Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio at the Post #744209. Published by Studio at the Post (A0.1143904). Duration: 16 minutes, 33 pp. Description: Exodus is a great story that belongs to everyone. Not only is it central to Judaism, not only is it integral to the Christian Bible, it is an immortal story that has been, and continues to be, an inspiration to oppressed peoples everywhere on this planet. It is relevant not just as ancient scripture but as living text, to be rediscovered by each new generation of an ever-widening Family of Man. The theme of struggle against oppression and slavery was just as relevant to the early Christians persecuted in Ancient Rome as it was relevant to the American Civil Rights movement of the 1960's, just as relevant to the Soviet Jews wishing to emigrate as it is to the South African Blacks resisting Apartheid. From the Dark Ages and the Spanish Inquisition, to Ghandi's emancipation of India, to the Holocaust, to, full-circle, the ongoing struggles in Palestine today, the story of Exodus is a guiding light in a dim and often grim world. According to the composer: The Story of a Leader is a collection of ‘re-chorales’ I created one summer when I was totally immersed in a post-educational obsession with the 371 Chorales by Johann Sebastian Bach. We used to study these to learn the rules of harmony and voice-leading (no parallel fifths, avoid crossed voices, etc.) at the Cleveland Institute of Music where I began my compositional career. That summer, now a professor of music in my own right, I discovered many broken and bent rules by the master himself and, along with the glory of being able to work through these Chorales myself at the piano, I felt an incredible feeling of liberation and possibilities unmediated by instructors of music theory. I began by stripping away all that Bach wrote, leaving only the hymn tunes which were not his to begin with. These tunes existed long before Bach used them for his tonal experiments, some attributed to Martin Luther, or someone else, others simply listed as ‘anonymous’. The same is true for the texts, which were then translated into English mostly in the 19th century (the provenance of each can be found herein on the first page of each of my reharmonizations). In some cases I modified the text to fit the context. I selected 12 of these ‘re-chorales,’ linking them together based on their texts in a kind of logic that worked for me, and created a narrative that told The Story of a Leader (Moses). This story is highlighted in the music with such techniques as cross-modal harmonies, points of imitation, a beer drinking song in one instance, and in another, to symbolize the parting of the seas for Moses’ people, an inversion of the soprano line in the bass..

Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi Crawford #898034. Published by Tobi Crawford (A0.1308788). *Purchase 10 copies to perform this piece with your ensemble of any size*Purchase the instrumental pack (bass and drum part) here: https://www.sheetmusicplus.com/en/product/beyond-the-sea-instrumental-pack-only-22605052.htmlThis arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea� over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,� and the song ends with: “and never again I’ll go sailing.� It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables� and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.

Choral Choir,Choral,SATB Chorus - Level 1 - Digital Download SKU: A0.1465850 Composed by James F. Linzey and William H. Monk. 21st Century,Chamber,Christian,Classical,Religious. 4 pages. Military Bible Association #1044448. Published by Military Bible Association (A0.1465850). The History of the Four Immortal Chaplains and the United States Army HymnDuring World War II, four Army chaplains met at the Army Chaplains School at Harvard University. ?ere, they received training for their assignments in the European theater. They then boarded and sailed on the United States Army Transport (USAT) Dorchester to report to their new assignments. The USAT Dorchester left New York on January 23, 1943, en route to Greenland. She carried about 900 military personnel and was escorted by Coast Guard Cutters Tampa, Escanaba, and Comanche. During the early morning hours of February 3, 1943, the vessel was torpedoed by the German submarine U-223 off Newfoundland in the North Atlantic. As the Dorchester sank on that fateful day of February 3, 1943, the four Army chaplains on board helped their soldiers board lifeboats as they handed out life jackets. When they ran out of life jackets, the chaplains gave their own life jackets to four soldiers that they might live. Then the chaplains joined arms and prayed as they went down with the Dorchester. These were young chaplains, new to the Army, holding the rank of first lieutenant. They included Methodist minister Reverend George L. Fox, Reform Rabbi Alexander D. Goode, Catholic priest Father John P. Washington, and Reformed Church in America minister Reverend Clark V. Poling. ?e four chaplains were posthumously awarded the Distinguished Service Cross and the Purple Heart. Chaplain (MAJ) James F. Linzey, USA (Ret.), who was one of four military chaplains in his family, composed the United States Army Hymn, “Eternal Father, Hear Our Prayer,” in remembrance of the “Four Immortal Chaplains” on board the Dorchester. Also, James Linzey is the General Editor of the New Tyndale Version (NTV) Bible translation.

Choral Choir (SATB) - Digital Download SKU: A0.835786 Composed by Paul Burnell. Contemporary. Octavo. 124 pages. Paul Burnell #3405305. Published by Paul Burnell (A0.835786). Composed 2007, duration 8:30 approx. The music and text of ‘The Sense of a Place Will Remain’ was inspired by pictures of an early carved stone cross and a tenth-century Viking burial stone on the island of Inchcolm in Scotland. First performed by Inchcolm New Music Ensemble 29 June 2007, conductor Steve King.   Instrumentation is flexible; the following is a guide: Part 1 - Violin 1, flute 1 (doubling piccolo if possible) oboe 1, Part 2 - Violin 2, flute 2, oboe 2 (doubling tenor recorder if possible), clarinet 1, trumpet Part 3 - Viola, clarinet 2, horn in F, Eb horn (2 players doubling harmonicas in C) Part 4 - Cello, bassoon Part 5 - Double bass, bass guitar (or Cello 2 - playing as if usual bass clef, but an octave lower where possible) SATB voices (doubling metal spoons and pitch pipes) Optional:Percussion (one player) - claves, glockenspiel (could be a child’s toy instrument such as an ‘Angel’ glockenspiel), mark tree, spring drum (thunder shaker), frame drum, musical jewelry box (or similar clockwork device).Should a glockenspiel not be available, a special part has been created which arranges the glockenspiel for two flutes, together with the other percussion music. This special part is not visible in the score. Keyboard instrument with sustaining capability - piano sound   Instructions: Wind players can breathe ad lib. during any very long notes. From letter D onwards non-wind players who are not soloists blow across the top of small bottles. The pitches produced are not specified, but they should not be shrill. A soft breathy tone is preferred. About half of the voices play pairs of metal spoons (share printed part between two singers and anyone not holding the music holds metal spoons). Hold the spoons one in each hand, and strike the larger ends together. Spoons are struck together where shown with a large patterned note head. Strike rapidly where a tremolo sign is given. Four singers play pitch tuning pipes: 1 Soprano and 1 Alto play viola/cello pitch tuning pipes, 1 Tenor and 1 Bass play violin pitch tuning pipes Pitch pipe playing is indicated with square note heads - player should breathe ad lib. during very long notes. Where there are very long sung notes, the singers may stagger breathing ad lib. Spoken sounds are indicated with x note heads and with the text in italics. There are many pauses. These can be of varying duration, but on the whole they should not hold up the momentum of the piece, but be of sufficient duration to establish the solo and pitch pipe notes.   Text: Carve stone Strike out Stay at home Or go far alone. Blocks of stone are laid Emblazoned with the signs of great deeds That signify our memory, Mem’ries of who we are. Careful carvings erode through time, Chiseled grooves smooth away. Families, they scatter and fade As generations age Descendants pass on memory time. Sense of our allegiance shifts when major faults are found, Feelings of belonging fall on shaky ground, But the sense of a place will remain.

Choral Choir,Choral,SATB Chorus - Level 1 - Digital Download SKU: A0.1501022 By Wrabel. By Andrew Jackson, Andrew Pearson, and Stephen Wrabel. Arranged by David Jayden Anthony. Pop,Singer/Songwriter. 10 pages. D'Jam Music #1076976. Published by d'Jam Music (A0.1501022). A Powerful Anthem for LGBTQIA+ Pride and Inclusion Dive into the heart of resilience and authenticity with our SATB choral arrangement of The Village by Wrabel. This powerful and moving song has become an anthem for the LGBTQIA+ and queer communities, capturing the struggles, strength, and spirit of those who have faced adversity simply for being true to themselves.Why The Village Matters: The Village resonates deeply within the LGBTQIA+ community, offering a voice to those who feel misunderstood or marginalized. With lyrics that speak to the experience of feeling out of place in a world that doesn’t always understand, this song is a heartfelt reminder that there is a place—a village—for everyone. It's a celebration of diversity, acceptance, and the courage it takes to live openly and authentically. The song’s powerful message of self-acceptance and unity strikes a chord with listeners, making it a meaningful addition to pride concerts, LGBTQIA+ events, and any gathering that celebrates inclusion and equality.About the Arrangement: Our SATB choral arrangement of The Village captures the emotional depth and poignancy of Wrabel's original song while enhancing its harmonic richness through beautiful four-part vocal harmonies. The arrangement is designed to highlight the song’s heartfelt lyrics and dynamic melody, creating an unforgettable musical experience. This arrangement is perfect for choirs looking to make a bold statement about love, acceptance, and human rights, while showcasing their vocal talents in a deeply emotional performance.Perfect for Pride Concerts and Beyond: Including The Village in your repertoire is more than just a performance—it's a powerful statement of solidarity and support for the LGBTQIA+ community. Ideal for pride concerts, LGBTQIA+ awareness events, and other celebrations of diversity, this arrangement allows choirs to engage audiences with a message of hope and unity. It serves as a reminder that no matter how different we may feel, we are all part of a larger community—a village—that values love, acceptance, and equality.Key Features: Powerful lyrics that resonate with LGBTQIA+ and queer audiences Rich SATB harmonies that enhance the song’s emotional impact Ideal for pride concerts, LGBTQIA+ events, and diversity celebrations A meaningful addition to any choral program focusing on themes of acceptance and inclusivity By bringing The Village to your choir, you're not just performing a song—you're sharing a message of hope, love, and community that will resonate with all who hear it. Celebrate the power of music and the strength of the LGBTQIA+ community with this unforgettable SATB choral arrangement.We would love to see video (or hear audio) of performance or rehearsals! (david@davidja.com).

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.774724 Composed by Traditional. Arranged by Sandra Milliken. Folk,World. Octavo. 14 pages. Sandra Milliken #3873279. Published by Sandra Milliken (A0.774724). The Old Palmer Song is a favourite Australian folk song that is meant to be sung in a rollicking style that reflects the excitement and anticipation of hardy Australian colonials setting out in search of gold. Following hard on the heels of the great California gold rushes (1848 – 1855) came the discovery of payable quantities of gold in Australia. The first gold rush in Australia began in New South Wales in May 1851 after prospector Edward Hargraves discovered gold near Orange, at a site he called Ophir. Other discoveries quickly followed, including those at Ballarat and Bendigo in the colony of Victoria. Then came Rosewood and Gympie (1867) in Queensland; the Gawler region in South Australia in 1868; and Halls Creek (1885), Kalgoorlie and Coolgardie (1893) in Western Australia. One of Australia’s richest alluvial goldfields was that of the Palmer River in far north Queensland. The rush to the Palmer began in 1873 and lasted for about three years. The goldfields were nearly 100 miles inland from the small coastal settlement of Cooktown and the early prospectors had a hard time of it just getting to the field. Leaving Cooktown they crossed the coastal mangroves, then on through dense tropical rainforest, into the more open eucalypt forest beyond and then across the dry, inhospitable and rugged country of the hinterland dissected by wide and deep rivers. And always there was the risk of meeting with fierce resistance from the Aborigines whose tribal land they were travelling through. At the height of the rush there were around 35,000 prospectors on the Palmer (including a great many Chinese). By the time the rush was over, the Palmer had yielded over 100 tons of gold! The Old Palmer Song is set to the tune of Ten Thousand Miles Away, a shore ballad/sea shanty that probably originated in Ireland in the early 19th Century.

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926663 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 7 pages. M.A. Morizio #3588423. Published by M.A. Morizio (A0.926663). In chapter two of Paul's letter to the Philippians, Paul begins speaking to his readers about encouragement, comfort from love, participation in the Spirit, and godly affection and sympathy for one another. He says, we are to count others as more important than ourselves. He pleads, Complete my joy by doing these things. From this point, Paul breaks immediately into this other known 1st century Hymn to Christ (Verses 5-11), which I have called, The Great Humility of Christ. The hymn text is a beautiful exposition of the Gospel; Christ in the form of God, did not hold onto (grasp) His equality with God, but humbled Himself and took on the human form of a servant (slave) and poured Himself out for all of mankind. The anthem is composed for SATB (a cappella) choir in two stanzas, with a bridge section and a coda. The piece is scored in D minor, but weaves between D minor and G Major (representing the dual natures of Christ-fully God and fully man). After the first stanza, regarding Christ’s taking on human flesh, the unthinkable happens; Christ humbles Himself in holy obedience to be put to death, even a humiliating and repugnant death on a cross. Here in the anthem we find the musical bridge between the two stanzas with the sopranos holding onto a single note (high D) followed by a cascade of dissonant suspensions, one voice handing off to the other, finally resolving in a descending scale.The second stanza declares God’s having exalted Christ as a consequence of His sacrifice, giving Him a name that is above every name, that at the name of Jesus every knee shall bow, in heaven and on earth and under the earth. The final coda (in G Major) trumpets the pronouncement that; Every tongue will confess that Jesus Christ is Lord, to the glory of the Father.   

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1256869 Composed by Nicholas White. 21st Century,Christmas,Folk,Singer/Songwriter. Octavo. 8 pages. Nicholas White Music #850256. Published by Nicholas White Music (A0.1256869). A gentle setting for chorus and keyboard, rich in melody and harmony, of Dorothy Parker's poem. The things she knew, let her forget again-The voices in the sky, the fear, the cold,The gaping shepherds, and the queer old menPiling their clumsy gifts of foreign gold.Let her have laughter with her little one;Teach her the endless, tuneless songs to sing,Grant her her right to whisper to her sonThe foolish names one dare not call a king.Keep from her dreams the rumble of a crowd,The smell of rough-cut wood, the trail of red,The thick and chilly whiteness of the shroudThat wraps the strange new body of the dead.Ah, let her go, kind Lord, where mothers goAnd boast his pretty words and ways, and planThe proud and happy years that they shall knowTogether, when her son is grown a man.

Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1366448 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Christian,Praise & Worship,Religious,Sacred,Spiritual. 10 pages. Kevin G. Pace #950781. Published by Kevin G. Pace (A0.1366448). A bold, vibrant, dynamic choral composition inspired by Mark 6:68-69. Music by Kevin G. Pace. Text by Mark R. Fotheringham.  Text: Where would we go without Thee?Where could we find our peace?All of our blessings come from Thee.We shall from Thee never cease.Who would be there to teach usWords of eternal life?Thou art the Light in darkness who shows the WayThou art our comfort in strife.Thou art the Great Redeemer,Sent forth to save us all,Kneeling in old Gethsemane,Saving the world from The Fall.Doing the will of Father,Breaking the bands of death,Thou art The One who suffered for all our sin.Praise we with every breath.

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,Choral (SATB) - Level 1 - Digital Download SKU: A0.1286210 Composed by Bernard Sexton. Christian,Christmas,Contemporary,Praise & Worship. 9 pages. Trinity Music Press #877285. Published by Trinity Music Press (A0.1286210). A heartful scripture-based Christmas carol for SATB voices + piano accompaniment. The gentle introduction in the females voices is followed by various contrasting voicings which lead to the climatic final verse with a soaring descant.  In a cold and lonesome stable where Jesus was bornThe gentle mother, Mary, cradled her child that Christmas mornThough he lay within a manger, though his head rested on hayHe, the king, foretold by prophets, was born that wondrous day.Angels in the skies above him proclaimed their sweet song“All praise and honour to the Christ-child�, acclaimed the heavenly throng“Peace  on earth, goodwill to all men, glory to the new-born king,Jesus, saviour, our redeemer, glad tidings now we bring.� Wise men from the East, they journeyed, they came from afarThey did the evil Herod’s bidding and followed the bright starOn they travelled to the stable where they kneeled and hommage paidGold and frankincense and myhrr, their gifts before him laid.Weary shepherds on the hillsides their flocks watched by nightAn angel then appeared before them, a blinding, fearsome sight“Do not fear�,the angel told them, “go to Bethlehem and see Born this night in David’s city, the Lord, Messiah, he�. Praise be to the the frightened shepherds who left flocks at nightAnd praise be to the travelling wise men who followed the bright lightPraise be to the heavenly angels, singing of the saviour’s  birthAnd praise be to our Lord, Jesus, who brought peace on earth.   

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.719738 Composed by Various. Arranged by Curtis Hanson. Sacred. Octavo. 13 pages. Curtis Hanson #4573123. Published by Curtis Hanson (A0.719738). As years come and go, one increasingly recalls memories of earlier times. One of the most vivid and cherished memories I have while growing up is of Sunday mornings, going to church, sitting in the same pew each week with my grandmother, hearing and singing the beautiful hymns of our faith, and then returning home to the aroma of beef slowly roasting in the oven. My father directed the church choir, my mother and older brothers sang in the choir, so the wonderful music of our faith was instilled in me from an early age. This medley, and others in the series, are arrangements of many of my favorite hymns from those early years, many of which have been lost in more recent editions. For this series, I have mostly elected to use the older texts as that is the way they were first written and the way I first learned them. (See below for more comment on the texts in this set.) There is a reverence and beauty in the language enriching the vocal/choral tone which, I believe, is lost in contemporary, conversational, or politically correct syntax. I shudder to think of the day when a penitential phrase such as Hear thou my prayer, O Lord is rendered as Hey, God-dude, listen up - I'm talkin' atcha! I have also opted not to include the many wonderful hymns and carols which are associated with the major festivals of Christmas and Easter as those are commonly found in other collections. A caveat: I have no delusions, and I offer no pretenses, that these settings are great art. They are simply expressions of faith which I hope may bring a small measure of joy to other church musicians. The hymns in this set are Children of the Heavenly Father, Day by Day, Thy Holy Wings, and Beautiful Savior. A note on the texts in this set: Having grown up in a Swedish Lutheran church, the grandson of Swedish/Norwegian immigrants, and currently being choir director of another Swedish Lutheran church, these hymns have a special place for me. This set was originally arranged for my church choir with the first verse of each in Swedish. Being under copyright, permission was obtained to use the more familiar English translations of the first three songs for local use. For this edition, I have opted to create my own texts for the first and third hymns while the second is a translation in public domain. I have also provided a verse in English in lieu of the Swedish for those Nordically challenged. The fourth hymn is not a Swedish melody but for obvious reasons is a mainstay of the Lutheran hymnal. Like the other hymns, the first verse is in Swedish while the other traditional verses are also public domain.

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.719734 Composed by Various. Arranged by Curtis Hanson. Sacred. Octavo. 10 pages. Curtis Hanson #4573071. Published by Curtis Hanson (A0.719734). As years come and go, one increasingly recalls memories of earlier times. One of the most vivid and cherished memories I have while growing up is of Sunday mornings, going to church, sitting in the same pew each week with my grandmother, hearing and singing the beautiful hymns of our faith, and then returning home to the aroma of beef slowly roasting in the oven. My father directed the church choir, my mother and older brothers sang in the choir, so the wonderful music of our faith was instilled in me from an early age. This medley, and others in the series, are arrangements of many of my favorite hymns from those early years, many of which have been lost in more recent editions. For this series, I have elected to use the older texts as that is the way they were first written and the way I first learned them. There is a reverence and beauty in the language enriching the vocal/choral tone which, I believe, is lost in contemporary, conversational, or politically correct syntax. I shudder to think of the day when a penitential phrase such as Hear thou my prayer, O Lord is rendered as Hey, God-dude, listen up - I'm talkin' atcha! I have also opted not to include the many wonderful hymns and carols which are associated with the major festivals of Christmas and Easter as those are commonly found in other collections. A caveat: I have no delusions, and I offer no pretenses, that these settings are great art. They are simply expressions of faith which I hope may bring a small measure of joy to other church musicians. The general concept of each medley is to present the hymn, often in its original chorale form, and then vary its harmony or texture. The hymns in this set include My Faith Looks Up to Thee, Dear Lord and Father of Mankind, and Nearer, My God, to Thee.