SKU: BT.MUSM570368679
Isthmus denotes a narrow strip of land with sea on either side, forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus, my birthplace, and in the USA, my recently adopted homeland. Having lived in a small, partitioned island for my formative years and in England for eleven years, water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border, a violent and absolute interruption of a continuum. While in the USA, or indeed in a now connected Europe, it is possible to travel on land for days without having to encounter a border, in the countries where I lived for most of my life, that was not possible. As an artist, this notion of establishing boundaries and consciously trying to break them is very close to me, as my music deals both with modernity but also with tradition and, similarly, with metaphor and reality. As a Cypriot, the sea, the world of antiquity, the mysteries of the oracles, the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus, different layers of history are frequently superimposed on a single building that might still preserve its Roman, Byzantine, Venetian and Ottoman features in its layers of stone and architecture. Similarly, ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus, therefore, can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus, in this short piece, I connect these experiences with the purpose of creating a distinct and unique sonic context, connecting technology and tradition, the pastoral with the urban, the musical with the extra-musical and the abstract with the concrete. For example, the choir does not always sing in the traditional sense, but the singers imitate various natural sounds, such as water, air, crickets or birds, to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York, communicated within clearly defined, singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic, articulating an imaginary language, but also literal, with a setting of the poem, “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery, creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich, without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers is sought with 4 additional soloists (2 Sopranos and 2 Altos). Each singer must have their own wireless speaker, secured either in the music folder or as a strap inside their shirts. All sounds must match in volume the sound from the speakers, creating one unified timbre. The speakers should not be noticeable to the public. The four soloists are placed offstage at the beginning of the work. From 1:35’ onwards they enter the hall and take their positions, ideally at the four corners of the hall. If the hall is too large, the singers can find alternate positions, but these should always be antiphonal. The four soloists sing predominantly in the “kulning” style and the antiphonal aspect is very important to the work. There are two sound files for each section (SATB) that are triggered by each singer’s mobile device. The first occurs at the start of the piece, and the second, about a minute before the end. The sound files are able to be purchased separately, on CD, or are available directly from UYMP.
SKU: WD.080689676024
UPC: 080689676024.
This smorgasbord of favorites serves up some sing-able settings fromA trusted arranger Marty Parks.A Designed primarily for senior choirs, Well-Seasoned Praise is also appropriate for small choirs or large choirs with limited rehearsal time.A A Two versions of optional narrationA are included:A one for use prior to each song as a simple spoken set-up in worship when the songs are used separately, or another version for using the songs as a complete musical - perfect as a spring worship concert, a dinner on the grounds homecoming (recipes included!) or other similar events.A A bonus 3-song patriotic musical is also included making this book a resource you'll use time and again! Features songs perfect for small choirs, senior choirs and large choirs with limited rehearsal time. Includes mini patriotic musical. Perfect for summer camp meeting style events. Features recipes.
SKU: WD.080689756726
UPC: 080689756726.
SKU: CF.CM9713
ISBN 9781491160084. UPC: 680160918683. Key: G major. English. Robert Bode. Original.
The piece was commissioned by Kevin Scully, Director of Creative Arts, for the Port Washington School District, New York, with special thanks to the Ed Foundation and HEARTS for their unwavering support. Performance Notes This lighthearted piece is a great way to bring multiple choirs together in harmony. It may be sung by a single SATB choir, though it is intended to be performed by multiple choirs of varying age levels. Song of the Sound was written for an all-district feeder festival piece for combined elementary, middle level, and high school choirs. Here is a suggested outline for combining multiple choirs: Rehearsal Letters A to B: Elementary choir only (two-part, Soprano, Alto) Rehearsal Letter B: add Middle Level Soprano, Alto with Elementary choir Rehearsal Letter C: Middle Level choir only Rehearsal Letter D: High School choir only Rehearsal Letter E to the end: Everyone! Song of the Sound: Running on the beach, digging in the sand, Seaweed in my toes, bucket in my hand. When I'm at the shore, way above the rest, These are all the things that I love the best. Skipping like a stone on the water, diving deep in the silvery foam, Swimming far where the land cannot hold us, where the lighthouse calls us home. Flying free above the marshes, soaring high above the sea, Where the tern and cormorant and plover call to lands we cannot see.Come let us go to the water, let us go to the singing shore: Where the gentle breezes whisper and the mighty breakers roar. We will look to the shining ocean, to the East, where the new day dawned: We will sing a song of the edge of the world and the waiting sky beyond. -Poem by Robert Bode (Hope Springs Retreat Center, Ohio. August 2019) About the Composer: Jacob Narverud (b. 1986) is an American composer, arranger, and conductor. Dr. Narverud is an active guest Conductor/Clinician for Choral Festivals and All-State Choirs across the country and is the Founder/Artistic Director of the Tallgrass Chamber Choir, a professional ensemble comprised of musicians from across the Great Plains. As a sought-after composer, Narverud has been commissioned to write new works for a variety of choral ensembles and organizations. Many of his Editors' Choirs compositions are publisher Best Sellers and are performed worldwide by choirs of all levels. Website: www.jnarverud.com YouTube & Spotify: @jacobnarverud.The piece was commissioned by Kevin Scully, Director of Creative Arts, for the Port Washington School District, New York, with special thanks to the Ed Foundation and HEARTS for their unwavering support.Performance NotesThis lighthearted piece is a great way to bring multiple choirs together in harmony. It may be sung by a single SATB choir, though it is intended to be performed by multiple choirs of varying age levels. Song of the Sound was written for an all-district feeder festival piece for combined elementary, middle level, and high school choirs. Here is a suggested outline for combining multiple choirs:Rehearsal Letters A to B: Elementary choir only (two-part, Soprano, Alto)Rehearsal Letter B: add Middle Level Soprano, Alto with Elementary choirRehearsal Letter C: Middle Level choir onlyRehearsal Letter D: High School choir onlyRehearsal Letter E to the end: Everyone!Song of the Sound:Running on the beach, digging in the sand,Seaweed in my toes, bucket in my hand.When I'm at the shore, way above the rest,These are all the things that I love the best. Skipping like a stone on the water, diving deep in the silvery foam,Swimming far where the land cannot hold us, where the lighthouse calls us home.Flying free above the marshes, soaring high above the sea,Where the tern and cormorant and plover call to lands we cannot see.Come let us go to the water, let us go to the singing shore:Where the gentle breezes whisper and the mighty breakers roar.We will look to the shining ocean, to the East, where the new day dawned:We will sing a song of the edge of the world and the waiting sky beyond.-Poem by Robert Bode (Hope Springs Retreat Center, Ohio. August 2019)About the Composer:Jacob Narverud (b. 1986) is an American composer, arranger, and conductor. Dr. Narverud is an active guest Conductor/Clinician for Choral Festivals and All-State Choirs across the country and is the Founder/Artistic Director of the Tallgrass Chamber Choir, a professional ensemble comprised of musicians from across the Great Plains. As a sought-after composer, Narverud has been commissioned to write new works for a variety of choral ensembles and organizations. Many of his Editors' Choirs compositions are publisher Best Sellers and are performed worldwide by choirs of all levels. Website: www.jnarverud.com YouTube & Spotify: @jacobnarverud.
SKU: HL.1189858
UPC: 196288131632. 6.75x10.5x0.036 inches. Luke 2:8-13, Matthew 2:10.
Full of Christmas spirit, this creative octavo will be a welcome addition to your seasonal programming. The tune dances off the page with unison singing and solid, fulfilling harmonies. Handbells are a stellar addition! Handbell part (3 oct., 23 bells) included.
SKU: CA.2732114
ISBN M-007-25438-4. Latin.
The best-known setting of the Requiem Mass before Mozart's unfinished work is by the celebrated opera composer Niccolo Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli's time as Kapellmeister at the court of the Wurttemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli's composition, the Appendix contains settings by another composer from his circle, Nicola Sala. * The best-known setting of the Requiem Mass before Mozart * First critical edition * Effective choral movements with numerous suspended dissonances and solo/tutti alternation * Scored for small instrumental forces of strings and organ.
SKU: CA.2708215
ISBN 9790007242978. Language: Latin.
Jan Dismas Zelenka's Missa Sancti Josephi occupies a key position among his circa twenty large masses. In this mass, probably composed in 1732 for a feast of a Saint (thus, without a Credo), for the first time the composer took up the operatic style of Johann Adolf Hasse - the latter had first performed his opera Cleofide in Dresden in 1731. Zelenka's unmistakable individuality created a completely independent work with great technical demands which in many details presages the important masses among his late works. The sole source for the first edition of this mass, published here for the first time, is a considerably damaged autograph score which. It is preserved in the Sachsische Landes- und Universitatsbibliothek Dresden. For the Carus edition the experienced Zelenka scholar Wolfgang Horn has expertly reconstructed the missing passages. Score and part available separately - see item CA.2708200.
SKU: HL.456057
UPC: 196288066675. 6.75x10.5x0.036 inches.
Now available for SATB and SAB. Often referred to as the âBlack National Anthem,â young people need to know this song and its importance in American history. Singers of all ages need to sing this song and know this inspirational anthem of faith and hope.
SKU: HL.14043700
ISBN 9781783058617. UPC: 888680736491. 9.0x12.0x0.125 inches. English.
Sing Pop A Cappella is a collection of a cappella arrangements of fantastic pop songs old and new, by renowned teacher, singer and director Gitika Partington . Her arrangements are used by choirs across the UK, and she emphasises that being able to read music is not necessary. Rewarding and enjoyable, Book Three continues her project to bring people together through the power of song. What's great about Gitika Partington 's Sing Pop A Cappella series is how she understands that to make great music or to sing a great song, it's not necessary to be able to sight-read. It may be useful, but she has learned that there are other ways to communicate music, namely through ear training,repetition and gesture. Her arrangements, five of which appear in this book, have enabled youth and community choirs to spring up across the country, making singing truly and universally accessible. Included in this book are wonderfully rich a cappella arrangements of Ain't No Sunshine by Bill Withers, Black Is The Colour Of My True Love's Hair, Rick Astley's Never Gonna Give You Up, Adele's Rolling In The Deep and a huge favourite, Sway (Quien Sera) . Vocal scores for these innovative and enjoyable arrangements are included in standard notation, although Partington recommends learning by ear as something equally beneficial. To aid with this, the accompanying download card includes five tracks of audio for each song. One features a full performance demonstration while the other four each focus on either soprano, alto, tenor or bass. The easy download of these tracks makes learning efficient and fun, as you are able to listen wherever you are. The great thing about a cappella singing is that it can be done anywhere, with limited resources, with members who don't necessarily have any musical training. Partington has created a book that can be used by a cappella choirs who love pop music that sounds great and will thrill audiences. Sing Pop A Cappella is not just a songbook, though, it also includes an extensive.
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