composer’s notes · composer’s notes as a practicing church musician i am very aware of the...

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Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the Advent/Christmas season with the time constraints for preparation. My hope is that Holy Light will offer an opportunity to honor both realities, enabling the choir(s) to offer the proclamation of God’s news to worthy music that does not overwhelm the performing forces with musical demands. One will note the word “flexibility” offered in several places associated with this work. Ideas are also suggested to encourage creativity, but don’t limit the creative options to the printed suggestions, for each context will have varying resources that another might not. For instance, some handbell ringers may feel comfortable memorizing the first portion of “Let All Mortal Flesh Keep Silence” in order to process with the vocal choir(s) while others won’t. Some worship spaces may offer possibilities that others don’t. Some may have the wonderful opportunity to include the Children’s Choir with the Adult Choir on the melody line of “Break Forth, O Beauteous Heavenly Light.” e chil- dren might also participate with the choir and congregation on the refrains of several hymns. (How exciting to encourage children to be full participants in the proclamation!) In other words, dream early on of the possibilities within your particular set- ting, and plan organized, efficient rehearsals, continually seeking to provide the most positive experience for both participants and congregation. (Remem- ber the wise phrase: “Less is more.”) Finally, as you embark on this endeavor, may the peace and joy of God’s Son, made humanly known in the birth at Bethlehem, shine in your heart as you seek to brighten the hearts of others.

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Page 1: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

Composer’s Notes

As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the Advent/Christmas season with the time constraints for preparation. My hope is that Holy Light will offer an opportunity to honor both realities, enabling the choir(s) to offer the proclamation of God’s news to worthy music that does not overwhelm the performing forces with musical demands.

One will note the word “flexibility” offered in several places associated with this work. Ideas are also suggested to encourage creativity, but don’t limit the creative options to the printed suggestions, for each context will have varying resources that another might not. For instance, some handbell ringers may feel comfortable memorizing the first portion of “Let All Mortal Flesh Keep Silence” in order to process with the vocal choir(s) while others won’t. Some worship spaces may offer possibilities that others don’t. Some may have the wonderful opportunity to include the Children’s Choir with the Adult Choir on the melody line of “Break Forth, O Beauteous Heavenly Light.” The chil-dren might also participate with the choir and congregation on the refrains of several hymns. (How exciting to encourage children to be full participants in the proclamation!)

In other words, dream early on of the possibilities within your particular set-ting, and plan organized, efficient rehearsals, continually seeking to provide the most positive experience for both participants and congregation. (Remem-ber the wise phrase: “Less is more.”) Finally, as you embark on this endeavor, may the peace and joy of God’s Son, made humanly known in the birth at Bethlehem, shine in your heart as you seek to brighten the hearts of others.

Page 2: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

Performance Notes

From the beginning stages of its creation, Holy Light was designed to offer flexibility for directors and choirs. It may be utilized as a complete service of readings and carols; as a cycle of carols (the director may wish to choose ex-cerpts from the collection) for concerts or pre-service music on Christmas Eve; or as a collection from which individual anthems may be separately drawn. Additional flexibility is offered with required performing forces. Several of the movements invite the inclusion of either children’s choir or treble voices, while others make provisions for the option of congregational participation.

There are three options for instrumental accompaniment:

Option 1Choir, Brass Quintet, Percussion, *Handbells, **Organ, Piano, opt. Children’s Choir

Option 2 Choir, Chamber Orchestra (Flute, Oboe, Clarinet, Bassoon, Horn, 2 Trumpets, 2 Trombones, Percussion, Strings) **Organ, Piano, opt. *Handbells, opt. Harp, opt. Children’s Choir

Option 3 Choir, **Organ, Piano, opt. Children’s Choir

* The work calls for 3 octaves of handbells; additional octaves may be added at the discretion of the director.

** When using Options 1 or 2, the organist plays from the organ score found in the instrumental or orchestral parts. When using Option 3, the organist plays from the choral score. The Postlude is performed only when using Options 1 or 2.

A children’s choir part is available for download on the Holy Light product page at www.morningstarmusic.com.

If a candlelighting ceremony is included in the service, it should take place during “Break Forth, O Beauteous Heavenly Light”. See Leader’s Guide for further information.

All readings are taken from From Glory into Glory (MSM-90-42) by Susan Palo Cherwien.

Page 3: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

Contents

Let All Mortal Flesh Keep Silence (Processional) 4

Come, Thou Long-Expected Jesus 20

My Lord, What a Morning 26

Still, Still, Still 39

He Is Born 44

What Child Is This 62

Bring a Torch, Jeannette, Isabella 71

Break Forth, O Beauteous Heavenly Light 80

O Little Town of Bethlehem (Instrumental) 92

Oh, Come, Little Children 94

Go, Tell It on the Mountain 104

Joy to the World 119

Flourish on Joy to the World (Instrumental) 133

To my father,The Rev. Dr. Clark E. Hobby,

who seeks to radiate God’s holy light every day of his life

Page 4: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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3 OctavesHandbells Used: 31

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Liturgy of St. James;Tr. Gerard Moultrie

Robert A. Hobby

Processional on

SATB, Brass Quintet, Timpani, Handbells, and Organ,with opt. Congregation and Sus./Crash Cymbals

Let All Mortal Flesh Keep Silence

Copyright © 2010 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

Text: Liturgy of St. James, 5th cent.; tr. 1864, Gerard Moultrie, 1829-1885, alt. (PD).Tune: PICARDY, French folk tune, 17th century (PD).Music: Newly composed, and copyright © 2010 with this publication.

I:II:

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Gentle Reed 8', Flute 8'Strings 8', Flute 8'Flute 16', 8', II to Ped.

Page 5: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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MSM-70-013A

Page 6: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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MSM-70-013A

Page 7: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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MSM-70-013A

Charles Wesley Robert A. Hobby

Two-Part Mixed Voices or SATB and Organ,with opt. Wind Chimes

Come, Thou Long-Expected Jesus

Copyright © 2010 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

If sung as Two-Part Mixed Voices, the women sing the Soprano part and the men sing the Bass part.

Text: Charles Wesley, 1707-1788, and written in 1744 (PD).Tune: JEFFERSON, W. Walker, Southern Harmony, 1835 (PD).Music: Newly composed, and copyright © 2010 with this publication.

I:II:

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Flute 8', 4', II to IStrings 8'Flute 16', 8', I to Ped., II to Ped.

Page 8: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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Page 9: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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Page 10: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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MSM-70-013A

African-American Spiritual, adapt. Robert A. Hobby

My Lord, What a MorningSATB, Soprano Solo, and Piano

Copyright © 2005 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

Text: African-American Spiritual, adapt. (PD).Tune: BURLEIGH, an African-American Spiritual (PD).Music: Originally published 2005, MSM-50-6059.

Page 11: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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MSM-70-013A

Page 12: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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œ

,

- - -

28

MSM-70-013A

Page 13: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

&

?

b

b

b

b

b

b

b

b

b

4

4

4

4

4

4

Organ

œ

œ

œœ

Sweetly ( q = ca. 76 )

II p

SopranoAlto

.˙ œœ

Œ œœ

œ

PI

II

˙

˙

˙˙ ˙

˙

Œ˙ œ

Ped.

œ œ˙

ww

œ ˙ œ

˙

˙

˙˙ ˙˙

œ ˙ œ

˙ œœ

ww

œ ˙ œ

&

&

?

b

b

b

b

b

b

b

b

b

7

œ

œ

œœ

Still, still,

˙

œ œ

ww

˙ Ó

P

Unison

II

.˙ œœ

still, one can

œœ

œ œ

w

.˙ œ

Man.

œ œœ

œ œœ

hear the fall ing

˙ ˙

˙

œ œ œ

˙ ˙

.˙ œ

snow. for

œ

œ

œœ

ww

,

-

&

&

?

b

b

b

b

b

b

b

b

b

11

œ œ œ œœ

all is hushed, the

w˙˙ ˙

˙

w

Œ˙ œ

,

Ped.

œ œ œ œœ

world is sleep ing,

˙œ

œww

˙œ

œ

œ ˙ œ

,

œ œ œ œœ

Ho ly Star its

w˙˙ ˙

˙

w

œ ˙ œ

œ œ œ œœ

vi gil keep ing.

˙œ

œww

˙œ

œ

œ ˙ œ

,

- - - -

39

MSM-70-013A

Traditional Austrian carol Robert A. Hobby

SATB, opt. Children’s Choir or Treble Solo, and OrganStill, Still, Still

Copyright © 2010 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

Text: Traditional Austrian carol, tr. anonymous (PD).Tune: STILL, STILL, STILL, traditional Austrian carol (PD).Music: Newly composed, and copyright © 2010 with this publication.

I:II:

Ped:

Flute 8' or Soft Reed 8'Light Flute 8', String 8'Light Flute 16', II to Ped.

Page 14: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

&

&

?

b

b

b

b

b

b

b

b

b

b

b

b

15

œ

œ

œœ

Still, still,

˙

œ œ

ww˙

Ó

(Children’s Choir)

SA

.˙ œœ

still, one can

œœ

œ œ

w

.˙ œ

Man.

œ œœ

œ œœ

hear the fall ing

˙

Ó

˙

œ œ œ

˙ ˙

˙

j

œ œ œ œœ

Glo

w

snow.

j

œ œ œ œœ

.

.

.

˙

˙˙ œ

œ

Œ .˙

più mosso

più mosso

più mosso

GLORIA*

sweetly, as if from a distance P

GLORIA*I

Ped.

j

œ œ œ œœ

j

œ œ œ œœ

.

.

.

˙

˙˙

œ

œœ

œ .˙

-

-

&

&

&

?

b

b

b

b

b

b

b

b

b

b

b

b

20

j

œ œ œ œœ

j

œ œ œ œœ

www

œ .˙

.œ j

œ ˙

ri a

.œ j

œ ˙

www

œ .˙

,

œ œ œ œ

in ex cel sis

œ œ œ œ

˙

˙

œ œœ

œ

œ

œ

œ

II

Man.

˙ ˙

De

˙ ˙.˙ œ

œœ ˙

w

w

o.

˙

˙

www

Œ˙ œ

Tempo I

Tempo I

Tempo II

Ped.

A

- - - - - -

&

?

&

?

b

b

b

b

b

b

b

b

b

b

b

b

25

w

˙˙

˙

˙

˙˙

œ ˙ œ

SA

TB

˙

˙

www

œ ˙ œ

œ œ

˙

˙˙

˙

˙˙˙

œ ˙ œ

œ

œ

œœ

œœ œ

œ

Sleep, sleep,

œœ

œ œ

˙ œœ

˙œ

œ

œ

˙˙

œ

œ

œ

œ˙

Div.p

p

(Accomp. opt.)

.˙ œœ

˙ œ œ œ

sleep, ’tis the

˙ œœ œ˙ œ œ œ

.˙ œœ

˙ œ œ

˙ œœœ

œœ

,

,

40

MSM-70-013A

*Tune: GLORIA, French carol (PD).

Page 15: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

&

?

b

b

b

b

b

b

b

b

b

b

b

b

30

œ œœ

œ œœœ œ

œ œ œœ

eve of our Sa vior’s

œ œœ œ œ œœ œœ

œ œ

œœ œœ

œ

œ œœ œœ

œ

œœ

œœ œ

œœ

œ

œ œ

œ

.˙ œ

œ

birth. The

œ œ œœ

œ œ œœ

.

.

˙

˙

œ

œœ

œœ

œœ

œœ

,

,

œ œ œ œœœ œ œ

œ œ

night is peace ful

œ œ œ œ œ œœ œ œ œ

œ

œ œ œ œœœ˙ œ

œ

œœ

œœ œ

œ œœ

œ œ

œ

- -

&

?

&

?

b

b

b

b

b

b

b

b

b

b

b

b

33

œ œ œ œœ

œ

œ œ œ œ

all a round you,

œ œ œ œœ

œ œ

œ œ œ œ œ

œ

œ

œœ

œ

œ

œ

œœœ

œœ

œœ œ œ

œ

œ œ

œ œ

,

,

œ œ œ œœœ œ

œ œœ

close your eyes, let

œ œ œ œ œœ œ œ œ œ œ

œ œ œ œ

œ

œ˙

œœ

œœ

œœ œ

œ œ œ

œœ œ

œ œ œ œœ

œ

œ œ œ œ œ œ

sleep sur round you.

œœ œ œ œ

œ œ œ

œ

œ œ œ œœ

œœ

œ œ œ œ œ

œœ œ

œ œ œ

œ

œ

,

,

- -

&

?

&

?

b

b

b

b

b

b

b

b

b

b

b

b

36

œ

œ

œœ

œœ

œ œ

Sleep, sleep,

œœ œ

œ˙ œ

œ

œ

œ

œ

œ œœ

œ

œ

œœ œ

œœ

œ

˙

.˙ œœ

œ

œ œ œ œ

œ

sleep, ’tis the

œœ œ œ œ

œ

˙ œ œœ

.˙ œ

œ

œœ

œ

œ œ œ

œœ œ œ

œ

œ

œ

œ

œ

˙

,

,

œ œœ

œ œœœ œ

œ œ œœ

night of the dear Sav ior’s

œœ

œ œ

œ œ

œœ œ œ œ œ

œœ œœ

œ

œ œœ œœ

œ

œ

œ

œœ œ

œ œ

œ ˙

w

w

birth.

ww

Œ

œœ

œœ

.

.

.

.

˙

˙˙˙ Œ

PI

-

41

MSM-70-013A

Page 16: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

&

÷

÷

&

?

&

?

b

b

b

b

b

b

b

4

2

4

2

4

2

4

2

4

2

4

2

4

2

4

2

4

2

Trumpets

Trombones

Glocken-spiel

Triangle

Tambourine

SopranoAlto

TenorBass

Organ

j

œn˙

>

˙

>

Sprightly ( q = ca. 132 )

P

Sprightly ( q = ca. 132 )

Sprightly ( q = ca. 132 )

Refrain: Unison Voices (Choir), Trumpet I, Trombones, and Triangle

(Brass use straight mute throughout)

œ

.

œ

.

œ

Œ

˙

>

˙

>

œ

.

œ

.

œ

œ

.

Unison

Unison

j

œn˙

>

˙

>

œ

œ

He is

œ

œ

F

F

œ

.

œ

.

œ

Œ

˙

œœ

œ

born, the

œœ

œ

F

˙

>

˙

>

œ

œ

ho ly

œ

œ

-

44

MSM-70-013A

Trad. French carol Robert A. Hobby

SATB, Brass Quartet, Glockenspiel, Triangle, Tambourine, and Organ,with opt. Congregation

He Is Born

Copyright © 2010 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

Text: Traditional French, first published in Dom G. Legeay’s Noêls anciens, 1875-1876; tr. anonymous (PD).Tune: IL EST NÉ, traditional French. What appears to be the first publication of this tune is in R. Grosjean’s Airs des noêl lorrain (1862), where it iscalled “Ancien air de chasse.” It bears some resemblance to an old Normandy hunting tune “Tête bizarde,” although it’s quite possible that it really is an18th-century piece in rustic style (PD).Music: Newly composed, and copyright © 2010 with this publication.

I:II:

Ped:

Flute 8', 4', II to IFlute 8', 4' (2')16', 8', II to Ped.

Page 17: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

÷

&

?

b

b

b

b

Tpt.

Tbn.

Trgl.

SA

TB

8

œ

.

œ

.

œ

œ

.

8

˙

8

˙

Child,

˙

,

,

j

œn˙

>

˙

>

œ œ œ

play the

œ œ œ

œ

.

œ

.

œ œ

.

˙

œ œ œ

o boe and

œ œ œ

˙

>

˙b

>

œ œ

bag pipes

œ œ

˙

>

˙

>

˙

æ

œœ

œ

mer ri ly!

œœ

œ

œœ œ

. œ

œ

Œœ Œ

œ œ

œ

Œ

œ Œ

(Tpt. I)

œ

Œ

j

œn˙

>

˙

>

œ

œ

He is

œ

œ

- - - -

?

÷

&

?

b

b

b

Tbn.

Trgl.

SA

TB

15œ

.

œ

.

œ

Œ

15

˙

15

œœ

œ

born, the

œœ

œ

˙

>

˙

>

œ

œ

ho ly

œ

œ

œ

.

œ

.

œ

œ

.

˙

˙

Child,

˙

,

,

˙

>

˙

>

œ œ œ

sing we

œ œ œ

œ

.

œb

>

œ

.

œb

>

˙

œ œ œ

all of the

œ œ œ

œœ

.

œœ

.

œ

œ

Sav ior

œ

œ

j

œn˙

>

˙

>

˙

˙

mild.

˙

- -

45

MSM-70-013A

Page 18: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

?

&

?

b

b

b

Tbn.

SA

TB

22œ

.

œ

.

œ

Œ

22

˙

˙

˙

>

˙

>

œ

.

œ

.

œ

œ

.

Div.

1.

˙

˙

œ œ

Through long

œ œ

Stanza 1: SATB (Choir)

F

A

œ œ œ

a ges

œ œ œ

œœ

of the

œœ

˙

past,

˙

-

?

&

?

b

b

b

Tbn.

SA

TB

29

29

œ œ

proph ets

œ œ

œ œ œ

have fore

œ œ œ

œ œ

told his

œ œ

œ œ

com

œ

œ

Div.

(1.)

œ œ

through long

œ œ

˙

ing.

˙

F

œ œ œ

a ges

œ œ œ

˙̇

- - -

-

?

&

?

b

b

b

Tbn.

SA

TB

35

35

œœ

of the

œœ

˙

(ng)

˙

˙

past,

˙

˙̇

œ œ

now the

œ œ

œ œ œ

time has

œœ

poco rit.

poco rit.

poco rit.

œ œ

come at

œœ

˙

last!

˙

∑œ

œ

.

œ

.

œ

.

˙

˙

accel.

accel.

accel.

p

46

MSM-70-013A

Page 19: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

&

?

&

?

#

#

#

#

#

8

6

8

6

8

6

8

6

8

6

j

œ

Organ

SopranoAlto

TenorBass

P

Freely flowing ( qÎ = ca. 40 )

Hornin F

II

.œ œ# œ

œ

j

œ

œœ

j

œœ

œœ

‰œ

J

œ œ ‰

Ped.

P

.œ œ œ

œ

j

œ

œœ

j

œœ œœ

‰œ

J

œ œ# ‰

.œ œ œ œ œ œ

Π. Πj

œ

œœ

j

œœ œ

œ ‰œ

J

œœ ‰

.œ œ

J

œ

œ œ œ# œ œ œ

œ# œ œ œ œ œ

.œ œJ

œ

62

MSM-70-013A

William C. Dix Robert A. Hobby

SATB and Organ,with opt. French Horn

What Child Is This

Copyright © 2010 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

Text: William C. Dix, 1837-1898, and written ca. 1871 (PD).Tune: GREENSLEEVES, English ballad, 16th century (PD).Music: Newly composed, and copyright © 2010 with this publication.

Flues 8', 4', II to IWarm Flues 8' (4')Light Flute 16', II to Ped.

I:II:

Ped:

Page 20: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

&

?

&

?

#

#

#

#

#

5.œ œ œ œ j

œ

5

œ

œ œ œ

Oo,

œ

J

œ œ

œ

J

œ œ

œ

j

œ œ

œœ

j

œ

œ

œ

œ‰

œ

J

œ

œ ‰

p

Unison p

.œ œ œ œ j

œ

œ

œ œ œ

oo,

œ

J

œ œ

œ

J

œ œ

œ

j

œ œ

œœ

j

œ

œ

œ

œ ‰

œ

J

œ

œ ‰

.œ œ œœ œ œ#

œ

œ œ œ#

j

œ

oo.

œ

J

œ œ

J

œ

œ

J

œ œ œ œ

œ

j

œ œ

œ

œ

j

œ

œ œœ#

œœ

œœ

œ

J

œ

œ

J

œ

j

œ

Œ

j

œ

‰ j

œ

What

J

œ

J

œ Œ

.œ œ œœ

œ

œ

.œ œ ‰

P

Soprano

œ

j

œ.œ œ# œ

child is this, who,

œœ

j

œœœœ

&

&

?

&

?

#

#

#

#

#

10

10

œ

j

œ.œ œ œ

laid to rest, on

œœ

j

œœ œœ

œ

j

œ .œ œ# œ

Mar y’s lap is

œœ

j

œœ œœ

Π. Πj

œ

œ

j

œ#œ

j

œ

sleep ing? Whom

œ œ œ

œ#

œœ#

.œ œ

,+ Alto

p

œ

j

œ œ

œ

j

œ.œ œ# œ

an gels greet with

œ

œœ

j

œ

œœ

œœ

œ

œ

j

œ

œ

œ

j

œ.œ œ œ

an thems sweet while

œ

œœ

j

œ

œœ

œœ

œ

- - - -

63

MSM-70-013A

Page 21: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

&

?

&

?

#

#

#

#

#

15

œ

j

œ œ

15

.œ œ œ .œ# œ# œ

shep herds watch are

œœ

œ

j

œœ

œ

œ œ œ

.

.œœ

.œ œ œ œœ

œ

.œ .œ

keep ing?

.

.

.

œœ

œ

œ

œœ

œ

œœ

j

œ

œœ

œœ

œ

œœœ

,

I

+ I to Ped.

Div.

œ‰ Œ .

œ‰

.œ œ# œ

This, this is

œ ‰

.œœ œ

œ

.œ œ# œ

œ

œ

J

œ

.œ œ‰œ

œ

J

œœ

.

œœ

œ

j

œ

œ

.

œ

œ

J

œ

.

œ

F

Div. F

F

Ped.

A

œ

j

œ.œ œ œ

Christ the King, whom

œ

J

œ œ

J

œ

œj

œ œ

j

œ

œ

J

œ .œ œ œ

œœ

j

œ

œ

.

œ

œ

œ

j

œ

.

œ‰œ

J

œ

.

œ ‰

- -

&

&

?

&

?

#

#

#

#

#

19

19

œ

j

œ .œ œ# œ

shep herds guard and

œ

J

œ œ

J

œ

œ

j

œ .œ œ œœ

J

œœ

J

œ

.œ œ œ œ

œ

œ ‰

œ

œ‰

œ ‰ œ

J

œ

Œj

œ

œ

j

œ

œ

j

œ#.œ

an gels sing;

œ

J

œ .œ

œ#

j

œ œ œ œ

œ

J

œ# œ# œ œ

.œ œ œ œ ‰

.œœ#

œ#

j

œ œ‰

.œ œ‰

F

œ‰ Œ .

œ‰

.œ œ# œ

haste, haste to

œ‰

œ

J

œ

œ

.œ œ# œ

œ

.œ œ œ

.œ œ‰œ

œ

J

œœ

.

œœ

œ

j

œ

œ

.

œ

œ

J

œ

.

œ

œ

j

œ.œ œ œ

bring him laud, the

œ

J

œ œ

J

œ

œj

œ .œ œ œ

œ

J

œ

.œ œ œ#

œœ

j

œ

œ

.

œ

œ

j

œ

œ

œ

j

œ

.

œ

j

œ

œ

J

œ

.

œ

J

œ#

- -

64

MSM-70-013A

Page 22: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

&

?

÷

b

b

b

b

8

3

8

3

8

3

8

3

8

3

œ œ œ œ œ

‰ œœ

œ

Organ

Playfully ( qÎ = 54 )

SopranoAlto

TenorBass

lightly detached

FI

Ped.

PII

FingerCymbals

œ‰

‰œ

œ

œ

œ œ œ œ œ

‰ œœ

œ

œ

œœ

œ

œœ

œœ

œœ

œœ

œ

œœ

œœ

œœ

œœ

œ

71

MSM-70-013A

Traditional FrenchTr. E. Cuthbert Nunn, alt.

Robert A. Hobby

SATB, Organ, and opt. Finger CymbalsBring a Torch, Jeannette, Isabella

Copyright © 2010 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

Text: Traditional French; tr. Edward Cuthbert Nunn, 1868-1914, alt. (PD).Tune: BRING A TORCH, 14th century traditional French carol (PD).Music: Newly composed, and copyright © 2010 with this publication.

I:II:

Ped:

Flute 8', 2'Flute 8', 4'Flute 16', 8'

Page 23: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

&

?

÷

b

b

b

b

7

7œ œ œ œ œ œ

œœ

œ

œ

J

œ

7

œ œ œ œ œ œ

œ œ œ œ œ œ

œ

J

œ

œ

J

œ

Bring a

œ

œœ

œ

œ

œ ‰

FUnison

œ œ œ

torch, Jean

œœ

œ

œ

œ

œœ

œ

œ

II

œ œ œ

nette, Is a

œ

œ

œ œ œ œ

œœ

œ

œ‰

œ

J

œ

bel la!

œ œ œ œ œ œ

œ œ œ œ œ œ

œ

,

- - - -

&

?

&

?

÷

b

b

b

b

13

œ

J

œ

Bring a

13

œœ

œœ

œœ

œ

œ

œ

13

œ œ œ

torch, to the

œœ

œ

œ

œ

œœ

œ

œ

œ œ œ

cra dle

œ

œ œ

œ œ œ

œ

J

œ

œ‰

run!

œœœ

œ œ œ

œ

j

œ

œ

œ œ

I

œ

J

œ

It is

œœ

œœ

œœ

œœ

œ ‰

FUnisonœ œ œ

Je sus, good

œ œ œ œ œ

œœ

œ

-

-

72

MSM-70-013A

Page 24: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

&

?

÷

b

b

b

b

19

œ œ œ

folk of the

19œ

œœ

œ

œœ

œœ

œ ‰

19

œ

j

œ

,

vil lage;

œ œ œ œ œ œ

œœ

œ

œ œ œ

Christ is

œ œ œ

œœ

‰ œœ

œ‰

(II)

II

F

œ

j

œ

born and

œ

j

œ

œ

œ

‰ œ

œ

œ ‰

œ

J

œ

Mar y’s

œ

J

œ

œ

œ

‰œ

œ

œ ‰

œ

j

œ

call ing;

œ

J

œ

‰ œ

œ

œœ

œ

,

,

- - -

&

?

&

?

÷

b

b

b

b

25

œ

Ah!

25

œ

œ

œ

œ

œ

25

Œ

J

¿

F

P

œ‰

ah!

œ‰

œ ‰

œ

Œ

J

¿

œ œ œ

beau ti ful

œ

j

œ

œ j

œœ

œJ

œ

is the

œ j

œ

œj

œœ œ œ

œ

j

œ

moth er!

œ

œ œ

œ

j

œ

œ

J

œ

,

œ‰

Ah!

œ

œ

œ

œ

œ

Œ

J

¿

P

œ

ah!

œ

œ

œ

Œ

J

¿

- - -

73

MSM-70-013A

Page 25: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

&

&

÷

b

b

b

b

83œ

J

œ

Look and

œ

J

œ

83œ œ œ

.

.

œ

œ

83

Slowing

Slowing

Unisonp

Unisonp

pII

Man.

Slowing

œ œ œ

see how

œ œ œ

œ

œ œ.œ

œ œ œ

charm ing is

œ œ œ

œ œ œ

.

.

œ

œ

œ

j

œ

Je sus,

œ

J

œ

œ

œ

J

œ

œ

œœ œ

œ

J

œ

,

,

œ œ œ

how he is

œ œ œ

.

.

œ

œ

very slowly

very slowly

very slowly

very slowly

Πj

œ

his

j

œ-

Œ

still,

.

œ

.

.

œ

œ

œ

J

œ

eye lids

œœ

œ

œ

‰?

œ

j

œ

clos ing.

.

.œœ

.

.

œ

œ

"

"

"

"

U U

U

U

u

"

U

- - - -

&

?

&

?

÷

b

b

b

b

91

œ

Hush!

œ

œ

‰œ ‰

91

91

Œ

J

¿

poco a poco accel.

poco a poco accel.

poco a poco accel.

Div.

Div.

II: + Fl. 4'

poco a poco accel.

P

p

p

œ‰

hush!

œ

œ

‰œ ‰

Œ

J

¿

œ œ œ

see how the

œ œ œ

œ œ œ

œ œ œ

œ

j

œ

child is

œ

J

œ

œj

œœ

J

œ

œ

j

œ

sleep ing;

œ

J

œ

œ

j

œ

œ

J

œ

,

,

œ

Hush!

œ

œ

‰œ ‰

Œ

J

¿

œ‰

hush!

œ

œ

‰œ ‰

Œ

J

¿

œ œ œ

see how he

œ œ œ

œ œ œ

œ œ œ

-

78

MSM-70-013A

Page 26: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

&

?

÷

b

b

b

b

99

smiles

99

99

molto rit.

molto rit.

molto rit.

molto rit.

in

dreams.

œ œ œ œ œ

‰ œœ

œ

a tempo

a tempo

a tempo

IP

Ped.

II p

a tempo

œ‰

‰œ

œ

œ

œ œ œ œ œ

‰ œœ

œ

œ

œœ

œ

œœ

œœ

œœ

œœ

œ

&

?

&

?

÷

b

b

b

b

106

106œ

œœ

œ

œœ

œœ

œ

106

œ œ œ œ œ œ

œœ

œ

œ

J

œ

senza rit.

senza rit.

senza rit.

senza rit.

œ

œ œ

œ

j

œ

¿‰

Hush!

¿‰

¿

Hush!

¿

π

*(whisper)

II: – Fl. 8', 4' + Fl. Cel.

Reduce Ped.

π

*(whisper)

rit.

rit.

rit.

rit.

.

.

.

œ

œœ

.

.

œ

œ

.¿

IIπ

P

.

.

.

œ

œœ

.

.

œ

œ

U

U

U

u

U

79

MSM-70-013A*Since some choirs may prefer not to whisper in worship, they may omit measure 109 only.

Page 27: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

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#

3 OctavesHandbells Used: 26

&

?

&

&

?

?

&

?

&

?

#

#

#

#

#

#

#

#

#

#

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

2

4

2

4

2

4

2

4

2

4

2

4

2

4

2

4

2

4

2

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

Œ

Œ

ŒŒ

Œ

œ œ

œ

ŒTimpani(G, C, D)

Œ

Œ

Œ

I:II:

Ped:

Œ

q = ca. 66

SopranoAlto

TenorBass

Handbells

Trumpets

Hornin F

Trombones

Organ

p legatolegatop

Flute 8', 4', II to IFlute 8', 4'16', 8'

Ó Œ

œ œ

œ œ œ œ œ

œ œ œ œ œ

legato

p

˙ ˙

œ œ œ œ˙

œ œ

˙

Œœ

Œ

œ

Break

Œ

œ

Œ

œ œ

Œœ

œ

Œ

œ

Œ

œ œ

P

P

plegato*

Man.

œ œ œ œ# œ

œ œœ œ œ

forth, O beau teousj

œ œ

j

œœ œ œ

œ œ

œ œ œ

œœ

œœ

œ

œ

œ

œ

# œ

œ

j

œ œ

j

œœ œ œ

œ œ

œ œ œ

-

80

MSM-70-013A

St. 1, Johan Rist; tr. J. TroutbeckSt. 2, Norman E. Johnson

Robert A. Hobby

SATB, Brass Quintet, Handbells, and Organ,with opt. Timpani

Break Forth, O Beauteous Heavenly Light

Copyright © 2010 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

Accompany choir in performance only when necessary. Play organ part from measure 40, beat 4, to the end.

Text: St. 1, Johan Rist, 1607-1667; tr. 1873, John Troutbeck, 1832-1889, alt. (PD).Text: St. 2, Norman E. Johnson, 1928-1983, © 1973, 1996 Covenant Publications. Used by permission. All rights reserved.Tune: ERMUNTRE DICH, by Johann Schop, d. 1665, and written in 1641 (PD).Harmonization: from the Christmas Oratorio by Johann Sebastian Bach, 1685-1750, and written in 1734 (PD).Arrangement: Newly composed, and copyright © 2010 with this publication.

Page 28: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

&

&

?

?

&

?

&

?

#

#

#

#

#

#

#

#

#

#

5

5

5œ œ# œ

œ

œ œ œ œ œ

heav’n ly light, and

œ œ œ œ œœ

œ

œ œ#

5œ œ

œ

# œ

œ

œ

œœ œ

˙ œ œ œœ

œ

œ œ#

,

,

,

,

œ œ œ œ

œ œ œ œ œ

ush er in the

œ œ œ œ œ œ

œ œ œ

œ

œ œ œ œ

œ

œ

œ œœ

œœ

œ œœ

œ œ œ œ ˙

œ œ œ

œ

œ œ œ œ

Ó Œ

œ

Ó Œ

œ

Ó Œ

œ

Ó Œ

œ

˙ ˙œ œ˙

morn ing;

j

œ ˙œ

œ

˙

˙ ˙

˙

œ œ

j

œ ˙œ

œ

˙

pp

p

pp

legato

œ œ œ œ

œ œ œ œ œ

œ œ œ œ ˙

œ œ œ

œ

œ œ œ œ

- - -

81

MSM-70-013A

Page 29: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

&

&

?

?

&

?

&

?

#

#

#

#

#

#

#

#

#

#

9

9∑

˙ ˙

œ œ˙

j

œ ˙œ

œ

˙

9

Ó Œœ

Ó Œ

œ

O

Ó Œ

œ

Ó Œ

œ œ

9

Ó Œœ

œ

Ó Œ

œ

Ó Œ

œ œ

œ œ œ œ# œ

œ œœ œ œ

shep herds, shrink not

j

œ œ

j

œœ œ œ

œ œ

œ œ œ

œœ

œœ

œ

œ

œ

œ

# œ

œ

j

œ œ

j

œœ œ œ

œ œ

œ œ œ

œ œ# œœ

œ œ œ œ œ

with af fright, but

œ œ œ œ œœ

œ

œ œ#

œ œ

œ

# œ

œ

œ

œœ œ

˙ œ œ œœ

œ

œ œ#

,

,

,

,

œ œ œ œ

œ œ œ œ œ

hear the an gel’s

œ œ œ œ œ œ

œ œ œ

œ

œ œ œ œ

œ

œ

œ œœ

œœ

œ œœ

œ œ œ œ ˙

œ œ œ

œ

œ œ œ œ

- - -

82

MSM-70-013A

Page 30: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

?

b

b

b

4

4

4

4

4

4

Œ

œ

Œ

II p

Quietly; with freedom ( q = ca. 92 )

œ œ œ# œw

˙ œn œ

w

.˙ œ

wb

w

˙

˙

œ œ œ# œw

˙ œ œ

w

.˙œ

w

w

˙˙

,

œ œ œ œœ œ ˙

˙ œn œb

w

œ œ œœ

˙˙

w

w

&

?

?

b

b

b

˙ œw

˙ ˙n

w

œ

œ œ ˙

œ

w

,

œ œ œ œ

˙b˙

w

˙

˙b

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# œw

˙ œn œ

˙

˙

&

?

?

b

b

b

14œ œ

œ œ

œ# œ ˙

˙˙

˙˙

˙

˙œ œœ œ

œ œ œ œn

w

.˙ œœ œ ˙˙

˙

Œ œ

w

I P

w

w

œ œ œ# œ

.˙ œ

˙˙

˙

˙

˙

˙

œ œ

œ

œ

˙˙

,

.

˙

œ

œ œ œ ˙

œ œ œ .œ j

œ

.˙ œ

&

?

?

b

b

b

20

œ œ

˙˙˙

#˙˙

?

.˙ œ

˙ ˙

,

˙

˙˙

˙˙˙

œ œ

J

œ

.˙ œ

˙˙

˙

œ

œ

œœ

œ œ˙

œ

œ

˙ œ œ

,

˙ œœœ

œ

œœœ œ# œ

&

œ œ œ

J

œ

.˙ œ

œ

œœ

œ œ# œ.

.

˙

˙

w

w

.˙ œ

wb

.˙Œ

˙

˙

92

MSM-70-013A

Copyright © 2000 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

*If played with French Horn or Trombone, instrument plays those measures marked to be played on Manual I.

Tune: ST. LOUIS, Lewis H. Redner, 1831-1908 (PD).Music: Originally published 2000 in Three Christmas Preludes, Set I, by Robert A. Hobby, MSM-10-145.

O Little Town of BethlehemOrgan and French Horn (Trombone)* OR Organ Solo

Robert A. HobbyI:

II:Ped:

Oboe 8' (Flute 4'), TremoloFlute 8', String Celeste 8'Soft 16', 8'

Page 31: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

œ œb œ œ œb œb œ œ œb œ œ œb œb œ

œb œ œ œb œ œ œb œ œb œ

4 OctavesHandbells Used: 24

&

?

‚ ‚b ‚ ‚ ‚b ‚b ‚ ‚ ‚b ‚ ‚

‚b ‚b ‚

2 OctavesHandchimes Used: 14

&

?

&

&

?

&

?

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

4

4

4

4

4

4

4

4

4

4

4

4

4

4

Œ

œ

œ

Œ

Œ

Œ

Œ

Œ

Organ

Children’sChoir

F

With youthful enthusiasm ( h = 60 )

Handbells

SopranoAlto

TenorBass

Œ œ

œœ

˙˙

˙

w

œ

œœ

œ

œ

œœ

œœ

œ

œ

œœ

.˙ œ

œœ œ

œ œœ œœ œ.

.

˙˙œ

.˙ œ

œœ

œœ

œ

˙˙˙

Ó Œ

œ

Œ

œ

œœ

˙˙

˙

œ

œœ

œ

œ

œœ

œœ

œ

œ

œœ

.˙ œ

94

MSM-70-013A

St. 1-3 Christoph von SchmidSt. 4 Robert A. Hobby

Robert A. Hobby

SATB, Children’s Choir or Treble Voices, Handbells, and Organ,with opt. Handchimes

Oh, Come, Little Children

Copyright © 2010 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

Text: St. 1-3 Christoph von Schmid, 1768-1854, Tr. anonymous (PD); St. 4 Robert A. Hobby, b. 1962.Tune: IHR KINDERLEIN, KOMMET, Johann Abraham Peter Schultz, 1747-1800 (PD).Music: Newly composed, and copyright © 2010 with this publication.

I:II:

Ped:

Flute 8', 4', II to IFlute 8', 4'Flute 16', 8'

Page 32: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

&

&

?

&

?

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

7œ œ œ œ œ

œœ

œ

.

.

.

˙˙˙

œœœ

.˙ œ

7

7

œ

œ œ

œ

œ

œ

œ

˙

˙˙

˙˙

œ œ ˙

˙

Ó Œ œ

Oh,

Ó Œ œ

œ

Ó Œ

œœ

F

PII slightly detached

Man.

˙œ

œ

come, lit tle

˙œ

œ

.˙ œ

˙œ

œ.˙ œ

A∑

˙œ

œ

chil dren, oh,

˙œ

œ

.˙ œ

˙œ

œ.˙ œ

,

,

Ó Œ

œ

œ

Ó Œ

œ

˙œ

œ

come, one and

˙

˙ œœ

œ

œ

˙

˙

œ

œ

œ

œ

P

- -

&

?

&

&

?

&

?

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

12œœ œ

œ ˙

˙œ

œ

œ

Œ

œ ˙

˙

.˙œ

all to12

12

.

.˙˙

œ

œ

.

.

˙

˙œœ

,

,

˙œ

œ

Beth le hem’s

˙œ

œ

.˙ œ

˙œ

œ.˙ œ

˙œ

œ

sta ble, in

˙œ

œ

.˙ œ

˙œ

œ.˙ œ

,

,

Ó Œ

œœ

Ó Œ

œ

˙œ

œ

Beth le hem’s

˙

˙ œœ

œ

œ

˙

˙

œ

œ

œ

œ

œ œœ

œœ

œœ ˙˙

w

Œ

œ ˙

˙

.˙ œ

stall. And

.

.˙˙œœ

.

.

˙

˙

œ

œ

,

,

˙ œ œ

see with re

˙˙

œœ

œœ

˙ œ œ

- - - - - -

95

MSM-70-013A

Page 33: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

&

?

&

&

?

&

?

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

18

˙ œ œ

joic ing this18

18

˙

˙

œœ

œ

œ

˙

˙

œ

œ

œ

œ

˙ œ œ

glo ri ous

˙˙

œœ

œœ

˙

˙

œœ

œ

œ

Œ

œ

œ

œ

œ

˙

˙

˙

Œ

œ

Ó

˙

.˙ œ

sight our

.

.˙˙

œœ

.

.

˙

˙

œ

œ

,

,

˙ œ œ

Fa ther in

˙

˙

œ

œ

œ

œ

˙ œœ

.˙ œ

Ó Œ

œ

Ó Œ

œ

˙

œœ

heav en has

˙

œœ

.˙ œ

.˙ œ

˙ œ

œ

Œ

œ œ œ œœ

œœ

œ œ œœ

˙œ

œ

sent us this

˙

˙

œœ œ

œ

˙˙

œ

œ

œ

œ

- - - - -

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night.24

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96

MSM-70-013A

Page 34: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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8

12

8

12

8

12

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12

8

12

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8

12

Trumpets

Horn

Trombones

SopranoAlto

TenorBass

Organ

∑I

II

Π.

œ

j

œœ

j

œ œ

j

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œ

J

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II

With a swing ( qÎ = ca. 100 )Introduction: Brass Quintet and Organ

F

F

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j

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j

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J

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j

œ#œ

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FF

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104

MSM-70-013A

Refrain, African-American spiritualStanzas, John W. Work

Robert A. Hobby

SATB, Brass Quintet, Tambourine, and Organ,with opt. Congregation

Go, Tell It on the Mountain

Copyright © 2010 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

NOTE: At the discretion of the conductor, the percussionist may use brushes to play a shuffle pattern during the Refrains.

Text: Refrain: African-American spiritual; Stanzas: John W. Work, 1872-1925, alt. (PD).Tune: GO TELL IT, African-American spiritual (PD).Music: Newly composed, and copyright © 2010 with this publication.

Dark Flues 8' (4'), Tremolo, II to IDark Flues 8' (4'), Light Reed 8', TremoloFlute 16', 8', I to Ped., II to Ped.

I:II:

Ped:

Page 35: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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(+ Congr.)

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Refrain: Unison Voices (Choir and Congregation), Trumpet II, Trombone II, and Organ

.˙.˙

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moun tain,

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ev ’ry where;œ

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- - -

105

MSM-70-013A

Page 36: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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j

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Je sus Christ is.œ .œ œ

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born!

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Stanza 1: Two-Part Mixed Voices (Choir) and Organ

FA

II

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shep herds kept their

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106

MSM-70-013A

Page 37: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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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#

3 OctavesHandbells Used: 33

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II

Introduction: Brass Quintet, Timpani, and OrganBrightly ( q = ca. 76 )

Trombones

Timpani (A, D)

Organ

Trumpets

Hornin F

ff

f

j

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Ped.

II

119

MSM-70-013A

Isaac Watts Robert A. Hobby

Unison Voices, Brass Quintet, and Organ,with opt. Soprano Descant, Timpani, Cymbals, and Handbells

Joy to the World

Copyright © 2010 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.

Text: Isaac Watts, 1674-1748, alt. (PD).Tune: ANTIOCH, George Frideric Handel, 1685-1759 (PD).Music: Originally published 1996 as Joy to the World, MSM-20-150.Music: Newly arranged, and copyright © 2010 with this publication.

Full to Mixture, II to IFull to MixtureFull to Mixture, II to Ped.

I:II:

Ped:

Page 38: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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120

MSM-70-013A

Page 39: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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II

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I

II

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20œ .œ œ

Joy to the

20œ

œ

.œ œœ

œ œ

œ œ

Stanza 1: Unison Voices (Choir and Congregation), Brass Quintet, Timpani, Handbells, and Organ

Organ

UnisonVoices

Handbells

Trombones

Timpani (A, D)

Trumpets

Hornin F

f

f

f

1.

f

f

Ped.

F

I

Aa tempo

a tempo

a tempo

a tempo

a tempo

a tempo

a tempo

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world, the

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Lord is

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come! Let

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earth re

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121

MSM-70-013A

Page 40: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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&

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&

?

# #

# #

# #

# #

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44

44

44

44

44

44

44

44

Horn in F

ITrumpets

II

ITrombones

II

Timpani

Organ

Handbells

‰œ œ œ œ œ œ œ

w

{ F slightly detachedI

œ œ œ œ œ œ œ œw

œ œ œ œ œ œ œ œŒ œ œ œ

w

p

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œ œ œ œ œ œ œ œœ œ œ œ

w

MSM-70-013A

133

Robert A. Hobby

Copyright © 2008 Birnamwood Publications (ASCAP)A division of MorningStar Music Publishers, Inc., St. Louis, MO

All rights reserved. Printed in U.S.A. www.MorningStarMusic.comReproducing this publication in any form is prohibited by law without the permission of the publisher.

The CCLI License does not give permission to copy this music.2010

Brass Quintet, Timpani, and Organ, with opt. Handbells, Crash/Suspended Cymbals

Ped: Full to Mixture, II to Ped.

Tune: ANTIOCH, George Frideric Handel, 1685-1759 (PD).Music: Newly composed, and copyright © 2010 with this publication.

Flourish on Joy to the World

With energy ( q = ca. 132)

I: Full to Mixture, II to III: Full to Mixture

Page 41: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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5

5

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5 œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

Ó Œ œ œ

œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

∑Ped: + Rds., I to Ped.

F

f

˙ .œ jœ∑

˙ Ó

œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

˙ .œ jœ

f

Ped.

MSM-70-013A

134

Page 42: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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8 œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

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œ

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œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

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f

MSM-70-013A

135

Page 43: Composer’s Notes · Composer’s Notes As a practicing church musician I am very aware of the fine line a director has to walk in order to balance the musical expectations of the

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-

molto rit.

molto rit.

molto rit.

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ff

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molto rit.

(Timp.)

f

f

........˙̇˙˙̇̇

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j¿ ‰ Ó ..˙æ Œ.| Œ

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(Crash Cym.)

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(choke)

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MSM-70-013A

146