/ Voix Elevée(s) Et Piano
SKU: HL.49014138
ISBN 9790220104084. 7.0x10.0x0.338 inches.
Prelude: Spring-Hush,Nightingale-R efrain-Prelude: Summer-Summer has a Heart of Drums-Prelude: Autumn-Victoria Rules an Autumn Land-Prelude: Winter-Hurl of the Wind.
SKU: OU.9780193522930
ISBN 9780193522930. 10 x 7 inches.
For S/A TB unaccompanied More sweet than my refrain is a tender miniature for three-part choir set to the text of a poem by Ralph Waldo Emerson. The motet features on the new Ars Nova Copenhagen recording, 'First Drop' (Canteloupe: CA21127).
About Oxford New Horizons
N ew Horizons showcases the wealth of exciting, innovative, and occasionally challenging choral music being written today. It encompasses the whole gamut of small-scale choral genres, both secular and sacred, and includes pieces for upper-voice and mixed choirs. With titles by some of the most accomplished choral composers active in Great Britain and abroad, the series introduces new repertoire and fresh talent to a broad spectrum of choirs. New Horizons features composers with growing reputations for quality composition reflecting a strong individual voice. The series is continually expanding and should be the first place to look for attractive and performable contemporary choral music.
SKU: GI.G-3746A
Text Source: Refrains: Lectionary for Mass, verses: Stewart, Roy James. Text by Roy James Stewart.
C Instrument, some trumpet. CONTENTS: PSALM 126: THE LORD HAS DONE GREAT THINGS • PSALM 96: TODAY IS BORN OUR SAVIOR • PSALM 128: HAPPY ARE THOSE WHO FEAR THE LORD • PSALM: 33 LORD, LET YOUR MERCY BE ON US • PSALM 116: I WILL WAKL IN THE PRESENCE OF THE LORD • PSALM 95: IF TODAY YOU HEAR HIS VOICE • PSALM 103: THE LORD IS KIND AND MERCIFUL • PSALM 137: LET MY TONGUE BE SILENCED • PSALM 118: THIS IS THE DAY • PSALM 32: I TURN TO YOU, LORD • PSALM 107: GIVE THANKS TO THE LORD • PSALM 63: MY SOUL IS THIRSTING FOR YOU, O LORD • PSALM 145: THE HAND O THE LORD • PSALM 78: THE LORD GAVE THEM BREAD • PSALM 138: LORD, YOUR LOVE IS ETERNAL • PSLAM 146: PRAISE THE LORD • PSALM 90: FILL US WITH YOUR LOVE, O LORD • PSALM 17: LORD WHEN YOUR GLORY APPEARS.
SKU: GI.G-3612A
UPC: 785147361206. Scripture: various.
11 more psalm settings for use on various Sundays, feasts, and rites. Lectionary listings provided. Reprintable refrains for assembly included. SATB (many), Guitar, Acc. CONTENTS: PSALM 32: I TURN TO YOU/FORGIVE THE WRONG I HAVE DONE • PSALM 30: I WILL PRAISE YOU LORD • PSALM 34: CRY OF THE POOR • PSALM 31: I PLACE MY LIFE • PSALM 8: HOW GLORIOUS IS YOUR NAME • PSALM 119: HAPPY ARE THOSE WHO FOLLOW • PSALM 95: HARDEN NOT YOUR HEARTS • PSALM 63: MY SOUL IS LONGING • PSALM 68: YOU HAVE MADE A HOME FOR THE POOR • PSALM 116: I WILLW ALK IN THE PRESENCE OF GOD • PSALM 146: PRAISE THE LORD, MY SOUL.
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 partâ€, 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 Ensembleâ€. 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 “vampâ€. 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: CF.YPS38
ISBN 9780825852152. UPC: 798408052157. 9 X 12 inches. Key: Eb major. Text: Al Stillman. Al Stillman.
The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal. The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a hymn-style section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program. -LARRY CLARK New York, NY 2003.The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal.The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a “hymn-style†section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program.-LARRY CLARKNew York, NY 2003.
SKU: GI.G-10022
UPC: 785147002215. English.
A beautiful sung blessing featuring an ostinato refrain. The chanted opening and concluding prayers should be sung by a cantor in a prayerful manner that clearly communicates the text. Especially appropriate when used as a blessing on those embarking on significant work on behalf of Christ’s mission.choir supports the assembly’s ostinato refrain. The molto rit. at measure 38 is very important in order to signal to the assembly the end of the ostinato. Listen to this piece and follow the score in the video below:
SKU: GI.G-7241
UPC: 785147724100. English, Spanish. Text Source: Psalm 104, adapt. TA, Pentecost Sequence. Text by Tony Alonso. Scripture: Psalm 104.
This edition contains the verses for the Pentecost psalm in both languages and also the complete sequence in English and Spanish—to be sung with the psalm refrain. The 3-part refrain is an ostinato that can be quietly sung under the solo verses. Ostinato refrain.
SKU: LO.10-5366S
ISBN 9780787768089.
Vict oria Davison and Rudy Lupinski have crafted a beautiful Communion anthem with a simple refrain. The verses employ the familiar Bread of the World text by Reginald Heber. Straightforward, two-part writing, with a descant for the final refrain, makes it a very accessible anthem. The congregation can also optionally participate in singing the refrain.
SKU: GI.G-6044
English.
This piece can be used as a mantralike refrain over which the verses can be layered. It is a gentle song—a comforting reminder of God’s undying love in times of hardship, sorrow, anger, or guilt. Refrain may be used as ostinato. For cantor or soloist.
SKU: BT.DHP-1094718-020
9x12 inches.
The title of this clever arrangement reveals the Christmas song it is based on. The melody can be traced back to a French folksong from the 18th century which is now known around the world. In France it is called Les anges dans nos campagnes, in Germany it is most widely known as Engel auf den Feldern singen and in England it was originally called Angels From the Realms of Glory but it often known as Angels We Have Heard on High. Everyone will rejoice upon hearing the ‘Gloria in excelsis Deo’ refrain!Hinter diesem Titel verbirgt sich eine neue Bearbeitung des alten französischen Weihnachtsliedes Les anges dans nos campagnes aus dem Frankreich des 18. Jahrhunderts. In Deutschland kennt man es (u. a.) als Engel auf den Feldern singen, in England existiert neben dem oben genannten Titel auch die Version Angels We Have Heard on High. Allen gemeinsam ist der markante Refrain Gloria in excelsis Deo“ der dem Lied seinen besonders erhabenen, festlichen Charakter verleiht.m ist der markante Refrain Gloria in excelsis Deo“ der dem Lied seinen besonders erhabenen, festlichen Charakter verleiht.Angel s from the realms of Glory è uno dei più celebri e dei più bei canti natalizi. Questo splendido arrangiamento inizia su un’introduzione festiva che accompagna verso l’esposizione del tema in forma di corale. Segue un intermezzo dalle sonorit ampie e generose, che precede le riprese del corale di apertura dagli accenti gioiosi. Il brano si conclude in modo maestoso per rappresentare l’atmosfera meravigliosa e incantata che caratterizza il Natale.
SKU: GI.G-7331
UPC: 785147733102. English. Text Source: John 12 and 13, 1 Corinthians 13:13, adapt. DM and MB. Text by Diane Murden. Scripture: John 12 and 13, 1 Corinthians 13:13.
This is another fine addition to the repertoire for the foot washing on Holy Thursday. The SATB scoring for the refrain is homophonic, the piano providing subtle rhythmic interest for additional movement. The first two verses are scored for cantor or unison choir, the third and fourth verses maintain the homophonic texture of the refrain. Easy to learn refrain for congregation, with four verses. SATB choir, cantor, assembly and keyboard.
