The second volume of a thousand and one all-time hit songs ranging from essential standards to the latest pop hits - a must for all singers and musicians. / Chant Et Guitare

Górecki's Church Songs, based on melodies from Rev Jan Siedlecki's ?piewniki Ko?cielne ('church songbooks'), were composed in 1986. This edition is based on the PWM edition of 2013, which was produced with the assistance of Anna Górecka and Miko?aj Górecki. A special feature of the Boosey publications is the new, alternative Latin sung text by Edward Tambling, which will be attractive to the many choirs who do not wish to sing in Polish. The Latin text is carefully crafted to fit Górecki's score and is both poetic and sensitive to the devotional aspect of the songs. English translations from the Polish are also included, for reference only.The three publications present the songs for sacred use according to devotional subject-matter. In concert performances the songs, or a selection of them, may be performed in any order and combination. Vol 1 contains six songs in praise of the Blessed Virgin Mary. The seven songs in vol 2 take the themes of Good Friday, the Crucifixion, The Cross of Christ and the Resurrection. Vol 3 contains seven songs in praise of St Joseph, St Anne and St Nicholas, the Blessed Sacrament, the Trinity and the Black Madonna of Cz?stochowa. / Choeur Mixte (SATB) A Cappella

Par GILL JOANNA. This work is a reflective setting of a popular blessing used regularly in both church services and within choral concerts. Scored for unaccompanied mixed choir, the four parts are often divided to create an eight-part texture. The main melodic interest is carried in the soprano line over a supporting line of six parts provided by the lower voices. Within this short setting a variety of beautiful shifting choral combinations are used: sopranos and tenors against altos and basses, sopranos against altos, tenors and basses and finally alto and tenor lines which lead into the concluding six-part texture ending on a radiant E major chord spread over three octaves. Within these voice combinations we hear a choral texture which spans just the interval of a perfect fifth to the concluding three octave final chord, creating a wide palette of choral sound in a short space of time. Joanna herself says the following about this work: I wrote “The Lord’s Blessing” in 2018. That year, I had been on tour to New York with the London Symphony Chorus and we got the privilege to spend a day with the Westminster Choir College. At the end of the day they sang a blessing over us and I thought it was such a beautiful moment. So as soon as I got home I wrote a short blessing that I imagined would be sung at the end of a concert as a blessing over the audience. I dedicate it to the LSC./ Répertoire / Choeur Mixte SATB a Cappella

The favorite children's song gets a bit of a bluesy treatment in this setting that is easily accessible by many choruses. Scored for Baritone Solo and SATB (Divisi) Choir a cappella.

Psalm 117. Par GILL JOANNA. In this setting of Psalm 117 the composer has created an unusually serene and ethereal setting considering the meaning of the text. Most composers that have written settings of this Psalm 'Praise the Lord, all you Nations' have written music of a robust nature and celebration. However, this setting not only uses Hebrew text but the whole composition with the exception of one bar is dynamically quiet and reflects not so much on praising the Lord, but the love that the Lord shares with us, hence the title of the work (“Unfailing love”). Written for unaccompanied mixed choir, this is a simple four-part composition. The choral texture is largely homophonic with melodic lines gently emerging in the soprano and tenor voices which then sink back into the blanket of choral sound. Generally, the work is tonal but it features harmonic clusters which delays the expectation of the final resolution. This is a work that with rehearsal all choirs will find very rewarding to sing and perform. Joanna herself says the following about this work: “Unfailing Love” was the first choral piece I ever wrote. In my final year of university, I had the privilege of meeting the American composer, Morten Lauridsen and immediately was inspired to write a choral piece. So I sat down to write, and four hours later, “Unfailing Love” was completed./ Répertoire / Choeur Mixte SATB a Cappella

Tallis' composed for the Prayer Book of 1559 and later adapted to the Book Of Common prayer in 1662. This version does not include the Lord's Prayer. Arranged for SATB a cappella.

POD-Pawe ukaszewski's Daylight Declines for SSATBB choir unaccompanied. Daylight Declines was commissioned by the Canatrix Choir the Netherlands and features a translation of anoriginal text by Andrzej Trzecieski. This vocal work was inspired by the motet on the same text by Waclaw z Szamotul (c.1533-68). Daylight declines the night advanceswe ask the Lord fordeliverance that He our Guardian remain protecting us from evil domainof spirits who always in the darkupon their treachery embark.(trans. MarekZebrowski) Duration: four minutes.

Choir/Worship Team Edition (No Accompaniment)-A new wave of great praise and worship songs has begun flowing into the church. These songs have begun to reach across former boundaries of generation culture and style to draw believers of all ages and Christian traditions intothe presence of God. Now these songs are more accessible than ever before with the More Songs for Praise & Worship series from Word Music. Each volume features dozens of songs and is available in several different formatsto meet worship musicians' needs:The Choir/Worship Team Edition features a standard 6-7/8″ x 10-1/2″ choral book for the choir or worship team that fits easily into a choir folder for weekly use.Voicings range from unison and two-part to easy SATB. No accompaniment.Volume 3 songs include: All Who Are Thirsty • Blessed Be Your Name • Days of Elijah • Eagle's Wings • Grace Flows Down • HowDeep the Father's Love for Us • Indescribable • Lord Most High • Offering • Praise Adonai • Surrender • Thank You Lord • Word of God Speak • Worthy Is the Lamb • You Are Holy (Princeof Peace) • and more.

Albert Hay Malotte was an American pianist organist composer and educator. He is best remembered for his setting of The Lord's Prayer. Written in 1935 it was first recorded by the Baritone John Charles Thomas and remained highly popular for use as a solo in churches and at weddings in the US for some decades. Recordings by singers and groups including Doris Day Andrea Bocelli Elvis Presley and Barbara Streisand followed.The ‘Lord's Prayer’ is a venerated Christian prayer that according to the New Testament was taught by Jesus to his disciples. The song's melody is very similar to that of Schubert's ‘Ave Maria’.Thisversion is arranged by Carl Deis for Soprano and Tenor Soli and SATB Choir A Cappella. Duration ca. 4:20.

No. 2 - How the Soul Speaks to God-For double mixed chorus a cappella. This is the second movement of Kernis' Ecstatic Meditations which includes Effortlessly Love Flows How the Soul Speaks to God I Cannot Dance O Lord and How God Answers theSoul. Ecstatic Meditations was composed in 1999 for Philip Brunelle and the Plymouth Music Series Ensemble Singers and Choir. Like all of Kernis' music it ‘bears the unmistakable stamp of a wildly fertile musicalimagination…with rich poetic imagery.’ The text is by Mechthild of Magdeburg translated by Jane Hirshfield.Named one of 75 ‘American Masterpieces of Choral Music’ by the National Endowment for the Arts.

No. 4 - How God Answers the Soul-For double mixed chorus a cappella. This is the fourth movement of Kernis' Ecstatic Meditations which includes Effortlessly Love Flows How the Soul Speaks to God I Cannot Dance O Lord and How God Answers theSoul. Ecstatic Meditations was composed in 1999 for Philip Brunelle and the Plymouth Music Series Ensemble Singers and Choir. Like all of Kernis' music it ‘bears the unmistakable stamp of a wildly fertile musicalimagination…with rich poetic imagery.’ The text is by Mechthild of Magdeburg translated by Jane Hirshfield.Named one of 75 ‘American Masterpieces of Choral Music’ by the National Endowment for the Arts.

Here's the feel-good anthem of the year! Sure to put a smile in your soul this rhythmic shout of praise is written in a folk-rock style reminding us that no matter the circumstance we should rejoice for we are always in God's care. An unrelenting piano pattern forms the groove of the piece that propels the arrangement forward and the vocals are mostly three-part creating an inviting shimmer in the harmonies. An a cappella moment with hand claps will literally lift the roof. A must-do!