SKU: SU.80401050
SATB Chorus Published by: Paulus Publications (SP293) 1. The Angels and the Shepherds (with Flute and Handbells or Piano) 2. Angels We Have Heard on High (with Organ) 3. Bring a Torch, Jeanette, Isabella (with Guitar) 4. The First Nowell (a cappella) 5. Hark! The Hearld Angels Sing (a cappella) 6. Joy to the World (a cappella) 7. Little Town of Bethlehem (with Harp & Oboe) 8. O, Come, All Ye Faithful (a cappella) 9. Wassail Song (a cappella) Minimum order quantity: 8 copies. To order quantities fewer than 8.
SKU: MN.50-6126
UPC: 688670561269. English. Micah 6:6-8; Matthew 6:33.
This is the kind of piece that might sound more difficult than it is. Michael Trotta employs an economy of choral writing: The SATB parts are sometimes unison, move often by steps, are repeated in the outer sections, and have only occasional divisi in the treble voices. The text is an innovative combination of Old and New Testament passages, put in a question-and-answer format with the question sung in a subdued matter and the answer intensifying in range, complexity, and volume. The piano and flute parts flow more quickly than the voices—save for a short, contrasting middle section—and provide an underlying momentum to this expressive work. Duration: 4:30.
SKU: GI.G-527
Text by Noel Goemanne.
Conversational Solfege is a dynamic and captivating first-through-eighth grade general music program that enables students to become independent musical thinkers with the help of a rich variety of folk and classical music. It is organized around increasingly complex rhythmic and melodic content. Each new rhythmic or melodic element is discovered first in patterns and then reinforced with folk songs, rhymes, and classical examples. Central to the Conversational Solfege program is the use of music harvested from our rich and diverse American musical history. This variety of music serves as a common thread that spans and bonds generations. Each book contains varied song material so the teacher can select appropriate music for the lower grades or older beginners. This 12-step teaching method carefully brings students from readiness to, ultimately, creating music through inner hearing and then transferring their musical thoughts into notation—in other words, to compose music! This CD provides 14 classical selections referenced in Conversational Solfege Level 2. These examples provide reinforcement for emerging literacy skills, and they also enable students to listen to wonderful classical examples with greater attention. Listening to classical music can be challenging for elementary students. With nothing to hang onto, the many notes can be too much to comprehend and attention soon wanes. But with minimal literacy skills, students will have enough musical information to discover that classical music can be accessible and appealing. In the included booklet, timings are given for each selection and the portions of the music that are readable by the students are reproduced. Whether using this CD with Conversational Solfege instructional materials or simply as a resource of classical music with simple to read rhythmic and melodic material, both teachers and students will delight in discovering this wonderful music through literacy. This series is a complete, innovative approach to teaching music that will stay fresh year after year. CONTENTS Conversational Solfege Unit 5: 1. Antonin Dvorak • New World Theme Conversational Solfege Unit 6: 2. Franz Joseph Haydn • Theme from  the Surprise Symphony, 3. Camille Saint-Sans • Turtles from Carnival of the Animals, 4. Ludwig van Beethoven • Symphony No. 7, 2nd Movement, 5. Josef Strauss • Feuerfest (Fireproof) Polka, Op. 269 Conversational Solfege Unit 7: 6. Jacques Offenbach • Can-Can, 7. Dmitry Kabalevsky • Pantomime from the Comedians, 8. Edvard Grieg • In the Hall of the Mountain King Conversational Solfege Unit 9 and Unit 11: 9. Jacques Offenbach • Barcarolle Conversational Solfege Unit 10: 10. Edvard Grieg • Morning Conversational Solfege Unit 11: 11. Ottorino Respighi • Ground in G Conversational Solfege Unit 12: 12. Johann Sebastian Bach • Jesu, Joy of Men's Desiring, 13. Jean Sibelius • Finlandia Conversational Solfege Unit 13: 14. Ludwig Van Beethoven • Symphony No. 6, Movement 5 John M. Feierabend is Professor Emeritus and former Director of Music Education at The Hartt School of Music, University of Hartford, Connecticut.
SKU: BA.BA05624-05
ISBN 9790006472291. 30 x 23 cm inches. Key: F major.
The period over which the Mass in F major was written can be followed step by step by virtue of Schubert himself having written dates in the autograph score (Schubert wrote the work with a few interruptions between May and July 1814), and what prompted him to compose it is only too well known - the centenary of the Lichtental parish church -, but the day it was first performed was not clear for quite some time.
SKU: SU.91480570
Text: Angier Brock.
SATB Chorus, Organ Duration: 7' Text: Angier Brock Composed: 2010 Published by: Subito Music Publishing YouTube: Ms. Brock’s moving poem is lyrical throughout. Even in its beautiful originality, the poem invokes The Book of Common Prayer and biblical scripture (the latter through references to dust and breath from Genesis 2 to the final line of the poem invoking the opening of Psalm 62). Ms. Brock’s poetry is also filled with wonderful twists on traditional texts (such as in the creative and reverse naming of the Trinity in speaking of Inventing Wind, Generous Christ, and Luminous God). Musically, the main melodic material of the piece is immediately heard on a solo organ color accompanied by organ strings over a recurring pedal pulse on the pitch C. The chorus soon enters with the first stanza of the text. As this stanza unfolds, the harmony starts to gradually change as the pulsing pedal rhythm begins to move upward by step. An organ interlude, reflective of the opening introduction, soon emerges (though now over a C-sharp recurring pedal pulse), and leads to a similar choral setting as found in stanza one. As the poem’s second stanza moves forward, it eventually folds into the more harmonically rich stanza three. A fast, dance-like section evolves at Inventing Wind, what a lively dance your energy creates! eventually bringing the work to its climax point. The spirit of dance soon subsides and leads to a quiet and gentle close on the words …for you alone my soul in silence waits. Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.
SKU: SU.96010060
Instrumentation: SATB Chorus, & Piano Duration: 3:30' 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.TAs 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 Mass that 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 GianonoNote: Taxi, Noise, and Time may be performed separately.
SKU: 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.
SKU: SU.96010062
Instrumentation: SATB Chorus, & Piano Duration: 4' 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.TAs 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 Mass that 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 GianonoNote: Taxi, Noise, and Time may be performed separately.
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: GI.G-7591
UPC: 785147759102. English. Text Source: 1 John 3:18–19, adapt. PN. Scripture: 1 John 3:18–19.
An exuberant, 5/8 setting of a simple message from the first letter of John. Brief passages for the organ overlap with choral phrases that move primarily in step-wise motion. This short piece has the added benefit of exercising the intonation of your singers through unison and dissonance—without having to invest hours of precious rehearsal time!
SKU: MN.50-6027
UPC: 688670560279.
Though related to the familiar Johann Crger melody, this is a freely composed anthem on the Franck/Winkworth text. The second verse gives a solo line to each choral part, capturing the sweetness, yearning, and hope the text implies. The final verse portrays the sacred intimacy of Communion and restates the soaring melody from the first verse one-half step higher. Median ranges are used.
SKU: HL.540122
UPC: 196288075714. 6.75x10.5x0.029 inches.
It is a child's poem to see the first star and make a wish that has been set to music. Most importantly, the music does not get in the way. The youthfulness and hope persists. Best of all is a place when singers can step forward and state their wish, bringing the piece into more than a song - an experience. Uniquely wonderful.
SKU: GI.G-018040
What has made this Mass rise to the top in popularity in parishes across the English-speaking world? Its adaptability. From parishes with keyboard and/or guitar and cantor to cathedrals with a large SATB choir and multiple instruments (organ, brass quartet, timpani, handbells), Mass of Wisdom has proven itself as a “Mass for the masses.†Its step-wise melodic patterns make it easy to learn without sounding musically trite in any way. Music directors agree that the through-composed Gloria is one of the most finely crafted of all the new musical settings of the prayer. That fine crafting extends to all components of this Mass, especially the acclamations sung during the Eucharistic Prayer. The multi-layered Hosannas in the Sanctus will delight the members of the choir as well as the singing assembly. This is a Mass setting that simply soars. It is a perfect setting for Ordinary Time, but music directors tell us that the Christmas and Easter seasons are made more glorious and joyful when this setting is sung, especially when the additional instrumentation is added. Dioceses and parishes that employed Mass of Wisdom as the first setting during the implementation of the new translation have found themselves returning to it time and time again. It truly has become part of the “Catholic musical DNA†across the United States and beyond.
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