Choral TTBB choir, piano

SKU: CF.CM9635

Composed by Victor Johnson. Fold. Performance Score. 12 pages. Duration 3 minutes, 19 seconds. Carl Fischer Music #CM9635. Published by Carl Fischer Music (CF.CM9635).

ISBN 9781491157077. UPC: 680160915637. 6.875 x 10.5 inches. Key: E major. English, English. Abram Joseph Ryan (1838-1886).

Victor Johnson captures the mystery and nuance of the bittersweet poem, Wake Me a Song, by American poet, Abram Joseph Ryan. Nuance, text, and Johnson's rich harmonies paired with intertwining textures make this a noteworthy addition to any program. Also available for SATB Voices (CM9561).
About the Author Abram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states. Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky. About the Song Wake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment. To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections. One strategy that could be used to ensure proper phrasing is the idea of Painting the Phrase. The singer should make a motion as if they have a paintbrush in their hand and paint the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.
About the AuthorAbram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states.Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky.About the SongWake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment.To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections.One strategy that could be used to ensure proper phrasing is the idea of “Painting the Phrase.” The singer should make a motion as if they have a paintbrush in their hand and “paint” the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.

(For TTBB Voices with Keyboard). Composed by Capt. Francis Saltus Van Boskerck Charles A. Zimmerman. Arranged by Greg Gilpin Larry Clark. Male chorus. For Tenor I, Tenor II, Bass I, Bass II, Keyboard. Choral. Piano reduction/vocal score. Standard notation. 24 pages. Published by Carl Fischer

Choral TTBB choir, piano

SKU: PR.312419270

From Terra Nostra. Composed by Stacy Garrop. Performance Score. 8 pages. Duration 2 minutes. Theodore Presser Company #312-41927. Published by Theodore Presser Company (PR.312419270).

ISBN 9781491137918. UPC: 680160692606. English. Charles Mackay.

Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

Composed by Gwyneth W. Walker (1947-). Secular, 21st century. Duration 17 minutes, 30 seconds. E.C. Schirmer Publishing #8516. Published by E.C. Schirmer Publishing (EC.8516).

From the Musical Ragtime. Composed by Lynn Ahrens; music by Stephen Flaherty. Arranged by Mark Hayes. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Broadway; Secular. Choral Octavo. 12 pages. Alfred Music #00-43356. Published by Alfred Music (AP.43356).

Composed by John Rutter (1945- ). For TTBB choir and piano or organ or small orchestra. Octavo. Duration 4 minutes. Published by Oxford University Press

Arranged by Paul Sjolund, Fred Bock. (TTBB). H.T. Fitzsimons Co. Size 6.75x10.5 inches. Published by H.T. FitzSimons Company.

Choral TTBB choir

SKU: PR.312416820

Men's Chorus (10 Copies). Composed by Chen Yi. Choral part(s). With Standard notation. 480 pages. Duration 17 minutes. Theodore Presser Company #312-41682. Published by Theodore Presser Company (PR.312416820).

UPC: 680160050376. 8.5 x 11 inches.

Chen Yi’s most performed and most beloved choral music is a series of 10 Chinese folk songs adapted for S.A.T.B. Chorus (published in 3 volumes: 312-41731, 312-41732, 312-41733). This special version is a setting of the familiar collection, adapted for children’s chorus and strings.
Remembering when I studied composition in the Central Conservatory of Music in Beijing, I learned to sing hundreds of Chinese folk songs collected from more than twenty provinces and fifty ethnic groups, and went to countryside to collect original folk music every year.  I got to know that the folk songs are a mirror of people’s daily lives, their thoughts and sentiments, local customs and manners.  They are sung in regional dialects and use the idioms of everyday speech with their particular intonations, accents and cadences.  This correlation between speech and music distinguishes folk songs of one region from another.  I learned all songs by heart and sang them back in the exams every week.  They melted in my blood and became my natural music language.  The more I walk into the music life,the more I treasure the rich culture I have learned from my homeland. When I became the Composer-in-Residence of Chanticleer and was invited to write the first work for its concert program, as well as another version for its Singing-In-The-Schools program, I decided to introduce A Set of Chinese Folk Songs to my American audiences, and add a new flavor to Chanticleer’srich repertoire.  The work includes ten folk songs, taken from eight provinces (Anhui, Shaanxi, Yunnan, Shanxi, Taiwan, Sinkiang, Jiangsu and Guizhou) and five ethnic groups (Han, Hasake, Uighur, Miao and Yi).  I arranged them for choirs (men’s or children’s chorus) with various combinations in voices, to be sung mostly in Chinese, some in English.   From the mysterious mountain songs originally sung in the open air with high and long notes that can carry over great distances, the sweet and delicate melodies of young love compared with nature, the humorous antiphony by little children, and the lively dancing tune by villagers, you may get an idea of various music styles in Chinese folk songs according to geographic, ethnic and linguistic differences, and appreciate the beauty of the Chinese folk music.  The pure choir sound and the sophisticated singing by Chanticleer, in terms of pitches, language and musical expressions, really attract and inspire me to create some more new works in the years to come.  In thisedition of A Set of Chinese Folk Songs for standard SATB mixed choir (with piano rehearsal score), I divided these ten songs into three volumes.  They are Fengyang Song, The Flowing Stream, Guessing, Thinking of My Darling, Mayila, Jasmine Flower, Riding on a Mule, Awariguli, Diu Diu Deng, andMountain Song and Dancing Tune.—Chen Yi.

Composed by Cool-Jae Huh. Sheet music. Pavane Choral. Korean, Concert, Poetry. Octavo. 1550. 12 pages. Pavane Publishing #P1550. Published by Pavane Publishing

By The Suntones. Arranged by Various. Barbershop Harmony Society. A Cappella, Barbershop. Octavo. 52 pages. Contemporary A Cappella Publishing #211535. Published by Contemporary A Cappella Publishing

Choral (TTBB Choir)

SKU: HL.35031889

Composed by Jerry Herman. Arranged by Mark Hayes. Shawnee Press. Broadway. Octavo. Duration 225 seconds. Published by Shawnee Press (HL.35031889).

ISBN 9781540012463. UPC: 888680716615. 6.75x10.5x0.04 inches.

Stand back for this fantastic arrangement from the hit musical revival, Hello Dolly! Beginning with an expressive solo, the choral begins to come alive in tempo and energy until the final chord. Available in voicings to suit just about every performing ensemble with optional instrumentation, you'll feel like you're on Broadway with every performance!

Arranged by Mack Wilberg. For TTBB choir and piano/orchestra (3 flutes ( piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns. 3 trumpets (C), 3 trombones, tuba, timpani, 3 percussion (triangle, suspended cymbal, bass drum, chimes), harp, organ, strings). Male Voices. Spirituals, Leaflet. Level B (easy). Vocal score. 12 pages. Duration 5'. Published by Oxford University Press

Choral TTBB choir

SKU: CF.CM9571

Eternal Life. Composed by Joseph P. Webster. Edited by John Ratledge. Arranged by Aaron Humble. Sanford F. Bennett (1836-1898). Jbc. Performance Score. With Standard notation. 12 pages. Duration 3 minutes, 47 seconds. Carl Fischer Music #CM9571. Published by Carl Fischer Music (CF.CM9571).

ISBN 9781491153659. UPC: 680160911158. 6.75 x 10.5 inches. Key: Gb major. English. Sanford F. Bennett (1836-1898).

Aaron Humble's arrangement of this beloved old favorite from American hymnody is appropriate for both school and church. With soaring obligato lines and shimmering harmony, when sung with a warm and gentle tone,?The Sweet By and By?is certain to paint a picture of a better time for us all to look forward. Also available for SATB Voices (CM9572).
I have great memories of my family gathering around the piano to sing hymns. As my sister and I learned more about music through lessons, band and choir, we started adding harmony and really making music. The old American hymnody really holds a special place in my heart. Webster set Bennett's text in a time when American theology had taken a turn away from earlier ideas where God was a god of vengeance and anger. With this in mind, this arrangement should be sung with a warm and gentle tone allowing the dissonances to shimmer, the sweetness of the harmonies to bloom, and the obbligato lines to soar.

By Anton Bruckner. Edited by Nowak. For TTBB, TTTBB, TTBB-TTBB,. Bruckner complete critical edition, Volume 23/2. Published by Bruckner Verlag (Musikwissenschaftlicher Verlag).

(No. 3 from Love Was My Lord and King ). By Gwyneth W. Walker (1947-). For TTBB choir, chamber Orchestra or Piano. Choral, general. Octavo. 12 pages. Published by E.C. Schirmer Publishing

(No. 3 from Love Was My Lord and King ). Composed by David Conte (1955-). For TTBB choir, a cappella. 21st Century. Octavo. Published by E.C. Schirmer Publishing

By Hoelty-Nickel. For TTBB choir. Sacred. Published by Concordia Publishing House.

Composed by Alan MacMillan. For TTBB choir, organ or piano. Choral, General. Medium/Medium Difficult. Choral octavo. Published by Paraclete Press

Arranged by Howard Helvey. For TTBB choir. Sacred. Octavo. 16 pages. Published by Beckenhorst Press

Arranged by Ron Smail. For TTBB choir, a cappella. Octavo. Published by Cypress Choral Music

Choral (TTBB Choir)

SKU: HL.14034924

Composed by Lodovico Grossi da Viadana. Music Sales America. General Worship, Sacred. Octavo. Composed 2002. 4 pages. Chester Music #CH08778. Published by Chester Music (HL.14034924).

UPC: 884088806149. 6.75x9.75x0.019 inches.

Lodovic o Grossi da Viadana (c.1560 - 1627) was an Italian composer, teacher, and Franciscan Friar. He is known for the important contribution he made to the development of Baroque music, being one of the first people touse figured bass as a means of notating a basso continuo line. From 1594 onwards he was choirmaster at various Italian cathedrals, when his O Sacrum Convivium was most probably written. It is an arrangement of theancient Christian prayer for TTBB Male Voice Chorus, and is a perfect anthem for any Eucharist service.

Composed by Rosephanye Powell. Arranged by William Powell. For Choral (TTBB). Gentry Publications. Gentry Publications #JG2425. Published by Gentry Publications

By Mary Mcdonald. For TTBB Choir and Piano (with optional brass choir, timpani, suspended cymbal, congregation). Sacred Anthem. Octavo. Published by Monarch Music