The magnificent interweaving of harmonies and dialogue-like Voices in Handel’s For Unto Us A Child Is Born make it a perfect addition to the festive choral repertoire. German-born British Baroque composer George Frideric Handel originally composed this piece in 1741 for the English-language oratorio Messiah which eventually became one of the best-known and most frequently performed choral works in Western music. As the last song of Scene 3 of Part I of the oratorio which addresses Isaiah's specific prophecy about the virgin birth of a Messiah For Unto Us A Child Is Born tells the news of Christmas thebirth of a son in Isaiah’s words as found in the Scripture (Isaiah 9:6). The delicate familiar theme is introduced by the Sopranos and taken up by their counter-voices the Tenors later the same dialog is given over to the Altos and Basses. The tutti culminates in 'Wonderful' 'Counselor' 'The Mighty God' 'The Everlasting Father' and 'The Prince of Peace'. As an individual piece this song arranged for SATB Voices with Piano accompaniment is perfect for Christian settings especially during the Christmas season.

This is the Vocal Score for The Voices Of Our Ancestors by Thea Musgrave. This work is scored for a chorus with soloists (Soprano Mezzo-Soprano Tenor and Baritone) as well as a semi-chorus drawn from the main chorus. A full performance of the work lasts around 30 minutes. The text for The Voices Of Our Ancestors is drawn from 12 poems that are united in their attempt to answer the question of human existence. Inspired by these poems Musgrave composed this work which was first performed on 9th July at St Bride's church Fleet Street as part of the City of London Festival. 

The spiritual I Couldn't Hear Nobody Pray arranged by Hall Johnson for 4-part chorus of mixed voices with Soprano and Tenor soloists.

The most famous song about ‘The Big Apple’ this modern classic practically sings itself and is a guaranteed success with both audiences and performers. Originally from the 1977 Scorsese film New York New York where it was sung by Liza Minnelli the song was popularised by Frank Sinatra and has been mainly associated with him ever since.This edition of the Theme from New York New York as part of the Pop Choral Series is transcribed for SATB (Soprano Alt Tenor and Bass) Voices with Piano accompaniment and Guitar chords. As an added bonus arranger Philip Kern has included some staging suggestions to make thistraditional Broadway-style song stand out and truly shine to its full potential.

Edited and arranged by Joseph Barnby for Soprano Tenor and Bass Soli and Full Chorus of Mixed Voices with Piano or Organ accompaniment.

Deutsches Singspiel in 2 Akten. In dem Klavierauszug nach der Neuen Mozart-Ausgabe sind die verschollenen ursprunglichen Dialogtexte ersetzt durch Texte aus dem 'Bozener Textbuch' zu dem Singspiel 'Das Serail'. By Wolfgang Amadeus Mozart. Edited by Friedrich-Heinrich Neumann. Arranged by Heinz Moehn. Text: Johann Andreas Schachtner; Werner Oehlmann. For Soprano solo Tenor solo (2) Bass solo (2) Men's choir-TTTT Flute (2) Oboe (2) Bassoon (2) Horn (2) Trumpet (2) Kettledrum Strings. Singspiele. Piano Reduction/Vocal Score (cloth bound). KV 344 (336b). Duration 90'. Published by Baerenreiter-Ausgaben (German import). (BA4510 90) ISBN M006449385.

For SATB Divisi Chorus Unaccompanied-Drop Drop Slow Tears is a choral piece for unaccompanied SATB (Soprano/Alto/Tenor/Bass) chorus composed by Graham Ross in 2003. First performed by the Royal College of Music Junior Chamber Choir Drop Drop Slow Tears is an updated choral setting of a 17th century poem by Phineas Fletcher. Graham Ross is an acclaimed composer and director who takes great pleasure in reviving forgotten or lesser-known works for a contemporary audience. The sheet music for this piece provides the parts for Soprano Alto Tenor and Bass voices as well as a Piano accompaniment for rehearsal purposes. Drop Drop SlowTears is a divine choral piece with beautifully poetic lyrics set to glorious harmonies. Your audiences will love the gorgeous melody of Graham Ross's expert composition.

Sing Pop A Cappella is a collection of a cappella arrangements of fantastic pop songs old and new, by renowned teacher, singer and director Gitika Partington. Her arrangements are used by choirs across the UK, and she emphasises that being able to read music is not necessary. Rewarding and enjoyable, Book Three continues her project to bring people together through the power of song.What's great about Gitika Partington's Sing Pop A Cappella series is how she understands that to make great music or to sing a great song, it's not necessary to be able to sight-read. It may be useful, but she has learned that there are other ways to communicate music, namely through ear training, repetition and gesture. Her arrangements, five of which appear in this book, have enabled youth and community choirs to spring up across the country, making singing truly and universally accessible. Included in this book are wonderfully rich a cappella arrangements of Ain't No Sunshine by Bill Withers, Black Is The Colour Of My True Love's Hair, Rick Astley's Never Gonna Give You Up, Adele's Rolling In The Deep and a huge favourite, Sway (Quien Sera). Vocal scores for these innovative and enjoyable arrangements are included in standard notation, although Partington recommends learning by ear as something equally beneficial. To aid with this, the accompanying download card includes five tracks of audio for each song. One features a full performance demonstration while the other four each focus on either soprano, alto, tenor or bass. The easy download of these tracks makes learning efficient and fun, as you are able to listen wherever you are.The great thing about a cappella singing is that it can be done anywhere, with limited resources, with members who don't necessarily have any musical training. Partington has created a book that can be used by a cappella choirs who love pop music that sounds great and will thrill audiences. Sing Pop A Cappella is not just a songbook, though, it also includes an extensive introduction by Partington, as well as performance tips for each song and information on voice care and learning the tunes. It's a personal book for Partington, who is passionate about the power of music to bring people together, and enthusiastic about getting people who wouldn't believe they had the confidence or ability, to sing pop!Sing Pop A Cappella is a brilliant book for choirs of any type or size who would enjoy singing five incredible pop tunes without accompaniment. The fantastic sound of a group of people singing a well-known song in a completely new and interesting way is something that Gitika Partington knows well, and something that she wants to impart to groups across the country. Songs like this were made to be sung, so pick up Book Three and Sing Pop A Cappella! / Choeur Mixte (SATB) Et Piano

Theodora on a libretto by Thomas Morell was composed between 28 June and 31 July 1749 when Handel was in his 65th year. This oratorio was written for SMATB soli (with a small supporting part for the tenor) SATB chorus and orchestra.This vocal score edited by Watkins Shaw contains all voice parts and a piano accompaniment and includes a lengthy preface by the editor on the history and the staging of the work.

A Sacred Cantata for Soprano Tenor and Baritone Soli Chorus and Organ interspersed with hymns. Words written and arranged by E. Cuthbert Nunn. This version contains all voice parts and a piano accompaniment.

A stately declaration of thanksgiving breaks into a joyful lilting songs of praise. This dancelike setting of Psalm 92 for soprano alto tenor and bass voices piano and french horn is light and airy with soaring melody lines and accompaniment.