Karen Marrolli provides an original melody for a text first published anonymously in London in 1878. Set in four parts with a fair amount of unison singing the almost-folk-like tune is singable and satisfying. The text speaks of God's unending love which reaches for us even as we think we are the ones reaching out. Duration: 2:15

A mysterious introduction using keyboard optional bells and organ gives way to a slow lyrical setting of the text in 6/8 meter. Almost like a courtly dance the tempo follows the spirit of the text now a little faster now relaxing. Material from the intro returns then the musical material is almost through-composed reflecting the emotional arch of the words. Duration: 3:30

Dedicated to and premiered by the Baylor University Men's Choir this piece is a sure-fire winner for your TTBB ensemble or chorus. Whether it's the beautifully flowing piano accompaniment the sensitive choral writing or the beautiful shifting harmonies you'll find a lot to like here and so will your singers and listeners. Duration: 4:15 Part of the Baylor University Collegiate Choral Series.

Anthem for the Mandatum-Scored for unaccompanied SATB choir with tenor soloist the text is appointed in the Book of Common Prayer to take place during the footwashing. The piece is useful at any Holy Thursday/Maundy Thursday service. Brief sections of chordal chanting on text give this a liturgical and formal feel. The choral writing surrounding the chant is sonorous and beautiful. Duration: 2:30

The composer conceived this as a suite and it works very nicely as such but the individual movements are so sufficient and charming we didn't want to discourage you from exploring them on their own. Lots of creativity is brought to these five hymntunes! Contents: Fanfare on Monk’s Gate Meditation on Greensleeves Scherzettino on Jacob’s Ladder Prelude on Stowey Toccata on Kingsfold

Composer Terre Johnson sets an adaptation of Isaiah 40:21 in the first person so it appears as if God is speaking through the choir in this anthem of reassurance. The violin and clarinet sometimes support and sometimes soar above the choir. Easy unison writing makes this a useful and satisfying offering especially appropriate for the Fifth Sunday after Epiphany Year B. Duration: 3:00

10 Hymn Preludes for Treble Instrument and Piano-Ten creative and interesting hymn preludes. To acknowledge how many people are asking for worship materials for those who must lead from the piano these preludes use piano and a treble instrument.

Part of our Presbyterian Association of Musicians Series this hymn-anthem is based on a new tune of the composer's own devising. The 1806 text is given a lyrical treatment rather than the usual rollicking one and the result is expressive and effective. The first stanza is in unison the second split between TB and SA alternating. The third stanza is set for SATB voices. The fourth and final stanza has lower voices in unison and sopranos descanting. Duration: 4:10Part of our Presbyterian Association of Musicians Series this hymn-anthem is based on a new tune of the composer's own devising. The 1806 text is given a lyrical treatment rather than the usual rollicking one and the result is expressive and effective. The first stanza is in unison the second split between TB and SA alternating. The third stanza is set for SATB voices. The fourth and final stanza has lower voices in unison and sopranos descanting. Duration: 4:10

Kathy Gladen Johnson's composition for unaccompanied SATB divisi voices sets the incarnation stanzas of this classic text adding Lully lulla lullay as a tag to each stanza to create a unique Christmas piece. Unexpected harmonies accent the short work drawing out the richness of the imagery. Ample places to breathe and dynamic variations facilitate a meditative expressive performance. Kathy Gladen Johnson's composition for unaccompanied SATB divisi voices sets the incarnation stanzas of this classic text adding Lully lulla lullay as a tag to each stanza to create a unique Christmas piece. Unexpected harmonies accent the short work drawing out the richness of the imagery. Ample places to breathe and dynamic variations facilitate a meditative expressive performance.

The poetic early 20th-century text explores the vast reach of God's love by contrasting it to human experiences. The first half of Benjamin Kornelis's tune is sturdy and pentatonic—lending an early American feel and the second half softens introducing the 7th of the scale. Additional contrasts—between unison and divisi voices accompanied and a cappella sections and the build-up and release of tension—act in service to the text throughout. The piece ends after a climax in the last stanza with a gentle restatement of the opening phrase: The love of God is greater far than tongue or pen can ever tell. Duration 3:00The poetic early 20th-century text explores the vast reach of God's love by contrasting it to human experiences. The first half of Benjamin Kornelis's tune is sturdy and pentatonic—lending an early American feel and the second half softens introducing the 7th of the scale. Additional contrasts—between unison and divisi voices accompanied and a cappella sections and the build-up and release of tension—act in service to the text throughout. The piece ends after a climax in the last stanza with a gentle restatement of the opening phrase: The love of God is greater far than tongue or pen can ever tell. Duration 3:00

Written in a sparkly joyous 6/8 this is brand new music set to the beloved traditional text. He has specified piano for the accompaniment but one can hear it being done on organ just as well. Alternatively there are parts for flute oboe cello and harp. This composer's previous settings of well-known Christmas texts with brand new tunes have been very popular. Duration 3:30 Chamber Ensemble: Flute Oboe Cello and Harp Written in a sparkly joyous 6/8 this is brand new music set to the beloved traditional text. He has specified piano for the accompaniment but one can hear it being done on organ just as well. Alternatively there are parts for flute oboe cello and harp. This composer's previous settings of well-known Christmas texts with brand new tunes have been very popular. Duration 3:30 Chamber Ensemble: Flute Oboe Cello and Harp

This score is based on the old British Carol I saw three ships. There are seven variations preceding the fugue. After the theme has been stated the first two variations extend the theme: the third variation introduces the pedals. The next three variations are in the style of Baroque genres: the fourth variation is a noël written as an homage to Daquin: the fifth variation is a figured chorale in which the chorale Von Himmel hoch da komm ich her makes its first appearance: and the sixth is a Handelian rigaudon. The seventh variation is a “carillion” in which Von Himmel hoch reappears. After a dramatic dissonant chord the score concludes with a chorale fugue during whichVon Himmel hoch appears in the pedal. Composed for and dedicated to David Higgs in celebration of his twenty-five years of teaching at the Eastman School of Music. Duration: 6:45.

TTBB Full Score

TTBB-The familiar Austrian carol is presented here in a tender setting for TTBB voices with keyboard accompaniment. The text is new but vased on the Austrian carol. Close harmonies contrasted by unison sections create added appeal. Stanza two is arranged for 3-part voices with the baritones/basses carrying the melody. This carol may be performed with the addition of optional strings flute and oboe. Duration 3:18 The familiar Austrian carol is presented here in a tender setting for TTBB voices with keyboard accompaniment. The text is new but vased on the Austrian carol. Close harmonies contrasted by unison sections create added appeal. Stanza two is arranged for 3-part voices with the baritones/basses carrying the melody. This carol may be performed with the addition of optional strings flute and oboe. Duration 3:18

I Shall See for SATB a cappella by Michael John Trotta.

The Beatitudes-This through-composed setting moves peacefully through the moods of the text with a unifying element of gentle triplets in the accompaniment. The tonal center changes as if to center on each blessed and then midway settles back into D major for a calm but assuring conclusion. Duration: 4:00

This text in the Sacred Harp tradition was first published in 1891 and is filled with enthusiasm for singing and the joy of faith. The musical setting is new but hearkens back to early American shape-note singing. The harmonies are straightforward and the rhythmic piano accompaniment serves to maintain the energy of the message. Duration:3:15

Fraction Anthem

According to John

Fraction Anthem