Choral Choir (SATB) - Digital Download

SKU: A0.865903

By Heather Small. By Heather Small and Peter Vettese. Arranged by Simon Pearson. Contemporary. Octavo. 15 pages. Pink Singers #4794707. Published by Pink Singers (A0.865903).

Choral SAB chorus - Digital Download

SKU: H1.C5908DP

Arranged by Joel Raney. Piano with Optional Rhythm parts. Hope's Recent Best Sellers Series. Spirituals & Gospel, Hymntune, General Worship, Comfort, Confidence, Encouragement, Faith & Faithfulness, Gospel, Promise. Octavo. 12 pages. Hope Publishing - Digital #C5908DP. Published by Hope Publishing - Digital (H1.C5908DP).

Deuteronomy 33:27 - Matthew 7:14 - Proverbs 3:5 - Proverbs 4:18 - Psalms 27:1 - Romans 10:5 - Romans 10:6 - Romans 10:7 - Romans 10:8 - Romans 10:9 - Romans 10:10 - Romans 10:11 - Romans 10:12 - Romans 10:13 - Romans 10:14 - Romans 1.

19th Century hymn
Set in a blues-gospel style, Joel Raney provides an exciting rhythmic, yet surprisingly accessible, treatment to this time-honored, 19th century hymn. The setting begins with a fresh change to 3/4 time and a dramatic use of rests and silence for the singers - creating a rousing effect. From there this powerful arrangement builds throughout, and culminates in a soul-stirring ending. The Rhythm packet contains parts for: B-3 Organ/Synth, Electric Bass and Drums.

Rhythm Parts - Digital Download

SKU: H1.C5546RDP

Arranged by Joel Raney. Piano with Optional Rhythm parts. Hope's Recent Best Sellers Series. Spirituals & Gospel, Hymntune, General Worship, Comfort, Confidence, Encouragement, Faith & Faithfulness, Gospel, Promise. Rhythm parts. 9 pages. Hope Publishing - Digital #C5546RDP. Published by Hope Publishing - Digital (H1.C5546RDP).

Deuteronomy:33:27 - Matthew 7:14 - Proverbs 3:5 - Proverbs 4:18 - Psalms 27:1 - Romans 10:5 - Romans 10:6 - Romans 10:7 - Romans 10:8 - Romans 10:9 - Romans 10:10 - Romans 10:11 - Romans 10:12 - Romans 10:13 - Romans 10:14 - Romans 1.

19th Century hymn
Set in a blues-gospel style, Joel Raney provides an exciting rhythmic, yet surprisingly accessible, treatment to this time-honored, 19th century hymn. The setting begins with a fresh change to 3/4 time and a dramatic use of rests and silence for the singers - creating a rousing effect. From there this powerful arrangement builds throughout, and culminates in a soul-stirring ending. The Rhythm packet contains parts for: B-3 Organ/Synth, Electric Bass and Drums.

Choral SATB Chorus - Digital Download

SKU: H1.C5546DP

Arranged by Joel Raney. Piano with Optional Rhythm parts. Hope's Recent Best Sellers Series. Spirituals & Gospel, Hymntune, Jazz / Swing, General Worship, Comfort, Confidence, Encouragement, Faith & Faithfulness, Gospel, Promise. Octavo. 12 pages. Hope Publishing - Digital #C5546DP. Published by Hope Publishing - Digital (H1.C5546DP).

Deuteronomy:33:27 - Matthew 7:14 - Proverbs 3:5 - Proverbs 4:18 - Psalms 27:1 - Romans 10:5 - Romans 10:6 - Romans 10:7 - Romans 10:8 - Romans 10:9 - Romans 10:10 - Romans 10:11 - Romans 10:12 - Romans 10:13 - Romans 10:14 - Romans 1.

19th Century hymn
Set in a blues-gospel style, Joel Raney provides an exciting rhythmic, yet surprisingly accessible, treatment to this time-honored, 19th century hymn. The setting begins with a fresh change to 3/4 time and a dramatic use of rests and silence for the singers - creating a rousing effect. From there this powerful arrangement builds throughout, and culminates in a soul-stirring ending. The Rhythm packet contains parts for: B-3 Organ/Synth, Electric Bass and Drums.

High Voice,Vocal Solo - Level 5 - Digital Download

SKU: A0.1327769

Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Romantic Period. 3 pages. Nicole Elyse DiPaolo #915810. Published by Nicole Elyse DiPaolo (A0.1327769).

The first of its kind, and the first entry in the Accessible Accompaniments library’s collection of small-hand-optimized song literature publications, this is Richard Strauss’s beloved “Zueignung,� from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. “Small� is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.

This edition was inspired by Boosey’s excellent small-hand edition of Frank Bridge’s “Love Went A-Riding� (erroneously labeled “simplified� on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Strauss’s op. 10 collection is much more widespread on today’s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Strauss’s songs are often so orchestral in spirit—much more so than the Bridge—that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Strauss’s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.

The primary source material for this edition is Henle’s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompaniments’ distinctive house style, marked by its visual beauty and ease of reading.

While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you don’t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibility—and that goes for singers, too!

Low Voice,Vocal Solo - Level 5 - Digital Download

SKU: A0.1328327

Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Romantic Period. 3 pages. Nicole Elyse DiPaolo #916320. Published by Nicole Elyse DiPaolo (A0.1328327).

The first of its kind, and the first entry in the Accessible Accompaniments library’s collection of small-hand-optimized song literature publications, this is Richard Strauss’s beloved “Zueignung,� from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. “Small� is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.

This edition was inspired by Boosey’s excellent small-hand edition of Frank Bridge’s “Love Went A-Riding� (erroneously labeled “simplified� on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Strauss’s op. 10 collection is much more widespread on today’s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Strauss’s songs are often so orchestral in spirit—much more so than the Bridge—that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Strauss’s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.

The primary source material for this edition is Henle’s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompaniments’ distinctive house style, marked by its visual beauty and ease of reading.

While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you don’t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibility—and that goes for singers, too!

Low Voice,Vocal Solo - Level 5 - Digital Download

SKU: A0.1328390

Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Romantic Period. 3 pages. Nicole Elyse DiPaolo #916380. Published by Nicole Elyse DiPaolo (A0.1328390).

The first of its kind, and the first entry in the Accessible Accompaniments libraryâ??s collection of small-hand-optimized song literature publications, this is Richard Straussâ??s beloved â??Zueignung,â?� from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. â??Smallâ?� is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.

This edition was inspired by Booseyâ??s excellent small-hand edition of Frank Bridgeâ??s â??Love Went A-Ridingâ?� (erroneously labeled â??simplifiedâ?� on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Straussâ??s op. 10 collection is much more widespread on todayâ??s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Straussâ??s songs are often so orchestral in spiritâ??much more so than the Bridgeâ??that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Straussâ??s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.

The primary source material for this edition is Henleâ??s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompanimentsâ?? distinctive house style, marked by its visual beauty and ease of reading.

While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you donâ??t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibilityâ??and that goes for singers, too!

High Voice,Vocal Solo - Level 5 - Digital Download

SKU: A0.1329064

Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Romantic Period. 3 pages. Nicole Elyse DiPaolo #917034. Published by Nicole Elyse DiPaolo (A0.1329064).

The first of its kind, and the first entry in the Accessible Accompaniments library’s collection of small-hand-optimized song literature publications, this is Richard Strauss’s beloved “Zueignung,� from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. “Small� is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.

This edition was inspired by Boosey’s excellent small-hand edition of Frank Bridge’s “Love Went A-Riding� (erroneously labeled “simplified� on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Strauss’s op. 10 collection is much more widespread on today’s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Strauss’s songs are often so orchestral in spirit—much more so than the Bridge—that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Strauss’s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.

The primary source material for this edition is Henle’s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompaniments’ distinctive house style, marked by its visual beauty and ease of reading.

While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you don’t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibility—and that goes for singers, too!

Medium Voice,Vocal Solo - Level 5 - Digital Download

SKU: A0.1328293

Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Romantic Period. 3 pages. Nicole Elyse DiPaolo #916286. Published by Nicole Elyse DiPaolo (A0.1328293).

The first of its kind, and the first entry in the Accessible Accompaniments library’s collection of small-hand-optimized song literature publications, this is Richard Strauss’s beloved “Zueignung,� from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. “Small� is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.

This edition was inspired by Boosey’s excellent small-hand edition of Frank Bridge’s “Love Went A-Riding� (erroneously labeled “simplified� on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Strauss’s op. 10 collection is much more widespread on today’s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Strauss’s songs are often so orchestral in spirit—much more so than the Bridge—that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Strauss’s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.

The primary source material for this edition is Henle’s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompaniments’ distinctive house style, marked by its visual beauty and ease of reading.

While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you don’t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibility—and that goes for singers, too!

Choral Choir (TTBB) - Level 3 - Digital Download

SKU: A0.1046792

Composed by M. Durham, Samuel Stennett, and The Sacred Harmony. Arranged by Mark R Lewis. A Cappella,Folk,Praise & Worship,Sacred,Spiritual. Octavo. 11 pages. Mark R Lewis #651304. Published by Mark R Lewis (A0.1046792).

Bound for the Promised Land was a very popular revivalist spiritual in 19th century America. The text was written by Samuel Stennett in 1787 and the tune, popularized by the hymnbook The Sacred Harmony, was written by M. Durham in 1835. The text focuses on the singer's desire to get to the Promised Land. This version was arranged for a cappella TTBB Ensemble by Mark R Lewis. All parts get a chance at the melody and there are several interesting key changes. Also available for SATB Ensemble Vocal Range: Keys of D minor, Eb minor, and E minor Tenor 1 - 1 octave (D3 to D4) Tenor 2 - 1+ octave (C3 to E4) Baritone - 11/2 octaves (B2 to E4) Bass - 11/2 octaves ([opt. E2] A2 to E4).

Choral Choir (SATB) - Level 3 - Digital Download

SKU: A0.1047326

Composed by M. Durham, Samuel Stennett, and The Sacred Harmony. Arranged by Mark R Lewis. A Cappella,Folk,Praise & Worship,Sacred,Spiritual. Octavo. 12 pages. Mark R Lewis #651883. Published by Mark R Lewis (A0.1047326).

Bound for the Promised Land was a very popular revivalist spiritual in 19th century America. The text was written by Samuel Stennett in 1787 and the tune, popularized by the hymnbook The Sacred Harmony, was written by M. Durham in 1835. The text focuses on the singer's desire to get to the Promised Land. This version was arranged for a cappella SATB Ensemble by Mark R Lewis. All parts get a chance at the melody and there are several interesting key changes. Also available for TTBB Ensemble. The available sound samples come from this arrangement Vocal Range: Keys of D minor, Eb minor, and E minor Soprano - 1+ octave (C4 to Eb5) Alto - 1+ octave (Bb3 to D5) Tenor - 1+ octave (C3 to E4) Bass - 1 1/2 octaves ([opt. E2] A2 to E4).

Choral Choir,Choral,SAB Chorus - Level 2 - Digital Download

SKU: A0.1405934

By Michael A. Schmid. By Kenneth Martin. Arranged by Kenneth Martin. 21st Century,Contest,Easter,Festival,Sacred,Traditional. 19 pages. Martin Music Editions #988981. Published by Martin Music Editions (A0.1405934).

Experience the profound gratitude expressed in 'We Thank You, Lord', a stirring choral work with text by Michael A. Schmid. Specifically voiced for SAB choirs with an optional C instrument, this piece is a beautiful addition to any smaller choir's repertoire.  In 'We Thank You, Lord', the melody is shared and seamlessly handed off between Soprano, Alto, Tenor, and Baritone voices, allowing each section to shine. This unique approach ensures that both upper and lower voices have moments to be featured, creating a harmonious blend of sound.  The rolling piano accompaniment provides solid support to the voices, with melodies and harmonies delicately woven into the right hand. This thoughtful arrangement assists singers in delivering a heartfelt performance with depth and emotion.  For an added touch of beauty and versatility, 'We Thank You, Lord' offers the option to include a C instrument such as violin, flute, or oboe. This special addition enhances the overall sound and adds a layer of richness to the performance.  Additionally, parts are included for guitar/lead sheet, providing flexibility for accompaniment options.  Whether you're performing in a church, a community center, or any other venue, 'We Thank You, Lord' is a heartfelt expression of gratitude that will resonate deeply with audiences.  Don't miss the opportunity to share the message of thankfulness and appreciation with 'We Thank You, Lord' – a heartfelt choral piece that will uplift and inspire all who hear it!