Format : Vocal Score
from Dear Evan Hansen-The powerful Act I closer from the Broadway hit musical Dear Evan Hansen explores the complexities of social connectivity and our need for respect and love. A perfect choral showcase for pop and concert choirs!
SKU: HL.141253
UPC: 888680044114. 6.75x10.5 inches.
This song from the Yiddish theater also found popularity in the folk movement of the 1960s and this arrangement will be a nice addition to multicultural programming for choirs of today. Use dynamics and phrasing to help tell the story of the calf on the way to market. ScorePlay - click to view score with recording.
SKU: AP.48441
UPC: 038081552644. English.
Dear Evan Hansen. Hamilton. Lin-Manuel Miranda. Ben Platt. Pasek and Paul. What more can be said? This incredible mash-up combines hits from two smash Broadway musicals, written by contemporary powerhouse composers of stage and screen. You've sung You Will Be Found, and you know The Story of Tonight; now perform them together in an emotional arrangement that shares a message of hope and encouragement.
SKU: HL.373818
ISBN 9781705149881. UPC: 196288016601. 6.75x9.25x0.105 inches.
This collection, created in 1888, is Johannes Brahms's last collection of secular choral songs. Originally for four-to-six parts, these sonorous choral works are striking for their rich harmony and double-choir polyphonic effects, traits more frequently found in his sacred works. The compilation of the texts testifies to the 55-year-old composer's growing awareness of the transience of nature and life. The name SAM-Klang takes the three voice parts from the arrangements -- Soprano, Alto and Men -- and combines it with the Scandinavian and German words for “sound” to create the portmanteau word “sound together” or “harmony.” The series offers basic and advanced choral repertoire. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire.
SKU: LO.10-5223L
ISBN 9780787763824.
Patricia Mock and Faye López present a peaceful, flowing anthem for worship. Based on some of the most comforting blessings found in the Epistles, this heartfelt benediction will send your congregation home filled with the love and joy of Christ.
SKU: CF.CM9547
ISBN 9781491150795. UPC: 680160908295. 6.875 x 10.5 inches.
Laura Farnell's setting of Sara Teasdale's There Will Come Soft Rains is an elegant choice for concert or festival performance. These profound words are the inspiration for Teasedale's emotional response to war, beautifully set by Farnell. This piece is also available for Two-Part Treble Voices (CM9055).
SKU: HL.48025416
UPC: 196288204695.
This work was composed in 2020 and was commissioned by the Lord Burghley 500 Foundation for a Service of Thanksgiving in Westminster bbey to celebrate the 500th anniversary of the birth of William Cecil, Lord Burghley. The text reflects on the themes of godly living, wisdom and a life of righteousness; the work is therefore suitable for a wide variety of uses, both general and across the church's year.
SKU: CF.CM9711
ISBN 9781491160060. UPC: 680160918669. Key: G minor. English. English Carol.
Coventry Carol was first performed during the sixteenth century in Coventry, England as a part of the Pageant of the Shearman and Tailors. It was a lament by the mothers of children taken in the Biblical Slaughter of the Innocents. Robert Croo is credited with writing the lyrics in 1534, and the music was written by an unknown composer in 1591. The original manuscript of Robert Croo's poem lasted until a fire destroyed it in 1879. The underlying mixed meter feeling of this arrangement is meant to help the piece build momentum to the third verse to tell the tragic story depicted in the poem. The repeated motif is a descending chromatic scale and can be found throughout all three parts. Teaching a descending chromatic scale from G3 down to D3 will help the basses find their entrances throughout the chorus of the piece. The tenors have the same descending line up an octave in the cued notes starting at m. 49 and can sing in octaves with the basses for practice. .Coventry Carol was first performed during the sixteenth Century in Coventry, England as a part of the Pageant of the Shearman and Tailors. It was a lament by the mothers of children taken in the Biblical Slaughter of the Innocents. Robert Croo is credited with writing the lyrics in 1534, and the music was written by an unknown composer in 1591. The original manuscript of Robert Croo's poem lasted until a fire destroyed it in 1879. The underlying mixed meter feeling of this arrangement is meant to help the piece build momentum to the third verse, helping to tell the tragic story depicted in the poem. The repeating motif is based around the altos' descending chromatic scale. The repeated motif is a descending chromatic scale and can be found throughout all three parts. Teaching a descending chromatic scale from G3 down to D3 will help the basses find their entrances throughout the chorus of the piece. The tenors have the same descending line up an octave in the cued notes starting at m. 49 and can sing in octaves with the basses for practice.Coventry Carol was first performed during the sixteenth Century in Coventry, England as a part of the Pageant of the Shearman and Tailors. It was a lament by the mothers of children taken in the Biblical Slaughter of the Innocents. Robert Croo is credited with writing the lyrics in 1534, and the music was written by an unknown composer in 1591. The original manuscript of Robert Croo's poem lasted until a fire destroyed it in 1879.The underlying mixed meter feeling of this arrangement is meant to help the piece build momentum to the third verse, helping to tell the tragic story depicted in the poem. The repeating motif is based around the altos' descending chromatic scale.The repeated motif is a descending chromatic scale and can be found throughout all three parts. Teaching a descending chromatic scale from G3 down to D3 will help the basses find their entrances throughout the chorus of the piece. The tenors have the same descending line up an octave in the cued notes starting at m. 49 and can sing in octaves with the basses for practice.
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?” THE CREATION already contains a prologue; it’s called “Representation of Chaos”, 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 “overture”, 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!”, 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.” 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.
