By Victor C Johnson. For 3-part mixed choir (SAB) and piano. Concert, Spiritual, Multicultural. Octavo. Published by Heritage Music Press. (15/2253H)

By Harry Styles. Piano/Vocal/Guitar Artist Songbook. Pop. Softcover Audio Online. 88 pages. Published by Hal Leonard

Composed by Zach Garcia. This edition: 2 copies required. Duet or Duo; Piano Duo (2 Pianos, 4 Hands); Solo Small Ensembles. Recital. Sheet. 12 pages. Alfred Music #00- 47855. Published by Alfred Music

Violin & Viola

SKU: SU.29120130

For Violin & Viola. Composed by Todd Mason. Strings, Violin, Strings, Viola. Score & Parts. Subito Music Corporation #29120130. Published by Subito Music Corporation (SU.29120130).

Premiered at Brigham Young University and comissioned by Duo Novae, Los Angeles composer Todd Mason wrote his Duo for Violin & Viola in 2023. Mason says: The Duo was a chance to explore the wide range of textures, harmonic worlds and emotions of just one violin & one viola. This piece spans many energy states with a kind of Bartókian chromaticism mixed with a bit of an East Indian feel in some sections. The work is in one-movement and keeps driving forward from the first notes to the end! This piece was recently admitted into the prestigious William Primrose International Archive at Brigham Young University.Violin & Viola Duration: 8' Composed: 2023 Published by: Todd Mason.

Choir Secular (Women's Choir)

SKU: AP.48856

Composed by Carl Smith, Gary Jackson, and Raynard Miner. Arranged by Kirby Shaw. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Classic Pop; Radio; Secular. Choral Octavo. 12 pages. Alfred Music #00-48856. Published by Alfred Music (AP.48856).

UPC: 038081561806. English.

A bona fide hit that ranks among Rolling Stone's 500 Greatest Songs of All Time, this undeniably happy tune is also in the GRAMMY Hall of Fame. Having been recorded by popular artists in nearly every decade since the 1960s, the song truly stands the test of time. A cappella groups will love Kirby Shaw's accessible treatment, with driving rhythms and bright choral sonorities to spare.

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.

Fake Book (Includes melody line and chords). Size 9x12 inches. 384 pages. Published by Hal Leonard.

(B-flat Edition). Composed by Various. For C Instruments. Fake Book. Softcover. 440 pages. Published by Hal Leonard

Bb Edition. By Various. Fake Book (Includes melody line and chords). Size 8.5x11 inches. 464 pages. Published by Hal Leonard.

E Flat Edition. By Various. Fake Book (Includes melody line and chords). Softcover. Size 9x11 inches. 464 pages. Published by Hal Leonard.

C Edition. By Various. Fake Book (Includes melody line and chords). 368 pages. Published by Hal Leonard.

Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2

SKU: CF.CM9634

Composed by Traditional Christmas Spiritual. Arranged by Ken Berg. Sws. Performance Score. 16 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CM9634. Published by Carl Fischer Music (CF.CM9634).

ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual.

Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part” henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio part”, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position” cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio” role and actually become a “Men’s Choral Ensemble”. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vamp”. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp” and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy.

Grade 3

SKU: CL.RWS-1808-01

Composed by Felix Bartholdy Mendelssohn. Arranged by Vernal Pasternak. Concert Band. RWS Symphony Band Series. Extra full score. Composed 2018. Duration 2 minutes, 38 seconds. RWS Music Company #RWS-1808-01. Published by RWS Music Company (CL.RWS-1808-01).

This rock and roll-inspired setting of Hark! The Herald Angels Sing is incredibly creative and sure to liven your holiday concert. Featuring infectious syncopated rhythms, a clarinet section feature at the beginning sets the tone and a driving percussion section keeps the energy moving throughout. This is an arrangement that you will want to keep out for more than just the Christmas season!

Concert Band - Grade 2

SKU: AP.50915

Composed by Jon Bubbett. Concert Band; Performance Music Ensemble; Single Titles. Belwin Young Band. Rock. Score and Part(s). Duration 2:55. Belwin Music #00-50915. Published by Belwin Music (AP.50915).

ISBN 9781470666965. UPC: 038081585574. English.

Maxima, by Jon Bubbett, is a high-energy piece with a funky groove to keep your students engaged and the audience tapping their feet. This is a perfect up-tempo change of pace for any concert, with a strong rhythmic flavor that keeps on driving! (2:55).