Bluegrass Score and Parts-Stop and take notice of this novel arrangement of “Come Thou Fount of Every Blessing.” It isn't like any you have heard before. Glenn Picket's accompaniment grabs your attention first but the vocal lines follow suitquickly. His playful reharmonization should satisfy but then he launches into a quasi-counterpoint that is simply heavenly. The rhythmic return brings us home with joy in our hearts.
SKU: BP.BP2180
Printed product. This marvelous mixed choir a cappella setting of a Matthew Bridges prayer offers an opportunity for a finely tuned mixed choir to present a text replete with emotion in a setting equal to its depth.
SKU: HL.392843
ISBN 9781705157190. UPC: 196288031161. 6.75x10.5x0.034 inches.
Light-hearted lyrics and a cheerful tune will put a smile on the faces of both singers and listeners as they celebrate the wonder of music. Consider using the song's title as a concert theme to encourage and build a sense of community. A great piece for any time of year!
SKU: HL.14065556
SKU: HL.14065557
SKU: 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.
SKU: AP.47591
UPC: 038081542843. English. Traditional Folk Songs.
Feature a student or adult fiddle player on this rousing arrangement of four favorite folk tunes from the heart of America. Ranges in the 3-part mixed edition are spot on for developing voices, and cued notes in the 2-part/SSA offer flexibility for your treble choir. An optional SoundTrax CD adds even more fun!
SKU: HL.49043945
ISBN 9790220133503. 8.25x12.0x0.3 inches. English.
Sea Songs, commissioned jointly by Ars Nova Copenhagen and Glasgow Concert Halls, is a kind of sequel to Martland's Street Songs (originally written for the Kings Singers and Evelyn Glennie). As with the earlier piece, Martland made use of to the library of the English Folk Song and Dance Society at Cecil Sharp House in north London.I wanted specifically to find texts that were not just the usual nautical heave-ho sort of thing, but instead explored the dangers and hardships still being experienced by sailors as recently as the early 19th century. I was also very happy to see in these texts the sense of camaraderie and mutual support that existed between the sailors. (Steve Martland)Dance to your Daddy sets the scene of a sailor's wife at home, dandling her baby son and singing to him about his daddy away fishing, and about the future. Both the tune and the words come from the Northumberland area around Newcastle. This song is very well known in the UK and gave the title to a famous television series When the boat comes in.Fire Down Below is about the effects of fire - a constant danger on board wooden ships. At the end of this song the words take on an extended meaning: Fire in our hearts for the friends that we love.The Dead Horse is about the initial month of work without pay in which all seamen had to take part. They referred to it as the dead horse - hence the expression to flog a dead horse when something is a waste of time. The seamen resented this unpaid time, and the text expresses their frustrations metaphorically by listing what they would do to the horse! The music's frantic gallop alludes to the horse's desperation.Although The Sea Martyrs presents itself as a ballad, this text has a more literary feel, and unlike the other songs it doesn't include a chorus refrain. It concerns the sailors' lack of pay, the consequences of asking for pay (being hanged!), and the poverty of their families at home. The poem portrays the sailors' deaths as an almost religious sacrifice to help future seamen.At the end of the work, the opening of Dance to your Daddy returns as a kind of descant, sung by an angel calling to the hanged men. Paul Hillier, 2012.
SKU: AP.47592
UPC: 038081542850. English. Traditional Folk Songs.
SKU: OU.9780193864641
ISBN 9780193864641.
This setting for SATB and organ uses a familiar Provencal tune. It is sung mostly in unison and in octaves, with one stanza richly harmonized. The piece ends with one of Baldwin's characteristically lovely descants.
SKU: AP.47593
UPC: 038081542867. English. Traditional Folk Songs.
SKU: AP.47531
UPC: 038081542249. English. Johnny Mercer.
This Johnny Mercer, Harry Warren tune was premiered by jazz legend Louis Armstrong and nominated for an Academy Award in 1938. The lighted-hearted, innocently flirtatious song has since become an iconic standard. Jay's fantastic arrangement includes the opening verse, some easy scat singing, and plenty of jazz sonorities throughout. Add the rhythm section SoundPax for even more style.
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: AP.50143
UPC: 038081573137. English.
This inspirational song provides a powerful anchor for a concert or year-long theme. A light rhythmic groove and a contemporary tune support lyrics that encourage us to laugh often and look for the beauty in everyday life. Search YouTube for the father/daughter duet cover that inspired this heartwarming arrangement. Download the free cello part and create a truly memorable performance. Great for graduations or end-of-year occasions.
SKU: AP.45454
UPC: 038081511948. English.
Louis Prima's quirky and upbeat tune will practically dance itself into the hearts of singers and audiences alike! With exciting swing rhythms and tight chromatic harmonies, it's ideal for choirs with some jazz experience.
SKU: AP.51182
UPC: 038081582191. English.
The wind is cold, the branches bare, but hearts are warm and bright. Despite the chill of December, it'' all about hope, peace, and kindling kindness. As you'd expect from a round, a simple melody easily stacks into a complete choral texture. Even better, the conservative-range tune ensures a good fit for all voices. Groups of any age will master the canonic form and enjoy delivering the heartfelt, non-holiday message.
About Alfred Choral Designs
The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: GI.G-9392
UPC: 785147939207. English. Text Source: Based on Psalm 23. Text by John Quincy Adams. Scripture: Psalm 23.
Although best known as the sixth President of the United States, John Quincy Adams’ great desire was to write poetry, upon hearing his words set to music by one of his contemporaries, he exclaimed his delight “as the organ pealed and the choir of voices sung the praise of Almighty God from the soul of David, adapted to my native tongue by me.†This setting was written for SAB choir, however, it could be sung by an SSA ensemble as well. The tune is original, but Meyer has written in the style of the music that Adams might have heard in his day.
SKU: OU.9780193524392
ISBN 9780193524392. 10 x 7 inches.
For SATB and piano or organ This light-hearted arrangement is a guaranteed crowd-pleaser and perfect encore. The familiar tune comes with a modern twist, with a driving rock beat, innovative harmonisations, and playful imitation. Accessible for choir and accompanist alike, Crawford's arrangement is suitable for all types of ensemble.
SKU: OU.9780193416475
ISBN 9780193416475. 10 x 7 inches.
For SATB, congregation, and organ/brass This arrangement of the familiar Westminster Abbey tune for organ and brass is majestic, and sure to draw hearty singing from a congregation.
About Cambridge Singers Hymn Series
The Cambridge Singers Hymns is a series of new hymn arrangements by John rutter, recorded under his direction by the Cambridge Singers. the aim of the series is to present some of the finest traditional hymns in new, practical versions which refresh old favorites and introduce welsome variety and interest to the familiar routine of Sunday hymn-singing.
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.