Choral Choir (SSAA) - Level 2 - Digital Download SKU: A0.856135 Composed by Trad. Arranged by Liz Garnett. A Cappella,Christmas. Octavo. 4 pages. Liz Garnett #3023039. Published by Liz Garnett (A0.856135). This medieval carol often presents the challenge in performance of where to breathe - each line of words runs up right to the end of the phrase and the next is upon you with barely a moment to inhale. So the arrangement sets out to solve this problem by breaking the ensemble into subgroups that alternate their phrases giving the singers time to breathe, and the audience a seamless musical experience.As it progresses, the process of overlapping becomes more and more complex until the texture disintegrates into all voices working independently. This makes the arrival of the final chorus in full four-part harmony all the more striking.Ranges:Tenor: B flat 3 - D flat 5Lead: B flat 3 - B flat 4Bari: B flat 3 - A flat 4Bass: F 3 - A flat 4(N.B. This arrangement is notated in treble and bass alta (i.e. sung an octave higher than written) clefs.www.HelpingYouHarmonise.com

Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.945537 By Rihanna. By Jesse Shatkin, Robin Fenty, and Sia. Arranged by Celine Durney. A Cappella,Dance,Pop,R & B. Octavo. 6 pages. Celine Mireille Durney #5970825. Published by Celine Mireille Durney (A0.945537). From the motion picture Star Trek Beyond (2016) by RihannaGreat for high school or collegiate treble-voice a cappella groups! ~Starts off with ominous introduction (d minor) & then, with ongoing crunchy harmonies, shifts quickly into D Major~Lots of choral techniques embedded in this contemporary arrangement that are great for ensembles to work on such as aligning shape of vowels (especially as they change from closed to more open), homophonic chord structures/changes/tuning, staggered breathing within longer phrases, etc.~Features separate solo line, which can be performed by one singer or easily divided amongst other singers based on sections; moments of ensemble echoing the solo as well as having the melody bounce between parts in absence of solo ~Can be well-executed with OR without vocal percussion; notes for vocal percussion are included in score & should be minimal as the main driving force of the song is in the DYNAMICS, EMOTION, & PHRASING of the pieceRanges:S1 - D4-G5S2 - D4-D5A1 - Bb3-G4A2 - F3-F#4.

Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.856205 By The Pointer Sisters. By Anita Pointer, June Pointer, Ruth Pointer, and Trevor Lawrence. Arranged by Liz Garnett. Contemporary,Dance. Octavo. 6 pages. Liz Garnett #4293523. Published by Liz Garnett (A0.856205). This is one of those songs that wasn't a huge hit when it was first released, but has persisted in popular culture since. It has appeared in at least four movies, and was associated for years in the UK with commercials for Cadbury's Crunchie bars.Like the several cover versions of the song that have appeared this millenium, this arrangement takes a strong lead from the details of the original version, particularly in the use of vocalised embellishments that break out at phrase ends.N.B. This arrangement is notated in treble and bass alta (i.e. sung an octave higher than written) clefs.Vocal Ranges:Tenor: F4 - F5Lead: A flat 3 - C 5Bari: A flat 3 - B flat 5Bass: D flat 3 - F4www.HelpingYouHarmonise.com

Female choir (SSAA) a cappella - intermediate - Digital Download SKU: S9.Q47166 Vier Stücke nach Texten von Walther von der Vogelweide. Composed by Pascal Martine. This edition: choral score. Liebe. Schott Choral Music. Downloadable, Choral score. Schott Music - Digital #Q47166. Published by Schott Music - Digital (S9.Q47166). Middle High German.Pascal Martinés Sammlung von „Vier Weisen für vierstimmigen Frauenchor a cappella (SSAA), die nach dem Titel des ersten Liedes Under der linden benannt ist, liegen Dichtungen des Walther von der Vogelweide zugrunde. Dem Mainzer (Chor-)Pädagogen und Komponist gelingt es hier nicht nur, die verschiedenen inhaltlichen Facetten dieser mittelalterlichen Minnedichtungen musikalisch aufzublättern. Er bedient sich zugleich auch einer schwungvollen Tonsprache, die in Motivik und Harmonik an die Musik des Mittelalters erinnert, ohne dabei jedoch auch nur einen Moment lang unmodern daherzukommen. Diese vier weltlichen Frauenchorkompositionen sind für ambitionierte Laienchöre gut machbar. Einzige Klippe dürfte – neben ein paar rhythmischen Finessen wie Taktwechseln und Duolen – die Aussprache der mittelhochdeutschen Sprache sein. Eine beigefügte Aussprachehilfe liefert hier aber ideales Trainingsmaterial.