Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.1164155 Composed by Kevin Frecker. A Cappella,Chamber,Comedy. Octavo. 5 pages. Kevin Frecker #764211. Published by Kevin Frecker (A0.1164155). The Owl and the Pussycat is a nonsense poem written by Edward Lear in 1870. It takes me back to my late teens and early twenties when I would recite this poem with my 2 sisters. They would take the parts of the Narrator, the Owl, and the Pussycat. That would leave me with two words, the most important line in the poem, the Piggy-wig's line I will. Without this one line, the goal of the poem cannot be achieved - the marriage between the Owl and the Pussycat.Since this is a nonsense poem, the tempo and dynamic variations can be exaggerated to bring out the humor in the text. This setting is most ideal for an ensemble of soloists, but it could also be performed by an SAB choir with soloists for the parts of the Owl, the Pussycat, and the Piggy-wig. Happy singing!

Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.832116 Composed by Edward Lear. Arranged by Simon Walters. Children,Contemporary,Folk. Octavo. 16 pages. Simon Walters #3106429. Published by Simon Walters (A0.832116). An exuberant and very silly SSA adaptation of this public domain favourite with a surprise ending and a couple of familiar quotes!  This arrangement has been successfully performed many times by at least two amateur choirs but would also suit schools.

Choral Choir (SAB) - Digital Download SKU: A0.888276 Composed by Edward David Zeliff. Christian,Easter,Sacred. Octavo. 4 pages. Edward David Zeliff #4792021. Published by Edward David Zeliff (A0.888276). This short but poignant Communion anthem was written for and first performed in a Maundy Thursday service. The choir being not a large one, with no tenors, the voices designated are SAB and accompanied by piano. The piano writing integrates the accompaniment into the texture and the lyrical setting of the text. This piece is designed to be practical, easy to learn, and rewarding to sing, all of which is accomplished without sacrificing artistic integrity or writing down for the choral forces. Rather, the unison/octave writing at the beginning and the return of that sonority for the third section are coloristic devices to reinforce the text. The middle section makes full use of the capabilities and ranges of the three-part mixed choir format. The musical setting underscores the Hope of Redemption on the Eve of the Crucifixion at the Last Supper. The piece is equally suitable for any Communion Sunday throughout the Church year.