SKU: HP.C6099HB

UPC: 763628260996.

Original Christmas composition Written for adult choir with optional children's choir or soloist, this pairing of an original composition with a Christmas classic affords a unique way to present Away in a Manger during the holiday season. The simple part for the children's voices fits perfectly with Raney's gentle, original lullaby. The flowing piano accompaniment provides a lush underpinning for this re-telling of the night Christ was born. This setting originally appeared in Joel Raney's popular Christmas musical, Celebrate the Season. In 2007 the SATB setting was our top-selling anthem. New for this year we offer an SAB voicing. The orchestration contains a Conductor's Score and parts for: Synth, Percussion, Bass, Harp, Flute, Oboe, Trumpet, French Horn, Violin, Cello and Handbells. Product C 5436HB could be used with choir, handbell & piano. Product C 6099HB is suitable for choir & handbell no piano.

SKU: BO.B.3095

English comments:
This is a symphonic-choral work based on the Latin text of Psalm 96 and written without a set plan, as the music merely aims to express the nature and purpose of the word. Its structure is therefore very free, similar to that of some medieval madrigalists. The small choir does not necessarily have to be separate from the large choir. It can be a part of it (half or a third). The use of a piano instead of a harp and the lack of violins in the orchestra seems quite fitting to the nature of the piece. However, this is not so unusual. Composed in 1967, it was first performed at the Palau de la Musica Catalana on 5 November 1971. There is also a version for choir, two pianos and two percussionists, which, due to its simplified number of musicians, has become more widely known.

Comentarios del Espanol:
Obra sinfonico-coral basada en el texto latin del salmo 96 y escrita sin un plan determinado, ya que la musica solo pretende expresar el caracter y la intencion de la palabra. Su estructura es, por lo tanto, muy libre, parecida a la de algunos madrigalistas medievales. El Coro pequeno no tiene por que estar necesariamente separado del grande. Puede ser una parte (la mitad o un tercio) de este. El hecho de usar un piano en vez del arpa y de ser una orquesta sin violines parece bastante adecuado al caracter de la obra. Sin embargo, no es algo insolito. Compuesta en 1967, se estreno en el Palau de la Musica Catalana el dia 5 de noviembre de 1971. Existe tambien una version para Coro, dos pianos y dos percusionistas que, por la simplificacion en el numero de interpretes, ha facilitado su divulgacion.

SKU: OU.9780193539983

ISBN 9780193539983. 10 x 7 inches.

For SA and piano. Setting a tender poem by Alfred, Lord Tennyson, this lullaby is full of sweet and recurring melodies that rock gently in 6/8 time. The vocal lines are well supported by a twinkling piano part and combine together to create a feeling of warmth and tranquillity.

About Songbird

Songbird presents new and exciting original material for upper voices. Showcasing the work of today's most innovative names in choral writing, the series includes songs in a variety of scorings, from SA voices with piano to SSAA and percussion. With a range of distinctive musical styles - and warmth, flair, and character in abundance - this is upper-voice choral music at its very best.

SKU: HL.14017423

8.5x11.75x0.53 inches.

Designed specially for schools without an SATB choir, this collection contains 21 settings for unison and two-part voices. These arrangements, all compatible with The Novello Book Of Carols, are scored for tuned and untuned percussion, two melody parts, (each in C and B flat), guitar chords, bass line and simplified piano. These carols provide the ideal opportunity of junior and middle school choirs to join adult choirs in performance, whilst fulfilling the need for ensemble music throughout the year. Edited by William Llewellyn.

SKU: CF.CM9735

ISBN 9781491161159. UPC: 680160919741. Key: A minor. Latin, English. Christopher Smart and ZRS.

Origins of the Tarantella The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (little spider), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the poison, the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship. Origins of the Text Christopher Smart (1722-1771), also known as Kit Smart or Jack Smart, was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke's Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor's prison, was common during this period if one's debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [Rejoice in the Lamb] was set to music by English composer, Benjamin Britten.) Smart's writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart's Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance: theraphosa [teh-rah-fo-sa] a genus of tarantula spiders bellicose [beh-lee-ko-sah] hostile; aggressive odiosa [o-dee-o-sa] hateful; vexation tenebrosa [teh-neh-bro-sa] creeping; dark nemorosa [neh-mo-ro-sa] wooded; shady lapidosa [lah-pee-do-sa] stony area; gritty The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work. About the Composer Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. Performance Notes Text: In Latin, the r is flipped; use s instead of z on endings such as phosa, cosa, and so on; the Latin o is a cross between oh and aw; in the transliteration above, I chose to simply use an o for consistency. The director will blend the oh and aw in the rehearsals to his/her own preference. Lastly, tarantula is pronounced tah-rah-n-too-lah (avoid teh-ran-choo-luh) within the confines of this text. Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.
The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spider”), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,” the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart” or “Jack Smart,” was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lamb”] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. In Latin, the “r” is flipped; use “s” instead of “z” on endings such as “phosa,” “cosa,” and so on; the Latin “o” is a cross between “oh” and “aw”; in the transliteration above, I chose to simply use an “o” for consistency. The director will blend the “oh” and “aw” in the rehearsals to his/her own preference. Lastly, “tarantula” is pronounced “tah-rah-n-too-lah” (avoid “teh-ran-choo-luh”) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.
The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spider”), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,” the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart” or “Jack Smart,” was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lamb”] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico.In Latin, the “r” is flipped; use “s” instead of “z” on endings such as “phosa,” “cosa,” and so on; the Latin “o” is a cross between “oh” and “aw”; in the transliteration above, I chose to simply use an “o” for consistency. The director will blend the “oh” and “aw” in the rehearsals to his/her own preference. Lastly, “tarantula” is pronounced “tah-rah-n-too-lah” (avoid “teh-ran-choo-luh”) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.

SKU: HP.8929

By Jester Hairston.

Calypso Lullaby by Jester Hairston By combining the lively Jester Hairston classic, Mary's Little Boy Child with additional new text and a beautiful lullaby setting, Joel Raney has crafted a spirited Christmas celebration for both SATB and Two-Part choirs. The calypso rhythms provide a joyful expression of the angels' song, Alleluia, shout for joy, alongside an original cradlesong, Sleep little one, rest your head. The addition of the optional flute, percussion, bass guitar, and handbells brings this stunning setting to life - a perfect Christmas selection for churches and schools. The Instrumental packet includes a Conductor's Score and parts for Flute, Bass Guitar, Percussion, and 3-Oct. Handbell.

SKU: HP.C6167

UPC: 763628161675. By G.F. Handel.

Messiah by G.F. Handel This classic Christmas chorus from Handel's Messiah has been seamlessly pared down for SAB voices by arranger Hal H. Hopson, who has masterfully kept the essence of the original, even in the polyphonic sections, while simplifying the parts for smaller choirs.