By Old English Melody. Arranged by Robert P. Manookin. For SATB choir, Organ. Christmas. Medium. Octavo. Duration 6:00. Published by Jackman Music Corporation

Composed by English Ballad. Arranged by Russell L. Robinson. Fold. Octavo. 8 pages. Duration 2 minutes, 47 seconds. Carl Fischer Music #CM9657. Published by Carl Fischer Music

Choir Secular (SATB choir)

SKU: AP.46932

Arranged by Greg Gilpin. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Folk; Secular; Traditional. Choral Octavo. 16 pages. Alfred Music #00-46932. Published by Alfred Music (AP.46932).

UPC: 038081535814. English. Traditional American Folk Song.

This extraordinary arrangement of the traditional American folk song belongs in every choral library! An urgent round and around vocal motive serves as a rhythmic engine throughout the entire piece as the modal melody gets playfully tossed from voice to voice in a variety of styles, but always with class, creativity, and good humor.

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.

Composed by Johnny Marks. Arranged by Eric Van Cleave. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Christmas; Pop; Secular; TV. Choral Octavo. 8 pages. Alfred Music #00-48490. Published by Alfred Music

By Edward Perronet. Arranged by Marty Parks. For SATB choir w/optional Irish fiddle (or flute/penny whistle). Choral octavo. Published by Hope Publishing Company

Choral SATB choir, piano

SKU: CF.CM9608

Composed by Jamey Ray. Fold. Performance. 12 pages. Duration 3 minutes, 33 seconds. Carl Fischer Music #CM9608. Published by Carl Fischer Music (CF.CM9608).

ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892).

The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.  19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep” in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark” in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,” which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.”Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray.

Choir (SATB choir)

SKU: AP.48838

By Ruth Morris Gray and William C. Dix. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Christmas; Sacred. Choral Octavo. 12 pages. Alfred Music #00-48838. Published by Alfred Music (AP.48838).

UPC: 038081561622. English. Words adapted from As With Gladness Men of Old by William C. Dix; music; additional words; by Ruth Morris Gray.

This sweet setting is an adaptation of the As with Gladness Men of Old text about those who followed the star. Concise vocal ranges, sensible phrasing, and a naturally flowing poetic meter make for manageable preparation during the busiest time of year. Ruth's ability to construct a lyrical melody, memorable piano motives, and logical voice parts shines clearly through. Several satisfying suspensions and a momentary tonal shift provide a warm harmonic backdrop. Be sure to observe the expressive dynamic and tempo markings to shape the most musical performance. A lovely selection for both concert and worship.

SATB choir, cantor, assembly, organ accompaniment, brass quartet

SKU: GI.G-008828

Composed by Alan Hommerding. Advent, Advent 4 B, Advent 2 A, Annunciation, Immaculate Conception. Tune Name: Mundo Corde. Sacred. Octavo. 16 pages. GIA Publications #008828. Published by GIA Publications (GI.G-008828).

UPC: 641151088280. English, Latin.

Alan's rich text speaks of Mary, the chosen one, faithful disciple, blessed among women, and pure in heart. Alan also composed this compelling musical setting for a recent commission. Thy lyrical melody is supported by organ and brass. In the absence of the brass instruments the accessible organ accompaniment in verse 1 may be used for the entire piece. Verse 2 works wonderfully well as the choir sings the Latin words Beati mundo corde. (Blessed are pure in heart) while the assembly and cantor continue singing the meoldy. Verses 3 and 4 feature brass quartet accompaniment as the melody is sung in unison. The final verse utilizes the choir singing the mantra-like phrase Ave Beata. (Hail, Blessed One) beneath the cantor and assembly melody. Assemblies will enjoy playing their essential role in the full version of By God Kept Pure.

STB vocal soli, SATB choir, [bassoon], 2 violins, 2 violas, basso continuo - Level 3

SKU: CA.3106105

Cantata for the 1st Sunday in Advent. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal; Hymns by Martin Luther: Nun komm, der Heiden Heiland. German title: Nun Komm, Der Heiden Heiland I Rev. Sacred vocal music, Cantatas, Advent. Choral Score. Composed 1714. BWV 61. 4 pages. Duration 23 minutes. Carus Verlag #CV 31.061/05. Published by Carus Verlag (CA.3106105).

ISBN 9790007043483. Key: A minor / g major. Language: German/English. Text: Neumeister, Erdmann. Text: Erdmann Neumeister.

The opening chorus uses the first verse of the old plainsong hymn Veni redemptor gentium, which in the paraphrase by Martin Luther has become the most important Advent hymn of the Protestant Church. Bach introduces the traditional plainsong melody in the form of a French overture, here symbolizing the entry of the King of Heaven, thus creating an unusual and splendid opening piece for the beginning of the church year. Score available separately - see item CA.3106100.

Composed by John Rutter (1945-). Mixed Voices. The Cambridge Singers Hymn Series. Vocal score. 8 pages. Duration 4'. Published by Oxford University Press (OU.9780193416406).

SATB choir, cantor, assembly, keyboard accompaniment - Beginning

SKU: GI.G-008057

Composed by John Angotti and Paul Benoit. Arranged by Ed Bolduc. Holy Thursday, Easter 5 C, Easter 6 B. Tune Name: Christian Love. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #008057. Published by GIA Publications (GI.G-008057).

UPC: 641151080574. English. Text Source: Ubi Caritas et Amor. Text by Omer Westendorf.

John has composed an inspired refrain and bridge to the verses of the well-known WLP classic “Where Charity and Love Prevail” by Dom Paul Benoit. Here John adds his distinctive touch with a slight shift of tonality from the E-minor stanzas to newly written melody, harmony, and text in G major. The refrain’s message speaks of hope, peace, love, and mercy when love prevails. The bridge section returns us to the final verses and refrain.

Orchestra STB vocal soli, SATB choir, [bassoon], 2 violins, 2 violas, basso continuo - Level 3

SKU: CA.3106107

Cantata for the 1st Sunday in Advent. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal; Hymns by Martin Luther: Nun komm, der Heiden Heiland. German title: Nun Komm, Der Heiden Heiland I Rev. Sacred vocal music, Cantatas, Advent. Study score. Composed 1714. BWV 61. 24 pages. Duration 23 minutes. Carus Verlag #CV 31.061/07. Published by Carus Verlag (CA.3106107).

ISBN 9790007043490. Key: A minor / g major. Language: German/English. Text: Neumeister, Erdmann. Text: Erdmann Neumeister.

The opening chorus uses the first verse of the old plainsong hymn Veni redemptor gentium, which in the paraphrase by Martin Luther has become the most important Advent hymn of the Protestant Church. Bach introduces the traditional plainsong melody in the form of a French overture, here symbolizing the entry of the King of Heaven, thus creating an unusual and splendid opening piece for the beginning of the church year. Score available separately - see item CA.3106100.

SATB chorus - early intermediate

SKU: XC.HRMG1947

Composed by Michael John Trotta. Michael John Trotta. Music Education. Octavo. 16 pages. Hampton Roads Music Group LLC #HRMG1947. Published by Hampton Roads Music Group LLC (XC.HRMG1947).

UPC: 785147103653. English.

I rise on, upward forever, gathering strength, gaining breath, from the spirit of life. A simple melody gradually unfolds over a gentle piano accompaniment, growing into a full, four-part texture expressing Margaret Fuller's uplifting text. Written with emerging ensembles in mind, the vocal ranges are conservative and the melodies are singable. Part-dominant MP3 practice tracks are available as multi-user bundles (includes all parts for the selected arrangement and allows file sharing within the choir) as well as single-user versions (licensed to the purchaser only, file sharing is prohibited). The accompaniment MP3 download includes both a fully produced version and a piano-only version.  .