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.
SATB choir, assembly, keyboard accompaniment, trumpet 1 in B-flat, trumpet 1 in ...(+)
SATB choir, assembly,
keyboard accompaniment,
trumpet 1 in B-flat,
trumpet 1 in C, trumpet 2
in B-flat, trumpet 2 in
C, guitar - Early
intermediate
SKU:
GI.G-9384
Composed by
Marty Haugen. Eastertide,
Easter Vigil, Easter
Sunday, Pentecost.
Celebration Series.
Sacred. Octavo. With
guitar chord names. 12
pages. GIA Publications
#9384. Published by GIA
Publications (GI.G-9384).
UPC: 785147938408.
English. Text Source:
Based on Psalm 118. Text
by Marty Haugen.
Scripture: Psalm 118:14,
17, 24.
In this
anthem, the
quintessential Easter
Psalm 118 is adapted into
a jubilant song for choir
and assembly,
incorporating related
themes about
Christ’s
resurrection and the
descent of the Holy
Spirit at Pentecost. The
lyrical melody sails
effortlessly with the
steady harmonic support
of the accompaniment and
two bright trumpet parts,
sure to delight your
congregation throughout
the Easter season.
From "Simon Bore the Cross". Composed by Margaret Bonds (1913-1972). Edited by...(+)
From "Simon Bore the
Cross".
Composed by Margaret
Bonds
(1913-1972). Edited by
Frederick A. Binkholder.
Arranged by Margaret
Bonds.
Good Friday. African
American
Church Music Series.
Sacred.
Octavo. 16 pages. GIA
Publications #10355.
Published
by GIA Publications
Ave Maria Chorale SATB SATB A Cappella [Octavo] MorningStar Music Publishers
Composed by Michael John Trotta. Cathedral Series. Catholic Year A Immaculate Co...(+)
Composed by Michael John
Trotta. Cathedral Series.
Catholic Year A
Immaculate Conception.
Marian, Advent, Mother.
Octavo. Published by
MorningStar Music
Publishers (MN.50-0087).
Westminster Conservatory Youth Chorale Jewish Music Series. By Joel Phillips. (...(+)
Westminster Conservatory
Youth Chorale Jewish
Music Series. By Joel
Phillips. (SATB).
Transcontinental Music
Choral. Jewish. 12 pages.
Published by
Transcontinental Music
Publications.
The Blue Ridge Chorale SATB SATB, Piano GIA Publications
SATB choir, piano accompaniment SKU: GI.G-EH1006 Composed by Elaine Hagen...(+)
SATB choir, piano
accompaniment
SKU:
GI.G-EH1006
Composed
by Elaine Hagenberg.
Music Education. Octavo.
12 pages. GIA
Publications #EH1006.
Published by GIA
Publications
(GI.G-EH1006).
UPC:
748769410066. Text by
Harriet
Monroe.
Elaine
Hagenberg captures the
hushed majesty of an
evening in the Blue Ridge
Mountains, with crystal
clear melodies and
fervent harmonies
illuminating the poem of
Harriet Monroe. The
ascent and descent of the
opening lines trace the
mountains’
silhouette against the
sky, followed by the
treble and bass voices
that draw us by turn to
view each detail of the
scene and listen for the
wisdom of the mountains.
Accomplished high school
choirs and beyond will
find beauty and meaning
as they explore this
piece.
By Daniel Pinkham (1923-2006). For STBB soli, SATB Choir, brass, percussion, org...(+)
By Daniel Pinkham
(1923-2006). For STBB
soli, SATB Choir, brass,
percussion, organ,
electronic media (Mixed
Voices). Holy Week.
Choral, Electronic Media.
68 pages. Published by
E.C. Schirmer Publishing
By Daniel Pinkham (1923-2006). For STBB soli, SATB Choir, brass, percussion, org...(+)
By Daniel Pinkham
(1923-2006). For STBB
soli, SATB Choir, brass,
percussion, organ,
electronic media (Mixed
Voices). Holy Week. New
Testament Apocrypha.
Choral, Opera. 68 pages.
Published by E.C.
Schirmer Publishing
SATB choir, a cappella (SATB) SKU: OU.9780193355347 Composed by Michael B...(+)
SATB choir, a cappella
(SATB)
SKU:
OU.9780193355347
Composed by Michael
Berkeley. Services and
Canticles. Vocal score.
16 pages. Duration 10'.
Oxford University Press
#9780193355347. Published
by Oxford University
Press (OU.9780193355347).
ISBN 9780193355347. 12
x 8 inches.
For
SATB unaccompanied An
incandescent setting of
versicles and responses
for Evensong. The music
is haunting in its
simplicity, supporting
and illuminating the text
to great effect. The
second set includes an
account of The Lords
Prayer, in a moving,
unison setting that
should inspire any church
choir.
Choral (SATB) - difficult SKU: HL.49045380 For SATB Choir A Cappella a...(+)
Choral (SATB) - difficult
SKU: HL.49045380
For SATB Choir A
Cappella and a Bell
(French). Composed by
Thierry Pé and cou.
This edition: Saddle
stitching. Sheet music.
Choral. Classical.
Octavo. Composed 2008. 24
pages. Duration 7'.
Schott Music #SKR20105.
Published by Schott Music
(HL.49045380).
ISBN
9790001203487. UPC:
888680721268.
8.25x11.75x0.084 inches.
French.
This work
was commissioned by the
Latvian choir Kamer
within the framework of a
large-scale project
centered round the topic
the sun. A poem by Paul
de Brancion is
interspersed with
expressions and sayings
taken from French
folklore. The poetic text
describing the
contemporary anxiety that
everything will be
scorched by the sun as a
result of global warming
provides a response to
popular opinion and
cheerful idioms. The
score is constructed like
a descent into great
depths, from the sunlight
into darkness. The
composition can also be
combined with its sequel
composition Au dessous
des etoiles (Under the
Stars) for mixed
choir.Thierry Pecou.
SATB choir, keyboard accompaniment - Early intermediate SKU: GI.G-10354 <...(+)
SATB choir, keyboard
accompaniment - Early
intermediate
SKU:
GI.G-10354
From
Simon Bore the Cross.
Composed by Margaret
Bonds. Edited by
Frederick A. Binkholder.
Good Friday. African
American Church Music
Series. Sacred. Octavo.
16 pages. GIA
Publications #10354.
Published by GIA
Publications
(GI.G-10354).
UPC:
785147035411. English.
Text by Langston
Hughes.
This piece,
with words by Langston
Hughes, is from Margaret
Bonds’ cantata
Simon Bore the Cross. The
cantata pulls into sharp
focus individuals of
African descent who were
integral components of
the gospel story: King
Balthazar and Simon of
Cyrene. A moving piece
for Good Friday.