By Chris Tomlin. By Ben Fielding, Chris Tomlin, Reuben Morgan, and Jason Ingram. Arranged by Ken Litton. Christmas, Contemporary, Holiday, Praise & Worship, Sacred. Octavo. 14 pages. Artist of Note, Inc. #697833. Published by Artist of Note, Inc.

Chorus - Digital Download SKU: AX.00-PO-0003298 In the Dark of Midnight - SATB. Composed by Andy Beck. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0003298. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003298). UPC: 038081488868.A forlorn sailor stares out to sea, longing for the one left behind as whispers on the water summon memories of home. This contemplative choral is deep in meaning, rich in texture, and replete with artistry. The notes are not difficult, affording the opportunity to focus on musicality.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.972650 Composed by James Siddons. Contemporary,Opera,Ragtime. Octavo. 79 pages. James Siddons Music and Writings #4898807. Published by James Siddons Music and Writings (A0.972650). Two Views of Scott Joplin is an exploration of a personal and artistic crisis that Scott Joplin, the King of Ragtime, went through between 1904 and 1906. This crisis was precipitated by the untimely death of Freddie Alexander in September 1904, to whom Joplin had been married only ten weeks. Knowledge of this marriage was lost to history for almost a century until the Joplin scholar Edward A. Berlin discovered the newspaper obituary, which is quoted in the bass solo in Part II, The Obituary of Freddie Alexander.           Apparently, Scott Joplin, already inspired by the progressive ideals of Booker T. Washington, saw a path to social and artistic betterment through his love of Freddie, a daughter of a refined family. During this period, Joplin used the title rag less often in his piano-solo works, and nurtured an interest in opera (he had long been active in vaudeville as well as ragtime piano). He seems to have lost his sense of direction in 1905 and 1906, until led by his publisher John Stark to move to New York City in 1907. Once there, apparently growing out of his grief, Joplin studied with an Italian opera singer and composer, composed his folk opera Treemonisha, and composed Wall Street Rag and his other late masterpieces for piano. Joplin died in April 1917 following two years of debilitating illness.           Joplin left almost no personal writings, such as letters or diaries. To create an impression of autobiography, Two Views of Scott Joplin consists mostly of words and music written by Scott Joplin, and piano music composed by two close associates, the composer-pianists Louis Chauvin and Scott Hayden. These words come from Treemonisha, from Joplin’s little-remembered vaudeville and parlor songs, and also from text in his sheet-music---copyright notices, publishers’ addresses, titles and subtitles of rags, performance directions. In most cases, selected lyrics are extracted from songs and paired with piano-solo themes. These ingredients are combined in creative ways to express the biographical narrative. Instrumental themes are re-cast as necessary to express their newly-attached lyrics. But in no place can any of the music in Two Views of Scott Joplin be considered an arrangement of a given, intact composition, nor a medley of tunes, nor a theatrical revue. The character development and dialogue found in Scott Joplin’s Struggle with Destiny (Part II, No. 3) is my own biographical interpretation of Joplin, based on known evidence and on his music.The score contains extensive Performance Notes for performing this 16-minute work as a choral work or as a short opera scene.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.849355 By The Backstreet Boys. By Lisa Miskovsky, Martin Sandberg, and Rami Yacoub. Arranged by Drew Downing. Pop. Octavo. 11 pages. Drew Downing #4290917. Published by Drew Downing (A0.849355). It simply does not get more 90s boyband than this gem from The Backstreet Boys.Perfect for stage choirs, high schools, colleges and community choirs looking for something a bit different. The chorus is screaming for some boyband movements and theatrics.This SATB arrangement is a great vehicle for Tenors and Basses, whilst offering the Altos and Sopranos some classic backing vocal style harmonies throughout.A really fun learning opportunity for exploring exaggerated dipthongs - an iconic trait of boybands and 90s artists. Some suggested notes on the first page.The occasional divisi is great for beefing up the sound towards the end.Need a custom arrangement? Email drewdowning84@gmail.com

Choral Choir,Choral,SATB Chorus - Level 3 - Digital Download SKU: A0.1496732 Composed by PERSONENT HODIE from the Piae Cantones, 1583. Arranged by Ken Litton. 20th Century,Advent,Christian,Christmas,Sacred. 19 pages. Artist of Note, Inc. #1073248. Published by Artist of Note, Inc. (A0.1496732). Jazz Hodie (On this Day Earth Shall Ring)PERSONENT HODIE arr. Ken Litton (ASCAP) Those who have the good fortunate to hear Gustav Holst’s arrangement of PERSONENT HODIE as a choral processional with its engaging melody, measured gait and echoed text have never forgotten the magical moment—and were never really ready for it to end. Hailing from the The Oxford Book of Carols this German plainsong melody—from the Piae Cantones, 1583—has made its way into strong choral and worship traditions at Advent/Christmas.Of all the current texts and arrangements available, this version honors Holst’s unison accompanied setting in an unexpected subtle jazz styling, with the hope of bringing additional range to its established place in advent literature (both in terms of style and in appeal to a variety of age groups). And, On This Day Earth Shall Ring, translated by Jane M. Joseph  (text in the public domain) gives it just the traditional touch needed for Jazz Hodie (On this Day).This SATB setting of the tune offers accompaniment designed for piano or organ, optional acoustic/string bass and an optional part for a single player involving three of the percussionist section best friends in the : the suspended cymbal, mallets (vibraphone, marimba or bells or bell lyre), and a small triangle. It should be noted that an electronic piano/synthesizer voice could substitute well for the mallets and the use of handbells is also viable. Perfect for Lessons & Carols presentations!The unison singing and bell-tone echoes of the first stanza/refrain soon give way to smooth, contrasting jazz harmony. The choral ranges are very much within the reach of the average choir and the voicings vary from unison to three and four parts, followed by a return to the character of the opening. The piece builds toward a close with a choral ascent in the final bars and a bass line reminiscent of the first verse, but with an extra jazz twist. But, it can easily be restarted for processional use by simply dropping back into the C minor introduction’s bass line. Note: the String Bass/Electric Bass part is included!Also available in a Hymn Sheet Version that includes everything needed for a small ensembe and/or the worshiping congregation.All this from the places you go for the best in downloadable resources:Sheet Music Direct Sheet Music Plus As well as via Hal Leonard InStore™ retailers.Also…be sure to check out other titles from East of the Altar/Artist of Note, Inc.Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard.

Choral Choir,Choral,SATB Chorus - Level 2 - Digital Download SKU: A0.1430410 Composed by Ira A. Sankey. Arranged by Ken Litton. Christian,Praise & Worship,Religious,Sacred,Traditional. 6 pages. Artist of Note, Inc. #1011017. Published by Artist of Note, Inc. (A0.1430410). He Is Coming to ReignSATB & KeyboardAlice Montieth (Fanny J. Crosby) - NEWCASTLE Ira SankeyArranged by Ken Litton (ASCAP)He Is Coming, the Man of Sorrows, a little-known poem by the prolific Frances Jane Crosby and music by Ira Allan Sankey, one of the most noted musicians of the gospel era glow here with the excitement of the returning Savior!After a sudden and brief two beat call to attention, the early unison stanzas vary from section to section with supportive accompaniment, followed by the easy 4-voice version of the hymn. Then, the anticipation rises at the key change and the final stanza is combined with a counter melody—unusually—in alto and bass. The strong, yet vocally accessible ending leaves the air vibrating with hope. And all of it lies within easy vocal ranges!Available where you go for the best in downloadable resources, including:Sheet Music Directsheetmusicdirect.comSheet Music Plussheetmusicplus.comAnd via local Hal Leonard InStore retailersAlso…check out other titles from East of the Altar/Artist of Note, Inc.!Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard!

Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1351328 Composed by Ken Litton. Arranged by (Ken Litton). Christian,Easter,Lent,Sacred,Traditional. 8 pages. Artist of Note, Inc. #936180. Published by Artist of Note, Inc. (A0.1351328). Written in 1664, the beloved hymn text My Song Is Love Unknown comes alive in a strirringly personal way with this setting for mixed voices SATB (only optional divisi) and piano. Crossman was a noted preacher who contributed to the guidance of young men as well as addressing social, government and military issues. Predominantly useful in a Lenten or Good Friday/Holy Week time frame (Palm Sunday/Ash Wednesday) it may also be a great fit for the First Sunday after Christmas Day.Thanks to the good folks at ArrangeMe.com a division of Hal Leonard!Sheet Music DirectSheet Music Plus.

Choral Choir,Choral,SATB Chorus - Level 3 - Digital Download SKU: A0.1499790 Composed by Noel. Arranged by Ken Litton. 19th Century,Advent,Christian,Christmas,Holiday. 8 pages. Artist of Note, Inc. #1075857. Published by Artist of Note, Inc. (A0.1499790). It Came Upon the Midnight ClearNOEL CMD Trad. English Melodyarranged by Ken Litton (ASCAP)Sheet Music PlusSheet Music DirectAlso available: As well as via Hal Leonard InStore™ retailers.The text is the familiar hymn of Edmund Hamilton Sears (1810-1876), an American clergyman ministering for many years in Massachusetts. After a retirement due to health concerns, his second Christmas hymn dating from about 1849 was published in The Christian Register. Of it a fellow minister by the name of Morrison wrote, I always feel that, however poor my Christmas sermon may be, the reading and singing of It Came Upon the Midnight Clear are enough to make up for all deficiencies.”Here the tune is NOEL (CMD). The arrangement begins in Eb moving up to F, followed by an expressive (optionally a cappella) section in Dm. After a brief return to F for the final stanza (with a descant limited to top space F) there is a subtle surprise by joy to Em and on to a singable ending in G, with options for second soprano. The voicing range from unison to 2-part and on to 3 and 4 parts, but in a singable, approachable range for choirs of medium ability and only a hint of easily sung divisi.The accompaniment is active but playable and the score suggests a harpsichord voice as the keyboard option. The style of the piece——as well as the mp3 instrumentation—allude to abasso continuo optional part for cello, bassoon, or other C bass instrument, a separate medium difficulty part included.And mp3 demo/slass accompaniment track is available separately.Be sure to check out other titles from East of the Altar/Artist of Note, Inc.Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard.

Choral Choir,Choral,SATB Chorus - Level 3 - Digital Download SKU: A0.1416727 Composed by Charles Wesley-AMSTERDAM, Foundry Collection, 1742. Arranged by Ken Litton. Christian,Contest,Festival,Religious,Sacred,Traditional. 45 pages. Artist of Note, Inc. #998390. Published by Artist of Note, Inc. (A0.1416727). Praise the Lord Who Reigns AboveCharles Wesley-AMSTERDAM, Foundry Collection, 1742SATB Choir, Organ/Keyboard, Opt. Brass & PercussionLooking for something just a bit different/reduced from the concertato form, and even easier to learn to kick off the choir season?Based on Praise the Lord Who Reigns Above this arrangement, entitled Let All Things Praise the Lord is faithful to the original including a stanza omitted in most hymnals that speaks of the choir as a battle-worthy leadership unit in worship.The text, based on Psalm 150 by English pastor Charles Wesley, was originally published in his brother, John Wesley’s Founder Collection of 1742 in conjunction the tune AMSTERDAM (which carried annotations and adaptations from a German tune). Immediately following the choir, brass, percussion and organ/keyboard fanfare, opportunity is given to the congregation to participate in the liturgy. The middle section is original music that wings the emotion/meaning of the text to a more meditative stream and back again—via a reprise of the opening fanfare—to the rousing finale with a creative descant that appears not only in Soprano/Tenor, but also (for a change) in Alto and Bass. And, with a little attention from the conductor and choir the congregation can stay in it until the final release!Included are parts for: Choir, Organ/Keyboard, Bb Trumpets, F Horn, Trombones, Bass Trombone/Tuba and Percussion: Mallets/Tympani (2 players) as well as alternate parts for Baritone B.C., Baritone T.C., Eb Alto Saxophone, Bb Tenor Saxophone and Eb Baritone Saxophone.Available where you go for the best in downloadable resources, including:Sheet Music DirectSheet Music PlusComing soon!And via your local music dealer.Also…check out other titles from Artist of Note, Inc. and East of the Altar!Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard!

Choral Choir,Choral,SATB Chorus - Digital Download SKU: A0.1436603 Composed by Ken Litton. Arranged by Ken Litton. Christian,Jazz,Religious,Sacred,Spiritual. 20 pages. Artist of Note, Inc. #1016714. Published by Artist of Note, Inc. (A0.1436603). Angel, Blow that TrumpetWords & Music by Ken Litton (ASCAP)SATB Piano, opt. String Bass, Clarinet, Trumpet & TromboneMany choirs/ensembles haven't done many trumpet-feature songs in the last decade or so. But, since the trumpet figures so prominently in the Bible why not try one?! And, since both the anthems and contemporary worship songs of today tend to neglect the second coming of Christ here’s an offering from the spiritual/anthem/jazz confluence.Angel, Blow that Trumpet is based on I Corinthians 13:50-57 and I Thessalonians 4:13-18.  The style? Well, let’s call it “Natalie Sleeth meets New Orleans jazz!”You’re almost sure to find the voicing very approachable, yet thrilling for SATB (TTNN and SSA also available).The accompaniment is a dixie-land styling originally conceived for piano, string bass/fretless electric bass/standard bass guitar (it would be fun to have someone do it on the “big bass viol”), Bb clarinet, trombone and Bb trumpet. These parts are included with the choral score.Above all, it's fairly easy to learn and fun to sing!The clarinet and trombone parts a lot of fun and the trumpet part features an easily playable/adaptable ending that really nails the piece (actually the lower version is really nice). It turns out that they are really best for good, legit players just as written in a swing style.And, though I know that you have more than enough skill to get all of this from the score, the audio file in mp3 format (3:32) will also available separately.All this from the places you go for the best in downloadable resources:Sheet Music Directsheetmusicdirect.comSheet Music Plussheetmusicplus.comAs well as via Hal Leonard InStore™ retailers.Also…be sure to check out other titles from East of the Altar/Artist of Note, Inc.Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1217424 By Charity Gayle. By Bryan Mccleery, Charity Gayle, David Gentiles, Ryan Kennedy, and Steven Musso. Arranged by Ken Litton. Christian,Contemporary,Praise & Worship,Religious,Sacred. Octavo. 10 pages. Artist of Note, Inc. #813967. Published by Artist of Note, Inc. (A0.1217424). Thank You, Jesus, for the Blood Words and Music by Charity Gayle, Ryan Kennedy, Steven Musso, David Gentiles & Bryan McCleery. SATB with Keyboard, Optional solos: Alto & TenorAvailable at:www.SheetMusicDirect.comThis fine testimony and worship expression is limited to very practical ranges in unison, two, there and four parts, featuring a highly doable lift at the key change up to the key of C.And, even though there is a second voice in the tenor and bass voices at measure 57 the congregation could, optionally sing along in unison (having heard the refrain a couple of times).The accompaniment, though syncopated is about as simple as possible with very little in the left hand beyond beat three of any measure, especially when the right hand is busy.And—importantly—this arrangement retains the gospel hymn included in the artist version, but with a choral approach and a voicing that is more true to Down at the Cross in its hymnal versions, so “It’s more like we know it.Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard!

Choral Choir,Choral,SATB Chorus - Level 2 - Digital Download SKU: A0.1490010 Composed by Text: Eden Reeder Latta (1839 - 1915) Tune: Henry Southwick Perkins (1833 -1914. Arranged by Ken Litton. Christian,Lent,Religious,Sacred. 11 pages. Artist of Note, Inc. #1066874. Published by Artist of Note, Inc. (A0.1490010). Whiter Than the Snow/Eden Reeder Latta  - Henry Southwick Perkins BLESSED BE THE FOUNTAIN arr. Ken Litton (ASCAP)As an SBC music missionary active in Brazil I quickly discovered the hymns missionaries had taken with them as the work gained impetus from the 1890s when the Bagbys arrived to build on the foundation laid by early pioneers like Solomon Ginsburg. I found myself leading those hymns from the nearly 100 year old Cantor Cristão (Christian Singer) in the strongly attended evening services at the Igreja Batista Rio Doce (Sweet River Baptist Church) in Recife, with people literally leaning in through the windows from outside to sing along. Just a normal p.m. attendance or... curiosity about the missionary leading? No, certainly it was the message of the gospel in these great hymns and in the Brazilians’ creative work as well. I mainly remember holding that small print hymnal in one hand and leading with the other (shaking badly) and singing in Portuguese!From that kind of congregational participation I vividly remember the hymn Blessed be the Fountain by Eden Reeder Latta (1839 - 1915) and Henry Southwick Perkins (1833 -1914) with it’s energetic dotted eighth and sixteenth rhythm figures and text of confession based on Zechariah 13:1. That text was very important in the lives of disciples in Brazil and in my own heart. Here I have used only the verses of the text and tune, simply smoothing out the rhythm and adjusting the lyric to more modern usage (yet preserving the devotional pronouns Thee, Thy and Thine).The tune BLESSED BE THE FOUNTAIN is altered in rhythm, tempo and one descending interval from the original.  The arrangement is by me, having built the intro, interlude and key change as well as the ending from the material that constituted the refrain in the origina. As a bridge and additional textual/musical impulse into the key change and final verse I’ve interpolated the refrain from the well-known gospel hymn Whiter than Snow (FISCHER) by James Nicholson and William G. Fischer.The voices include a wide variety of unison, two-part and four-part passages that are well within the capability of the average church choir. The accompaniment difficulty level is about as minimal as it can be I hope, while still reflecting support for the voices, a measure of variety as well as some real independence.I certainly think choirs of some ability and their dedicated accompanists will enjoyWhiter Than the Snow as much as I have in developing it.

Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1111745 By Thad Jones. By Alec Wilder and Thad Jones. Arranged by Ken Litton. Advent,Christmas,Holiday,Jazz,Standards. Octavo. 13 pages. Artist of Note, Inc. #713987. Published by Artist of Note, Inc. (A0.1111745). Duration 3:30 A Child Is Born is a truly beautiful picture—sacred or secular—of the Advent story painted from the enduring viewpoint of his mother, Mary. Written in 1969 by jazz trumpeter Thad Jones. The lyrics were added independently by Alec Wilder after he heard the Thad Jones - Mel Lewis Orchestra perform it. The song has been described by Bob Yurochko (with contributor Wynton Marsalis) in A Short History of Jazz as a “beautiful ballad of mainstream jazz. This arrangement begins with a quiet intro in which both the piano and the Bb Instrument touch very lightly on Silent Night. The easily memorized single stanza is sung first by the altos, who are then joined by and succeeded by the sopranos and then deftly handed off to altos, tenors and basses who are subsequently involved in each four-part cadence point well as other unison and two-part sections. The halved repeat of the stanza can be a very nice piano feature or, optionally a Bb instrument—Flugelhorn (even a muted Trumpet) a Bb Clarinet or a Bb tenor saxophone can supply the solo with the voices singing the very light background. The key change is kept simple, with a descending scale into the new key. The final section makes additional mention of STILLE NACHT as well as echoing the intro at the jazz ending. Still, the instrumental part remains optional and the chord symbols make it easy to include string bass or even gentle jazz guitar (drums on this should, of course be mainly light brushes). The vocal parts are limited to practical ranges and, while there is divisi in the soprano part, each voice is always easily sung). The accessible accompaniment has comparatively little movement in the left hand beyond the middle of a typical measure, especially when there are technical requirements in the right hand. #choral #jazz choral #church choral #liturgical choral.