Composed by Charles Francois Gounod (1818-1893), arranged by Joseph Barnby (1838-1896). Octavo for soprano/tenor/bass soli, SATB choir and piano/organ accompaniment. Choral. Text language Latin and English. 72 pages. Published by G. Schirmer, Inc.

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.

By Gwyneth W. Walker (1947-). For SATB choir and Piano (Mixed Voices). Secular. Choral. 28 pages

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.

Tenor soloist, SATB Chorus and Piano Reduction. By Damian Cranmer. By George Frideric Handel (1685-1759). Edited by Damian Cranmer. New Novello Choral Edition. Classical. Part. Novello & Co Ltd. #MUSNOV060137. Published by Novello & Co Ltd.

Composed by Stephen Jackson. Arranged by Stephen Jackson. Music Sales America. Christmas Sacred, Classical. Octavo. 12 pages. Novello and Co Ltd. #MUSNOV290629. Published by Novello and Co Ltd.

By Patrick Hawes. For Soprano Solo, SATB Choir, Piano or Organ Accompaniment (SATB). Music Sales America. 20th Century. 8 pages. Novello and Co Ltd. #NOV200442. Published by Novello and Co Ltd.

By Ronald Krisman. For SATB, SAB, or 2 Equal Voice Chorus, and Keyboard accompaniment. Christmas. Includes guitar chord names. Sacred. Easy. Text language: English/Spanish. 16 pages

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)

(SATB and Piano). By Franz Schubert (1797-1828). Arranged by Ralph Allwood. For Choral, Piano Accompaniment. Choral. Book only. 4 pages. Novello and Co Ltd. #NOV720027. Published by Novello and Co Ltd.

(Carols and Anthems for Advent, Christmas and Epiphany for Mixed Voices Choir). By Various. Edited by David Hill. For Choral, Mixed Choir (SATB). Music Sales America. Softcover. 264 pages. Novello and Co Ltd. #NOV310838. Published by Novello and Co Ltd.

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.

Composed by Mark Hayes. Choral. Sacred Anthem, General, Missions. Octavo. Lorenz Publishing Company #10/4967L. Published by Lorenz Publishing Company (LO.10-4967L).

By Linda Spevacek. For SATB Choir and Piano (with optional flute). Concert, Multicultural. Octavo. Published by Heritage Music Press

(With Masters in This Hall, Pat-A-Pan, and Sing We Now of Christmas). By Anonymous. Arranged by Ruth Elaine Schram. SATB chorus. For SATB, Keyboard. Choral. Piano/Vocal Score. Standard notation. 14 pages

Arranged by Matthias E. Becker. For SATB Choir and Piano. Choral Score. Published by Tonos (German import).

By Franz Joseph Haydn. For SATB, Piano Accompaniment. Sacred, Classical, Choral. Sheet Music. 32 pages. Published by Novello and Co Ltd.

SATB Choir and Piano

SKU: HL.14011481

Composed by Percy E. Fletcher. Music Sales America. Classical. Choral Score. Music Sales #NOV400972. Published by Music Sales (HL.14011481).

By Anthony G. Petti. For SATB Choir, Piano. Renaissance, Choral. Sheet Music. 48 pages. Published by Chester Music.

Composed by John Rutter (1945-). For narrator, SATB choir and piano/small orchestra/ensemble. Mixed Voices. Condensed score. Duration 15 minutes. Published by Oxford University Press

By Judy Collins. Composed by Sandy Denny. Arranged by Audrey Snyder. (SATB). Pop Choral Series. 12 pages. Published by Hal Leonard.

By Don Besig, Nancy Price. For SATB choir, flute and piano. Choral. Octavo. Published by Shawnee Press.