(9 anthems for mixed voices). By Mack Wilberg (1955-). For SATB choir and organ/orchestra/unaccompa nied. Mixed Voices. Sacred, Choral Collection. Vocal score. 64 pages. Published by Oxford University Press

By Various. For Choral Collection: Mixed Choir Spiralbound. Published by Oxford University Press.

Composed by William H. Walter. Arranged by James Chepponis. For SATB choir, congregation, organ, brass quartet, timpani. Year C: Holy Trinity. Holy Trinity, Ascension, General, Good Shepherd Sunday, Thanksgiving, Building Dedication, Confirmation, Benediction/Sending, Commitment/Discipleship, Gathering/Processional, Missions/Outreach, 21st Century. Moderately Easy. Octavo. Scripture: Psalms 100;Matthew 28:19-20; Text Language: English. Published by MorningStar Music Publishers

This edition: paperback. Mixed Voices. Sacred, Choral Collection. Choral score. 256 pages. Published by Oxford University Press

Composed by Brian Petak. Arranged by Molly Ijames. Choral. Sacred Anthem, Eastertide, General, Lent. Octavo. Lorenz Publishing Company #10/4838L. Published by Lorenz Publishing Company (LO.10-4838L).

SATB/opt. Violin Choral; Violin (SATB W/ VIOLIN)

SKU: HL.374951

Composed by Anton Dvorá, Patti Drennan, and k. Daybreak Choral Series. General Worship, Sacred. Octavo. 12 pages. Duration 220 seconds. Published by Daybreak Music (HL.374951).

UPC: 196288017455. 6.75x10.5x0.025 inches. I John 2:25, James 1:12, Revelation 22:1.

There is much emotion in this choral concept joining a well-known hymn text with a melody from classical repertoire. Replete with images of our journey in life and our hope for heaven, this heartfelt anthem is touched with simple sincerity. The violin adds a bittersweet element and the appearance of Going Home is an inspired touch. The anthem doesn't linger in reflection but embraces the hope of heaven, rising to a dramatic finale of praise.

By Michael F. Moody. Arranged by Darwin Wolford. Text: James E. Faust. For SATB Choir. Duration 2:30. Published by Jackman Music Corporation.
Level: Medium / Medium-Difficult (accompaniment).

By James Chepponis. For cantor, congregation, SATB choir, optional organ. Advent. Moderately Easy. Choral score. Published by MorningStar Music Publishers

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 and Organ. Composed by Matthew Martin. Choral. Octavo. Novello & Co Ltd. #NOV297478. Published by Novello & Co Ltd.

By Molly Ijames. For SATB choir, piano. Advent, Christmas. Octavo. Published by Lorenz Publishing Company

I Will Trust in the Lord arranged by James Pethel. For SATB Choir (SATB). Glory Sound. Choral. 8 pages. Shawnee Press #A8511. Published by Shawnee Press

By James Helme Sutcliffe. For SATB choir, keyboard (organ or piano). Christmas. Octavo. 12 pages. Published by E.C. Schirmer Publishing Octavo Christmas

Composed by James McCullough. Spirituals. 21st Century. Instrument parts. Duration 2 minutes, 40 seconds. Galaxy Music Corporation #1.3556. Published by Galaxy Music Corporation

By Jamies Biery. For SATB choir, organ, optional solo. Lent. Medium-Easy. Published by MorningStar Music Publishers

Composed by Monty Norman. Arranged by Alan Billingsley. Pop Choral Series. Concert, Jazz, Pop, Movies, Sixties, A Cappella. Octavo. 16 pages. Published by Hal Leonard

Composed by Adoniram J. Gordon. Arranged by Emily Lund. For SATB choir. Text: Song of Solomon 5:16|Luke 7:47|John 14:1-4|John 15:12|John 17:10|John 21:15-19|2 Timothy 4:8|James 1:12|1 Peter 1|1 Peter 5:4|1 John 4:10-19. Choral octavo. Published by Hope Publishing Company

By Evelyn Larter. For SATB choir, piano (with optional violin). Sacred Anthem, Christmas. Octavo. Published by Lorenz Publishing Company

By Pepper Choplin. (SATB). Scripture References: Acts 2:42 -- Romans 12:12 -- Ephesians 6:18 -- Philippians 4:6 -- Colossians 4:2 -- 1 Timothy 2:8 -- James 5:16. Comfort, Encouragement, General Worship, Prayer, Worshiping and Sacred. Print Music Single (SATB). 12 pages. Published by Hope Publishing Company.

By Mack Wilberg (1955-). For SATB choir and keyboard/orchestra (2.2.2.2-4.0.0.0-strings) . Mixed Voices. Sacred, Choral Leaflet. Vocal score. 8 pages. Duration 4.5'. Published by Oxford University Press

Composed by Layton James. 21st Century, Praise/Thanksgiving. Published by MorningStar Music Publishers (MN.50-5906).

Arranged by Stan Pethel. For Choir. (Satb). Funeral and Sacred. Print Music Single (SATB). Published by Hope Publishing Company.

By James Koerts. For SATB choir (SATB). Shawnee Press. Sacred, call to worship. 12 pages. Shawnee Press #A8822. Published by Shawnee Press

Composed by James Koerts. Choral. Sacred Anthem. Octavo. Lorenz Publishing Company #10/5158L. Published by Lorenz Publishing Company

Arranged by James E. Green and Valerie Crescenz. Text: Isaiah 40:28-31. For SATB Choir. (Accompaniment: Piano). Sacred. Level: Medium Adult. 16 pages. Duration 3 min, 5 sec. Published by Hinshaw Music Inc.

By James Koerts. For SATB choir, piano. Sacred anthem. Octavo. Published by SoundForth

Composed by James Morrison. Text: The Roman Missal. Ritual music for Good Friday. Good Friday. Octavo. Published by CanticaNOVA Publications (C5.3086-2).