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SACRED CONCERT
e Adoramus Te—Andy Beck. Just two short Latin
phrases frame this excellent concert or festival
selection for developing choirs. Independent
melodies for each part are presented and then
layered to create simple polyphonic harmonies,
while a brief B section includes some homophonic
choral harmonies. A perfect piece to teach part
independence, pure vowels and lyrical singing!
10996683 Two-Part or SSA . . . . . . . . ME 2.05
Exsultate Deo!—Greg Gilpin. An exciting choice
that works equally well as an opening or closing
number! Featuring a Latin text and driving rhythms,
this original concert work is crafted with excellent
voice leading and vocal interest in all three voices.
The contrasting middle section allows your choir
to explore lyrical phrases and expression before
returning to the opening feel for a dynamic
modulation and conclusion. An educationally
sound selection with high performance value.
11100039 SSA. . . . . . . . . . . . . . . . . . . . M 2.45
Exultate Justi—Dan Davison. Utilizing a
classical style of composition, this new piece just
might transport you back to the time of Mozart!
Full of educational opportunities, the musical
style and interpretation is authentic sounding,
and the Latin text, generous doubling, and well-
supported choral parts make this a terrific concert
or festival choice for young choirs.
10990229 SSA. . . . . . . . . . . . . . . . . . . ME 2.25
te Festival Gloria—Jonny Priano. Strong rhythms
set in shifting asymmetric meters create a
dynamic fanfare effect to open this thrilling a
cappella setting of the traditional Mass text.
A contrasting middle section features cluster
chords and contemporary harmonic colors
before reprising the opening section to create a
dynamic ending. A fantastic showpiece for more
advanced choirs!
10983402 SATB divisi . . . . . . . . . . . . . . M 2.20
De Gloria (from "Heiligmesse")—Franz Joseph
Haydn/arr. John Leavitt. This chorus from Haydn's
"Heiligmesse" is an ideal introduction to Classical
style for treble choirs. Explore musical phrasing,
quality tone production, and pure vowels with this
simple Latin text and classic phrase structure.
Add the chamber orchestra for a truly exceptional
experience.
11001414 SSA. . . . . . . . . . . . . . . . . . . ME 2.10
Gloria—Michael John Trotta. For mixed or
treble choirs, this energetic choral work offers
an introduction to the traditional Latin text with
compound meter and accessible choral parts.
Whether chosen for its educational features, its
lyric melody or its energetic accompaniment, it is a
wonderful way to open any concert. It can be used
in combination with Trotta's other Latin works Kyrie;
Agnus Dei and Sanctus to create a Missa Brevis.
10990313 Three-Part Mixed or SATB. . . E 2.25
e Gloria Patri et Filio (from "Laetatus Sum")—
Antonio Vivaldi/arr. Patrick M. Liebergen.
Introduce your choir to Vivaldi's masterwork
with this sensibly adapted edition for developing
choirs. Conservative ranges and the accessible
Latin text give an educationally sound experience
with high performance value. Create authentic
Baroque style with terraced dynamics and the
alternation between a small group and the full
ensemble, along with optional cello continuo.
10997434 SSA. . . . . . . . . . . . . . . . . . . ME 2.05
De Laudamus Te—Emily Crocker. This spirited and
upbeat piece for developing choirs is fantastic for
teaching syncopation and mixed meter. Excellent
voice-leading creates compelling harmonic
progressions, and a lyrical section provides
contrast. Using a traditional Latin text, this piece
will make a wonderful opening selection for a
festival. Dynamic!
11001651 Two-Part or SA. . . . . . . . . . . M 2.15
H Laudate Dominum (Psalm 117)—Dan Davison.
This original setting, with optional string quartet, in
neo-classical style is an excellent teaching piece
and a very effective performance selection as
well, for any time of year.
10994244 SA . . . . . . . . . . . . . . . . . . . . ME 2.95
Laudate Pueri—Felix Mendelssohn/arr. Cam-
eron LaBarr. A new edition of Mendelssohn's
Laudate Pueri that includes both the chorus-
Laudate Pueri and the trio Beati omnes. This
edition offers a clean score for choir and keyboard
with a few small editorial markings and a phrase-
by-phrase translation.
10994219 SSA. . . . . . . . . . . . . . . . . . . . M 3.50
t Lux Aeterna—Tim Winebrenner. This pensive
setting of the Latin text, meaning "Light eternal,
shine on them," affords tenor-bass choirs musical
development of dynamic colors, range, and
musicianship. With conservative ranges and
options to sing a cappella or with the notated
piano accompaniment, this is a fantastic choice
to explore modern harmonies and musicality in an
accessible setting.
10990305 TTB opt. piano
accompaniment . . . . . . . . . ME 1.95
t O Clap Your Hands—Victor C. Johnson. "O
clap your hands, all ye people. Lift up your voice,
sing alleluia!" The opening fanfare-like section is
complemented by a contrasting legato middle
section before returning to the joyous opening
statement. The coda features an exhilarating
conclusion, complete with hand claps and
repeated declarations of the primary text. A
superb a cappella selection!
10996337 SATB. . . . . . . . . . . . . . . . . . ME 2.10
e Parable (with Amazing Grace)—Andy Beck.
An original song, written in the style of a gospel
spiritual, that incorporates universal themes of
hope, change, humankind, and peace. A catchy
melody and singable harmonies deliver an
important message about the past, present, and
future of social justice. The melody of Amazing
Grace is artfully woven in, and the use of alternating
pronouns and symbolic vocabulary allow for
interpretation and invite further discussion.
10993709 SATB. . . . . . . . . . . . . . . . . . ME 2.05
e Sanctus (from "Mass No. 4, D. 452")—Franz
Schubert/arr. Patrick M. Liebergen. A warm
adagio Sanctus section breaks into a joyous
"Hosanna" chorus in this Schubert masterwork.
This edition offers sensible vocal ranges, editorial
dynamic and metronome markings, plus a
complete IPA guide for the brief Latin text. The
orchestral parts have been reduced to a playable
piano accompaniment while preserving the
classical characteristics of the original work.
10985260 SATB. . . . . . . . . . . . . . . . . . ME 2.05
l Sanctus—Michael John Trotta. The final
installment of the Missa Brevis, this peaceful
work features opportunities for unison sing-
ing and the development of independent part
singing. With conservative ranges and oppor-
tunities to focus on pure vowels and text
accentuation, this is an elegant addition to any
concert or service. Combine with Trotta's other
Latin works Kyrie, Gloria and Agnus Dei to
create the full Missa Brevis.
10990284 SA . . . . . . . . . . . . . . . . . . . . ME 2.25
De Sing Out Your Joy—Victor C. Johnson. A driving
piano accompaniment sets up the joyous English
text of celebration that begins with a stately
expression of "Cantate Domino!" Mixed meter
helps create energy, which is contrasted with
a lyrical section in minor. This piece will make a
wonderful opening work for your concert.
10995760 Two-Part or SA. . . . . . . . . . ME 2.10
t Still with Thee—Elaine Hagenberg. Harriet
Beecher Stowe poetry comes to life in this
beautiful new setting of the classic Mendelssohn
hymn. Richly scored for SATB a cappella choir, it
exudes confidence, comfort, and assurance as it
builds to the final statement, "I am with Thee."
11101046 SATB divisi . . . . . . . . . . . . . . M 2.15
l Tu Es Petrus—Dan Davison. Beginning in the
style of Gregorian chant, this piece then opens
up with contrasting rhythms and interesting
harmonies that bring a modern style. With Latin
text and strong musical elements, this original
piece makes a fascinating choice for choirs that
they are sure to enjoy.
10990317 SATB. . . . . . . . . . . . . . . . . . . M 2.25
te Ubi Caritas et Amor—Kim Andre Arnesen.
This text is all about loving one another, a much
needed sentiment in these turbulent times in
which we live. The music is flowing with soaring
voice leadings, modern harmonies, cascades,
and chord clusters - but never is it hurried.
10992408 SSAA . . . . . . . . . . . . . . . . . . M 2.50
t Verbum Caro—Tomas Luis de Victoria/arr. Jeb
Mueller. Tenor-bass choirs will delight in singing
this arrangement of Victoria's beloved motet. This
motet is excerpted from his first Pange Lingua and
incorporates the original Roman melody, or cantus
firmus. Time signature, bar lines, dynamics, and
metronome markings have been added in order to
facilitate performances that musicologists believe
mimic those of Victoria's time.
10984563 TBB. . . . . . . . . . . . . . . . . . . . M 1.95
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