Arranged by Benjamin Harlan. (SATB). Brookfield Christmas Choral. Published by Brookfield Press. (8741128) 6-PACK includes six original copies of this piece.

Angels We Have Heard on High (No. 7 from "Carols of the Nativity") arranged by Stephen Chatman. For SSATBB, opt. piano or organ (Mixed Voices). Christmas. Choral. 12 pages. Published by E.C. Schirmer Publishing

By Burt Bacharach. Arranged by Jay Rouse. For SATB choir and piano accompaniment. Choral. Octavo. Published by Shawnee Press.

Performed by The King's Singers, composed by The Beatles. For SATB a cappella choir and piano (for rehearsal only). Format: vocal score. With choral notation and piano accompaniment. Pop vocal. 88 pages. 6.7x10.5 inches. Published by Hal Leonard.

By Brian Doerksen. Arranged by Arnold B. Sherman. Scripture References: Psalm 29:2 -- Psalm 95:6,9 -- Psalm 100:2 -- Isaiah 55:1 -- Philippians 2:5-11. Call To Worship, Gathering, Jazz/SwingStyle, Praise and Worship, Worshiping, Contemporary and Sacred. Level: Grade 3-. Print Music Single (3-5 octave with optional rhythm). 12 pages. Published by Hope Publishing Company.

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 Ludwig van Beethoven. For SSATB Choir, Piano. Classical. Sheet Music. 24 pages. Published by Novello and Co Ltd.

By Alan Menken, Stephen Schwartz. Arranged by Ed Lojeski. (SATB). Choral. Size 6.7x10.5 inches. 48 pages. Published by Hal Leonard.

(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

(SATB with Piano)

SKU: HL.48182785

Composed by R. Chagnon. Leduc. Classical. Softcover. Alphonse Leduc #AL24420. Published by Alphonse Leduc (HL.48182785).

R. Chagnon: 9 Fables de mon Jardin No.6: Dictee nostalgique (Choral-Mixed accompanied).

By George Frideric Handel; Walter Emery (Editor). For SATB, Piano Accompaniment. Baroque, Sacred, Choral. Sheet Music. 76 pages. Published by Novello and Co Ltd.

By Gabriel Faure. Edited by Desmond Ratcliffe. For SATB, Piano Accompaniment. Romantic, Sacred, Choral. Sheet Music. 52 pages. Published by Novello and Co Ltd.

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

Arranged by John Purifoy. (SATB). Brookfield Choral Series. Sacred. Size 6.75x10.5 inches. 12 pages. Published by Brookfield Press.

For SATB Choir, Piano. Renaissance, Choral. Sheet Music. 48 pages. Published by Chester Music.

Words and music by Buddy Greene and Mark Lowry. Arranged by Fred Bock. Octavo for SATB choir and piano accompaniment. C Minor. Series: Fred Bock Publications. 12 pages. Published by Fred Bock Music Company.

By Spanish Carol. Arranged by Thomas Cunningham. Text: Spanish Carol. For Piano accompaniment. (SATB). Christmas, Concert and Sacred. Level: Medium Adult. 16 pages. Duration 2 min, 1 sec. Published by Hinshaw Music Inc.

By Natalie Sleeth. Text: Natalie Sleeth. For SATB Choir. Duration 2:45. Published by Jackman Music Corporation.
Level: Medium.

(Fall (September, October, and November) - for S.A.T.B. Chorus and Piano). By Peter Schickele. SATB chorus. For SATB, Piano. Choral. Piano reduction/vocal score. Standard notation. 27 pages. Duration 6 minutes, 30 seconds. Published by Theodore Presser Company

By Don George, Duke Ellington. Arranged by Mac Huff. (SATB). Pop Choral Series. Size 6.75x10.5 inches. 12 pages. Published by Hal Leonard.

Arranged by Kirby Shaw. (SATB). Contemporary Choral. Size 6.75x10.5 inches. 8 pages. Published by Hal Leonard.

By Paul Gerhardt, Ralph Manuel. (SATB). Brookfield Easter Choral. Sacred. Size 6.75x10.5 inches. 12 pages. Published by Brookfield Press.

Collection. Secular. 228 pages. Published by Editions a Coeur Joie (CJ.A135300034).

Performed by Manhattan Transfer. By Claude Thornhill, Ruth Thornhill. Arranged by Roger Emerson. (SATB). Pop Choral Series. Size 6.8x10.5 inches. 8 pages. Published by Hal Leonard.