By Colin Mawby. Arranged by Colin Mawby. For Choir. Mixed voices (SATB). Sacred. Book. Published by Kevin Mayhew Publishers (U.K. Import).
Level: Multiple Levels.

(50 Favorites for Choir, Congregation, or Ensemble Usable in Medleys or Individually). By Marty Parks. For SATB choir, congregation, or ensemble (flexible). This edition: Spiral Bound. Choral. Songs may be used individually or in medleys or worship sequences. Useful for choral performance, ensemble performance, praise team and congregation - or any combination of the above.. Praise and Worship and Sacred. Book. 144 pages. Published by Lillenas Publishing Company

Pentecost Sequence. Composed by Zebulon M. Highben. Edited by Paul Westermeyer. Pentecost Sunday. Ritual Prayer. Sacred. Octavo. 12 pages. Published by GIA Publications (GI.G-8866).

SATB choir

SKU: ST.EM28

Composed by Henry Youll. Edited by Edmund H Fellowes. Library Volumes. Edited Edmund Fellowes. Revised Thurston Dart. Note: Print on demand. Spiral-bound A4. Madrigals. Collection. Stainer & Bell Ltd. #EM28. Published by Stainer & Bell Ltd. (ST.EM28).

ISBN 9790220218798.

CONT ENTS
Awake, sweet love (SSA (or T))
But behold where they return (SST)
But though poor sheep (SST)
Cease, restless thoughts (SST)
Come, love, let's walk (SSA (or T))
Come, merry lads, let us away (SSA)
Each day of thine (SST)
Early before the day doth spring (SSA)
In the merry month of May (SSA)
In pleasant summer's morning (SST)
In yonder dale (SST (or A))
Now the country lasses hie them (SSB (or T))
Of sweet and dainty flowers (SAT)
Once I thought to die for love (SST)
Only joy, now here you are (SST)
Pipe, shepherds, pipe (SSB (or T))
Pity me, mine own sweet jewel (SST)
Say, shepherd, say (SST)
See where this nymph (SSA (or T))
Slow, slow, fresh fount (SST)
Sweet Phyllis, stay (SST)
The shepherd's daughters (SST)
Where are now those jolly swains? (SSB)
Whiles joyful springtime lasteth (SST).

By Carl Schalk. For SATB choir. Medium-Easy. Published by MorningStar Music Publishers

Composed by Marty Haugen. Arranged by Joel Raney. For SATB choir with optional C instrument (part included) and congregation. Lent, Holy Week, Responsive Litany. Octavo. Published by Hope Publishing Company

SATB choir, cantor, assembly, keyboard accompaniment - Intermediate

SKU: GI.G-10314

Composed by Charles Thatcher. Advent, Christmastide, Lent, Eastertide, Ordinary Time. Sacred. 64 pages. GIA Publications #10314. Published by GIA Publications (GI.G-10314).

ISBN 7851471031413. English, Latin. Text Source: Antiphons tr. Charles Thatcher, verses, The Grail, 1963.

Entrance Antiphons for the Church Year contains thirty antiphon texts from the Graduale Simplex, translated from Latin and set to newly composed music. The psalm verses appointed for these antiphons are taken from the Grail translation (1963). As with the Responsorial Psalm of the Mass, the assembly sings the antiphon after its intonation by the cantor/choir, repeating it after each verse of the psalm. The number of psalm verses which are sung may vary according to need. The singing of the doxology, Glory to the Father, while recommended, is optional. In several cases (e.g., Christmas and Easter), the assembly sings a refrain—a simple acclamation in Latin—and the actual antiphon text is sung by the cantor/choir. The antiphon functions as a first and final verse. It is thought that liturgical singing in the early Church consisted in part of such short acclamatory phrases. Many of the antiphons in this collection are proper to a specific Sunday, solemnity, or feast. The rest are seasonal in nature and, like the common Responsorial Psalms of the Lectionary, may be chosen according to what seems best for the occasion. The antiphons of Christmas Day and Easter Sunday could be used at daily Masses during their octaves. Notations in the scores of some antiphons suggest alternate occasions when they are appropriate. Regarding performance, these compositions were conceived with flexibility in mind. Assembly participation and instrumental accompaniment are assumed. SATB choral singing is effective, but not necessary. Discrete use of descants where provided can lend an air of festivity. Psalm verses might be sung by an entire choir, by a small group or cantor, or a combination of both.

Choral SATB choir, piano

SKU: CF.CM9713

Composed by Jacob Narverud. 16 pages. Duration 4:01. Carl Fischer Music #CM9713. Published by Carl Fischer Music (CF.CM9713).

ISBN 9781491160084. UPC: 680160918683. Key: G major. English. Robert Bode. Original.

The piece was commissioned by Kevin Scully, Director of Creative Arts, for the Port Washington School District, New York, with special thanks to the Ed Foundation and HEARTS for their unwavering support. Performance Notes This lighthearted piece is a great way to bring multiple choirs together in harmony. It may be sung by a single SATB choir, though it is intended to be performed by multiple choirs of varying age levels. Song of the Sound was written for an all-district feeder festival piece for combined elementary, middle level, and high school choirs. Here is a suggested outline for combining multiple choirs: Rehearsal Letters A to B: Elementary choir only (two-part, Soprano, Alto) Rehearsal Letter B: add Middle Level Soprano, Alto with Elementary choir Rehearsal Letter C: Middle Level choir only Rehearsal Letter D: High School choir only Rehearsal Letter E to the end: Everyone! Song of the Sound: Running on the beach, digging in the sand, Seaweed in my toes, bucket in my hand. When I'm at the shore, way above the rest, These are all the things that I love the best. Skipping like a stone on the water, diving deep in the silvery foam, Swimming far where the land cannot hold us, where the lighthouse calls us home. Flying free above the marshes, soaring high above the sea, Where the tern and cormorant and plover call to lands we cannot see.Come let us go to the water, let us go to the singing shore: Where the gentle breezes whisper and the mighty breakers roar. We will look to the shining ocean, to the East, where the new day dawned: We will sing a song of the edge of the world and the waiting sky beyond. -Poem by Robert Bode (Hope Springs Retreat Center, Ohio. August 2019) About the Composer: Jacob Narverud (b. 1986) is an American composer, arranger, and conductor. Dr. Narverud is an active guest Conductor/Clinician for Choral Festivals and All-State Choirs across the country and is the Founder/Artistic Director of the Tallgrass Chamber Choir, a professional ensemble comprised of musicians from across the Great Plains. As a sought-after composer, Narverud has been commissioned to write new works for a variety of choral ensembles and organizations. Many of his Editors' Choirs compositions are publisher Best Sellers and are performed worldwide by choirs of all levels. Website: www.jnarverud.com YouTube & Spotify: @jacobnarverud.
The piece was commissioned by Kevin Scully, Director of Creative Arts, for the Port Washington School District, New York, with special thanks to the Ed Foundation and HEARTS for their unwavering support.Performance NotesThis lighthearted piece is a great way to bring multiple choirs together in harmony. It may be sung by a single SATB choir, though it is intended to be performed by multiple choirs of varying age levels. Song of the Sound was written for an all-district feeder festival piece for combined elementary, middle level, and high school choirs. Here is a suggested outline for combining multiple choirs:Rehearsal Letters A to B: Elementary choir only (two-part, Soprano, Alto)Rehearsal Letter B: add Middle Level Soprano, Alto with Elementary choirRehearsal Letter C: Middle Level choir onlyRehearsal Letter D: High School choir onlyRehearsal Letter E to the end: Everyone!Song of the Sound:Running on the beach, digging in the sand,Seaweed in my toes, bucket in my hand.When I'm at the shore, way above the rest,These are all the things that I love the best. Skipping like a stone on the water, diving deep in the silvery foam,Swimming far where the land cannot hold us, where the lighthouse calls us home.Flying free above the marshes, soaring high above the sea,Where the tern and cormorant and plover call to lands we cannot see.Come let us go to the water, let us go to the singing shore:Where the gentle breezes whisper and the mighty breakers roar.We will look to the shining ocean, to the East, where the new day dawned:We will sing a song of the edge of the world and the waiting sky beyond.-Poem by Robert Bode (Hope Springs Retreat Center, Ohio. August 2019)About the Composer:Jacob Narverud (b. 1986) is an American composer, arranger, and conductor. Dr. Narverud is an active guest Conductor/Clinician for Choral Festivals and All-State Choirs across the country and is the Founder/Artistic Director of the Tallgrass Chamber Choir, a professional ensemble comprised of musicians from across the Great Plains. As a sought-after composer, Narverud has been commissioned to write new works for a variety of choral ensembles and organizations. Many of his Editors' Choirs compositions are publisher Best Sellers and are performed worldwide by choirs of all levels. Website: www.jnarverud.com  YouTube & Spotify: @jacobnarverud.

(The Journey from Darkness to Light). By Lloyd Larson; Mary McDonald. For SATB choir, performance CD. Advent, Sacred. Cantata

By James Chepponis. For cantor, congregation, SATB choir, optional organ. Advent. Moderately Easy. Choral score. Published by MorningStar Music Publishers

Composed by Gilbert and Sullivan, edited by Bryceson Treharne. Vocal score for SATB chorus, piano accompaniment and 11 solo voices. Contains all dialogue. With vocal melody, piano reduction, lyrics and introductory text. 208 pages. Published by G. Schirmer, Inc.

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 a cappella - Early Intermediate

SKU: MN.CH-1030

Composed by Dale Jergenson and William Billings. Lent, Easter, 21st Century. Octavo. Laurendale Associates #CH-1030. Published by Laurendale Associates (MN.CH-1030).

From the Continental Harmony of 1794. Text by Isaac Watts: Teach me the measure of my days, Thou maker of my frame... Music is as originally printed by Billings except for the use of modern notation and a line of text for each voice; however, the piano reduction reverses the positions of the tenor and soprano parts, and should the conductor elect, this piece may be performed in this manner. Contains editors performance suggestions.

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

Composed by Lloyd Larson. Choral, cantatas. Eastertide, Lent. Choral score. Lorenz Publishing Company #55/1203L. Published by Lorenz Publishing Company

Composed by Lloyd Larson. Choral, cantatas. Eastertide, Lent. SATB with performance CD. Lorenz Publishing Company #55/1204L. Published by Lorenz Publishing Company

SATB choir a cappella - Early Intermediate

SKU: MN.CH-1033

Composed by Dale Jergenson and William Billings. Lent, Easter, 21st Century. Octavo. Laurendale Associates #CH-1033. Published by Laurendale Associates (MN.CH-1033).

From the Continental Harmony of 1794. Anonymous text: Arise and hail the sacred day, Cast all low cares of life away... Music is as originally printed by Billings except for the use of modern notation and a line of text for each voice; however, the piano reduction reverses the positions of the tenor and soprano parts, and should the conductor elect, this piece may be performed in this manner. Contains editors performance suggestions.

SATB a cappella Choral (SATB ACAPPEL)

SKU: HL.35018019

Composed by Ken Galbreath. SATB choir, a cappella. Mark Foster. Concert, Festival, Love. Octavo. 16 pages. Shawnee Press #MF4020. Published by Shawnee Press (HL.35018019).

UPC: 747510069416. 7.0x10.5x0.059 inches. Kenneth Galbreath.

For Valentine's Day, spring, or anytime, “Reflections of the Heart” is a wonderful musical triptych of love. Each of the three pieces could easily stand on its own, or the entire trio may be performed as one work. “Blessings” is a sprightly madrigal-style wish for the good health and happiness of a beloved. “Impressions” is a beautiful memory of the moment when hands first touched. “One Perfect Treasure” is an expression of true love and contentment. A must for your library!