Sing Freedom!: 2-Part Choir: Mixed Songbook

The slow swing of this piece sets the mood and soft and intense singing tells of determination and perseverance of walkin' to the freedom land. The work is full of articulation musical silence and dynamic intensity that ebbs and flows throughout with a striking piano accompaniment.

Par L'ESTRANGE ALEXANDER (Arr.). Freedom Is Coming is an incredibly infectious celebration of hope and freedom from oppression and is coupled here with Hamba Vangeli (‘Spread the new word’) for Soprano, Alto and combined men's voices along with a piano accompaniment. Pay attention to the dynamics – there are lots of opportunities for contrasts and a gradual build-up of texture, as well as chances for soloists to sing out. These two songs, along with Siyahamba and many others, also feature in L’Estrange’s hit cantata Zimbe! Come sing the songs of Africa! This piece is part of the Faber Choral Singles series, offering a selection of beautifully crafted arrangements in a diversity of musical styles. From Broadway, pop and folk to spirituals, gospel and original works, the series is arranged for 3-part choir (soprano, alto and a combined male-voice part) providing flexibility for any choir. Complete with straight-forward piano accompaniments supporting the vocal lines, the Faber Choral Singles series guarantees the perfect repertoire for every occasion – so get exploring and get singing! / Choral Music / Répertoire / Voix Mixtes SAB et Piano

Passion Music continues the fusion of jazz and choral music so successfully blended in Will Todd's Mass in Blue. The structure highlights different points in the Passion story beginning with a new setting of 'Greater love has no man' and including an evocative Stabat Mater a movement focusing on the seven last words of Christ and a setting of 'Were you there when they crucified my Lord?'. While some sections are reflective Todd also makes full use of his understanding of energetic jazz and gospel. The vocal soloist is given plenty of expressive freedom singing both with the choir and independently to achieve the characteristic jazz-soulstyle. The seven-piece jazz accompaniment which is presented in the vocal score as a piano reduction for rehearsal only completes the ensemble.  The full score and set of parts for the jazz accompaniment are available on sale and hire. A complete backing track and individual rehearsal tracks for the vocal parts are also available to download.

Passion Music continues the fusion of jazz and choral music so successfully blended in Will Todd's Mass in Blue. The structure highlights different points in the Passion story beginning with a new setting of 'Greater love has no man' and including an evocative Stabat Mater a movement focusing on the seven last words of Christ and a setting of 'Were you there when they crucified my Lord?'. While some sections are reflective Todd also makes full use of his understanding of energetic jazz and gospel. The vocal soloist is given plenty of expressive freedom singing both with the choir and independently to achieve the characteristic jazz-soulstyle. The seven-piece jazz accompaniment which is presented in the vocal score as a piano reduction for rehearsal only completes the ensemble.  The vocal score is available on sale and hire. A complete backing track and individual rehearsal tracks for the vocal parts are also available to download.

Hail Gladdening Light was written at the request of Matthew Owens for the choir of Wells Cathedral and was first performed at Candlemas 2006. The composer has long been an admirer of the setting by Charles Wood and so wanted to create a work with a completely different atmosphere particularly focusing on mystical light. The opening and closing sections make use of the Gregorian Chant for Candlemas – a troped setting of the Nunc dimittis. Where these chanted sections occur they should be unconducted and sung with the freedom and tempo of plainsong. The emphasis throughout the whole piece should be on luminosity. This piece isfrom Faber's Choral Signature Series which introduces a wealth of new or recently written choral music to choirs in search of fresh repertoire. the series draws in a rich diversity of living composers and includes both lighter and more challenging contemporary works offering a thrilling array of varied styles.

Sarah Quartel's The Beat Of A Different Drum for Cambiata Choir Baritone Piano and Percussion. This original composition sets the composer's own text celebrating freedom of expression and the music within each of us. Accompanied by Hand-Drum and Piano the piece is an exciting and engaging sing filled with teachable moments and opportunities for musical growth with simple legato and two-part passages and Vocal Percussion.

Music for contemplative worship-Margaret Rizza's music is used and loved all over the world wherever people pray. Awakening in Love her fifth collection will delight as usual for this is music of great depth and sensitivity which will touch the heart and themind. Margaret writes: 'My payer is that this new collection leads us all to new awakenings of the eternal Spirit of Love deep within our being.' Awakening in Love comprises chants and through-composed songs.Each setting includes choir parts an accompaniment and separate instrument parts. There is great freedom of choice in singing these pieces; variety and experimentation are encouraged. The chants especially can be sung verysimply or using diverse musical resources but even the other compositions can be adapted according to available voices and instruments.

This work is intended for performance on Good Friday during the 'Adoration of the Cross' ceremony of the Roman (Catholic) rite. The pitch of the sung parts is given by a member of the choir who after discreetly obtaining a tone with the aid of a tuning fork (or other such device) intones 'Popule meus' (and later 'Hagios') clearly on the notes indicated in each case. The recited 'Hagios' choruses should be performed as speech on diverse tones but in the natural speaking registers and in compliance with the rhythms and expression marks indicated. When reciting the word 'Sanctus' the consonant 'nc' should dominate.The two speech choruses develop into a 'Miserere nobis' sungon chance (random) tones with fixed time values (durations) the second time however culminating in completely free improvisation. At this point each singer sings 'Miserere nobis' independently of the others. The sentence may be repeated (ad lib.) with new variations until at a sign from the leader each initiated phrase is terminated in a diminuendo.These improvised sections should allow for considerable freedom of expression. They should be a result of spontaneous inspiration but should at all times be characterised by sacral dignity and should conform to the character of the work as a whole. All sections to be performed quasi attacca - keep the intensity.The reproaches are to be recited by a male chorister in his normal speaking register but quasi cantabile.It is left at the discretion of the performers to decide how many of the recited verses in the last section of the work are to be performed. When 'Popule' is sung for the last time the word 'mihi' should be uttered as a sigh.Bernhard Lewkovitch