Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #4776187. Published by Dots and Beams (A0.931836). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1074352 Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman.com #678653. Published by stanleymhoffman.com (A0.1074352). PROGRAM NOTES As of the present writing, this choral tone poem had been gestating for over thirty years, and the concept and harmonies for it for over forty years. In the 1980s I began to work with the latter two in my brief orchestral piece Little Sea Nocturne. When reading the poetry of Edgar Allan Poe (1809–1849), I am most struck by how musical they are. When recited aloud they exhibit their own rhythmic sense. I was eager to incorporate those rhythms into my music. I had long been familiar with his poem The City In the Sea and began to sketch choral passages for the present choral tone poem in the 1990s. It took me until 2022 to complete it because I required many more years of experience at my craft to do so to lead into out of the choruses. In 2012 I completed a seven-minute unaccompanied version of the choruses with music unique to and unifying it simply called The City In the Sea. In composing The City In the Sea - Choral Tone Poem, my goal was to write a piece that, while steeped in tradition, sounds unlike anything in the literature that had come before it. The result is an original hybrid work that successfully and memorably combines salient aspects of the tonal, atonal, and modal musical languages into an organic whole. George Perle coined the term “twelve-tone tonality� to describe the music of Alban Berg and composers influenced by him such as Luigi Dallapiccola. The last title of which I am aware that accomplishes anything remotely related to what I am trying to accomplish musically in this choral tone poem is the piece Paradiso Choruses by Donald Martino (1974). However, I take twelve-tone tonality in entirely other directions in my work. That the duration of The City In the Sea - Choral Tone Poem came out to be thirteen minutes seems appropriate for piece about a sunken city. Rather than write program notes that narrate how the music unfolds I will simply shout out the most memorable aspects of what careful listeners will discern: a recurring heartbeat motif; shifting polychordal harmonies; echo technique; rhythmic diminutions and augmentations; an a cappella chorus featuring those harmonies with a surprisingly memorable recuring theme on top; sensuous flute duets; string section underpinnings by way of either sustained passages or wave-like gestures; tritone-related melodies, harmonies, and tone centers; several strategically placed grand pauses; tritone-related modal-sounding passages; melodic and chord clusters, especially the two climactic ones. INSTRUMENTATION 2 Flutes (2. doubles on Piccolo) 2 Oboes (2. doubles on English Horn) 2 Bb Clarinets 2 Bassoons 2 F Horns 2 C Trumpets 2 Trombones Tuba Timpani Percussion (Gong, Bass Drum, Chimes, Glockenspiel) Harp Strings DURATION 13:00 Stanley M. Hoffman (b. 1959) For biographical information visit: www.stanleymhoffman.com.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brown Music #5990681. Published by Stuart Brown Music (A0.835452). A fantastic offer price for the full score and all parts! ... Looking for something to add a sense of oriental exoticism to your amateur orchestral/choral concert? This may be what you're looking for! This charming little suite of six dances lasts about 15½ minutes. It consists of a Pavane, Bourée, Sarabande, Allemande, Basse Danse and Galliard, which vary widely in character. As a whole the suite provides some interesting challenges for both performers and listeners. Apart from conventional strings, flute and harp (which can be either pedal or lever) you will need:- One or maybe two Arabian ouds. The parts are playable also on a fretless acoustic guitar. (Needs to be fretless because of the quarter-tones in some of the Arabic modes used.)- A cimbalom (the part can be played on a piano also, with slight modification). You might get away with using a hammered dulcimer but you'd need to make a number of compromises.- A doumbek and a djembe. These beautiful drums are a must for Middle-Eastern or African music. They're fairly easy to find, though finding somebody who can play them properly may take a bit more doing!- Finger cymbals and a gong. These are regular western instruments.- A wind-chime. Anything that produces a nice shimmering spangle of sound will probably do!- A group of singers (SATB). Nothing particularly challenging but see below.The primary oud part, the strings and the singers need to have sufficiently good intonation to pitch quarter tones. These are the exception rather than the rule, but nevertheless play an important part in the character of the music. Apart from this, the music is relatively straightforward and probably playable by any reasonably competent amateur or high school orchestra.In the spring of 2020 I wrote a set of short music tracks for a charity of which I'm a trustee. In order to protect my intellectual property rights in the music, I decided to bring it together into an attractive if not intellectually challenging little suite, hence An Omani Dance Suite. Originally the dances were all in Arabic quarter-tone temperament, but obviously quarter-tones cannot be played easily (if at all) on the flute, harp and cimbalom. So I have made some adjustments but retained the Arabic temperament wherever reasonably possible. I had thought initially of using a santur instead of a cimbalom, but the santur lacks the range and the dynamic capability to be used with a string chamber orchestra. The cimbalom doesn't need to be a concert grand model; in fact it doesn't even need to have dampers.The Omani was something of an afterthought: a musician friend of mine had worked in Oman and commented on how authentically Omani the Basse Danse sounded. The period of composition coincided with a time when I was really missing friends in Vietnam and Romania, so somehow influences from those countries found their way into the music.I'm not bothering with performing rights for this - just go away and enjoy the music! ... but if it inspires you find out more about the charity work that inspires me, feel free to get in touch!https://www.facebook.com/stuartbrownmusic/

Choral Choir (Mixed) - Digital Download SKU: A0.1023308 Composed by Super Mazembe. Arranged by Evans Obanda Mbinji. A Cappella,African,Jazz,Pop. Octavo. 7 pages. Evans Obanda Mbinji #5718561. Published by Evans Obanda Mbinji (A0.1023308).       Bwana Nipe Pesa About this piece . . . .    Kenyan Zilizopendwa - Song - Arranged by Evans O. Mbinji  Zilizopendwa (literally, those which were loved') is a term used in Kenya to refer to early Kenyan popular music, synonymous with the term golden oldies as used in the United States. Kiswahili is the national language of Kenyan.All vowel sounds are pure as in Latin. Bwana Nipe Pesa is a Zilizopendwa song that should be performed with enthusiasm, Dance movement, However expressive accents should be given at appropriate points in the musical and textual phrases.     Literal Transalation Bwana nipe pesa –Father give me money Watoto wana njaa – The children are hungry Lakini mke wako- But your wife anapenda kutangatanga – Is a loose lady, who moves with everyone Majirani wanachoka kumuona –Neighbours are tired of seeing her Fungueni milango anakuja – Close all the doors she is coming. Watu wote wa Nairobi,Mombasa – People from Nairobi & Mombasa Wakuona kila siku – They keep seeing you every day. Tafadhali bwana rudi – please father come back.    Percussion Notes    -Improvisation is encouraged. Percussion must never dominate the texture, but rather remain supportive -The piece my be performed a cappella However the effect of the piece will be greatly enhanced by using a variety of improvised percussion instruments like (conga,shakers,claves and rattles) The accompanying ensemble should take care to allow the the choir to be heard. About the Arranger     Evans Obanda Mbinji is a composer,clinician,adjudicator, conductor,music educator and the founding Artistic Director of Jobel Chorale ,Zetech University. He has directed many choirs both in Kenya  and international. And is a long-standing member of Kenyan Choral Directors Trust and ACDA. I hope you Enjoy! - Evans O.Mbinji        .

SATB choir, congregation, organ, optional string quartet, handbells - Moderately Easy - Digital Download SKU: MQ.60-7008A-E Composed by Michael Burkhardt. Confirmation, Education, Graduation. Instrument part. 4 pages. MorningStar Music Publishers - Digital Sheet Music #60-7008A-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.60-7008A-E). This concertato on the tune SO NIMM DENN MEINE HÄNDE is a rather intimate and rich portrayal of Julie van Hausmann's text on hope and confidence in the Lord. Organ may be substituted for strings in stanza 2 if strings are unavailable. The setting is particularly appropriate for rites of passage (Baptism, Confirmation, Graduation, etc.) as well as for times of worship emphasizing trust in the Lord. Organist plays from the Full Score. Reproducible congregation page in the Full Score.

SATB choir, flute and piano (ad lib.) - Moderately Difficult - Digital Download SKU: MQ.7540-E Composed by Derek Healey. Instrument part. 9 pages. E. C. Schirmer Music Company - Digital #7540-E. Published by E. C. Schirmer Music Company - Digital (MQ.7540-E). English.These songs are dedicated to William Osborne. The title Three Sacred Songs: was given to these pieces rather than the more usual terms anthem or motet because of the strongly secular presence in the texts. The songs were written over a period of some eighteen months. The Shepherd Lad was finished on February 29, 2008. The Round Day and Magdalene’s Song were completed in Brooklyn on June 11, 2009, the music having been originally sketched-out on Christmas Day and Boxing Day 2008, at Putnam Valley, New York. In the first song, The Round Day, the singer hears the voice of the Blessed Virgin Mary as she sings to the glory of God throughout the day. The text was written on June 7, 2008. In The Shepherd Lad, the Spanish mystic Saint John of the Cross describes a shepherd lad’s (Jesus’s) love for a shepherdess (the Church) and how another (the Devil) tempted his love away. Heartbroken, the shepherd climbed a tree, “And threw wide his arms in sweetest charity, Since by His Shepherdess He was forsaken.� The original Spanish text was translated and adapted into Villanelle form by the composer in early December 2004. The text of Magdalene’s Song describes the feelings of a mystic, or a devotee of Jesus, inspired by the fresh beauty, grace and power of the Lord of creation. The main body of the text is given to a soprano solo. The text was written on April 27, 2008. These sacred songs were conceived as being performed either as a set or individually. The composer had secular ensembles in mind, such as college or concert choruses, but these songs may, of course, also be performed in a liturgical setting. The accompanying flute provides introductions, interludes and codas throughout the set and, on a few occasions, plays with the voices. The piano part is ad lib. (optional).

SATB choir and piano or chamber orchestra - Medium - Digital Download SKU: MQ.5755-E Composed by Gustav Mahler and Stanley M. Hoffman. Arranged by Stanley M. Hoffman. Advanced/Collegiate. Secular, Romantic. Score & instrument parts. 9 pages. E. C. Schirmer Music Company - Digital #5755-E. Published by E. C. Schirmer Music Company - Digital (MQ.5755-E). English, German.Gustav Mahler (1860–1911) completed the composition of this work in 1901. The original version, scored for solo voice and chamber orchestra, is one of the Rückert-Lieder (Friedrich Rückert, poet [1788–1866]). Stanley M. Hoffman completed his arrangement for SATB chorus and piano in 2001. Hoffman says of his arrangement: Rather than taking the easy way out by placing a pre-existing accompaniment from a piano/vocal score beneath the newly created alto, tenor, and bass choral parts (the soprano part retaining the original melody throughout), I went back to the orchestral score and created my own piano reduction. Bracketed items indicate editorial additions intended to make the arrangement more effective. The piece should be performed in a hushed manner throughout. This edition also includes a sensitively conceived English singing translation by Robert Schuneman.In 2015, Stanley M. Hoffman inserted his choral arrangement into the original chamber orchestra score. Duration: 6:00.

Choral Choir,Choral,SATB Chorus - Level 2 - Digital Download SKU: A0.1493730 Composed by Todd Marchand. Christian,Christmas,Sacred. 4 pages. Con Spirito Music #1070393. Published by Con Spirito Music (A0.1493730). Sing, O Sing, This Blessed Morn is a hymn commemorating the birth of Jesus Christ. Written by Anglican bishop, scholar, author, and poet Christopher Wordsworth (1807-1885), it was published in his collection, The Holy Year; or Hymns for Sundays and Holy-Days, and Other Occasions (1862). Rather than a retelling of the Nativity story, the hymn is more a statement of beliefs about the nature and work of Christ, echoing elements of the Nicene Creed in phrases such as: God from God, and Light from LightGod himself comes down from heav'nOne with us in human birthGod with us ... deigns forever now to dwellborn for us that we born again in him may bewith thy Spirit may [we] be ... with the Father and with theeThis joyful, medium-easy setting of Sing, O Sing, This Blessed Morn for SATB voices and organ is mostly unison, with SATB on the first half of stanzas 3 and 5, and on the concluding alleluias.Voices realized by Cantamus (https://cantamus.app/); organ realized by NotePerformer (https://www.noteperformer.com)©Copyright 2024 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, folk, patriotic, and popular music for instruments and voices, visit www.conspiritomusic.com

Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1265200 By Britney Spears. By Cathy Dennis, Christian Karlsson, Henrik Jonback, and Pontus Winnberg. Arranged by Jason Howard. A Cappella,Contemporary,Pop. Octavo. 9 pages. Jason Howard #858044. Published by Jason Howard (A0.1265200). This arrangement of Toxic is a fresh take on the popular 2000's hit! Taking inspiration from the original and several other different covers of this song, I've written out what is probably one of my favorite arrangements I've written. It's sure to challenge your performers and keep your audience engaged from start to finish!It starts with a soft drone in the Basses that continuously adds chord tones and volume to build sonic intensity and set the tone right out of the gate! We then move on to a slowed down first verse with the melody supported only by chords in the choir. Vocal Percussion leads us into a tempo change and explosive snippet of the melody before the piece hits its stride. Lots of upbeats, syncopations, and altered melodic tones throughout adds a high level of difficulty to this piece. As we get to the end of this piece, the ensemble will suddenly alter time to a half time feel that not only adds to excitement but also helps to bring the piece to a dramatic closing.This is written for Solo voice and SSAATTBB choir and a Vocal Percussionist.As with most of my arrangements I leave many of the syllables blank to encourage the director/performers to put their own spin on the arrangement with their own choice of syllables! Suggested syllables in certain spots and all necessary melodic lyrics have all been included for you!I hope that you and your group enjoys my arrangement! If you do (or even if you don't), please leave a comment and let me know! As a current full time band director who would love to be able to do this full time one day, any and all critiques are appreciated, and I'm particularly interested in formatting suggestions! If you would rather email me than leave a comment, shoot me an email at jhowardarranging@gmail.com!A little about me:My name is Jason Howard, and at the time of this publication, I'm going into my 5th year as a band director at the middle and high school levels. I have quite a bit of experience with arranging of various types of vocal and instrumental ensembles and combos. Most are for personal use, but as I get time, I hope to publish more and more for public consumption! Primarily, I focus on popular music, and I one day hope to bring important and influential classical musics to audiences and younger students everywhere!

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.925240 Composed by Jill Elliott. Christian,Contemporary,Sacred. Octavo. 7 pages. Daffiddle Music #6064067. Published by Daffiddle Music (A0.925240). This setting of John 14:27-30 (Peace I leave with you, my peace I give to you...) is aimed at amateur choirs. If the single top Ab is too high for your sopranos, and the altos are willing to sing low  F# it is perfectly possible to sing the whole thing a semitone lower (or even a whole tone if the altos and basses are willing!)The mp3 is for reference only, to show how the words fit  which cannot be done using synthesised sounds alone. Because  the current pandemic prevents a live choir recording  this is a multi-tracked effort, with instrumental bass supplementing the voice. It is functional rather than pleasant!

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.999076 Composed by Bach, Gounod. Arranged by Katherine Brookes. Concert,Contemporary,Romantic Period,Sacred,Wedding. Octavo. 7 pages. Katherine Brookes #6036853. Published by Katherine Brookes (A0.999076). 'Ave Maria' by Bach/Gounod is often performed as a vocal or instrumental solo. This is a 4 part vocal arrangement, sung in English rather than the original Latin. It is a song that lends itself to a 4 part vocal arrangement and can be performed by a choir or small vocal ensemble. Duration ca. 2.30The Gounod solo voice part was published in the 1850's but is based around the Baroque keyboard piece 'Prelude No 1' by J.S. Bach. This is an SATB arrangement with piano accompaniment. Katherine Brookes is a Guinness World Record holding flute player. To contact Katherine please email katherine@katherinebrookes.com and for more information about her please visit her website www.katherinebrookes.com .