By Creedence Clearwater Revival. By John Fogerty. Arranged by Kirby Shaw. Pop Choral Series. Oldies, Pop, Rock, Seventies, Show Choir. Octavo. 12 pages. Published by Hal Leonard

SATB choir, organ accompaniment, violin - Intermediate

SKU: GI.G-8652

Composed by James Biery. Ordinary Time 29 C. Choral. Sacred. Octavo. 16 pages. GIA Publications #8652. Published by GIA Publications (GI.G-8652).

UPC: 785147865209. English. Text Source: Psalm 121, KJV Scripture: Psalm 121.

Imagine a mountain scene with shifting, mysterious, awesome, misty fog. This is the music you might expect to hear. Vocal forces unfold in varying ways between unison and full choir, phrases frequently echo as if calling back from across the valley. Overall, the music rises from the mist, crescendos into full sunlight and confidence, and fades again into the mist. The score envisions a three-manual organ for quick changes in tone color. The Violin part is optional.

(High Above the Palm Tree). By Aleikum. Arranged by Salim Bali. For SATB choir. Secular. Octavo. Published by Earthsongs

SATB choir & Piano or Organ

SKU: ST.CN7P

Composed by Peter Foggitt. ChoralNow. This PRINTED version is available to purchase as a regular sheet music title for delivery by post. Octavo. Stainer & Bell Ltd. #CN7P. Published by Stainer & Bell Ltd. (ST.CN7P).

ISBN 9790220224645.

A tour de force of choral energy and expertise in rhythmic precision, this is aerial music, fleet and vibrant as voices proclaim Martin Luther's vision of universal peace above a torrent of cascading organ scales. The brightness of the Lydian mode matches this joyful proclamation, intoned chant-like in bold, clear intervals recalling the sounds both of medieval music and its refraction through the ears of modern masters like Stravinsky and Tavener. Cunningly constructed too, on a four-bar ostinato, the music reverses its opening scale figure for a quieter section before building again to an extrovert ending that repeats the chant against new organ figures in a clinching 'alleluia'.

SATB Choir and Piano

SKU: HL.14011555

Composed by Eric Fogg. Music Sales America. Classical. Choral Score. Music Sales #NOV400953. Published by Music Sales (HL.14011555).

By Sigismondo D'India (1582-1629). Edited by John Steele and Suzanne Court. For 5 mixed voices. Madrigal. Renaissance Voices. Collection. Text Language: Italian. Published by Gaudia Music and Arts Publications

SATB Choir

SKU: HL.14016339

Music Sales America. Sacred. Book [Softcover]. 192 pages. Edition Wilhelm Hansen #WH28284. Published by Edition Wilhelm Hansen (HL.14016339).

ISBN 9788759863183.

Unkn own Italian Cathedral Music of the early 16th Century.

(SATB a cappella). Choral. Size 6.8x10.5 inches. 24 pages. Published by Hal Leonard.

SATB choir & Piano or Organ

SKU: ST.CN9P

Composed by Peter Foggitt. ChoralNow. This PRINTED version is available to purchase as a regular sheet music title for delivery by post. Octavo. Stainer & Bell Ltd. #CN9P. Published by Stainer & Bell Ltd. (ST.CN9P).

ISBN 9790220224669.

An abundantly versatile composer, Peter Foggitt in A Christmas Lullaby tunes in to the spirit of minimalism that has inspired so much remarkable music since Tavener, Gorecki and Part discovered a new gift to be simple in their ground-breaking works of the 1970s and 1980s. To the nativity scene painted in words by John Addington Symonds the unchanging-changing chords of the limpid accompaniment for organ or piano bring an aura of rapt intensity and communion. With the clarity of an icon, this is a cradle song for an infant king who is also the Prince of Peace and a child in a manger, and a study in expressive and disciplined singing for SATB chorus.

SATB choir

SKU: ST.CN2P

Composed by Peter Foggitt. ChoralNow. This PRINTED version is available to purchase as a regular sheet music title for delivery by post. Octavo. Stainer & Bell Ltd. #CN2P. Published by Stainer & Bell Ltd. (ST.CN2P).

ISBN 9790220224591.

This is a rowdy and lusty setting of a favourite song from the Coventry Pageant of the Shearmen and Tailors. The music has tremendous swing to its stride, and a folksong quality to which, by the use of judicious pauses, the composer adds the feel of impromptu singing. A certain exaggeration might even be called for in performance, for example in the robustly canonic second verse, with no loss of humour or atmosphere. The music draws too on the cumulative energy of unison and octave unaccompanied singing and, apart from a brief episode suggestive of the shepherds' pipes, that is how it proceeds to its rousing conclusion.