SATB Choir

SKU: WD.080689093234

Composed by Marty Parks. Arranged by Marty Parks. Choral. Sacred Anthem, Eastertide. Octavo. Duration 4'30. Word Music #080689093234. Published by Word Music (WD.080689093234).

UPC: 080689093234.

The timeless text of one of the great Easter-season hymns is given a moving new melody and paired with a contemporary favorite to create a beautiful addition to a service for Good Friday or throughout the year.

Soli SATB, SATB Choir, 2 Obda, Cor (Ctto), Trb, 2 Vl, Va, Bc - Level 4

SKU: CA.3100349

2nd Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Reinhold Kubik. Organ. Sacred vocal music, Cantatas, Epiphany. Single Part, Organ. Composed 1725. BWV 3. 20 pages. Duration 27 minutes. Carus Verlag #CV 31.003/49. Published by Carus Verlag (CA.3100349).

ISBN 9790007204426. Key: A major. Language: German/English. Text: Moller, Martin.

For the 2nd Epiphany Sunday 1725, Bach composed the cantata O God, what glut of care and pain. It forms part of the annual cycle of chorale cantatas. In the large-scale opening movement, a choral setting full of anguish with expansive orchestral sections, the bass presents the cantus firmus in segments, reinforced by one trombone. This is followed directly by the second chorale verse in a four-part setting in which, however, each chorale line is interrupted by a short recitative (each one sung by a different voice). The bass, who closes the recitative, also sings the following continuo aria which is rich in melismatic passages. The second aria is a duet expanded into a quartet setting by the addition of oboes d'amore and continuo; it leads into the closing chorale containing a wealth of transitions. Score and part available separately - see item CA.3100300.

By Jon Paige and Joseph M. Martin. Arranged by Brant Adams. For SATB Choir (SATB). Shawnee Press. Choral. 16 pages. Shawnee Press #A7953. Published by Shawnee Press

Composed by Jon Paige and Tom Mitchell. Arranged by Jon Paige. Shawnee Sacred. Advent, Sacred. Octavo. 16 pages. Published by Shawnee Press

Composed by Phoebe P. Knapp. Arranged by Jon Paige and Brad Nix. Shawnee Sacred. General Worship, Sacred. Octavo. 12 pages. Published by Shawnee Press

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.

SATB chorus a cappella, instrumental drone - Medium Easy

SKU: AU.978-1-5064-8497-6

Composed by David M. Cherwien. Augsburg Choral Hymn Series. Church. Octavo. Augsburg Fortress #978-1-5064-8497-6. Published by Augsburg Fortress (AU.978-1-5064-8497-6).

ISBN 9781506484976. 7 x 10.25 inches.

David Cherwien writes a poignant setting of a Ruth Duck hymn text, found in All Creation Sings, which asks for God's care while suffering from chronic pain. In his choral arrangement, Cherwien effectively embraces both the depth of the text and austerity of the tune PROSPECT while creating an easily learned and effective anthem. Sing this for services that focus on healing and God's constancy in our lives. _x000D_.

By Charles Hubert Hastings Parry. Lyrics by John Milton. For SATB, Piano Accompaniment. Romantic, Religious, Choral. Sheet Music. 28 pages. Published by Novello & Co Ltd.

By Jon Paige and J. Paul Williams. For Choral (SATB). Shawnee Press. Choral, Incorporating Hymn Tunes, Service Music, Christmas and Sacred. 12 pages. Shawnee Press #A7586. Published by Shawnee Press . Choral, Incorporating Hymn Tunes, Service Music, Christmas and Sacred.

Composed by Charles H. Gabriel. Arranged by Jon Paige and Brad Nix. Shawnee Sacred. General Worship, Sacred. Octavo. 12 pages. Published by Shawnee Pres

((with Jesus Paid It All)). Arranged by Hojun Lee. For Choral (SATB). Harold Flammer. Octavo. 12 pages. Published by Shawnee Press

By Hugh Livingston. For SATB choir. Exaltation. Sacred. Sacred Anthem. Published by Lorenz Publishing Company.

CME Building Bridges. Composed by Mark Patterson. Building Bridges. Festival, Concert, Classical. Octavo. 12 pages. Boosey and Hawkes #M051482139. Published by Boosey and Hawkes (HL.48023053).

Jameson Marvin Choral Series. Composed by Jameson Marvin. Choral. Festival, Concert. Octavo. 12 pages. Published by G. Schirmer (HL.50600488).

Composed by Faye Lopez and Patricia Mock. Arranged by Faye Lopez. Spiritual, Sacred, Lent/Holy Week, Lent. Octavo. Published by Hope Publishing Company (HP.C6078).

By David Ashley White (1944-). For SATB choir with some divisi, organ. Parish. Choral, General, Lent. Medium. Choral octavo. Published by Paraclete Press

SATB Choir

SKU: HL.14017580

SATB Chorus and Orchestra. Composed by Jouni Kaipainen. Music Sales America. Book Only. Edition Wilhelm Hansen #KP00722. Published by Edition Wilhelm Hansen (HL.14017580).

English.

SATB Choir

SKU: HL.14017578

For SATB Chorus A Cappella. Composed by Jouni Kaipainen. Music Sales America. Book [Softcover]. Edition Wilhelm Hansen #KP00759. Published by Edition Wilhelm Hansen (HL.14017578).

ISBN 9788759855270. English.

By Steven Sametz (1954-). For SSATB choir, a cappella. Mixed Voices. Secular, Choral Leaflet. Vocal score. Published by Oxford University Press Vocal Score Secular, Choral Leaflet

By Gwyneth W. Walker (1947-). For SATB Choir divisi and piano (Mixed Voices). General. Choral. Moderately easy. Piano/Vocal Score. 16 pages

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.

Mixed choir

SKU: ST.B954

Composed by Andrew Pratt and Jan Berry. Edited by Andrew Pratt. Hymns & Relgious Drama. Words and music to refresh the church's ministry of healing. . Edited by Jan Berry and Andrew Pratt with Janet Eldred and Anne Sardeson. Pages: 152. Format: Paperback. Choral Score. Stainer & Bell Ltd. #B954. Published by Stainer & Bell Ltd. (ST.B954).

ISBN 9780852499542.

The outcome of a fruitful collaboration of theologians, writers and musicians working at the retreat and therapeutic centre of Holy Rood House in Yorkshire, this new collection articulates the needs of a contemporary ministry of healing through the agency of hymns, the church's most resonant and expressive form of worship.

Acknowledging the impact of medical science in vastly expanding the range of the possible in every aspect of our living and dying, eighty-three texts tackle a rich diversity of themes: infant death, illness and suffering, ageing and dementia, the genome, mortality and bereavement, grief and lament, pain and despair - including pain and despair from the failure of healing - but also wisdom and resilience, healing as part of a spiritual holism of mind and body, and as a metaphor for social and political justice and care for the environment. The wealth of music includes new tunes and familiar ones, and the anthology concludes with a section of twelve short or repetitive texts to be used in conjunction with prayer.

Hymns of Hope and Healing is the product of many voices, from those of widely experienced authors to others taking their promising early steps in the form. It will provide a vehicle for worship and reflection for those involved in chaplaincy, in therapies and counselling, and all in the wider church with an interest in this ancient ministry. Witnessed through the life, death and resurrection of Christ, it is refreshed and re-imagined here for a time both of breathtaking scientific advance, and of an urgent need to affirm our wholeness and faith while embracing the momentous challenges to our traditional understanding of health and healing.

Composed by Richard J. Clark. Text: The Roman Missal. Our most popular Mass setting! Liturgy. Published by CanticaNOVA Publications (C5.3136-2).

SATB choir, piano - Medium Easy

SKU: AU.9781506422084

Composed by Edvard Grieg. Arranged by Patricia Hurlbutt. Augsburg Choral Library. Octavo. Published by Augsburg Fortress (AU.9781506422084).

ISBN 9781506422084. Lyricist: William McComb.

Expressive singing in needed in this arrangement of Grieg's poignant 'Homesickness' paired with the introspective text of William McComb's, 'Chief of Sinners Though I Be.' The voices are often presented in pairs and sometimes treated canonically. The sparse piano accompaniment has typical Grieg harmonies. A reflective and beautiful piece.

SATB choir, voice solo, keyboard accompaniment - Beginning

SKU: GI.G-7376

Composed by Darrell Crawford. Advent. Choral. Sacred. Octavo. 8 pages. GIA Publications #7376. Published by GIA Publications (GI.G-7376).

UPC: 785147737605. English. Text Source: Charles Wesley, 1707–1788, alt. Text by Charles Wesley.

A reflective composition that is not challenging and features an attractive part for a soloist at the beginning and end. The men’s parts provide a supportive, gently rocking accompaniment throughout, except for a unison verse and a lovely 4-part a cappella verse. This is a wonderful new tune to pair with Wesley’s timeless text when you want to venture beyond the traditional pairings (e.g., HYFRYDOL, STUTTGART).

SATB Choir - Grade 3

SKU: BT.DHP-0991451-050

Composed by Jacob De Haan. Inspiration Series. Set (Score & Parts). Composed 1999. De Haske Publications #DHP 0991451-050. Published by De Haske Publications (BT.DHP-0991451-050).

English.

Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting Pacific Dreams Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of Pacific Dreams, he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti.Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his Pacific Dreams.Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.

Wir schlüpfen in die Haut von Miguel und reisen mit ihm nach Australien. Einigermaßen entfremdet von seiner spanischen Heimat schlendert er durch das Viertel The Rocks in Sydney. Auf einem kleinen Markt entdeckt er einen Druck des Gemäldes Pacific Dreams von William DeShazo. Das Bild stellt die Meeresbrandung auf einer exotischen Insel im Pazifik dar. Während die eindrucksvolle Harbour Bridge von Sidney vor ihm auftaucht, ist er in Gedanken bei den heißen Stränden im Stillen Ozean. Auf einmal kommt ihm das Thema in den Sinn, das er einst über die Gewässer Japans komponiert hatte. Liegt es an den asiatischen Einflüssen, die im kosmopolitischen Sydney so vielfältig vertretensind? Oder sind es die Wasser rund um Sydney, über die er nach Tahiti segeln könnte? Er ist sich unsicher. Könnte er genau dieses Thema für eine neue Komposition über die Metropole Sydney verwenden? Wie sollte er seine Träume vom Pazifik, seine Pacific Dreams, in diese Mixtur einbringen? Vielleicht könnte er den Wortschatz von Inseln wie Hawaii und Tahiti für seine Komposition verwenden. Und einen gemischten Chor die schönen Vokalverbindungen ad libitum singen lassen. Mit diesen Ideen im Kopf steigt er in die Metro am Circular Quay. Auf ins Hotel und frisch ans Werk! Jetzt muss er einfach komponieren....