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Psalm 148 (from "Hallelu Yah: Three
Psalms of Praise")—Dan Forrest. Trium-
phant strains of "Hallelu-Yah" wind and dance
through various meters as they build in rhythmic
excitement and texture. A contrasting middle
section offers quiet lyrical reflection before
resuming the exuberance of the opening motive as
the piece moves to a joyful conclusion. Standing
alone, or as the opening movement of the work
"Hallelu Yah: Three Psalms of Praise." this is a
work worthy of inclusion in concerts and services.
11416629 SATB divisi . . . . . . . . . . . . . . . 2.75
11416630 Psalm 147 - SATB . . . . . . . . . 2.50
11416631 Psalm 150 - SATB divisi. . . . . 2.75
Remember—Matthew A. Armstrong & Shelly
Armstrong. This is a richly harmonic setting of a
Christina Rossetti poem about holding on to the
memories of one who has departed.
11416019 SATB. . . . . . . . . . . . . . . . . . . . 2.25
The Saddest Noise (from "The Lost
Birds")—Christopher Tin. From the Grammy-
nominated work The Lost Birds, this selection is
a setting of Emily Dickinson's poem "The Saddest
Noise, the Sweetest Noise". It begins the story of
The Lost Birds in spring: the season of birth and
renewal, and a time of year when bird songs flood
the skies. But what is ordinarily a joyous sound
is now riddled with sorrow, as the songs of the
remaining birds remind us of the ones we've
already lost.
11417560 SATB divisi . . . . . . . . . . . . . . . 2.60
Sanctus (from "Requiem Novum")—
Marten Jansson. Extracted from his larger work
"Requiem Novum," this Sanctus movement
stands on its own as a concert work with organ
accompaniment. Written for and beautifully
recorded by the VOCES8 Foundation Choir,
Jansson's setting of the traditional Latin text
begins peacefully but crescendos to heavenly
heights when the weaving choral lines unite in
"Hosanna in excelsis!"
11415508 SATB. . . . . . . . . . . . . . . . . . . . 2.80
Sea Fever (from "Five Sea Songs")—
Daniel Brinsmead. The first of a set of five sea
songs, this exciting original work speaks of a sailor
being drawn to the sea like a calling. The colorful
imagery of John Masefield's poem comes to life
with the help of a dramatic piano accompaniment
that brings the flavor of the sea. Cued note options
offer flexibility, making this work appropriate for a
variety of ages and levels.
11415509 SSA. . . . . . . . . . . . . . . . . . . . . 3.10
Set Me as a Seal—Margaret Burk. Written as a
tribute for a loved one's wedding, this passionate
text from the Song of Solomon is captured
beautifully in the music.
11408368 SATB divisi . . . . . . . . . . . . . . . 2.30
Sing a New Song—Sarah K. May. This upbeat
choral setting of Psalm 96 is written in a modern
style that is rhythmic and full of harmonic texture.
With interesting harmonies and some lovely
cluster chords, this piece is for more advanced
ensembles.
11405552 SSAA . . . . . . . . . . . . . . . . . . . 2.00
Sing We and Chant It—Bob Chilcott. This
piece sets the text of a well-known 16th-century
madrigal of the same name by Thomas Morley in
a jazz waltz style. This is a selection from the four-
movement work Little Jazz Madrigals (11415042).
The optional bass and drum set parts are printed
in this vocal score.
11411979 SATB. . . . . . . . . . . . . . . . . . . . 3.65
11415042 Little Jazz Madrigals
SATB Choral Score . . . . . . . 15.99
Solace—Sean Ivory. "'Tis a human thing, love,
a holy thing, to love what death has touched."
Medieval poet and philosopher Yehuda Halevi's
profound text explores the risky nature of love.
Ivory's musical setting is mysterious and steady,
capturing the "painful joy" of the poem with
emotive and expressive writing.
11415510 SSAA . . . . . . . . . . . . . . . . . . . 2.80
Sometimes I Feel Like a Motherless
Child—arr. David Lantz III. A much-beloved
spiritual is arranged here for choir and piano
using jazz harmonies. The vocal parts are very
accessible, with an opportunity for a soprano
soloist. Your accompanist will enjoy playing the
piano part, taken from the Beloved Spirituals
piano collection (#11380803). For general use
throughout the year.
11414640 SATB. . . . . . . . . . . . . . . . . . . . 2.00
The Soul of a Tree—Amy F. Bernon. A
shimmering, luminescent musical setting of an
original text, this concert work is replete with
lyricism and musical sensitivity. The text speaks
of ancient trees that represent longevity, wisdom,
and steadfastness in our ever-changing world.
The flowing piano accompaniment beautifully
frames the choral lines that move in gorgeous
melodic lines and harmonies.
11412695 SATB. . . . . . . . . . . . . . . . . . . . 2.40
Stars—Kyle Pederson. Lush harmonic textures
are the framework for this beautiful, ethereal
piece for mixed choirs. Cluster chords and
effectively used dissonances help to evoke the
vastness and mystery of space while capturing
the human desire for the the intimacy of
connection. Simply gorgeous!
11410879 SSAA divisi . . . . . . . . . . . . . . . 2.50
Sunflower—Jacob Narverud. William Blake's
thought-provoking text is laced with hope in this
thoughtfully crafted work for mixed chorus with
solo cello accompaniment. The cello represents
the sunflower and symbolizes humans bound
to earth but pining for immortality. This stunning
setting brims with text painting, delicious
dissonance, and yearning suspended harmonies.
The cello part is included in the octavo.
11415386 SATB divisi, with cello
accompaniment . . . . . . . . . . . 2.25
A Thank You Note to the Universe—
Jocelyn Hagen. A powerful and colorful affirmation
of life's beauty, this is like a miniaturized, one-
movement symphony for chorus, piano, and
flute. The combined musical forces are whisked
together as a single expression, greater than
the sum of their parts. The piano arpeggiates
with washes of color and harmonic support while
the flute dances above, virtuosic and serene.
The choral timbres are blended brilliantly to
communicate a unified message: "Thank you."
11415362 SATB divisi . . . . . . . . . . . . . . . 3.75
There Is Sweet Music Here—Matthew A.
Armstrong & Shelly Armstrong. The first in a set of
three Tennyson poems, this is set in a beautifully
lyrical and reflective way. It may be performed as
part of a trilogy of Tennyson poems.
11415993 SATB. . . . . . . . . . . . . . . . . . . . 2.25
11394737 Crossing The Bar - TBB. . . . . 2.65
11394730 A Farewell - SATB . . . . . . . . . 2.65
Three Shakespeare Songs—John Rutter.
The shades of Finzi and Vaughan Williams
are strongly present in these three delightful
unaccompanied choral settings, and yet the
style and execution are wholly Rutter's own.
O Mistress Mine is a jaunty jazz waltz, Be
Not Afeard casts a dreamy spell with dusky
sonorities and magical harmonies, and Sigh
No More, Ladies brings the set to a cheerfully
melodious and high-spirited conclusion.
11402410E SATBB Sigh No More, Ladies
ePrint. . . . . . . . . . . . . . . . . . . . 2.85
11402412E SATBB O Mistress Mine ePrint 2.85
11402409E SATBB Be Not Afeard ePrint . 2.85
To Sit and Dream—Rosephanye Powell.
"To sit and dream...all you who are dreamers,
too. Help me make our world anew. I reach out
my hands to you." These transformative words
penned by Langston Hughes beckon us to reach
toward the dreams of a better world where peace,
equality, and justice reign. Set with a lush jazz-
influenced harmonic palette, the ethereal and
dreamy quality makes this an interesting and
musically sensitive concert work for mixed or
treble choirs.
11407373 SSAA divisi . . . . . . . . . . . . . . . 2.60
Touch the Hem of His Garment—Margaret
Bonds/ed. John Michael Cooper. Along with No
Man Has Seen His Face, 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 for soprano solo and choir is typical of
Bonds' lifelong involvement with church choirs,
offering high-quality music that is also accessible
and useful. The text speaks of a profoundly simple
faith, and the musical setting creates an effective
emotional response with meaningful high points.
11404099 SATB. . . . . . . . . . . . . . . . . . . . 2.95
11404097 No Man Has Seen His Face -
SATB. . . . . . . . . . . . . . . . . . . . 2.95
The Turn Off Your Phone Song—Adam
Podd & Matt Podd (and Pachelbel). Skip the droll
opening announcement about cell phones and
sing this instead! Based on Pachelbel's Canon
- which, face it, everyone loves - this piece will
make a lovely concert opener that also serves
a valuable (and comedic) purpose. The original
lyrics can be adapted, as well as the timing and
audience involvement. It's easily learned and just
downright hilarious. Don't miss it!
11416258 SATB opt. a Cappella. . . . . . . 2.50
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