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.

Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.11731 Composed by G.W. Brown. Marine accidents, Fires, Parlors, Birdcages, Fireplaces, Clocks & watches, Death, Mothers & children, Heaven. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.11731). Lost on the Steamer Stonewall. Mamma! Why Don't Papa Come Home. Words by J. Murphy. Music by G.W. Brown. Published 1869 by Balmer & Weber, No. 206 Fifth Street in St. Louis. Composition of strophic with chorus with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include Marine accidents, Fires, Parlors, Birdcages, Fireplaces, Clocks & watches, Death, Mothers & children, Heaven. First line reads Mamma! why don't Papa come home? why does he stay away?.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

SATB choir, congregation, optional treble choir, organ, handbells - Medium - Digital Download SKU: MQ.60-9015A-E Composed by Michael Burkhardt. Easter Season. Instrument part. 4 pages. MorningStar Music Publishers - Digital Sheet Music #60-9015A-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.60-9015A-E). Charming, rhythmic setting of childlike Heinz Werner Zimmermann tune LITTLE FLOCK. Each stanza modulates 1/2 step higher and tune and singers are uplifted/energized. Full Score includes substantial organ prelude that sets the tone, reproducible hymn sheet for congregational use, and reproducible Handbell part (2 octaves, 17 bells).

Composed by Lari Goss. Arranged by Winnie Swaim. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Archive Edition: Good Life Catalog. Sacred. Choral Octavo. 8 pages. Jubilate Music Group - Digital #00- LOC06018X. Published by Jubilate Music Group - Digital

Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1116827 By Christopher Alexander. By Scottish Folk Song. Arranged by Christopher Alexander. A Cappella,Folk,Historic,Multicultural,Traditional,World. 12 pages. Christopher Alexander #718481. Published by Christopher Alexander (A0.1116827). The familiar Scottish folk song receives a new and refreshing arrangement. Featuring a baritone solo mostly throughout the work, the chorus adds a whimsical setting with lyrical voice-leading and sustained dominant cadences. This work will take you to a fantastical image where true loves may meet again and will have your audiences entranced with your performance.

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, Solo SATB choir with optional flute, oboe, french horn & cello - Digital Download Composed by Lloyd Larson. Vocal Solo Sheet Music Series. Lent, Holy Week, Good Friday, Atonement, Blood, Cross of Christ, Gratefulness, Lamb of God, Life of Christ, Redemption, Sacrifice. Octavo. 8 pages. Duration 8 minutes. Hope Publishing - Digital #C5206DP. Published by Hope Publishing - Digita

Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.1017221 By Ariana Grande And Justin Bieber. By Ariana Grande, Freddy Wexler, Gian Michael Stone, Gian Stone, Justin Bieber, Scooter Braun, Skyler Stonestreet, and Whitney Phillips. Arranged by Kourtnee Cude. A Cappella. Octavo. 8 pages. Kourtnee Cude #6082881. Published by Kourtnee Cude (A0.1017221). Arranged for Wichita State University's Shockappella. Written for an Acappella group with a beatboxer, the woodblock is there to keep time while the beatboxer mimics the original song.Contact Information:Email: kourtnee.cude.music@gmail.comFacebook: Kourtnee Cude, VocalistInstagram: kourtnee_music

Choral Choir (SATB) - Digital Download SKU: A0.796583 Composed by Gary D. Belshaw (ASCAP). Contemporary. Octavo. 81 pages. DR GARY D BELSHAW #2924233. Published by DR GARY D BELSHAW (A0.796583). Chorus Book to accompany the opera of the same name. 81 pages. SATB; Piano/Vocal score. All five scenes contained in the book are perfect for Choral concerts, with capable soloists (2 sopranos, mezzo, tenor, and 2 baritones.) Difficulty varies from Intermediate to Advanced Intermediate.Synopsis: Four graduate Vocal Performance students, their Director of Opera, and the opera chorus for the current University production, are assisting the new proprietor of an urban coffee shop in the production of a television commercial jingle announcing the shop's Grand Opening. The proprietor also happens to be the recently retired Director of Opera at the same University's School of Music, located nearby. The company has been rehearsing for quite a while. The camera crew has been delayed, and tensions in the shop are mounting.Follow Gary D.Belshaw Music on Facebook and Twitter. we'll follow you back.

Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.953628 Composed by Adrienne Inglis (ASCAP). Contemporary. Octavo. 14 pages. Adrienne Inglis (ASCAP) #6405671. Published by Adrienne Inglis (ASCAP) (A0.953628). Great for concerts about nature and the environment, pandemic life, creativity!Shelter in Place by Adrienne Inglis (ASCAP) for mixed SSAATB chorus with nature soundtrack created by Chris Clark-Johnsona setting of Shelter in Place, a poem by Kim Stafford Commissioned by Lewis & Clark College, Portland, Oregon, April 2021Founder, composer, and singer with Inversion Ensemble of Austin, Texas, Adrienne Inglis also serves as principal flute with the Central Texas Philharmonic, flute instructor at Southwestern University, and flutist with flute/harp duo Chaski. She has music degrees from Lewis and Clark College and the University of Texas at Austin. An avid birder and environmentalist, she lives in the rural hill country of Central Texas.Poet Kim Stafford grew up in Oregon, Iowa, Indiana, California, and Alaska, following his parents as they taught and traveled through the West. He is the author of a dozen books of poetry and prose, and the founding director of the Northwest Writing Institute at Lewis & Clark College, where he has taught since 1979. He holds a PhD in Medieval Literature from the University of Oregon, and has worked as a printer, photographer, oral historian, editor, and visiting writer at a host of colleges and schools, and offered writing workshops in Italy, Scotland, and Bhutan.Shelter in Place by Kim Stafford (used with permission)Long before pandemic prisoned us,the trees knew how to guard their placewith roots and shade.Moss found how to hug a stone for life.Every stream knows how to move in place,stay home and yet flow outward,sending bounty far.Now is our time to practice-now to sing from balconies,now send words of comfortby any courier,now to hoard lonesome generosity-and then to shine in all directions like stars.Program note: Shelter in Place (2021) by Adrienne Inglis, commissioned by Lewis & Clark College, Portland, Oregon, April 2021, sets former Oregon poet laureate Kim Stafford’s poem Shelter in Place (2020) for SSAATB mixed choir with Oregon nature soundtrack created by Chris Clark-Johnson, Lewis & C lark College class of 2021. Written during the coronavirus pandemic, the poem expresses how quarantine can serve as a conduit for healing, how words of comfort flow despite barriers, and how the paralysis of sheltering in place generates creative movement. The music and poem draw inspiration from ancient forest wisdom, shown musically with a pentatonic scale. The tight harmonies of Locrian mode bind moss to stone and stream to its own flow. Then vocal expression bursts forth with lush harmonies as singers serenade from balconies, sharing compassion through music. Returning to the pentatonic scale, we overcome obstacles and send generosity beyond our ancient and modern world into the celestial realm. The nature soundtrack features sounds of the Oregon forest, stream, and night sky.Acknowledgements: The composer warmly thanks Katherine FitzGibbon, Bailey Dean, Chris Clark-Johnson, Kim Stafford, and the Lewis & Clark College Community Chorale. Contact the composer to obtain the audio file of the nature soundtrack.Copyright © 2021 Adrienne Inglis | adrienne.inglis.com

Choral Choir,Choral (SATB) - Level 5 - Digital Download SKU: A0.1278418 By Voxtone. By Traditional. Arranged by Massimo Orlandini. A Cappella,Folk,Multicultural,Traditional,World. 5 pages. Massimo Orlandini #870136. Published by Massimo Orlandini (A0.1278418). This song comes from the traditional repertoire of the Tuscan-Emilian Apennines. The original version was collected by Gabriele Chiodi of the group Viulàn. The text is in the local dialect and is a lullaby to the baby Jesus. His birth is told from the point of view of Mary, whose voice joins that of the angels to celebrate the new king.The arrangement for mixed voices made by Massimo Orlandini dates back to 2020 and belongs to the repertoire of the vocal group Voxtone, founded by Massimo himself in 2012.The song was recently performed during the Anúna Italian Summer Residency in Pavullo nel Frignano (Modena), where dozens of singers from different parts of the world performed this wonderful piece.

Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1379450 Composed by Tamsin Jones. 21st Century,A Cappella,Christian,Classical,Religious. 11 pages. Merula Music #964135. Published by Merula Music (A0.1379450). This is a collection of blessings set for SATB choir.  An organ may be used to provide a discrete drone for A Harvest Blessing, while an optional short introduction and colla parte accompaniment have been provided for Aaronic Blessing.  All three may, of course, be performed unaccompanied. While united by the theme of benediction, these pieces are distinct in style.  Harvest Blessing refers to the overtone series, while An Irish Blessing makes use of “mitigated planing�, in which parts moving as block chords are offset by contrary motion, holds (non-traditional suspensions) and other devices.  Aaronic Blessing is the longest piece in the collection, and features a variety of contrapuntal textures, although it is essentially highly tuneful in character.

Choral Choir (Mixed) - Level 4 - Digital Download SKU: A0.576366 Composed by David Warin Solomons. 20th Century,Christmas,Classical,Contemporary,World. Octavo. 27 pages. David Warin Solomons #18013. Published by David Warin Solomons (A0.576366). A vivid and at times raucous celebration of Saturnalia, in Latin, for an ensemble of voices and instruments (including various percussion, woodwind and brass instruments). The sound sample is a sung performance by the composer with an electronic preview of the instruments. Further explanations: Song for Saturnalia - a raucous and fun romp - in whole tones (since there is scant evidence of the types of scales used in those days - whole tones just seem to work in this context). The Latin words make references to relatively modern times but the spirit of Saturnalia is timeless, after all. The pileum (also written pilleum) is the little cap that slave wore during Saturnalia to show they were free men and women on that day - they would point to their cap and say libertus sum (I am a free person) and omnes aequales sumus (we are all equal). The words (and translation - both by me) are as follows: Saturnalia Song Io Saturnalia! Hodie igitur dominus noster non es. [Hooray, it’s Saturnalia, so today you’re not our boss] Hodie omnes aequales sumus. Io! [Today we are all equal, hooray!] [spoof of USA Anthem] Salve O Frutici [Hi there, Bush] Ecce meum pileum: [Look, see my little cap of freedom] libertus sum [I’m a free man] [spoof of UK Anthem] Salve O Campestri [Hi there, Blair] Ecce meum pileum: [Look, see my little cap of freedom] libertus sum [I’m a free man] [spoof of German Anthem] Salve O Candelari [Hi there Brandt] Ecce meum pileum: [Look, see my little cap of freedom] libertus sum [I’m a free man] Io Saturnalia, Io! [Hooray, it’s Saturnalia, hooray!] [Note on the invented names (used in the vocative in the song of course): Fruticius is based on the word frutex a bush - it’s also used to mean blockhead in Roman comedies, but I can’t help that!. Campestrius is based on campester - a plain or place of clear ground (Blair is the Celtic equivalent word - a forest clearing!) Candelarius is based on candela - a taper or candle - ie something burning hence Brandt (yes, I know he’s earlier than the other two politicians, but, hey, it’s all a bit of anachronistic fun!)].

Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.1033587 Composed by Obscure and unknown, c.1744. Arranged by Scott S. Stewart. 20th Century,Patriotic,Spiritual,Traditional. Octavo. 2 pages. Scott S. Stewart #638897. Published by Scott S. Stewart (A0.1033587). “God Bless (Save) Us All� – An LGBTQ Anthem: José Julio Sarria (1922-2013), the 1st openly gay candidate for political office in the United States, and San Francisco drag queen performer ‘extraordinaire’ at the Black Cat Bar, or “The best gay bar in America� – Allen Ginsberg; would at the end of each of his (Sarria’s) performances ask the audience to make a circle and join hands and sing “God Save Us Nelly Queens� (to the tune of ‘God Save the Queen’). I served as Conductor of the local LGBT (at that time no ‘Q’) mixed chorus during the 20th anniversary of the Stonewall Riots. To celebrate Sarria’s intention of unification I arranged an SATB inclusive version (with piano accompaniment) of his anthem. I have updated the lyrics to include our many embraced diversities. (Adapt the words as needed for your organization, &/or political climate. – sss) Performance time: 1:05+.

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.