Arranged by Donald Moore. Early American Melody. For Choir. (SATB). Choral Octavo. Sacred Choral Series. Gospel; Sacred. Level: Moderate (grade 3). Choral Octavo. 8 pages. Published by Alfred Publishing.

By Susan Naylor Callaway. For SATB choir (a cappella). Sacred. Sacred Anthem. Published by Monarch Music. (10/3044M)

Composed by J. Jerome Williams. For Choral, Organ (SATB). Harold Flammer. 8 pages. Published by Shawnee Press

Arranged by Thomas Dunhill. For Choral (SATB). Music Sales America. Traditional, Folk, Choral. 4 pages. Novello & Co Ltd. #NOV160014. Published by Novello & Co Ltd.

Arranged by Joseph M. Martin. For Choral (SATB). Harold Flammer. Choral. 12 pages. Shawnee Press #A8013. Published by Shawnee Press

((from South Pacific)). By Oscar Hammerstein and Richard Rodgers. Arranged by Ed Lojeski. SATB. Broadway Choral. 12 pages

SATB, a cappella choir - Early Intermediate

SKU: AU.9781506495286

Composed by Olaf C. Christiansen. Advent. St. Olaf Choral Library. Christian. Octavo. Augsburg Fortress #9781506495286. Published by Augsburg Fortress (AU.9781506495286).

ISBN 9781506495286. 7 x 10.25 inches.

Written in the beloved choral hymn tradition, Olaf C. Christiansenâ??s uplifting and energetic arrangement of this well-loved Advent hymn nearly sings itself. Arranged for a St. Olaf Christmas Festival in the late 1960s, this new edition allows choirs to continue to enjoy the beauty of this rich tradition.

Arranged by John Leavitt. Sacred Choral. General Worship, Pentecost, Sacred. Octavo. 12 pages. Published by Hal Leonard

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, piano reduction - Early intermediate

SKU: GI.G-9014

Composed by Philipp Nicolai. Arranged by Johann Sebastian Bach. Advent 1 A, Advent 1 B, Advent 1 C, Advent 2 A, Advent 3 C, Advent 4 A, Advent 4 B, Advent 4 C. Christmas. Tune Name: Wachet Auf. Sacred. Octavo. 4 pages. GIA Publications #9014. Published by GIA Publications (GI.G-9014).

UPC: 785147901402. English. Text Source: 'Wachet auf, ruft uns die Stimme' Translation: Christopher Idle. Text: Phillip Nicolai.

Nearly every classically trained pastoral musician will recognize the tune by Philipp Nicolai and the harmonization of J. S. Bach. Lynn Trapp here offers the assembly a way to join in this venerable Advent hymn by providing them an appropriate (and familiar sounding) refrain to slip in between the major phrases of the hymn. The verses are sung by cantor or choir or both.

Composed by Kyle Pederson. Instrumental part. MorningStar Music Publishers #50-6144. Published by MorningStar Music Publishers

SSATBB choir, piano reduction - Early intermediate

SKU: GI.G-10579

Composed by Wesley D. Peters. Choral. Sacred. Octavo. 8 pages. GIA Publications #10579. Published by GIA Publications (GI.G-10579).

English. Text Source: St. Patrick&rsquo,s Breastplate, 8th c.; Translation: Cecil Frances Alexander.

SATB choir, cornetto, 3 trombones, organ (Or 2 violins, viola and basso continuo or 2 oboes, english horn and basso continuo)

SKU: CA.3550311

Arranged by J. S. Bach. Composed by Francesco Gasparini. Edited by Peter Wollny. This edition: urtext. Edition Bach-Archiv Leipzig - Musical Monuments. Basso continuo. Sacred vocal music, Masses, Latin. Single Part, basso continuo. 4 pages. Carus Verlag #CV 35.503/11. Published by Carus Verlag (CA.3550311).

ISBN 9790007213473. Text language: Latin.

Particularly during the early 1740s, Johann Sebastian Bach concentrated intensely on studying the compositional technique of strict vocal polyphony. As an inspiration, he studied the works of older masters, copying them and, for the most part, performing them as well. A set of single parts for the Missa canonica by Francesco Gasparini in an instrumentation by Bach were recently discovered in the collection of the former Ephoralbibliothek Weissenfels; some of the parts are in Bach's own handwriting. Gasparini was esteemed in Germany particularly as a master of elaborate counterpoint and audacious harmonic writing. Bach amended the music text with a view to certain aspects of performance practice, clearly following a very specific concept of sound organization. His interest in strict counterpoint was paralleled by a tangible re-orientation in Bach's own compositional technique at the beginning of the 1740s. Francesco Gasparini's Missa canonica therefore served as a practical model for the highly developed art of canon writing and the strict polyphony in Bach's late works, as we encounter them, for example, in the B minor Mass. Score and part available separately - see item CA.3550300.

SATB choir, cornetto, 3 trombones, organ (Or 2 violins, viola and basso continuo or 2 oboes, english horn and basso continuo)

SKU: CA.3550348

Arranged by J. S. Bach. Composed by Francesco Gasparini. Edited by Peter Wollny. This edition: urtext. Edition Bach-Archiv Leipzig - Musical Monuments. Organ. Sacred vocal music, Masses, Latin. Single Part, Organ. 8 pages. Carus Verlag #CV 35.503/48. Published by Carus Verlag (CA.3550348).

ISBN 9790007213497. Language: Latin.

Particularly during the early 1740s, Johann Sebastian Bach concentrated intensely on studying the compositional technique of strict vocal polyphony. As an inspiration, he studied the works of older masters, copying them and, for the most part, performing them as well. A set of single parts for the Missa canonica by Francesco Gasparini in an instrumentation by Bach were recently discovered in the collection of the former Ephoralbibliothek Weissenfels; some of the parts are in Bach's own handwriting. Gasparini was esteemed in Germany particularly as a master of elaborate counterpoint and audacious harmonic writing. Bach amended the music text with a view to certain aspects of performance practice, clearly following a very specific concept of sound organization. His interest in strict counterpoint was paralleled by a tangible re-orientation in Bach's own compositional technique at the beginning of the 1740s. Francesco Gasparini's Missa canonica therefore served as a practical model for the highly developed art of canon writing and the strict polyphony in Bach's late works, as we encounter them, for example, in the B minor Mass. Score and part available separately - see item CA.3550300.

SATB choir, cornetto, 3 trombones, organ (Or 2 violins, viola and basso continuo or 2 oboes, english horn and basso continuo)

SKU: CA.3550349

Arranged by J. S. Bach. Composed by Francesco Gasparini. Edited by Peter Wollny. This edition: urtext. Edition Bach-Archiv Leipzig - Musical Monuments. Organ. Sacred vocal music, Masses, Latin. Single Part, Organ. 8 pages. Carus Verlag #CV 35.503/49. Published by Carus Verlag (CA.3550349).

ISBN 9790007213503. Language: Latin.

Particularly during the early 1740s, Johann Sebastian Bach concentrated intensely on studying the compositional technique of strict vocal polyphony. As an inspiration, he studied the works of older masters, copying them and, for the most part, performing them as well. A set of single parts for the Missa canonica by Francesco Gasparini in an instrumentation by Bach were recently discovered in the collection of the former Ephoralbibliothek Weissenfels; some of the parts are in Bach's own handwriting. Gasparini was esteemed in Germany particularly as a master of elaborate counterpoint and audacious harmonic writing. Bach amended the music text with a view to certain aspects of performance practice, clearly following a very specific concept of sound organization. His interest in strict counterpoint was paralleled by a tangible re-orientation in Bach's own compositional technique at the beginning of the 1740s. Francesco Gasparini's Missa canonica therefore served as a practical model for the highly developed art of canon writing and the strict polyphony in Bach's late works, as we encounter them, for example, in the B minor Mass. Score and part available separately - see item CA.3550300.

SATB choir, cornetto, 3 trombones, organ (Or 2 violins, viola and basso continuo or 2 oboes, english horn and basso continuo)

SKU: CA.3550319

Arranged by J. S. Bach. Composed by Francesco Gasparini. Edited by Peter Wollny. This edition: urtext. Edition Bach-Archiv Leipzig - Musical Monuments. Complete orchestral parts. Sacred vocal music, Masses, Latin. Set of Orchestra Parts. Carus Verlag #CV 35.503/19. Published by Carus Verlag (CA.3550319).

ISBN 9790007213480. Text language: Latin.

Particularly during the early 1740s, Johann Sebastian Bach concentrated intensely on studying the compositional technique of strict vocal polyphony. As an inspiration, he studied the works of older masters, copying them and, for the most part, performing them as well. A set of single parts for the Missa canonica by Francesco Gasparini in an instrumentation by Bach were recently discovered in the collection of the former Ephoralbibliothek Weissenfels; some of the parts are in Bach's own handwriting. Gasparini was esteemed in Germany particularly as a master of elaborate counterpoint and audacious harmonic writing. Bach amended the music text with a view to certain aspects of performance practice, clearly following a very specific concept of sound organization. His interest in strict counterpoint was paralleled by a tangible re-orientation in Bach's own compositional technique at the beginning of the 1740s. Francesco Gasparini's Missa canonica therefore served as a practical model for the highly developed art of canon writing and the strict polyphony in Bach's late works, as we encounter them, for example, in the B minor Mass. Score and parts available separately - see item CA.3550300.

Composed by Jan Dismas Zelenka (1679-1745). Edited by Vaclav Luks. Arranged by Pablo Kornfeld. This edition: urtext edition. Paperback. Vocal score. ZWV 12. Published by Baerenreiter Verlag (BA.BA9594-90).

STB vocal soli, SATB choir, 2 violins, viola, cello, basso continuo

SKU: CA.3119619

Cantata for a wedding. Composed by Johann Sebastian Bach. Edited by Solvej Donadel. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Complete orchestral parts. Sacred vocal music, Cantatas, Wedding. Set of Orchestra Parts. Composed 1708. BWV 196. Duration 14 minutes. Carus Verlag #CV 31.196/19. Published by Carus Verlag (CA.3119619).

ISBN 9790007210496. Text language: German/English.

Esp ecially due to the early date of its composition, from the pen of the just turned 22-year-old Johann Sebastian Bach, the cantata The Lord careth for us BWV 196 has its charm, and through its conciseness, as well as its simple scoring, it is quite accessible for performance by ensembles with only modest means. The cantata was composed on the occasion of a wedding in the 1797/08, the details of which cannot be exactly ascertained. The text of the libretto contains no freely written poetry, rather is drawn solely from the Bible (Psalm 115:12-13), there are no recitatives, and the arias are kept very short. The scoring is also of modest propoportions: In addtion to the solo voices soprano, tenor and bass, as well as a four-voice choir, only strings and basso continuo are requried. The cantata begins, as is typical early Bach cantatas, with a short instrumental sinfonia and ends, not with a chorale, but with a choral movement. Score and parts available separately - see item CA.3119600.

STB vocal soli, SATB choir, 2 violins, viola, cello, basso continuo

SKU: CA.3119605

Cantata for a wedding. Composed by Johann Sebastian Bach. Edited by Solvej Donadel. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Wedding. Choral Score. Composed 1708. BWV 196. 8 pages. Duration 14 minutes. Carus Verlag #CV 31.196/05. Published by Carus Verlag (CA.3119605).

ISBN 9790007210434. Language: German/English.

Esp ecially due to the early date of its composition, from the pen of the just turned 22-year-old Johann Sebastian Bach, the cantata The Lord careth for us BWV 196 has its charm, and through its conciseness, as well as its simple scoring, it is quite accessible for performance by ensembles with only modest means. The cantata was composed on the occasion of a wedding in the 1797/08, the details of which cannot be exactly ascertained. The text of the libretto contains no freely written poetry, rather is drawn solely from the Bible (Psalm 115:12-13), there are no recitatives, and the arias are kept very short. The scoring is also of modest propoportions: In addtion to the solo voices soprano, tenor and bass, as well as a four-voice choir, only strings and basso continuo are requried. The cantata begins, as is typical early Bach cantatas, with a short instrumental sinfonia and ends, not with a chorale, but with a choral movement. Score available separately - see item CA.3119600.

The Chester Book of Madrigals - Volume 4 (The Seasons). Edited by Anthony G. Petti. For Choral (SATB). Music Sales America. Renaissance, Choral. 48 pages. Chester Music #CH55495. Published by Chester Music

SATB choir divisi (a cappella) - Early Intermediate

SKU: MN.50-6106

Composed by Tyler Heckman. All Saints/All Souls, Funeral, 21st Century, Folk Song, Heaven. Instrument parts. MorningStar Music Publishers #50-6106. Published by MorningStar Music Publishers (MN.50-6106).

UPC: 688670561061. English.

This early American folk song is given a rollicking setting which is mostly SATB but occasionally has the women and the men dividing into four parts. The heritage of the tune is evident in some cadences that have a sort of shape-note feel to them. Fun to sing and hear.

SATB choir, divisi, piano reduction - Early intermediate

SKU: GI.G-8829

Composed by Thomas Keesecker. Christmastide, Epiphany. Christmas. Sacred. Octavo. 8 pages. GIA Publications #8829. Published by GIA Publications (GI.G-8829).

UPC: 785147882909. English. Text Source: English carol, 17th c., alt.

Set in free meter, this early seventeenth-century English carol has a regal sound that builds to a triumphant end. For SATB voices and optional timbrel, this piece develops in intensity throughout using a variety of harmonic textures that add interest and a distinctive quality. The memorable refrain heralds the wondrous announcement of Christ’s birth. This work can be used throughout Christmastide. The ad lib Timbrel part is optional.

SATB choir, keyboard accompaniment, cello - Early intermediate

SKU: GI.G-7395

Composed by Russell Schulz-Widmar. Ordinary Time 3 A, Ordinary Time 3 B, Ordinary Time 5 C. Choral. Sacred. Octavo. 12 pages. GIA Publications #7395. Published by GIA Publications (GI.G-7395).

UPC: 785147739500. English. Text Source: 'They cast their nets in Galilee,' William Alexander Percy, 1885-1942, alt.

Fresh and striking harmonic progressions are a feature throughout this paradoxical text of peace in God and the cost of discipleship viewed through the lens of the early disciples. The setting is greatly enhanced by the use of the optional cello introduction and obbligato. An appropriate text for chaotic times! Cello part is optional.

SATB choir, piano - Early Intermediate

SKU: MN.50-3515

Composed by Hal H. Hopson. Hal Hopson Choral Series. Catholic Year A Passion/Palm Sunday; Catholic Year C Passion/Palm Sunday;. Triduum/Three Days, 21st Century. Octavo. MorningStar Music Publishers #50-3515. Published by MorningStar Music Publishers (MN.50-3515).

UPC: 688670535154. Text: Johann Heermann.

The composer uses an early American work tune as the basis for this lenten piece. The music has a folk-like quality that is both pleasing and contains emotional depth.

SATB choir divisi (a cappella) - Early Intermediate

SKU: MN.50-0965

Composed by Michael Burkhardt. Lent, Advent, 21st Century, Healing, Hope/Assurance, Lament/Grief/Sorrow. MorningStar Music Publishers #50-0965. Published by MorningStar Music Publishers (MN.50-0965).

UPC: 688670509650. English.

This a cappella four verse setting of the hymn tune BANGOR increases in complexity on each verse, beginning with a solo voice and ending in SSAATTBB harmony. The tune, by English hymn writer William Tans'ur, is a precursor to the sturdy, stark early American tunes which followed it. The text contrasts our current state with the hope of God's comfort and care.

Choral (SATB) - Grade 3

SKU: HL.14037178

SATB chorus. Composed by Frank Bridge. Music Sales America. Classical. Octavo. 28 pages. Hal Leonard #TH978105. Published by Hal Leonard (HL.14037178).

UPC: 884088441760. 8.25x11.75x0.099 inches. English.

These five part-songs were composed over ten years from 1903 to 1913, but only the first was published in the composer's lifetime. Bridge's early works - those written before the first World War - were more late Romantic in style, warmly expansive, than his mature works. These songs display Bridge's skill and craftsmanship.British composer Frank Bridge was active in the early decades of the 20th century and was a highly respected conductor, violist and teacher - his sole composition student having been Benjamin Britten. Britten honoured his former teacher in his work Variations on a Theme of Frank Bridge, based on a theme from one of Bridge's pieces for String quartet.

Composed by Benjamin Kornelis. Lent, 21st Century, Confession/Forgiveness, Love. MorningStar Music Publishers #50-6094. Published by MorningStar Music Publishers

By Kerry Andrew. For SSATB choir (with optional soprano solo), a cappella. Mixed Voices. Christmas, Choral Leaflet. Vocal score. 8 pages. Duration 4'. Published by Oxford University Press