Performed by Kelly Clarkson. Arranged by Alan Billingsley. (SATB). Pop Choral Series. Size 6.75x10.5 inches. 12 pages. Published by Hal Leonard. (8201566) 6-PACK includes six original copies of this piece.

Chorus a cappella

SKU: BR.CHB-5381-00

Composed by Howard Arman. Choir; stapled. Chor-Bibliothek (Choral Library). Song; Music post-1945; New music (post-2000). Choral score. 80 pages. Breitkopf and Haertel #ChB 5381-00. Published by Breitkopf and Haertel (BR.CHB-5381-00).

ISBN 9790004413821. 7.5 x 10.5 inches. English.

As director of the Bavarian Radio Choir, Howard Arman has been actively engaged with international Christmas carols through various Christmas-related CD productions in the past years. This has resulted in a number of original arrangements for four- to eight-part mixed choir a cappella, shedding new light on well-known classics such as O du frohliche [O, you joyful], Stille Nacht [Silent Night] and Lasst uns froh und munter sein [Let us be happy and cheerful]. The first volume includes five Christmas carols from the German-speaking regions. They range from simple but harmonically intriguing settings such as Lieb Nachtigall, wach auf [Dear nightingale, wake up] to eight-part sound paintings with bell-like chimes as in O du frohliche and classical double choir settings such as Resonet in laudibus. The second volume includes five Christmas spirituals with English texts, forming a contrast to the solemn and festive character of the first. The choir can prove its swing and jazz qualities here; the stirring arrangements are a gain for classical Christmas concerts, too. Following the tradition of the spiritual, some settings also require soloists, which can, however, also be recruited from the choir if adequate singers are available. The first piece combines the spirituals It's a Birthday and Wasn't That a Mighty Day to form a medley, Ain't That a Rockin' gives a moment of tranquility before the likewise rousing spirituals Mary Had a Baby and Little David conclude the volume. In both volumes, Howard Arman provides a short preface in German and English, explaining the background of each piece and giving advice on performance.

For SATB choir a cappella (SATB). Choral. Shawnee Press. Supports: Matthew 28:18-20, Luke 23:23. Sacred, General, evangelism, revival, life of Christ. 8 pages. Shawnee Press #A8854. Published by Shawnee Press

For SATB. Modern Christian. Sacred. Hymnal. Published by Brentwood-Benson Music Publishing.

Choral SATB Voices a cappella

SKU: XC.DJS2309

Composed by Richard Storrs Willis. Arranged by Derric Johnson. Octavo. Excelcia Music Publishing #DJS2309. Published by Excelcia Music Publishing (XC.DJS2309).

6.75 x 10.5 inches.

This may be the most beautiful version of this classic carol. Your singers and audience alike will love this song. The key word for this arrangement is SMOOTH. There will be opportunities to discuss text painting and voice crossing to create this stunning moment for any holiday concert.

SATB Chorus, & Piano

SKU: SU.96010061

For SATB Chorus, & Piano. Composed by Joseph Gianono. Vocal/Choral, Secular Choral. Accompanied by piano. Choral Octavo. Subito Music Corporation #96010061. Published by Subito Music Corporation (SU.96010061).

Instrumentation: SATB Chorus, & Piano
Duration: 5'
Composed: 2012
Published by: Subito Music Publishing Minimum order quantity: 8 copies. Perusal copies are available by contacting (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440.
About T.N.T

As a matter of practicality, when I was first asked to write a piece for the New York Theatrical Community Choir in 2005 by its music director, David Wolfson, I immediately decided to write a Kyrie. After all, I thought..., the text is only about four words and eliminated the need for a lyricist. Most appealing, however, was the fact that it would bring me one step closer to finishing the Massthat I was in the process of writing. If ever there was a case to be made for divine inspiration this appeared to be it. David Wolfson liked the idea and casually mentioned that there was another Kyrie and a religious hymn on the program. He also mentioned that the choir consisted predominantly of actors that sing.

Like a bolt of lightning, divine intervention interceded whereupon I instantly realized that he needed a piece to wake up the audience, not another Kyrie. I took a breath and spontaneously began to talk through and improvise the concept of a piece that became the basis for Taxi.

At that moment I was clueless as to what kind of piece I would write but it appeared to be a good idea at the time. David's reaction to my presentation was something like Okay,...I have no idea what you are talking about but let's try it. After a very successful public performance, he was delighted that I decided not to write a Kyrie and remarked that writ-ing a piece like Taxi for this group was like feeding raw meat to a pack of hungry lions. At that moment, the idea of doing a trilogy of similar pieces was born. For the last two seasons of the choir's existence I was asked to write a new piece and ... as a matter of practicality, I happily agreed.

-- Joe Gianono

Note: Taxi, Noise, and Time may be performed separately.

Choral SATB Voices a cappella

SKU: XC.SATB2310A

Composed by Irving Berlin. Arranged by John Maclane Schirard. Octavo. Excelcia Music Publishing #SATB2310A. Published by Excelcia Music Publishing (XC.SATB2310A).

6.75 x 10.5 inches.

This sensitive arrangement of the classic Irving Berlin song is full of lush jazz-inspired harmonies, contrasted with moments of stunning simplicity. Singers and audiences alike will find new depths of emotion and heart in this fresh rendition.

Choir Secular (SATB choir)

SKU: AP.49721

Composed by Greg Gilpin. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Christmas; Secular. Choral Octavo. 12 pages. Alfred Music #00-49721. Published by Alfred Music (AP.49721).

UPC: 038081568089. English.

Merry minor key singing and dance-like rhythms! This rousing Greg Gilpin original sounds something like Irish folk music or perhaps a sea chantey. It's a festive holiday text complete with trimming the tree, decking the halls, plus plentiful fa la la's and noel's. Feature a mid-range soloist on the softer, slower, introspective moment just before the last spirited refrain. There's holiday cheer for one and all!

About Alfred Choral Designs

The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

For SATB. Modern Christian. Sacred. Consumer Print Book. Published by Brentwood-Benson Music Publishing.

SATB choir, piano

SKU: LO.10-5765L

Composed by Stan Pethel. Choral. Sacred Anthem, General, Memorial Services. Octavo. Lorenz Publishing Company #10/5765L. Published by Lorenz Publishing Company (LO.10-5765L).

ISBN 9780787778859.

Stan Pethel writes a gospel tune like nobody else, and this song is no exception. Perfect for a general anthem, or even as a moment of uplifting encouragement in a memorial service, this piece reminds us that Jesus is the only haven for the soul, and we will one day dine with Him at the heavenly banquet. The piano accompaniment is fun to play, and is guaranteed to have your congregation smiling and tapping their feet.

By Dale Peterson and J. Paul Williams. For SATB choir (SATB). Shawnee Press. Choral. 12 pages

Choral SATB choir, piano

SKU: CF.CM9608

Composed by Jamey Ray. Fold. Performance. 12 pages. Duration 3 minutes, 33 seconds. Carl Fischer Music #CM9608. Published by Carl Fischer Music (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.