Song of the Universal (SATB)

Paperback-for SATB unaccompanied A lively and folk-like setting of a traditional Jewish song. These three folksongs are colourful original settings well within the grasp of most amateur choirs.

My song is love unknown. My song is love unknown is an expressive and fluid setting of the well-known Lenten text by Samuel Crossman. McGlade highlights the phrase 'take frail flesh and die' with a sighing musical motif, before the work closes with the affirmation 'heaven was his home, but mine the tomb where he lay'.

for SATB unaccompaniedForever Child is a suite of seven pieces on the theme of childhood. The work forms an excellent concert suite or any of its movements may be extracted for separate performance.Contents The Fly New Year's Chimes Where go the boats? A Boy's Song God be in my head The Swing On My First Sonne Requiem

Bob Chilcott's Song Of The Crib for unaccompanied SATB choir.A setting of a specially written text by Charles Bennett this gentle lullaby reflects on the role of the animals and angels in the nativity compelling us to follow their lead and create our own Christmas scene wherever we are.Chilcott's Choral writing is characteristically warm and lush with some divisi and the singable melodies are shared between the parts. Song Of The Crib features on the Naxos CD of Bob Chilcott's Christmas music The Rose In The Middle Of Winter.

A Simple Gloria by Libby Larsen for SATB unaccompanied.Offprinted from An American Christmas this is a serene setting of a macaronic text by M. K. Dean describing the song the angels sang for the birth of the Christ-child.

5 Songs of Ariel for mixed a-cappella choir was composed in 1950. In it Frank Martin used lyrics from Shakespeare's The Tempest to set them to music. The characteristic idiom of his music is the product of an emphatic endeavor constructively to extend the scope of conventional tonality by his judicious exploration of elements of twelve-tone technique. One feature of Martin's oeuvre then is his passionate dedication to the reconciliation of opposing extremes. This goes hand in hand with his extremely discerning eye for the elaboration of artistic subjects. His sensual clarity and elegance and the subtly shaded formal diversity whichare pervading features of his musical idiom invest his work with enduring worth.

for SATB unaccompanied The optional opening section for which there is a graphic score is spoken to texts by Henry Wadsworth Longfellow and other esteemed poets and authors. The four sung movements which follow are conventionally notated and set to further texts by Longfellow and they amply demonstrate the hallmarks of Skempton's extraordinarily skilful choral writing. Subtle word painting and masterful use of harmony reinforce the rich imagery conveyed in the texts weaving together a work of considerable beauty and power. Immensely satisfying to sing this piece is ideal for concert use.

Par VAUGHAN WILLIAMS RALPH. for SATB and piano Jonathan Wikeley's choral arrangement of Vaughan Williams's Four Last Songs offers a new way to engage with these beautiful late works. The first and last songs are accompanied with the middle two unaccompanied. The original settings are available in the first volume of Collected Songs by Vaughan Williams. / Date parution : 2023-03-11/ Répertoire / SATB et Piano

A collection of 30 choral songs for SATB unaccompanied both secular and sacred. Diversity and eclecticism are the hallmarks of this collection: the pieces range from two to eight voices: from monuments of the Renaissance to miniature canons from the Romantic period. There are notes on each piece and prose translations for non-English texts.

Ed Hughes' Cradle Song for SSATBarB. Text by Thomas Dekker. Recorded on 'Douces Nuits' CD Jade JAD699 886-2 (Contemporary Lullabies) by Aquarius Ensemble.

Sing Pop A Cappella is a collection of a cappella arrangements of fantastic pop songs old and new by renowned teacher singer and director Gitika Partington. Her arrangements are used by choirs across the UK and she emphasises that being able to read music is not necessary. Rewarding and enjoyable Book Three continues her project to bring people together through the power of song. What's great about Gitika Partington's Sing Pop A Cappella series is how she understands that to make great music or to sing a great song it's not necessary to be able to sight-read. It may be useful but shehas learned that there are other ways to communicate music namely through ear training repetition and gesture. Her arrangements five of which appear in this book have enabled youth and community choirs to spring up across the country making singing truly and universally accessible.  Included in this book are wonderfully rich a cappella arrangements of Ain't No Sunshine by Bill Withers Black Is The Colour Of My True Love's Hair Rick Astley's Never Gonna Give You Up Adele's Rolling In The Deep and a huge favourite Sway (Quien Sera). Vocal scores for these innovative and enjoyable arrangements are included in standard notation although Partington recommends learning by ear as something equally beneficial. To aid with this the accompanying download card includes five tracks of audio for each song. One features a full performance demonstration while the other four each focus on either soprano alto tenor or bass. The easy download of these tracks makes learning efficient and fun as you are able to listen wherever you are. The great thing about a cappella singing is that it can be done anywhere with limited resources with members who don't necessarily have any musical training. Partington has created a

As a lily among thorns was composed as a wedding present for Katie Johnston and John Hillier in March 2004. It was performed at their marriage in Christ Church Cathedral Oxford and later performed publicly by Commotio directed by Matthew Berry. The words are taken from the Song of Songs.The Novello New Choral Series is an inspiring selection of new works from a range of contemporary composers offering pieces for all types of choirs including sacred and secular works from simple four-part settings to more expansive yet accessible repertoire in an exciting variety of styles. This collection is perfect for choirs looking to broaden theirrepertoire and explore some of the best new music around.Thomas Hyde (b.1978) studied at Oxford University where he gained a doctorate in composition in 2008 and the Royal Academy of Music. His teachers have included David Matthews Simon Bainbridge Peter Maxwell Davies and Robert Saxton. In October 2008 he was appointed Lecturer in Music at Worcester College Oxford and since September 2009 has been visiting lecturer in composition at City University London. Prizes include finalist in English National Opera’s young composer festival ‘New Visions New Voices’ (1992) the National School Band Association Prize (1993) and a Wingate Scholarship (2004-5). His music is performed regularly in Britain at festivals including Spitalfields City of London Presteigne Deal and Little Missenden as well as abroad and has been broadcast on BBC Radio 3. Recent works have included a string quartet for the Allegri Quartet and the one-man opera That Man Stephen Ward for the Hampstead & Highgate Festival.

I hide myself With a lily Go lovely Rose-Written early in Whitacre's career whilst at the University of Nevada in Las Vegas. Arranged for SATB choir includes a Piano line for rehearsal purposes.I Hide MyselfJust a simple song really. All of the musical suggestions come from a careful study of the poem a quiet passionate soul occasionally speaking a little bolder than the age will allow. She loves almost to the point of distraction and this mood mustprevail in the performance: shy and sullen her passion surging to the surface only to sink back into the silence that is herself.Go Lovely RoseThe piece is structured around the cyclical lifeof a rose and is connection throughout by the opening 'rose motif' a seed that begins on the tonic and grows in all directions before it blossoms dies and grows again. Each season is represented: spring begins the piece summerappears at bar 13 autumn at bar 26 winter at bar 39 with spring returning at bar 49. The form is based on the Fibonacci sequence (the pattern found in plant and animal cell divisions) - its fifty five bars are a perfectFibonacci number. The Golden Mean appears at bar 34 as all parts are reunited to complete the flower before its final blossom and inevitable cycle of death and rebirth.Each performance should be approachedwith a child-like innocence and naivety that allows us to marvel at the return of the rose each spring. The szforzandos throughout must be light and gentle.With A Lily In Your HandWater and Fire. If the performance of this piece connects these contrasting elemental ideas its success is guaranteed. Water: At bar 30 this ostinato should be fluid and gentle only interrupted at bar 32 asthe butterflies momentarily spring out of the texture; bars 35-38 the water should slowly transform back to fire. Bar 44 should be tiny bell-tones motivating the next nine bars another patient sensuous transformation back to

Sweet was the song was composed in 2003 as a commission from the Hampstead Chamber Choir and their then director Eamonn Dougan. It is a short and simple SATB setting of a familiar Christmas text.The Novello New Choral Series is an inspiring selection of new works from a range of contemporary composers offering pieces for all types of choirs including sacred and secular works from simple four-part settings to more expansive yet accessible repertoire in an exciting variety of styles. This collection is perfect for choirs looking to broaden their repertoire and explore some of the best new music around.Thomas Hyde(b.1978) studied at Oxford University where he gained a doctorate in composition in 2008 and the Royal Academy of Music. His teachers have included David Matthews Simon Bainbridge Peter Maxwell Davies and Robert Saxton. In October 2008 he was appointed Lecturer in Music at Worcester College Oxford and since September 2009 has been visiting lecturer in composition at City University London. Prizes include finalist in English National Opera’s young composer festival ‘New Visions New Voices’ (1992) the National School Band Association Prize (1993) and a Wingate Scholarship (2004-5). His music is performed regularly in Britain at festivals including Spitalfields City of London Presteigne Deal and Little Missenden as well as abroad and has been broadcast on BBC Radio 3. Recent works have included a string quartet for the Allegri Quartet and the one-man opera That Man Stephen Ward for the Hampstead & Highgate Festival.