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

(379 Songs and Hymns) Vocal score songbook for SATB choir. Hymnal. With vocal score notation and lyrics. Published by Brentwood-Benson Music Publishing.

Composed by Craig Carnahan. Advanced/Collegiate. Secular. Octavo. Published by Galaxy Music Corporation (EC.1.3437).

By Eric William Barnum. For SATB choir (div.), a cappella. Matthew and Michael Culloton Choral Series. Concert, Choral. Medium. Octavo. Published by Santa Barbara Music Publishing

(Christmas Carols For Mixed Voices) Edited by Graham Buckland. For SATB choir (unaccompanied). Format: a capella songbook. With choral notation, lyrics, performance notes, introductory text and index of first lines. Christmas and holiday. 224 pages. 9x12 inches. Published by Baerenreiter-Ausgaben.

By I. Reed Payne, German Folk Tune And Traditional English Carol. Arranged by Bonnie H. Egbert. Text: Bessie Saunders Spencer, Aaron R. Jackman and Traditional English carol. For SSATB Choir. Christmas. Duration 4:30. Published by Jackman Music Corporation.
Level: Medium.

Composed by Charlie Leftridge. Pavane Choral. Octavo. 12 pages. Pavane Publishing #P1568. Published by Pavane Publishing (HL.232790).

Composed by Alan Bullard (1947-). For SATB choir, a cappella. Mixed Voices. Christmas Carols. Level B-C (easy - moderately difficult). Octavo. 12 pages. Duration 2'. Published by Oxford University Press

Choral SATB Choir and Piano

SKU: CF.CM9740

Composed by Mark Burrows. 16 pages. Duration 4 minutes, 22 seconds. Carl Fischer Music #CM9740. Published by Carl Fischer Music (CF.CM9740).

ISBN 9781491161203. UPC: 680160919789. Key: Bb major. English. Siegfried Sasson.

Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom... These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the Great War finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he was feeling dull-minded and depressed. Perhaps his time in the trenches was still too recent. One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to.   The poem itself has so much rhythm and musicality. The appearance of suddenly in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush. There are expressive opportunities with so many of the poet's bold choices of action words - burst, winging, and shaken. Then there's alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance. Suddenly/singing (measures 6-7 and 10-11) Find/freedom (measure 21-22) Winging/wildly (measure 23) Setting/sun (measures 47-49) Was/wordless (measures 65-75) Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text.   And just as O is set apart in the poem by punctuation, I wanted the musical setting - in measure 57 - to honor that feeling of wonder - ...O, but Everyone Was a bird; and the song was wordless; the singing will Never be done. Friends, there is so much good ahead, so much to be excited about. May the singing never be done.
Everyone suddenly burst out singingAnd I was filled with such delightAs prisoned birds must find in freedom…These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the “Great War” finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he “was feeling dull-minded and depressed.” Perhaps his time in the trenches was still too recent.One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality.The appearance of “suddenly” in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush.There are expressive opportunities with so many of the poet’s bold choices of action words – burst, winging, and shaken.Then there’s alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance.Suddenly/singing (measures 6-7 and 10-11)Find/freedom (measure 21-22)Winging/wildly (measure 23)Setting/sun (measures 47-49)Was/wordless (measures 65-75)Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as “O” is set apart in the poem by punctuation, I wanted the musical setting – in measure 57 - to honor that feeling of wonder –…O, but EveryoneWas a bird; and the song was wordless; the singing willNever be done. Friends, there is so much good ahead, so much to be excited about.May the singing never be done.

Composed by Darmon Meader. Sws. Octavo. 20 pages. Duration 4 minutes, 7 seconds. Carl Fischer Music #CM9649. Published by Carl Fischer Music

Composed by Riika Pietilainenen-Caffrey. Edited by Lawrence Kaptein. Octavo. Alliance Music Publications #AMP 1072. Published by Alliance Music Publications

SATB choir; orchestra

SKU: HP.A686O

Composed by Natalie Sleeth. Piano Accompaniment with Optional Orchestra. Hope's All-Time Best Sellers Series. Easter Sunday, Hope, Sacred. Set of Instrumental Parts. Hope Publishing Company #A686O. Published by Hope Publishing Company (HP.A686O).

UPC: 763628249311. 1 Corinthians 15:51 Eccesliastes 3:1-8, Genesis 1:14, John 12:24, Psalms 1:3, Psalms 30:5.

Original anthem
Natalie Sleeth's original SATB choral setting is also known as In the Bulb There Is a Flower. The provocative text relates both to our present life and our hope of eternal life, as expressed in I Corinthians 15:35-58. This fresh setting emphasizes the resurrected life as it builds to the final victory stanza with driving rhythm and a change to common meter (4/4). This arrangement is also available in a medium-voice vocal solo in the key of F.

Please note that the Conductor's Score in the Orchestraion is hand written and marked. For this reason, the Orchestration is available at a reduced price of $30 dollars.

SATB choir, divisi, a cappella (SATB) - easy

SKU: OU.9780193523845

Composed by Mcgrath. Christmas Songs & Carols - Mixed Voices. Vocal score. 8 pages. Duration 2.5'. Oxford University Press #9780193523845. Published by Oxford University Press (OU.9780193523845).

ISBN 9780193523845. 10 x 7 inches.

For SATB (with divisions) unaccompanied McGrath's setting of this well-known fourteenth-century macaronic text is expressive and rich. The melodies have a chant-like quality and the metrical changes create a compelling ebb and flow. This carol is evocative of an ancient choral tradition, while at the same time offering a fresh choral sound.

SATB choir, soprano voice solo, keyboard - Intermediate

SKU: MN.50-1013

Composed by Joan Reppert. Christmas. Octavo. MorningStar Music Publishers #50-1013. Published by MorningStar Music Publishers (MN.50-1013).

UPC: 688670510137.

A tuneful and flexible Christmas anthem for soloist, SATB choir, and keyboard. The solo is manageable by an average voice, although the soloist is predominant in the beginning and end of the piece. The solo range is suitable for a mezzo soprano/second tenor (highest note: E) except the final note of the piece, which could be covered by choir sopranos (high F.) The men sing the melody in unison on one verse. There is a contrasting minor section sung by the full choir in the middle, then a return to the opening melody sung by the soloist. Often the choir singsoo orah to accompany. At times the keyboard supports, at times it doubles.