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CONCERT
MUSIC
4 Linden Lea—Ralph Vaughan Williams/arr.
Larry Shackley.
This popular Vaughan Williams
vocal solo has been transformed into a delightful
concert or contest title for two-part men's groups.
The original vocal line has been enhanced with
delightful counterpoint and harmonic shadings
carrying the descriptive lyrics through three verses.
Destined to become a repertoire standard!
10810611 TB . . . . . . . . . . . . . . . . . . . . . . . . 2.05
4
The Lion Sleeps Tonight—
arr. Roger Emerson.
A dynamic arrangement
of the memorable hit from The Tokens, perfect
for middle school mixed or tenor-bass choruses.
Special consideration has been given to range and
accessibility, but the overall effect makes this sound
just like the original. The percussion and piano
parts are easily playable by students, but provide
wonderful support to the arrangement.
10811192 TB . . . . . . . . . . . . . . . . . . . . . . . . 2.25
10849038 Teaching P/A CD. . . . . . . . . . . . 26.99
4
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. Arranged for mature tenor-bass
choirs, 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.
10828418 TTBB . . . . . . . . . . . . . . . . . . . . . . 2.85
4
Ndikhokhele Bawo (Xhosa Prayer)—
arr. Mzwandile Mabuza.
This traditional Xhosa
song could be found on the lips of many South
Africans who grew up in the church. Commonly
performed with Communion, the gentle lyrics
express gratitude while the lightly rhythmic groove
is contemplative. With percussion added in the
second verse, this rhythm picks up and the call and
response texture with soloists builds to a soulful
ending. A notated percussion part is included, as is
the translation for the text.
10913005 TTBB . . . . . . . . . . . . . . . . . . . . . . 2.25
4
Nine Hundred Miles—arr. Greg Gilpin.
The crisp, rhythmic energy which mimics a train
underlies the dynamic modal groove in this
American folk song arrangement for mixed or tenor-
bass voices. The creative use of independent vocal
ostinato patterns in the lower parts gives significant
vocal interest for each part. Performance options
are included to employ a soloist at the beginning,
and for singers to clap a light eighth note pattern in
certain sections to mimic the click-clacking sound of
the train. Exciting!
10906157 TB . . . . . . . . . . . . . . . . . . . . . . . . 2.25
10906158 P/A CD . . . . . . . . . . . . . . . . . . . 27.95
4
Oh, Susanna!—Stephen C. Foster/
arr. Glenda E. Franklin.
This tenor-bass
arrangement of the Stephen Foster classic opens
with an optional a cappella section, then kicks into
rollicking fun, complete with plink-a plink-a plinks to
represent the banjo. Great choral writing will keep
your choir engaged and having fun!
10845526 TTB . . . . . . . . . . . . . . . . . . . . . . . 2.10
4t
Omnia Vincit Amor—Michael John Trotta.
This energetic original work for tenor-bass choirs
is a testament that "Love conquers all, therefore let
us surrender to love!" In Latin, with pronunciation
guide and translation included, this festival work may
be performed a cappella or with the optional piano
accompaniment, presenting flexibility and educational
opportunity for teaching blend and musicality.
10871930 TB with opt. Piano Accomp . . . . 2.10
4
Plorate Filii Israel—Giacomo Carissimi/
arr. Brandon Williams.
Here is the beautiful
final movement from Giacomo Carissimi's oratorio
Jephte. Originally for SATB choir, soloist, narrator
and instruments, here is a new arrangement for
tenor/bass voices that allows them to explore this
important musical style. Along with the Baroque
style and the Latin text, this piece also lends itself to
teach legato line, imitation and the emotional context
of loss and lamentation.
10831538 TTBB . . . . . . . . . . . . . . . . . . . . . . 2.10
4
Poor Wayfaring Stranger—arr. Christi Jones.
This artful arrangement of the traditional spiritual is
perfect for developing treble or tenor-bass choirs.
The tenor-bass voicing is designed to be used with
piano accompaniment, while the treble voicing
offers the option for a cappella singing or the use
of the piano accompaniment. This arrangement
features elegant voice leading and harmonic texture
throughout. Simply beautiful!
10846400 TTB . . . . . . . . . . . . . . . . . . . . . . . 1.95
4
The Seal Lullaby—Eric Whitacre. "Ah, weary
wee flipperling, curl at thy ease! The storm shall not
wake thee, nor shark overtake thee, asleep in the
arms of the slow-swinging seas..." This charming
poem by Rudyard Kipling is the inspiration for Eric
Whitacre's magnificent choral setting. A beautiful,
accessible work for mixed, treble or tenor-bass
choirs! Newly available for SAB, SA and TB choirs in
adaptations by Emily Crocker.
10910123 TB . . . . . . . . . . . . . . . . . . . . . . . . 2.75
4
Sisi Ni Moja—Jacob Narverud. Ever clever,
composer Narverud came up with a highly rhythmic
celebratory composition. The title translates "We are
one", the theme being that all human beings have
much in common. The energetic djembe sets the
tone, the piano adds its own rhythmic design, and
the singers dramatically deliver the message.
10860605 TBB . . . . . . . . . . . . . . . . . . . . . . . 2.25
4t
Sivela KwaZulu (We Are from the Zulu
Kingdom)—arr. Bernard Kruger.
With insightful
program notes, an easy-to-read pronunciation
guide, notes on using the percussion, and an
elegant score, here is a wonderful introduction for
your tenor-bass choir to sing a high-energy folk
song from Africa. Though it is listed as four-part,
the piece begins in unison and adds one harmony
line on each repetition, eventually culminating in
four parts. A quick learn that sounds impressive for
young tenor-bass choirs.
10833225 TTBB . . . . . . . . . . . . . . . . . . . . . . 2.10
4
Steal Away—Stacey V. Gibbs. This arrangement
by one of America's leading arrangers of spirituals
captures the pain of this world while celebrating the
hope of the life yet to come. Though slow in tempo,
it has a strength, energy and drive about it. A short
tenor solo which encourages some ad lib and the
use of the full range of all of the voices makes this
arrangement truly stand out. Worthy of the best
tenor/bass choirs but accessible by all tenor/bass
choirs, this is a must-have.
10775511 TTBB . . . . . . . . . . . . . . . . . . . . . . 2.10
4
Superstition—Stevie Wonder/
arr. Paul Langford.
This Stevie Wonder tune
has been turned on its head with this fabulous
unaccompanied version that imitates the original
recording's instrumental and vocal style. This
contemporary a cappella arrangement cooks with a
great funk groove. Fun!
10864226 TTBB . . . . . . . . . . . . . . . . . . . . . . 2.15
4
That Lonesome Road—James Taylor &
Don Grolnick/arr. Kirby Shaw.
James Taylor's
beautiful ballad gains new life in this simply stated
a cappella setting. Sensible voice leading and
uncomplicated rhythms allow the text to speak in
this straightforward and accessible arrangement.
10875752 TTBB . . . . . . . . . . . . . . . . . . . . . . 2.10
4
Tu Es Petrus—Dan Davison. Beginning in the
style of Gregorian chant, this piece then opens up
with contrasting rhythms and interesting harmonies
that could almost be described as funky. With Latin
text and strong musical elements, this original piece
makes a fascinating choice for tenor-bass choirs
that they are sure to enjoy.
10871879 TTB . . . . . . . . . . . . . . . . . . . . . . . 2.25
4
Tuba—arr. Michael Barrett. This South African
song is believed to have originated during the
difficult Apartheid years and performed as a
peaceful protest song. The baritone soloist presents
the initial melody while the choir builds the harmonic
structure in rhythmic excitement. Improvised
percussion and vocal ululation are encouraged!
10882562 TTBB . . . . . . . . . . . . . . . . . . . . . . 2.60
4
Tuba Mirum—Mark Burrows. Rhythmic and
syncopated, with a powerful piano accompaniment,
this original portrayal of traditional Latin text from
the "Requiem Mass" is exciting and dramatic. Set in
a driving minor mode, with modern vocal elements
and rhythms, this dynamic concert work will be
a hit with your choir. A pronunciation guide and
translation are included for the Latin text.
10906217 TTB . . . . . . . . . . . . . . . . . . . . . . . 2.35
4
Unclouded Day—arr. Shawn Kirchner.
First written as the bright, opening movement of
Heavenly Home: Three American Songs, this enduring
gospel favorite is set with a straightforward first verse
and chorus. The next two verses combine traditional
bluegrass vocal style with counterpoint and fugue,
resulting in a crescendo of excitement in roof-raising
fashion as the choir sings "in the city that is made of
gold." Now available for tenor/bass voicing.
10910968 TTBB divisi . . . . . . . . . . . . . . . . . 2.25
4
Valentine—arr. Jacob Narverud.
From the pop group Train comes this retro-chic 50s
throwback that today's generation is sure to enjoy.
A cappella, with the option for piano accompaniment,
the arrangement's interesting yet accessible
choral writing provides plenty of good teaching
opportunities. Lots of fun!
10866542 TTBB . . . . . . . . . . . . . . . . . . . . . . 2.35
10879802 P/A CD . . . . . . . . . . . . . . . . . . . 26.99
4
Where Your Bare Foot Walks
—David N. Childs.
This romantic work is built
around fragments of Sufi poetry by Rumi, for a truly
emotional setting. It requires a larger choir with a
mature sound and careful attention to bringing out the
words of the poem.
10882571 TTBB . . . . . . . . . . . . . . . . . . . . . . 2.65
4
Will the Circle Be Unbroken—
arr. J. David Moore.
This wildly popular
arrangement is a favorite with choral festivals
all over the country. Beginning in the style of a
bluegrass trio, the piece opens into a four-part
gospel celebration of the power of song to create
community. Often performed with an opening solo
refrain. A favorite for women's choirs, now available
for mixed or tenor-bass voices.
10905701 TTBB . . . . . . . . . . . . . . . . . . . . . . 2.95
4
Ye Banks and Braes—arr. Russell Robinson.
This thoughtful setting of a traditional Scottish
melody features text by Robert Burns, a harp-like
piano accompaniment, and a lilting flute obbligato
(included), giving it a Celtic feel. Like so many
folk songs of this region, the melody is beautifully
singable and richly rewarding.
10872479 TB . . . . . . . . . . . . . . . . . . . . . . . . 2.50
4
You'll Be Back (from "Hamilton")—
Lin-Manuel Miranda/arr. Lisa DeSpain.
This song is a departure from the mostly rap style
of the score, taking its inspiration from breezy
Britpop tunes. An optional solo and solid choral
arranging preserve the playful, coy spirit of the
original, with its infectious "Da da da dat da"
chorus. Not to be missed!
10866787 TTB . . . . . . . . . . . . . . . . . . . . . . . 2.10
10866788 P/A CD . . . . . . . . . . . . . . . . . . . 29.99
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