Choral SSA choir

SKU: CF.CM9580

Composed by Richard Rasch. Arranged by Richard Rasch. Fold. Performance Score. 4 pages. Duration 2 minutes, 42 seconds. Carl Fischer Music #CM9580. Published by Carl Fischer Music (CF.CM9580).

ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.

The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase  translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.

Commissioned by American Composers Forum. Composed by Jennifer Higdon (1962-). ChoralQuest. Concert. Octavo. Published by American Composers Forum

Choral SSA Choir and Piano

SKU: CF.CM9747

Composed by Andrew Steffen. Duration 3 minutes, 4 seconds. Carl Fischer Music #CM9747. Published by Carl Fischer Music (CF.CM9747).

ISBN 9781491162354. UPC: 680160921102. Key: E lydian. English. The Vastness of the Universe Jonas Hallgrimsson (1807-1845).

About� � Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself.  Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for treble choirs.Note to the DirectorTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.
About J� �nas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself.  Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for treble choirs.Note to the DirectorTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.
About J� �nas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself.  Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for treble choirs.Note to the DirectorTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.
About J� �nas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself.  Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for treble choirs.Note to the DirectorTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.
About J� �nas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself.  Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for treble choirs.Note to the DirectorTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.
About J� �nas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself.  Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for treble choirs.Note to the DirectorTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.

Composed by Paul David Thomas. Sws. Octavo. 16 pages. Duration 3 minutes, 8 seconds. Carl Fischer Music #CM9647. Published by Carl Fischer Music

(Songbook). By The King's Singers. Arranged by The King's Singers. For choir (one, two, or three-part voices) (Songbook). King's Singer's Choral. Pop Vocal, Traditional Folk, Baroque and Classical Period. Difficulty: easy-medium. Vocal score (one, two and three part rounds). Vocal melody, harmony part and leadsheet notation. 80 pages. Published by Hal Leonard

(Commissioned by the American Composers Forum). By Alice Parker. For Choral (SSA). American Composers Forum Choral. 40 pages. Published by American Composers Forum

I. Farfallina (Butterfly) 2. Lucciola (Firefly). Composed by Italian Folk Song and Tuscan Folk Song. Arranged by Christi Jones. Fold. Octavo. 8 pages. Duration 2 minutes, 35 seconds. BriLee Music #BL1123. Published by BriLee Music

By Willcocks and Rutter. For (Choral Collection) SSA Choir. Published by Oxford University Press.

(From the Musical Ragtime). Composed by Lynn Ahrens, music by Stephen Flaherty and Lynn Ahrens, music by Stephen Flaherty. Arranged by Mark Hayes. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Pop Choral. Broadway; Secular. 12 pages. Published by Alfred Music

Commissioned by American Composers Forum. Composed by Chen Yi (1953-). ChoralQuest. Concert. Octavo. 12 pages. Published by American Composers Forum (HL.151967).

By Ledger. For Choral Collection: SSA Choir. Published by Oxford University Press.

Choral SSA Choir and Piano

SKU: CF.CM9575

Born on a Fishing Boat. Composed by Braeden Ayres. Fold. Performance Score. 8 pages. Duration 2 minutes, 51 seconds. Carl Fischer Music #CM9575. Published by Carl Fischer Music (CF.CM9575).

ISBN 9781491153970. UPC: 680160912476. 6.875 x 10.5 inches. Key: F minor. English. Mei-Li Medvar. Original.

When I found Born on a Fishing Boat in an issue of Poetry While You Wait in Colorado Springs, Colorado, I was immediately struck by Ms. Lius simple, evocative words. While I sat in the cafe on a cold January day waiting for my coffee, I closed my eyes and envisioned what it might be like to lie on my back in a small fishing boat and look up at the stars. I stole the free booklet of poetry and trudged home in the snow, already hearing the piano part in my mind. I would encourage anyone who is interested in learning more about Mei-Li Lius life and work to purchase her book Ten Thousand Miles from Home, published by Dragon Press (ISBN: 9780976137009). I sincerely hope I have honored her art with this setting. Born on a Fishing Boat I was born on fishing boat Lying in basket Ocean tide rocking me to sleep Papa fishing all-day and all-night Mamas washings hanging on line Above my head Misty sea washing my face Northern wind whispering to my ears Angel of sea kissing my forehead Beneath paper moon My little arms out from the cradle Out to the breeze Happy, born on fishing boat By the sea.
When I found aBorn on a Fishing Boata in an issue of Poetry While You WaitA in Colorado Springs, Colorado, I was immediately struck by Ms. Liuas simple, evocative words. While I sat in the cafA(c) on a cold January day waiting for my coffee, I closed my eyes and envisioned what it might be like to lie on my back in a small fishing boat and look up at the stars. I astolea the free booklet of poetry and trudged home in the snow, already hearing the piano part in my mind. I would encourage anyone who is interested in learning more about Mei-Li Liuas life and work to purchase her bookA Ten Thousand Miles from Home, published by Dragon Press (ISBN: 9780976137009). I sincerely hope I have honored her art with this setting. Born on a Fishing Boat I was born on fishing boat Lying in basket Ocean tide rocking me to sleep Papa fishing all-day and all-night Mamaas washings hanging on line Above my head Misty sea washing my face Northern wind whispering to my ears Angel of sea kissing my forehead Beneath paper moon My little arms out from the cradle Out to the breeze Happy, born on fishing boat By the sea.
When I found Born on a Fishing Boat in an issue of Poetry While You Wait in Colorado Springs, Colorado, I was immediately struck by Ms. Liu's simple, evocative words. While I sat in the cafe on a cold January day waiting for my coffee, I closed my eyes and envisioned what it might be like to lie on my back in a small fishing boat and look up at the stars. I stole the free booklet of poetry and trudged home in the snow, already hearing the piano part in my mind. I would encourage anyone who is interested in learning more about Mei-Li Liu's life and work to purchase her book Ten Thousand Miles from Home, published by Dragon Press (ISBN: 9780976137009). I sincerely hope I have honored her art with this setting. Born on a Fishing Boat I was born on fishing boat Lying in basket Ocean tide rocking me to sleep Papa fishing all-day and all-night Mama's washings hanging on line Above my head Misty sea washing my face Northern wind whispering to my ears Angel of sea kissing my forehead Beneath paper moon My little arms out from the cradle Out to the breeze Happy, born on fishing boat By the sea.
When I found Born on a Fishing Boat in an issue of Poetry While You Wait in Colorado Springs, Colorado, I was immediately struck by Ms. Liu's simple, evocative words. While I sat in the cafe on a cold January day waiting for my coffee, I closed my eyes and envisioned what it might be like to lie on my back in a small fishing boat and look up at the stars. I stole the free booklet of poetry and trudged home in the snow, already hearing the piano part in my mind. I would encourage anyone who is interested in learning more about Mei-Li Liu's life and work to purchase her book Ten Thousand Miles from Home, published by Dragon Press (ISBN: 9780976137009). I sincerely hope I have honored her art with this setting. Born on a Fishing Boat I was born on fishing boat Lying in basket Ocean tide rocking me to sleep Papa fishing all-day and all-night Mama's washings hanging on line Above my head Misty sea washing my face Northern wind whispering to my ears Angel of sea kissing my forehead Beneath paper moon My little arms out from the cradle Out to the breeze Happy, born on fishing boat By the sea.
When I found “Born on a Fishing Boat” in an issue of Poetry While You Wait in Colorado Springs, Colorado, I was immediately struck by Ms. Liu’s simple, evocative words. While I sat in the café on a cold January day waiting for my coffee, I closed my eyes and envisioned what it might be like to lie on my back in a small fishing boat and look up at the stars. I “stole” the free booklet of poetry and trudged home in the snow, already hearing the piano part in my mind. I would encourage anyone who is interested in learning more about Mei-Li Liu’s life and work to purchase her book Ten Thousand Miles from Home, published by Dragon Press (ISBN: 9780976137009). I sincerely hope I have honored her art with this setting.Born on a Fishing BoatI was born on fishing boatLying in basketOcean tide rocking me to sleepPapa fishing all-day and all-nightMama’s washings hanging on lineAbove my headMisty sea washing my faceNorthern wind whispering to my earsAngel of sea kissing my foreheadBeneath paper moonMy little arms out from the cradleOut to the breezeHappy, born on fishing boatBy the sea.

(From the Musical Ragtime). Composed by Lynn Ahrens, music by Stephen Flaherty. Arranged by Mark Hayes. Choir Secular. Women's Choir. Choral Octavo. Pop Choral. Broadway; Secular. 12 pages. Published by Alfred Music

Choral (SSA Choir) - Grade 3

SKU: HL.14042891

SSA and Organ. Composed by James Whitbourn. Choral. Classical. Octavo. 12 pages. Chester Music #CH81059. Published by Chester Music (HL.14042891).

6.5x9.75x0.055 inches.

The Twenty-Eight Times is a Vocal piece composed by British composer and conductor James Whitbourn . The Twenty-Eight Times was commissioned by the United Westminster Schools and Grey Coat Hospital Foundation to commemorate the fiftieth anniversary of the assassination of John F. Kennedy, and performed in Westminster Abbey on 25 October 2013 by the choir of Queen Anne's school, Caversham. This ancient Hebrew text from Ecclesiastes (Qoheleth) was a favourite of President Kennedy and formed partof the Eulogy delivered at his funeral service on 25 November 1963. He was assassinated on 22 November 1963.

He Is Born. Composed by French carol. Arranged by Lynn Bailey Christopher Pillsbury. Sws. Octavo. 16 pages. Duration 2 minutes. Carl Fischer Music #CM9636. Published by Carl Fischer Music

Composed by John F. Smith. Arranged by Jody Noblett. For TBB choir, keyboard (rehearsal only). Octavo. 8 pages. Duration 1 minutes, 28 seconds. Published by Carl Fischer

Composed by Mark Patterson. Fold. Octavo. 12 pages. Duration 2 minutes, 27 seconds. Carl Fischer Music #CM9631. Published by Carl Fischer Music

Composed by Philip E. Silvey. Sws. Octavo. 20 pages. Duration 3 minutes, 38 seconds. Carl Fischer Music #CM9626. Published by Carl Fischer Music

Choral SSA Choir and Piano

SKU: CF.CM9716

Day of Wrath. Composed by David (D) Smith. 12 pages. Duration 0:01:57. Carl Fischer Music #CM9716. Published by Carl Fischer Music (CF.CM9716).

ISBN 9781491160954. UPC: 680160919550. Key: D minor. Latin. Early Latin Text.

This text is taken from the Dies Irae Sequence from the Requiem Mass. It is a contemplation of the arrival of judgment day. The A-sections, mm. 1-29 & mm. 43-end, are a manic depiction of the fierce wrath of judgment day. They should be sung with fire, crisp consonants while always enunciating the accents in order to realize the full effect of this powerful text. The entire demeanor of the tone and facial expressions should change for the B-section, mm. 30-42 as it is a plea for mercy. The audience should realize the change in this contrasting section. Translation Dies irae, dies illa: Day of wrath, that day Solvet saeclum in favilla: shall dissolve the world into embers Teste David cum Sibylla: As David prophesied with the Sibyl. Voca me cum benedictis :Call me to be with the blessed. Salva me fons pietatis : Save me, fount of pity. The Sibyl is a reference from a Greek word, which means Prophetess. In this context, the word appears in plural, referring to many prophetesses. David, or King David, has long been considered prophetic among biblical scholars. About the Arranger D. Farrell Smith is the Director of Choirs at Hilldale Middle School, and Hilldale High School in Muskogee, Oklahoma. He holds a B.A. in Music Education and the M.A. in Theological Studies. Currently the Minister of Music at Eastern Heights Baptist Church, he has been a Music educator and Minister for 20 years. Mr. Smith studied with Dr. Gary Foster and Dr. Donald Studebaker and has performed under such notables as R. Evan Copley, Daniel Pinkham, Lloyd Pfautsch, and Bev Henson.
This text is taken from the Dies Irae Sequence from the Requiem Mass. It is a contemplation of the arrival of judgment day. The A-sections, mm. 1-29 & mm. 43-end, are a manic depiction of the fierce wrath of judgment day. They should be sung with fire, crisp consonants while always enunciating the accents in order to realize the full effect of this powerful text. The entire demeanor of the tone and facial expressions should change for the B-section, mm. 30-42 as it is a plea for mercy. The audience should realize the change in this contrasting section.TranslationDies irae, dies illa: Day of wrath, that daySolvet saeclum in favilla: shall dissolve the world into embersTeste David cum Sibylla: As David prophesied with the Sibyl.Voca me cum benedictis :Call me to be with the blessed.Salva me fons pietatis : Save me, fount of pity.The “Sibyl” is a reference from a Greek word, which means Prophetess. In this context, the word appears in plural, referring to many prophetesses. David, or King David, has long been considered prophetic among biblical scholars.About the ArrangerD. Farrell Smith is the Director of Choirs at Hilldale Middle School,  and Hilldale High School in Muskogee, Oklahoma.   He holds a B.A. in Music Education and the M.A. in Theological Studies. Currently the  Minister of Music at Eastern Heights Baptist Church, he has been a Music educator and Minister for 20 years. Mr. Smith studied with Dr. Gary Foster and Dr. Donald Studebaker and has performed under such notables as R. Evan Copley, Daniel Pinkham, Lloyd Pfautsch, and Bev Henson.

Choral (SSA Choir)

SKU: HL.365086

Composed by Joseph M. Martin. Brookfield Choral Series. General Worship, Sacred. Octavo. 12 pages. Duration 280 seconds. Published by Brookfield Press (HL.365086).

UPC: 840126960792. 6.75x10.5x0.029 inches. III John 2, Jeremiah 14:1-22, John 14:27, John 9:1-41.

Written during the height of the pandemic, this song of spiritual and physical wellness speaks to many moments of need. Opening with the first few chords of O God, Our Help in Ages Past, the anthem is framed as a petition for God's healing mercy. The fragile melody gently rises and falls, breathing with the sincerity of the lyrics. In the silence help us hear words of hope and promise clear. Teach us not to live in fear. Lord of all, we pray to You. A true anthem of hope!

Composed by Higgins. Sacred. Vocal score. Duration 2.5'. Oxford University Press #9780193529045. Published by Oxford University Press

Choral SSA choir

SKU: CF.CM9708

Celebrate Hanukkah!. Composed by Traditional. Arranged by JB Levine. 8 pages. Duration 1 minute, 25 seconds. Carl Fischer Music #CM9708. Published by Carl Fischer Music (CF.CM9708).

ISBN 9781491160039. UPC: 680160918638. Key: F major. Hebrew. Traditional.

The traditional Jewish practice for the holiday of Hanukkah is to recall ancient miracles and increase the light in the world by lighting a nine-stemmed menorah. One candle is added each night until the menorah is full on the eighth night. After lighting the candles each night, those gathered around the menorah sing these ancient blessings. The first two blessings are sung on all eight nights, and the third blessing is only sung on the first. This melody, first published in New York in 1922, is commonly used throughout the world. It is sung by crowds of thousands gathering to light a community menorah and small families gathering in their homes alike.

Choral (SSA Choir)

SKU: HL.14035938

Composed by James Whitbourn. Music Sales America. Classical. Octavo. Composed 2005. Chester Music #CH68167. Published by Chester Music (HL.14035938).

UPC: 884088441890. 8.25x11.75 inches.

Arrangement for the choristers of Westminster Abbey, Commonwealth Day 2004 of the original SATB version commissioned by the BBC.

Composed by John Rutter (1945-). For SSA choir and organ accompaniment. Upper Voices. Sacred. Level C (moderately difficult). Octavo. 12 pages. Duration 3'. Published by Oxford University Press