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Concert & Festival
4t We Sing—Brian Tate. This creative a cappella
original has a life-affirming quality that is
universally appealing. Beginning quietly, the
piece builds with the joyful Latin text "Exsultate,
jubilate," accompanied by djembe, cabasa and
shaker. Uniquely fresh and rhythmic, this is a
marvelous celebration of all the cultures of the
world!
10454436 SATB . . . . . . . . . . . . . . . . . . 2.35
4 What Maiden Weeping?—John Parker &
Victor C. Johnson. "What maiden weeping near
the tide is covered by her falling tears? She's
pouring out her soul inside into the stream of
yesteryears..." So appropriate for women's
voices, John Parker's text is realized through
a lyric melody and a beautiful, plaintive refrain:
"Sing me your sadness, cold winds have blown.
Sing me your sadness. Love left me alone." This
will surely touch the hearts of your singers and
audiences!
10443538 SSA . . . . . . . . . . . . . . . . . . . 1.95
4
When Midnight Mists Are Creeping—Greg
Gilpin. This evocative text setting makes it
easy for developing concert choirs to impress.
Modest vocal ranges, logical voice leading, and
manageable phrase lengths allow musicality to
be the focus of rehearsal and the hallmark of
performance. A beautiful treatment of this text
from Lewis Carroll's "Dreamland."
10452907 SATB . . . . . . . . . . . . . . . . . . 1.85
10452910 SAB . . . . . . . . . . . . . . . . . . . 1.85
10452911 SSA . . . . . . . . . . . . . . . . . . . 1.85
10453431 Multi-Song Accomp. CD . . 44.99
4
Where Go the Boats?—Mary Donnelly &
George L.O. Strid. The singable tune of this
winsome Stevenson setting is frequently traded
between voice parts, affording each member
of the choir an opportunity to sing both melody
and harmony. A great choice for younger voices
and a cross-curricular tie-in to A Child's Garden
of Verses.
10452913 Two-Part . . . . . . . . . . . . . . . 1.85
10453431 Multi-Song Accomp. CD . . 44.99
4 Where Go the Boats?—Mary Lynn Lightfoot.
Lightfoot's unique setting of the beloved
Robert Louis Stevenson poem is a perfect
fit for developing choirs, ensuring feelings of
confidence in your singers. The rhythmic feel,
minor mode, mixed meters, limited ranges, and
ample unison lines lay the groundwork for some
fun twists and turns along the way.
10457451 SAB . . . . . . . . . . . . . . . . . . . 1.95
10457452 Two-Part . . . . . . . . . . . . . . . 1.95
10457467 P/A CD . . . . . . . . . . . . . . . . . . 26.
Why Does the Willow Weep?—Ruth Elaine
Schram. "Why does the willow weep? What
secrets does she keep? Is there a broken heart
beating beneath the bark, hidden in the dark?"
Vividly poetic, with sweeping melodic and
harmonic textures, this is a truly memorable
concert work. An expressive, thoughtful tone
poem for treble choirs.
10457258 SSAB . . . . . . . . . . . . . . . . . . 1.95
10068332 Two-Part . . . . . . . . . . . . . . . 1.95
3298407 SSA . . . . . . . . . . . . . . . . . . . 1.95
10068333 P/A CD . . . . . . . . . . . . . . . . 26.95
3298407C Choral Master Track . . . . . . 4.99
4
Will You Teach Me?—Allen Pote. This
anonymous text speaks to young people
yearning for inspiring role models, and to
adults with character-building wisdom.
Singers immediately connect with the words
and internalize them; listeners are emotionally
moved by hearing them. "Will you teach me how
to be the only thing that I can be - me?" Easy to
learn, with a lovely piano part, this is memorable
in every way.
10438891 Three-Part Treble Equal . . . . 1.90
H Witness—Jack Halloran/arr. Dick Bolks. Dick
Bolks has taken this Jack Halloran classic
and made it accessible for accompanied or a
cappella choirs while retaining the enthusiasm
of the original. Now available for mixed, treble
or male choirs, this is guaranteed to be the
highlight of your music year!
3260411 SATB . . . . . . . . . . . . . . . . . . 2.35
3291523 SAB . . . . . . . . . . . . . . . . . . . 2.35
10366147 SSAA . . . . . . . . . . . . . . . . . . 2.35
10458827 TTBB . . . . . . . . . . . . . . . . . . 2.35
4 Witness—arr. Victor C. Johnson. Contemporary
harmonies, cool syncopations in the vocal parts,
and a rhythmically supportive accompaniment
grace Victor C. Johnson's high-energy setting
of this favorite spiritual. This work is a marvelous
choice for developing choirs in both concert and
festival settings.
10457297 Three-Part Mixed . . . . . . . . . 1.95
10457299 Two-Part . . . . . . . . . . . . . . . 1.95
10457513 P/A CD . . . . . . . . . . . . . . . . 26.95
4
A World We Cannot See—Jim Papoulis.
Drawing from a message he hears around the
country from young singers, Jim Papoulis writes
of the importance of nurturing and developing
one's inner spirit and personality, as well as
accepting others for who they are. This rhythmic,
energetic new piece in English and Swahili
celebrates the journey of our individuality, one
that we cannot always see.
10424293 SSA . . . . . . . . . . . . . . . . . . . 2.10
H Worthy to Be Praised—Byron J. Smith.
Opening rubato, this robust work soon breaks
into a driving gospel feel that will raise the roof!
If you're looking for a piece that will give your
audience a rousing experience, this is definitely
worth looking at!
1896430 SATB . . . . . . . . . . . . . . . . . . 1.95
10452930 SSA . . . . . . . . . . . . . . . . . . . 1.95
4 You Can Dance, You Can Sing—Mark
Burrows. This high-energy composition based
on a traditional Zimbabwean proverb will be
a hit with your singers and audiences. The
lyrics are mostly in English, with a few simple
Zimbabwean words. Shaker, djembe, and
hand drum add a vibrant texture that helps to
establish the rhythmic groove!
10443062 Two-Part . . . . . . . . . . . . . . . 1.95
10457524 P/A CD . . . . . . . . . . . . . . . . 26.95
4 Your Voice is the Wind—Amy F. Bernon.
Alluring, mysterious, and romantic, this richly
woven work will showcase your women's choirs
with lush, layered harmonies and a vibrant text.
"Your voice is the wind, your eyes are the stars,
and I am the dreamer who brings you to life."
Highly recommended!
10457287 SSA . . . . . . . . . . . . . . . . . . . 1.95
t Zum Gali Gali—arr. Greg Gilpin. Don't miss
this fresh, tasty setting of a traditional Israeli
folk song scored for a cappella voices, flute,
and hand drum. Inventive, with spoken chants
woven throughout, this is accessible with limited
ranges and has a crisp rhythmic feel, while the
accompanying instruments provide a unique
color and texture. Highly recommended!
3303239 Three-Part Mixed . . . . . . . . . 1.95
3298138 Two-Part . . . . . . . . . . . . . . . 1.95
10457266 TB. . . . . . . . . . . . . . . . . . . . . 1.95
3303240 P/A CD . . . . . . . . . . . . . . . . 26.95
New! Baerenreiter Editions
Mass for Double Choir—Frank Martin/ed. Antje Wissemann.
For SATB double choir, a cappella. This edition, based on the
autograph score, has been newly engraved in a larger format, with a
preface in German and English as well as critical commentary.
10457612 SATB/SATB Vocal Score . . . . . . . . . . . . . . . . . . . . . 14.50
Missa in C Major, K. 220 (196b) (Sparrow Mass)—W.A. Mozart/ed. Heribert
Breuer.
Mozart's "Mass in C Major, K. 220", nicknamed the "Sparrow Mass" for its
frequently recurring characteristic motifs in the violins, has retained a firm place in the choral
repertoire to the present day. Now it has been arranged for female choir, keeping the work's
original substance while giving it a wholly new and delightful sound. This is one of a series of
Baerenreiter editions arranged for women's voices, which includes Mozart's "Missa brevis in
D Major, K. 194" and "Coronation Mass" as well as Vivaldi's "Gloria" and "Kyrie."
10467512 SSAA Full Score. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24.00
10467513 SSAA Vocal Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13.50
Requiem, Op. 89—Antonin Dvorak. Arranged for soloists, mixed choir and
chamber orchestra.
10477567 SATB Vocal Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26.60
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