The Rhythm of Life SATB

Muhly fell in love with Byrd’s setting of the Christmas words Senex Puerum Portabat as a chorister so much that the ‘fluidity of the lines the relentless lilting rhythm and the way Byrd both avoided and cradled the text’ that he was inspired to follow a life in music. Early in his career he set the same text in modern style. The first statement of the words is a capella with ecstatic brass entering in the restatement. The ancient Hodie Christus Natus Est follows on seamlessly in a new mood.Contemporary American composer Nico Muhly is a prolific writer and arranger who at 32 is the youngest composer ever to have been commissioned by the Metropolitan Operain New York. His oeuvre includes two operas and many solo pieces and works for small ensemble Orchestra and Chorus and he has collaborated widely.

Carl Rütti's choral music is 'sensuous and exuberant by turns combining dazzling rhythms and soaring melodies with distinctively lush harmonies' (Choir and Organ Magazine). Of his Requiem immense in scale yet often intimate in tone the composer writes that 'no words are strong enough to express the feelings of the bereaved nor sufficient to explain what will await us after death. Music may be the most appropriate language.' Scored for Soprano Baritone Double Choir Strings Harp and Organ Rutti's Requiem ultimately affirms life's precious fragility.

Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes

A concert showstopper! Feel the tingle in your fingers and your feet with this wonderful new setting of the popular Cy Coleman classic from Sweet Charity.

A fabulous version of Cy Coleman’s Rhythm of Life from the 1966 hit Broadway musical Sweet Charity delightfully arranged here for SATB Choir and Piano Duet by Richard Barnes. Though some of the gimmicks and stage effects that were used such as freeze frame have become slightly outdated since the late 1960s these songs with music by Cy Coleman and lyrics by Dorothy Fields are as fresh as ever! This is perfectly demonstrated by this tremendous version of Rhythm of Life that features a magnificent 4-handed Piano accompaniment supporting the choir.

This dynamic Easter hymn from the Getty writing group offers a truly impactful Celtic style for the celebration of Christ's resurrection. Joel Raney creatively sets up the opening with a hint of the traditional spiritual 'He Never Said A Mumblin' Word' leading into the opening statement 'How can it be the one who died has borne our sin through sacrifice to conquer every sting of death? Sing sing hallelujah!' The optional rhythm section and violin part brings it all to life in a lilting 6/8 high-energy presentation! Perfect for Easter or Eastertide.This dynamic Easter hymn from the Getty writing group offers a truly impactful Celtic style for the celebration of Christ's resurrection. Joel Raney creatively sets up the opening with a hint of the traditional spiritual 'He Never Said A Mumblin' Word' leading into the opening statement 'How can it be the one who died has borne our sin through sacrifice to conquer every sting of death? Sing sing hallelujah!' The optional rhythm section and violin part brings it all to life in a lilting 6/8 high-energy presentation! Perfect for Easter or Eastertide.

A gospel standard is given new life here with a new meter and a contemporary feel. An optional soloist sets the musical stage for this uplifting and encouraging anthem of praise. Available separately: SATB ChoirTrax CD. Score andparts (fl ob cl 1-2 asx tpt 1-3 hn 1-2 tbn 1-2 tbn 3/tba perc rhythm vn 1-2 va vc db) available as a CD-ROM and as a digital download. Duration: ca. 3:55.

You are the source of my strength You are the strength of my life ... This uplifting anthem is stunning in its emotional power ending with a reflective setting of the Lutkin Seven-fold Amen.Available separately: SATB andSAB. Instrumental ePak includes score and parts for Flute Oboe Bb Clarinet Trumpet 1 2 3 F Horn Trombone 1 2 3 Rhythm Bells/Percussion Violin 1 2 Viola and Cello. ChoirTrax CD also available. Performance Time:Approx. 3:00

Uses: General All Saints Day MemorialScripture: Jeremiah 31:6; Revelation 21:2A refreshing perspective is given to two early American hymns in this choral tapestry of hope. A buoyant rhythmicpattern in the accompaniment creates a rocking motion that comforts and assures while the choral texturing uses lots of unison and two-part writing for ease of learning. Far from being gloomy this arrangement is life affirmingand filled with the light of God's promise of eternal life. Duration: ca. 2:27.

Uses: General Youth ChoirScripture: John 4:1-42; John 7:38; Revelation 21:6Abundant joy punctuates this gospel-styled choral while projecting a musical invitation to come and experience the goodnessof the Lord. Replete with images of God's “artesian well” of life and blessings this piece can be programmed anytime of the year. Good-natured part writing showcases the sections of your choir while the rhythmicenergy of the accompaniment motivates the piece onward with a cheerful gait. Available separately: SATB LiteTrax CD. Duration: ca. 2:21.

American folksong collected by David Holt from Dellie NortonThis sturdy American folksong has been given new life through the skillful arranging of James Clemens. Maintaining the hollow open harmonies and steady rhythmicmovement of early American music Clemens adds some fresh counterpoints and syncopations to really liven things up. “Meeting Is Over” is dynamic!

This setting of the classic spiritual is full of energy and life propelled by powerful rhythms and contemporary jazz-infused harmonies. Easily learned in a short rehearsal time it will create an emotional impact in performance. Available: SATB. Duration: ca. 4:42.

This exciting work for more advanced choirs depicts how the earth welcomes the life-giving rain. The text alternates in Swahili and English. Building rhythms and percussion propels the choir to a jubilant ending. Percussion scoreand parts available separately. Duration: ca. 3:20.

Ce livre est un recueil de choeurs mixtes - clairement disposées selon les professions (SAB, SATB, SATB +) et sur ??la base des niveaux de difficulté triés. De vieux maîtres au tableau le titre actuel ici tous les genres de style est représenté. Beaucoup de titres pour la première fois et exclusivement apparaissent dans ce tout nouveau arrangements de arrangeurs bien connus. Dans le même temps le choix du répertoire est le résultat d'un enseignement et chorale longue et intensive conduite pratique. Il ya aussi de nombreux accompagnements au piano, aides pratiques et textes de base, et un espace en ligne privé. Le Choeur du livre 2 continue le succès 'Le chant est une grande' série continue de faCon transparente et s'appuie sur le premier livre de cantiques bande (Schott ED 20930 - S / SA / SSA / SAB SATB et phrases lumineuses). / Choeur Mixte (SATB)