Composed by Robert A. Hobby (1962-). For Congregation, SATB Choir, Brass Quintet...(+)
Composed by Robert A.
Hobby (1962-). For
Congregation, SATB Choir,
Brass Quintet, Timpani,
opt. Cymbals, and Organ
or opt. Full Orchestra.
Cathedral Series.
Catholic Year C Most Holy
Body and Blood of Christ;
Catholic Year C Easter
Sunday; Catholic Year C
Ascension/Easter7. Christ
the King, Building
Dedication, Church
Anniversary,
Ordination/Installation,
21st Century. Moderately
Easy. Octavo. Published
by MorningStar Music
Publishers
Composed by Lloyd Larson. Choral, cantatas. Advent, Christmas. SATB score with ...(+)
Composed by Lloyd Larson.
Choral, cantatas. Advent,
Christmas. SATB score
with performance CD.
Lorenz Publishing Company
#65/2084L. Published by
Lorenz Publishing Company
(LO.65-2084L).
Composed by Lloyd Larson.
Choral, cantatas. Advent,
Christmas. Choral score.
Lorenz Publishing Company
#65/2083L. Published by
Lorenz Publishing Company
By Gustav Holst (1874-1934). Arranged by Mark Hayes. For SATB choir with optiona...(+)
By Gustav Holst
(1874-1934). Arranged by
Mark Hayes. For SATB
choir with optional brass
and timpani. The Mark
Hayes Choral Series.
Hymntune, General
Worship, Sacred. Octavo.
12 pages. Published by
Hope Publishing Company
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir
SKU:
CF.CM9700
Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700).
ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk.
In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ.
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION ...(+)
Choral SATB choir, piano
SKU: PR.362034230
A Prologue to THE
CREATION by Franz Joseph
Haydn. Composed by
Dan Welcher. Sws.
Premiered at the
Northwest Hills United
Methodist Church, Austin,
TX. Choral. Performance
Score. With Standard
notation. Composed July 5
2014. 16 pages. Duration
5:15. Theodore Presser
Company #362-03423.
Published by Theodore
Presser Company
(PR.362034230).
ISBN
9781598069556. UPC:
680160624225. Letter
inches.
English.
Choral SATB Choir SKU: CF.CM9654 Composed by Mark Burrows. Fold. Performa...(+)
Choral SATB Choir
SKU:
CF.CM9654
Composed by
Mark Burrows. Fold.
Performance Score. 12
pages. Duration 4:15.
Carl Fischer Music
#CM9654. Published by
Carl Fischer Music
(CF.CM9654).
ISBN
9781491157268. UPC:
680160915828. 6.875 x
10.5 inches. Key: Ab
major. English, English.
Julian of Norwich
(1342-1416).
Burrow
s's setting of words of
assurance from the
English mystic Julian of
Norwich (1342-1416) is as
relevant today as ever.
For the advanced mixed
ensemble, the powerful
lyrics coupled with
gorgeous harmonies make
this an optimistic song
of hope appropriate
throughout the
year. All shall be
well, And all shall be
well, And all manner of
thing shall be well.
These words of assurance
from the English mystic
Julian of Norwich
(1342-1416) are as
relevant today as ever.
During her life, Julian
saw her community
devastated by the Great
Plague as well as deep
civil unrest. Yet through
all the turmoil came a
vision of hope that has
given the world this
profound text. One of the
most striking features is
how this short text
incorporates so much
repetition. It's as if
the writer knew she must
be gently persistent in
order for her optimistic
message to truly sink in.
The opening section tries
to capture musically some
of that persistent
optimism. Then there is a
departure from this
optimistic tone (measure
26) The feel becomes more
desperate, building to an
anguished cry (measure
38), acknowledging the
reality that, while all
shall be well, things are
very much NOT well right
now. Eventually the
anguish subsides (measure
52) as the music turns
back hopeward with the
calm assurance, again and
again, that all shall be
well. All shall be
well,And all shall be
well,And all manner of
thing shall be well.These
words of assurance from
the English mystic Julian
of Norwich (1342-1416)
are as relevant today as
ever. During her life,
Julian saw her community
devastated by the Great
Plague as well as deep
civil unrest. Yet through
all the turmoil came a
vision of hope that has
given the world this
profound text.One of the
most striking features is
how this short text
incorporates so much
repetition. It’s
as if the writer knew she
must be gently persistent
in order for her
optimistic message to
truly sink in.The opening
section tries to capture
musically some of that
persistent optimism.Then
there is a departure from
this optimistic tone
(measure 26) The feel
becomes more desperate,
building to an anguished
cry (measure 38),
acknowledging the reality
that, while all shall be
well, things are very
much NOT well right
now.Eventually the
anguish subsides (measure
52) as the music turns
back hopeward with the
calm assurance, again and
again, that all shall be
well.
Composed by Johann Sebastian Bach (1685-1750), edited by Albert Riemenschneider,...(+)
Composed by Johann
Sebastian Bach
(1685-1750), edited by
Albert Riemenschneider,
Charles Boyd. Vocal score
book for SATB choir. With
vocal score notation
(open score in German;
closed score in English),
introductory text and .
Text language English;
lyrics in German and
English. 127 pages.
Published by G. Schirmer,
Inc.
Lobet den Herrn, alle
Heiden. Composed by
Johann Sebastian Bach.
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Lobet Den Herrn, Alle
Heiden Rev.2003. Sacred,
Motets, Psalms, German;
Stuttgart Urtext
editions; Occasions:
Praise and thanks. Choral
Score. BWV 230. 12 pages.
Duration 8 minutes. Carus
Verlag #CV 31.230/05.
Published by Carus Verlag
(CA.3123005).
ISBN
9790007051006. Key: C
major. Language:
German/English.
Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score available
separately - see item
CA.3123000.
Lobet den Herrn, alle
Heiden. Composed by
Johann Sebastian Bach.
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Lobet Den Herrn, Alle
Heiden Rev.2003. Sacred,
Motets, Psalms, German;
Stuttgart Urtext
editions; Occasions:
Praise and thanks. Single
Part, String instrument.
BWV 230. 8 pages.
Duration 8 minutes. Carus
Verlag #CV 31.230/12.
Published by Carus Verlag
(CA.3123012).
ISBN
9790007210953. Key: C
major. Language:
German/English.
Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score and part available
separately - see item
CA.3123000.
Lobet den Herrn, alle
Heiden. Composed by
Johann Sebastian Bach.
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Lobet Den Herrn, Alle
Heiden Rev.2003. Sacred,
Motets, Psalms, German;
Stuttgart Urtext
editions; Occasions:
Praise and thanks. Single
Part, String instrument.
BWV 230. 4 pages.
Duration 8 minutes. Carus
Verlag #CV 31.230/13.
Published by Carus Verlag
(CA.3123013).
ISBN
9790007210960. Key: C
major. Language:
German/English.
Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score and part available
separately - see item
CA.3123000.
Lobet den Herrn, alle
Heiden. Composed by
Johann Sebastian Bach.
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Lobet Den Herrn, Alle
Heiden Rev.2003. Sacred,
Motets, Psalms, German;
Stuttgart Urtext
editions; Occasions:
Praise and thanks. Single
Part, String instrument.
BWV 230. 4 pages.
Duration 8 minutes. Carus
Verlag #CV 31.230/14.
Published by Carus Verlag
(CA.3123014).
ISBN
9790007210977. Key: C
major. Language:
German/English.
Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score and part available
separately - see item
CA.3123000.
Lobet den Herrn, alle
Heiden. Composed by
Johann Sebastian Bach.
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Lobet Den Herrn, Alle
Heiden Rev.2003. Sacred,
Motets, Psalms, German;
Stuttgart Urtext
editions; Occasions:
Praise and thanks. Single
Part, String instrument.
BWV 230. 4 pages.
Duration 8 minutes. Carus
Verlag #CV 31.230/11.
Published by Carus Verlag
(CA.3123011).
ISBN
9790007210946. Key: C
major. Language:
German/English.
Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score and part available
separately - see item
CA.3123000.
Lobet den Herrn, alle
Heiden. Composed by
Johann Sebastian Bach.
Edited by Gunter
Graulich. Arranged by
Paul Horn. This edition:
urtext. Stuttgart Urtext
Edition: Bach vocal.
Lobet Den Herrn, Alle
Heiden Rev.2003. Sacred,
Motets, Psalms, German;
Stuttgart Urtext
editions; Occasions:
Praise and thanks. Set of
Orchestra Parts. BWV 230.
20 pages. Duration 8
minutes. Carus Verlag #CV
31.230/09. Published by
Carus Verlag
(CA.3123009).
ISBN
9790007051013. Key: C
major. Language:
German/English.
Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score and parts available
separately - see item
CA.3123000.
Composed by Johann
Sebastian Bach. Edited by
Gunter Graulich. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Lobet Den
Herrn, Alle Heiden
Rev.2003. Innovative
practice aids, Sacred
vocal music, Motets,
Psalms, German, Praise
and thanks, Psalms.
Choral Score. BWV 230. 16
pages. Duration 8
minutes. Carus Verlag #CV
31.230/06. Published by
Carus Verlag
(CA.3123006).
ISBN
9790007165420. Key: C
major. Text language:
German/English.
Thi
s motet, no matter how
popular it is, presents
Bach scholars with a few
puzzles: is it really by
Bach? Somehow the text
doesn't fit with the
notes, at least not so
that it's comfortable to
sing. And is the
musicologists' problem
the same for the choral
singers? Not, of course
not in the Alleluia
fugue: in that, there
really is something to
worry about ... year of
composition unknown.
Score available
separately - see item
CA.3123000.
By Felix Bartholdy Mendelssohn (1809-1847). Edited by Alfred Dorffel. Arranged b...(+)
By Felix Bartholdy
Mendelssohn (1809-1847).
Edited by Alfred Dorffel.
Arranged by August Horn.
Choir and piano. For Solo
voices, SATB Choir,
Piano. This edition:
Paperback. Oratorio
(complete),
Transcriptions, Original
Works, Choral. Romantic
Period; Sacr. Large Vocal
Score. Romantic Period;
Sacred/Hymns, German.
Composed by Howard Goodall (1958-). Multi-Movement/Large Choral Work. Lent, T...(+)
Composed by Howard
Goodall
(1958-).
Multi-Movement/Large
Choral Work. Lent,
Triduum/Three Days,
Tenebrae,
21st Century, Heaven,
Lament/Grief/Sorrow.
Vocal/choral score.
MorningStar Music
Publishers
#56-0002. Published by
MorningStar Music
Publishers
Composed by Johann Sebastian Bach (1685-1750). Edited by Christine Blanken. Pape...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Christine Blanken.
Paperback. Sacred vocal
music, Cantatas; Praise
and thanks. Vocal score.
Composed ca 1730. BWV
192. 28 pages. Duration
15 minutes. Published by
Carus Verlag
(CA.3119203).
SATB with organ. Composed by John McCabe (1939-). Choral. Sacred. Score. Com...(+)
SATB with organ. Composed
by
John McCabe (1939-).
Choral.
Sacred. Score. Composed
2015.
92 pages. Novello &
Co Ltd.
#MUSNOV294899. Published
by
Novello & Co Ltd.
Church cantata. Composed by Johann Sebastian Bach (1685-1750). Edited by ...(+)
Church cantata.
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Christine Blanken.
Paperback. Sacred vocal
music, Cantatas; Praise
and thanks. Full score.
Composed ca 1730. BWV
192. 60 pages. Duration
15 minutes. Published by
Carus Verlag
(CA.3119200).
Handel's Christmas Messiah: A Cantata by George Frideric Handel (1685-1759). Arr...(+)
Handel's Christmas
Messiah: A Cantata by
George Frideric Handel
(1685-1759). Arranged by
Hal H. Hopson. Choir
Sacred. SATB choir.
Choral (Sacred); Choral
Worship Cantata; Larger
Works; Masterworks;
Worship Resources.
Choral, Masterwork;
Sacred, Christmas. Choral
Score. 56 pages.
Published by Alfred Music
Publishing
By Mary Mcdonald. For SATB choir and piano (with optional rhythm). All Saints Da...(+)
By Mary Mcdonald. For
SATB choir and piano
(with optional rhythm).
All Saints Day,
Eastertide, General,
Pentecost,
Transfiguration, Sacred.
Sacred Anthem
Behold That Star!. (SATB Choral Score). By Sally K. Albrecht and Jay Althouse. C...(+)
Behold That Star!. (SATB
Choral Score). By Sally
K. Albrecht and Jay
Althouse. Choir Sacred.
SATB choir. Choral
(Sacred); Choral Worship
Cantata; Larger Works;
Worship Resources.
Choral, Sacred. Choral
Score. 56 pages.
Published by Alfred Music
Publishing
Chorale SATB SATB A Cappella [Vocal Score] - Intermédiaire Faber Music Limited
By The King's Singers. Arranged by Clifford Bartlett. For voice quartet (4 Part)...(+)
By The King's Singers.
Arranged by Clifford
Bartlett. For voice
quartet (4 Part). King's
Singer's Choral. Pop
Vocal, Renaissance and
Classical Period.
Difficulty: medium. Vocal
score (a cappela - four
copies needed for
performance). Vocal
score. 80 pages. Faber
Music #F100511. Published
by Faber Music