SKU: LO.10-5753L
ISBN 9780787778262.
This modern hymn, with words and music by Brad Nix, will soon become a favorite for your ensemble. Its thoughtfully crafted choral writing offers abundant opportunities for every section to embrace this simple yet profound melody. With each passing verse and chorus, the arrangement gracefully ascends to a rousing finish featuring a soaring countermelody and a rich piano accompaniment. Highly recommended!
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.â€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: CF.CM9619
ISBN 9781491156704. UPC: 680160915248. 6.875 x 10.5 inches. Key: F major. English. Original.
The text of the piece was inspired by a conviction that the deepest meanings of Advent/Christmas are alive and meaningful throughout the year. At the heart, the text is a prayer. Musically, the piece affords a great opportunity for each voice section to take turns sharing the melody. Though mostly homophonic, a countermelody is introduced first by the piano, and then reappears in the alto line midway through the piece, providing a nice contrast both texturally and lyrically. The piece builds to a dramatic climax in the final verse, and then scales back down for a contemplative finish. This piece works especially well in the season of Advent and Christmas, though it's themes resonate and would be appropriate throughout the church liturgical year.
SKU: CF.CM9736
ISBN 9781491161166. UPC: 680160919758. Key: Bb major. English.
Stephen Collins Foster lived from 1826 to 1864, until only age 37. He was extremely prolific, with numerous songs that have lasted to this day. I first had the idea to arrange Beautiful Dreamer for SATB choirs a cappella, after hearing Kristen Chenoweth in concert. She ended her concert, in a 1,600 seat hall, with Beautiful Dreamer, an a cappella solo, with no microphone. Given the beautiful melody, text and Ms. Chenoweth's voice, one could have heard a pin drop in the audience. Her performance concluded to thunderous applause and a standing ovation. The power of music. Throughout this arrangement, the harmonies support the beautiful melody and text (rather than get in its' way). Opportunities abound for vocal parts to be showcased as well as an optional solo/duet at the beginning. Sing freely, with pure vowels, crisp diction and sensitivity, allowing the text to prevail by giving special attention to stressed and unstressed syllables and words. I hope you enjoy singing this arrangement in rehearsal and performance to the delight of your audience. Tell the story through song because that's what we should always do when performing choral music. Russell Robinson, Arranger .Stephen Collins Foster lived from 1826 to 1864, until only age 37. He was extremely prolific, with numerous songs that have lasted to this day. I first had the idea to arrange Beautiful Dreamer for SATB choirs a cappella, after hearing Kristen Chenoweth in concert. She ended her concert, in a 1,600 seat hall, with Beautiful Dreamer, an a cappella solo, with no microphone. Given the beautiful melody, text and Ms. Chenoweth’s voice, one could have heard a pin drop in the audience. Her performance concluded to thunderous applause and a standing ovation. The power of music.Throughout this arrangement, the harmonies support the “beautiful†melody and text (rather than get in its' way). Opportunities abound for vocal parts to be showcased as well as an optional solo/duet at the beginning.Sing freely, with pure vowels, crisp diction and sensitivity, allowing the text to prevail by giving special attention to stressed and unstressed syllables and words.I hope you enjoy singing this arrangement in rehearsal and performance to the delight of your audience. Tell the story through song because that’s what we should always do when performing choral music.Russell Robinson, Arranger .
SKU: MN.50-1137
UPC: 688670511370. English.
A lilting choral accompaniment evokes pizzicato sounds surrounding the tenor melody in verse one. The other verses are set more conventionally but still reflect the goals of our Christmas with The Singers series: that the audience will enjoy the famliarity of the carol but be enchanted by the creativity of the arrangement. Challenging, but masterful in how Matthew Culloton treats the ensemble as a self-sufficient choral idiom. Duration 2:30.
SKU: GI.G-6257
UPC: 785147625704. English. Text by Thomas Pestel.
“O Sing the Glories†is an original work by Alice Parker, who is known primarily for her masterful arrangements. A festive, unaccompanied hymn-anthem that begins each stanza with an ascending scale incorporating a phrygianesque raised fourth. The seven brief stanzas are SATB, TB, SA, SATB, SAT, a quieter SATBB (with layered entrances from the lower voices upward), and a resounding final stanza with the tune in the tenor, while all other voices freely decorate around the melody.
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