Il Est Bel Et Bon (SSAA) English/French-Renaissance French composer Pierre Passereau was a popular creator of chanson rustiques in Paris and at court the early 1500’s. The songs that survive are almost all of a hearty style with plenty of onomatopoeia double entendres puns and occasional indelicacies employing graceful melody polyphony and sometimes chordal passages.Il es bel et bon has retained popularity almost since it was written. There is evidence that this song was sung as far away as Venice in the 1500's. Here composer Helen Cockburn makes the most of the delightful clucking cuckooing passages and the English words have retained most of the original’s consonants to good effect.

A Spotless Rose by Welsh composer Paul Mealor arranged for unaccompanied SSAA divisi chorus. The sublime harmonies of this piece were released on the album 'A Tender Light' that also featured his piece composed for the Royal Wedding. The moving melodies and dramatic dynamics of the vocal parts in A Spotless Rose create a subtle solemnity in the wash of the beautiful soprano and alto parts. Featuring a Piano part for rehearsal only the unaccompanied soaring of the choir will make a truly lasting impression on any audience. In the September 2015 issue of the Organists' Review DavidLindley writes that this piece 'encompasses a wide dynamic range and some high tessitura for sopranos as the music celebrates 'Mary purest maid' contrasting with the slow-moving chordal setting of the rest of the text.'

The simple tune arranged here for SSAA voices is a traditional Lithuanian song that the composer learned as a child. The blending of traditional tonal harmony and imitative polyphony with contemporary techniques creates a cacophony of sound that is thrilling to audience and singers alike. From the Songs of the World Series

Sarah Quartel's Snow Angel for SSAA solo Cello Djembe and Piano. Already a firm favourite with choirs across the world Snow Angel is an evocative five-movement choral work that explores themes of love rebirth and beauty through the eyes of children and the heavenly army of angels that watch over them yearning to make a difference to their lives. The work may be performed with narration in which three angels present their perspectives on their earthly charges. Sarah Quartel weaves a haunting and poignant Cello line throughout the work and a vibrant part for Djembe in movement four 'Sweet child' carriesthe listener from the ethereal and mystical realm the work predominantly inhabits into an emphatic anthem with a distinctly African feel. The musical language is emotive and pictorial allowing performers to play an active role in the storytelling. Snow Angel is also available in a version for SATB.

The intertwining of women’s voices in Gustav Holst’s Tears Idle Tears will lend an elevated atmosphere to any performance giving this secular piece an almost sacred character. It was written for a cappella female chorus (SSAA) in 1905 as the 3rd movement of the 5-movement suite ‘Songs From The Princess’ which was based on 5 thematic short poem’s from the British poet Tennyson’s long narrative poem ‘The Princess’ (1847). Performance time is approximately 2 minutes.As an experienced instrumentalist and orchestra member English composer arranger and teacher Gustav Holst understood music from the standpoint of his players and madesure that however challenging their parts were always practicable a compositional characteristic still well received and appreciated by performers and audiences today.

A terrific setting of Mother Julian of Norwich's text for unccompanied SSAA choir by Betty Roe. A dynamic and driven piece that audiences and performers are sure to enjoy!

Rosephanye Powell released a gripping arrangement for mixed voices in 2004 that has enjoyed steady use. This SSAA arrangement remains true to the unique qualities of the previous voicing - heart-wrenching harmonies and soulful blue notes that mourn gracefully. The inclusion of the two brief West African texts adds years of history and depth to this somber Spiritual. The surprising Picardy ending provides a pleasant reassurance. Medium difficulty.

Joni Jensen Choral Series-As the inscription on the statue that greets you as you enter Texas Woman's University this message is powerful and empowering. The primary octavo is for SSAA choir piano and percussion but there is an alternate full score and parts for string quartet and percussion. Singing of making a path in a pathless wilderness and pressing forward with unswerving courage this song addresses the strength of women and their ability to conquer adversity in ways that only they can.

O Regem caeli. for SSAA unaccompanied. Consisting of two sections, this large-scale Christmas motet opens with a rich homophonic texture that is synonymous with Victoria's compositions. This is followed by imitation in the vocal lines before atriple-metre section of resounding 'alleluia's.

TaReKiTa. for SSAA unaccompanied TaReKiTa is a refreshing concert piece that effortlessly fuses the Hindustani (North Indian) and Western classical music styles. The composer's scats are combined with a fast triple metre, vocal slides, andcaptivating melodies built on the Jog raga.

Medley-Here is a tapestry of carols that you will perform again and again! Opening brightly with a mixed meter choral fanfare it then moves into a smooth and unhurried verse and chorus of “Angels We Have Heard on High ”followed by “Lo How a Rose E'er Blooming” and culminating with a joyful “Hark! The Herald Angels Sing.” It can be performed with piano or a cappella making it especially useful for community performances.Available separately: SATB SSAA. Duration: ca. 3:20.

A Candlelight Carol from the ever impressive works by John Rutter is the Silent Night for the 20th century. A piece that truly sets the tone for the Christmans season. With beautiful harmonies and touching words this is the perfect piece for singing by candlelight.Written for SSAA and Organ.

The ?Gloria? RV 589 is one of Vivaldi?s most popular compositions today and one of the most regularly performed sacred vocal works from the Baroque era. The work was in all probability composed around 1716 during Vivaldi?s time at the Ospedale della Piet an orphanage for girls in Venice. Although Vivaldi?s ?Gloria? (BA 8953) was written for solo voices and mixed choir it is likely that it was performed at the girls? orphanage with female voices only. Taking this into account Malcolm Bruno?s careful arrangement for choir SSAA is of some relevance. The work when set for female voices or children?s choir remains a true masterpiece.The ?Kyrie? RV 587 (BA8954)for two choirs and two string ensembles as arranged here for female choir displays its own charm. It can be performed together with the Gloria as a type of short mass.Both arrangements are based on the recently published Urtext editions of these works. The piano reductions by editor Malcolm Bruno are easy to play and preserve the character of the works.Effective arrangements for female choirForewords in English and GermanStraightforward idiomatic piano reductionsKyrie and Gloria can be combined for performanceThe orchestral parts for the original SATB version can be used for the performance of these arrangements.

Uses: General All Saints Day ConcertScripture: Revelation 21:2; Ezra 1:1-4Beginning with the languid strains of a stunning low voice solo and incorporating the traditional spiritual “CityCalled Heaven ” this compelling anthem is a mixture of styles. The stately opening surrenders to a jazzy theme that is contagious in its “vibe” using the words almost as a rhythm instrument. The solo returns withchoral backup and the anthem ends with soulful exclamations celebrating the hope of heaven. Now available in three voicing options! Available separately: SATB TTBB SSAA Rhythm Pack (Guitar Bass Drums) StudioTrax CD(Accompaniment Split-Trax Performance) Orchestration (Score & parts for Flute 1&2 Clarinet 1&2 Bassoon Horn 1&2 Trumpets 1-3 Trombone 1&2 Bass Trombone/Tuba Drum Set Piano Violin 1&2 Violin Cello Double Bass).Duration: ca. 3:14.