Composed by African American Work Song. Arranged by Anthony Trecek-King. School, Concert. Cameron LaBarr. Octavo. Walton Music #WW1778. Published by Walton Music

Composed by Robert Wadsworth Lowry. Arranged by Stephen Caracciolo. For TTB/TBB/TTBB divisi. Secular, 21st Century. Medium. Octavo. Text Language: English. Published by Galaxy Music Corporation

By John Sheppard. Arranged by Sally Dunkley. For SATTBB choir, a cappella. This edition: MDD. Mixed Voices. Musica dei Donum. Sacred Choral Leaflet. Vocal score. Duration 12'

Composed by David Conte (1955-). Arranged by David Conte. Advanced/Collegiate. Secular, 21st century. Piano/choral score for TTBB version. Published by E.C. Schirmer Publishing (EC.8196).

Arranged by David Conte. For TTBB choir. Full score (TTBB version). Published by E.C. Schirmer Publishing

Arranged by Thomas Bold. Janet Lewis. For Alto voice solo, TTBB choir. (Men's Voices). Lent. Thomas Bold Cantus Hymnus Choral Series. Choral. Octavo. 8 pages. Published by ECS Publishing.

Arranged by Stephen Caracciolo. For TTBB choir, a cappella. Cantus series. Choral. Grade 1. Octavo. 7 pages. Duration 3 minutes 15 seconds. Published by Neil A. Kjos Music Company

By Kenneth Jennings. For choir. (TTBB). Choral Octavos. Cantus. Secular. Choral Octavo. Published by Neil A. Kjos Music Company.

By Orazio Vecchi. Arranged by William Powell. (TTBB A Cappella). Treasury Choral. Festival. 4 pages. Published by Hal Leonard.

By Calixa Lavallee (1842-1891). Arranged by Diane Loomer. For TTBB choir, a cappella. Octavo. Published by Cypress Choral Music

(from Pete's Dragon). By Al Kasha, Joel Hirschhorn. Arranged by Kirby Shaw. (TTBB A Cappella). Disney Choral. 6 pages. Published by Hal Leonard.

(from The Lion King). By Elton John, Tim Rice. Arranged by Mac Huff. (TTBB a cappella). Pop Choral Series. Size 6.7x10.5 inches. 8 pages. Published by Hal Leonard. (8201227) 6-PACK includes six original copies of this

Choral (TTBB Choir)

SKU: HL.1197754

Composed by Byron Smith. Gentry Publications. Octavo. 16 pages. Duration 270 seconds. Gentry Publications #JG2660. Published by Gentry Publications (HL.1197754).

UPC: 196288134848. 6.75x10.5x0.036 inches.

This new gospel choral setting by Byron Smith is one your tenor-bass choir will greet with enthusiasm. The piano accompaniment, percussion, and bass parts all contribute to the strength of this new gospel setting, but the vocal writing is equally fresh and attractive in and of itself. A great opener or closer for your church or festival concert. Raise the roof with “Just Can't Tell It All”!

By David Montoya. (TTBB a cappella). Pavane Choral. Sacred. Size 7x10.5 inches. 12 pages. Published by Pavane Publishing.

Composed by Giuseppe Ottavio Pitoni. Edited by John Leavitt. Arranged by John Leavitt. Treasury Choral. Baroque, Concert, Festival, Sacred. Octavo. 8 pages. Published by Hal Leonard

By Giuseppe Ottavio Pitoni. Arranged by Donald Moore. Choir Secular. Men's Choir. Choral Octavo; Masterworks. Choral Designs. Masterwork. Choral Octavo. 8 pages

By Timothy Takach. For choir. (TTBB). Choral Octavos. Cantus. Sacred. Choral Octavo. Published by Neil A. Kjos Music Company.

Choir Secular (Men's Choir)

SKU: AP.48848

Composed by George Gershwin and Ira Gershwin. Arranged by Mark Hayes. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Great American Songbook; Jazz; Secular; Standard. Choral Octavo. 12 pages. Alfred Music #00-48848. Published by Alfred Music (AP.48848).

UPC: 038081561721. English.

Now available S.S.A.A. and T.T.B.B. One of the most charming songs from the great era of American popular song. The way you wear your hat, the way you sip your tea . . . no, no, they can't take that away from me. The unhurried swing feel of this arrangement is right on target for the sophisticated Gershwin style. Strong voice writing and supportive piano accompaniment. A classic!

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.

By African American Spiritual. Arranged by Uzee Jr. Brown. For Voices: TTBB, mixed solos. Keyboard accompaniment. African American Church Music Series Sacred. Level: medium. 9 pages. Published by GIA Publications.

Composed by John Leavitt. For Choral, Claves, Congas, Djembe (TTBB). Festival Choral. Octavo. Published by Hal Leonard

(CME In Low Voice). By Andrea Ramsey. For Choral (TTBB). Choral Music Experience In Low Voice. 8 pages. Boosey and Hawkes #M051479511. Published by Boosey and Hawkes

(from Cantata 142). By Johann Sebastian Bach (1685-1750). Arranged by Walter Ehret. For Choral (TTBB). Treasury Choral. 8 pages. Edward B. Marks Music #MC4264. Published by Edward B. Marks Music

Choral TTBB choir, piano

SKU: PR.312419270

From Terra Nostra. Composed by Stacy Garrop. Performance Score. 8 pages. Duration 2 minutes. Theodore Presser Company #312-41927. Published by Theodore Presser Company (PR.312419270).

ISBN 9781491137918. UPC: 680160692606. English. Charles Mackay.

Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

Choral TTBB choir, piano

SKU: CF.CM9635

Composed by Victor Johnson. Fold. Performance Score. 12 pages. Duration 3 minutes, 19 seconds. Carl Fischer Music #CM9635. Published by Carl Fischer Music (CF.CM9635).

ISBN 9781491157077. UPC: 680160915637. 6.875 x 10.5 inches. Key: E major. English, English. Abram Joseph Ryan (1838-1886).

Victor Johnson captures the mystery and nuance of the bittersweet poem, Wake Me a Song, by American poet, Abram Joseph Ryan. Nuance, text, and Johnson's rich harmonies paired with intertwining textures make this a noteworthy addition to any program. Also available for SATB Voices (CM9561).
About the Author Abram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states. Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky. About the Song Wake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment. To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections. One strategy that could be used to ensure proper phrasing is the idea of Painting the Phrase. The singer should make a motion as if they have a paintbrush in their hand and paint the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.
About the AuthorAbram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states.Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky.About the SongWake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment.To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections.One strategy that could be used to ensure proper phrasing is the idea of “Painting the Phrase.” The singer should make a motion as if they have a paintbrush in their hand and “paint” the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.