Format : Sheet music
Ten easy three-part a cappella arrangements of inspirational songs for either SSA or SAT choirs with a piano part for convenient rehearsal. All of these rousing pieces are presented in new arrangements by Barrie Carson Turner. Bringing together ten timeless songs of faith celebration and inspiration Just Voices: Gospel is an ideal introduction to mastering the a cappella style. Perfect for your next concert or as a fun treat for your choir. Includes O Happy Day Amazing Grace Down By The Riverside and more!
SKU: WD.080689543173
UPC: 080689543173.
Southern Gospel Songs…Just mention that phrase, and a certain sound and style immediately come to mind. And it comes simultaneously as both a visual and an audible trigger. It is sight and sound encapsulated in so many shapes and forms…from the original, iconic male quartet with a stride-style piano man, to the famous mixed groups—usually a family; Dad, Mom, sons and daughters, spouses—to the not infrequent trio, sometimes all male, sometimes all female, sometimes mixed voices, and even the occasional solo artist…all delivering soulful, joyful, heartfelt and inspiring songs. Songs for the church. Southern Gospel Songs. Songs about life, about prayer, about joy, about sadness, about Heaven, about victory, about coming home and about going home; songs of cheer, songs of love, songs of conviction, songs of salvation…Southern Gospel Songs. And whether you first heard one of these songs sung by a quartet, a mixed group, a trio, a soloist, performed with piano accompaniment only, a full band, or accompanied by an orchestra, you haven’t really heard it until you’ve heard it sung by a choir! Southern Gospel Songs for Southern Gospel Choirs...one of the sweetest sounds this side of Heaven!That’s what this book, with its dynamic arrangements by Marty Hamby, is all about -- Southern Gospel radio hits, classic Southern Gospel songs, and new and emerging Southern Gospel hits; they are all ready and waiting for you to add the one missing ingredient… your choir! So grab your robes, get your choir folders in hand, do a vocal warm-up or two, and get ready to “sing the glory down†with this great new collection of Southern Gospel Songs!
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: ZB.ZE-4008
ISBN 9783940745798.
Swinging Jazz passages and flowing Latin American rhythms with gripping Funk and Gospel elements to form a homogeneous whole. This English-language Jazz Mass for Mixed Voices (SATB) is an excellent challenge for Jazz-ambitious choirs! This set contains the entire instrumental part.This piece isn't Jazz-inspired, that's Jazz! The search for a larger work that combines the traditional ecclesiastical form of the mass with really authentic jazz is over with the New York Mass ... An ambitious amateur choir, which offbeat phrasing and almost continuous four part chords will encourage rather than frighten being able to do justice to the work - and have fun doing it. (Musik and Kirche).