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.
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: BT.MUSM570200641
English.
Jesus Reassures His Mother is a setting of medieval lyric poetry written anonymously in the 14th century. The poet recounts a vision of the young Mary rocking the infant Christ to sleep. The child requests his mother to sing a lullaby but, alas, knowing her child’s fate she is too sad to sing. Jesus tells her that all mothers worry about their children’s futures and insists that she should sing nevertheless. Mary recounts the visit of Gabriel and the events of Christ’s birth but reflects how sad it is to have delivered a child to such a fate. Jesus reassures his mother that he will be with his father in heaven where Mary will come to join Him at the end of time, there to livein eternal bliss. At this point Mary is persuaded by and echoes her child’s reassuring words, and she is joined in this by the choir (now representing us all). The vision fades away in the voice of the narrator whose loneliness and longing return. We learn that it is Christmas Day. This setting grows from the visionary mystical world inhabited by Julian of Norwich whose Revelations of Divine Love provided the inspiration for a work Anne Boyd composed in 1994. The medium has been expanded from the Song Company’s six solo voices used in the Revelations to the double motet choir of the Sydney Philharmonia who commissioned this work for their 75th anniversary. The parts of the infant Jesus, Mary, the Narrator and the angel Gabriel are taken by choir soloists: soprano, alto, tenor and bass. The work is situated in the context of Boyd ’s personal musical aesthetic which she describes as the intersection of Christian Love with Buddhist silence.
SKU: LO.10-5543L
ISBN 9780787772475.
Larry Shackley combines two old favorites: the spiritual I'm a-Rolling and the Gospel song This World Is Not My Home for a rousing reminder that, although a believer's road may be rocky, there is a glorious reward at its end. The optional rhythm section parts will add an extra spark to the choir's performance.
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: PR.342402020
ISBN 9781598064995. UPC: 680160616084. 8.5 x 11 inches. English. Text: William Shakespeare; Aurelius Prudentius Clemens; Aeschylus. Aurelius Clemens, William Shakespeare, Aeschylus. Texts from Aurelius Prudentius Clemens, Aeschylus, and William Shakespeare.
When Tim Sharp, Executive Director of the ACDA, offered Stucky the Brock Memorial Commission, it was decided that the text would commemorate the 50th anniversary of the assassination of John F. Kennedy, since the annual convention would take place in Dallas of that year. To that end, Stucky chose four different but pertinent texts to honor the occasion, although never referencing JFK by name. Take Him, Earth was premiered at the ACDA convention in March, 2013. Originally scored for chorus and chamber ensemble of nine instruments (available on a rental basis), Take Him, Earth is presented here in piano reduction. For advanced choirs. Duration: 13'.When Tim Sharp, Executive Director of the American Choral Directors Association, very kindlyoffered me the Raymond W. Brock Memorial Commission for 2013, he suggested that because thepremiere would take place at the national conference in Dallas in the 50th year since the assassinationof John F. Kennedy in that city, the text might refer in some way to that grim anniversary. Hesuggested, too, that I consider using a chamber ensemble or chamber orchestra to accompany thechorus.I took these suggestions to heart, but at the same time I wanted to write something universal enoughto be appropriate on other occasions, in other settings. Thus the score is dedicated to PresidentKennedy’s memory, but otherwise he is never referred to by name. Instead, I assembled a group oftexts that are associated with him in some way, but that also stand alone as a more general eulogy.As a refrain, there are a few lines from the early Christian burial hymn that begins “Take him,Earth, for cherishing†— lines that were earlier set to music by Herbert Howells in his classic motetcommissioned for Kennedy’s memorial service in 1963. The lines of Aeschylus “Drop, drop — inour sleep, upon the heart sorrow falls†from Agamemnon were quoted by Robert F. Kennedy uponthe death of Martin Luther King in April 1968. The celebrated “When he shall die, cut him out inlittle stars†from Act III of Shakespeare’s Romeo and Juliet was cited by RFK a few months after hisbrother’s murder.
SKU: MN.CH-1184
Scripture: Jeremiah 12.
Phrases from Jeremiah 12 were selected for this choral setting because of the emphatically joyful celebration and expectation contained therein. Robert Shaw, shortly before his death, was quoted in The Choral Journal as saying that if he were to continue to compose, he would use more of the characteristics of the Jazz/swing genre. The composer states: This was right down my alley. While I am not captured by much of the current folk and rock type music being played in churches, I nevertheless like the themes of joy which are often found in it. Theological stances in lyrics are not meaningful to me. I am drawn by the human, emotional reaction to the sense of the Divine Being's presence in the writer's life. Sing for Joy! is an attempt to capture that reaction. Duration 2:12.
SKU: ST.EM33
ISBN 9790220200076.
This interesting collection looks back to the 'Winter' of Byrd and Mundy in the conservative settings of such verse as My prime of youth (see EM35B); but it is also a contemporary record, with two madrigals celebrating the failure of Guy Fawkes' Gunpowder Plot against James I. CONTENTS Behold now praise the Lord (S (or A) S (or A) TBB) But yet it seems (SSAB) Can I abide this prancing? (SSATB) Earth's but a point (SSATB) For Lust is frail (SSATB) He only can behold (SSAB) Her eyes like angels (SSATB) I can no more but hope (SSAB) In hope a King (SSAB) My prime of youth (SSAB) O heavy heart (SSAB) O Lord bow down thine ear (SATTB) Rest with yourselves (SSATB) Shall I abide this jesting (SSATB) The man upright of life (SSAB) The sacred choir of angels (SATBB) The Spring is past (SSAB) The stately stag (SSATB) The sturdy rock (SSATB) There is a garden in her face (SSATB) Those cherries fairly do enclose (SSATB) Though Wit bids Will (SSAB) What if a day (SSATB) Who loves this life (SSAB).
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