SKU: MN.60-4011
UPC: 688670640117. English.
The hymn tune SHADES MOUNTAIN (K. Lee Scott, 1987) is paired with a 1976 Erik Routley text in this concertato for choir, congregation, brass quintet, organ, and optional timpani and percussion. Six stanzas of the fifteen-measure melody are provided here. Two stanzas are notated in SATB layout. Stanza 2 encourages the congregation to sing in four parts as in a hymnal layout (reproducible congregational pages are provided). Stanza 4 is for the choir alone, a cappella, in four parts. One stanza (1) asks the women of the congregation to sing with the women of the choir, and this concept is repeated with the men (stanza 3). Stanza 5 is unison, stanza 6 is unison with descant. An introduction and interlude before the final stanza round out the piece. A majestic piece, full of wonderful variety and color.
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: HL.428247
UPC: 196288063384. 6.75x10.5x0.045 inches.
A Fab Four Medley with 18 classic songs in just four minutes!? As Brian Wilson once said, “There's no outdoing the Beatles.†Includes: All You Need Is Love, Blackbird, Come Together, Eight Days a Week, Eleanor Rigby, A Hard Day's Night, Here Comes the Sun, Hey Jude, I Want to Hold Your Hand, In My Life, Let It Me, Love Me Do, Penny Lane, Strawberry Fields Forever, We Can Work it Out, With a Little Help from My Friends and Hello, Goodbye.
SKU: AP.47865
UPC: 038081548388. English.
Nobody out there ever gets to define the life I'm meant to lead with this unruly heart of mine. This powerful message of equality from the 2018 musical The Prom resonates strongly. No matter how your choir members interpret the liberating words, they'll continue to sing them long after rehearsal ends. A warm ballad that grows to full choral impact. This title is available in MakeMusic Cloud.
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: 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.
SKU: HL.357348
UPC: 840126943306. 6.75x10.5x0.029 inches. Isaiah 55:12, Luke 19:40.
Swinging with joy, this cheerful original is filled with confidence, boldly sharing a song of praise and devotion. An infectious theme sounds in unison before giving over to urban gospel-styled harmonies that sweep the listener along in celebration. Special vocal effects accompany a soloist in the middle section, building energy to a rollicking recap of the theme. A powerful finale to your service or concert, you won't want to miss this easy-to-learn affirmation of faith!
SKU: HL.14043066
6.75x9.75x0.05 inches.
O that we were there! is a text taken from the Christmas hymn In Dulci Jubilo . It expresses a longing to be present at the Incarnation of Christ, but it also conveys alonging to be out of the world of time and space, and in an eternal world. Composed in 2012, in memory of Blossom Barrow, this SATB version was first performed at the memorial service for Annabel Freyberg, mother of Blossom Barrow, at St Mary Abbots, the parish church of Kensington, on 26th February 2014. The performance was given by the choir of St Mary Abbotsconducted by the Director of Music, Professor Mark Uglow.
SKU: GI.G-6950
UPC: 785147695004. English. Text Source: Psalm 95:1a, 2a, 6–7, 100:3–5, The Grail , alt. Scripture: Psalm 95:1a, 2a, 6–7, Psalm 100:3–5.
Using an amalgam of Psalms 95 and 100, Howard Hughes has created an extraordinary festive processional. In addition to the optional brass quartet and glockenspiel, tubular bells (preferred) or handbells are called for! If you use this piece for your processional, there will be no doubt that the celebration is going to be festive! Optional Brass Quartet and Percussion Percussion part is for Glockenspiel and Tubular Bells or Handbells.
SKU: GI.WW1659
UPC: 785147007364. English. Text Source: 15th-century Carol.
This carol derives from a 15th-century German folk ballad that compares Mary to the unique and special bloom of a linden tree. Singable, with all of the harmonies and counterpoint coming out of the melodic line. A great option for both school and church choirs. Andrew Crane Choral Series.
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