Opening with an optional spoken introduction with words from the Gospel of Mark where Jesus bids the children to come to him, this anthem is perfect for any family or children emphasis service. Energetic and jubilant! / Choeur Mixte (SATB)

'A tiny voice is rising carried on the wind. A simple song of reason. Will we let it in? Listen to the children.? This simple yet profound opening statement sets the stage for this inspirational song. / Choeur D'Enfants Et Piano

Par TOMPSETT BEN. Peter Sculthorpe's programme note reads as follows 'Lullaby is based upon one of the number of indigenous Australian melodies collected by Dr H. C. Lethbridge during the 1930s and is a lullaby for children victimised by war. It opens with several statements of indigenous melody, the words lovingly entreating children to embrace sleep, as night falls. This is followed by a short central section that questions the need for war, its text taken from another song in the Lethbridge collection. The melody then returns, leading to a quiet coda, suggesting the calmness of sleep and, for many children, the beauteousness of Paradise. ' The piece is set for unaccompanied mixedvoices. The Faber Choral Signature Series introduces a wealth of new or recently written choral music to choirs in search of fresh repertoire. The series draws in a rich diversity of living composers and includes both lighter and more challenging contemporary works, offering a thrilling array of varied styles./ Recueil / Saxophone Ténor

Scored for chorus, children's choir, organ and chamber orchestra, St Luke Passion adopts a pared-back focus on choral voices over its 75-minute span. Seeking a more spiritual, inward approach to match Luke's text, the composer eschews settings of interpolated texts as arias and the customary Evangelist and Christ soli: everything is sung by choral forces. A children's choir grants a measure of innocence to Christ as the sacrificial lamb, emphasising aspects of otherness, sanctity and mystery. / Choeur Mixte (SATB), Orchestre Et Piano

Accessible and practical arrangements from two popular shows, with bags of style. These choral arrangments provide around twenty minutes of fun and interesting repertoire for the mixed voice choir. The pieces can be used to add variety to a concert programme and are sure to be a hit with both choirs and audiences alike.

Vocal coach and choral director Mark De-Lisser, who has edited and arranged the highly acclaimed Sing Out! series, here turns his attention to the a cappella repertoire, with five uplifting songs for SATB choir in this sixth pop repertoire book in the series.As before, these songs have each been selected for their positive lyrics and heart-warming feel, making them ideal to teach to adults and children. With an enticing selection of pop songs, including Sigma's Higher, Jess Glynne's Don't Be So Hard on Yourself, Ronnie Laws' Always There, Coldplay's Paradise and James Bay's Hold Back the River, this compilation has something for everyone.Arranged for the first time for SATB choir, this book includes a download card with access to full demonstrations and individual rehearsal tracks of each vocal line recorded by members of ACM Gospel Choir. The scores feature keyboard reductions for ease of learning. Helpful hints for performing the pieces and an introduction to beat-boxing are also included in this book, giving you everything you need to learn these well-loved songs. / Choeur Mixte (SATB)

When I Grow Up comes from Matilda he Musical , the award-winning stage version of Roald Dahl's classic children's novel from the Royal Shakespeare Company. The song is a wish list of the kind of pleasures adulthood is imagined to bring. Of course it is a poignant list because in this case all it contains is freedom from the trials of childhood. This choral version for SATB and piano accompaniment is arranged by Simon Foxley. Watch this brilliant performance from Matilda: The Musical (West End) - When I Grow Up : / Choeur Mixte (SATB) Et Piano

Par BEATLES THE. Strawberry Fields Forever was John Lennon's homage to the garden of a Salvation Army children's home in Liverpool. It gave The Beatles a psychedelic hit in 1967. The name was eventually adopted for a small memorial garden on the West Side of New York's Central Park opposite Lennon's final address, The Dakota apartment building. Here this evocative song is arranged for SATB with piano accompaniment by Jeremy Birchall. / Niveau : Intermédiaire / Recueil / Choeur Mixte (SATB) et Piano

Welcome is a work composed by Edward Gregson, arranged for Upper Voices and Piano. It was originally composed for boys' voices, Organ, Brass and Percussion in 1996, but ten years later Gregson created a new version especially for the Kinder Children's Choir of the High Peak. This latter version appears here, and lasts around 4 minutes.The text of Welcome consists of the word 'Welcome', repeated numerous times in a variety of languages , from English to various European languages, to Hebrew and Arabic. Gregson's idea was to provide a fitting way to welcome a new and diverse audience into a new concert hall designed for a new Millennium.The voices are divided into as many as six parts in certain places, but it's left to the conductor to decide on how to distribute these parts, depending on the size and make-up of the choir. The work is suitable for performance by any mixture of upper voices, from children's choirs to female voices.In the January/February 2016 issue of Choir and Organ, Geoffrey Webber calls Welcome 'an ear-catching start for any concert programme.' / Choeur Et Piano

An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Ubi caritas et amor is a simple, reflective anthem for mixed-voice choir and organ. Brian Easdale was educated at Westminster Abbey Choir School and attended the Royal College of Music, where he won the Foli Scholarship for composition. He wrote his first opera, Rapunzel , when only 17, and went on to composer many other dramatic and orchestral works, including the chamber opera The Sleeping Children. The Missa Coventriensis is one of his larger choral works, composed for the consecration of Coventry Cathedral in 1962. Easdale is perhaps most famous for his film music, including Black Narcissus and The Red Shoes, for which he won an Academy Award for best original music score in 1948. 'Ubi Caritas is the work of a craftsman steeped, naturally, in the musical culture of the inter-war years. It commends itself in its quiet yet muscular and expansive response to the text. With minimal divisi, it is within the capability of a good church choir.' - Howard Layfield, Mastersinger / Choeur SATB Et Orgue

Par L'ESTRANGE ALEXANDER. ***Winner of Best Classical Music Education Initiative 2018 at the Music Teacher Awards for Excellence*** Wassail! Carols of Comfort and Joy is a sequence of 12 uplifting folk-inspired Christmas songs, exploring both sacred and secular aspects of the festive season. Including such favourites as The Sussex Carol, Gaudete and The holly and the ivy, Wassail! continues the highly popular series by Alexander L’Estrange of 40-minute choral works for SATB, unison children’s choir and jazz quintet. This vocal score is arranged with a piano reduction part. / Choral Music / Répertoire / Voix D'Enfants, Voix Mixtes et Piano

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)

Stylish Arrangements Of Selected Highlights From The Leading 20Th Century Composer. Par BARTOK BELA. The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements of highlights from the leading twentieth century composer for developing musicians to learn and enjoy. Bartók for Guitar features selected highlights from Bartók\'s most popular pedagogical repertoire including For Children, Mikrokosmos, Romanian Folk Dances and others, arranged for guitar by Michael McCartney. An accompanying audio CD features demonstration tracks for all pieces and minus-1 tracks for duo arrangements. / Niveau : 3-4 / Recueil / Guitare

This joyful Christmas carol from 15th century France may be sung in either the original French or in English. If a children's choir is used, it can sing the soprano part throughout. The words 'nouvelet? and 'noel? both come from the French root word meaning 'news? or 'newness? and this arrangement by Wayland Rogers is just that, fresh and new. / Voix (SATB), Flûte Et Piano