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Sacred Concert & Spirituals
Come By Here—arr. Kyle Pederson. This
sensitive setting of the spiritual KUM BAH
YAH
is not to be missed. In one spot
the piano plays a guided improvisation
over the choir singing neutral syllables.
In another there is the option to sing
unaccompanied. An emotional high point
occurs when the sections each sing out
their situations, "longing, falling, hiding,"
then answer together, "You are here."
This work hits every high mark in terms
of vocal writing, a skillful accompaniment,
and a beautiful effect.
11199621 SATB. . . . . . . . . . . . ME 2.85
Confitemini Domino—Victor C. Johnson.
This energetic setting of the traditional
Latin text is ideal for developing choirs.
A mixed-meter introduction followed by
energetic syncopation and a contrasting
middle section make this a great piece for
any festival or concert.
11503178 Three-Part Mixed . . ME 2.05
11503179 Two-Part . . . . . . . . . ME 2.05
11503274 P/A CD-Pianotrax 15 . 44.99
Confitemini Domino—Hyun Kook. A
stunning anthem for the sanctuary or
concert hall. The Latin text reminds us
to celebrate the spirit of gratitude in our
song of life. The music has an ancient
soul, calling cathedral scenes to mind as
it moves through wondrous episodes of
graceful modal melody. A subtle snare
drum provides momentum as the voices
dance with vibrant vocal colors.
11620749 SSAA. . . . . . . . . . . . MA 2.65
Cornerstone—Shawn Kirchner. The
composer pulls out all the stops on this
gospel piece. The piano part soars; the
tenor soloist dramatically rises above the
choir. Enjoy this long-time favorite!
10046886 SATB. . . . . . . . . . . . . .M 2.90
10629366 TTBB . . . . . . . . . . . . . .M 2.90
Cum Sancto Spiritu—Mary Lynn Lightfoot.
A beautiful showcase for treble voices, this
radiant a cappella work features accessible
harmonies and rich choral sonorities. With
a bit of mixed and asymmetrical meter,
a well-known Latin text, lyrical vocal
lines, and dynamic contrasts, this shining
selection is great for showcasing pure
vowels, tuning, tone, and expression. This
title includes a downloadable Rehearsal
Resource Page, created by Sing! editor
Victor C. Johnson, featuring a range chart,
solfege chart, vocabulary, preparation
exercises, and extension activities for use
in choral rehearsals.
11620337 SSA . . . . . . . . . . . . . . .M 2.15
Daemon Irrepit Callidus—Gyorgy Orban.
Chromaticism, rhythmic drive and lyric
melodies characterize this a cappella work
that is dramatic and stunningly effective for
more accomplished choirs.
3094182 SATB. . . . . . . . . . . . MA 2.95
3288230 TTBB . . . . . . . . . . . . MA 2.95
Daniel, Daniel, Servant of the Lord—
arr. Undine S. Moore. One of the great
a cappella spiritual arrangements of all time,
Daniel, Daniel, Servant of the Lord is a very
popular selection in a variety of situations,
and deservedly so!
1254267 SATB. . . . . . . . . . . . . .M 2.10
Death Came A-Knockin' (Travelin'
Shoes)—Ruthie Foster/arr. Paul Rardin.
This bluesy setting requires three treble
soloists with power and confidence. The
choral backgrounds are deliberately
sparse imitating guitar, light organ, and
banjo until a climactic group shout. The
music is driving and relentless as the
singers are determined to be "ready
to go" into the kingdom of God. The
characters in this unique and compelling
work are mother, sister, brother, neighbor,
preacher, and finally, self, which reminds
us that all of us will all face this journey,
so we had best live right and shout
"Hallelujah" when our turn comes.
11316622 SATB. . . . . . . . . . . . . .M 3.50
Deep Peace—Elaine Hagenberg.
Beautifully capturing the essence of a
traditional Gaelic blessing, this original
setting evokes the natural tranquility of a
"gentle night" where the "moon and stars
pour their healing light on you." The flowing
piano accompaniment supports the soaring
legato vocal lines to create a mature and
artistic texture while remaining accessible
to choirs in school, church, or community
settings. The optional string quartet parts
add additional serenity and depth.
11341294 SATB. . . . . . . . . . . . . .M 3.25
11341295 String Quartet . . . . . . . 35.00
Didn't My Lord Deliver Daniel—arr.
Roger Emerson. A top seller now available
in a flexible SATB voicing, this driving rock
spiritual features a subdued opening that
explodes into high-powered energy, sure to
be a hit with your developing mixed choirs
in middle and high school.
10455944 SATB. . . . . . . . . . . . ME 2.35
1819317 Three-Part Mixed . . ME 2.20
1819325 Two-Part . . . . . . . . . ME 2.20
Didn't My Lord Deliver Daniel—arr.
Moses Hogan. Moses Hogan has brought
his remarkable arranging talent to bear
in this dynamic, exciting setting of the
familiar spiritual!
3180163 SATB. . . . . . . . . . . . . .M 2.15
Dies Irae—Roger Emerson. Designed
to be easily learned and accessible
for developing choirs, this intense and
foreboding setting of the traditional Latin
text ultimately ends with a message of hope
and light. Gradually stacking musical ideas
on top of one another, this original work
exposes singers to part independence in
an intuitive way that will sound impressive
in concerts or festivals.
11620631 SATB. . . . . . . . . . . . ME 2.50
11620632 SAB . . . . . . . . . . . . . ME 2.50
11620633 Two-Part Mixed . . . ME 2.50
Dies Irae—Aaron Gage. This electrifying
setting combines traditional parallel
writing with modern metric modulations,
creating a thrilling challenge for advanced
ensembles. The percussive stomps, shifting
time signatures, and dramatic phrasing
invite singers and audiences alike into an
intense and evocative experience. Perfect
for concerts, festivals, or competitions,
this piece offers a powerful opportunity for
choirs to showcase their rhythmic precision
and emotional depth.
11560714 SATB. . . . . . . . . . . . MA 2.95
11560715 SAB . . . . . . . . . . . . . MA 2.95
11560716 SSAA. . . . . . . . . . . . MA 2.95
11560717 SSA . . . . . . . . . . . . . MA 2.95
11560718 TTBB . . . . . . . . . . . . MA 2.95
Dies Irae (from "Missa de Requiem")—
José Mauricio Nunes Garcia/arr. Matthew
Harrison. Reminiscent of the Mozart Dies
Irae, this riveting setting by an early 19th-
century Brazilian composer is excellent for
teaching the Classical style. Set for piano
and mixed chorus with minimal divisi, this
arrangement is suitable for high school
choirs or community groups.
11593425 SATB. . . . . . . . . . . . . .M 2.85
Dies Irae—Ryan Main. This heart-pounding
setting of the Dies Irae is becoming a
favorite at festivals and honor choirs.
Driving rhythms overlap with flowing
lines to create a piece that is easy to
learn and impressive in performance for
developing choirs. A uniquely accessible
and rewarding work!
10661116 SATB. . . . . . . . . . . . ME 2.95
10661117 SSAB. . . . . . . . . . . . ME 2.95
10661119 SAB . . . . . . . . . . . . . ME 2.95
10661121 SSA . . . . . . . . . . . . . ME 2.95
10950171 TB . . . . . . . . . . . . . . ME 2.95
10604740 TTB . . . . . . . . . . . . . ME 2.95
Dies Irae (Day of Wrath)—David Farrell
Smith. Employing the text from the
Requiem Mass, this dramatic, exciting,
rhythmic setting propels the angular
melodies forward. The contrasting, lyric B
section allows for a brief respite and will
challenge the singers to explore color in
tone and expression. This is sure to be a
compelling piece for middle school and
young high school choirs.
10443549 SAB . . . . . . . . . . . . . ME 2.50
11410876 SSA . . . . . . . . . . . . . ME 2.50
Dies Irae (from "Requiem")—Michael
John Trotta. Rhythmic ostinatos, cluster
harmonies, and soaring soprano lines are
all present in this exciting a cappella concert
work, possessing all the elements you'd
expect from the composer of Veni, Veni
Emmanuel. Based on the 13th-century
Dies Irae chant, the texture contrasts driving
rhythms and beautiful legato singing while
still remaining accessible. A perfect choice
as an opener, closer, or for festival use.
11315425 SATB divisi . . . . . . . . .M 3.10
11566459 SSAB. . . . . . . . . . . . . .M 3.15
11415260 SSAA divisi . . . . . . . . .M 3.10
Dies Irae—W.A. Mozart/arr. Patrick
Liebergen. This edition of the well-
known choral masterwork from Mozart's
"Requiem," has become a standard for
today's choirs. Patrick Liebergen has
re-scored the keyboard accompaniment
and transposed the work down a major
second to make it more accessible for
accompanists and singers. Generally
considered Mozart's last musical sketch, it
was featured in the closing scenes of the
movie "Amadeus."
1860873 SATB. . . . . . . . . . . . . .M 2.05
1860881 Three-Part Mixed . . . .M 2.05
10881594 SSAA. . . . . . . . . . . . . .M 2.05
10274863 TTBB . . . . . . . . . . . . . .M 1.80
10275227 P/A CD-Piano Trax #3 44.99
Dies Irae—Matthew David Wheeler. Darkly
intense and driving, this mature setting
of the traditional Latin text incorporates
a rhythmic accompaniment and carefully
approached dissonances that complement
the serious nature of the text. Articulations
and dynamics add to the intensity of the
piece, making this cinematic work engaging
and fun to sing.
11593351 SATB. . . . . . . . . . . . . .M 3.20
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