Here's a pure, full sounding choral work from talented composer Sherri Porterfield. The notes aren't difficult, so you can devote time to developing phrasing, blend, and tone...and the results will make your choir sound its best. Great for contests and festivals. AABA form. Traditional Latin text. Ranges are perfect for school-age choirs. (P.S. The SSA edition is gorgeous!) / Choeur Mixte (SATB)

An Outrage is an enticing piece of music composed by Nico Muhly and has been scored for SATB Drones and Drum.It's galloping melodic lines slip out of the percussive writing as if by centrifugal force holding a sense of outrage at bay.Nico Muhly has composed a wide scope of work for ensembles soloists and organizations including the American Symphony Orchestra New York City Ballet The Royal Ballet and artist Conrad Shawcross to name a few. Muhly has also lent his skills as performer arranger and conductor to the likes of Usher and Björk.

Usher in the Season of Light with Candles of Advent a creative collection of carols and songs. Use the anthems individually during the Advent season through Christmas or with the narration included for a complete cantata.Medium easy.Available separately: SATB Instrumental Pak (Chamber Orchestra) and ChoirTrax CD.

Edition de Frank Dobbins352 pages 220x142mmThe 84 chansons in this collection are mainly for SATB, and were selected first and foremost for their musical value. Care has been taken to represent the great masters as well as lesser-known composers who made significant contributions to the genre.SATB unaccompaniedArcadelt: D'un Extreme RegretArcadelt: Je Ne Suis Pas Si TotBeaulaigue: Comme Serait a MoiBenedictus/Appenzeller: Je Ne Me Puis Tenir D'AimerBertrand: Hola, CaronBertrand: Je Suis un Demi'DieuBoni: Ha, Bel AccueilBoni: J'espere et CrainsBonnet: Francion Vint L'Autre JourBuus: Douce MemoireCaietain: Une PuceCanis: Mariez Moi Mon PereCastro: Ah! Je MeursCastro: Je Suis QuasiCerton: J'espere et CrainsCerton: Je Suis DesheriteeCerton: La, La, La, Je Ne L'ose DireCerton: Que N'est Elle Aupres de MoiClemens: Jaquin JaquetClereau: Comme Un Qui PrendCornet: Avecque VousCoste: Celle FilletteCosteley: Arrete Un Peu Mon CoeurCosteley: Mignonne, Allons Voir si la RoseCrecquillon/Manchicourt: Un Gai BergerCrecquillon/Manchicourt: Un Doux RegardDe Bussy: Qu'heureuse est ma FortuneDu Caurroy: Las! AmourEntraigues: Complainte de la TourterelleFevin: petite CamusetteGardane: Douce MemoireGervaise: Si L'on Doit PrendreGombert: Changeons ProposVous Etes Trop JeuneGoudimel: Qui Renforcera Ma VoixJacotin: A Paris a Trois FillettesJanequin: Au Joli Jeu du Pousse AvantJanequin: La Plus Belle de la VilleJanequin: Le Chant de OiseauxJanequin: Or Vien Ca, Vien M'amieJanequin: Pourquoi Tournez Vous Vos YeuxJosquin: En L'ombre d'un BuissonetJosquin: Faute d'ArgentJosquin: Mille RegretsJosquin: Petite CamusetteJosquin: La MoeulleJosquin: Si Je Maintiens Ma VieLassus: Bonjour Mon CoeurLassus: La Nuit Froide et SombreLassus: Quand Mon MariLassus: Une PuceLe Blanc: Dames en qui Reluit Toute BeauteLe Jeune: Ce n'est que FielLe Jeune: J'aime la Pierre PrecieuseLe Jeune: Revoici Venir du PrintempsLe Jeune: Susanne un JourLupi Second: Une Dame Pour Mieux VenirLupus/Cadeac: Je Suis DesheriteeMaille: A Qui Me Dois Je Retirer'Mauduit: Voice le Vert et Beau MaiMeigret: Un doux RegardMillot: O Ma Belle MaitresseMittantier: Moins je la veuxMonte: Bonjour mon coeurMornable: Je Ne Me Confesserai PointMouton: En Venant de LyonNinot le Petit: Et la la laPassereau: Il est bel et bonPevernage: D'Etre AmoureuxPhinot: Pleurez Mes YeuxPlanson: Puis Que Le Ciel Veut AinsiRegnard: Las, Je Me PlainsRichafort: Trut Avant Il Faut BoireRoussel: Mon Coeur a Vous, Belle, se RecommandeSandrin: Douce MemoireSandrin: Puisque Vivre en ServitudeSermisy: Jouissance Vous DonneraiSermisy: Martin Menait Son PourceauSermisy: Tant Que VivraiSusato: Douce MemoireTessier: Non, Vous N'etes pas YeuxVilliers: Si Vous VoulezWaelrant: D'Amourss Me VaWillaert: Qui la DiraWillaert: Sur le Joli Jonc

with Un Sospiro-Uses: Advent Christmas Scripture: Exodus 33:14-15 Deuteronomy 31:6 John 15:4 The echoes of a romantic piano classic usher in this hymn adaptation with tender emotion and elegant styling. The piece evolves organically allowing for directors to focus on the expressive potential of each phrase. Quality part-writing is an encouragement to the learning process and the message of God's presence and comfort is timeless. Simply beautiful!

Uses: General Communion InvitationScripture: I Kings 19:11-12; Psalm 29:2-4; John 10:27Exquisite melody writing defines this prayerful song of devotion. With a text that calls us to contemplate the divine supported byan evocative accompaniment this is a very special way to usher in a worship or communion service.

In Love Came Down At Christmas the words of Christina Rossetti's well-known Christmas poem are set to music by the British composer John Joubert.Commissioned by Nicholas Fisher for the choir of Gloucester Cathedral this four minute piece is arranged for unaccompanied SATB chorus.

Composed in 2003 The Kestrel Road was jointly commissioned by forty-seven choirs all of which are members of Music Making a national society that links several thousand amateur choirs and orchestras. This work wascommissioned as a tribute to mark the seventieth birthday of Sir Peter Maxwell Davies and was performed nationwide throughout the 2004/5 season.The Kestrel Road is a song-cycle for SATB Choir and Piano settings ofpoems by the ‘Bard of Orkney’ George Mackay Brown (1917-96). The poems are highly evocative of Orkney life history and folklore with shepherds crofters fisher folk a laird a scarecrow King Barleycorn and the timeless figureof Ikey the Tinker who passes through many of Brown’s poems seemingly linking past and present. According to Maxwell Davies the music is suggestive of the ‘elusive land and seascapes’ of the islands and is much influenced bythe local folk music.

Morton Gould's Hosanna Amen from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's Ballads from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'the earlybird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's Postscript from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'the earlybird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'