Performed by Jose Feliciano. By Jose Feliciano. Arranged by Mac Huff. (SATB). Choral. Size 6.75x10.5 inches. 12 pages. Published by Hal Leonard.

(from Tommy). Performed by The Who. By Pete Townshend. Arranged by Mac Huff. (SATB). Broadway Choral. Size 6.75x10.5 inches. 12 pages. Published by Hal Leonard.

(from Newsies). By Alan Menken, Jack Feldman. Arranged by Roger Emerson. (SATB). Choral. Size 6.75x10.5 inches. 12 pages. Published by Hal Leonard.

By Margaret Rizza. Choir Sacred. SATB choir. Choral (Sacred); Choral Octavo; Worship Resources. Faber Edition: Choral Signature Series. Sacred. Published by Faber Music

By Eleanor Daley, Charles Miller. (SATB A Cappella). Walton Choral. Size 6.75x10.5 inches. Published by Walton Music.

Composed by Gabriel Jackson (1962-). For SSATB choir, unaccompanied. New Horizons. Vocal score. 28 pages. Duration 8 minutes. Published by Oxford University Press

Three Shakespeare Songs. Composed by Cecilia McDowall. New Horizons. Vocal score. 36 pages. Duration 11'. Published by Oxford University Press (OU.9780193408241).

Choral SATB choir

SKU: CF.CM9700

Composed by Hungarian Folk. Arranged by Stacy Garrop. 20 pages. Duration 4:44. Carl Fischer Music #CM9700. Published by Carl Fischer Music (CF.CM9700).

ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.

In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJa rba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).­­.

Composed by Georges Bizet, Patrick Rutge. Secular, Romantic. Choir part. 4 pages. Published by Editions a Coeur Joie (CJ.A111100771).

Composed by Gabriel Jackson (1962-). For SATB choir and organ. New Horizons. Vocal score. 36 pages. Duration 11 minutes. Published by Oxford University Press

Composed by Gabriel Jackson (1962-). For SATB choir and electric guitar. New Horizons. Electric guitar part. 12 pages. Duration 11 minutes. Published by Oxford University Press

Composed by Gabriel Jackson (1962-). For SATB choir (with divisions) unaccompanied. New Horizons. Vocal score. 20 pages. Duration 6 minutes. Published by Oxford University Press

Composed by Gabriel Jackson (1962-). For SATB choir (with divisions) unaccompanied. New Horizons. Vocal score. 32 pages. Duration 9 minutes. Published by Oxford University Press

Skywalk (I See the Horizon) composed by Steve Martland (1959-). For Choral (SSATB). Choral. Choral score. 20 pages. Schott Music #ED12362. Published by Schott Music

Composed by Cecilia McDowall. Christmas Songs and Carols - Mixed Voices. New Horizons. Vocal score. 12 pages. Duration 4'. Oxford University Press #9780193519770. Published by Oxford University Press

Composed by Howard Skempton (1947-). Sacred choral - mixed voices. New Horizons. Sacred. Vocal score. 4 pages. Duration 2'. Oxford University Press #9780193527997. Published by Oxford University Press

Composed by Sheehan. Sacred choral - mixed voices. New Horizons. Vocal score. 12 pages. Duration 4'. Oxford University Press #9780193540408. Published by Oxford University Press

Composed by Cecilia McDowall. New Horizons. Vocal score. 12 pages. Duration 4.5'. Published by Oxford University Press (OU.9780193415713).

Composed by Gabriel Jackson (1962-). Mixed Voices. New Horizons. Sacred. Octavo. 16 pages. Duration 6'. Published by Oxford University Press (OU.9780193403277).

Arranged by Dick Bolks, Jack Halloran. (SATB). Gentry Publications. Sacred. Size 6.7x10.5 inches. 12 pages. Published by Fred Bock Music Company.

Composed by Gabriel Jackson (1962-). For SATB choir, divisi a cappella. Mixed Voices. New Horizons. Sacred. Level B-C (easy - moderately difficult). Octavo. 8 pages. Duration 3'. Published by Oxford University Press

Arranged by Mac Huff. (Satb Singer). Secular Christmas Choral. Size 7x10.5 inches. 56 pages. Published by Hal Leonard.

From the Opera The Masque of Angels. By Dominick Argento. (SATB). Boosey and Hawkes Sacred Choral. Size 6.8x10.5 inches. 16 pages. Published by Boosey & Hawkes.

Composed by Sheehan. Sacred choral - mixed voices. New Horizons. Vocal score. 12 pages. Duration 2.5'. Oxford University Press #9780193540415. Published by Oxford University Press

Arranged by Mac Huff. (SATB score). Secular Christmas Choral. Size 9x12 inches. 80 pages. Published by Hal Leonard

Mixed Voices Book Volume 1. (SATB). Methodology Chorals. Size 6.75x10.5 inches. 88 pages. Published by Hal Leonard.

By Emily Crocker, John Leavitt. (SATB). Methodology Chorals. Size 6.75x10.5 inches. 118 pages. Published by Hal Leonard.