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.

SATB choir, assembly, keyboard accompaniment, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, guitar - Early intermediate

SKU: GI.G-9384

Composed by Marty Haugen. Eastertide, Easter Vigil, Easter Sunday, Pentecost. Celebration Series. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #9384. Published by GIA Publications (GI.G-9384).

UPC: 785147938408. English. Text Source: Based on Psalm 118. Text by Marty Haugen. Scripture: Psalm 118:14, 17, 24.

In this anthem, the quintessential Easter Psalm 118 is adapted into a jubilant song for choir and assembly, incorporating related themes about Christ’s resurrection and the descent of the Holy Spirit at Pentecost. The lyrical melody sails effortlessly with the steady harmonic support of the accompaniment and two bright trumpet parts, sure to delight your congregation throughout the Easter season.

From "Simon Bore the Cross". Composed by Margaret Bonds (1913-1972). Edited by Frederick A. Binkholder. Arranged by Margaret Bonds. Good Friday. African American Church Music Series. Sacred. Octavo. 16 pages. GIA Publications #10355. Published by GIA Publications

Composed by Michael John Trotta. Cathedral Series. Catholic Year A Immaculate Conception. Marian, Advent, Mother. Octavo. Published by MorningStar Music Publishers (MN.50-0087).

Westminster Conservatory Youth Chorale Jewish Music Series. By Joel Phillips. (SATB). Transcontinental Music Choral. Jewish. 12 pages. Published by Transcontinental Music Publications.

SATB choir, piano accompaniment

SKU: GI.G-EH1006

Composed by Elaine Hagenberg. Music Education. Octavo. 12 pages. GIA Publications #EH1006. Published by GIA Publications (GI.G-EH1006).

UPC: 748769410066. Text by Harriet Monroe.

Elaine Hagenberg captures the hushed majesty of an evening in the Blue Ridge Mountains, with crystal clear melodies and fervent harmonies illuminating the poem of Harriet Monroe. The ascent and descent of the opening lines trace the mountains’ silhouette against the sky, followed by the treble and bass voices that draw us by turn to view each detail of the scene and listen for the wisdom of the mountains. Accomplished high school choirs and beyond will find beauty and meaning as they explore this piece.

SATB Choir, Piano & Percussion

SKU: SS.50010360

Composed by Fred Fox. Choral. Sheet Music. Published by Seesaw Music Corp (SS.50010360).

By Daniel Pinkham (1923-2006). For STBB soli, SATB Choir, brass, percussion, organ, electronic media (Mixed Voices). Holy Week. Choral, Electronic Media. 68 pages. Published by E.C. Schirmer Publishing

By Daniel Pinkham (1923-2006). For STBB soli, SATB Choir, brass, percussion, organ, electronic media (Mixed Voices). Holy Week. New Testament Apocrypha. Choral, Opera. 68 pages. Published by E.C. Schirmer Publishing

Composed by Philip E. Silvey. Sws. Octavo. 20 pages. Duration 3 minutes, 38 seconds. Carl Fischer Music #CM9651. Published by Carl Fischer Music

SATB choir, a cappella (SATB)

SKU: OU.9780193355347

Composed by Michael Berkeley. Services and Canticles. Vocal score. 16 pages. Duration 10'. Oxford University Press #9780193355347. Published by Oxford University Press (OU.9780193355347).

ISBN 9780193355347. 12 x 8 inches.

For SATB unaccompanied An incandescent setting of versicles and responses for Evensong. The music is haunting in its simplicity, supporting and illuminating the text to great effect. The second set includes an account of The Lords Prayer, in a moving, unison setting that should inspire any church choir.

SATB choir, keyboard accompaniment - Early intermediate

SKU: GI.G-10354

From Simon Bore the Cross. Composed by Margaret Bonds. Edited by Frederick A. Binkholder. Good Friday. African American Church Music Series. Sacred. Octavo. 16 pages. GIA Publications #10354. Published by GIA Publications (GI.G-10354).

UPC: 785147035411. English. Text by Langston Hughes.

This piece, with words by Langston Hughes, is from Margaret Bonds’ cantata Simon Bore the Cross. The cantata pulls into sharp focus individuals of African descent who were integral components of the gospel story: King Balthazar and Simon of Cyrene. A moving piece for Good Friday.