Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1254490 By Steven Samuel Dubulakta. By Steven Samuel Dubulakta. Arranged by Steven Samuel Dubulakta. 21st Century,A Cappella,Advent,Barbershop,Praise & Worship. 1 pages. Semii Music #848072. Published by Semii Music (A0.1254490). Title: What can I give thee?Do you have a reward to give to Jesus for what He has done for you on the cruel cross?This is a universal question we all should ask. This song sums up all the questions a wayward sinner ought to ask. God doesnt needs any present but only your presence in heave-his new mansion. Do not waste your time on temporal things. Dedicated in Chist is a bonus to go to heaven. Hope you enjoy this beautiful song.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.883376 By Kelly Clarkson. By Alexandra Leah Tamposi, David Gamson, Gregory Allen Kurstin, Jake Bugg, and Jorgen Kjell Elofsson. Arranged by Matthew Udland. A Cappella. Octavo. 11 pages. Midwest A Cappella #3640537. Published by Midwest A Cappella (A0.883376). Kelly Clarkson's chart-topping Stronger set as an uptempo Pop A Cappella song.  Voiced SATB with a soloist.

By Glee Cast. Arranged by Ed Lojeski. SATB. Concert; Pop. Choral. 11 pages. Published by Hal Leonard - Digital Sheet Music

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.887263 By Kelly Clarkson. By Alexandra Leah Tamposi, David Gamson, Gregory Allen Kurstin, Jake Bugg, and Jorgen Kjell Elofsson. Arranged by Henrik Schaanning. A Cappella. Octavo. 11 pages. Henrik Schaanning #6099337. Published by Henrik Schaanning (A0.887263). Acapella arrangement for Soprano, Mezzo, Alto, Tenor, Baritone, Bass and vocal percussion. .

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.887281 Composed by Michelle Willis. A Cappella,Contemporary. Octavo. 10 pages. Teton Music #5033147. Published by Teton Music (A0.887281). SATB, a cappellaWritten for the Early Light Academy Spotlight Singers (South Jordan, UT) and taken from actual responses from the students they were asked, when people look at you, what do you want them to see? This song is intended to be a very personal expression for the singers as well as for the audience.Text:I see: eyes and a face, hands and feetYou see: the sameI see: tears and a smile, working, movingYou see: the sameI see: pain, joy, strength, enduranceYou see, you think you see-but you can’t name it.I see you, please see me.When you look at me, see a person who isn’t afraid to be-- just be.I am tall or I am small, but I am happy to be me.I may be confident or meek, I may be really strong or weak,And if it changes week to week, it doesn’t matter.What matters is that you see me.When you listen, notice that my voice may sometimes raise the roofAnd other times it may seem aloof when I cannot find the proofOf what is truth and what is fair, but listen ‘til you hear me shareAnd know deep down I really care, because it matters.It matters that you see me.I see: someone who is strong and kind, someone who knows their mind, Someone who struggles just like me, but keeps fighting endlesslyI see you, please see me.I see: a soul who fin’ly knows I’m hereAnd doesn’t judge if I bow down to smallish fearsYou see me, and I see you, there’s nothing greater we can doThan to acknowledge we’re all trav’ling down this road,But not alone.It matters-That I see you-and you see me.

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/