SKU: A0.1033290

Indian National Anthem - Jana Gana Mana written for SATB Acapella choirs.
Can also be used by accompanying pianists.

SKU: A0.1399569

Trascrizione dei Responsori per la settimana santa (prima parte: i 9 responsori dei tre notturni del giovedì santo) pubblicati l'anno prima della morte del compositore da Ignazio de Lazzari. Graziani, insieme a Carissimi e Foggia, fu tra i maggiori rappresentanti della scuola polifonica romana del '600.

Bonifazio Graziani's (1606-1664) Responsoria Hebdomadae Sanctae (first part: the 9 responsories of Maundy Thursday) as published by Ignazio de Lazzari in 1663, one year before the composer - together with Carissimi and Foggia one of the most representative musicians of the Roman school of the 17th century - died.

SKU: A0.612994

THERE'S A LIGHT IN A MANAGER is a Christmas Anthem, celebrating the birth of Christ. DOWNLOAD INFO: The price of $19.95 comes with an UNLIMITED COPY LICENSE, enabling you to make as many copies as needed for your choir at ONE LOW PRICE.

SKU: A0.1024270

Kyrie Eleison ('Lord Have Mercy' in Hausa Language). A penitential rite used in a Roman Catholic Mass.

SKU: A0.1021516

Haiku is an entertaining work composed as a vocal studio for choir. The intention was to get the choirs to work on the pentatonic scales. In addition, the work is a vocal articulation exercise for singers. It consists of three brief parts, the first two with texts of two haiku and the third based on a Sansa-daiko dance, a dance for taiko drums that is learned by memorizing certain syllables that represent the text of the latter piece. The rhythm is literally that of the dance itself but that melodically is embedded in pentatonic scales just like the two previous pieces.

For the management of copyright the work is registered with the SGAE (Copyright Management Society of Spain) The score contains the data of the work and the composer for the management of Rights.

The author will appreciate being informed of any interpretation of the work.

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Haiku es una obra divertida que compuse como un estudio vocal para coro. La intención era hacer que los coros trabajasen las escalas pentatónicas. Además la obra es un ejercicio de articulación vocal para los cantantes. Está formada por tres breves partes, las dos primeras con textos de dos haiku y la tercera basada en una danza Sansa-daiko, una danza para tambores taiko que se aprende mediante la memorización de determinadas sílabas que suponen el texto de esta última pieza. El ritmo es literalmente el de la propia danza pero que melódicamente está encajada en unas escalas pentatónicas igual que las dos piezas precedentes.

El autor agradecería se le comunicase cualquier interpretación de la obra.

SKU: A0.1249795

SSATB a cappella arrangement

After hearing the Pentatonix version, I arranged this so choirs I work with could sing it.  Pentatonix is stronger on the bass/tenor side than most choirs can manage, and their vocal percussion and ornamentation is brilliant.  My choirs don't do vocal percussion.  Thanks to Lowry and Greene for writing it, and to Pentatonix for their interpretation.

SKU: A0.997152

A 3-part a cappella arrangement of a beautiful acoustic song Bernard Fanning wrote as a hymn to his older brother (look on Youtube for footage of a live performance - just him and a guitar - and he explains why he wrote it).

This SAT arrangement has 5 pages and is at intermediate or early-intermediate level.

The melody is shared between the alto (verses) and tenor (chorus) parts. It suits all-women's voices - the alto and tenor parts have about the same pitch range overall - but male tenors may also easily manage either of those 2 parts as they're in the lower part of the alto range (upper part of male tenor range).

SKU: A0.742755

T.I.M.E., a work for SATB Choir, expresses the mystery of time, how it passes, how we use it and how it grants new beginnings. During the COVID-19 pandemic, we have experienced time and what is important to us in different ways. Certainly, there have been moments of uncertainty, anxiety, even panic over danger of contracting the virus, the long-term effects of the virus and the loss of life. In isolation, awaiting further instructions, we have had time to reflect, prepare and imagine. We have had to manage life with new guidelines and restrictions, while trying to keep ourselves and others safe. This work attempts to put time in perspective, with a message of hope for recovery, and a better understanding of how to move forward with passion and grace. The message is not just for life in a pandemic, but for life, in general. Hopefully, this work can stand the “test of time�, finding a meaningful place in the repertoire.

SKU: A0.1095155

Song by Billie Eilish about the deep emotions of loving someone. Emotions that can become more than you can manage. Sparse but harmonically rich arrangement enhances the text. For SSATBB (with some divisi) and solo.

SKU: A0.1031983

The Love Which Makes Us One is a composition for SATB choir with piano accompaniment. It is based on a sonnet by Christina Rossetti (1830-1894) entitled I loved you first: but afterwards your love from her Monna Innominata, a series of 14 sonnets. I loved you first: but afterwards your love is one of Rossetti’s love poems; it simply yet profoundly expresses the existence of love as being made possible only through the complete melding of two people as one entity.

The Love Which Makes Us One is best suited for advanced intermediate to professional level choirs. Competitive high school and college choirs should be able to manage it. The piece involves continuous two-against-three rhythms with the choir vs. piano. In addition, there is one extended a capella section that requires the choir to stay on pitch for the piano re-entry. Tenors need to be able to sing the G above middle C, and basses need to be able to sing the F below C3.

Duration: 5:40

World premiere performance by Freudig Singers of Western New York on March 7, 2020, Buffalo, NY.

(Please note that the mp3 file associated with this listing is a midi rendering only. No lyrics are used, although the vocal parts are sung.)

SKU: A0.1187117

What happens when you close your eyes and you see yourself standing next to Mother Mary when Jesus dies? What do you see and what do you feel? That was what I’ve been asking myself for years when I read the text Stabat Mater. This composition tells about this experience and this questions. Sometimes a motif tells quite literally about this story, like the moment when Jesus is nailed down the cross: first the right hand, then the left hand and finaly with one nail both feet. In the first part of the composition, the viola tells with sforzato accents about this.

This Stabat Mater is not only an expression of the pain of the Virgin Mother, but is also a tribute to JS Bach as well. Bach is by some seen as a fith evangelist. Nowadays there are still a lot of people who are affected by how his music tells about biblical stories, like I am. In this Stabat Mater I use the number 5 to express that: the first part is written in 5/4th and the last part Quando corpus et Amen is written with 5 parts in the choir. There can also be found a reworked choral in the choir passages of  O quam tristis et afflicta. It is the choral Wie nahe mir mein Ende from BWV 166.

Polyfony is a returning presence in this Stabat Mater. I had an visual idea about this. When I was young I saw in an exhibition a tapestry with all kinds of colours and threads, and everything felt in motion. It was a kind of organized mess, but it was beautiful and felt perfect. I wondered if I could manage to express this idea in music as well. Under one of the polyphonic passages there is a Latin-American dance rhythm to express that motion. I heard that rhythm in my childhood in a rhythmbox of the keyboard of my dad. Another passage has the baroque sarabande-rhythme underneath in the double bass.

A lullaby-feeling in some parts of the Stabat Mater tells about another story that got intertwined with this composition. It’s the story of a mother who rocks her terminal dying little son in her arms. I once read that story and it felt connected with the Stabat Mater text for a long time. I decided to express that as well.

This composition is dedicated to the Dutch conductor Geert van den Dungen. However I saw many conductors, while playing the oboe and clarinet from a young age, there was nobody who let me think very deeply about music. Geert was the one who changed that for me. I started to study scores and developed a great interest in music analysis and music psychology. Many moments of inspiration and understanding for this Stabat Mater happened on choir rehearsals and concerts where Geert was working. I am very grateful for that.

Conductors score with parts for the string players.

SKU: A0.1215212

This wonderful song for a wonderful girl is well known. The SATB arrangement is orientated to the original recording but offers a special ending since the original ends by fade out. The changes of the basic key throughout the song is a little bit tricky. But avoiding too large jumps in tone for each voice the key changes are easy to manage.