Performed by Kelly Clarkson. Arranged by Alan Billingsley. (SATB). Pop Choral Se...(+)
Performed by Kelly
Clarkson. Arranged by
Alan Billingsley. (SATB).
Pop Choral Series. Size
6.75x10.5 inches. 12
pages. Published by Hal
Leonard. (8201566) 6-PACK
includes six original
copies of this piece.
Chorus a cappella SKU: BR.CHB-5381-00 Composed by Howard Arman. Choir; st...(+)
Chorus a cappella
SKU:
BR.CHB-5381-00
Composed by Howard Arman.
Choir; stapled.
Chor-Bibliothek (Choral
Library). Song; Music
post-1945; New music
(post-2000). Choral
score. 80 pages.
Breitkopf and Haertel
#ChB 5381-00. Published
by Breitkopf and Haertel
(BR.CHB-5381-00).
ISBN
9790004413821. 7.5 x 10.5
inches. English.
As
director of the Bavarian
Radio Choir, Howard Arman
has been actively engaged
with international
Christmas carols through
various Christmas-related
CD productions in the
past years. This has
resulted in a number of
original arrangements for
four- to eight-part mixed
choir a cappella,
shedding new light on
well-known classics such
as O du frohliche [O, you
joyful], Stille Nacht
[Silent Night] and Lasst
uns froh und munter sein
[Let us be happy and
cheerful]. The first
volume includes five
Christmas carols from the
German-speaking regions.
They range from simple
but harmonically
intriguing settings such
as Lieb Nachtigall, wach
auf [Dear nightingale,
wake up] to eight-part
sound paintings with
bell-like chimes as in O
du frohliche and
classical double choir
settings such as Resonet
in laudibus. The second
volume includes five
Christmas spirituals with
English texts, forming a
contrast to the solemn
and festive character of
the first. The choir can
prove its swing and jazz
qualities here; the
stirring arrangements are
a gain for classical
Christmas concerts, too.
Following the tradition
of the spiritual, some
settings also require
soloists, which can,
however, also be
recruited from the choir
if adequate singers are
available. The first
piece combines the
spirituals It's a
Birthday and Wasn't That
a Mighty Day to form a
medley, Ain't That a
Rockin' gives a moment of
tranquility before the
likewise rousing
spirituals Mary Had a
Baby and Little David
conclude the volume. In
both volumes, Howard
Arman provides a short
preface in German and
English, explaining the
background of each piece
and giving advice on
performance.
Chorus a cappella SKU: BR.CHB-5380-00 Composed by Howard Arman. Choir; st...(+)
Chorus a cappella
SKU:
BR.CHB-5380-00
Composed by Howard Arman.
Choir; stapled.
Chor-Bibliothek (Choral
Library). Song; Music
post-1945; New music
(post-2000). Choral
score. 40 pages.
Breitkopf and Haertel
#ChB 5380-00. Published
by Breitkopf and Haertel
(BR.CHB-5380-00).
ISBN
9790004413814. 7.5 x 10.5
inches. German /
Latin.
As director
of the Bavarian Radio
Choir, Howard Arman has
been actively engaged
with international
Christmas carols through
various Christmas-related
CD productions in the
past years. This has
resulted in a number of
original arrangements for
four- to eight-part mixed
choir a cappella,
shedding new light on
well-known classics such
as O du frohliche [O, you
joyful], Stille Nacht
[Silent Night] and Lasst
uns froh und munter sein
[Let us be happy and
cheerful]. The first
volume includes five
Christmas carols from the
German-speaking regions.
They range from simple
but harmonically
intriguing settings such
as Lieb Nachtigall, wach
auf [Dear nightingale,
wake up] to eight-part
sound paintings with
bell-like chimes as in O
du frohliche and
classical double choir
settings such as Resonet
in laudibus. The second
volume includes five
Christmas spirituals with
English texts, forming a
contrast to the solemn
and festive character of
the first. The choir can
prove its swing and jazz
qualities here; the
stirring arrangements are
a gain for classical
Christmas concerts, too.
Following the tradition
of the spiritual, some
settings also require
soloists, which can,
however, also be
recruited from the choir
if adequate singers are
available. The first
piece combines the
spirituals It's a
Birthday and Wasn't That
a Mighty Day to form a
medley, Ain't That a
Rockin' gives a moment of
tranquility before the
likewise rousing
spirituals Mary Had a
Baby and Little David
conclude the volume. In
both volumes, Howard
Arman provides a short
preface in German and
English, explaining the
background of each piece
and giving advice on
performance.
For SATB choir a cappella (SATB). Choral. Shawnee Press. Supports: Matthew 28:18...(+)
For SATB choir a cappella
(SATB). Choral. Shawnee
Press. Supports: Matthew
28:18-20, Luke 23:23.
Sacred, General,
evangelism, revival, life
of Christ. 8 pages.
Shawnee Press #A8854.
Published by Shawnee
Press
Choral (SATB choir a cappella) SKU: HL.291956 Excellence in Choral Mus...(+)
Choral (SATB choir a
cappella)
SKU:
HL.291956
Excellence in Choral
Music Series.
Composed by Guy Forbes.
Pavane Choral. Octavo. 12
pages. Pavane Publishing
#P1643. Published by
Pavane Publishing
(HL.291956).
UPC:
888680928711. 6.75x10.5
inches. Robert Burns/Guy
Forbes.
Following
in the spirit of his
setting of âO Nata
Lux,â Guy Forbes
brings us a beautiful
setting of this
well-known Robert Burns'
text. He has reserved the
caressing dissonances for
tjust the right moments,
and mild harmonic
surprises where you are
happy to go. A great
choice for advanced high
school and college
choirs.
Composed
by Dariusz Zimnicki.
Gentry Publications.
Octavo. 12 pages.
Duration 285 seconds.
Gentry Publications
#JG2633. Published by
Gentry Publications
(HL.1197745).
UPC:
196288134763.
6.75x10.5x0.029 inches.
Matthew
15:12-14.
Dariusz
Zimnicki's appropriately
mournful setting of the
traditional Latin text is
rich in harmonic and
rhythmic nuances and
lyrical melodic lines.
Moment by moment, this
expressive piece will
place you and the
audience among the
roiling mobs that
demanded Christ's
crucifixion. An excellent
choice for school,
church, and collegiate
choirs alike.
Choral SATB Voices a cappella SKU: XC.DJS2309 Composed by Richard Storrs ...(+)
Choral SATB Voices a
cappella
SKU:
XC.DJS2309
Composed
by Richard Storrs Willis.
Arranged by Derric
Johnson. Octavo. Excelcia
Music Publishing
#DJS2309. Published by
Excelcia Music Publishing
(XC.DJS2309).
6.75 x
10.5 inches.
This
may be the most beautiful
version of this classic
carol. Your singers and
audience alike will love
this song. The key word
for this arrangement is
SMOOTH. There will be
opportunities to discuss
text painting and voice
crossing to create this
stunning moment for any
holiday concert.
SATB Chorus, & Piano SKU: SU.96010060 For SATB Chorus, & Piano. Co...(+)
SATB Chorus, & Piano
SKU: SU.96010060
For SATB Chorus, &
Piano. Composed by
Joseph Gianono.
Vocal/Choral, Secular
Choral. Accompanied by
piano. Choral Octavo.
Subito Music Corporation
#96010060. Published by
Subito Music Corporation
(SU.96010060).
Instrumentation
: SATB Chorus, &
Piano Duration:
3:30' Composed: 2012
Published by: Subito
Music Publishing Minimum
order quantity: 8 copies.
Perusal copies are
available by contacting
(include the organization
name with your request).
To order quantities fewer
than 8, please call
customer service at (973)
857-3440. About
T.N.TAs a matter of
practicality, when I was
first asked to write a
piece for the New York
Theatrical Community
Choir in 2005 by its
music director, David
Wolfson, I immediately
decided to write a Kyrie.
After all, I thought...,
the text is only about
four words and eliminated
the need for a lyricist.
Most appealing, however,
was the fact that it
would bring me one step
closer to finishing the
Mass that I was in the
process of writing. If
ever there was a case to
be made for divine
inspiration this appeared
to be it. David Wolfson
liked the idea and
casually mentioned that
there was another Kyrie
and a religious hymn on
the program. He also
mentioned that the choir
consisted predominantly
of actors that sing.Like
a bolt of lightning,
divine intervention
interceded whereupon I
instantly realized that
he needed a piece to wake
up the audience, not
another Kyrie. I took a
breath and spontaneously
began to talk through and
improvise the concept of
a piece that became the
basis for Taxi.At that
moment I was clueless as
to what kind of piece I
would write but it
appeared to be a good
idea at the time. David's
reaction to my
presentation was
something like Okay,...I
have no idea what you are
talking about but let's
try it. After a very
successful public
performance, he was
delighted that I decided
not to write a Kyrie and
remarked that writ-ing a
piece like Taxi for this
group was like feeding
raw meat to a pack of
hungry lions. At that
moment, the idea of doing
a trilogy of similar
pieces was born. For the
last two seasons of the
choir's existence I was
asked to write a new
piece and... as a matter
of practicality, I
happily agreed.-- Joe
GianonoNote: Taxi, Noise,
and Time may be performed
separately.
SATB Chorus, & Piano SKU: SU.96010061 For SATB Chorus, & Piano. Co...(+)
SATB Chorus, & Piano
SKU: SU.96010061
For SATB Chorus, &
Piano. Composed by
Joseph Gianono.
Vocal/Choral, Secular
Choral. Accompanied by
piano. Choral Octavo.
Subito Music Corporation
#96010061. Published by
Subito Music Corporation
(SU.96010061).
Instrumentation
: SATB Chorus, &
Piano Duration:
5' Composed: 2012
Published by: Subito
Music Publishing Minimum
order quantity: 8 copies.
Perusal copies are
available by contacting
(include the organization
name with your request).
To order quantities fewer
than 8, please call
customer service at (973)
857-3440. About
T.N.T
As a
matter of practicality,
when I was first asked to
write a piece for the New
York Theatrical Community
Choir in 2005 by its
music director, David
Wolfson, I immediately
decided to write a Kyrie.
After all, I thought...,
the text is only about
four words and eliminated
the need for a lyricist.
Most appealing, however,
was the fact that it
would bring me one step
closer to finishing the
Massthat I was in the
process of writing. If
ever there was a case to
be made for divine
inspiration this appeared
to be it. David Wolfson
liked the idea and
casually mentioned that
there was another Kyrie
and a religious hymn on
the program. He also
mentioned that the choir
consisted predominantly
of actors that sing.
Like a bolt of
lightning, divine
intervention interceded
whereupon I instantly
realized that he needed a
piece to wake up the
audience, not another
Kyrie. I took a breath
and spontaneously began
to talk through and
improvise the concept of
a piece that became the
basis for Taxi.
At that moment I was
clueless as to what kind
of piece I would write
but it appeared to be a
good idea at the time.
David's reaction to my
presentation was
something like Okay,...I
have no idea what you are
talking about but let's
try it. After a very
successful public
performance, he was
delighted that I decided
not to write a Kyrie and
remarked that writ-ing a
piece like Taxi for this
group was like feeding
raw meat to a pack of
hungry lions. At that
moment, the idea of doing
a trilogy of similar
pieces was born. For the
last two seasons of the
choir's existence I was
asked to write a new
piece and ... as a matter
of practicality, I
happily agreed.
-- Joe Gianono
Note: Taxi, Noise, and
Time may be performed
separately.
SATB Chorus, & Piano SKU: SU.96010062 For SATB Chorus, & Piano. Co...(+)
SATB Chorus, & Piano
SKU: SU.96010062
For SATB Chorus, &
Piano. Composed by
Joseph Gianono.
Vocal/Choral, Secular
Choral. Accompanied by
piano. Choral Octavo.
Subito Music Corporation
#96010062. Published by
Subito Music Corporation
(SU.96010062).
Instrumentation
: SATB Chorus, &
Piano Duration:
4' Composed: 2012
Published by: Subito
Music Publishing Minimum
order quantity: 8 copies.
Perusal copies are
available by contacting
(include the organization
name with your request).
To order quantities fewer
than 8, please call
customer service at (973)
857-3440. About
T.N.TAs a matter of
practicality, when I was
first asked to write a
piece for the New York
Theatrical Community
Choir in 2005 by its
music director, David
Wolfson, I immediately
decided to write a Kyrie.
After all, I thought...,
the text is only about
four words and eliminated
the need for a lyricist.
Most appealing, however,
was the fact that it
would bring me one step
closer to finishing the
Mass that I was in the
process of writing. If
ever there was a case to
be made for divine
inspiration this appeared
to be it. David Wolfson
liked the idea and
casually mentioned that
there was another Kyrie
and a religious hymn on
the program. He also
mentioned that the choir
consisted predominantly
of actors that sing.Like
a bolt of lightning,
divine intervention
interceded whereupon I
instantly realized that
he needed a piece to wake
up the audience, not
another Kyrie. I took a
breath and spontaneously
began to talk through and
improvise the concept of
a piece that became the
basis for Taxi.At that
moment I was clueless as
to what kind of piece I
would write but it
appeared to be a good
idea at the time. David's
reaction to my
presentation was
something like Okay,...I
have no idea what you are
talking about but let's
try it. After a very
successful public
performance, he was
delighted that I decided
not to write a Kyrie and
remarked that writ-ing a
piece like Taxi for this
group was like feeding
raw meat to a pack of
hungry lions. At that
moment, the idea of doing
a trilogy of similar
pieces was born. For the
last two seasons of the
choir's existence I was
asked to write a new
piece and... as a matter
of practicality, I
happily agreed.-- Joe
GianonoNote: Taxi, Noise,
and Time may be performed
separately.
What'll I Do? SATB Chorale SATB SATB A Cappella Excelcia Music Publishing
Choral SATB Voices a cappella SKU: XC.SATB2310A Composed by Irving Berlin...(+)
Choral SATB Voices a
cappella
SKU:
XC.SATB2310A
Composed
by Irving Berlin.
Arranged by John Maclane
Schirard. Octavo.
Excelcia Music Publishing
#SATB2310A. Published by
Excelcia Music Publishing
(XC.SATB2310A).
6.75 x
10.5 inches.
This
sensitive arrangement of
the classic Irving Berlin
song is full of lush
jazz-inspired harmonies,
contrasted with moments
of stunning simplicity.
Singers and audiences
alike will find new
depths of emotion and
heart in this fresh
rendition.
Composed by
Greg Gilpin. Performance
Music Ensemble; Single
Titles. Alfred Choral
Designs. Christmas;
Secular. Choral Octavo.
12 pages. Alfred Music
#00-49721. Published by
Alfred Music (AP.49721).
UPC: 038081568089.
English.
Merry
minor key singing and
dance-like rhythms! This
rousing Greg Gilpin
original sounds something
like Irish folk music or
perhaps a sea chantey.
It's a festive holiday
text complete with
trimming the tree,
decking the halls, plus
plentiful fa la la's and
noel's. Feature a
mid-range soloist on the
softer, slower,
introspective moment just
before the last spirited
refrain. There's holiday
cheer for one and
all!
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.48810 Composed by Jay Althouse. Perfor...(+)
Choir Secular (SATB
choir)
SKU:
AP.48810
Composed by
Jay Althouse. Performance
Music Ensemble; Single
Titles. Alfred Choral
Designs. Graduation;
Secular. Choral Octavo. 8
pages. Alfred Music
#00-48810. Published by
Alfred Music (AP.48810).
UPC: 038081561349.
English.
A solo
voice opens this moving
anthem of individuality
that doubles as a
celebration of music.
When all the voices join,
singers echo warm phrases
from part to part and
build to an important
realization at the
bridge: If we all sing
together, our songs will
become like a symphony.
You'll feel a firm tug of
the heartstrings as the
fully harmonized final
verse builds to an
impressive cadence and a
momentous fermata. An
awesome opener or closer
in any voicing, and one
you won't soon
forget.
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.
SATB choir, piano SKU: LO.10-5765L Composed by Stan Pethel. Choral. Sacre...(+)
SATB choir, piano
SKU:
LO.10-5765L
Composed
by Stan Pethel. Choral.
Sacred Anthem, General,
Memorial Services.
Octavo. Lorenz Publishing
Company #10/5765L.
Published by Lorenz
Publishing Company
(LO.10-5765L).
ISBN
9780787778859.
Stan
Pethel writes a gospel
tune like nobody else,
and this song is no
exception. Perfect for a
general anthem, or even
as a moment of uplifting
encouragement in a
memorial service, this
piece reminds us that
Jesus is the only haven
for the soul, and we will
one day dine with Him at
the heavenly banquet. The
piano accompaniment is
fun to play, and is
guaranteed to have your
congregation smiling and
tapping their feet.
An
Introit for All
Seasons. Composed by
Philip M. Hayden.
Brookfield Choral Series.
General Worship, Sacred.
Octavo. Duration 125
seconds. Published by
Brookfield Press
(HL.360045).
UPC:
840126947298.
6.75x10.5x0.029 inches.
Luke 2:14, Psalm
98:4.
A multi-usage
text will make this
anthem a valuable
addition to your choral
library. A grand
fanfare-like gesture in
the accompaniment calls
the song to purpose and
establishes a festive
spirit. The brief
contrasting middle
section brings a moment
of hope for peace on
earth. Though useful for
Christmas programs, the
alternate text allows
this confident
acclamation of praise to
be used any time of the
year.
Advent Calendar Chorale SATB SATB, Piano - Facile GIA Publications
SATB choir, piano accompaniment - Early intermediate SKU: GI.G-RCA424 Com...(+)
SATB choir, piano
accompaniment - Early
intermediate
SKU:
GI.G-RCA424
Composed
by David Ogden. Advent.
Royal School of Church
Music. Sacred. Octavo. 8
pages. GIA Publications
#RCA424. Published by GIA
Publications
(GI.G-RCA424).
English. Text by Rowan
Williams.
A
chant-like sensibility
pervades this challenging
meditation on the nuances
of waiting for the Holy
Child’s coming.
Unison lines interwoven
with divisi parts require
vocal control and
discipline, but the
reward is an exceptional
moment of choral beauty.
Harp may be substituted
for piano to enhance your
presentation.
SATB choir SKU: LP.765762190801 A Worship Event Lifting Up the Name of...(+)
SATB choir
SKU:
LP.765762190801
A
Worship Event Lifting Up
the Name of Jesus.
Arranged by Gary Rhodes &
Tim Cates. Musical.
Sacred. DVD/CD Preview
Pack. Published by
Lillenas Publishing
Company
(LP.765762190801).
ISBN 9780834179202.
UPC:
765762190801.
Your
Great Name is a new and
exciting musical that is
perfect for Easter or for
any powerful service of
praise anytime in the
church year! Created and
arranged by Gary Rhodes
and orchestrated by Tim
Cates this collection by
some of the most popular
artists and songwriters
is truly an event! From
quiet and worshipful
moments to lively and
exuberant celebrations
this musical worship
experience lifts high the
name of Jesus. You will
love the arrangements of
some of today's most
popular worship songs
like Jesus Saves Your
Great Name Always and Oh
the Blood and will be
swept away by new
arrangement of classic
favorites like Because He
Lives and O the Deep Deep
Love of Jesus..
Evidence Of Grace (A Worship Musical Tracing God's Hand of Mercy). By David T. C...(+)
Evidence Of Grace (A
Worship Musical Tracing
God's Hand of Mercy). By
David T. Clydesdale and
Steve Moore. Arranged by
David Clydesdale. For
SATB Choir. Musical.
Modern Christian. Choral
Book. Duration 50'00".
Published by Word Music
Choral SATB choir, piano SKU: CF.CM9608 Composed by Jamey Ray. Fold. Perf...(+)
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.Â
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 “darkâ€
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,â€
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.â€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.
For SATB choir, piano accompaniment, and optional flute (SATB). General, Wedding...(+)
For SATB choir, piano
accompaniment, and
optional flute (SATB).
General, Weddings, St.
Valentine's Day, Lent.
Shawnee Press. Supports:
John 4: 7-12, John 3:16,
John 15:13. Sacred. 16
pages. Shawnee Press
#A8872. Published by
Shawnee Press