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t Aird Ui Chuain—arr. Mark Armstrong. Also
known as The Quiet Land of Erin, this well-
known Irish song tells the story of an emigrant
who remembers with fondness their homeland,
yearning to return one day to be buried there.
Beautifully arranged for a cappella mixed divisi
choir, the traditional Irish song is presented with
both the original Irish (Gaeilge) words and a
singable English version.
11331891 SATB divisi . . . . . . . . . . . . . . . . . 2.75
Lt Bayasibiza—arr. Michael Barrett & Mbuso
Ndlovu. This tremendous work will make a
fantastic concert opener! The dramatic solo
opening is followed by an up-tempo traditional-
style choral arrangement of this South African
song with djembe and handclaps. Performance
notes suggest substituting the name of your own
choir in the choral text, which creates a fun way to
invite the audience to come listen to your group!
11338028 SATB
with Djembe and Handclaps. . . 3.00
11347935 TTBB
with Djembe and Handclaps. . . 3.00
Call Across—Kyle Pederson. This eight-minute
journey around the world will take you from the
kulokk calls of Norway to the bira ceremonies
of Zimbabwe. This powerful and inspirational
work with lyrics by Brian Newhouse in English
and Shona reaches across cultures, ages, and
geography. Premiered by Conspirare at the
2021 ACDA National Conference, this selection
includes solos and optional handpan with a
modern world beat and gives each section a
chance to shine. It was the winner of the 2021
ACDA Genesis Prize, which was created as a
response to the difficult times facing our world,
and the choral arts in particular, and rewards
pieces that speak to our time with voices of
comfort, hope, peace, and justice.
11347809 SATB . . . . . . . . . . . . . . . . . . . . . 3.25
D
Dodi Li—Steven Sher/arr. Brant Adams & Judith
Clurman. This tender song was made popular by
the folk group Peter, Paul and Mary. With Hebrew
lyrics from the Song of Solomon, it has been
performed in concerts and weddings throughout
the world. This choral setting is elegantly simple
with a gentle piano part and cello obbligato.
11348246 SATB . . . . . . . . . . . . . . . . . . . . . 2.25
t
Dulaman—arr. Desmond Earley. A traditional
working song from the north of Ireland, made
famous in the 1970s by the legendary Irish group
Clannad. The word "dulaman" means seaweed,
and the song references two different types - one
for dyeing and one that is edible; each represents
different characters in the song. Featuring a tenor
soloist, the arrangement also uses the bodhran,
an Irish single-headed frame drum. A lively choral
refrain repeats after each verse.
11332034 SATB divisi . . . . . . . . . . . . . . . . . 2.75
Eriskay Love Lilt—arr. Roderick Williams. This
gently flowing arrangement captures the beauty
of this famous traditional Hebridean love song.
The song text uses both old dialect and English,
each verse ending with the words, "Sad am I
without thee."
11364440 SATB divisi . . . . . . . . . . . . . . . . . 4.00
t Gloria—Ondi Yohan Tambunan. With the
traditional Latin lyrics "gloria in excelsis Deo," this
arrangement is anything but traditional. Including
some chant as well as stomping and clapping
throughout, this almost has the feel of a Haka,
and the setting embodies the joy of its lyrics.
11389037 SATB divisi . . . . . . . . . . . . . . . . . 2.25
11390316 TTBB . . . . . . . . . . . . . . . . . . . . . 2.25
HD Hlohonolofatsa—arr. Daniel Jackson. This trem-
Lt endously fun arrangement of a South African
greeting song exclaims, "Iyo hlonolofatsa, Ka
lebitso la ntate," which translates as, "Bless
everything in the name of the Father." Featuring
a soloist, improvised percussion and hand
claps, it is very authentic sounding! Phonetic
pronunciation guide is included.
10593326 SATB . . . . . . . . . . . . . . . . . . . . . 2.80
11372822 TTBB . . . . . . . . . . . . . . . . . . . . . 2.80
t Imaliyam—arr. Lhente-Mari Pitout. Tenor-
bass choirs will enjoy this dynamic a cappella
arrangement of the traditional South African
folksong. Your second basses and baritones
will love that they are featured on the melody in
this call-and-response song that really moves! A
helpful audio pronunciation guide is available.
11347714 TTBB . . . . . . . . . . . . . . . . . . . . . 2.95
t Ingoma—arr. Lhente-Mari Pitout. From the
artistic director of the University of Pretoria
Youth Choir, this traditional South African Xhosa
folk song arrangement is a shining example
of the important and dramatic music from
this wonderful musical heritage. A small solo
group is featured throughout, and the repeated
rhythms and phrases make it easy for your
whole choir to learn.
11347716 TTBB . . . . . . . . . . . . . . . . . . . . . 2.10
Kia Hora Te Marino—Christopher Tin. From
the Grammy-winning composer of Baba Yetu,
this setting of a traditional Maori blessing from
Calling All Dawns makes use of haka, a ritualistic
choreographed group dance, and whaikorero, a
form of speechmaking used to unite the collective
will of the people. This is an impressive cross-
cultural selection for your choir!
11348864 SATB divisi . . . . . . . . . . . . . . . . . 2.75
t 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 . . . . . . . . . . . . . . . . . . . . . 4.25
t Nu'oli—Robert Lowry/arr. Jace Kaholokula
Saplan. Originally known as Glad Tidings, this
hymn was translated by Makua Laiana, an
early missionary who arrived in 1831 and spent
the remainder of his life amongst the Hawaiian
people. According to Native scholars, this
passage was chosen to be sung at the first
public worship of a Congregationalist church in
Hawaii on April 23, 1820 and is a setting of the
Nativity text from Luke 2. This lovely a cappella
arrangement of the traditional hymn is a fitting
tribute to the original.
11379164 SATB divisi . . . . . . . . . . . . . . . . . 2.00
t
The Parting Glass—arr. Desmond Earley. This
strikingly beautiful arrangement of the traditional
17th-century Scottish folk song features a tenor
solo surrounded by a luminous and shimmering a
cappella choral texture. The familiar English text
ebbs and flows on the lyrical melody while the
divisi choral harmonies provide stability and color.
10563937 SSATBB . . . . . . . . . . . . . . . . . . . 2.50
D
Responsibility—Mark Sirett. Jewish leader
and scholar Hillel the Elder captures the
tension between the need for healthy self-care
and the importance of caring for others. This
contemporary arrangement combines the ancient
Hebrew text with modern English lyrics to create
an elegant and folklike setting.
11348352 SATB . . . . . . . . . . . . . . . . . . . . . 2.10
D
Siman Tov—arr. Bill Cutter/ed. Judith Clurman.
Translated literally as "good sign" (siman tov) and
"good luck" (mazel tov), this upbeat folk melody
comes from the Ashkenazi Jews of Eastern
Europe in the late 19th century. Often performed
at weddings and other significant life events,
this traditional klezmer song is celebratory and
hopeful. This stylistic arrangement is a perfect
choice for concerts and ceremonies of all kinds.
11348356 SATB . . . . . . . . . . . . . . . . . . . . . 2.25
t
TaReKiTa—Reena Esmail. In a vibrant cross-
cultural celebration, this original work is
composed in raga jog, an Indian classical melodic
framework that incorporates both major and
minor. Repeated riff-like vocalizations that mimic
Indian instruments are easy to learn, while the
vocal slides and captivating melodies combine
to a spectacular effect. Add the choreographed
hand motions for a truly exciting presentation!
11338537 SATB . . . . . . . . . . . . . . . . . . . . . 3.35
11372356 TTBB . . . . . . . . . . . . . . . . . . . . . 3.35
Lt Tipitin—Maria Grever/arr. Raul Dominguez
Written by the United Mexican States's first well-
known female composer, this vals Mexicano
(Mexican waltz) makes a charming a cappella
work for mixed or treble choirs. The textured
setting offers well-conceived choral parts
throughout, sometimes using lower voices to
provide a dance-like underscore for the lilting
melody. A full translation and pronunciation notes
assist in the understanding and mastery of an
entirely Spanish text. Features an agile soprano
on the optional solo descant near the end.
11317166 SATB . . . . . . . . . . . . . . . . . . . . . 2.05
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