New Large Print Edition A Cappella Available via ePrint All Prices in U.S. Dollars & Subject To Publisher Revision
COLLEGIATE
CHOIR
MULTICULTURAL
Alma Llanera (Soul of the Plains)—arr. George
G. Hernandez. Impressive and fun to sing, this
arrangement of the traditional Venezuelan folk
song is a universal anthem for singers around
the world. Thick divisi harmonies and rhythmic
nonsense syllables help create the authentic
texture of this style, and the setting allows your
more advanced choir to showcase precision and
technique.
11564491 SATB divisi, or SSAATTBB. . . . 3.25
Arirang (Mother of Mine)—Byunghee Oh.
Written in a transliteration that makes it accessible
to all choirs, this Korean homage to mothers is
captivating and poignant. With a flowing piano
accompaniment and gorgeous harmonies in a
Romantic style, this original work was written for
the composer's own mother and ends with the
most powerful and important phrase: "I love you."
11592519 SSA . . . . . . . . . . . . . . . . . . . . . . 2.90
Bahaari Baarish—Shruthi Rajasekar. Drawing
on the melodic and rhythmic grammar of both
traditions of Indian classical music, Hindustani and
Carnatic, the composer creates a unique choral
celebration of springtime. The meaning of the title
is twofold, translating as "spring rains" as well as
"downpour of Bahaar." Detailed video guides on
performance and background of the piece are
provided on the publisher's website.
11592385 SSATB . . . . . . . . . . . . . . . . . . . . 5.25
Champa Battambang—Sinn Sisamouth/arr.
Darita Seth. Written and performed by a popular
Cambodian artist, this song about leaving a loved
one behind and longing to return to your homeland
has a somber history. This a cappella arrangement
is cinematic and dreamy. It features a tenor
soloist throughout who sings a large portion of the
Cambodian text over lovely sustained background
vocals. There is a pronunciation guide and
translation included.
11564494 SATB . . . . . . . . . . . . . . . . . . . . . 3.25
Cuan Bueno—Daniel Gee. This setting of the
opening and closing verses of Psalm 133 paints
a scene of unity. The Spanish text and involved
piano accompaniment round out this study of
harmony and repose.
11567937 SATB . . . . . . . . . . . . . . . . . . . . . 3.40
Dara Dara Balgeun Dara—arr. Hyun Kook. This
work is based on a traditional children's song
from Korea combined with an original tune. The
composer preserves the simplicity of the song by
using only four notes woven canonically. Technical
but intuitive, this will be a dynamic challenge for
experienced ensembles.
11567939 SATB divisi, or SSAATTBB. . . . 3.60
Duduz' umoya wami—Mzwandile Mabuza.
Made popular by the Drakensberg Boys Choir
from South Africa, this original setting of an isiZulu
prayer builds from simple and understated to a full
and rapturous texture. While there is significant
divisi to an eight-part texture, the part writing is
approachable. The power of this piece will make
for a memorable spot in your concert.
11567940 SSAATTBB . . . . . . . . . . . . . . . . 3.70
Eloyi—arr. Mbuso Ndlovu & Sydney Masetlhe.
This traditional South African spiritual is taken from
the biblical text uttered on the cross, "My God,
my God, why have you forsaken me," but set in
isiXhosa, a language spoken by the Xhosa people
in South Africa. Two South African arrangers
collaborated for this prayerful setting for mixed
choir with soprano soloist. Improvised percussion
may be added if desired.
11592985 SATB . . . . . . . . . . . . . . . . . . . . . 3.15
Images of the Sea—Shih Ching-Ju. Feel
the rolling of the waves in the flowing piano
accompaniment that lies beneath the lyrical choral
lines in this original concert work from Taiwan. The
melodic writing is exceptional, and the harmonic
texture is lush and romantic. A pronunciation
guide and translation for the text are available as
downloads from the publisher's website.
11564497 SATB . . . . . . . . . . . . . . . . . . . . . 3.25
Inkosi Namandla—arr. Michael Barrett. Open-
ing as a slow and symbolic prayer asking God for
strength to stand against injustice and wrongdoing,
this isiZulu song is a reimagining of the popular
traditional Tshwane church song Ke na le modisa. It
moves to an up-tempo section midway, generating
excitement and motion as it moves toward its
dynamic conclusion. There are notated parts included
for djembe and shekere to enhance the texture.
11567954 SATB divisi. . . . . . . . . . . . . . . . . 3.60
Jumalo—arr. Laura Jekabsone. As recorded by
the Latvian Voices, this is a very fresh and modern
take on a traditional Latvian folk song. With themes
of power, strength, and luck, this tremendously fun
setting sounds impressive with its contemporary
a cappella flair but is quite singable. Choirs and
audiences will love it!
11567956 SSAATBB w/ Bass Drum
or Cajon . . . . . . . . . . . . . . . . . . . 3.70
The Kitten—Shih Ching-Ju. Hear the sounds of
a playful kitten chasing a mouse in this unique
and engaging original concert work from Taiwan.
Playful ostinatos in the lower voices support a
delicate melody in the upper voices creating
a crisply staccato effect that is delightful! A
pronunciation guide with IPA, transliteration,
translation, and storyline summary is available as
a free download from the publisher's website.
11564504 SATB . . . . . . . . . . . . . . . . . . . . . 3.25
La Li Ley—Tracy Wong. A nod to two Malay
folksongs, this a cappella treble piece uses vocable
text inspired by a portion of Canggung and a main
theme inspired by the opening motif of Mak Inang.
This work features exciting vocal play merged with
folkloric elements - quartal harmonies, dance-like
rhythms, and shifting tonalities - that are spun
through a contemporary lens. A lively and joyful
selection for concerts, contests, and festivals!
11564952 SSAA . . . . . . . . . . . . . . . . . . . . . 3.50
Lemoga Aming'a—arr. David Akombo. A
spiritual song from the Luo people of Kenya, this
arrangement is highly accessible and authentic.
With or without percussion, it has simple
harmonies, plenty of repetition, conservative
vocal ranges, and many teaching moments that
make it great for choirs of all ages. A phonetic
pronunciation guide and word-for-word translation
of the Luo language is provided in the octavo.
11564424 SSAA . . . . . . . . . . . . . . . . . . . . . 2.60
11564425 TTBB . . . . . . . . . . . . . . . . . . . . . 2.60
Mari Rayakan (Let's Celebrate)—Ken Steven.
With a Bahasa Indonesian text that invites us to
embrace the new day with jubilation, this exuberant
selection is rhythmic, upbeat, and uplifting. A
chant-like call opens to a rhythmic ostinato
and memorable melody, making this a fun and
engaging choice for more advanced treble choirs.
11592995 SSAA . . . . . . . . . . . . . . . . . . . . . 3.50
Natsu Kusa (Summer Grass)—Luke Flynn.
Setting a medieval Japanese poem, this original
work captures the introspective nature of the
traditional Japanese view of the changing of
seasons. Unique and cinematic, the lyrical vocal
lines and gorgeous cello part create a soundscape
about discovering newfound love. IPA and
phonetic transcriptions are available in the score,
and the cello part is available to download from the
publisher's website.
11592531 SATB . . . . . . . . . . . . . . . . . . . . . 2.80
Ong Hye Ya—arr. Hye-young Cho. A work song
sung by farmers when processing barley, this
folk song from Kyeong-Sang-Do, a province in
southern Korea, is set with expertise by one of
South Korea's leading composers. Based on the
pentatonic scale, the melody is set with layered
rhythmic harmonies that reinforce the character
of the folk song. This impressive arrangement
for mixed divisi choir also includes a virtuosic
tenor solo.
11567961 SATB divisi, or SSAATTBB. . . . 3.60
Segalariak—Josu Elberdin. Dancing rhythms and
joyful harmonies set this folk story of a harvesting
competition between Basque farmer friends. The
rapid alterations between 6/8 and 3/4 create
a rambunctious and very enthusiastic musical
challenge! There is a pronunciation guide for the
Basque text on the publisher's website.
11567966 SATB divisi, or SSAATTBB. . . . 3.15
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