SKU: HL.35030757
ISBN 9781495055980. UPC: 888680104870. 5.0x5.0x0.15 inches.
Music based on Dance of the Hours from La Gioconda and popularized in the hit recording Hello Muddah, Hello Faddah is set with a new text depicting the craziness of family gathering for the holidays. Conversations overlapping, loud relatives, and once a year food all combine to celebrate what family truly is; Friendly squabbles, with no shovin', in a family, that's called lovin'! A perfect novelty selection for holiday concerts!
SKU: CF.CM9634
ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual.
Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!.This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy.This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part” henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio part”, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position” cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio” role and actually become a “Men’s Choral Ensemble”. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vamp”. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp” and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy.
SKU: WD.080689523175
UPC: 080689523175.
Dove Award-nominated creative team, Christy and Daniel Semsen, once again deliver a must-have children's musical for Christmas. Jam-packed full of fun, deliciously-rich dialogue, singable songs, jaw-dropping audio tracks, a touch of righteous rap, and a powerful, Christmas-themed Gospel message, the Semsens bring us their new Christmas creation, Wrapping All the Way! Based in Tuneville, where the townspeople are known as Tunies, and their leader, King Dazzlebaum, has declared that EVERY DAY is Christmas! The conversation is loaded with Christmas-isms and the air is merry and bright as the Christmas extravaganza –“Tinsel Mania”– is about to take place. You won't want to miss it!
SKU: HP.2764
UPC: 763628127640. By Amy Grant & Chris Eaton.
Contemporary Christian song by Amy Grant & Chris Eaton Amy Grant's poignant and haunting contemporary Christmas classic has been set for 3-7 octaves of handbells and optional handchimes. The opening suspended mallets create an ethereal backdrop for this well-known text which shares the inner voice of Mary as she journeys to Bethlehem to give birth to the Christ child. Her conversation with God reveals her fears and confusion as she cries out for God to be with me now. The quiet and subtle closing provides a sense of resolve as Mary accepts her task and trust in her Lord.
SKU: LO.15-4070H
ISBN 9780787779733.
It's about time that someone asked the question What Were You Thinking? regarding the gifts in The Twelve Days of Christmas. This humorous commentary on the impracticality of twenty-three birds, eight cows, fifty people, and a tree will have your audiences erupting with laughter. The conversational approach to this piece allows for opportunities to stage your choir accordingly to help express the back-and-forth dialogue and intensification of the argument before arriving at a happy conclusion.
SKU: CY.CC2894
Victoria's rich, mysterious and serene 4-part Renaissance Christmas motet, O Magnum Mysterium was written in 1572. The composer intended it to be sung at another service later in the year. It has become a Christmas tradition for many choirs.Andrew Converse has arranged this beautiful 4-minute work of moderate difficulty for Brass Quartet of 2 Trumpets in B-flat and 2 Trombones. An additional Horn substitute for the Trombone I part has been included as well.
