SKU: HL.1437165

UPC: 196288204480.

The lyrics express a grief that leads to longing to be with one who has passed on. The piece climaxes with the realization that the waiting and longing will last until death, ending with a prayerful hope that one day, maybe in the next life, they will Share the Stars again. The work is intended to be performed by high school and college choirs.

SKU: CA.5293903

ISBN 9790007300272. German.

Max Reger’s setting of Psalm 100 is one of the “grand style” choral-symphonic works of the classical modern repertoire. Contrapuntal skill in the tradition of Bach combines with overwhelmingly powerful expressiveness, rich in contrasts. The full harmonic and stylistic breadth of the early 20th century sings out, not only in frenetic song, but also in the search for awareness in quieter passages. Reger’s opulence, tonal and contrapuntal almost throughout, finally culminates in a double fugue with an off-stage orchestra similar to the trumpets of Jericho over “Ein feste Burg ist unser Gott”. The composer’s declared aim was: “The psalm must go so brilliantly, that all will be simply ’bowled over‘.”.

SKU: GI.WW1901

UPC: 785147034766. English. Text source: Traditional spiritual.

Written for the Jason Max Ferdinand Singers, this expert arrangement is full of fun.

SKU: CF.CM9608

ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892).

The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.  19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep” in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark” in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,” which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.”Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray.

SKU: HL.1197758

UPC: 196288134886. 6.75x10.5x0.045 inches.

Here's a choral fantasy on the traditional African American spiritual, “Soon I Will Be Done.” The grave Wagnerian opening sets the stage for the fiery main theme of the piece–a triplet feeling motif in the lower piano that continues under each chorus statement of the melody. The choir re-enters in the role of the “orchestra” in the second chorus with a haunting legato counter melody that leads up to the first verse. Each verse should have a Gospel/Stride feel with the choir, particularly the upper voices, switching to a more Gospel sound and rhythmic feel. The A sections should be performed with aggression and angst to contrast the calm legato middle section. That middle section is our musical prayer of hope that, like the sentiment of this Spiritual, will continue to live in our hearts despite the sometimes difficult realities of life.

SKU: HL.49018287

ISBN 9790001170826. UPC: 884088620752. 7.5x10.75x0.049 inches. Hebrew.

Viktor Ullmann composed his choral arrangements of Hebrew, Yiddish and Chassidic songs in the ghetto of Theresienstadt in 1943/1944. In the function of 'Head of the Studio for New Music', Ullmann made a significant contribution to the so-called 'leisure activities' in the ghetto. The works were evidently intended for the repertoire of the various choirs at Theresienstadt, including children's choirs such as the Karel Vrbas Youth Choir in which Ullmann's son Max also sang. There is no evidence to confirm that Ullmann's choral works were actually performed in Theresienstadt, for example in one of the frequent concerts given by Rafael Schachter's choir of up to a hundred voices (cf. Milan Kuna, Musik an der Grenze des Lebens, 21998. p.313). The German translations below first appeared in the song book Makkabi-Liederbuch published in Berlin in 1930 (2nd edition 1935) which was available to Viktor Ullmann as a source for the melodies and text orthography for his choral arrangements in Theresienstadt.

SKU: CA.7020048

ISBN 9790007228835. Key: C minor. Language: German. Text: Gerhardt, Paul. Text: Paul Gerhardt.

With alternative text Was mein Gott will. Score available separately - see item CA.7020000.