SKU: XC.SATB2311A
6.75 x 10.5 inches.
This jazzy re-imagining of a classic Americana tune is guaranteed to bring some extra light into your concert with its cheerful, optimistic message. Rich ballad sections are contrasted by an up-tempo swing refrain, complete with a walking bass line. With exciting harmonies and easy to sing vocal lines, this song is a great introduction to tight harmonies with a wonderful payoff!
SKU: BT.PMC3603
Four poems sharing a common motif of 'Night' provide the texts for my choral cycle Nocturnes, the American Choral Directors Association's commissioned work for its 2005 national convention. For Rilke's atmospheric Sa nuit d'ete,several melodic themes are supported by dense, colorful harmonies in both the choral and piano parts, leading to a climactic section where all are combined and stated simultaneously. Neruda's Soneto de la Noche, from his CienSonetos de Amor, speaks of an eternal love that transcends death while reaffirming life. My a cappella setting of this gorgeous poem is predominantly quiet, serene and folk-like, utilizing direct harmonies accompanying long,lyrical vocal lines. Agee's wondrous Sure on this Shining Night is set much like a song from the American musical theater, a genre for which I have held a life-long esteem. Rilke's poignant Voici le soir recalls the opening bellsounds and jazz-tinged chords of the first movement and serves as an epilogue, quietly concluding this cycle of night songs as darkness descends. --Morten Lauridsen.
SKU: HL.1428501
UPC: 196288202677. 6.75x10.5x0.036 inches.
Ken Burton's “Swing Down, Chariot,” showcased in the Jason Max Ferdinand Choral Series, intricately weaves a tapestry of musical genres intrinsic to Black American sacred music. This arrangement harmonizes African influences, quartet styles, close harmony jazz, big band, and classical elements, delivering a vibrant and diverse sonic landscape. While its entertaining aspects shine, the piece maintains a heartfelt essence, reflecting a deep yearning for freedom. Inspired by twentieth-century gospel quartets like the Fairfield Four and Golden Gate Quartet, Burton's arrangement infuses percussive articulation and dynamic flexibility. Choirs are encouraged to explore creative articulation options, ensuring a spirited and engaging rendition. Ideal for collegiate, chamber, honor, and all-state choirs, this arrangement captivates effortlessly, resonating with its rich musical essence. Excellent choice for your advanced and professional choirs. You can never go wrong with a Ken Burton arrangement or composition.
SKU: AP.46593
UPC: 038081531687. English.
Written by songwriting legend Johnny Mercer, Dream has been covered by artists from Ella Fitzgerald to Michael Bublé. A rubato section in straight eighths opens this rich a cappella setting, before breaking into a moderate swing tempo with finger snaps. A final return to the earlier duple feel leads to a soft, sensitive ending. Perfect for exploring both jazz harmony and stylizations.
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: AP.46592
UPC: 038081531670. English.
SKU: CA.739100
ISBN 9790007170769. Text language: Latin.
The Missa romana is a mass setting in Latin. With a duration of c. 10 minutes, and a moderate level of difficulty, it is intended for performance in Catholic services. It combines jazzy chords and Latin American rhythms with quotations from the Gregorian Missa de Angelis, which is currently used in many parishes and is popular to sing. The aim is to portray the Latin American dance rhythms authentically and with infectious energy for the listening congregation. This can certainly be achieved through a performance with at leaset a percussion group which is able to exploit the variety of Latin American percussion instruments. The band could also include a double bass and, as harmony instrument, guitar and/or keyboard. The dance rhythms given serve as a guide to rhythm and tempo, and the chordal accompaniment should be improvised using the chord symbols. As performance with band won't always be possible, the Missa romana is written so that it can also be performed a cappella or with organ accompaniment.
SKU: CY.CC3028
ISBN 9790530110034. 8.5 x 11 in inches.
Us, composed by Thad Jones in 1970 and originally recorded that same year, is one of the pieces which defined the new sound of the Thad Jones/Mel Lewis Jazz Orchestra. While being one of the most successful, early melding of big band instrumentation with rock rhythms and rhythm section instruments, it also includes an a cappella chorus for the 'band' (for this version, read: trombones) and intricate saxophone lines which are challenging but very rewardingly playable. David Fletcher has done a magnificent job of translating the richness of Thad's voicings and the exuberance and spirit of this piece to the Trombone quintet plus rhythm section instrumentation of the University of Illinois Jazz Trombone Ensemble, who have performed it at both American Trombone Workshops and International Trombone Festivals. David Fletcher, a member of the award winning University of Illinois Jazz Trombone Ensemble under the direction of Jim Pugh arranged this great chart for Trombone Quintet and rhythm section. It is about 4 minutes in length and includes improvised jazz solos for Trombone 2 and Electric Guitar.
SKU: AP.49661
UPC: 038081567488. English. Words by Sam M. Lewis.
Real deal a cappella jazz writing with great attention paid to phrasing, dynamics, expressive rhythms that sound unmetered, and bringing the emotional words to life. Be prepared to put in the time and feel the satisfaction of singing a lush and lovely ballad. The song has been recorded by a host of artists including Billie Holiday, Doris Day, Aretha Franklin, and Bette Midler, but Kirby's arrangement is inspired by soul artist Donny Hathaway's heart-wrenching performance.
SKU: CF.CM9634
ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual.
Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!.This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy.This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part†henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio partâ€, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position†cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio†role and actually become a “Men’s Choral Ensembleâ€. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vampâ€. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp†and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy.
SKU: CA.2718803
ISBN 9790007250911. Language: LAT/EN/DT.
After Missa Latina and Magnificat, Te Deum is now the third major composition by musician and composer Karl Albrecht “Bobbi” Fischer published by Carus. Fischer’s musical roots lie in classical music, which he combines with jazz elements and Latin American rhythms.All three styles appear in the Te Deum. In keeping with the proclamation “Te Deum laudamus” (We praise thee, O God), the work begins with the festive (Cuban) energy, propelled by timpani and trumpet; the choir can also be heard imitating fanfares. Later, a cappella choruses become a recurring element, in which phrases set as Gregorian chant are presented against an ever-changing chordal background. But the score also features elements of swing and rhythm & blues, frenetic choral outbursts of joy, as well as moments of mystic contemplation. Moreover, the instrumentalists are given ample opportunity for improvised solos. Interwoven into the otherwise Latin text is the well-known German chorale Großer Gott, wir loben dich. Here several verses can be sung with the congregation; alongside the original German text, the score features the English translation “Holy God, we praise thy name”.- An exciting combination of classical choral music with elements of jazz and Latin American music- The congregation can take part in the performance (chorale)- Singers can choose between Latin/German or Latin/English- Varied mix of styles- An enrichment of our crossover program
SKU: CA.2718805
ISBN 9790007330422. Language: LAT/EN/DT.
SKU: AP.47725
UPC: 038081544182. English. Alan Jay Lerner.
Bing Crosby, Doris Day, Nat King Cole, Peggy Lee, and Harry Connick Jr. are just a few of the artists who have recorded this showtune-turned-standard by American songwriting team Lerner and Loewe. Buoyant syncopations lightly swing through sweet jazz sonorities and arrive at a tender tempo-stretching final cadence. Mark Hayes' divisi a cappella arrangement is equally fitting for concert, show, and jazz choirs. A treasure from My Fair Lady.
SKU: AP.46468
UPC: 038081528472. English.
A Cole Porter classic that has been recorded by a multitude of performers including Billie Holiday, Frank Sinatra, and Ella Fitzgerald. Vocal jazz lovers will enjoy this rich a cappella arrangement, designed for more advanced ensembles.
SKU: CA.210400
ISBN 9790007187651.
The choral collection Hallelujah. Gospels and Spirituals transports us into the fascinating world of African American folk songs. 30 gospels and spirituals have been arranged for mixed choir, unaccompanied or with piano. The choral parts sometimes divide, and occasionally solo parts (or even a small choral group) are required. The arrangements with their catchy rhythms, groove, their blue notes and other elements from Jazz and Blues and the principles of call-and-response will move performers and audiences in equal measure. As well as American classics (e.g. Amazing grace, Go down Moses, Kumbaya, Deep river, Down by the riverside, Good News, O when the saints, Nobody knows, Joshua fit the battle of Jericho), the collection also contains some discoveries from the beginnings of the genre. Just under half the arrangements were specially commissioned for the collection. Young composers from the USA (such as Courtney Carey, Marques Garrett) and arrangers from Canada, Denmark, and Germany (including Mark Sirett, John Hoybye, Thomas Gabriel, Carsten Gerlitz, Gunther Martin Gottsche, and Hans Ludemann) have contributed to this stylistically extremely varied choral collection. The medium difficulty level will enable many choirs to get to grips with the gospel style, something which perhaps few of them are very familiar with. Tips from the editors on performance, and a CD recording with a selection of the arrangements will help with learning the pieces. With their deep and emotional symbolism of captivity and repression on the one hand and redemption and freedom on the other hand, these Gospel settings are well-suited for many uses in concerts and church services. arrangements of around 30 spirituals and gospels for four-part mixed choir a cappella or with keyboard accompaniment medium difficulty level a good introduction for choirs with little previous experience of this repertoire includes popular classics such as Amazing grace, Deep river, Go down Moses, Good News, Nobody knows, Joshua fit the battle of Jericho wide variety of styles with many new arrangements conductor's score with CD Introductory price: 29.90 Euro, from 01.12.2019: 34.90 Euro.
SKU: CA.210405
ISBN 9790007187668.
The choral collection Gospels and Spirituals transports us into the fascinating world of African American folk songs. Around 30 gospels and spirituals have been arranged for mixed choir, unaccompanied or with piano. The choral parts sometimes divide, and occasionally solo parts (or even a small choral group) are required. As well as American classics (e.g. Amazing grace, Go down Moses, Kumbaya, Deep river, Down by the riverside, Good News, O when the saints, Nobody knows, Joshua fit the battle of Jericho), the collection also contains some discoveries from the beginnings of the genre. Just under half the arrangements were specially commissioned for the collection. Young composers from the USA (such as Courtney Carey, Marques Garrett) and arrangers from Canada, Denmark, and Germany (including Mark Sirett, John Hoybye, Thomas Gabriel, Carsten Gerlitz, Gunther Martin Gottsche, and Hans Ludemann) have contributed to this stylistically extremely varied choral collection. The medium difficulty level will enable many choirs to get to grips with the gospel style, something which perhaps few of them are very familiar with. Tips from the editors on performance, and a CD recording with a selection of the arrangements will help with learning the pieces. With their deep and emotional symbolism of captivity and repression on the one hand and redemption and freedom on the other hand, these Gospel settings are well-suited for many uses in concerts and church services. The arrangements with their catchy rhythms, groove, their blue notes and other elements from Jazz and Blues and the principles of call-and-response will move performers and audiences in equal measure. * arrangements of around 30 spirituals and gospels for four-part mixed choir * a cappella or with keyboard accompaniment * medium difficulty level * a good introduction for choirs with little previous experience of this repertoire * includes popular classics such as Amazing grace, Deep river, Go down Moses, Good News, Nobody knows, Joshua fit the battle of Jericho * wide variety of styles with many new arrangements * CD recordings helps with learning and rehearsing the pieces. Score available separately - see item CA.210400.
