For SATB Choir, Piano. Christmas, 20th Century, Choral. Sheet Music. 220 pages. Published by Novello and Co Ltd.

SATB Choir and Piano

SKU: HL.14043700

Composed by Various. Arranged by Gitika Partington. Choral. Pop & Rock. Softcover Audio Online. Composed 2015. Novello & Co Ltd. #NOV165110. Published by Novello & Co Ltd. (HL.14043700).

ISBN 9781783058617. UPC: 888680736491. 9.0x12.0x0.125 inches. English.

Sing Pop A Cappella is a collection of a cappella arrangements of fantastic pop songs old and new, by renowned teacher, singer and director Gitika Partington . Her arrangements are used by choirs across the UK, and she emphasises that being able to read music is not necessary. Rewarding and enjoyable, Book Three continues her project to bring people together through the power of song. What's great about Gitika Partington 's Sing Pop A Cappella series is how she understands that to make great music or to sing a great song, it's not necessary to be able to sight-read. It may be useful, but she has learned that there are other ways to communicate music, namely through ear training,repetition and gesture. Her arrangements, five of which appear in this book, have enabled youth and community choirs to spring up across the country, making singing truly and universally accessible.  Included in this book are wonderfully rich a cappella arrangements of Ain't No Sunshine  by Bill Withers, Black Is The Colour Of My True Love's Hair, Rick Astley's Never Gonna Give You Up, Adele's Rolling In The Deep  and a huge favourite, Sway (Quien Sera) . Vocal scores for these innovative and enjoyable arrangements are included in standard notation, although Partington recommends learning by ear as something equally beneficial. To aid with this, the accompanying download card includes five tracks of audio for each song. One features a full performance demonstration while the other four each focus on either soprano, alto, tenor or bass. The easy download of these tracks makes learning efficient and fun, as you are able to listen wherever you are. The great thing about a cappella singing is that it can be done anywhere, with limited resources, with members who don't necessarily have any musical training. Partington  has created a book that can be used by a cappella choirs who love pop music that sounds great and will thrill audiences. Sing Pop A Cappella is not just a songbook, though, it also includes an extensive.

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.

By Emma Lou Diemer. For SATB Choir, piano. Choral music. Level: Medium. Published by Santa Barbara Music Publishing. (SBMP 12)

Composed by George Frideric Handel (1685-1759). Edited by Donald Burrows. For Choral, Piano Accompaniment (SATB). Music Sales America. Softcover. 205 pages. Novello and Co Ltd. #NOV162448. Published by Novello and Co Ltd.

SATB Solos, SATB Choir, Piano Reduction. Composed by Paul Mealor. Choral. Octavo. 64 pages. Duration 2700 seconds. Novello & Co Ltd. #NOV297537. Published by Novello & Co Ltd.

By Edward Elgar. For SATB Choir, Piano. Romantic, 20th Century, Choral. Sheet Music. 56 pages. Published by Novello and Co Ltd.

SATB Choir and Piano

SKU: BT.MUSM570206704

Composed by Jo Kondo. Score Only. 16 pages. University of York Music Press #MUSM570206704. Published by University of York Music Press (BT.MUSM570206704).

English.

Publish ed 2001. Commissioned by Sinfonia Iwakuni, Japan. First performance: Iwakuni, Japan, conducted by Nobuaki Tanaka, 3rd March 2002.

SATB Choir, Piano

SKU: CA.337380

Edited by Stanley Engebretson, Volker Hempfling. Arranged by Carsten Gerlitz. Choral collections. Separate edition with choral collection. Sacred vocal music. Full score. Composed 2018. 4 pages. Carus Verlag #CV 03.373/80. Published by Carus Verlag (CA.337380).

ISBN 9790007246587. Key: F major. Language: English.

By David Willcocks; John Rutter. For Mostly SATB and piano. Mixed Voices. . . . for Choirs Collections. Christmas Choral Collection. Pack of 10 copies. 384 pages

Composed by Tim Minchin. Arranged by Simon Foxley. For Choral (SATB with Piano). Choral. Octavo. 20 pages. Novello and Co Ltd. #NOV163229. Published by Novello and Co Ltd.

(Vocal Score (Piano Reduction)). By Paul Mealor. For Choral, Piano Accompaniment (SATB with Piano). Music Sales America. Softcover. 64 pages. Novello and Co Ltd. #NOV293304. Published by Novello and Co Ltd.

By C. Hubert H. Parry; C.S. Lang (Arranger); Milton (Lyricist). For SATB, Piano Accompaniment. Romantic, Choral. Sheet Music. 20 pages. Published by Novello and Co Ltd.

(aus: Israelsbrunnlein. Geistliche Madrigale). By Johann Hermann Schein (1586-1630). Edited by Graulich, Gunter. Arranged by Paul Horn. For SSATB Choir, [Basso continuo]. No. 20. Madrigals; Occasions: Mourning, Death. Level 3. Score. Language: German/English. Composed 1623. 8 pages. Duration 6 min

Music from the Motion Picture La La Land. Composed by Justin Hurwitz, lyrics by Benj Pasek and Justin Paul. Arranged by Jacob Narverud. Choral Octavo. Alfred Pop Series. Movie; Secular. 20 pages. Published by Alfred Music

By Bob Chilcott. For SATB Choir, Piano/Piano Duet, and Percussion. BC75. Published by Oxford University Press.

Composed by Michael John Trotta. Trotta. Music Education. Octavo. 20 pages. GIA Publications #HRMG2244. Published by GIA Publications

By Larry Shackley. For SATB choir and piano. Baptism, Eastertide, General, Holy Week, Lent, Spiritual, Transfiguration, Sacred. Sacred Anthem. Published by Lorenz Publishing Company. (10/3820L)

By Giles Swayne. For SATB, Piano Accompaniment. Christmas, 20th Century, Choral. Sheet Music. 24 pages. Published by Novello and Co Ltd.

By Greg Gilpin. For Choir. (SATB). Choral Octavo. Choral Designs. Masterwork, Christmas. Choral Octavo. 8 pages. Published by Alfred Publishing.

Arranged by Greg Gilpin. Octavo for SATB choir and piano accompaniment. Series: Alfred Pop Series. 20 pages. Published by Alfred Publishing.

Composed by Ralph Vaughan Williams (1872-1958). Vocal score for soprano voice, baritone voice, SATB choir and piano accompaniment. With translations. 68 pages. Published by Oxford University Press.

By George Frideric Handel (1685-1759). Edited by Watkins Shaw. For SATB, Piano Accompaniment (SATB). Music Sales America. Baroque, Sacred, Popular, Choral. 12 pages. Novello and Co Ltd. #NOV290206. Published by Novello and Co Ltd.

Choral (SATB) From Encanto. Composed by Lin- Manuel Miranda (1980-). Arranged by Mark A. Brymer. Disney Choral. Disney, Ethnic Reference, Latin American, Movies, Musicals, Pop, Salsa, Show Choir, Tango. Octavo. 20 pages. Duration 215 seconds. Published by Hal Leonard

(Novello Choral Pops). By Coldplay. Arranged by Jonathan Wikeley. For Choral (SATB). Music Sales America. Softcover. Novello and Co Ltd. #NOV941633. Published by Novello and Co Ltd.

Composed by David Conte (1955-). 20th Century, Creation/Nature. Piano/choral score. E.C. Schirmer Publishing #7928. Published by E.C. Schirmer Publishing