Sacred Concert, Spirituals & Gospel
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 3.10
10629366 TTBB . . . . . . . . . . . . . M 3.10
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 4.00
11682187 SSAA . . . . . . . . . . . . . M 3.00
Deep River—arr. Stacey V. Gibbs.
Beginning simply and growing to bold and
powerful statements of divisi harmony, this
stunning a cappella setting of the traditional
spiritual is an excellent choice for more
advanced high school or collegiate mixed
choirs.
11677394 SATB divisi . . . . . . .MA 3.00
Didn't My Lord Deliver Daniel—arr.
Roger Emerson. A top seller, 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 2.35
1819325 Two-Part . . . . . . . . .ME 2.35
Didn't My Lord Deliver Daniel—arr. Robert
T. Gibson. A fresh setting of the traditional
spiritual, this arrangement takes singers on
a joyful ride while leaving audiences craving
for more. Advanced treble ensembles can
expect exciting challenges including cluster
jazz harmonies, a driving syncopation in
the lower voices, intricate chords, and an
invigorating key change.
11682753 SSAA divisi . . . . . . .MA 3.40
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.
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.
11315425 SATB divisi . . . . . . . . M 3.40
11566459 SSAB . . . . . . . . . . . . . M 3.40
11415260 SSAA divisi . . . . . . . . M 3.40
11638158 TTBB . . . . . . . . . . . . . M 3.35
Dies Irae—Giuseppe Verdi/arr. Anita
Cracauer. A truly heart-stopping piece of
Romantic music from Verdi's Requiem,
this arrangement of Dies Irae makes for an
unforgettable show choir opener or a Trans-
Siberian Orchestra-style concert piece
for high school show or concert choirs!
Updated with a progressive metal sound
heavy on drums and distorted guitar, the
sound is edgy and modern but still timeless,
complete with original Latin text. The piano
accompaniment in the octavo gives it a little
more traditional feel.
11688168E SATB ePrint. . . . . . . . M 3.00
Don't Calm the Storm—Christi Jones.
Beginning in the heart of turbulence, this
setting of Coty Raven Morris' text captures
the feeling of being swept into a storm
and, instead of fighting it, finding calm
within ourselves. The work concludes with
a thoughtful nod to the Tindley hymn The
Storm Is Passing Over, bringing the journey
to a reassuring close of peace and resolve.
Perfect for high school choirs.
11673943 SATB . . . . . . . . . . . . . M 2.30
Don't You Grieve After Me—arr. Anthony
Trecek-King. Raw and unadorned, this
setting of a lesser-known spiritual is true
to the tradition and allows individual choir
voices to make it their own through the use
of vocal improvisation. Featuring a soprano
throughout, the soloist initiates a call, while
the choir acts as a response. Mournful
in spirit, this emotional arrangement is
a truly moving selection for high school,
community, and collegiate ensembles.
11682755 SATB . . . . . . . . . . . . . M 2.95
Dona Nobis Pacem—Glenda E. Franklin. A
gentle melody is set to the traditional words
of peace, perfect for developing choirs. The
simple ABA form features a clear unison
opening followed by a contrasting two-part
section. The lyrical melody is easy to learn,
and the included optional flute part adds
a graceful layer of texture. This setting is
appropriate for worship or school programs.
11679874 Unison/Two-Part . . . . E 2.40
Dorian Alleluia—Jordan Ricks. Ideal
for intermediate tenor-bass choirs, this
a cappella work blends accessible,
intentionally repetitive writing with gentle,
terraced dynamics that shape the piece
in thoughtful contours. Contrasting modal
sonorities add color throughout, while
the hand drum and finger cymbal bring
rhythmic vitality and maintain a steady
forward motion.
11673944 TBB . . . . . . . . . . . . .ME 2.15
Down by the Riverside—arr. Greg
Gilpin. Light and fun writing highlights this
easy-to-learn a cappella arrangement
of the popular spiritual. Beginning with a
rhythmic bass line, the upper voices chime
in with the familiar melody, adding catchy
harmonic writing. An easy key change
and plenty of repetition elevate the second
half of the arrangement, and the ranges
throughout are accessible to high school
and community mixed choirs.
11648857 SATB . . . . . . . . . . . .ME 2.50
Down by the Riverside—arr. Ryan
Murphy. While this spiritual is typically
jubilant in nature, this more lyrical setting
highlights the sense of melancholy and
regret for former choices. The music is
a plaintive reflection of the past with a
yearning for a better future. Perform with
piano only or with the addition of strings.
11682756 SATB . . . . . . . . . . . . . M 3.20
11682757 Two-Part Mixed . . . . . M 3.20
11682758 SATB Instrumental
Parts. . . . . . . . . . . . . . 40.00
11682759 Unison Instrumental
Parts. . . . . . . . . . . . . . 40.00
Eatnemen Vuelie (Song of the Earth)—
Frode Fjellheim/arr. Emily Crocker. The
opening musical number from the Disney
animated feature "Frozen," this song
is inspired by indigenous Saami and
Norwegian culture, a combination of Saami
yoiking and the Danish Christmas hymn
Dejlig er jorden, or Fairest Lord Jesus, by
B.S. Ingemann. Yoik is a very old vocal
tradition among the Saami people of
Scandinavia and Russia, characterized by
short melodic phrases that repeat again and
again, with small variations. With English,
German and Norwegian versions of the
text, synthesizer, percussion and optional
male yoik.
10519311 SATB . . . . . . . . . . . . . M 2.75
10519310 SAB . . . . . . . . . . . . . . M 2.75
10519158 Two-Part . . . . . . . . . . M 2.65
3298108 SSAA . . . . . . . . . . . . . M 2.95
Elijah Rock—arr. Greg Gilpin. Rhythmic
and exciting, this arrangement of a favorite
spiritual is ideal for developing choirs as
a concert or festival highlight. Ostinato
patterns and layered harmonies make it
easy to learn and to hold your parts, and
the smaller ranges are perfect for younger
voices. The piano part supports the
rhythmic groove and helps bring energy
and drive to the setting.
11618208 Three-Part Mixed . .ME 3.00
Elijah Rock—arr. Moses Hogan. Here's
a wonderful opportunity for your choir to
"pull out all the stops" as they recreate the
full depth and vitality of this magnificent
spiritual. Moses Hogan's unique and
exciting a cappella arrangement will
surely be a favorite because it is so much
fun to rehearse and so impressive in
performance.
1922947 SSAATTBB . . . . . . . . M 2.50
Esto Les Digo—Kinley Lange. This a
cappella setting of Matthew 18 in Spanish
has attracted a lot of attention, and has
already seen considerable festival activity.
The English translation of the text is also
shown: "Where two or three are gathered
in My name, there will I be also."
3294848 SATB . . . . . . . . . . . . . M 2.00
Even When He Is Silent—Kim André
Arnesen. Commissioned by the St. Olaf
Festival in Trondheim, Norway, Even
When He Is Silent masterfully expresses
the sentiment of the text – hope in times
of despair. Beautifully melodic, with rich
harmonic texture, this is a stunning work for
better a cappella choirs!
10543959 SSAATTBB . . . . . . . . M 3.00
10499591 SSAA . . . . . . . . . . . . . M 3.40
10882573 TTBB . . . . . . . . . . . . . M 3.40
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