Back Cover
Flip to Back Look inside

$75.00

Crown Him

 

DIAMDEM, CORONATION, and DIADEMATA

For Orchestra

“Crown Him” reinterprets the classic hymn tunes DIAMDEM and CORONATION (All Hail the Power of Jesus’ Name) plus DIADEMATA (Crown Him with Many Crowns) as a unified grand anthem for orchestra. The music is celebratory and majestic offset with moments of intimacy appropriate for the coronation of our Eternal King. Sure to be thrilling for all listeners, it is suitable for use at Easter, Ascension Sunday, services in anticipation of Christ’s return or ultimate victory and, well, really any Sunday as we celebrate Christ’s resurrection every week. It is crafted for the variable instrumentation and skills of the typical church orchestra with frequent tuttis, exposed parts only where competent players are common, friendly keys and meters, liberal cues, no more than three musical lines at a time (usually just two), and musical figures well within the grasp of high school players. The one possible exception would be the timpani line where a fairly accomplished player is needed.

 

Robert Myers
S.D.G.

 

Duration: ~4’55”

Purchase

 

<iframe width=”560″ height=”315″ src=”https://www.youtube.com/embed/d_Kbdiib6p8″ title=”YouTube video player” frameborder=”0″ allow=”accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture” allowfullscreen></iframe>

, , , , , , ,
Share

Instrumentation:
Piccolo
Flute 1, 2
Oboe
Bassoon 1
Bb Clarinet 1, 2
Bb Bass Clarinet
Eb Alto Saxophone 1, 2
Bb Tenor Saxophone
Eb Baritone Saxophone
Bb Trumpet 1, 2, 3 OR
C Trumpet 1, 2, 3
Horn in F 1, 2
Trombone 1, 2
Bass Trombone
Tuba 1
Piano
Timpani (4)
Mallet Percussion (glockenspiel, chimes, xylophone)
Percussion 1* (snare, tom, crash, ride, suspended cymbals, mark tree)
Percussion 2* (bass drum, mark tree, rain stick, tambourine, ride, suspended cymbals, tam tam or gong )
Percussion 3* (tambourine, crash, suspended cymbals, tom)
Violin 1, 2
Viola
Cello
Double Bass

* a consolidated part is provided for Percussion 1, 2, & 3. A single player on kit may thus substitute for the essential portions of perc. 1, 2, &3.

Reviews

There are no reviews yet.

Be the first to review “Crown Him”

Your email address will not be published. Required fields are marked *

Related products

Wheatmyer Fingals Fantasy 8×11
Add to Wishlist
Compare

Fingal’s Fantasy

$7.99

For Solo Piano

Fingal’s Fantasy is built on three synthesized, seven-pitch scales derived from the first three variations of the opening theme of Felix Mendelssohn’s Hebrides Overture, better known as Fingal’s Cave. Each scale is developed in its own section to build a three-part work of contrasting styles. Mendelssohn’s original motive can be clearly heard in the first development but appears more heavily disguised in subsequent sections. Despite the use of synthetic scales, the piece ends with a strong declaration of B-minor in homage to Mendelssohn’s selected key for Fingal’s Cave. Fingal’s Fantasy is only moderately difficult but will engage even advanced performers with an excursion into 21st century composition. It is suitable for concert or recital repertoire.

Duration: ~5:45

 

Purchase

 

Add to Wishlist
Compare
Wheatmyer Pathos Chorodia 8×11
Add to Wishlist
Compare

Pathos Chorodia

$19.99

PASSION CHORALE

For Pierrot Ensemble

Although the familiar melody is ever-present in this setting of “O, Sacred Head Now Wounded” it will sound very foreign to most ears. In acknowledgment of the atonal origins of the pierrot ensemble, this arrangement embraces dissonance and chromaticism and avoids clear statements of conventional harmony without, however, being altogether atonal. Thus, it is a most unusual setting of the tune, but one that poignantly paints the deep anguish expressed in the hymn text, which is the anguish of the crucifixion’s witnesses. The music is simultaneously shocking and familiar, which seems a fitting way to present this familiar story in all its appalling horror.

 

The music may be successfully performed with advanced high school or later musicians. It is not excessively demanding technically but will require artistic taste and expressiveness and good counting skills. It is well suited for recital or chamber ensemble concert in either secular or sacred venue.

 

Duration: ~4’05”

 

Purchase

 

Add to Wishlist
Compare
Wheatmyer-Andaluza-8×14.pdf
Add to Wishlist
Compare

Andaluza

$75.00

 

For Concert Band

Andaluza, taken from Manuel de Falla’s piano suite Cuatro Piezas Españolas, is aimed at the mainstream high school band in the United States at the grade 4 level. Boisterous tuttis, intimate solos, and passionate melodies make for an engaging excursion into Spanish folk music that allows students to explore the adventurous harmonies of de Falla’s impressionistic vocabulary. The variety of colors and energy available in the modern concert band amplify the life, drama, and humanity de Falla poured into his piano version. Andaluza will thus prove a thrill for both performers and audience as it celebrates this life, drama, and humanity.

Soprano Sax is called for on an expressive solo but is fully cued in oboe. The absence of this instrument need not prevent an integral performance of the music.

Optional parts are provided for Eb Clarinet, Treble Clef Baritone, and Double Bass for those bands having these available.

Duration: ~4’15”

View on YouTube

Purchase

 

Add to Wishlist
Compare
Wheatmyer Fairest Friend 8×11
Add to Wishlist
Compare

Fairest Friend

$17.99

For Flute, Horn or Trombone, Piano, Drum Set, Strings/Synth

Fairest Friend is a medley of two beloved hymns, Fairest Lord Jesus and What a Friend We Have in Jesus. It is set as a flute and horn (or trombone) duet with piano accompaniment. Optional rhythm and strings/synth may be used if available or to add color but the piece works well with the three principal instruments.

Duration: ~4:00

Purchase

 

Add to Wishlist
Compare
Wheatmyer Oh Shenandoah 8×11
Add to Wishlist
Compare

Oh, Shenandoah

$12.99

an American Folk Song

For Trombone/Low Brass Quartet

Some would say Oh, Shenandoah is the quintessential American folk song. But almost everything about the song is clouded in confusion and obscurity. When was is written? No one knows. It was first published in 1882 but is almost certainly much older than that. What is it about? Many people associate it with the Shenandoah Valley in Virginia but its lyrics repeatedly refer to the Missouri River which is hundreds of miles from Virginia. Many think that Shenandoah was an Indian chieftain and the song is about a love-sick frontiersman pining for the chieftain’s unnamed daughter. Whatever the case, it’s a song Americans love to hear and to sing. So, when looking for a traditional American tune to arrange for trombone quartet, Oh, Shenandoah was a very natural choice. Listen to this colorful and emotive arrangement for trombone/low brass quartet and see if images of the American countryside don’t spring to mind!

Duration: ~1’20”

 

Purchase

 

Add to Wishlist
Compare
Wheatmyer Were You There 8×11
Add to Wishlist
Compare

Were You There?

$7.99

a Traditional African-American Spiritual

For Solo Tuba and Piano

The origins of this traditional African-American spiritual likely predate the Civil War. Since its first publishing in 1899 it has become prevalent in the hymnals of nearly every American Christian denomination. Its simple lyrics and haunting melody hardly fail to strike a personal and intimate chord within Christians as they sing, “Were you there when they crucified my Lord? Sometimes it causes me to tremble, tremble, tremble.”

 

This arrangement was set to fill a particular need. When the search for an arrangement of sacred tuba material suitable for the considerable talents of our church’s player produced little fruit, creating a brand new arrangement became the obvious solution. Thus, necessity and inspiration came together to produce this piece in just a few days. It makes three statements of the melody in contrasting harmonic settings, opening with polytonal language reflecting the grotesqueness and irony of man crucifying his God. The burial stanza is portrayed in a minor key with a dirge-like pulse. For the resurrection, the music moves to a major key while swelling to a climax. It closes with a nebulous tonal center and omits the final melodic phrase to leave the listener contemplating how these events often cause our hearts to tremble, tremble, tremble.

Duration: ~4’20”

 

Purchase

 

Add to Wishlist
Compare