The well-known song Shut de Do! has been arranged in combination with an original melody and Swahili text to create a multicultural celebration that is simply dynamic. Powerful harmonies and
From Argentina comes this lovely a cappella setting of the traditional Ave Maria text for treble choirs. The resonant harmonies will ring with a tranquil beauty, and this piece will find a home in concert
This is a funky arrangement of Beethoven's Ode to Joy with an English text by Henry van Dyke. The well-known melody is arranged in 12/8 time with syncopation, giving it a jazzy, gospel feel, while
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"May you always remember when the shadows fall, you do not walk alone." This ethereal setting of a traditional Irish blessing is scored in a variety of voicings with piano. Deft strokes of Celtic styling
A text from the Book of Common Prayer, as timely today as when it was originally penned in 1662, is particularly engaging in this relaxed and soulful gospel setting. This setting for SATB voices and piano
Sacrilege or a stroke of genius? This arrangement takes the first movement of the famous Moonlight Sonata by Beethoven and has added a four-part choral movement to it, which is underlain with the
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Perhaps Faure's most famous choral work apart from his Requiem, this 1865 work is an enduring choral classic worthy of study. This edition uses the French text only and gives options to purchase with or
The cries of the damned open the powerful second movement from the Mozart Requiem. “Day of wrath, day of judgment” makes a dramatic choral statement with a mostly homophonic texture. The piano
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This is the fourth and final movement in the song cycle Appalachian Stories for choir with fiddle accompaniment. This final movement speaks to faith: the belief that a better world awaits us on the
Opening with a plaintive soprano solo, this original work builds with rhythmic intensity in a style that borrows elements from the African-American spiritual tradition, blues, and jazz. This biblical text
A rhythmic keyboard introduction sets the stage for this classic festival opener for developing choirs. Approachable vocal ranges and the use of repetition assure success, while a bit of mixed meter along
With a fun gospel texture, this work sets the Latin text with a bluesy groove. A marvelous piano accompaniment provides support for rhythmic choral parts which are written with musically satisfying yet
"Lead, kindly Light, amid the encircling gloom; the night is dark, and I am far from home; lead thou me on! Keep thou my feet; I do not ask to see the distant scene; one step enough for me." This gorgeous
As performed by Brigham Young University's a cappella group BYU Vocal Point, this Irish folk hymn sparkles in a contemporary a cappella setting. Full harmonies surround the solo lines, creating a texture
A Latin text is set with syncopation and mixed meters in this energetic selection. Starting with a vocal unison and building the chord out from there, the rhythmically exciting choral parts are complemented
With a slow gospel groove, this accessible concert work sets the traditional Latin text with full, rich harmonies in a slow 6/8. The piano accompaniment supports the harmonic motion while adding to the
Modern cluster harmonies within an a cappella texture, this setting of Christian Robert Shockley's text is inspired by the writings and sayings of Mr. Fred Rogers. The SATB texture features some divisi and
With an uplifting text, skillfully written vocal lines and a light and supportive accompaniment, this is a solid opening selection for concert or contest use. The limited-range melody based on the word
A number of movements from Requiem for the Living by Dan Forrest comfortably stand alone. The Sanctus, movement IV from the work, is scored for divisi mixed chorus with keyboard or
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Set for either a cappella mixed or treble voices, this work is exhilarating and powerful with a rhythmic drive that is most captivating for both singers and audience.
This a cappella setting of the well-known Sacred Harp hymn moves from simple to complex, beginning with the melody introduced by the tenors and basses, then moving to open harmonies and canonic sections
This arrangement of a simple Flemish Renaissance canon by Clemens non Papa for SSA voices and five handbells - which could be played by the singers - is typical of canons in that it sounds more complex than