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t The Lion and the Mouse—Darmon Meader.
The Lion and the Mouse joins The Boy Who Cried
Wolf and The Tortoise and the Hare to complete
Darmon Meader's jazz-infused Aesop's Fables
trilogy. This charming a cappella concert work
features cool jazz harmonies and gives each voice
part a chance to shine.
11195049 SATB. . . . . . . . . . . . . . . . . . . M 2.95
t Love—Michael Engelhardt. This stunning work for
mixed choirs has its roots in jazz. The repetition
of the word "love" throughout allows singers
and audiences to focus on its various meanings
and implications. A challenging work with an
incredible impact.
11200612 SATB divisi . . . . . . . . . . . . . . M 2.85
te Marie Madeleine—arr. Jeanette Gallant. Lively
and engaging, this arrangement of an Acadian
folksong features the quintessential elements of
the tradition: podorythmie (seated foot-tapping),
diddlage (mouth music), and the spoons. With
playful vocal slides and energetic rhythmic
motifs, this arrangement offers a modern twist
on this well-loved melody from the French-
Canadian oral tradition.
11315646 SATB. . . . . . . . . . . . . . . . . . . M 4.25
11315647 SSAA . . . . . . . . . . . . . . . . . . M 4.25
Music in the Air—arr. Ryan Murphy. "Over my
head I hear music in the air, there must be a God
somewhere." The traditional spiritual is a mix of
hopeful lyrics about the future, despite our current
afflictions. This setting brings an exciting new life
to the traditional melody with an active piano part
that moves the piece from lyrical to a syncopated
gospel feel without breaking tempo or style. The
choral parts employ traditional harmonies and
some divisi in the final section to create a full-
throated celebration of life.
11196611 SATB. . . . . . . . . . . . . . . . . . . M 2.95
t My Love Is Like a Red, Red Rose—Pietro
Urbani/arr. Jim Clements. An a cappella SATB
arrangement written for VOCES8 of the famous
Scottish folk song with text by Robert Burns.
11195931 SATB. . . . . . . . . . . . . . . . . . . M 3.50
t Nature Boy—eden ahbez/arr. Anders Edenroth.
"The greatest thing you'll ever learn is just to
love and be loved in return." This beautiful song
was written by eden ahbez and made famous by
Nat King Cole. This dynamic arrangement was
created for The Real Group and translates well to
full choir that loves a challenge!
11195773 SSATB . . . . . . . . . . . . . . . . . M 2.85
Old Joe Clark—arr. Dwight Bigler. This Appa-
lachian folk song is tremendously fun. Fantastic
and fun vocal lines are supported by a lively yet
accessible piano accompaniment. Add spoons
and clapping or stomping for a great time!
11167747 SSAA . . . . . . . . . . . . . . . . . . M 2.75
11195649 TTBB. . . . . . . . . . . . . . . . . . . M 2.75
t One Day—arr. Richard Rodney Bennett. This
beautiful ballad, arranged for The King's Singers,
has a text that speaks of hope for a better and
sweeter world where war and division are a
distant memory. Filled with characteristically rich
and colorful jazz harmonies, the listener travels
on a sweet journey through unexpected harmonic
patterns and an uplifting text.
11204902 SATBBB . . . . . . . . . . . . . . . . M 2.50
t Poor Wayfaring Stranger—arr. Alexander Lloyd
Blake. This arrangement of the beloved 18th-
century spiritual fuses folk and jazz ideas to create
a unique and fresh new version of the work.
Scored for mixed voices and soloist, this work for
advanced groups will fit well into any concert program.
11200697 SATB divisi . . . . . . . . . . . . . MA 2.75
t Poor Wayfaring Stranger (from "Four Amer-
ican Folk Songs")—arr. Frank Ferko. Commiss-
ioned by the Choir of Trinity College (Melbourne)
for their U.S. concert tour in 2020. The textures of
this work vary from spare to lush, reflecting the
pathos of this mournful folk song.
11316634 SSAA . . . . . . . . . . . . . . . . . ME 2.35
t Pretty Saro (from "Appalachian Stories")—
arr. David Chase. Extracted from the larger work
Appalachian Stories, this second movement is
a beautiful English folk ballad lost in its native
land but preserved in Appalachia's oral tradition.
A bluegrass fiddle part provides connective
material throughout, but the otherwise a cappella
texture employs the open, transparent harmonies
indicative of the style.
11204933 SATB with Fiddle . . . . . . . . . M 2.25
Scarborough Fair—arr. Michael Higgins.
Higgins' setting of this popular folk song opens
simply and then moves along with gradually
increasing contrapuntal interest. The lovely
arpeggiated piano accompaniment flows gently
alongside the vocal lines, creating suspensions
that reflect the mystery of the text.
11195472 SSA. . . . . . . . . . . . . . . . . . . ME 3.35
t She'll Be Comin' 'Round the Mountain (from
"Four American Folk Songs")—arr. Frank
Ferko. Commissioned by the Choir of Trinity
College (Melbourne) for their U.S. concert tour in
2020. With swinging rhythms and laughing motif
throughout, this is the perfect conclusion to this set
of four American folk songs. Eschewing weightier
interpretations of the text, this setting is pure fun.
11316635 SSAA . . . . . . . . . . . . . . . . . . M 2.60
Since I Laid My Burden Down—arr. Kyle
Pederson. This exuberant gospel setting of
the traditional spiritual Glory, Glory Hallelujah
partnered with the chorus of The Battle Hymn of
the Republic incorporates elements of gospel, jazz,
blues, and pop music and features a stylized piano
accompaniment. Choral harmonies with gospel
stacks and short solo features that combine into
an exciting texture make this a real showstopper!
11190319 TBB. . . . . . . . . . . . . . . . . . . . M 2.25
t Skip to My Lou (from "Four American Folk
Songs")—arr. Frank Ferko. Commissioned by
the Choir of Trinity College (Melbourne) for their
U.S. concert tour in 2020. This brisk and fun
setting contains lots of interplay with some rather
coy syncopation, at one point even inverting the
tune itself.
11316632 SSAA . . . . . . . . . . . . . . . . . . M 2.35
Soon We Will Be Done—arr. Kyle Pederson.
Building on the original text, this adaptation of
the classic spiritual invites the listener to envision
and commit to a better, more just world; a world
of inclusion, radical kindness, compassion, love,
and grace; a world where we have the courage
to champion the inherent dignity and value of all
people, a world where we will be done with all the
ways we deny a person's worth. Spoken word is
incorporated throughout, heightening the intensity of
the performance, and giving a sense of immediacy
to the challenge for the choir and audience to work
together for justice, equity, and wholeness.
11197402 SATB. . . . . . . . . . . . . . . . . . . M 2.85
t Star-Spangled Banner—John Stafford Smith/
arr. Jacob J. Narverud. Elegant and creative,
Narverud's concert setting of the national anthem
is destined to become a classic. His masterful
harmonies for mixed divisi choirs are challenging,
but not overdone. A perfect signature anthem
arrangement!
11202490 TTBB. . . . . . . . . . . . . . . . . . . M 2.10
t This Old Hammer (from "Appalachian
Stories")—arr. David Chase. Extracted from
the larger four-movement work Appalachian
Stories comes this rousing arrangement of the
traditional American folk song. Set for mixed
chorus with a fiddle accompaniment that ties the
movements together, this otherwise a cappella
piece incorporates some simple body percussion
and an authentic presentation of the history and
character of this song.
11205223 SATB divisi . . . . . . . . . . . . . . M 2.95
Three American Songs—arr. Michael Higgins.
Higgins' arrangements of three traditional
North American songs are sophisticated and
beautiful, supported by well-crafted piano
accompaniments. The first, Bright Morning Stars,
is illuminated by a shimmering piano part with
opportunities for a soloist or small group. Energy
and bounce is abundant throughout the second,
Little Wheel A-Turnin', as the melody is passed
between the voices and colored with interesting
harmonies. The last piece, He's Gone Away, is
a parting song between two lovers; with flowing
melodies and accompaniment, it ends on a note
of anticipation.
11193335 SATB divisi . . . . . . . . . . . . . . M 4.25
Two Welsh Songs—arr. Michael Neaum. This
work weaves two familiar Welsh folk songs into
a charming work for SSAA choir and piano. It
moves from simple two-part to three-part and
then to a four-part a cappella divisi statement of
the beautiful Welsh lullaby Suo Gan.
11202014 SSAA . . . . . . . . . . . . . . . . . . M 2.60
t Wade in the Water—arr. Jim Clements. This
traditional spiritual, a song of faith and hope, is
dynamically arranged for unaccompanied voices.
Originally written for the Worcester Cathedral
Chamber Choir and adapted for VOCES8, this
work is as enjoyable to listen to as to sing.
11195953 SSAATTBB . . . . . . . . . . . . . MA 4.50
Wayfarin' Stranger—arr. Linda Spevacek.
Intriguingly different, this jazzy, bluesy setting of
the classic spiritual really does pop with its fun,
stylized piano accompaniment. With quite a bit of
independence in the vocal lines, it is easy to teach
and fun to sing.
11172872 SSA. . . . . . . . . . . . . . . . . . . ME 2.20
t We Shall Overcome—arr. Shelton Ridge Love.
A strong, resolute setting of the familiar civil rights
"marching song" vividly calls to mind the images
which add depth of meaning and emotion to the
notes sung. From the distant beginning to the
powerful final statement, this arrangement calls
us to stand with, and for all those in the long fight
for justice. A cappella, this powerful setting may
be sung in any location.
11314193 SATB. . . . . . . . . . . . . . . . . . . M 2.15
11314194 TTBB. . . . . . . . . . . . . . . . . . . M 2.15
Wild Mountain Thyme—arr. Karen Marrolli.
This piece is a combination of two traditional
Scottish tunes: Wild Mountain Thyme, sung by
tenor-bass chorus, and the popular Scottish
reel Whiskey Before Breakfast, played as a
counterpoint by the violin. The two tunes come
together to highlight the playful nature of Robert
Tannahill's text, which speaks of going out to
"pluck wild mountain thyme" with one's love in
the romantic blush of spring.
11199381 TTBB. . . . . . . . . . . . . . . . . . ME 2.35
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