Hymns for String Ensembles
Abide with Us, Our Savior
Tune: Christus, Der Ist Mein Leben
Arranged by John E. Frantz From the Hymns for String Ensembles series. The chorale Prelude has the hymn tune in augmentation and diminution simultaneously. After the Hymnal Version from Lutheran Worship, there are two Congregational Versions, before a Transition modulates from D Major to E Major for the final setting. In the third setting the hymn tune is in the bass line, and in the last setting it is in the alto line. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for Orchestral Ensembles
Amazing Grace
Tune: Amazing Grace/New Britain
Arranged by Dale Elmshaeuser The Prelude, in chorale prelude style, can be played as an independent piece. There is an alternate, short Introduction that can be played in place of the Prelude. The Hymnal Version follows, as found in The Baptist Hymnal, The United Methodist Hymnal, and The Presbyterian Hymnal. Three more Congregational Versions follow, one of which accompanies the tune "New Britain" with the tune "St. Columba." The arrangement can be played by as few as four instruments (soprano, alto, tenor, bass), and by as many as a full wind ensemble (concert band) or orchestra. Orchestration suggestions are given for a large group. The arrangement can accompany a congregation, or be played as an instrumental suite of variations on the hymn. The difficulty level is 2/3. Full Set includes a Conductor/Keyboard Score, transposed parts for individual woodwind, brass, and string instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for String Ensembles
Beautiful Savior
Tune: Schönster Herr Jesu/Crusaders' Hymn
Arranged by John E. Frantz This arrangement for string quartet from the Hymns for String Ensembles series begins with a Prelude that can stand alone as a composition in its own right. It has the embellished hymn tune in the bass line, with interesting shifts between 4/4 and 6/8 meters. After the Hymnal Version from Lutheran Worship, there are three Congregational Versions. In the first of these, the viola (tenor line) plays the melody most of the time, accompanied by eighth notes, shifting to eighth-note triplets in the Violins. The Viola continues with the melody in the next setting. In the last setting, the Violins play the melody in octaves over running eighth notes in the Viola and Cello. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can, of course, be augmented with or replaced by Dounble Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II and III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or it can be played as an instrumental suite of variations on the hymn. The difficulty level is 3+. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for String Ensembles
Come, You Thankful People, Come
Tune: St. George's, Windsor
Arranged by Dale Elmshaeuser From the Hymns for String Ensembles series. The chorale Prelude begins with an original theme in canon in the Cello and II Violin, which introduces and is interspersed between phrases of the hymn, doubled in octaves in the Viola and I Violin. Next, the Hymnal Version from Lutheran Book of Worship and Lutheran Worship is followed by three Congregational Versions: a dance-like conversation between I Violin and Cello; the hymn tune alternating between II Violin and Cello around a harmony line in the Viola under a descant of long tones in the I Violin; and a full, majestic final setting with another I Violin descant. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for String Ensembles
Dearest Jesus, We Are Here
Tune: Liebster Jesu, Wir Sind Hier
Arranged by John E. Frantz This arrangement from the Hymns for String Ensembles series is worth purchasing just for the exceptional chorale Prelude. A little over three minutes in length, it would also make a fine voluntary or concert or recital piece. It offers much rhythmic and melodic activity for all. The cantus firmus moves from the soprano and alto lines at first to the tenor and bass lines later. The arrangement continues with the Hymnal Version from Lutheran Worship and three new Congregational Versions. Setting B makes effective use of layered entries In setting C, the I Violin provides an ethereal effect by moving slowly in melodic fourths and fifths above everyone else. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Arrangements for Strings
Epiphany Set for String Quartet
Tune: Wie Schoen Leuchtet
Arranged by Frederick Frahm This composition from the Arrangements for Strings series is organized around the worship service with three extended treatments of the great chorale, labeled "Processional," "Meditation" (One could say "Voluntary."), and "Recessional." Frahm's own setting of the rhythmic chorale melody, and the traditional setting of the isometric chorale melody complete the arrangement. These can accompany congregations singing those versions of the hymn. The maestoso Processional in chorale prelude style is based on the first five notes of the chorale, using interesting rhythmic and harmonic devices and pleasing melodic motifs. The very slow espressivo Meditation includes the chorale tune in both major and minor keys. The animoso Recessional is in 6/8 meter, "in two," but at a deliberate pace. Smaller fragments of the chorale melody are employed, at times catching the listener unawares. It ends abruptly. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can, of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing string instruments. The difficulty level of this arrangement is 3. Full set includes a Full Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.
Hymns for String Ensembles
Faith of Our Fathers
Tune: St. Catherine
Arranged by John E. Frantz
In this arrangement for string quartet from the Hymns for String Ensembles series, once the hymn tune begins in the chorale Prelude's fugal setting, it continues uninterrupted, passing from one instrumental line to another. Other harmonizations include the Hymnal Version from The Baptist Hymnal (1991) and The United Methodist Hymnal (1989) and two more versions that could accompany congregational singing. There is also a purely instrumental setting of a meditative nature. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can, of course, be augmented with or replaced by Dounble Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II and III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or it can be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for String Ensembles
Father, We Praise You/Father Most Holy
Tune: Christe Sanctorum
Arranged by John E. Frantz The chorale Prelude of this arrangement from the Hymns for String Ensembles series has a very active, rhythmic accompaniment. The Hymnal Version from Lutheran Book of Worship and Lutheran Worship is followed by three nicely contrasting Congregational Versions. One of these has the hymn tune alternating between the tenor and the bass lines, while the soprano and alto lines consist of complementary off-beat patterns. In the final setting, the hymn tune is in the alto line while the soprano line has a descant. This arrangement can be played by as few as four instruments (typically I &
II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for String Ensembles
From Shepherding of Stars
Tune: Shepherding
Arranged by Richard Hillert From the Hymns for String Ensembles series, this arrangement was written by the composer of the hymn tune. The Prelude is based on a recurring melodic group of three eighth notes and two quarter notes, beginning after an eighth rest. It ends with the final phrase of the hymn tune in augmentation. A setting complementing his Lutheran Book of Worship and Lutheran Worship harmonization follows, before an alternate congregational accompaniment that departs briefly from the hymn tune. The arrangement ends with a fantasia filled with imitative figures that are fragments of the hymn tune. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for String Ensembles
How Sweet the Name of Jesus Sounds
Tune: St. Peter
Arranged by John E. Frantz The contrapuntal chorale Prelude of this arrangement from the Hymns for String Ensembles series has the cantus firmus in the bass. The Hymnal Version from Lutheran Book of Worship and three Congregational Versions complete the arrangement. The 2-part setting B is expanded by one part for setting C, and by yet another for setting D in 4-part harmony. The arrangement is moderate in difficulty and range, making it very accessible to young string players. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 2. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Arrangements for Orchestral Ensembles
I Love Your Kingdom, Lord/The Advent of Our God/Oh, Bless the Lord, My Soul
Tune: St. Thomas
Arranged by John Jay Hilfiger This first-in-the-series arrangement from the Arrangements for Orchestral Ensembles series is a continuous work, consisting of an introduction and four settings of the hymn - three of which can be separated out to accompany congregational singing, two of those in F Major, and the other in G Major. The arrangement is easy enough for high school and some middle school ensembles, yet interesting enough for adults and advanced players. The arrangement can be played by as few as four instruments (soprano, alto, tenor, bass), and by as many as a full wind ensemble (concert band), string orchestra, or full orchestra. The difficulty level is 3-. Full set includes a Conductor/Keyboard Score; transposed parts for individual woodwind, brass, and string instruments; background notes; and suggestions for performance with or without the congregation.
Hymns for Orchestral Ensembles
In Thee Is Gladness
Tune: In dir ist Freude
Arranged by Kenneth T. Kosche The Prelude is long enough to stand alone, and short enough to provide an extended introduction to the hymn sung by a congregation. Descending eighth-note segments of the F Major scale form a motif that ties the Prelude together with an energetic rhythm, while the soprano and tenor lines trade off on the chorale tune. A new, hymnal type of setting is next, followed by three more active harmonizations. One of these is slower, featuring steady eighth-note rhythms in a legato style around the chorale melody that is exchanged by the upper three voices. The tenor line carries the melody all through the final setting until the final "Alleluia," which moves to the alto voice. Rhythmic interest is provided by the dotted rhythms borrowed from the melody by the alto and bass lines. The arrangement can be played by as few as four instruments (soprano, alto, tenor, bass), and by as many as a full wind ensemble (concert band) or orchestra. Orchestration suggestions are given for a large group. The arrangement can accompany a congregation, or be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual woodwind, brass, and string instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for Orchestral Ensembles
Joyful, Joyful We Adore Thee
Tune: Hymn to Joy
Arranged by Dale Elmshaeuser Beginning and interspersed among phrases of the hymn in the Prelude are eighth-note, melodic figures related to the hymn tune. Setting A is the harmonization from Lutheran Book of Worship. Setting B has the melody in the alto line, with a descant above. In setting C, the melody is in the tenor line, with a counter melody in the soprano line that places its 4/4 "measures" one beat later than the measures of the melody. Underneath there is an active bass line, mainly in eighth notes. The entire arrangement is in G Major. The arrangement can be played by as few as four instruments (soprano, alto, tenor, bass), and by as many as a full wind ensemble (concert band) or orchestra. Orchestration suggestions are given for a large group. The arrangement can accompany a congregation, or be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual woodwind, brass, and string instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for String Ensembles
Let Our Gladness Have No End
Tune: Narodil Se Kristus Pan
Arranged by Frederick Frahm From the Hymns for String Ensembles series. The Prelude begins with all playing in unisons and octaves. Melodic fragments from or related to the hymn tune provide the dance-like material that is at times accompanied by chords in off-beats, or else played in canon. Next is the Hymnal Version from Lutheran Book of Worship, followed by a Congregational Version which relays the hymn tune among the upper three voices. The final, Congregational Version starts with the I Violin and Viola playing the hymn tune in their high octaves, moves to all unison/octaves to begin the third phrase, and diverges slightly from the hymn tune at the end. The II Violin and Cello finish after the final note of the hymn. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for Orchestral Ensembles
Lord, Enthroned in Heavenly Splendor/Look, Ye Saints, the Sight Is Glorious
Tune: Bryn Calfaria
Arranged by Kenneth T. Kosche The Prelude of this arrangement from the Hymns for Orchestral Ensembles series has the hymn tune alternating among bass, alto, and soprano lines, embellished with festive, active parts in the other voices. A new, hymnal type of harmonization is followed by three increasingly rhythmic settings. The arrangement can be played by as few as four instruments (soprano, alto, tenor, bass), and by as many as a full wind ensemble (concert band), string orchestra, or full orchestra. Orchestration suggestions are given for a large group. The arrangement can accompany a congregation, or be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score; transposed parts for individual woodwind, brass, and string instruments; background notes; and suggestions for performance with or without the congregation and choir.
Hymns for String Ensembles
O People, Rise and Labor
Tune: Aus Meines Herzens Grunde
Arranged by John E. Frantz From the Hymns for String Ensembles series. The chorale Prelude begins with a charming alto pizzicato ostinato accompanying the tenor cantus firmus over pedal tones in the bass. Later, a legato descant appears in the soprano. In the last of the three congregational versions (after the hymnal version from Lutheran Worship), the alto ostinato returns, played with the bow this time. Another congregational version provides more harmonic interest. This arrangement is easy enough for a good junior high quartet to play. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 2/3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for String Ensembles
Oh, Come, Oh, Come, Emmanuel
Tune: Veni, Emmanuel
Arranged by John E. Frantz Since the chorale prelude of this arrangement from the Hymns for String Ensembles series is over two and one-half minutes in length and reminiscent of a fast movement from one of the Brandenburg Concertos, it is a composition in itself. It contains the entire hymn tune, but not always as expected! Because of the perpetual motion and high ranges, the alternate woodwind parts should not be considered as providing the possibility for a woodwind ensemble performance, but rather as making available an alternate part for a missing string instrument. The prelude is followed by the hymnal version, a 2-part setting for Violin and Cello, and two more florid settings -- one with the hymn tune in the II Violin part, and the final one with it in the Viola line. Each of these four settings is suitable for accompanying singers, and is playable by an all-woodwind ensemble. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can, of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or it can be played as an instrumental suite of variations on the hymn. The difficulty level ranges from 3 to 4. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for String Ensembles
Once Again My Heart Rejoices (All My Heart This Night Rejoices)
Tune: Frohlich Soll Mein Herze Springen
Arranged by Dale Elmshaeuser From the Hymns for String Ensembles series. For the Prelude, the first two phrases of this Christmas chorale are played in fugal style by the Cello and II Violin. After the Viola and I Violin add the first two phrases of the chorale in octaves, the Cello and II Violin continue with their fugal treatment of the third and fourth chorale phrases, once again joined in octaves by the other two instruments playing the same phrases. The Prelude ends with the last phrase of the chorale played in augmentation by the two inner voices. After the harmonization from Lutheran Book of Worship (except in D Major), there are three new settings, each in four-part harmony. The first is in hymnal style, with a counter melody in the I Violin. It is followed by one that begins each two phrases with layered entries. The final setting is a joyful, dance-like treatment in 12/8 time. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for Orchestral Ensembles
Praise to the Lord, the Almighty
Tune: Lobe den Herren
Arranged by Kenneth T. Kosche In this arrangement from the Hymns for Orchestral Ensembles series, copies of the first notes of the chorale tune are juxtaposed with altered fragments of other portions of the tune to create a joyful Prelude. A hymnal type of harmonization precedes three more new settings, one having the chorale in the tenor line with a descant in the soprano line. The final setting is based on a slightly different version of the chorale that is compatible with the version used previously. The arrangement can be played by as few as four instruments (soprano, alto, tenor, bass), and by as many as a full wind ensemble (concert band), string orchestra, or full orchestra. Orchestration suggestions are given for a large group. The arrangement can accompany a congregation, or be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual woodwind, brass, and string instruments, background notes, and suggestions for performance with or without the congregation and choir.
Hymns for String Ensembles
Sing, My Tongue, the Glorious Battle
Tune: Fortunatus New
Arranged by John E. Frantz The exceptional chorale Prelude of this arrangement from the Hymns for String Ensembles series contains the hymn tune in both regular and augmented rhythms, surrounded by active rhythmic patterns. It is over three minutes in length -- a fine, independent piece to play by itself. It is followed by the Hymnal Version from Lutheran Book of Worship and Lutheran Worship. The opening theme over the hymn tune and pedal point in the third setting later becomes an ostinato at double speed that is tossed among the lower three voices in the fifth and final setting. This is an appropriate and powerful treatment of Carl Schalk's tune, which itself is a similar treatment of the hymn text. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Arrangements for Strings
Six Traditional Carols
Arranged by Dale Elmshaeuser This arrangement offers to string ensembles what others by the same name offer to brasses and to woodwinds, but with still different carols, and in the string idiom. The carols are "O Christmas Tree;" "Away in a Manger" (Tune: Flow Gently, Sweet Afton); "Come, All Ye Shepherds;" "What Child Is This;" "Bring a Torch, Jeanette, Isabella;" and "The First Nowell." Each carol has a traditional setting and a more varied, alternate setting. They can be played as instrumental suites, or separately, to accompany group singing. The instrumentalists can play alone, or the organist can join in, reading from the Conductor/Keyboard Score. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, and suggestions for rehearsal and performance.
Arrangements for Strings
Six Traditional Carols, Set II
Arranged by Dale Elmshaeuser Like its popular predecessor and the similar sets for brasses and for woodwinds, this suite offers great flexibility. The carols are "Still, Still, Still;" "I Am So Glad Each Christmas Eve;" "Gentle Mary Laid Her Child" (same tune as "Good King Wenceslas"); "Angels from Heaven;" "O Little Town of Bethlehem" (Tune: Forest Green); and "Mary Had a Baby." Devices include high, ethereal violins over slow, meditative melodies; a tenor counter melody; rippling ostinatos; pizzicato passages; and an English-style descant. Each carol begins with a traditional setting, followed by an alternate setting that has more harmonic or rhythmic interest. When played straight through, the set makes an effective, varied suite. The carols are in keys suitable for group singing as well. The instrumentalists can play alone or with the organist, who can read from the Conductor/Keyboard Score. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, and suggestions for rehearsal and performance.
Original Works for Strings
Suite for Holy Week
By John E. Frantz The mixed meters and contemporary harmonies of this entirely original composition will be enjoyed by more advanced parish and school string players. Each of the four movements amplifies the mood of a different day in Holy Week. No. 1, "Dance," is for Palm Sunday/Sunday of the Passion. Its sprightly rhythm with alternating measures of 3/4 and 3/8 meters is appropriate to the procession of the day, while harmonically hinting at the impending events of the passion. No. 2, "Chant," has a beautiful, eighth-note chant melody at largo tempo, which provides a meditation for Maundy Thursday. For Good Friday, the melody of no. 3, "Lament," adagio, often moves chromatically over rich, dissonant harmonies. No. 4, "Fugue," inverts the melody from the opening "Dance," over joyful rhythms and harmonies. The entire composition is equally effective divided among the liturgical days, or played in its entirety as a seasonal suite for Lent in worship, concert, or recital. This composition can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The difficulty level is 4/5. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and rehearsal suggestions.
Hymns for String Ensembles
This Is My Father's World
Tune: Terra Patris
Arranged by John E. Frantz In this arrangement for string quartet from the Hymns for String Ensembles series, the hymn tune is cleverly hidden in the three-minute Prelude. Because of this, the Prelude can be played as a free composition for many occasions. The Hymnal Version from Lutheran Book of Worship is followed by a two-part setting with the Viola melody over a steadily moving bass line in the Cello. The first Congregational Version is a duet between the Viola (tenor line) and the Cello (bass line). This duet is repeated in the second Congregational Version, while the Violins add rhythmic patterns above. In the final, very full, four-part Congregational Version, the Cello continues with nearly the same bass line. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can, of course, be augmented with or replaced by Dounble Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II and III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or it can be played as an instrumental suite of variations on the hymn. The difficulty level is 3+. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.
Arrangements for Strings
Three Early Chorale Preludes for Spring
Tunes: Christ lag in Todesbanden; Komm, Heiliger Geist, Herre Gott; and Wir glauben all' an einen Gott
Transcribed by Dale Elmshaeuser This transcription from the Arrangements for Strings series contains three short organ chorale preludes that were written by Samuel Scheidt, Andreas Armsdorf, and Johann Chistoph Bach, respectively. The first (for Easter) is in embellished chorale style, while the latter two (for Pentecost and for Trinity Sunday) are fughettas. They will sound equally effective with strings, with woodwinds, or with a combination of the two. While interesting enough for advanced players, they are technically easy enough for average high school instrumentalists. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. This is an instrumental composition, not suitable for congregational accompaniment. The difficulty level is 2+. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.
Arrangements for Strings
Two Early American Hymns
Arranged by Evan Becker This arrangement works equally well with strings or with woodwinds. The hymn tunes are "Land of Rest," and "Pleading Savior." The first movement begins allegretto with the melody in the cello (or Bassoon) and ends maestoso with the melody in the I Violin (or Flute). The second movement includes canonic movement, changing the melody from major to minor, and letting all voices take turns with the hymn tune. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The suggested woodwind instrumentation is Flute (using the I Violin part), Oboe (using the II Violin part), Clarinet (extra part included), and Bassoon (using the II Cello part). In addition, a part for II Clarinet are included, to substitute for the (II) Viola part. The difficulty level is 3. Full set includes a Full Score, transposed parts for individual instruments, and suggestions for rehearsal and performance.
Arrangements for Strings
Two Early American Hymns, Set II
Tunes: Nettleton; Pisgah
Arranged by Evan Becker In this arrangement from the Arrangements for Strings series, the arranger continues the very original, harmonically and rhythmically appealing style of his first set, providing an extended treatment of each tune. In both movements, the tunes appear in surprising places and ranges, moving from one instrument to another amid intriguing rhythmic figures. The suggested woodwind instrumentation is flute, oboe, clarinet, and bassoon; but extra parts for both strings and woodwinds allow different possibilities. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. This is an instrumental composition, not suitable for congregational accompaniment. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.
Original Works for Strings
Two Fanfares for Strings and Organ
By Robert J. Powell These pieces are truly fanfares, yet at the same time are very much in the string idiom. Bowing patterns fall easily and naturally the great majority of the time. The first fanfare in 3/4 time features the "Westminster Chimes" theme over a moving cello bass line. The second fanfare in 4/4 meter opens with the strings, and generally has them playing homophonically in four parts. These fanfares are a valuable addition to music for worship on any festive occasion. The are also enjoyable pieces for school ensembles to play for concerts, recitals, and music contests. This arrangement can be played by organ and as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The difficulty level is 3. Full set includes a Full/Organ Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.
Arrangements for Orchestral Ensembles
Two Hymn Accompaniments
Christ Is Alive! Let Christians Sing (Tune: Truro)
Take My Life, That I May Be (Tune: Patmos)
Arranged by Dale Elmshaeuser The two shorter arrangements within this arrangement from the Arrangements for Orchestral Ensembles series were designed to accompany congregational singing, but they are varied enough to serve as separate instrumental pieces. "Christ Is Alive! Let Christians Sing" begins with a strong and lively Introduction, followed by the Hymnal Version from Lutheran Book of Worship, and an original descant. A separate sheet with the descant and the texts of the last stanzas of both this hymn and "Lift Up Your Heads, Ye Mighty Gates" is included for choir trebles. "Take My Life, That I May Be" is introduced by a Baroque-style fughetta. The Hymnal Version from Lutheran Book of Worship is next, with an original, instrumental descant added. The arrangement can be played by as few as four instruments (soprano, alto, tenor, bass), and by as many as a full wind ensemble (concert band), string orchestra, or full orchestra. The arrangement can accompany a congregation, or be played as an instrumental piece. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual woodwind, brass, and string instruments, and suggestions for performance.
Arrangements for Orchestral Ensembles
Two Hymn Accompaniments, Set II
Jesus on the Mountain Peak (Tune: St. Albinus)
Jesus, Still Lead On (Tune: Seelenbrautigen)
Arranged by Dale Elmshaeuser The two shorter arrangements within this arrangement from the Arrangements for Orchestral Ensembles series were written as wind ensemble accompaniments to congregational hymns, but they are varied enough to serve as separate instrumental pieces. "Jesus on the Mountain Peak" has a bold, majestic Introduction, the Hymnal Version from With One Voice, and an optional Transition with fanfare motifs, leading into a broader, more florid setting for congregation, and ending with the fanfares of the Transition. Optional percussion parts are included for chimes, snare and bass drums, and suspended and crash cymbals. "Jesus, Still Lead On" has an Introduction that begins small in the treble range, gradually expands, and ands with full, four-part harmony. The Hymnal Version from Lutheran Book of Worship is topped by a descant for instrumentalists and choir trebles (text and music sheet included). The arrangement can be played by as few as four instruments (soprano, alto, tenor, bass), and by as many as a full wind ensemble (concert band), string orchestra, or full orchestra. The arrangement can accompany a congregation, or be played as an instrumental piece. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual woodwind, brass, and string instruments, and suggestions for performance.
Arrangements for Orchestral Ensembles
Two Hymn Accompaniments, Set III
Blessed Assurance (Tune: Assurance); and
Praise, My Soul, the King of Heaven (Tune: Praise, My Soul)
Arranged by Dale Elmshaeuser The two shorter arrangements within this arrangement from the Arrangements for Orchestral Ensembles series were written for a wind ensemble to accompany congregational singing, but they can be played by strings, and they are varied enough to serve as separate instrumental pieces. "Blessed Assurance" has an original Introduction, followed by the harmonization from the hymnal supplement With One Voice, and an optional descant. "Praise, My Soul, the King of Heaven" begins with an instrumental Introduction, and continues with the harmonization from Lutheran Book of Worship. The arrangement proceeds with a Congregational Version in four-part harmony, with an optional fifth part. The LBW harmonization returns, with an added descant. The latter can be played by the instrumentalists, and/or sung by choir trebles from the provided sheet that includes the text of the final hymn stanza for both "Praise, My Soul, the King of Heaven," and "Alleluia, Song of Gladness." While this set is playable by many high school ensembles, it is musically interesting enough for adult and advanced groups as well. The arrangement can be played by as few as four instruments (soprano, alto, tenor, bass), and by as many as a full wind ensemble (concert band), string orchestra, or full orchestra (without percussion). The arrangement can accompany a congregation, or can be played as an instrumental piece. The difficulty level is 3. Full set includes a Conductor/Keyboard Score, transposed parts for individual woodwind, brass, and string instruments, and suggestions for performance.
Arrangements for Strings
Two Pieces for Strings and Organ
Arranged by Robert J. Powell From the Arrangements for Strings series, the first piece is an original composition titled "Create in Me a Clean Heart, O God." The second piece is an arrangement of a traditional English melody. Both include sections with strings only, with organ only, and with both together. In both pieces, the string entries are often individual or in pairs. While the first piece is generally in eighth-notes, the moderate tempos make both pieces accessible to average high school string players. This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. This is an instrumental composition, not suitable for congregational accompaniment. The difficulty level is 2+. Full set includes a Full Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.
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