(SSATB with Solos a cappella). By Benjamin Britten (1913-1976). For Choral (SSATB). BH Large Choral. 48 pages. Boosey and Hawkes #M051481666. Published by Boosey and Hawkes

Composed by Julie Webb Burgess. For SSATB choir and piano. Easter. Difficulty: medium. Octavo. 10 pages. Duration 5 minutes. Published by Praiseworthy

By David L. Ellsworth. Text: Rev. 7:17, 21:3,4. For SSATBB Choir. Level: Medium / Medium-Difficult (accompaniment). Duration 3:40. Published by Jackman Music Corporation.

From In Transit. By Deke Sharon. By James-Allen Ford, Kristen Anderson-Lopez, Russell Kaplan, Sara Wordsworth. Arranged by Deke Sharon. Pop Choral Series. Broadway, A Cappella, Musicals. Octavo. 24 pages. Published by Hal Leonard (HL.250437).

SSATB choir and organ - Intermediate

SKU: MN.56-0035

Composed by Howard Goodall. 21st Century. Instrument parts. MorningStar Music Publishers #56-0035. Published by MorningStar Music Publishers (MN.56-0035).

UPC: 688670220401. English. Psalms 119:18, 33-5.

Selected verses of Psalm 119 are set for SSATB voices and organ. Unexpectedly, the music is rhythmic and angular, yet still lyrical. This piece would be a memorable one for any accomplished ensemble. The organ part is a non-stop tour de force and requires a very capable player. The choral parts are also a bit challenging in spots. The combined effect is worth it and we think your choir and your listeners will acclaim the results.

SSATB Choir

SKU: CA.966500

Composed by Paul Ayres. Edited by Stefan Schuck. Contemporary Choir Music. Sacred vocal music. Full score. Composed 2005. 8 pages. Duration 4 minutes. Carus Verlag #CV 09.665/00. Published by Carus Verlag (CA.966500).

ISBN 9790007167707. Text language: Latin/English.

Inte restingly, Ayres combines the Latin text of the hymn with his translation here: in the style of a free motet-like cantus firmus, he interprets the Latin text impressively in music, making use of glissandi, wide leaps and unison twelve-tone linear construction for the dramatic second verse with its deceptive vision of night. He places the motet sections after the translated text, but quite simply with the Gregorian cantus firmus and in the style of medieval organum, however with interesting, diatonically written dissonant sounds. This rewarding piece is challenging, but well worth singing in a concert or church service.