Composed by Stephen Caracciolo. For SATB choir divisi and organ. Washington National Cathedral Series. Magnificat/Nunc Dimittis, Evening. Medium. Octavo. Published by MorningStar Music Publishers

Choral (Children's Voices, SATB choir, SATB and Unison w/opt. 4 Handbells) SKU: HP.C5745 Composed by Joseph M. Martin. Piano with Optional Unison Choir and 4 Handbells. Palm Sunday, Adults and Children, Sacred. Octavo. 12 pages. Hope Publishing Company #C5745. Published by Hope Publishing Company (HP.C5745). UPC: 763628157456. Joseph M. Martin. Matthew 21:1-11, Mark 11:1-11, Luke 19:29-44, John 12:12-19. Original anthem This charming Palm Sunday anthem from Joe Martin builds from the children's opening statement, then gradually adds adult voices and even includes a few antiphonal moments. It's easily learned and a great way to begin your Holy Week services. The handbell part for 4 bells (D5, G5, A5, D6) is included and reproducible.

Composed by Kyle Pederson (1971-). Church Choral. Comfort / Healing / Hope, General. Octavo. Beckenhorst Press #BP2312. Published by Beckenhorst Press

By Steven Sametz (1954-). For 2 Soprano voice soli, Tenor voice solo, SATB/SATB choir. Secular. Choral score. Published by E.C. Schirmer Publishing

Arranged by Mac Huff. (SATB). Pop Choral Series. Size 6.8x10.5 inches. 36 pages. Published by Hal Leonard.

Choir Secular (SATB choir)

SKU: AP.43592

Composed by Jay Althouse. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular. Choral Octavo. 8 pages. Alfred Music #00-43592. Published by Alfred Music (AP.43592).

UPC: 038081491325. English.

A unison pitch becomes a cluster chord and then blossoms into full contemporary choral harmony. Ample text painting, passing dissonance, and sensitive tempo and dynamic changes make this an excellent choice for accomplished choirs.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

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.

Choral SATB Choir and Piano

SKU: CF.CM9740

Composed by Mark Burrows. 16 pages. Duration 4 minutes, 22 seconds. Carl Fischer Music #CM9740. Published by Carl Fischer Music (CF.CM9740).

ISBN 9781491161203. UPC: 680160919789. Key: Bb major. English. Siegfried Sasson.

Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom... These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the Great War finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he was feeling dull-minded and depressed. Perhaps his time in the trenches was still too recent. One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to.   The poem itself has so much rhythm and musicality. The appearance of suddenly in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush. There are expressive opportunities with so many of the poet's bold choices of action words - burst, winging, and shaken. Then there's alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance. Suddenly/singing (measures 6-7 and 10-11) Find/freedom (measure 21-22) Winging/wildly (measure 23) Setting/sun (measures 47-49) Was/wordless (measures 65-75) Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text.   And just as O is set apart in the poem by punctuation, I wanted the musical setting - in measure 57 - to honor that feeling of wonder - ...O, but Everyone Was a bird; and the song was wordless; the singing will Never be done. Friends, there is so much good ahead, so much to be excited about. May the singing never be done.
Everyone suddenly burst out singingAnd I was filled with such delightAs prisoned birds must find in freedom…These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the “Great War” finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he “was feeling dull-minded and depressed.” Perhaps his time in the trenches was still too recent.One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality.The appearance of “suddenly” in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush.There are expressive opportunities with so many of the poet’s bold choices of action words – burst, winging, and shaken.Then there’s alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance.Suddenly/singing (measures 6-7 and 10-11)Find/freedom (measure 21-22)Winging/wildly (measure 23)Setting/sun (measures 47-49)Was/wordless (measures 65-75)Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as “O” is set apart in the poem by punctuation, I wanted the musical setting – in measure 57 - to honor that feeling of wonder –…O, but EveryoneWas a bird; and the song was wordless; the singing willNever be done. Friends, there is so much good ahead, so much to be excited about.May the singing never be done.

SATB choir

SKU: ST.EM27

Composed by Richard Carlton. Edited by Edmund H Fellowes. Library Volumes. Edited Edmund Fellowes. Revised Thurston Dart. Paperback. Madrigals. Choral Score. Stainer & Bell Ltd. #EM27. Published by Stainer & Bell Ltd. (ST.EM27).

ISBN 9790220203428.

A minor canon of Norwich Cathedral, Carlton belonged also to the older generation of madrigal composers, particularly fond of the 'Byrd' or English cadence of flat versus sharp leading-notes. Although he claims to have laboured 'somewhat to imitate the Italian style', he admitted in his preface, 'I cannot forget that I am an English man.'

CONTENTS
All creatures then (SSATB)
Calm was the air (SSAT (or A) B)
Content thyself with thy estate (SAATB)
Even as the flowers do wither (SSATB)
From stately tower (SSATB)
If women can be courteous (SSATB)
Let every sharp (SSATB)
Like as the gentle heart (SSATB)
Nought is on earth (SSATB)
Nought under heaven (SSATB)
O vain desire (SSATB)
Sound saddest notes (SSATB)
So whilom learned (SSATB)
The heathen Gods for love (SA (or T) A (or T) BB)
The love of change (SSATB)
The self-same things (SS (or A) ATB)
The witless boy (SSATB)
When Flora fair (SSATB)
Who seeks to captivate (SAATB)
Who vows devotion (SSATB)
With her sweet locks (SSATB)
Ye gentle ladies (SSATB).

SATB choir (Mixed choir (SATB)) - Level 3

SKU: BA.BA09071-91

Composed by Felix Bartholdy Mendelssohn. Edited by John Michael Cooper. This edition: urtext edition. Paperback. Barenreiter Urtext. Choral score. Opus 36. Baerenreiter Verlag #BA09071_91. Published by Baerenreiter Verlag (BA.BA09071-91).

ISBN 9790006565467. 27 x 19 cm inches. Text Language: German, English.

Felix Mendelssohn Bartholdy completed his first oratorio - St. Paul , op. 36 - in 1836, at the age of twenty-seven.

The first version, which was premiered on 22 May 1836, was then extensively revised by the composer. This second version, which at the same time served as the basis for the published version, was premiered as early as October that year in Birmingham . The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score, Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner, who later denigrated Mendelssohn, was full of admiration. Today, St. Paul belongs to the core repertoire of sacred choral music.

This Urtext edition of the oratorio, edited by the internationally-recognise d Mendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work, the score also includes for the first time numbers which were composed for the first version and subsequently removed. This gives not only an insight into the history of the composition of the work, but also, with the complete performing material, into the performance of the original version. The appendices (first version) which appear in the full score and vocal score are not contained in this choral score.

The full score and vocal score include the German and English texts of the oratorio.

The vocal score is by Mendelssohn.

- Urtext edition, representing the latest musicological research
- Vocal texts in German and English
- Supplements the already existing material available to this work

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

By Heinrich Schutz. For Soprano, Tenor, Bass, SATB Choir, Orchestra. Christmas, Renaissance. Sheet Music. 72 pages. Published by Novello and Co Ltd.

SATB choir

SKU: CA.965500

Composed by Ko Matsushita. Edited by Stefan Schuck. Contemporary Choir Music. Sacred vocal music, Corpus Christi, Eucharist, Communion. Full score. Composed 2012. 4 pages. Duration 3 minutes. Carus Verlag #CV 09.655/00. Published by Carus Verlag (CA.965500).

ISBN 9790007164409. Language: Latin.

For faithful Catholics it is the great mystery, and for those who are not Christian believers it is incomprehensible, possibly even off-putting - the mystery of the Eucharist. As far back as the late medieval period, the verse prayer Ave verum inimitably captures the special atmosphere of the contradiction between a terrible death and the redemption of mankind. Matsushita sets an early version of this prayer for the Eucharist in motet-like ABA form. A floating melody, alternating precisely between major and minor and first sung solo by all four voices in transposition, introduces the piece in a contemplative style. The scale is then altered in the counterpoint to a pure Dorian mode, contrasting in the middle section at the text vere passum, where Matsushita accompanies the increasingly wide-ranging melody and its chromatic, augmented intervals, by increasingly dissonant chordal shifts like a fauxbourdon. From this the tonal high point develops into an almost perfect F major, which then finally picks up on the opening motif for the added lines of text O Jesu dulcis, o Jesu pie... before ebbing away in F major. Voice range: S: des' - fis'' / A:gdeg - d'' / T: cdeg - as' / B: F - c'.

SATB and Organ

SKU: SU.80101463

For SATB and Organ. Composed by Carson Cooman. Vocal/Choral, Sacred Choral. Choral Octavo. Zimbel Press #80101463. Published by Zimbel Press (SU.80101463).

O Lord, Support Us (2015) is a setting of a text from the Book of Common Prayer: O Lord, support us all the day long, until the shadows lengthen and the evening comes, and the busy world is hushed, and the fever of life is over, and our work is done. Then in thy mercy grant us a safe lodging, and a holy rest, and peace at the last. Instrumentation: SATB and Organ Duration: 2'45 Composed: 2015 Published by: Zimbel Press.

Choir, Organ Accompaniment (SATB Choir)

SKU: HL.275001

Composed by Thomas Campbell. Arranged by Bruce Wilkin and Mark Thallander. Fred Bock Publications. Octavo. 12 pages. Fred Bock Music Company #BG2655. Published by Fred Bock Music Company (HL.275001).

UPC: 888680741495. 6.75x10.5 inches.

This well-known hymn begins simply with just violin, but it expands and builds into a full festival anthem. Provided with organ accompaniment, befitting the arrangers' gifts, a full score with additional piano parts and trumpet is available separately. A center section introduces a Bach chorale, and then returns even more majestically to the hymn-tune, this time with an invitation to the entire congregation. Lent and Easter season, Communion, General, and festival, all work for this piece. Easy to Medium in difficulty.

SATB choir, piano reduction

SKU: GI.G-EH1004

Composed by Elaine Hagenberg. Music Education. Octavo. 12 pages. GIA Publications #EH1004. Published by GIA Publications (GI.G-EH1004).

UPC: 748769410042. Text by Charles Anthony Silvestri.

In this work for a cappella SATB choir, the beautiful words of Charles Anthony Silvestri describe how the simplest actions can have profound results. Elaine's delicate melodies unfold to rich harmonies, then soar to glorious heights—reminding us that “When we love, / Simply love, / Even as we are loved, / Our weary world can be transformed.”.

One Holy Lamb (A Musical for Easter). By David Guthrie. Arranged by Lari Goss. For SATB choir. Musical. Modern Christian, Easter. Easy. Choral Book. Duration 38'00". Published by Word Music (

Choral (SATB divisi)

SKU: HL.540114

SATB divisi a cappella. Composed by Miguel Matamoros. Arranged by Miguel Astor. Gentry Publications. Cuban, Folk, Multicultural, Spanish. Octavo. 14 pages. Gentry Publications #JG2608. Published by Gentry Publications (HL.540114).

UPC: 196288075639. 6.75x10.5x0.025 inches.

This joyful Cuban love song has been around for some time, and this choral arrangement brings it into the concert hall. You cannot resist moving when singing this song. Adding a little percussion enhances it even further. The concluding dynamics take the song down to a whisper and then explode enthusiastically for the final phrase. Great fun!

Composed by Arvo Part (1935-). World Premiere: in St. Gerold / Austria by the Hilliard Ensemble. Sacred. Vocal score. With Standard notation. Composed 2004/2006. Duration 5 minutes. Universal Edition #UE32941. Published by Universal Edition

Bob Chilcott Anthems 1 by Bob Chilcott. For SATB choir accompanied and a cappella. Mixed Voices. Composer Anthem Collections. Sacred, Choral Collection. Vocal score. 64 pages. Published by Oxford University Press

Composed by David Barton. Text: 15th century texts. Medieval-flavor motet. Christmas. Octavo. Published by CanticaNOVA Publications (C5.5054).

By Tom Connors. Arranged by Larry Nickel. For SATB choir with piano. Country. Octavo. Published by Cypress Choral Music

SATB Choir

SKU: HL.14005357

Composed by Geoffrey Burgon. Music Sales America. Sacred. Book [Softcover]. Composed 1999. 40 pages. Chester Music #CH61337. Published by Chester Music (HL.14005357).

ISBN 9780711975767.

De Algunos Canciones de Juan de la Cruz. This work was commissioned by the BBC for the 10th anniversary of the BBC Northern Singers in 1975. 'Dos Coros is a setting for voices of two poems by the 16th century Spanish mystic St John of the Cross. St John is widely considered to be the greatest of the Spanish mystic poets, because he comes closest to expressing what is usually considered to be inexpressible - mystical experience. His poetry is all about the intense excitement of the union with God, but, paradoxically, the word God is rarely used, and not at all in the two poems set here. Another paradox is that he is able to express great serenity by employing the imagery of rushing water, flight and even drunkenness. If mystical experience is near impossible to convey in words, then maybe it is natural that many composers have taken up the challenge of conveying it in their own medium.' Geoffrey Burgon.

SATB chorus - intermediate

SKU: BP.BP2324

Composed by Kyle Pederson. Advent;Lent;Benedictions; Comfort / Healing / Hope;General;Justice;Peac e;Reformation;Unity; Secular. School, Church, Community Adult, Collegiate. Octavo. Beckenhorst Press #BP2324. Published by Beckenhorst Press (BP.BP2324).

UPC: 748769023242. 6.875 x 10.5 inches.

Kyle Pederson's gift for songwriting is on full display in this heartfelt prayer for peace. Folk and classical styles blend seamlessly as the choir both asks for shalom, then offers shalom to the listener, to friends and family, to those we don't know, and even to our enemies: ...heal us all that we may know the wholeness of your great shalom..

Composed by Mark Shepperd. MorningStar Music Publishers #50-6145. Published by MorningStar Music Publishers

Vocal Jazz Series. Composed by Horace Silver. Arranged by Paris Rutherford. Jazz Chorals. Festival, Jazz, Vocal Jazz, Swing, Standards. Octavo. 16 pages. Published by Hal Leonard