By Meghan Trainor. Arranged by Mark A. Brymer. For Choral (SATB). Pop Choral Series. 16 pages. Published by Hal Leonard

((from Gospel Voices)). By Lee Roy Abernathy. Arranged by Stan Pethel. For Choral (SATB). Glory Sound. 16 pages. Published by GlorySound

By Hannisian. For SATB Choir. Choral, Graduation. Sheet Music. Published by Shawnee Press.

Arranged by S Porter. For SATB Chorus, Soprano Solo, and Piano. (SATB). Choral. Published by Amp.

By Billy Joel. Arranged by Mac Huff. (SATB). Broadway Choral. Size 6.75x10.75 inches. Published by Hal Leonard.

Arranged by Stan Pethel. Shawnee Sacred. Collection, General Worship, Gospel. 58 pages. Shawnee Press #GA5100. Published by Shawnee Press

Choir Secular (SATB choir)

SKU: AP.46920

(Deck the Hall). Arranged by Alan Billingsley. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Christmas; Secular; Traditional; Winter. Choral Octavo. 12 pages. Alfred Music #00-46920. Published by Alfred Music (AP.46920).

UPC: 038081535692. English. Alan Billingsley.

A Christmas classic updated with a fresh Latin groove! Syncopated rhythms energize the vocal lines, which remain true to the carol's original harmonization. A new Fa la la refrain and bridge build excitement leading to the third verse, and a key change near the end results in a big finish. Add the SoundTrax CD, SoundPax, and complete choreography from the Movin' DVD for even more pizzazz!

About Alfred Choral Designs

Th e 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.

Choir Secular (SATB choir)

SKU: AP.46599

(Musica Dei). Composed by Jay Althouse and Sally K. Albrecht. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular. Choral Octavo. 8 pages. Alfred Music #00-46599. Published by Alfred Music (AP.46599).

UPC: 038081531748. English.

Though most of the piece is in English, a brief Latin phrase provides the framework for this pensive meditation on the world of music and sound that surrounds us. The gentle ebb and flow of tempo allows choirs to explore new depths of choral expression. Sign language is available on Alfred's Movin' DVD.

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.

SATB choir divisi and piano - Early Intermediate

SKU: MN.56-0016

Composed by Howard Goodall. 9/11 Service, 21st Century. MorningStar Music Publishers #56-0016. Published by MorningStar Music Publishers (MN.56-0016).

UPC: 688670220173. English.

Howard Goodall's setting of Spared by Wendy Cope, arranged for SATB divisi and piano accompaniment.

Thi s work was first performed by The Chapel Choir of The Methodist College Belfast on 27th October 2005 at St Anne's Cathedral, Belfast. Wendy Cope's poem movingly evokes the events of September 11th 2001, an event that Howard Goodall witnessed firsthand. Duration: 3:00.

Choral (SATB)

SKU: HL.1230649

Rejoice: Honoring the Jewish Spirit. Composed by Benedict Weisser. Rejoice Honoring Jewish Spirit. Concert, Festival. Octavo. Published by Hal Leonard (HL.1230649).

UPC: 196288146544. 6.75x10.5 inches.

This joyful concert setting of a text from Isaiah proclaims “War no more!” An excellent pronunciation guide is provided, removing any barriers from the Hebrew pronunciation, and a beautiful poetic translation will encourage your singers to live in the language.

By Mark Burrows/Greg Gilpin. For SATB choir and piano accompaniment (SATB). Shawnee Press. Choral. 8 pages

By Lee Dengler. For SATB Choir. Choral, Communion and Sacred. Sheet Music. Published by Shawnee Press.

SSATB choir, divisi, piano reduction - Advanced

SKU: GI.G-9610

Composed by Peter Relph. Evoking Sound. Music Education. 20 pages. GIA Publications #9610. Published by GIA Publications (GI.G-9610).

UPC: 785147961000. Latin. Text Source: Attr. Ambrose of Milan, 340–397. Text by Ambrose of Milan.

Composer's Notes When I met Kelsey Rose in Oxford in St. Stephen’s House chapel over the summer of 2017, we had both just attended a very moving candlelit concert by Westminster Williamson Voices, featuring my setting of “Tenebrae lumini.” I was delighted to be asked to write a piece for compline in Princeton University Chapel, celebrating the 150th anniversary of the Anglican/Episcopal chaplaincy at Princeton University. “Aurora” is the result of that meeting. Composing by commission often throws up some interesting challenges. The piece had to fit both as an accompanying piece to the plainchant of compline, whilst simultaneously being a celebratory anthem. I was instantly drawn back to the poetry and hymns of St. Ambrose of Milan, particularly “Aurora iam spargit polum.” Fragments of chant (both real and imagined) are used to create the powerful imagery of the descending golden light of dawn. The piece reaches its climax with the plea for the despair of night to “vanish,” which it then does, leaving the sopranos alone on a high G.

SATB choir a cappella - Late Intermediate to Advanced

SKU: MN.80-309

Composed by Joel Martinson. Cathedral Series. Catholic Year A Passion/Palm Sunday; Catholic Year C Passion/Palm Sunday; Year A Proper 21 (26); Catholic Year A Ordinary26. Triduum/Three Days, 21st Century, Unity, Community/Fellowship. Octavo. MorningStar Music Publishers #80-309. Published by MorningStar Music Publishers (MN.80-309).

UPC: 688670803093. Scripture: Philippians 2.

A setting of the well-known gradual based upon Philippians 2:8-9. Originally the Gradual for Maundy (Holy) Thursday, this motet is appropriate for Passion Sunday, Good Friday, Holy Cross Day, and Lent. Juxtaposing slow-moving harmonies with chant-like moving lines, this piece is part of Missa Mandatum, and thus a companion piece to the Agnus Dei, 80-784.

By Craig Courtney. For SATB choir and piano. Holy Week, Lent, Sacred. Octavo. Published by Exaltation Publications.

(SATB Choir and Organ). Composed by Naji Hakim (1955-). Schott. Softcover. 36 pages. Schott Music #ED21394. Published by Schott Music

Composed by Brad Nix. Brookfield Easter Choral. A Cappella, Holy Week, Sacred. Octavo. 8 pages. Published by Brookfield Press

By Leo Hassler. Arranged by Amon C. Ii Bock. For Voices: SATB. Organ. Choral Sacred. 8 pages. Published by GIA Publications.
Level: easy.

Composed by Thad Fiscella, Paul John Rudoi. National Lutheran Choir Series. Catholic Year A Ordinary18. Healing, Hope/Assurance. Octavo. Published by MorningStar Music Publishers (MN.50-9930).

By Craig Courtney. For SATB/SAB choir, piano. Sacred Anthem, Holy Week, Palm/Palm-Passion Sunday. Octavo. Published by Lorenz Publishing Company