SKU: AP.46920
UPC: 038081535692. English. Alan Billingsley.
A Christmas classic updated with a fresh Latin groove! Syncopated rhythms energize the vocal lines, which remain true to the carol's original harmonization. A new Fa la la refrain and bridge build excitement leading to the third verse, and a key change near the end results in a big finish. Add the SoundTrax CD, SoundPax, and complete choreography from the Movin' DVD for even more pizzazz!
About Alfred Choral Designs
Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: AP.46599
UPC: 038081531748. English.
Though most of the piece is in English, a brief Latin phrase provides the framework for this pensive meditation on the world of music and sound that surrounds us. The gentle ebb and flow of tempo allows choirs to explore new depths of choral expression. Sign language is available on Alfred's Movin' DVD.
SKU: AP.51374
UPC: 038081588728. English.
The 2023 movie adaptation of The Color Purple shared its story of resilience and forgiveness with a new generation of viewers. Written and performed by actress Halle Bailey, this optimistic toe-tapper is a reminder that life can never break your soul!
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: CF.CM9608
ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892).
The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep†in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark†in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,†which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.â€Lastly , be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray.
SKU: HL.49019492
ISBN 9790001192699. 7.75x11.0x0.039 inches. German.
Heinrich Poos is not the first composer inspired by Friedrich Gottlieb Klopstock's poem 'Die Auferstehung', as even Gustav Mahler had already used these verses in the fifth movement of his Second Symphony 'Auferstehung'. Mahler was inspired to use a choral movement at the end of his symphony at the funeral of the conductor Hans von Bülow where a choir sang a chorale based on said text by Klopstock. Heinrich Poos wrote his deeply moving choral piece in remembrance of the organist Hubert Schoonbrodt.
SKU: HL.48024356
ISBN 9781784543334. UPC: 196288157779. 7.0x10.0x0.027 inches. Text: William Shakespeare.
Willia m Shakespeare's famous sonnet ('Let me not to the marriage of true minds Admit impediments'), often used at weddings and civilceremonies, is here set to beautiful, fresh music by young composer Ed Rex. The mostly homophonic setting employs the composer's distinctive close harmonies, which, together with short phrases and natural rhythm, serve to add greater meaning to the poignant andmoving text. Spells of parallel and contrary motion in the inner parts are intended in some way to reflect important elements of thecommitment two people make to each other in marriage or partnership. Sonnet 116 is sure to add an unforgettable moment to a happy couple's special day, and would also be an excellent addition to concerts using a theme of love.
SKU: MN.56-0016
UPC: 688670220173. English.
Howard Goodall's setting of Spared by Wendy Cope, arranged for SATB divisi and piano accompaniment.Thi s workÃÂ was first performed by The Chapel Choir of The Methodist College Belfast on 27th October 2005 at St Anne's Cathedral, Belfast. Wendy Cope's poem movingly evokes the events of September 11th 2001, an event that Howard Goodall witnessed firsthand. Duration: 3:00.
SKU: WD.080689878121
UPC: 080689878121.
Jesus made an astounding claim in Luke 4. When He proclaimed that He was the fulfillment of Isaiah's prophecy, it was more than a resume of credentials; it was a mission statement. In fact, it was a commitment - to you and to me - that there would be a place where sinners can find mercy; the afflicted can find healing; the broken can find compassion, and the outcast can find dignity. Behold the cross of Christ...it is the place where love and mercy meet.This profound spiritual theme is movingly captured by veteran arranger Marty Parks in Where Love & Mercy Meet, the latest offering from Simply Word Easter. Combining popular songs by Michael W. Smith, Bill and Gloria Gaither, and Darlene Zschech and Reuben Morgan with beloved classics, this musical features engaging worship sequences with easy-to-learn SATB choral parts and arrangements for one male and one female solos (with optional men/women unison), making it ideal for smaller choirs or those with limited rehearsal time. A well-designed accompaniment DVD is available to enhance your production, as well as an optional small-cast dramatic script by Kim Messer that will bring the themes of the musical into a powerful contemporary focus. This Easter, invite your congregation and community to come to the place where love and mercy meet - the cross of Jesus Christ.
SKU: WD.080689769726
UPC: 080689769726.
SKU: WD.080689479090
UPC: 080689479090.
SKU: HL.1230649
UPC: 196288146544. 6.75x10.5 inches.
This joyful concert setting of a text from Isaiah proclaims “War no more!†An excellent pronunciation guide is provided, removing any barriers from the Hebrew pronunciation, and a beautiful poetic translation will encourage your singers to live in the language.
SKU: GI.G-9610
UPC: 785147961000. Latin. Text Source: Attr. Ambrose of Milan, 340–397. Text by Ambrose of Milan.
Composer's Notes When I met Kelsey Rose in Oxford in St. Stephen’s House chapel over the summer of 2017, we had both just attended a very moving candlelit concert by Westminster Williamson Voices, featuring my setting of “Tenebrae lumini.†I was delighted to be asked to write a piece for compline in Princeton University Chapel, celebrating the 150th anniversary of the Anglican/Episcopal chaplaincy at Princeton University. “Aurora†is the result of that meeting. Composing by commission often throws up some interesting challenges. The piece had to fit both as an accompanying piece to the plainchant of compline, whilst simultaneously being a celebratory anthem. I was instantly drawn back to the poetry and hymns of St. Ambrose of Milan, particularly “Aurora iam spargit polum.†Fragments of chant (both real and imagined) are used to create the powerful imagery of the descending golden light of dawn. The piece reaches its climax with the plea for the despair of night to “vanish,†which it then does, leaving the sopranos alone on a high G.
SKU: MN.80-309
UPC: 688670803093. Scripture: Philippians 2.
A setting of the well-known gradual based upon Philippians 2:8-9. Originally the Gradual for Maundy (Holy) Thursday, this motet is appropriate for Passion Sunday, Good Friday, Holy Cross Day, and Lent. Juxtaposing slow-moving harmonies with chant-like moving lines, this piece is part of Missa Mandatum, and thus a companion piece to the Agnus Dei, 80-784.
SKU: OU.9780193415652
ISBN 9780193415652. 12 x 8 inches.
For SSATB unaccompanied This anthem sets lines from Psalm 139, 1 Thessalonians, and 1 John, moving from an unsettled tonality at the beginning, through anguished false relations and wistful expressivity, to find triumphant resolution in a blazing A major at the end. Like all of McDowall's music, it is well crafted and singable.
SKU: GI.WW1610
UPC: 785147004264.
This stunning composition uses the idea of the Igbo word Amara which means grace. The idea of this work is to breathe together - to be aware of others and how we fit together in this world. Highly artistic, moving, and quite challenging. The addition of an improvised saxophone adds an even greater level of artistry. Recording Choir: Missouri State University Chorale, Cameron F. LaBarr, conductor Bb Saxophone Part Eb Saxophone Part  .