Hora Staccato

A collection of classic soul hits arranged by Berty Rice for mixed voice choir SATB with piano accompaniment. Includes 'I Get The Sweetest Feeling' and 'In The Midnight Hour'.

O Come Quickly Sweetest Lord is a composition by J. Philip Marshall that sets words by poet Thomas Campian for Unaccompanied SATB chorus.

A well-loved song that is known by many. Jesus Is the Sweetest Name I Know has a fresh updated sound with accessible harmonies and moderate range for voices. A smooth jazz accompaniment enhances the rich lush vocals. PattiDrennan's gift for arranging the old favorites has never been more evident. Beautiful!

One of the most precious of traditional themes is utilized in this captivating choral combination. Using the beloved Whitfield text There Is a Name I Love to Hear the alluring tune floats above a sensitive piano part while sections of hymn-like harmonies provide a depth of sound that is as satisfying to listen to as it is to sing.

When the 3-part voicing was first released it was a groundbreaking choral for middle school voices setting Latin text in a contemporary fashion. Celebrating its first publication we now offer this top-selling title for concert and contest in new SATB and 2-part voicings with a new revised 3-part mixed. Kyrie with its staccato against legato singing Adoramus te with its simple melodic ballad feel Gloria in Excelsis Deo with its celebratory style and energy all in one choral that is a powerhouse for teaching and performing.

The Vocal Score for Tarik O'Regan's 2004 composition Threnody forms a part of the larger cantata Triptych but works beautifully as a piece in its own right. Lasting around five minutes Threnody was commissioned with funds from The RVW Trust for the Choir of London's inaugural concert in Christ Church Spitalfields on the 18th of December 2004. The work is arranged for SATB Chorus and String Orchestra and this item is the Vocal Score. Taking the lyrics from a diverse range of literary sources including William Blake's Auguries of Innocence William Penn and Psalm133 the solemn beauty of these texts is matched by the dynamism of the vocal performances in conjunction with the staccato rhythms of the orchestra. Crescendos and diminuendos give a sense of urgency and excitement to the vocals the harmonies of which are expertly composed.

This energetic Colombian folksong tells the tale of a friendly baker who learns the hard way to collect the cash upfront! Strong syncopation and a staccato singing section add to the fun. Includes suggestions for using optionalpercussion.Available separately: SATB and SSA. Performance Time: Approx. 3:45

Seiber arranged The Handsome Butcher from a folksong that was collected by Bartok. The body of the song concerns the striking attributes of the butcher in fanfare-like tonic-dominant structures but there is a staccato prestosting the tail.The Hungarian composer and teacher Matyas Seiber who spent most of his life in Britain had a remarkably broad musical understanding. In his oeuvre can be discerned influences of Schoenberg Bartok jazz and clearly in The Handsome Butcher folksong both British and Continental.

A strong Second Advent offering this choral piece in minor drives forward with drama and fire. Crisp articulated staccatos mingle with a sharply punctuated piano part and the result is compelling. Like a prophets warning this text warns ofjudgment day but offers assurance in the justice of a sovereign and merciful God. Powerful!

A Setting of America the Beautiful-This setting of 'America The Beautiful' was first performed on March 11 1967 in the Air Force Academy Chapel near Colorado Springs only a few miles from where in 1983 Katherine Lee Bates wrote the first lines of her now famous poem certainly the most beautiful and moving of all hymns to America. The occasion was a concert given by the choral and brass groups of the University of Colorado for the Music Educators National Conference Southwest Division.The setting is concieved as a unified dramatic whole using melodic motives from the Samuel A. Ward tune in the introduction and connecting sections. Each of the four stanzas is treated differently their powerful emotion and meaning culminating in the final affirmation and prayer of the last stanza which is sung in unison with descant and full accompaniment.The work may be performed with an Organ (or Piano accompaniment or with a group of instruments consisting of 3 Trumpets in Bb 4 Horns in F 3 Trombones Euphonium and Tuba.Instrumental parts available from the publisher.