SKU: LO.15-3635H
ISBN 9780787764135.
I want that old-fashioned Christmas, with a great big Christmas tree, the smell of pumpkin pies that bake nearby, and cinnamon potpourri. A light swing groove brings back memories of those treasured Christmases of decades ago in this delightful choral selection. The song features mostly unison vocal scoring with a few easy harmonic break-out passages.
SKU: MN.56-0031
UPC: 688670220364. Latin. Genesis 20:13; Numbers 11:17.
Written for the Enchanted Voices CD, this is one of many settings of texts either from the Beatitudes (or springing from them) available from this composer. For Solo and SS divisi, a cappella, the music has a light, ethereal feeling. ââ¬ÅBeatiâ⠬ can be taken as a sort of ââ¬ÅBlessed are theyââ¬Â prefix for the movements which are not direct quotes from the Beatitudes. This movement is a unison, chant-like setting of the Latin texts for Genesis 20:13 (ââ¬ÅThou shalt do me this kindnessââ¬Â¦Ã â¬Â) and Numbers 11:17 (ââ¬ÅAnd I will take of thy spiritââ¬Â). The soloist begins and sometimes takes over from the choral voices. Mostly unison except for about ten measures (out of the 69) in two-part texture and four measures in three parts. Duration 4:39
SKU: CF.CM9706
ISBN 9781491160022. UPC: 680160918621. Key: D minor. English. Sara Teasdale, adapted by Meredith Tompkins.
Sara Teasdale was a celebrated American poet who lived at the turn of the twentieth century, known for her classical style and pure, openhearted writing. At the young age of twenty-three, she became a published author and went on to release a total of eight award-winning collections of poetry in her lifetime. Love-Free is a reflective poem that appears in Part I of Rivers to the Sea, published in 1915. In the text, the narrator experiences a range of emotions centering around lost love and the desire to either separate from or rekindle it. Reminiscent of an antique music box, the text is paired with a waltz-like accompaniment in a lilting 3/4 pattern. Melodic exploration of the natural minor scale is achieved through mostly step-wise motion and some carefully placed, text-painted leaps ranging from a minor third to a sixth. With some unison, SA, and SSA sections, this piece can show off the wide array of colors and textures available to treble choirs.Sara Teasdale was a celebrated American poet who lived at the turn of the twentieth century, known for her classical style and pure, openhearted writing. At the young age of twenty-three, she became a published author and went on to release a total of eight award-winning collections of poetry in her lifetime. Love-Free is a reflective poem that appears in Part I of Rivers to the Sea, published in 1915. In the text, the narrator experiences a range of emotions centering around lost love and the desire to either separate from or rekindle it. Reminiscent of an antique music box, the text is paired with a waltz-like accompaniment in a lilting 3/4 pattern. Melodic exploration of the natural minor scale is achieved through mostly step-wise motion and some carefully placed, text-painted leaps ranging from a minor third to a sixth. With some unison, SA, and SSA sections, this piece can show off the wide array of colors and textures available to treble choirs.
SKU: AP.48825
UPC: 038081561493. English. Words by Rachel Field.
The last autumn leaves freely descend during the short piano introduction, symbolic of the change from fall to winter. Two-part groups will luxuriate in the words of Rachel Field as presented in this sumptuous setting. As simple as a partner song, with two independent melodies that assemble into a delicate choral duet; as sophisticated as an art song, with haunting motives and passing dissonances. Crystalline chords, embedded into the mostly arpeggiated accompaniment, dazzle the ear and offer subtle support to treble voices of any age. Designed with the clarity and elegance that will make any ensemble sound impressive.
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: CA.336490
ISBN 9790007243975. Language: Spanish.
This composition is a Chilean 'Cueca,' which is a dance found in many South American countries that is de rived from the Spanish 'Jota' and contains several elements from the 'Fandango.' There are many different styles of 'Cuecas', depending on the nature of the texts or the region from which they come. However the rhythm is mostly written in 6/8, alternating sometimes with 3/4, and in minor keys, and it is danced in single and independent couples. Because of its melancholic character, this 'Cueca' is thought to have derived from the Peruvian 'Yaraví' and it comes from the province of Sucre and was composed in the times of the Chaco war (that occured between Bolivia and Paraguay in 1932-1935). Most of the authors who composed texts and popular tunes in this period are anonymous. The instruments that accompany the 'Cueca' are generally guitar, bombo and charango.
SKU: GI.G-7107
UPC: 785147710707. English.
A mostly unison song with a reggae feel that follows the textual pattern of many a reggae song - i.e., the verses each cite a particular evil followed by a plea for an end to its power over people. A strong social justice message that needs to continually be on the lips of the church. For cantor or soloist
SKU: PR.312416820
UPC: 680160050376. 8.5 x 11 inches.
Chen Yi’s most performed and most beloved choral music is a series of 10 Chinese folk songs adapted for S.A.T.B. Chorus (published in 3 volumes: 312-41731, 312-41732, 312-41733). This special version is a setting of the familiar collection, adapted for children’s chorus and strings.Remembering when I studied composition in the Central Conservatory of Music in Beijing, I learned to sing hundreds of Chinese folk songs collected from more than twenty provinces and fifty ethnic groups, and went to countryside to collect original folk music every year. I got to know that the folk songs are a mirror of people’s daily lives, their thoughts and sentiments, local customs and manners. They are sung in regional dialects and use the idioms of everyday speech with their particular intonations, accents and cadences. This correlation between speech and music distinguishes folk songs of one region from another. I learned all songs by heart and sang them back in the exams every week. They melted in my blood and became my natural music language. The more I walk into the music life,the more I treasure the rich culture I have learned from my homeland. When I became the Composer-in-Residence of Chanticleer and was invited to write the first work for its concert program, as well as another version for its Singing-In-The-Schools program, I decided to introduce A Set of Chinese Folk Songs to my American audiences, and add a new flavor to Chanticleer’srich repertoire. The work includes ten folk songs, taken from eight provinces (Anhui, Shaanxi, Yunnan, Shanxi, Taiwan, Sinkiang, Jiangsu and Guizhou) and five ethnic groups (Han, Hasake, Uighur, Miao and Yi). I arranged them for choirs (men’s or children’s chorus) with various combinations in voices, to be sung mostly in Chinese, some in English.  From the mysterious mountain songs originally sung in the open air with high and long notes that can carry over great distances, the sweet and delicate melodies of young love compared with nature, the humorous antiphony by little children, and the lively dancing tune by villagers, you may get an idea of various music styles in Chinese folk songs according to geographic, ethnic and linguistic differences, and appreciate the beauty of the Chinese folk music. The pure choir sound and the sophisticated singing by Chanticleer, in terms of pitches, language and musical expressions, really attract and inspire me to create some more new works in the years to come. In thisedition of A Set of Chinese Folk Songs for standard SATB mixed choir (with piano rehearsal score), I divided these ten songs into three volumes. They are Fengyang Song, The Flowing Stream, Guessing, Thinking of My Darling, Mayila, Jasmine Flower, Riding on a Mule, Awariguli, Diu Diu Deng, andMountain Song and Dancing Tune.—Chen Yi.
SKU: GI.G-8187
UPC: 785147818700. English. Text by Sara Teasdale.
A setting of a Sara Teasdale poem that is an ode to beauty. A performance piece for SATB (with some divisi), piano, and cello, duration ca. 6:00. Though it requires substantial vocal forces, it is a “big†work that is not overly difficult, staying within the established tonality and remaining mostly homophonic.
SKU: MN.50-8012
UPC: 688670580123. English.
The beloved text attributed to St. Patrick is set imaginatively for SATB and organ. Mostly homophonic choral phrases have a harmonic interest and momentum that belie their difficulty level. They alternate with organ phrases that solo out the melody of the traditional Irish tune SLANE. Written for the installation of a new Létourneau organ, the piece is best served by creative registrations.
SKU: HL.394346
ISBN 9781705157688. UPC: 196288032410. 6.75x9.0x0.121 inches.
During her lifetime, Fanny Hensel was overshadowed by her brother Felix Mendelssohn Bartholdy, who was three years her junior, and for a long time she was regarded merely as an occasional composer. It was only when the Mendelssohn Bartholdy family's extensive collection of sheet music came into the possession of the Berlin State Library that the diversity of her compositional output became apparent: all together, Fanny Hensel wrote over 400 compositions, including piano pieces and especially songs, mostly for solo voice with piano accompaniment, but also many choral works, chamber music and some orchestral works. The name SAM-Klang takes the three voice parts from the arrangements -- Soprano, Alto and Men -- and combines it with the Scandinavian and German words for “sound†to create the portmanteau word “sound together†or “harmony.†The series offers basic and advanced choral repertoire. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire.
SKU: AP.35595
UPC: 038081397917. English. Traditional French Carol.
Perfect for jazz and concert choirs, this fresh setting of the traditional French carol works well as a jazz waltz. Sing with a smooth, mostly straight tone to stay in the pocket and clinch the style. Super cool.
SKU: GI.G-7105
UPC: 785147710509. English. Text Source: Isaiah 2:1–9, 11:9, adapt. SB and MH. Text by Susan R. Briehl. Scripture: Isaiah 2:1–9, Isaiah 11:9.
A prayer for an end to war, based on Isaiah’s call to beat our swords into plowshares. A song that summons all to God’s reign of peace. Mostly unison verses with a choral-and-assembly refrain. For cantor or soloist
SKU: CA.336560
ISBN 9790007244033. Language: Spanish.
This song is a popular 'Cueca brava,' also known as 'Cueca Chilenera.' The 'Cueca' was designated a na tional dance in Chile since 1979 and it has been danced throughout this country since the early 19th century, both in the countryside and in the cities. The styles of the 'Cuecas' are different according to the nature of the texts and to traditions of each region. The origin of the 'Cueca' is unclear, but certainly it developed in the Viceroyalty of Peru, fi rst as a dance called the 'zamacueca,' which in turn originated from the 'jota' and the 'fandango.' It is danced in couples who dance apart from each other while waving red scarves and moving in circles. The musicologist Carlos Vega writes: it is possible to consider the 'Cueca' as a parody of courtship between a cock and a hen: the scarves could symbolize feathers or ridges within a choreography that is characterized by loose interdependent partners. In describing the 'Cueva' another musicologist, Samuel Claro, explains that the choreography recalls the ancient or medieval tournaments and derives from the pantomime of love ... It is a festive and cheerful dance, accompanied by guitars, harp, accordion and percussion instruments, although it is written mostly in minor keys. The rhythm combines measures of 6/8 and 3/4.
SKU: AP.35653
UPC: 038081398495. Spanish.
Part Spanish, mostly English, but all together it's sizzling fun for concert and show ensembles alike. Con la música somos uno. WIth music, we are one. Featured on Showbiz! choral movement DVD (00-35858).
SKU: CA.3106212
ISBN 9790007043629. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.
Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and part available separately - see item CA.3106200.
SKU: CF.CM9354
ISBN 9780825894008. UPC: 798408094003. 6.875 x 10.5 inches.
Juneaus' madrigal-esque, buoyant composition sparkles. Mostly homophonic, the contrasting B section affords opportunities to showcase musicianship. Throughout the piece, the jaunty accompaniment provides enough support so that ensembles of all sizes are sure to shine in performance!
SKU: CA.3106207
ISBN 9790007043599. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.
Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score available separately - see item CA.3106200.
