By Douglas E. Wagner. For SATB choir. Octavo. Published by Heritage Music Press. (15/1103)

By Traditional Spiritual. Arranged by Robert Townsend. (SATB A Cappella). Creating Artistry. 12 pages. Published by Hal Leonard.

By Sylvia Moy and William Stevenson. Arranged by Greg Gilpin. SATB. Choral. 16 pages

Words and music by Benny Ulvaeus, arranged by Greg Gilpin. Octavo for SATB choir and piano accompaniment. F Major. Series: Choral Octavo. 12 pages. Published by Alfred Publishing.

(from Hello Dolly). By Jerry Herman. Arranged by Kirby Shaw. For Choral (SATB). Broadway Choral. 4 pages. Published by Hal Leonard

Performed by Neil Sedaka. By Howard Greenfield, Neil Sedaka. Arranged by Mac Huff. (SATB). Pop Choral Series. Size 6.8x10.5 inches. 12 pages. Published by Hal Leonard.

By Joan Szymko. For SATB. Choral music. Level: Easy. Published by Santa Barbara Music Publishing. (SBMP 331)

Composed by Audrey Snyder. Choral. Concert, Poetry. Octavo. Duration 170 seconds. Published by Hal Leonard

From The Passion: New Orleans. By Yolanda Adams. By David Guetta, Frederic Riesterer, Kelendria Rowland, Miriam Nervo, and Olivia Nervo. Arranged by Mark A. Brymer. Pop Choral Series. Octavo. 16 pages. Published by Hal Leonard (HL.209841).

Composed by Carter Datz. Voices in Harmony. Concert, Festival, Inspirational. Octavo. Duration 260 seconds. Published by Hal Leonard

For SATB. Modern Christian. Sacred. Hymnal. Published by Brentwood-Benson Music Publishing.

For SATB. Modern Christian. Sacred. Hymnal. Published by Brentwood-Benson Music Publishing.

Alto, Mixed choir (SATB), Piano

SKU: BA.BA11309

Composed by Camille Saint-Saens. Edited by Christina M. Stahl. This edition: urtext edition. Paperback. Score. Baerenreiter Verlag #BA11309. Published by Baerenreiter Verlag (BA.BA11309).

ISBN 9790006577705. 27 x 19 cm inches. Text Language: English.

It is a small music history sensation: Thanks to Yves Grard an unknown and unpublished manuscript penned by Camille Saint-Saëns has been unearthed in the Mdiathèque Jean Renoir in Dieppe in France.

It is the top four instrumental parts which make this manuscript something of a sensation. Placed under each other are â??Saxophone Soprano en Si bâ?, â??Saxophone Alto en Mi bâ?, â??Saxophone Tnor en Si bâ? and â??Saxophone Baryton en Mi bâ?, strings, soprano solo with chorus and organ. Musical history has hitherto credited Jean-Baptiste Singele (1812â??1875) with having written the first saxophone quartet, his opus 53, which he completed in 1857. Now this historiography clearly has to be revised. The date 1854 has been found under the first page of the treasure from Dieppe, which is pasted over and also sewn, meaning that Saint-Saënsâ?? work was written three years earlier than that of Singele.

In contrast to Singele, Saint-Saëns does not have the wind instruments taking solo parts but rather uses their tonal colour to depict textual moods and nuances. On the one hand the saxophones accompany the choral parts (certainly singable by amateurs) and support the human voices in fugal passages. On the other hand, they take the melody in the purely orchestral passages.

Saint-Sa ëns wrote the motet in the period when he had taken up his first permanent appointment as organist at the Church of Saint-Merri in Paris. He revised the work several times over the decades, changing the motifs at the beginning, correcting obvious mistakes, reworking the ending, eventually changing the instrumentation several times and even â?? probably in the final stage â?? replacing the Latin text with an English one. Today, three-and-a-half versions have been handed down, one of them stopping after just a few pages. The compositional steps have been successfully reconstructed by means of detailed detective work. Furthermore, the first saxophone version (BA 11305) and the last English piano version (BA 11309) have been edited to produce a scholarly-critical edition.

The present edition of the English version for soprano solo, choir and piano (BA 11309) serves both as a full score and as a vocal score due to the instrumentation.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

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.

Composed by Darmon Meader. Sws. Octavo. 20 pages. Duration 4 minutes, 7 seconds. Carl Fischer Music #CM9649. Published by Carl Fischer Music

For SATB. Modern Christian. Sacred. Hymnal. Published by Brentwood-Benson Music Publishing.

SATB and Organ. By Benjamin Britten. (SATB). Boosey and Hawkes Sacred Choral. Size 7x10.5 inches. 14 pages. Published by Boosey and Hawkes.

STB vocal soli, SATB/SATB choir, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3721919

Cantata for Oculi Sunday. Composed by Gottfried August Homilius. Erwachet, Ihr Christen (Kantate). Sacred vocal music, Cantatas, Lent and Passiontide. Set of Orchestra Parts. HoWV II.57. Duration 14 minutes. Carus Verlag #CV 37.219/19. Published by Carus Verlag (CA.3721919).

ISBN 9790007214821. Text language: German.

Homilius is known for having always searched for new forms in order to avoid any schematic pattern. Thus, one looks in vain in the present cantata for arias. The opening choir is introduced by two choral groups: One calls to take up the fight against the devil, while the other fearfully hesitates and finally, in the chorale Jesus Christus, wohn uns bei agrees to join in. Following each of the three stanzas of the embellished chorale, in a recitative the hesitant one is given courage before he also takes up arms, in a confident final chorus. Score and parts available separately - see item CA.3721900.

STB vocal soli, SATB/SATB choir, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3721949

Cantata for Oculi Sunday. Composed by Gottfried August Homilius. Erwachet, Ihr Christen (Kantate). Sacred vocal music, Cantatas, Lent and Passiontide. Single Part, Organ. HoWV II.57. 12 pages. Duration 14 minutes. Carus Verlag #CV 37.219/49. Published by Carus Verlag (CA.3721949).

ISBN 9790007214838. Text language: German.

Homilius is known for having always searched for new forms in order to avoid any schematic pattern. Thus, one looks in vain in the present cantata for arias. The opening choir is introduced by two choral groups: One calls to take up the fight against the devil, while the other fearfully hesitates and finally, in the chorale Jesus Christus, wohn uns bei agrees to join in. Following each of the three stanzas of the embellished chorale, in a recitative the hesitant one is given courage before he also takes up arms, in a confident final chorus. Score and part available separately - see item CA.3721900.

STB vocal soli, SATB/SATB choir, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3721900

Cantata for Oculi Sunday. Composed by Gottfried August Homilius. This edition: paperback. Erwachet, Ihr Christen (Kantate). Sacred vocal music, Cantatas, Lent and Passiontide. Full score. HoWV II.57. Duration 14 minutes. Carus Verlag #CV 37.219/00. Published by Carus Verlag (CA.3721900).

ISBN 9790007142629. Text language: German.

Homilius is known for having always searched for new forms in order to avoid any schematic pattern. Thus, one looks in vain in the present cantata for arias. The opening choir is introduced by two choral groups: One calls to take up the fight against the devil, while the other fearfully hesitates and finally, in the chorale Jesus Christus, wohn uns bei agrees to join in. Following each of the three stanzas of the embellished chorale, in a recitative the hesitant one is given courage before he also takes up arms, in a confident final chorus.

STB vocal soli, SATB/SATB choir, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3721903

Cantata for Oculi Sunday. Composed by Gottfried August Homilius. This edition: paperback. Erwachet, Ihr Christen (Kantate). Sacred vocal music, Cantatas, Lent and Passiontide. Vocal score. HoWV II.57. Duration 14 minutes. Carus Verlag #CV 37.219/03. Published by Carus Verlag (CA.3721903).

ISBN 9790007143305. Text language: German.

Homilius is known for having always searched for new forms in order to avoid any schematic pattern. Thus, one looks in vain in the present cantata for arias. The opening choir is introduced by two choral groups: One calls to take up the fight against the devil, while the other fearfully hesitates and finally, in the chorale Jesus Christus, wohn uns bei agrees to join in. Following each of the three stanzas of the embellished chorale, in a recitative the hesitant one is given courage before he also takes up arms, in a confident final chorus. Score available separately - see item CA.3721900.

STB vocal soli, SATB/SATB choir, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3721909

Cantata for Oculi Sunday. Composed by Gottfried August Homilius. 1x 37.219/21 oboe 1, 1x 37.219/22 oboe 2. Erwachet, Ihr Christen (Kantate). Sacred vocal music, Cantatas, Lent and Passiontide. Set of Orchestra Parts. HoWV II.57. Duration 14 minutes. Carus Verlag #CV 37.219/09. Published by Carus Verlag (CA.3721909).

ISBN 9790007214814. Text language: German.

Homilius is known for having always searched for new forms in order to avoid any schematic pattern. Thus, one looks in vain in the present cantata for arias. The opening choir is introduced by two choral groups: One calls to take up the fight against the devil, while the other fearfully hesitates and finally, in the chorale Jesus Christus, wohn uns bei agrees to join in. Following each of the three stanzas of the embellished chorale, in a recitative the hesitant one is given courage before he also takes up arms, in a confident final chorus. Score and parts available separately - see item CA.3721900.

STB vocal soli, SATB/SATB choir, 2 oboes, 2 violins, viola, basso continuo

SKU: CA.3721905

Cantata for Oculi Sunday. Composed by Gottfried August Homilius. Erwachet, Ihr Christen (Kantate). Sacred vocal music, Cantatas, Lent and Passiontide. Choral Score. HoWV II.57. Duration 14 minutes. Carus Verlag #CV 37.219/05. Published by Carus Verlag (CA.3721905).

ISBN 9790007214807. Text language: German.

Homilius is known for having always searched for new forms in order to avoid any schematic pattern. Thus, one looks in vain in the present cantata for arias. The opening choir is introduced by two choral groups: One calls to take up the fight against the devil, while the other fearfully hesitates and finally, in the chorale Jesus Christus, wohn uns bei agrees to join in. Following each of the three stanzas of the embellished chorale, in a recitative the hesitant one is given courage before he also takes up arms, in a confident final chorus. Score available separately - see item CA.3721900.

Composed by Markus Miklos, Mathilde Giraud, Lajos Bardos. Collection. Secular. Choir part. 118 pages. Published by Editions a Coeur Joie (CJ.A135300071).

(379 Songs and Hymns) Vocal score songbook for SATB choir. Hymnal. With vocal score notation and lyrics. Published by Brentwood-Benson Music Publishing.

SATB a cappella Choral (SATB)

SKU: HL.50601107

Composed by Matthew Harris. Choral Collection. Concert. Softcover. 60 pages. Published by G. Schirmer (HL.50601107).

ISBN 9781540006875. UPC: 888680713805. 6.75x10.5x0.131 inches.

This is the latest â?? and 7th â?? in an a cappella series going back three decades in which the texts are taken from Shakespeare's plays. â??Come Unto These Yellow Sandsâ? is a gentle invitation to the listener, at least until the animals take over. â??Thou Canst Not Hit It,â? in this interpretation, is a song about trying to hit the high and low notes. Surrounded by comedy and tragedy, â??Honour, Riches, Marriage-Blessingâ? is the idyllic center of the set. â??O Sweet Oliver,â? with its dueling boy and girl choirs, leads into â??Willow, Willow,â? where the poem's word repetitions inspire the driving rhythm.

SATB choir a cappella - Early Intermediate

SKU: MN.50-6531

Composed by Peter Latona. Christmas, Sacred. MorningStar Music Publishers #50-6531. Published by MorningStar Music Publishers (MN.50-6531).

UPC: 688670565311. English.

The tenderness of the carol is heightened by this arrangement, and choirs that take time to explore its expressiveness will benefit. While not difficult, an effective performance requires control and attention to phrasing. The melody is taken up by the tenors in the middle verse.

SATB choir and keyboard, with optional string quartet - Intermediate

SKU: MN.56-0009

Composed by Howard Goodall. 21st Century. Choral score. MorningStar Music Publishers #56-0009. Published by MorningStar Music Publishers (MN.56-0009).

UPC: 688670220098. English.

This seven-minute SATB setting of a section of the 1640 text from the Bay Psalm Book takes wing like the birds it first mentions. What would normally be a somber litany of affliction is set to music that hints at eternal things and the saving power of God. The middle section “I said, ‘In the middle of my days, O my God, do not take away me” is set, amazingly, in Latin, which gives a wonderful contrast to the more lyrical beginning. The beginning material returns as the Latin text is now sung in English, concluding “Thy years throughout all ages are.” This music is sublime and transcendent.