Together We Sing Series-This spiritual arrangement is definitely rockin'! Solo opportunities sit above a rhythmic choral background leading into an harmonic chorus and key change. The optional baritone in the 3-Part Mixed allows the piece to be flexible as your singers' voices change and adjust. A rousing holiday selection!

Dan Davison's gift of writing for developing voices is exemplified through this driving setting of the Biblical story of Elijah. The music is filled with articulations such as staccatos tenutos accents and sforzandos resulting in a lively and expressive performance. The baritone part is crafted with care so that all tenors and basses can comfortably sing. The perfect addition to your high school or middle school repertoire. Duration: ca. 2:45

An Oratorio in seven parts for Soprano Baritone and Mixed Voices-From John Brunning English composer musician and radio personality this larger work offers an uplifting message ideal for worship ecumenical events and sacred concerts. Includes 7 movements: Amazing Day; The Lord's Prayer; Pie Jesu; Introit Kyrie Sanctus; Ave Maria; The Lord Is My Shepherd; Hallelujah.

For Narrator Baritone Bass and various solo children's voices. With words by John Birtwhistle. First performed at Castle Theatre Mitiline Lesvos on 11th July 1998 conducted by the composer. The UK premiere was at theUniversity of York November 1999.

As a singing teacher choir director and not least as a passionate professional choir singer Irina Rebhuna is perfectly familiar with the possibilities of the human voice. And so it is hardly surprising that the Latvian musician born in 1988 has devoted herself especially to the composition of vocal music. Her sacred choral work Libera me Domine for mixed a cappella choir (SSAATTBB) won the special prize for the 'best composition for 4-6 voices' at the International Composition Competition 'Musica Sacra Nova' 2016. This church music gem in which the eponymous Gregorian chorale is intonated by one of the (two) bass baritone sections at the beginning over a musicaltapestry woven by the remaining voices - and taken up again by all tenors at the end is ideal for ambitious amateur choirs.The idea behind this work says the composer is 'the human reflection on the uncertain on death on Judgment Day or on what is inexplicable to us. Such as humility excitement fear and atonement. The chant ends without ending there is no solution. Life goes on because we ask the following question again and again: What will happen next?'

Par WIDOR CHARLES-MARIE. Charles-Marie Widor (1844-1937) composed this Mass, Op. 36 in 1878 for the St Sulpice church in Paris. The initial two choirs for which it was composed were comprised of around 200 and 40 voices, while the score for this version is for a choir of baritones and an SATB choir. The Organ part requires an advanced-level of ability as it contains some difficult parts. Divided into five sections, the entire work has been transposed one half step lower ‘ to avoid the awkward key of F sharp major'. These sections are: 1. Kyrie (Moderato & F# minor) 2. Gloria (Vivace & Lento, D major 3. Sanctus (Con brio, A major) 4. Benedictus ( Piú lento, A major) 5. Agnus Dei (Moderato, F# major) This really delicate and emotive Mass, Op. 36 is a piece that stands out by its majesty. Charles-Marie Widor was a great organist who did not only focus on Organ composition. From orchestra pieces to chamber music, he wrote various different compositions, including 10 symphonies for Organ, some Operas, and some Piano Concerti./ Répertoire / 2 Barytons, SATB, Orgue Acc (Duet)

POD-In The Bleak Midwinter is a work by Paul Mealor for Unaccompanied SATB Choir taken from 'To Seek Where Shadows Are'. Commissioned by John Armitage Memorial and Pro Coro Canada the work sets words from the poem by Christina Rossetti and a full performance lasts around 4 minutes. Paul Mealor’s lovely setting of In the Bleak Midwinter demands excellent tuning. To create such rich harmony each section of the choir divides – the bass line into three in addition to a baritone solo. The range of each voice part is substantial from a top B for sopranos to a low E (and optional B) below the stave for basses.Despite the demands of range and intonation choirs who master this piece will be rewarded. This is a beautiful addition to the Christmas repertoire. - Sunday by Sunday

These four spirituals have been arranged by Gwyn Arch especially for the younger or developing choir. They are fun arrangements of popular or well known spirituals that are interesting to sing and fairly straight-forward to perform. The optional baritone line makes the collection suitable for choirs with a dearth of male voices but equally suitable for boys to sing as their voices change and develop.

Par WIDOR CHARLES-MARIE. The Chorus Part for Charles-Marie Widor's Messe Pour Deux Choeurs Op. 36. Choir 1: 2 Baritones, Choir 2: SATB Voices. / Musique religieuse / Répertoire / Choeur sans Accompagnement

A popular Requiem arranged for female voices In this arrangement of Fauré?s ?Requiem? for soloists (SA) female choir (SSAA) and Organ the tenor and bass parts are distributed among the altos which has necessitated some judicious adaptations in the part-writing. The second soprano replicates the original alto part largely unchanged while the original baritone solo now resounds in the alto. The Organ arrangement takes all three versions of the ?Requiem? into consideration but primarily follows the second version of 1893 in terms of the rhythmic presentation ofthe instrumental parts.However the Organ part is tailored to the arrangement rather than trying to imitate the sound of the Orchestra. This vocal score is compatible with the performance material of the original work (BA9461). - Arrangement for female choir (SSAA) based on the Urtext of ?Gabriel Fauré The Complete Works? - Includes an idiomatic Organ reduction.

Jameson Marvin Choral Series-This delicate and sensitive new arrangement of Stephen Foster's beloved I Dream Of Jeanie is arranged for the Harvard Glee Club by its former director Jameson Marvin. This Americanclassic is worthy of any fine men's choir. With counterpoint for all voices a melody that is passed between voices and a chance to feature a Baritone soloist this is a welcome addition to the male chorus library.

West End Showstoppers contains four classic songs from three of your favourite musicals including Consider Yourself from Oliver and Memory from Cats. The Faber Young Voices series is arranged for upper voices with an optional low Alto or Baritone part for voices that maybe developing. Also included is the manageable Piano accompaniment. The intermediate series is ideal for young or newly formed choirs looking for rewarding repertoire.

This favorite song “I Love a Piano ” by Irving Berlin has been creatively arranged by Mark Hayes. The part-writing is basically simple but effective and really mirrors the text and makes the melody shine. The pianopart is typical Mark Hayes: fun and fabulous! Each voicing is carefully arranged to fit the needs of the choir using it. The SATB is full-sounding; the SAB is sensitive to the baritone range; and the 2-part/SSA is perfect forelementary women's voices or any 2-part ensemble.

In this volume one of the world's most alluring and popular songs The Girl From Ipanema is beautifully arranged for young voices along with the stirring Banana Boat Song and the breathtaking finale to the collection the Argentinian tango La Cumparsita. These fun yet manageable arrangements will delight young choirs time and again. An optional Baritone part is provided for support along with a full Piano accompaniment.The ideal way to add a little Latin swing to your school choral performance.