Chorale SATB [Vocal Score] Oxford University Press
A Clare Benediction Composed by John Rutter A Prayer Of St Richard Of Chicheste...(+)
A Clare Benediction
Composed by John Rutter
A Prayer Of St Richard Of
Chichester Composed by L.
J. White
Alleluia Composed by
William Boyce
Author Of Life Divine
Composed by Cecilia
Mcdowall
Be Still For The Presence
Of The Lord Composed by
David Evans; Arranged by
Richard Shephard
Bread Of The World
Composed by Scottish
Traditional; Arranged by
Alan Bullard
Brightest And Best
Composed by Malcolm
Archer
Christ Is The World's
True Light Composed by W.
K. Stanton
Christ The Lord Is Risen
Again Composed by Richard
Shephard
Christians Shout For Joy
And Gladness Composed by
Johann Sebastian Bach
Come Down, O Love Divine
Composed by Hilary
Tadman-robins
Plainsong: Creator Of The
Stars Arranged by John
Scott
Drop, Drop Slow Tears
Composed by Kerry Andrew
Evening Service In C
Composed by Frank Henry
Shera
Fairest Lord Jesus
Composed by Martin How
Gabriel To Mary Came
Composed by 14th Century
Irish; Arranged by Alan
Bullard
Give Thanks To God
Composed by Botswanan
Traditional; Arranged by
Alan Bullard
God Be In My Head
Composed by Armstrong
Gibbs
God In Mine Eternity
Composed by Alan Bullard
God So Loved The World
Composed by Alan Bullard
God That Madest Earth And
Heaven Composed by Welsh
Traditional; Arranged by
David Thorne
Hail, Virgin Mary (Ave
Maria) Composed by Franz
Liszt
Hark, The Glad Sound
Composed by David Thorne
Harvest Carol Composed by
Ian Ray
He Is Risen Composed by
Cecil Cope
Hide Not Thy Face
Composed by Richard
Farrant
see all...
Holy, Holy, Holy, Holy Is
The Lord Composed by
Franz Schubert; Arranged
by Alan Bullard
Holy, Holy, Holy! Lord
God Almighty Composed by
Alan Smith
Hosanna To The Son Of
David Composed by Georg
Philipp Telemann
Irish Blessing Composed
by Bob Chilcott
Jesu, Lamb Of God,
Redeemer (Ave Verum
Corpus) Composed by
Edward Elgar
Jesus Christ The Apple
Tree Composed by English
Traditional; Arranged by
Alan Bullard
Jubilate (Let Us Praise
You) Composed by Wolfgang
Amadeus Mozart
Lamb Of God (Agnus Dei)
Composed by Samuel Webbe
Let All Mortal Flesh Keep
Silence Composed by
Stephen Cleobury
Like The Murmur Of The
Dove's Song Composed by
Alan Smith
Lord, In Thy Mercy
Composed by Felix
Bartholdy Mendelssohn
Magnificat And Nunc
Dimittis In C Composed by
F. H. Shera
Never Weather-beaten Sail
Composed by Thomas
Campion; Arranged by Alan
Bullard
Now The Green Blade
Riseth Composed by French
Traditional; Arranged by
Alan Bullard
O Breath Of Life Composed
by English Traditional;
Arranged by Alan Bullard
O For A Closer Walk With
God Composed by Charles
Villiers Stanford
O God Of Mercy Composed
by Simon Lole
O God, Your Goodness
Composed by Ludwig Van
Beethoven
O Praise God In His
Holiness Composed by John
Weldon
Panis Angelicus Composed
by Cesar Auguste Franck
Peace Between Nations
Composed by Christopher
Wiggins
Pie Jesu Composed by
Gabriel Faure
Praise To The Trinity
Composed by Hildegard Of
Bingen
Psalm 150 Composed by Bob
Chilcott
Rejoice In The Lord
Always Composed by
Christopher Wiggins
Shout For Joy Composed by
African Traditional;
Arranged by Alan Bullard
Star Of Wonder Composed
by Alan Bullard
The Eternal Gifts Of
Christ The King Composed
by Guidetti/henry G. Ley
The Heavens Sing Praises
To God Composed by Ludwig
Van Beethoven
The Lord Ascendeth
Composed by Michael
Praetorius
The Lord Bless You And
Keep You Composed by John
Rutter
The Lord's My Shepherd
Composed by Bob Chilcott
The Peace Of God Composed
by Alan Bullard
The True And Living Bread
Composed by David
Blackwell
There Is No Rose Composed
by Andrew Smith
Thou Visitest The Earth
Composed by Maurice
Greene
To Be A Pilgrim Composed
by Nick Burt
Were You There? Composed
by American Spiritual;
Arranged by Peter Hunt
Where All Charity And
Love Are (Ubi Caritas)
Arranged by Alan Bullard
Wondrous Cross Composed
by Philip Wilby
The Oxford Book of
Flexible Anthems by Alan
Bullard (1947-). For
flexible instrumentation.
Mixed Voices. Sacred.
Paperback. 296 pages.
Published by Oxford
University Press
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.
Isthmus Chorale SATB [Conducteur] University Of York Music Press
SATB Choir SKU: BT.MUSM570368679 For choir and fixed media. Compos...(+)
SATB Choir
SKU:
BT.MUSM570368679
For choir and fixed
media. Composed by
Evis Sammoutis. Score
Only. Composed 2019. 14
pages. University of York
Music Press
#MUSM570368679. Published
by University of York
Music Press
(BT.MUSM570368679).
Isthmus denotes
a narrow strip of land
with sea on either side,
forming a link between
two larger ars of land.
The title is a metaphor
for an effort to bond
artistically my
experiences of living in
Cyprus, my birthplace,
and in the USA, my
recently adopted
homeland. Having lived in
a small, partitioned
island for my formative
years and in England for
eleven years, water has
always had a double
meaning: it has at once
served as a gateway to
other cultures but also
as a border, a violent
and absolute interruption
of a continuum. While in
the USA, or indeed in a
now connected Europe, it
is possible to travel on
land for days without
having to encounter a
border, in the countries
where I lived for most of
my life, that was not
possible. As an artist,
this notion of
establishing boundaries
and consciously trying to
break them is very close
to me, as my music deals
both with modernity but
also with tradition and,
similarly, with metaphor
and reality. As a
Cypriot, the sea, the
world of antiquity, the
mysteries of the oracles,
the notion of borders and
the pastoral are all very
central to my way of
thinking. In Cyprus,
different layers of
history are frequently
superimposed on a single
building that might still
preserve its Roman,
Byzantine, Venetian and
Ottoman features in its
layers of stone and
architecture. Similarly,
ancient ruins or the
barbed wire of modern
conflict often interrupt
placid fields. An
isthmus, therefore, can
be seen to symbolize my
artistic struggle to join
strikingly different
experiences and notions
in a cohesive way.
Similar to an isthmus, in
this short piece, I
connect these experiences
with the purpose of
creating a distinct and
unique sonic context,
connecting technology and
tradition, the pastoral
with the urban, the
musical with the
extra-musical and the
abstract with the
concrete. For example,
the choir does not always
sing in the traditional
sense, but the singers
imitate various natural
sounds, such as water,
air, crickets or birds,
to create a vivid visual
impression for the work.
Scandinavian herding
calls blend with field
recordings from the seas
of Cyprus and the lakes
of Upstate New York,
communicated within
clearly defined, singular
acoustic sources and
spaces through wireless
speakers. The text used
is both onomatopoeic,
articulating an imaginary
language, but also
literal, with a setting
of the poem, “To make a
prairie” by the iconic
American poet Emily
Dickinson and a tiny
fragment from
Callimachus’ “Hymn to
Demeter.” Technology is
used sparsely and very
intentionally to
articulate the expressive
qualities of pastoral
imagery, creating one
unified synthetic timbre
with the choristers’
sounds. This piece is
dedicated to the
wonderful singers of the
Georgia Institute of
Technology Chamber Choir
with special thanks to
Professors Hsu and
Ulrich, without whose
support this composition
would not have been
possible. Practical
notes: A choir of no
less than 24 singers is
sought with 4 additional
soloists (2 Sopranos and
2 Altos). Each singer
must have their own
wireless speaker, secured
either in the music
folder or as a strap
inside their shirts. All
sounds must match in
volume the sound from the
speakers, creating one
unified timbre. The
speakers should not be
noticeable to the public.
The four soloists are
placed offstage at the
beginning of the work.
From 1:35’ onwards they
enter the hall and take
their positions, ideally
at the four corners of
the hall. If the hall is
too large, the singers
can find alternate
positions, but these
should always be
antiphonal. The four
soloists sing
predominantly in the
“kulning” style and
the antiphonal aspect is
very important to the
work. There are two sound
files for each section
(SATB) that are triggered
by each singer’s mobile
device. The first occurs
at the start of the
piece, and the second,
about a minute before the
end. The sound files are
able to be purchased
separately, on CD, or are
available directly from
UYMP.
Composed by Traditional Spiritual. Arranged by Dan Davison. Sws. Octavo. 16 ...(+)
Composed by Traditional
Spiritual. Arranged by
Dan
Davison. Sws. Octavo. 16
pages. Duration 2
minutes, 50
seconds. BriLee Music
#BL1155. Published by
BriLee
Music
The Music of Rollo Dilworth (Henry Leck Creating Artistry) Series. Composed by...(+)
The Music of Rollo
Dilworth
(Henry Leck Creating
Artistry) Series.
Composed by
Rollo Dilworth. Rollo
Dilworth Choral Series.
Concert, Festival,
Inspirational. Octavo. 16
pages. Published by Hal
Leonard
A New Service of Lessons and Carols. By Point of Grace, Michael W. Smith, Ch...(+)
A New Service of Lessons
and
Carols. By Point of
Grace,
Michael W. Smith, Christy
Nockels, Keith and
Kristyn
Getty, Hillsong, and
Lauren
Daigle. Arranged by
Joseph M.
Martin and Heather
Sorenson.
PraiseSong Christmas
Series.
Advent, Cantata,
Christmas,
Epiphany, Sacred.
Softcover.
142 pages. Published by
PraiseSong
(Following the Path of Salvation Through Hymns). By Mary Mcdonald. Arranged by J...(+)
(Following the Path of
Salvation Through Hymns).
By Mary Mcdonald.
Arranged by Jean Anne
Shafferman. For SATB
choir, piano (with
optional orchestration).
Cantatas. Holy Week,
Eastertide, Sacred.
Choral score and
performance CD. Published
by Lorenz Publishing
Company
Arranged by Ruth Elaine Schram. Traditional with additional text by Ruth Elaine ...(+)
Arranged by Ruth Elaine
Schram. Traditional with
additional text by Ruth
Elaine Schram. Octavo.
Duration 2 minutes, 15
seconds. BriLee Music
#BL983. Published by
BriLee Music (CF.BL983).
(A Christmas Musical). By Joel Raney. For SATB choir. This edition: Complete. Ch...(+)
(A Christmas Musical). By
Joel Raney. For SATB
choir. This edition:
Complete. Christmas,
Cantata. Christmas,
Sacred. Preview Pack
(Score and Listening CD)
- Limit 1 per customer.
84 pages. Published by
Hope Publishing Company
By Bruce Greer. (SATB). Advent Christmas Season. Sacred; Traditional with stron...(+)
By Bruce Greer. (SATB).
Advent Christmas Season.
Sacred; Traditional with
strong Celtic influence.
Anthem. 20 pages.
Duration 4:53. Published
by Lillenas Music.
Composed by Arvo Part (1935-). World Premiere: Cambridge / Great Britain by King...(+)
Composed by Arvo Part
(1935-). World Premiere:
Cambridge / Great Britain
by King's College Choir
conducted by Stephen
Cleobury. Choral part(s).
With Standard notation.
Composed 1990. Duration 1
minute. Universal Edition
#UE30414. Published by
Universal Edition
SATB/SATB choir, [basso continuo] SKU: CA.3000200 Composed by Johann Ludw...(+)
SATB/SATB choir, [basso
continuo]
SKU:
CA.3000200
Composed
by Johann Ludwig Bach.
B-Dur (B-flat major).
German title: Das ist
meine Freude (G/E) mit
Bc. Sacred vocal music,
Psalms, German. Full
score. Duration 4
minutes. Carus Verlag #CV
30.002/00. Published by
Carus Verlag
(CA.3000200).
ISBN
9790007039424. Key: B
flat major. Language:
German/English.
The
motets of Johann Ludwig
Bach occupy an
outstanding position
within this genre. Though
rooted firmly in the
shorter motets from the
Thuringian tradition,
nonetheless they reach
dimensions which are
seldom observed in that
tradition. This is also
true with respect to
polychoral music, which
here is raised from the
exception to the rule -
on the other hand, it is
valid, when one bears in
mind the necessity of
representing the prestige
of a royal court. Varying
ensembles and
dialogue-like passages
contribute to these
richly expressive
compositions. Without a
doubt these motets by the
Meininger Bach, highly
regarded by J. S. Bach,
are a treasured
enrichment of the
repertoire of all
choirs.
Motette. Composed
by Johann Ludwig Bach.
German title: Das Ist
Meine Freude (G) Neu.
Motets. Single Part,
Organ. 4 pages. Duration
4 minutes. Carus Verlag
#CV 30.002/49. Published
by Carus Verlag
(CA.3000249).
ISBN
9790007203931. Key: B
flat major. Language:
German/English.
The
motets of Johann Ludwig
Bach occupy an
outstanding position
within this genre. Though
rooted firmly in the
shorter motets from the
Thuringian tradition,
nonetheless they reach
dimensions which are
seldom observed in that
tradition. This is also
true with respect to
polychoral music, which
here is raised from the
exception to the rule -
on the other hand, it is
valid, when one bears in
mind the necessity of
representing the prestige
of a royal court. Varying
ensembles and
dialogue-like passages
contribute to these
richly expressive
compositions. Without a
doubt these motets by the
Meininger Bach, highly
regarded by J. S. Bach,
are a treasured
enrichment of the
repertoire of all choirs.
Score and part available
separately - see item
CA.3000200.
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.
SATB choir and orchestra (2 ob, 2 bn, 3 tpt, timp, strings, cont.) - Moderately ...(+)
SATB choir and orchestra
(2 ob, 2 bn, 3 tpt, timp,
strings, cont.) -
Moderately Difficult
SKU:
OU.9780193352599
Composed by George
Frideric Handel. Edited
by Clifford Bartlett.
Sacred choral - mixed
voices. Classic Choral
Works. Full score. 160
pages. Duration 5', 12',
8', 11'. Oxford
University Press
#9780193352599. Published
by Oxford University
Press (OU.9780193352599).
ISBN 9780193352599. 12
x 9
inches.
These
four splendid anthems
were composed for the
coronation of George II
in October 1727 and have
since retained a position
at the heart of the
English choral tradition.
The popular anthem
Zadok the Priest
has been performed at all
subsequent coronations,
and Handel's other
contributions to the
royal occasion - Let
thy hand be
strengthened,
The King shall
rejoice, and My
heart is inditing -
have the same majestic
grandeur, with affecting
contrasts between
different sections of the
sacred texts. The editor,
Clifford Bartlett, has
corrected various
inconsistencies in
Handel's score, and
complete details of
sources and editorial
method, additional
performance notes, and a
critical commentary are
included.
About Classic
Choral
Works
Thes
e truly versatile and
user-friendly editions
offer a practical
approach for performers,
informed by the very
highest standard of
scholarship. - Fresh
editions by the very best
scholars in their field -
Clean and clear page
layout - Compositions
spanning the fourteenth
to nineteenth centuries -
Choral works with a wide
range of scorings, from
small chamber group to
full orchestra -
Informative prefaces
included in most of the
vocal scores - Playable
keyboard reductions for
rehearsal
Composed by Gwyneth W. Walker (1947-). Americana, Faith, Folk Song, Hope/Assu...(+)
Composed by Gwyneth W.
Walker (1947-).
Americana, Faith, Folk
Song, Hope/Assurance,
Spiritual, Children's
Sabbath/Emphasis. Octavo.
Published by E.C.
Schirmer Publishing
(EC.8230).
Chorale SATB SATB A Cappella [Partition] Music Sales
For SATB voices (with optional guitar chords). Format: SATB songbook. With chora...(+)
For SATB voices (with
optional guitar chords).
Format: SATB songbook.
With choral notation,
lyrics, chord names and
guitar chord diagrams.
Americana, traditional
pop and pop vocal.
Series: Everybody's
Favorite Series #67. 127
pages. 9x12 inches.
Published by Music Sales.
Composed by Charles S. Thatcher. Advent, Easter, Triduum/Three Days. Octavo. ...(+)
Composed by Charles S.
Thatcher. Advent, Easter,
Triduum/Three Days.
Octavo.
MorningStar Music
Publishers
#50-0074. Published by
MorningStar Music
Publishers
By Brian Doerksen. Arranged by Arnold B. Sherman. (SATB). Scripture References:...(+)
By Brian Doerksen.
Arranged by Arnold B.
Sherman. (SATB).
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.
Print Music Single (SATB
with optional Handbells
and Rhythm). 12 pages.
Published by Hope
Publishing Company.
By J. Paul Williams. For SATB Choir. Choral, Bass/Percussion, Tracks, General Us...(+)
By J. Paul Williams. For
SATB Choir. Choral,
Bass/Percussion, Tracks,
General Use, All Saints
Day, Homecomings,
Missions, Youth Choirs
and Sacred. Sheet Music.
Published by Shawnee
Press.
Arranged by Ruth Morris Gray. Performance Music Ensemble; Single Titles. Alfred ...(+)
Arranged by Ruth Morris
Gray. Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Christmas; Sacred;
Spiritual; Winter. Choral
Octavo. 12 pages. Alfred
Music #00-37841.
Published by Alfred Music
(AP.37841).
A classic
text meets innovative new
music in this fresh
anthem chronicling the
journey of faith. A
sturdy new setting brings
fresh insight to the text
and offers both
traditional and
contemporary ensembles
something to appreciate.
Call-and-response
techniques make this a
quick learn, but with
regal results. A monument
to God's guidance and
protection, this powerful
anthem is appropriate at
any time, but especially
during the Lenten
season.