An Alleluia Flourish

Chamber Music Volume 3: Four Joyce Songs

A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form. This movement is the first. The text is by Nathaniel Schlott (1701) and it's paired with music in the form and feel of a rather jaunty Saltarello despite the grim title! Duration: 1:30 A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form. This movement is the first. The text is by Nathaniel Schlott (1701) and it's paired with music in the form and feel of a rather jaunty Saltarello despite the grim title! Duration: 1:30

A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form. This movement is the final one. The text from Psalm 30 (KJV) is set to a sprightly Gigue. This movement differs from the other three in that it is written for double SATB chorus. But the textures are light and dance-like perhaps not requiring huge forces. Duration: 1:30A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form. This movement is the final one. The text from Psalm 30 (KJV) is set to a sprightly Gigue. This movement differs from the other three in that it is written for double SATB chorus. But the textures are light and dance-like perhaps not requiring huge forces. Duration: 1:30

This serene music is an arrangement of Scene XIV from the composer's oratorio Paradiso which is a setting of the third part of Dante's Divine Comedy (Commedia). The music is an evocation of Dante's passage into the hightest realms of heaven. The vocal parts are wordless unaccompanied and sublime representing a song that accompanies his transformation of consciousness as he is surrounded by love that moves the sun and other stars. Duration 5:45 This serene music is an arrangement of Scene XIV from the composer's oratorio Paradiso which is a setting of the third part of Dante's Divine Comedy (Commedia). The music is an evocation of Dante's passage into the hightest realms of heaven. The vocal parts are wordless unaccompanied and sublime representing a song that accompanies his transformation of consciousness as he is surrounded by love that moves the sun and other stars. Duration 5:45

Except from the classic Susa collection Carols and Lullabies. Except from the classic Susa collection Carols and Lullabies.

“Angels Singing ” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices “o’er the mountains guided by a Holy light.” A few angels (Tenor voices) sing in the distance. The carol now shifts to full chorus. Often the Basses portray the shepherds and the Tenors sing as angels. The Clarinet plays a featured role enhancing the message of the lyrics. Duration: 4:30 “Angels Singing ” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices “o’er the mountains guided by a Holy light.” A few angels (Tenor voices) sing in the distance. The carol now shifts to full chorus. Often the Basses portray the shepherds and the Tenors sing as angels. The Clarinet plays a featured role enhancing the message of the lyrics. Duration: 4:30

Calling to mind compositions written for traditional men’s singing societies in Germany the harmonies and lyric character of this arrangement are as one might hear in a Christkindlmarkt in Northern Europe. This arrangement is especially useful when programming a Christmas in Germany-themed concert and/or when it is best for a men’s ensemble to engage with only limited lines of German poetry. Duration: 3:00 Calling to mind compositions written for traditional men’s singing societies in Germany the harmonies and lyric character of this arrangement are as one might hear in a Christkindlmarkt in Northern Europe. This arrangement is especially useful when programming a Christmas in Germany-themed concert and/or when it is best for a men’s ensemble to engage with only limited lines of German poetry. Duration: 3:00

In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the fifth and final movement Vidimus stellam based on the Epiphany text We have seen his star in the East. The organ begins quietly asif in awe with the same material the choir will sing as Vidimus stellam. The mood remains quiet and adoring until it is interrupted by a majestic restatement of the opening material. A gentler section follows Venit lumen tuum (Your light is come). And again bursting out the same text is repeated in a grand conclusion to this movement and the entire work. In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the fifth and final movement Vidimus stellam based on the Epiphany text We have seen his star in the East. The organ begins quietly asif in awe with the same material the choir will sing as Vidimus stellam. The mood remains quiet and adoring until it is interrupted by a majestic restatement of the opening material. A gentler section follows Venit lumen tuum (Your light is come). And again bursting out the same text is repeated in a grand conclusion to this movement and the entire work.

In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the fourth movement Surge illuminare based on the Epiphany text Rise shine...for the glory of the Lord is risen upon you. Like thethird movement this begins dramatically with the men first then the women proclaiming the opening text. At measure 11 the tempo launches into Vivo with a 3+3+2 feeling and mixed meters. Rhythmic dance-like and fun. The organ accompaniment sometimes doubles sometimes punctuates. The movement ends much as it began in the dramatic slow statement of Surge illuminare. In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the fourth movement Surge illuminare based on the Epiphany text Rise shine...for the glory of the Lord is risen upon you. Like thethird movement this begins dramatically with the men first then the women proclaiming the opening text. At measure 11 the tempo launches into Vivo with a 3+3+2 feeling and mixed meters. Rhythmic dance-like and fun. The organ accompaniment sometimes doubles sometimes punctuates. The movement ends much as it began in the dramatic slow statement of Surge illuminare.

Often referred to as the Black National Anthem here is a new arrangement for 2-part treble voices. Young people need to know this song and its importance in American history. Singers of all ages need to sing this song and know this inspirational anthem of faith and hope. Often referred to as the Black National Anthem here is a new arrangement for 2-part treble voices. Young people need to know this song and its importance in American history. Singers of all ages need to sing this song and know this inspirational anthem of faith and hope.

Incorporating the concept of drones (included on every part) here is the second volume of tuning chorales from Richard Saucedo. These will become invaluable to helping your players strive for tone development balance and blend in addition to the focus on intonation.

Stomp! Score

Using the familiar carol Deck the Hall as a starting point Richard has created a high-energy fantasy perfect for the holiday season. The melody is passed from section to section amid a variety of textures and moods. Entertaining and festive! Using the familiar carol Deck the Hall as a starting point Richard has created a high-energy fantasy perfect for the holiday season. The melody is passed from section to section amid a variety of textures and moods. Entertaining and festive!

An a cappella setting for SATB of Gabriel Fauré’s famous Pie Jesu taken from his Requiem. In Barnaby Smith’s arrangement the famous melody is framed at the start and end by atmospheric plainsong. As recorded by VOCES8. An a cappella setting for SATB of Gabriel Fauré’s famous Pie Jesu taken from his Requiem. In Barnaby Smith’s arrangement the famous melody is framed at the start and end by atmospheric plainsong. As recorded by VOCES8.

The Sing a Merry Christmas! Series offers three medleys of contemporary anthems. Each has optional narration/drama which can be added for a special touch. Perform the medleys separately during the Christmas season or together to create a complete Christmas “mini-musical” presentation. “It's a Wonderful Christmas” arranged by Mark Hayes includes: The Most Wonderful Time of the Year The Christmas Song (Chestnuts Roasting on an Open Fire) Because It's Christmas. Available: SATB Instrumental Pak ChoirTrax CD.

Lively Guitar Tunes is a collection of 38 lively up-tempo tunes arranged for guitar. The collection includes fiddle tunes reels hornpipes jigs sea chanteys bluegrass old-time melodies and some original compositions–an ideal collection for adding to repertoire improving picking technique or just having fun playing the guitar. Backup chords and tablature are included and each tune is recorded with melody and guitar accompaniment. Includes access to online audio.Lively Guitar Tunes is a collection of 38 lively up-tempo tunes arranged for guitar. The collection includes fiddle tunes reels hornpipes jigs sea chanteys bluegrass old-time melodies and some original compositions–an ideal collection for adding to repertoire improving picking technique or just having fun playing the guitar. Backup chords and tablature are included and each tune is recorded with melody and guitar accompaniment. Includes access to online audio.

This text found in the 1978 Lutheran Book of Worship has been given a new tune by the composer until the fourth stanza when the tune PICARDY takes over for a majestic ending using the text King of Kings yet born of Mary from a different source. Accessible unison and SATB writing with a few brief places where men's voices and women's voices sing alone. Duration: 4:00 This text found in the 1978 Lutheran Book of Worship has been given a new tune by the composer until the fourth stanza when the tune PICARDY takes over for a majestic ending using the text King of Kings yet born of Mary from a different source. Accessible unison and SATB writing with a few brief places where men's voices and women's voices sing alone. Duration: 4:00

While this ancient Greek evening hymn text Phos hilaron is set for a cappella SATB divisi voices it is within the reach of most mixed-voice choirs. Michael J. Trotta makes tasteful use of seconds in the harmonies lending a modern sound to the largely homophonic writing. A contrasting middle section assigns a rhythmic melody to the sopranos and builds to a climax before returning to the original unhurried material. Observing the dynamic and tempo variations will ensure an expressive performance. Duration 3:00While this ancient Greek evening hymn text Phos hilaron is set for a cappella SATB divisi voices it is within the reach of most mixed-voice choirs. Michael J. Trotta makes tasteful use of seconds in the harmonies lending a modern sound to the largely homophonic writing. A contrasting middle section assigns a rhythmic melody to the sopranos and builds to a climax before returning to the original unhurried material. Observing the dynamic and tempo variations will ensure an expressive performance. Duration 3:00

This Epiphany carol by Julian Revie for 3-part treble voices and organ was written for a children's choral festival. The inventive organ accompaniment occasionally mimics shimmering starlight. The melodic phrases rise and fall very naturally sung in unison or 2 parts until the final section of the piece where 3 parts sing canonically. The original text is both poetic and immediate- To follow the star is our joy our delight sums up the radiant and mystical nature of this piece. Duration 5:00This Epiphany carol by Julian Revie for 3-part treble voices and organ was written for a children's choral festival. The inventive organ accompaniment occasionally mimics shimmering starlight. The melodic phrases rise and fall very naturally sung in unison or 2 parts until the final section of the piece where 3 parts sing canonically. The original text is both poetic and immediate- To follow the star is our joy our delight sums up the radiant and mystical nature of this piece. Duration 5:00