Sing We And Chant It Ttbb

SKU: AP.43293

UPC: 038081488356. English. Michael Grayton.

Introduce madrigal singing with this wonderful edition of the Thomas Morley classic. This new men's choir arrangement sounds full and effectively captures the character and spirit of early music. Suitable for large groups or small ensembles, this excellent teaching piece will be a staple of your choral library.

About Alfred Choral Designs

Th e 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: AP.47722

UPC: 038081544151. English.

A triumphant unison fanfare sounds a clarion call in praise of music at the start of this concert/contest opener, followed by a contemplative, chant-like middle section on a brief Latin text. An accelerating return to the jubilant main theme leads to a majestic and satisfying conclusion. Be sure to add the optional trumpet part for full effect.

SKU: HL.1108589

UPC: 196288103349. 6.75x10.5x0.019 inches. Mark 5:36, Proverbs 3:5-6.

A unique offering, this unaccompanied anthem takes on the character of a sea chanty in style and spirit. Featuring a soloist, the call and response format invites creative singer placements, along with two voicings, as performance options.

SKU: OU.9780193571532

ISBN 9780193571532. 10 x 7 inches.

For SSAATTBB unaccompanied Hazzard's enchanting Sanctus, setting text from the Latin Mass, captures the feeling of a rushing current throughout. Suitable for concert use, this piece features imaginative text-setting and driving rhythms that create an engaging experience for singers and listeners alike.

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: CY.CC2978

ISBN 9790530057971.

Jeff Reyolds has arranged a beautiful setting of the Saint-Saens Veni Creator Spiritus (Come Creator Spirit, a 9th Century Pentecost plainsong hymn) for 4-part Trombone Ensemble. The original work for TTBB men's chorus and optional Organ was written in 1858. Saint-Saens was a Roman Catholic Church organist in his early years and produced a volume of music that was easy to sing.
Mr. Reynolds calls this music Church Polyphonic style that came out of the late Renaissance and endured for a couple centuries into the Romantic period.
This work begins with a beautiful unison chant and moves into four polyphony sections concluding with a soft Amen.
The music is of moderate difficulty with the first part in tenor clef.

SKU: BR.EB-9432

ISBN 9790004189092. 0 x 0 inches.

Duration: full evening Text by the composer basesd on E.T.A. Hoffmann's tale of the same name from Serapionsbrudern Translation: ital. (G. Trampus), La sposa sorteggiata Place and time: Berlin, um 1820 Characters: Der Kommissionsrat Voswinkel (baritone) - Albertine, his daughter (mezzo-soprano) - Thusman, Freier (tenor) - Edmund Lehsen, paintor, Freier (tenor) - Baron Bensch, Freier (tenor) - the goldsmith Leonhard (baritone) - the jew Manasse (bass) - the valet Voswinkels - crowd, a Chancre (silent parts) In Busoni's musical evolution, this work marks an important phase of radical change after works inspired by Brahms and Verdi. The composer's compositional style became increasingly revolutionary between the sketch of the shport score (1908) and the completion of the orchestral score (1911).Busoni took the greatest care in preparing the definitive form of the work. He asserted that there was invention in every bar, and assigned an important role to the use of music from other sources: the Hebrew march from Rossini's Mose, for example, or a German dance by Mozart, military music, American-Indian pentatonic music, Gregorian plainchant, melodies from the synagogue and even quotes from his own works. With these stylistic means, Busoni followed Hoffmann's serapiontic principle and came closer to his idea of a timeless world music without borders.