Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1082883 Composed by Traditional. Arranged by Michael Myrick. A Cappella,Contest,Festival,Folk,Multicultural,Sacred,World. Octavo. 24 pages. MICHAEL MYRICK #687089. Published by MICHAEL MYRICK (A0.1082883). Here is an outstanding collection of some of the most beloved hymns from the rural Appalachian Mountains. This is an extremely moving song cycle that can be used as individual anthems or as an entire concert piece for your TTBB choir. You will find throughout this cycle many solo sections for each section of your choir as well as for individual singers. The group of hymns is very versatile and can be easily tailored to your next concert or worship service. In addition, vocal lines are written for ease of range for each vocal type. 1. Jesus Walked This Lonesome Valley 2. The Wayfarin’ Stranger 3. What Wondrous Love Is This 4. How Firm a Foundation.

Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1213360 Composed by American Folk Hymn. Arranged by Mark R Lewis. A Cappella,Folk,Religious,Sacred,Traditional. Octavo. 12 pages. Mark R Lewis #810545. Published by Mark R Lewis (A0.1213360). What Wondrous Love Is This is an American folk hymn that became popular during the early 1800s. It was first published in 1811 in the various hymnbooks that came out during the Second Great Awakening with various lyricists credited. Many publications attributed the song's tune to The Ballad of Captain Kidd, a popular, though much older, song and tune at the time. Earlier versions of the text are slightly different, but as with many folk tunes, it is difficult to tell which transcriptions are regional variants and which are errors by the transcriber.This arrangement of the tune by Mark Lewis is for a cappella TTBB Ensemble. All four voice parts are featured for a verse with different accompaniment each time. There are key changes to better place the melody in the ranges of each voice and there are moving notes in many background voices through most of the piece. As with many of Mark's arrangements, the outer voices will be pushed towards the extremes of their ranges even though the notes and rhythms are not incredibly difficult. Most intermediate choirs should enjoy performing this piece.

TTBB choir divisi - Medium - Digital Download SKU: MQ.1.3398-E Composed by Stephen Caracciolo. 8 pages. Galaxy Music Corporation - Digital #1.3398-E. Published by Galaxy Music Corporation - Digital (MQ.1.3398-E). English.Commissioned by Cantus in 2014 for their album A Harvest Home and subsequent tours through Northern Europe, the BalticStates, and United States. Written as a companion piece to the composer's setting of Simple Gifts (also commissioned by Cantus four years earlier) this is an arrangement of this iconic folk hymn that sounds traditionally American, immediately recognizable, and not overly arranged, while still having something fresh to say musically using the sonorous sounds of men’s voices.Knowing that Cantus planned to place How Can I Keep From Singing? at the end of their tour program, the final bars were fitted with an extended cadence to bring their staged performances to a satisfying and heartfelt close.

Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1045085 Composed by American Folk Hymn. Arranged by Mark R Lewis. Christmas,Folk,Holiday,Sacred,Traditional. Octavo. 41 pages. Mark R Lewis #649649. Published by Mark R Lewis (A0.1045085). The tune for Star in the East first appears in print in The Southern Harmony collection, but is well attested as an American Folk Hymn. The lyrics are partially anonymous but most published versions include verses that seem to have been added by the arranger of that version. This Epiphany song has similar themes to We Three Kings but is definitely a refreshing change from that well known tune. This fun arrangement by Mark R Lewis is for Baritone soloist, TTB choir, a woodwind instrument, and bass instrument. Included is sheet music for C, Bb, and Eb instruments and a bass line which can be played by many different bass instruments depending on what the group has available. The instrumentalists can transpose their parts to different octaves for ease of playing if necessary. The Baritone soloist should be a well experienced intermediate singer and the bass line is very active at times, but the choir and woodwind parts should be performable by most intermediate groups. Also available for Baritone solo w/ SATB ensemble. Vocal Range: f minor Baritone solo - 1 1/2 octaves (Bb2 to F4) Tenor 1 - 1+ octaves (Eb3 to F4) Tenor 2 - 1 octave (C3 to C4) Bass - 1+ octaves (F2 to Gb3) Instrument Range: Clarinet - max 3 1/2 octaves (F3 to A5) can be smaller if octaves are transposed Bass instrument - 1 1/2 octaves (F2 to C4).

Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1144864 Composed by American Folk Hymn. Arranged by Mark R Lewis. A Cappella,Folk,Religious,Sacred. Octavo. 12 pages. Mark R Lewis #745182. Published by Mark R Lewis (A0.1144864). Come, Thou Fount is a very popular hymn, so much so that dozens of arrangements are published every year in both traditional and contemporary settings. The text was written by Robert Robinson in the mid-1700s and the tune most often associated with it is the American folk tune known as Nettleton. This arrangement by Mark Lewis is for a cappella Men's Ensemble and body percussion or simple other percussion. It features the Tenor 2 voice for most of the piece but the other voices get moments to shine in the last verse as well. The arrangement is also mostly in 4/4 instead of the typical 3/4, which leads to some fun rhythmic challenges.

Composed by Traditional Folk Hymns. Arranged by Mark D. Templeton. For Choir, TTBB. 21st Century, Sacred, Folk. Advanced Intermediate. Mark Templeton Choral Music #MTN007. Published by Mark Templeton Choral Music

Choral Choir,Choral,TTBB Chorus - Level 3 - Digital Download SKU: A0.1492799 Composed by Ken Litton. Arranged by Ken Litton. Contemporary,Praise & Worship,Religious,Sacred,Traditional. 14 pages. Artist of Note, Inc. #1069484. Published by Artist of Note, Inc. (A0.1492799). O for a Thousand Tongues to SingText by Charles Wesley/Music by Ken Litton (ASCAP) TTBB mixed voices, accompanied  optional Flute/C intrument The stanzas of the text are combined here and some of its expressions personalized in order to emphasize the confident prayer of praise. And though the music is a little more meditative than many tunes, it is still in keeping with the original expression that helped give rise to the hymn:  “Had I a thousand tongues, I would praise Him with them all!” After the piano and flute introduction, the new tune is lightly harmonized in both stanzas, but each has it’s own unique voicing at My gracious Master and You break the power, respectively. The brief flute/C instrument solo can add a lot to the piece, but an optional cut from the end of m.41 to m.59 and on to the key change could be offered in the score. After the key change the melody returns in unison, followed by a worshipful close. All this from the places you go for the best in downloadable resources: Sheet Music Direct Sheet Music Plus As well as via Hal Leonard InStore™ retailers. Also…be sure to check out other titles from East of the Altar/Artist of Note, Inc. Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard1

Choral Choir (TTBB) - Level 1 - Digital Download SKU: A0.522421 Composed by Traditional Irish Folk Tune. Arranged by Paul A. Jorg. A Cappella,Christian,Holiday,Sacred. Octavo. 2 pages. Paul A. Jorg #6102165. Published by Paul A. Jorg (A0.522421). The history of the song goes back to the 5th century in Ireland and St. Patrick. In the 8th century, a monk named Dallan Forgaill wrote the Irish poem, Rop tú mo Baile (Be Thou my Vision), to remember and honor the faith that St. Patrick had shown in his defiance of King Logaire of Tara’s decree three centuries earlier. His poetry lived on as a part of the Irish monastic tradition for centuries until, in the early 20th century, Mary Elizabeth Byrne translated the poem into English, and in 1912, Eleanor Hull versified the text into what is now the lyrics of a well-loved hymn. The music SLANE is an ancient Irish folk tune which became a hymn tune when it was arranged by David Evans and set to the Irish hymn Be Thou My Vision in 1927.  This hymn acts as a prayer to our God that He would be the first that we seek after, and continually refocus the direction of our life.  This arrangement is for 4 part male harmony (TTBB) a cappella.

TTBB divisi chorus - Digital Download SKU: BJ.1279 Composed by Traditional. Arranged by Sofia Söderberg. Christian, Folk. Octavo. 8 pages. Bo Ejeby Forlag - Digital #1279. Published by Bo Ejeby Forlag - Digital (BJ.1279). 8.27 x 11.7 inches.Limu limu lima is one of the most wellknown traditional Swedish folk songs, originally possibly a medieval Maria hymn. The arrangement was written for the male choir Svanholm Singers, which is conducted by Sofia Soderberg. The mixed voices version has order no. 1280. Sofia Soderberg (former Eberhard) (b. 1972) has been the choral master at Malmo Opera and leads the new Malmo Live Vocal Ensemble besides the well established and internationally renowned Svanholm Singers.

Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1045440 Composed by Irish Folk Song. Arranged by Mark R Lewis. Celtic,Folk,Irish,Traditional. Octavo. 26 pages. Mark R Lewis #650020. Published by Mark R Lewis (A0.1045440). This fun Irish folk song has been arranged by Mark R Lewis for TTBB ensemble with an accompanying solo instrumental line. The song uses the hymn tune Kingsfold and the lyrics are thought to have been written by Cathay MacGarvey in the late 1800s. Each part gets the melody for a verse and there is a fun diversion into 6/8 for the Tenor 1s in the 3rd verse. This score comes with options to play the instrumental line on C, Bb, or Eb instruments. The vocal parts are not too difficult but the instrumentalist will need to be moderately advanced, especially if they choose to take the optional ad lib verse instead of the written out solo, which is already rather towards the extreme of the instrument's range.

Choral Choir,Choral,TTBB Chorus - Level 3 - Digital Download SKU: A0.1423458 Composed by Traditional Sea Shanty. Arranged by Scott S. Stewart. Barbershop,Folk,Spiritual,Traditional. 19 pages. Scott S. Stewart #1004703. Published by Scott S. Stewart (A0.1423458). “A Drop of Nelson’s Blood” (Roll the Old Chariot Along) is one of the most gruesome sea shanties that has evolved from shanty crew to shanty crew, and from pub to pub.  Its beginnings are suspect: Is this a variation of the African-American spiritual “The Golden Chariot” or is this a parody of a Salvation Army revivalist hymn?  The dilemma: How to get a dead man’s body back home while at sea. Why preserve his corpse in a barrel of rum!  This ‘concert’ setting of the shanty is scored for 4-part men’s chorus with piano accompaniment.  Performance time: 4:20+-.

Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.991165 Composed by Ancient Irish traditional melody SLANE. Arranged by J.M. Jamison. A Cappella,Celtic,Christian,Folk,Sacred. Octavo. 3 pages. Jeffrey Jamison #3109797. Published by Jeffrey Jamison (A0.991165). TTBB a cappella arrangement of the familiar Irish hymn.  Verses 2 and 3 are reverse from the traditional order, with verse 3 arranged in 4/4 to increase interest and draw out distinctive sounds from men's voices.

Choral Choir,Choral,TTBB Chorus - Level 2 - Digital Download SKU: A0.1423826 Composed by John Hyatt Brewer (1856-1931). Arranged by Philip Le Bas. A Cappella,Folk,Historic,Patriotic,Traditional. 7 pages. Philip Le Bas #1005052. Published by Philip Le Bas (A0.1423826). March of the Men of Harlech is the Welsh National Hymn. Here it is arranged by John Hyatt Brewer (1856-1931) and adapted by Philip Le Bas for a cappella TTBB choir (plus solo.) It is admittedly a thoroughly violent, anti-Saxon (yes, that ancient!) marching song, but it deserves to be sung as the melody is so well-loved and it is so full of drama and excitement. Extra sound effects are introduced by the solo part imitating trumpets and drums, and by all the singers with loud (on the spot?) bootsteps! Brewer's harmonization also keeps the interest up through both verses. Pace Welshmen, perhaps this could be hammed up a little?