ œ œ œ œ œ œ œœ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? 3 œ œ œ œ œ œ ˙ œ ˙ œ bb 4 œ ˙. ˙. ˙ œ ˙ nœ ˙ b ˙. ˙. ˙ œ b œ œ œ œ & b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ bœ œ œ œ œ œ œ˙ œ ˙ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ ? bb œ œ œ ˙ b ˙ œ œ œ œ œ ˙ œ ˙ œ ˙ œ bbb ˙œ œ œ œ ˙ œ œ œ œ & ˙ œ ˙ œ œ œ œ œ œœ bœ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ bb œ œ œ œ œ œ œ œ ˙ b ˙ œ ˙. ˙ œ œ œ ˙ Lasst uns erfreuen © 1991 Selah Publishing Co., Inc. All rights reserved. It is illegal to photocopy this music. Coronation melody from Geistliche KirchengesSˇnge , Cologne, 1623 Full Plenum or Reeds Intonation by V. Earle Copes Full Plenum or Reeds from Volume V Tune by Oliver Holden, 1793 COROOliver Holden,NATIO 1793 N IntonationIntonation by byRichard Richard Proulx Proulx # 3 œ œ œ œ Majestic & # 2 œ œ ˙ ˙ œ œ ˙ ˙ œ œ ˙ œ œ˙ œ œ ˙ ˙ œ œ œ œ œ œ 4 œ c.f. & b 4 œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œbœ ˙ œ œ bœ œ œ.
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