(Incorporating Shepherd, Shake off Your Drowsy Sleep; Angels o'er the Fields). Arranged by Vicki Tucker Courtney. For SATB choir, Keyboard. Octavo. 12 pages. Published by Carl Fischer

Composed by Mark Cabaniss, Pat Luboff, and Pete Luboff. Arranged by Alan Billingsley. Choir Secular. SATB choir. Choral Octavo. Choral Designs. Graduation; Secular. 12 pages. Published by Alfred Music

STB vocal soli, SATB choir, 3 recorders, 2 oboes, cornet, 3 trombones, 2 violins, viola, basso continuo

SKU: CA.3102519

Cantata for the 14th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Es ist nichts Gesundes an meinem Leibe. Sacred vocal music, Cantatas, Trinity. Set of Orchestra Parts. Composed 1723. BWV 25. Duration 16 minutes. Carus Verlag #CV 31.025/19. Published by Carus Verlag (CA.3102519).

ISBN 9790007136031. Language: German/English.

This cantata for the 14th Sunday after Trinity was composed in August 1723 and is from Bach's first cycle of cantatas for Leipzig. It is distinguished by its unique opening chorus, which is a four-part choral fugue with independent instrumental parts in which Bach has interwoven a four-part chorale (Herzlich tut mich verlangen) played by the winds. This is an artistic combination which expands to as many as ten real parts. The second aria Offne meinen schlechten Liedern, is distinguished by an unusual instrumental coloring in which the soprano and the strings, supported by the oboes, are joined by 3 recorders. The edition is the product of a new evaluation of the source situation (see Bach-Jahrbuch 2006). Score and parts available separately - see item CA.3102500.

By Lloyd Larson and Lynn Shaw Bailey. For Choral (SATB). Glory Sound. Choral. 8 pages. GlorySound #A8672. Published by GlorySound

Composed by John F. Hudson. For SATB choir divisi, soprano voice solo, piano accompaniment. Evoking Sound Series. Music Education. Medum. Octavo. 16 pages. Published by GIA Publications

Choral SATB choir

SKU: CF.CM9700

Composed by Hungarian Folk. Arranged by Stacy Garrop. 20 pages. Duration 4:44. Carl Fischer Music #CM9700. Published by Carl Fischer Music (CF.CM9700).

ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.

In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).­­.

By Michael; Harris Mahler. For Voices: SATB. Instruments: C instrument, string quartet (2 violins, viola, cello) (instruments optional). Keyboard accompaniment. Christmas Sacred. Level: easy. 7 pages. Published by GIA Publications.

By Katy Perry, Mikkel Eriksen, Tor Erik Hermansen, Sandy Wihelm, and Ester Dean. Arranged by Ben Bram. Choir Secular. SATB choir. Choral Octavo. Pop Choral. 16 pages. Published by Alfred Music

Choir Secular (SATB choir)

SKU: AP.47676

(A Song of Winter). Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular; Winter. Choral Octavo. 16 pages. Alfred Music #00-47676. Published by Alfred Music (AP.47676).

UPC: 038081543697. English. Adam Podd; Matt Podd.

The shimmering winter-themed text and lilting 6/8 rhythms dance right off the page in this contemporary choral like none other. Accessible yet unexpected harmonies provide warmth, and a full dynamic range takes us on a journey from a single voice to full ensemble singing. The breathtaking add-on section weaves three independent lines into one radiant tapestry of sound and suggests that the light we search for may be found within.

About Alfred Choral Designs

The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

SATB choir, recorder, mesoamerican flute or winds, percussion

SKU: GI.G-012713

Thus It Comes. Composed by Tomas Pascual. Arranged by Christopher Moroney. Advent, Christmastide, Advent 4 B. Sacred. Octavo. 32 pages. GIA Publications #012713. Published by GIA Publications (GI.G-012713).

UPC: 641151127132.

We offer this intriguing Christmas piece from the Renaissance period, arranged and edited by Christopher Moroney. This setting attempts to simulate how a musical performance may have sounded during the colonial epoch in Mesoamerica during the fifteenth and sixteenth centuries. Extensive historical notes are found in the octavo regarding text, composer, transcription, and instrumentation. The choral parts are not difficult and a phonetic rendering makes the pronunciation quite easy to learn. Instrumental parts are provided for recorders, flutes, and sundry percussion instruments. Listen to this unique track and consider adding a new sound to your Christmas celebrations!