Collegiate Repertoire

This haunting and soulful treatment of the well-known American folk melody includes instrumental echoes of the spiritual Sometimes I Feel Like a Motherless Child which adds further depth of

A new edition of this 16th-century Lenten responsory.

The traditional American folk canon WHEN JESUS WEPT has been creatively deconstructed so that no more than two parts are in canon at any given time, with countermelodies in the other parts filling out the

Here is an elegant a cappella arrangement of this well-known traditional spiritual that combines gentle and evocative harmonies while moving toward a heartfelt statement at the very end. It will work well

The arrangement of this African American spiritual is both accessible and gorgeous. A short choral section is used for the introduction, interludes between verses, and at the conclusion, adding cohesion to

The beloved Latin text is set in an elegantly simple texture with conservative ranges. Straightforward rhythms and moments of release create a tapestry of sound that surrounds the chant line. In a variety

Commissioned by Sonoro for the second installment of their Choral Inspirations project, this piece was composed as a response to Antonio Lotti's Crucifixus from Credo in F. Use of suspensions,

In a masterful blend of early musical style with modern melody and harmonies, this beautiful setting of the traditional text shines with elegant simplicity. A rubato piano opening leads to a unison

This stunning setting of the traditional Latin text is so rich and so deep that the music perfectly matches the quietly profound ardor of the timeless plainchant. The clarinet provides an ethereal

Caligaverunt Oculi Mei (1585) is the ninth responsory for the matins of Good Friday. Scored for unaccompanied mixed voices, the text combines scriptures from Job and Lamentations as an allegory

There are more famous settings or this text, but none with such tenderly expressive lines. This short piece demonstrates the composer's ability to write elegant counterpoint, beautifully crafted and

With opening nods to Palestrina, this a cappella motet reveals an appreciation for Bruckner as well.  Passionate contrapuntal lines expose beautiful dissonances that complement the age-old text, used

This selection combines the traditional with 21st century expression and looks to the eternal with hope and glorious musical vision. Lovely soaring lines in each vocal part create a beautiful choral

This remarkable new arrangement for SATB chorus and piano focuses on the inherent drama of the text. Each verse expresses a different reaction to its question about the Crucifixion. The piano accompaniment,

The original tune and lyrics for this piece are by William Billings and have been adapted for mixed chorus, optional percussion and piano by Gwyneth Walker. The mournful spirit of early Americana in the

Sometimes the mere thought of Christ's immeasurable love can wash over the believer in an overwhelming wave. This choral anthem is reserved for those moments in worship. Using Charles Wesley's

This original a cappella piece by composer Mark Miller is based on the traditional text Dona Nobis Pacem. A solo singer opens with the melody, and as the choir enters the piece gradually builds,

This work sets this traditional text quite simply to reflect the foot-washing moment of the Good Friday liturgy in a beautiful motet which is both charming and satisfying to sing. In an entirely tonal

Part of the National Collegiate Choral Organization Choral Series. This edition still contains many of the editorial touches of Thomas Dunn's 1976 edition; however, when the NCCO asked that it be included

This chorus from Brahms' "A German Requiem" is a perennial festive favorite and a standard work for better choirs in schools and churches. This edition offers the English text only and utilizes piano

Part of the extensive library of Shaw–Parker choral settings, this expressive arrangement of an early American hymn tune is handled with care and dignity.

Effective, simple part-writing and exceptional use of dynamics have made this piece an icon of sacred choral literature. There is just no better way to express the meaning of the cross, particularly during