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CONCERT WORKS
Last Words—Kyle Pederson. Seven evocative
statements by Jesus are spread among the
three synoptic gospel crucifixion stories and are
collectively known as the seven last words of
Christ. In this work, the text is set using a blend
of English and Latin, designed to evoke a sense
of timelessness. The original a cappella setting
makes effective use of divisi and dissonance.
11398056 SATB divisi . . . . . . . . . . . . . . . 2.60
Let All the World in Every Corner Sing
(A Choral Fanfare)—Matthew A. Armstrong
& Shelly Armstrong. Victor Herbert's renowned
text receives a novel and effective musical setting
in this SATB a cappella choral fanfare. Stirring
and energetic, it conceives each phrase of the
text in its own right, employing contrasting choral
textures, rhythms springing from text declamation,
changing meter, and shifting harmonies.
11394791 SATB divisi . . . . . . . . . . . . . . . 2.25
Lightless Luster (Dunkler Lichtglanz)—
Robert Schumann/ed. William J. Bullock. Built
around the idea of disparity, this is a beautifully
haunting work from Robert Schumann, featuring
a prosodic, rhyming translation by William J.
Bullock. Utilizing full SATB forces, as well as piano
four-hands, Schumann's work, depicting love as
the liberator of these tormenting emotions, is
deliberate and methodical, but moves delicately
toward its gentle conclusion.
11400132 SATB. . . . . . . . . . . . . . . . . . . . 3.25
Little Jazz Madrigals—Bob Chilcott. This
dynamic collection presents four jazzy settings
of favorite madrigals by Thomas Morley, John
Bennet, and Orlando Gibbons. The first, Sing
We and Chant It, is a relaxed jazz waltz with a
compelling melody. Singers will revel in the rich
harmonies of the expressive Weep, O Mine
Eyes, and Learned Poets has a bossa nova feel
with a strong rhythmic groove and characterful
syncopations. The rolling tempo of the fourth
movement captures the intensity of the Fire, Fire!
text, also expressed by a walking bassline that
continually drives towards the work's emphatic
conclusion. The stylistic piano part may be played
as written or serve as a guide, and a bass and
drum set part is available separately for trio
accompaniment.
11415042 SATB Choral Score . . . . . . . 15.99
11411979 Sing We And Chant It - SATB 3.65
Lo Lefached (Do Not Be Afraid)—Joan
Szymko. "The whole world is a very narrow bridge
and the main thing is not to be afraid at all." Set
in the original Hebrew, with dramatic rhythmic
intensity, this setting of an 18th-century text by
Rebbe Nachman of Breslov conveys the tension
and resolve of his teaching.
11397597 SATB. . . . . . . . . . . . . . . . . . . . 2.50
11397598 SSAA . . . . . . . . . . . . . . . . . . . 2.50
Locus Iste—Kevin A. Memley. Better a cappella
choirs will enjoy this contemporary motet on the
classic Latin text. Rich harmonic colors and
expressive dynamics pay fitting tribute to the
sacred mystery of this place made by God.
11396129 TTBBB . . . . . . . . . . . . . . . . . . 2.75
Lux Aeterna—Jonathan Adams. A gorgeous
setting of the popular text from the Requiem Mass.
The homophonic writing and the voice-leading
make it accessible to advanced and professional
ensembles.
11416016 SATB. . . . . . . . . . . . . . . . . . . . 2.25
Lux: I. Illuminare (from Lux: The Dawn
from on High)—Dan Forrest. A major work for
SSAA choirs! All five movements of Dan Forrest's
Lux: The Dawn from on High are now available
as individual octavos for treble choir. They can
be performed with piano and optional organ,
percussion, chamber ensemble, small orchestra,
or full orchestra. Individual movements as well as
the entire work are profoundly meaningful for any
concert on themes of light in darkness, hope, or
Advent/Christmas.
11416640 SSAA . . . . . . . . . . . . . . . . . . . 2.95
LUX: II. Lux in Tenebris (SSAA)—Dan
Forrest. A major work for SSAA choirs! All five
movements of Dan Forrest's LUX: The Dawn From
On High are now available (as individual octavos)
for treble choirs, and can be performed with
piano (and optional organ, percussion, chamber
ensemble, small orchestra, or full orchestra).
Individual movements or the entire work are
profoundly meaningful for any concert on themes
of Light in Darkness, Hope, or Advent/Christmas.
11416641 SSAA . . . . . . . . . . . . . . . . . . . 2.50
LUX: V. Creator of the Stars of Night
(SSAA)—Dan Forrest. A major work for SSAA
choirs! All five movements of Dan Forrest's LUX:
The Dawn From On High are now available (as
individual octavos) for treble choirs, and can
be performed with piano (and optional organ,
percussion, chamber ensemble, small orchestra,
or full orchestra). Individual movements or the
entire work are profoundly meaningful for any
concert on themes of Light in Darkness, Hope, or
Advent/Christmas.
11416642 SSAA . . . . . . . . . . . . . . . . . . . 2.50
Make a Joyful Noise—Mark Fax. A newly dis-
covered composition by a noted African American
composer, this piece was sung regularly at
Howard University under the composer's direction.
11416047 SATB divisi . . . . . . . . . . . . . . . 2.65
Micah Blues—Kyle Pederson. This gospel blues
call for humility and compassion opens with sax,
piano, and vocal solo. As the soulful sax interludes
spin a unifying thread, the choir weaves in and out
with calls for social justice, often serving as backup
for the vocal solo. "Do justice. Love kindness.
Walk humbly with our God." Building to a repeated
section with layering of choir, soloist, and sax, it
closes with a quiet affirmation: "I'll walk with thee."
11394797 SATB. . . . . . . . . . . . . . . . . . . . 3.20
Moder Jord—Sofia Soderberg. "Mother
Earth". A beautiful take on The Lord's prayer.
The poem reminds us that our actions here
on our planet Earth have had and will forever
have environmental effects. And that we have a
common mission to put right what our species in
the past times has done wrong. Lyrics in Swedish.
11400011 SATB/SATB . . . . . . . . . . . . . . 3.20
A Moment's Measure—Allan Robert Petker.
The poem in this motet proclaims the value of
living in the moment in colorful ways. Each verse
is followed by a Latin phrase that coalesces the
thoughts in flowing counterpoint. The middle
section plays with the words from which the piece
gets its title. This is a lovely and thoughtful piece
for advanced ensembles.
11395878 SATB. . . . . . . . . . . . . . . . . . . . 2.95
Morgen! (Morning)—Richard Strauss.
This piece for 16-voice choir is an outstanding
arrangement for more advanced ensembles.
11425017 SATB SSSSAAAATTTTBBBB 6.95
Music, When Soft Voices Die—Taylor Scott
Davis. An exquisite setting of Percy Shelley's
famous poem written for the vocal group Apollo5.
The accessible dissonances enhance the beauty
for both the choir and the listener.
11416017 SATTB . . . . . . . . . . . . . . . . . . 2.25
Myr, Zaraz (Peace, Now)—Joan Szymko.
This contemporaneous response to the war
in Ukraine is both stirring and soothing in its
simplicity. Its call for peace is dedicated to
the people of Ukraine and to all who suffer the
violence of war. All proceeds from the sale of this
piece will be donated directly to the Ukrainian
relief effort.
11397607 SATB. . . . . . . . . . . . . . . . . . . . 2.00
11397608 SSAA . . . . . . . . . . . . . . . . . . . 2.00
Nachtgang, Op. 29 No. 3 (Night Walk)—
Richard Strauss/arr. Lukas Haselbock. Voiced for
16-part choir, this arrangement for more advanced
ensembles is filled with lovely harmonies.
11424935 SATB SSSSAAAATTTTBBBB 6.50
Nelly Bly—Stephen Foster/arr. Jack
Halloran. This piece was originally a part of the
Chanticleer Silver Jubilee Anthology. Scored for
unaccompanied mixed divisi voices, this advanced
arrangement will be perfect for an American Music
Month concert.
11396326 SATB divisi . . . . . . . . . . . . . . . 2.75
No Man Has Seen His Face—Margaret
Bonds/ed. John Michael Cooper. Along with
Touch the Hem of His Garment, this set of two
pieces was composed in 1968 as both sacred
choral and solo art songs, setting texts written
by her friend and frequent collaborator Janice
Lovoos. This work is typical of Bonds' lifelong
involvement with church choirs, offering high-
quality music that is also accessible and useful.
Bonds' music is largely diatonic, with plentiful
major-seventh chords that reflect the influence of
popular song of the 1960s.
11404097 SATB. . . . . . . . . . . . . . . . . . . . 2.95
11404099 Touch The Hem Of His Garment -
SATB. . . . . . . . . . . . . . . . . . . . 2.95
O Albion—Thomas Ades/arr. Jim Clements.
Arranged for the vocal group VOCES8,
this stunning setting is adapted from the
sixth movement of Ades' first string quartet,
"Arcadiana." The lyrics are derived from a single
line of William Blake's Visions of the Daughters
of Albion: "The Daughters of Albion hear her
woes, and echo back her sighs." In just 17 bars,
this captivating music conjures a whole emotional
world with sighing harmonies that echo the lament
of the text.
11416690 SSAATTBB. . . . . . . . . . . . . . . 2.99
The Open Hand—Michael Abels. "If you hold
your hand closed, nothing good can come in. The
open hand is blessed, for it gives in abundance,
even as it receives." Full of a lovely divisi texture
throughout, this is for more advanced ensembles.
11397633 SATB divisi . . . . . . . . . . . . . . . 2.50
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