By Jonathan Crutchfield. For SATB choir, medium voice solo and organ, with optional solo horn or brass quartet. Presbyterian Association of Musicians Choral Series. Parts included: trumpets I and II in B-flat and C, horn, trombone and optional trombone (sub. for horn). Faith, Good Shepherd Sunday. Moderately easy. Instrumental parts. 12 pages. Published by MorningStar Music Publishers

SAT vocal soli, SATB choir, 2 flutes, 2 violins, viola, basso continuo - Level 3

SKU: CA.3118419

Cantata for the 3rd Sunday of Pentecost. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. German title: Erwunschtes Freudenlicht. Sacred vocal music, Cantatas, Whitsun. Set of Orchestra Parts. Composed 1724. BWV 184. Duration 25 minutes. Carus Verlag #CV 31.184/19. Published by Carus Verlag (CA.3118419).

ISBN 9790007134235. Key: G major / e minor. Language: German/English.

The Pentecost cantata Desired ray of light BWV 184 is based on a Kothen composition, probably a congratulatory cantata, whose instrumental parts (only these have survived) Bach reused in the Leipzig Pentecost cantata. Only the chorale setting was evidently newly composed. Despite the narrow leeway that the already finished composition left for the librettist, he nevertheless succeeded in crafting a coherent Pentecost text. The fact that the cantata begins with a long tenor accompagnato with two flutes followed by a pastoral duet is surprising. The placing of the chorale not at the end of the work but before the concluding chorus is unusual. Bach was evidently aware of the effect that the ending of this lively movement would have and wanted to retain this in its sacred form as well. The sacred version was first performed on the third day of Pentecost in 1724, probably after a parody version of another Kothen cantata (BWV 173) had already been performed on the second day of Pentecost. Score and parts available separately - see item CA.3118400.

By John Rutter (1945-). For SSA Children's Choir. Choral learning aid. SingleParts with StudySpots. Classical; Choral. Novice to semi professional. Choral Practice CD. Duration 01:10:31

Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Richard Maunder. For SATB vocal soli, SATB/SATB choir, flute, 2 oboes, 2 bassoons, 2 horns, 2 clarinos/trumpets, 3 trombones, timpani, 2 violins, viola, basso continuo. C-Moll (C minor). Stuttgart Urtext Edition. German title: Missa in c (arr. Maunder) 13. Latin Masses. Level 4. Set of instrumental parts (except strings). Language: Latin. Composed 1783. KV 427. 110 pages. Duration 57 minutes. Published by Carus Verlag

By Wolfgang Amadeus Mozart (1756-1791). Edited by Richard Maunder. For Soli SATB, SATB/SATB Choir, Flute, 2 Oboes, 2 Bassoons, 2 Horns, 2 Clarinos/Trumpets, 3 Trombones, Timpani, 2 Violins, Viola, Basso continuo. C-Moll (C minor). Stuttgart Urtext Edition. German title: Missa in c (arr. Maunder). Masses, Latin. Level 4. Complete orchestral parts. Language: Latin. Composed 1783. KV 427. Duration 57 minutes. Published by Carus Verlag

Orchestra SAT vocal soli, SATB choir, 2 flutes, 2 violins, viola, basso continuo - Level 3

SKU: CA.3118407

Cantata for the 3rd Sunday of Pentecost. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. This edition: Paperbound. German title: Erwunschtes Freudenlicht. Sacred vocal music, Cantatas, Whitsun. Study score. Composed 1724. BWV 184. 68 pages. Duration 25 minutes. Carus Verlag #CV 31.184/07. Published by Carus Verlag (CA.3118407).

ISBN 9790007050481. Key: G major / e minor. Language: German/English.

The Pentecost cantata Desired ray of light BWV 184 is based on a Kothen composition, probably a congratulatory cantata, whose instrumental parts (only these have survived) Bach reused in the Leipzig Pentecost cantata. Only the chorale setting was evidently newly composed. Despite the narrow leeway that the already finished composition left for the librettist, he nevertheless succeeded in crafting a coherent Pentecost text. The fact that the cantata begins with a long tenor accompagnato with two flutes followed by a pastoral duet is surprising. The placing of the chorale not at the end of the work but before the concluding chorus is unusual. Bach was evidently aware of the effect that the ending of this lively movement would have and wanted to retain this in its sacred form as well. The sacred version was first performed on the third day of Pentecost in 1724, probably after a parody version of another Kothen cantata (BWV 173) had already been performed on the second day of Pentecost. Score available separately - see item CA.3118400.

Composed by Leo Nestor. 21st Century. Choral score. Published by E.C. Schirmer Publishing (EC.5203).

By Mary Mcdonald. For SATB choir, piano (with optional orchestration). Sacred Anthem, General, Lent, Reformation. Octavo. Published by Lorenz Publishing Company

Composed by Ottorino Respighi (1879-1936). Edited by Christine Haustein. This edition: urtext. 1x 10.084/21 flute, 1x 10.084/22 piccolo, 1x 10.084/23 oboe, 1x 10.084/24 English horn, 1x 10.084/25 bassoon 1, 1x 10.084/26 bassoon 2, 1x 10.084/41 percussion. Stuttgart Urtext Edition. Harmony parts. Christmas. Set of wind and brass parts. Duration 24 minutes. Carus Verlag #CV 10.084/09. Published by Carus Verlag (CA.1008409).

By Ola Gjeilo. For Cello, Choral, Viola, Violin 1, Violin 2 (FULL SCORE ONLY). Walton Choral. Walton Music #WW1463B. Published by Walton Music

(Messe fur zwei Chore. Chor 1). By Hans Leo Hassler (1564-1612). Edited by Bruno Grusnick. For Mixed Choir-SATB. Chor-Archiv. Chorus Score (Chorus 1 parts only, Chorus 2 parts not included)

SATB choir, cantor, assembly, keyboard accompaniment, 2 or 3 octaves handbells, C instrument, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, trombone 1, trombone 2, percussion

SKU: GI.G-7202INST

Alleluia and Lenten Acclamation with Verses for All Sundays and Solemnities. Composed by James Chepponis. Chamber Music. Sacred. Full score and parts. With guitar chord names. 8 pages. GIA Publications #7202INST. Published by GIA Publications (GI.G-7202INST).

UPC: 785147720294. English. Text Source: Lectionary for Mass, 1998.

This versatile setting includes refrains for both the Alleluia and the Lenten Gospel Acclamation along with through-composed settings of the verses for all Sundays Solemnities, Feasts of the Lord and the Saints as well as a setting of the verses of the Easter Vigil Responsorial Psalm 118 for use with the Alleluia refrain. Although this majestic setting is scored for brass quartet, timpani/suspended cymbal, C instrument, guitar, and handbells it can also be performed simply using only Cantor and keyboard.

This edition SATB only. Composed by Johann Sebastian Bach (1685-1750). Edited by Katherine K. Davis. Bestseller. Baroque. Vocal score. Galaxy Music Corporation #1.1278. Published by Galaxy Music Corporation

SATB choir - Grade 3

SKU: KJ.9123X

Composed by Mark Repasky. Collection. Music for the Church Year. Sacred, Choral. Score and parts. Neil A. Kjos Music Company #9123X. Published by Neil A. Kjos Music Company (KJ.9123X).

UPC: 8402702919.

Full Score and Parts (Organ, Brass Quintet) Recharge your Easter repertoire with this new offering! From the festive opening fanfare to the triumphant ending, the color brass and organ writing of Mark Repasky will help you proclaim the glory of the Easter resurrection. Death at last is swept away. Celebrate this holy day. Allelui Can also be performed in organ-only version without brass.

Composed by Antonio Vivaldi (1678-1741). This edition: urtext. Stuttgart Urtext Edition: Vivaldi-Archiv. German title: Credo. Mass Sections. Complete orchestral parts. RV 591. Duration 10 minutes. Published by Carus Verlag (CA.4000419).

Composed by Stephen Chatman. 21st Century. Instrument parts. Galaxy Music Corporation #7.0724. Published by Galaxy Music Corporation

Composed by Stephen Chatman. 21st Century. Instrument parts. Galaxy Music Corporation #7.0720. Published by Galaxy Music Corporation

Composed by Dustin Smith, Jonny Robinson, Michael Farren, and Rich Thompson. Arranged by Molly Ijames. General, Modern Hymn. Octavo. Celebrating Grace #810093. Published by Celebrating Grace

Mass of Creation - Vocal Edition. (SATB Vocal Edition). By Marty Haugen. For SATB Choir and Keyboard accompaniment. Mass. Sacred. Choral parts only. Text language: English. 20 pages. Published by GIA Publications

Arranged by David Dickau. For SATB Choir/optional children's chorus, piano, flute, tambourine. Choral octavo only. Instrumental accompaniment sold separately (SBMP 762.1). Choral. Level: Medium. Choral octavo. Published by Santa Barbara Music Publishing. (SBMP 762)

by Dave Brubeck, arranged by Norman Luboff. For SATB choir. Format: vocal score. With choral notation, vocal melody and lyrics. Jazz. 6.7x10.5 inches. Published by Walton Music. (HL.8501326) 6-PACK includes five original copies of this piece

SATB/SATB choir, [organ, 8 instruments] - Level 2

SKU: CA.2028009

Composed by Heinrich Schutz. Edited by Gunter Graulich. Arranged by Paul Horn. This edition: urtext. Cycles: Schutz: Musikalische Exequien SWV 279-281. Stuttgart Urtext Edition: Schutz. German title: Herr, Wenn Ich Nur Dich Habe. Sacred, Motets, Psalms, German, Requiem; Stuttgart Urtext editions; Occasions: Mourning, Death; Use during church year: Lent and Passiontide. Set of Orchestra Parts. Composed 1636. SWV 280. 16 pages. Carus Verlag #CV 20.280/09. Published by Carus Verlag (CA.2028009).

ISBN 9790007034023. Key: A minor. Language: German/English.

Sco re available separately - see item CA.2028000.

Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Willi Schulze. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Missa brevis in d KV 65 rev.2000. Missa brevis in Latin. Complete orchestral parts. Composed 1769. KV 65 (61a). Duration 15 minutes. Published by Carus Verlag (CA.4062219).

SATB choir

SKU: CF.CM8726CD

Composed by Elizabeth Campbell. Square Trimpak. Classical. Cd. With Standard notation. Carl Fischer Music #CM8726CD. Published by Carl Fischer Music (CF.CM8726CD).

ISBN 9780825848629. UPC: 798408048624.

A rousing gospel-inflected number with solos and optional percussion parts, You Can Run, But You Can't Hide is a fine syncopated workout that will help a young choir develop its rhythmic skill. It will definitely be a happy outing for the singers and a crowd-pleaser as well.

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.

Solo SATB, SATB Choir, Fl, 3 Ob, 3 Tr, Timp, 2 Vl, Va, Bc

SKU: CA.3113009

Cantata for St. Michael. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Arranged by Paul Horn. 1x 31.130/21 flute, 1x 31.130/22 oboe 1, 1x 31.130/23 oboe 2, 1x 31.130/24 oboe 3, 4x 31.130/31 3 trumpets and timpani. Stuttgart Urtext Edition: Bach vocal. Harmony parts. Sacred vocal music, Cantatas. Set of Orchestra Parts. Composed 1724. BWV 130. Duration 14 minutes. Carus Verlag #CV 31.130/09. Published by Carus Verlag (CA.3113009).

ISBN 9790007207823. Language: German/English.

As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score and parts available separately - see item CA.3113000.