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SACRED & SECULAR
t I Am Glad—Daniel Schreiner. This dramatic
piece filled with rhythmic ostinatos and mixed
meters is energetic, powerful, and creative; it truly
brings the text to life. Excellent opener, closer, or
even as the centerpiece of any choral concert.
11190454 SATB. . . . . . . . . . . . . . . . . . . M 2.20
I Am in Need of Music—Jesse Beulke.
Selected as a finalist in the 2017 Ithaca College
Choral Composition Contest, this piece is, at its
core, a lush and inspirational anthem to music.
11195042 SATB. . . . . . . . . . . . . . . . . . . M 2.75
I Carry Your Song in My Heart—Evan Ramos.
A beautiful, emotionally evocative tribute to
the power of music and teaching, this piece for
advanced treble ensemble with cello obbligato
features lovely harmonic motion with a modern
sensibility. Unexpected shifts between major
and minor, unresolved cadences, and a section
with layered, overlapping voices lead to a simple
unison ending. Very moving!
11195043 SSAA . . . . . . . . . . . . . . . . . . M 2.50
t I Celebrate Myself—Michael John Trotta. This
unaccompanied piece contrasts a simple unison
motif with quick ostinato in the lower voices.
The homophonic refrain clearly declaims, "All
forces have been steadily employed to complete
and delight me." After building to a high point
with a soaring descant for soprano, the work
recedes in intensity with a harmonic restatement
of the opening motif. May be performed as part
of a collection of four Whitman settings by the
composer.
11197377 SSATB . . . . . . . . . . . . . . . . . M 2.80
t I Found Night—Connor Koppin. A pictorial
setting of a haunting poem by Greg DiMarco.
Darkness and despair can follow us each day,
and it is important for us to "dream the sun, the
stars, warmth, and joy." A flowing, expressive,
and moving work.
11200446 SATB divisi . . . . . . . . . . . . . . M 2.75
t I Give You Peace—Dominick DiOrio. With a
text adapted from the Bible, the composer has
crafted a universal statement of peace. The lovely
harmonic moments in the choral writing establish
a beautiful foundation for the soaring oboe
obbligato. The piece ends with a hushed, reverent
pianissimo.
11204449 SATB divisi . . . . . . . . . . . . . . M 2.50
If I Can Help Somebody—Alma Bazel Androzzo/
arr. Andre Thomas. This gospel-infused, blues-
influenced arrangement of the famous work by
Alma Bazel Androzzo was written in honor of Dr.
Anton Armstrong. A solo voice drives the work
throughout, with the choir playing a significant
role as well. The words speak of reaching out -
helping each other, caring for each other, loving
each other.
11317120 SATB. . . . . . . . . . . . . . . . . . . M 2.50
t In Silence (from "O Great Beyond")—Thomas
LaVoy. Opening quietly, almost as a soundscape,
this four-part mixed divisi a cappella piece with
high voice solo is part of a larger work, O Great
Beyond, which was commissioned by the BBC
Singers. Set to a farewell poem by the mystic
Rabindranath Tagore, it builds to a very full choral
texture with some clusters and dissonance before
closing as quietly as it began.
11199936 SATB divisi . . . . . . . . . . . . . . M 2.35
t Jubilate Deo—Manolo Da Rold. Set for either
a cappella mixed or treble voices, this work is
exhilarating and powerful with a rhythmic drive
that is most captivating for both singers and
audience.
11202015 SSAA . . . . . . . . . . . . . . . . . . M 2.00
t Jubilate Deo—Juan Ignacio Norona. With
syncopation, rhythmic ostinatos and dynamic
harmonic moments, this work creates a modern
and exciting setting of this well-known and
beloved text.
11196480 SATB divisi . . . . . . . . . . . . . . M 2.20
t La Mort des Amants—Andrew Jacobson.
This beautiful and lamenting poem by French
poet Charles Beaudelaire is captured in all of
its sadness and intimacy allows treble choirs
to flourish as they make this text their own. A
detailed IPA and translation is provided.
11197240 SSAA . . . . . . . . . . . . . . . . . MA 2.25
t The Last Letter—Thomas LaVoy. Based upon a
letter from a soldier to his wife prior to his death in
battle, this very moving and emotional work was
written to commemorate World War I. Scored
for four-part mixed divisi a cappella voices and
low voice solo, it features a fiddle obbligato that
represents the wife hearing this letter.
11199937 SATB divisi, with Fiddle
obbligato. . . . . . . . . . . . . . . . M 2.35
te Lead with Love—Melanie DeMore. Lead With
Love was written in answer to a call for connection
in troubled times. It is about persistence,
community, and moving ahead. "One foot in front
of the other" is a metaphor for determination
and forward motion. The composer speaks of
"love warriors" like Martin Luther King Jr., Nelson
Mandela, Mother Teresa, and Ghandhi—all who
started their movements out of the love of their
people not out of the hatred of someone else.
11317834 SATB. . . . . . . . . . . . . . . . . . ME 2.25
Leaves of Gold—Michael John Trotta. This
rousing setting of G.K. Chesterton's text for
tenor-bass choirs opens with a haunting unison
melody and the text, "I come to autumn, where all
the leaves are gold!" The French horn part makes
this work flexible for a variety of ensembles.
11198027 TB Divisi with opt. Horn in F ME 2.85
Lie Light, Dear Heart—Kenneth Lampl & Kirsten
Lampl. "Warm summer sun, shine kindly here..."
These stunning words by Mark Twain have been
set here in a highly melodic and memorable work.
This setting offers both homophonic choral writing
and counterpoint, providing many excellent
teaching opportunities. This will be a lovely work
for any program, but will be particularly good for
memorials and remembrances.
11200588 SSAA . . . . . . . . . . . . . . . . . ME 2.65
t Listen Here—Sally Lamb McCune. Based on a
text by Langston Hughes, this piece speaks of the
terrible cost of war. A cappella with optional vocal
percussion, this concert work is reminiscent of a
spiritual while using mixed meter and syncopation
to create pop-influenced rhythms. The music is
urgent, driven, and calls on the singers to produce
a wide range of dynamics and emotions.
11201971 SATB divisi . . . . . . . . . . . . . . M 2.50
t Lord, Listen to Your Children—Ken Medema/
arr. Kenneth Dake. Ken Medema's well-known
song is given a tour de force a cappella treatment
by Kenneth Dake. Requiring eight-part divisi, the
choir sings abundant gospel harmonies and doo-
wop syllables accompany the high-voice soloist in
the middle of the piece. It is exciting and dynamic,
not to be missed!
11199606 SATB. . . . . . . . . . . . . . . . . . MA 2.70
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
t Love Psalm—Darmon Meader. As a concert
closer, signature piece, encore or graduation
song, this a cappella original is a little gem! "Days
come, days go. We try to take the time to let love
grow. Don't ignore the sands of time. Just let a
little love in, yours and mine..." The gorgeous
jazz-tinged harmonies impart a special warmth to
this tender message of love.
11198314 SSAA . . . . . . . . . . . . . . . . . . M 1.50
t Lullaby—Matthew Emery. This musical setting
of the Thomas Dekker poem employs warm,
lush harmonic language along with a lovely
lyrical treatment of this familiar bedtime poem.
This wonderful addition to treble literature was
commissioned and premiered by the Northwest
ACDA Women's Honor Choir.
11203147 SSAA . . . . . . . . . . . . . . . . . . M 2.25
Lux Aeterna (from "The Unarmed Child")—
Michael Bussewitz-Quarm. Extracted from the
larger work, this stand-alone movement honors
those we have lost in mass shootings. Lux
Aeterna means "eternal light", but cast within the
larger scope of the Requiem, it shines a light on
the names of cities affected by mass shootings
in the aleatoric section. Finally, it resolves into an
expression of peace and light highlighted by a
soprano solo.
11205999 SATB. . . . . . . . . . . . . . . . . . . M 3.10
Magnificat—Taylor Davis. Premiered and
recorded by the acclaimed Voces8, this gorgeous
five-movement setting of the Magnificat is scored
for SATB divisi voices and soprano solo with
piano, chamber orchestra, or full orchestra. The
second movement is in English, opening and
closing with a soloist. The remaining movements
are choral only and are in Latin.
11199730 SATB Choral Score . . . . . . . . . 9.95
t Mama Said—Ruthie Foster/arr. Paul Rardin.
American blues icon Ruthie Foster released Mama
Said on her 2007 recording The Phenomenal
Ruthie Foster. The lyrics are a mother's advice to
her daughter, warning her to "learn how to pray"
and to fall on your knees before you fall in the
wrong direction. This arrangement is deliberately
choral, honoring Ms. Foster's exquisite vocal
shadings - a bend here, a fall-off there - by
avoiding exact imitation. The basses provide the
rhythm section of electric bass and closed hi-hat
cymbal, leaving the upper three parts in gospel
harmony in all but a few measures of the piece.
An arresting and totally unique setting.
11197390 SATB. . . . . . . . . . . . . . . . . . . M 3.05
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