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 Richard Donn and William B. Bradbury. For Cello, Choral, Wind Chimes (SATB/CELLO/WINDCHIMES). Harold Flammer. Octavo. Published by Shawnee Press

By William B. Bradbury. Arranged by Arnold B. Sherman. Sacred. Print Music Single (SATB w/opt. 3- oct. Handbells). 8 pages. Published by Hope Publishing Company.

By William B. Bradbury. Edited by Charlotte Elliott. Arranged by Emily Lund. For SATB choir. Hymntune. Sacred. Choral octavo. 8 pages. Published by Hope Publishing Company

Composed by William B. Bradbury. Arranged by Brad Nix and Joseph M. Martin. Shawnee Sacred. A Cappella, Communion, General Worship, Sacred. Octavo. 8 pages. Published by Shawnee Press

Just as I am by Bob Chilcott. For SATB choir and organ. Mixed Voices. Sacred, Choral Leaflet. Vocal score. 8 pages. Duration 4'. Published by Oxford University Press

By Various. Edited by Kreuels, Matthias / Ducker, Martin / Essl, Jurgen / Geismann, Wilm / Kohlmann, Mathias / Langer, Leo / Ochs, Jurgen / Drescher, Thomas / Frohlich, Brigitte / Maag, Jurgen / Rommelspacher, Stephan. Sacred, Hymns, Hymn settings, Magnificat, Masses, Latin, Mass Sections, Motets, Psalms, German, Psalms, Latin; Choral Collections, Mixed Choir; Occasions: Eucharist, Communion, Peace and Justice, Prayer, First Communion, Confirmation, Praise and thanks, F. Choral collection. 256 pages

Arranged by Matthew Harris. For SATB a cappella w/divisi. Mixed Chorus a cappella with divisi and solos -- Sitting in an outdoor cafe in Mexico a few years ago, I was intrigued when a strolling mariachi band played something str strange yet familiar. Here was 'La Bamba' the 'right way'!, I thought. But a little. Modern. Octavo. 22 pages. Duration circa 6 minutes

((Just as I Am)). By Amy Grant and Brenton Brown. By Amy Grant, Brenton Brown, and William B. Bradbury. Arranged by Heather Sorenson. For Choral (SATB). PraiseSong Choral. 12 pages. Published by PraiseSong

Composed by Riika Pietilainenen-Caffrey. Edited by Lawrence Kaptein. Octavo. Alliance Music Publications #AMP 1072. Published by Alliance Music Publications

Angel. Composed by Fadhilli William Mdawida. Arranged by Russell L. Robinson. Sws. Octavo. 16 pages. Duration 3 minutes, 4 seconds. Carl Fischer Music #CM9650. Published by Carl Fischer Music

SATB choir, piano, voice solo

SKU: AU.9781451451634

Arranged by Hal H. Hopson. Octavo. Published by Augsburg Fortress (AU.9781451451634).

This gentle arrangement of the beloved hymn, Just As I Am, is expertly set for choir and piano by Hal H. Hopson. An opening solo line gives way to the full choir, with a simple yet wonderful message of coming to the Lord just as you are.

By Charlotte Elliott and Mary McDonald. For SATB choir. Choral octavo. Published by Hope Publishing Company

Composed by Mary Mcdonald. Arranged by Mary Mcdonald. For medium high and low voice duet (key of E-flat). General Worship, Prayer. Vocal score. 8 pages. Published by Hope Publishing Company

(New Edition). Composed by Joseph M. Martin. Shawnee Sacred. General Worship, Holy Week, Lent, Sacred. Octavo. 12 pages. Published by Shawnee Press

SATB choir

SKU: LP.765762074729

Arranged for Any Choir. Arranged by Marty Parks. This edition: Paperback. Choral. Any Choir Series. Multicultural and Sacred. Bulk CDs (10 pack). Published by Lillenas Publishing Company (LP.765762074729).

UPC: 765762074729.

Bulk pack of ten performance demo CDs, each in a paper sleeve; useful as an aid for choir members learning music. Value-priced.

By Victor C. Johnson. For SATB Choir and Piano. Sacred Anthem: Easter, General, Lent. Octavo. 12 pages. Published by Lorenz Publishing Company

Chorus, piano (SATB chorus, piano) - Medium Easy

SKU: AU.9781506452494

Composed by David Barton. Augsburg Choral Library. Published by Augsburg Fortress (AU.9781506452494).

ISBN 9781506452494. Charlotte Elliot.

David Barton crafts a new tune for a familiar hymn text in this anthem, which features an expressive piano part and beautiful harmonic writing for the choir.

By K. Lee Scott. For SATB choir and keyboard. Choral Music. Level: Medium-Easy. Published by MorningStar Music Publishers.

Composed by Howard Helvey. Beckenhorst Press #BP2246. Published by Beckenhorst Press

By J.H. Maunder. (SATB). Choral Large Works. Size 6.7x10.5 inches. 88 pages. Published by G Schirmer, Inc.

Piano (SATB) - early intermediate

SKU: CR.984283

Composed by David von Kampen. Choral. Sacred. Octavo. With music. Concordia Publishing House #984283. Published by Concordia Publishing House (CR.984283).

ISBN 9780758659088. 7 x 10.25 inches.

David von Kampen masterfully crafts the text of Revelation 21:4 - 5 into an inspiring and striking piece for SATB and piano. A variety of compositional techniques—includin g declamatory writing, polytextuality, and a skillful use of key—connect the biblical text and song powerfully. Smaller choirs can easily adapt this piece for two-part voicing by singing just soprano and tenor in the middle section. Use this piece for Easter Vigil, during the rest of the Easter Season, on All Saints' Day, and for funerals.

Revelation 21:4 - 5 (ESV)

He will wipe away ev'ry tear from their eyes, and death shall be no more, neither shall there be mourning nor crying nor pain anymore, for the former things have passed away.

And He who was seated on the throne said, 'Behold, I am making all things new.'

Alleluia, alleluia, alleluia.

Scripture quotation from the ESV® Bible (The Holy Bible, English Standard Version®), copyright © 2001 by Crossway, a publishing ministry of Good News Publishers. All rights reserved. Used by permission.

Composed by George Frideric Handel (1685-1759) and James Chepponis. Arranged by James Chepponis. Easter, Christ the King, Building Dedication, Church Anniversary, Ordination/Installation, 21st Century, Praise/Thanksgiving. Choral score. MorningStar Music Publishers #50-4710. Published by MorningStar Music Publishers

Composed by Various. Edited by Dan Damon. For SATB choir, Unison choir. General. Hymn Collection. Published by Hope Publishing Company

By Morten Lauridsen (1943-). SATB. Peermusic Classical. Softcover. 8 pages. Peermusic #62180-121. Published by Peermusic

(Arranged for Any Choir). By Marty Parks. Choral. Sacred. Orchestration/Instrumenta l Accompaniment

SATB choir

SKU: LP.765762074521

Arranged for Any Choir. Arranged by Marty Parks. Choral. Any Choir Series. Multicultural and Sacred. Stereo accompaniment CD. Published by Lillenas Publishing Company (LP.765762074521).

UPC: 765762074521.

Stere o accompaniment trax for performance use. High quality orchestral performance and recording. Note - does not include rehearsal (internal) CD points.

SATB choir

SKU: LP.765762074323

Arranged for Any Choir. Arranged by Marty Parks. Choral. Any Choir Series. Multicultural and Sacred. Split-channel accompaniment CD. Published by Lillenas Publishing Company (LP.765762074323).

UPC: 765762074323.

Split -channel accompaniment CD can be used for both rehearsal and performance. Each contains the instrumental accompaniment on one channel, vocals on the other. For performance purposes, only the accompaniment channel is normally used. Includes multiple r.