Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3460719. Published by jmsgu3 (A0.549201). Instrumentation: 2 piccolos, 3 concert flutes, 1 alto flute, 1 bass flute, 1 cello. Arranged in two antiphonal choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg ea. Duration: ca. 3:00 Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Choral Choir (SATB) - Digital Download SKU: A0.981240 Composed by Judith Cloud. 20th Century,Sacred,Spiritual. Octavo. 6 pages. Judith Cloud #6710489. Published by Judith Cloud (A0.981240). 1. Feet o’ Jesus From the from the cantata FEET OF JESUS by Judith Cloud (text by Langston Hughes) Sop and Bar solos, Sop Sax, chorus and organFeet of Jesus is a cantata for mixed chorus, soprano saxophone, soprano and baritone soloists and organ.  It is made up of seven movements: 1) Feet of Jesus; 2) Prayer; 3) Shout; 4) Litany/Sinner; 5) Fire; 6) Angels Wings; 7) Spirituals.  It is approximately eighteen minutes in length. It has been performed by church choirs, professional choirs and amateur choirs, as well as university choirs.

Choral Choir (Unison) - Level 1 - Digital Download SKU: A0.781349 Composed by Joanna Mills. Broadway,Children,Christmas,Holiday,Musical/Show,Sacred. Octavo. 7 pages. Joanna Mills Music #4845645. Published by Joanna Mills Music (A0.781349). This lovely unison (or solo) Christmas song is perfect for children's choirs-- use it in your Christmas Pageant, Advent services, or your Lessons & Carols service! It tells the story of the angel who visits Joseph to tell him that Mary is expecting God's Son (Matthew 1:18-25), reminds us to trust in God, and is pitched in an accessible key for most voices. The simple melody and bridge is easy to learn, even for very young children, and there is an optional easy counterpoint near the end of the song for added excitement. Approximate performance time: 2:36. Also available for 2 part choirs.This is one song from the complete children's musical That's How The Story Goes - also available here.Joanna Mills was the Gospel Choir Director at Roncesvalles United Church in Toronto, Canada for 20 years, and has been writing and arranging choral music for 15 years. Her compositions and arrangements are performed regularly by her own choir and others around the world and have won awards in songwriting competitions. She also teaches musical theatre, voice and piano.

Choral Choir (Unison) - Level 1 - Digital Download SKU: A0.781342 Composed by Joanna Mills. Broadway,Children,Christmas,Holiday,Musical/Show,Sacred. Octavo. 7 pages. Joanna Mills Music #4830695. Published by Joanna Mills Music (A0.781342). This upbeat, original unison (or solo) Christmas song is perfect for children's or youth choirs-- use it in your Christmas Pageant, or your Lessons & Carols service! It tells the Christmas story in a bluesy, gospel style, and is pitched in an accessible key for most voices. The simple melody and bridge is easy to learn, even for very young children, plus it features an optional easy counterpoint near the end of the song. Approximate performance time: 1.51. (Also available for 2-part, SSA, SAB and SATB choirs!)This is one song from the complete children's musical That's How The Story Goes - also available here. S0.661113Joanna Mills was the Gospel Choir Director at Roncesvalles United Church in Toronto, Canada for 20 years, and has been writing and arranging choral music for 15 years. Her compositions and arrangements are performed regularly by her own choir and others around the world and have won awards in songwriting competitions. She also teaches musical theatre, voice and piano.

Choral Choir (2-Part) - Level 1 - Digital Download SKU: A0.781343 Composed by Joanna Mills. Children,Christmas,Sacred. Octavo. 6 pages. Joanna Mills Music #4831381. Published by Joanna Mills Music (A0.781343). This upbeat original 2-part Christmas song is perfect for children's or youth choirs-- use it in your Christmas Pageant, or your Lessons & Carols service! It tells the Christmas story in a bluesy, gospel style, and is pitched in an accessible key for most voices. The simple melody and bridge is easy to learn, even for young children, plus it features an optional easy counterpoint near the end of the song. Approximate performance time: 1.51. (Also available for Unison, SSA, SAB, and SATB Choirs!)This is one song from the complete children's musical That's How The Story Goes - also available at Sheet Music Plus S0.661113Joanna Mills was the Gospel Choir Director at Roncesvalles United Church in Toronto, Canada for 20 years, and has been writing and arranging choral music for 15 years. Her compositions and arrangements are performed regularly by her own choir and others around the world and have won awards in songwriting competitions. She also teaches musical theatre, voice and piano.

String Ensemble - Level 2 - Digital Download SKU: A0.549211 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 88 pages. Jmsgu3 #3464715. Published by jmsgu3 (A0.549211). A musical monument: the first composition to employ dynamics. Instrumentation: 2 violins, 1 viola, 5 cellos 1 double bass. Arranged in two antiphonal choirs: I - string quartet, II - cello choir w/bass. The double bass part assumes low c extension; however, a non-extension bass part is included.Giovanni Gabrieli's Sonata Pian e Forte is essential as it represents the shift from the Renaissance to the Baroque period. It is part of his 1597 Sacrae symphoniae, which contains sixty-three choral and instrumental works, many in multi-choir formations. It is the first known composition in history to employ dynamics, with Gabrieli using specific notation to indicate instrumentation and experimenting with assembling massive instrumental forces into isolated groups separated by space. This innovation contributed heavily to the Baroque Concertato style and the development of the sonata, a musical form that came into general use toward the end of the sixteenth century. The structure of the piece is defined by the dialogue between two instrumental choirs, making it a key example of Gabrieli's influential contributions to the transition in musical style during his time.

Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462151. Published by jmsgu3 (A0.549205). Minimum instrumentation: 8 double reeds (or multiples) arranged in 2 antiphonal choirs. 4 oboes, 2 English horns, 1 bassoon, 1 contrabassoon (or 2 bassoons). Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.InnovationsFirst of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.1093430 Composed by Alan Bullard. A Cappella,Classical,Contemporary,Holiday. Octavo. 37 pages. Colne Edition / BullardMusic #697511. Published by Colne Edition / BullardMusic (A0.1093430). Alan Bullard’s choral works are performed worldwide, and many have been recorded and broadcast. He has a reputation for music that choirs enjoy performing, and which speaks directly to audiences. 'A Summer Garland' consists of five movements touching on the different aspects of summer, and has become a popular part of the repertoire of many choirs. The movements portray the varying moods of summer, from buzzing flies to calm evenings, from May-blossom to fancy dress parades, may also be performed separately. 1. May, Queen of Blossoms 2. The Rose in June 3. Busy Fly 4. July Evening 5. Summer Queen The Colne Choral Series contains a range of Bullard’s pieces for adult and youth choirs of all types, including cantatas and choral suites as well as individual movements. For full details please visit www.colneedition.co.uk or www.alanbullard.co.uk.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1179916 Composed by Alan Bullard. Children,Comedy. Octavo. 24 pages. Colne Edition / BullardMusic #779863. Published by Colne Edition / BullardMusic (A0.1179916). Three Nonsense Songs for SATB choir, optional unison childrens’ choir, and piano (or brass quintet) - words by Edward Lear 1. Broom, Shovel, Poker and Tongs 2. The Owl and the Pussycat 3. The Table and the Chair Rediscover the magical world of Edward Lear: the Table and Chair who learnt to walk, the eventful Sunday outing of the Broom, Shovel, Poker and Tongs, and of course the romantic courtship of the Owl and Pussycat!Three Nonsense Songs are selected from Mr Lear, an entertainment for SATB choir with optional childrens’ choir and narrator, with piano or brass quintet (Colne Edition CE49). The three songs are also available separately, all from this site.More details: https://www.alanbullard.co.uk/score/three-nonsense-songs/Alan Bullard's choral works are performed worldwide, and many have been recorded and broadcast. He has a reputation for music that choirs enjoy performing, and which speaks directly to audiences. The Colne Choral Series contains a range of Bullard's pieces for adult and youth choirs of all types, including cantatas and choral suites as well as individual movements. For full details please visit www.colneedition.co.uk or www.alanbullard.co.uk.

Choral Choir (SA) - Level 1 - Digital Download SKU: A0.765601 Composed by Traditional. Arranged by Michael Myrick. Concert,Country,Folk,Holiday,Sacred. Octavo. 11 pages. MICHAEL MYRICK #3505983. Published by MICHAEL MYRICK (A0.765601). Looking for a fun piece for your children's choir? Here is an excellent piece that is both easy and fun to perform! This outstanding setting of the traditional folk song Old Tar River with adapted text by Eliza Hewitt is a popular choice for children's choirs! While written for two part choir, this piece can easily be performed by unison choir as well. Popular with both community and church choirs, this piece is extremely versatile. Optional tambourine part is included with this purchase.*Now also available for SAB and SATB choir!

Choral Choir (SATB) - Digital Download SKU: A0.828300 Composed by Emily Garsin, Anna Shields. Arranged by Anna Shields. Children,Graduation,Holiday,Musical/Show,Pop. Octavo. 25 pages. Anna Shields of Starling Arts #5354447. Published by Anna Shields of Starling Arts (A0.828300). Choral arrangement of The Voice Inside, written for the Starling Arts choirs by Emily Garsin & Anna Shields.Arranged for 5 parts: Soprano 1, Soprano 2, Alto 1, Alto 2 and Tenor/Bass.Perfect for school ensembles and community choirs without large numbers of lower voices.

Choral Choir (SA) - Level 1 - Digital Download SKU: A0.782807 Composed by Nicholas Palmer. Instructional. Octavo. 24 pages. Nicholas D Palmer #3507649. Published by Nicholas D Palmer (A0.782807). The purpose of this series of sight-singing exercise books is to give choir directors supplemental materials with which to strengthen the reading skills of singers. These exercises may be used in a variety of ways, starting with unison choir, then two part, then switching parts, etc… to maximize the exercises’ content. No texts are provided, so that the singers may use neutral syllables to focus on tone, or solfege, numbers, or rhythm syllables, depending on the system the teacher uses. This volume contains the first 10 exercises of Volume 1, and then 10 more exercises that use only longer note values. Since Volume 1 also covers eighth note and sixteenth note rhythms and some compound meters, I decided to provide a volume with only the longer note values and then restructure the collection in the following way: in each series of volumes, A includes only longer note values, B introduces eighths and sixteenths, C introduces compound meter, and D introduces melodic minor.Volume 1 (ABCD)- Diatonic Seconds Volume 2 (ABCD) - Diatonic ThirdsVolume 3 (ABCD) - 1-5-1, octave leapsVolume 4 (ABCD) - FourthsVolume 5 (ABCD) - FifthsVolume 6 (ABCD) - SixthsVolume 7 (ABCD) - SeventhsVolume 8 (ABCD) - Chromatic intervalsIn general, the exercises give some direction for articulation, dynamics, and tempo.  Though these are optional, the more notation detail the singers pay attention to, the greater their skill will be in reading all the notation on the page.  In some cases, vagueness in these instructions leaves opportunities for singers to decide how to articulate, what tempo might be appropriate, and how loud or soft to sing. If you discover any errors, please notify me, and then give your singers a chance to figure out what the error is!   Nick Palmer www.nicholaspalmer.com nicholasdpalmer@gmail.com  

Choral Choir (5-Part) - Level 3 - Digital Download SKU: A0.1265017 Composed by David Jon Gilmour, George Roger Waters, and Richard William Wright. Arranged by Lucas Rei Ramos. 20th Century,A Cappella,Rock. Octavo. 6 pages. Lucas Rei Ramos #857855. Published by Lucas Rei Ramos (A0.1265017). Arrangement for SSATB of this classic from Pink Floyd, ideal for choirs who want to add some classic rock to their repertoire.I wanted to convey the intimate and, at the same time, intense mood of the original tune. Its dynamic contrast and opposition between counterpoint and homophonic sections serve this purpose. It features several contrapuntal sections at the beginning (part II), end (parts VIII and IX) and interlude (part IV), aimed to imitate the instrumental performance. It’s not a challenging arrangement, but should some of these parts be complicated for the choir, they can be skipped safely.This arrangement only comprises lyrics from part IV, excluding part VII for the sake of brevity and simplicity.Commissioned by Coro da Rá, a choir specialized in jazz and Brazilian music. I had a special relationship with the music of Pink Floyd in my youth, so I made this arrangement with enthusiasm. I’d love to have it sung by other choirs around the world and hope you enjoy it as well.