John Robert Poe: Important Event, An/Marching Tune

Features playing both forte and piano, fifths and slurs.

Sonata Pian e Forte from Symphoniae Sacrae

Sonata Pian e Forte from Symphoniae Sacrae

Sonata Pian e Forte from Symphoniae Sacrae

Sonata Pian e Forte from Symphoniae Sacrae

Sonata Pian e Forte from Symphoniae Sacrae

Sonata Pian e Forte from Symphoniae Sacrae

Sonata Pian e Forte from Symphoniae Sacrae

Sonata Pian e Forte from Symphoniae Sacrae

Exsultate Justi

This celebratory Latin text forms the framework for this gospel flavored work for young voices. The form of the music is ABA leading to a layered section that builds to a dynamic and forte conclusion. Excellent for contest,concert and festival performances! Duration: ca. 3:10.

Mary Dolen: Circle Dance

A lively dance tune with a Celtic flair! Mary Dolen's solo for intermediate pianists provides a terrific study in dynamic control. There are both frequent and subtle changes from mezzo-forte to mezzo-piano and piano, as well as furthter rhythmic phrasing with the left hand imitating a drum or a bagpipe drone, underneath a flowing right hand.

Greg Gilpin: Music's Echo (TB)

This a cappella best-seller is now available for TB voices! Using the optional percussion accompaniment creates a Renaissance sound and a madrigal effect. A simple melody starts of the work, then each part joins in with its own melody. Soon the polyphonic singing becomes gloriously forte, building to a strong ending that includes an optional descant.

Kevin Costley: Mountain Rhapsody

The grandeur of the mountain is felt by an opening section of octaves in the LH, and forte triads played with both hands. The middle section is more idyllic in nature, with a reflective and melodic cantabile singing style depiction. The beginning theme returns and is transformed into a sixteenth-note ascending pattern, conveying the climax of rising to the top of the mountain!

Windsong

The text of this reflective and expressive work provides a rich metaphor for healing as it suggests that difficulty and sorrow can be used redemptively in our lives. At the point in the text where the phrase a frail bell posed a chime is heard, the unmetered voices evoke the sound of a wind chime, building to a forte, then gradually diminishing to a quiet conclusion. With piano, wind chimes and finger cymbal.

Windsong

The text of this reflective and expressive work provides a rich metaphor for healing as it suggests that difficulty and sorrow can be used redemptively in our lives. At the point in the text where the phrase a frail bell posed a chime is heard, the unmetered voices evoke the sound of a wind chime, building to a forte, then gradually diminishing to a quiet conclusion. With piano, wind chimes and finger cymbal.

Gospel Magnificat

(My Soul Doth Magnify the Lord). The composer of the acclaimed Gospel Mass brings us his Magnificat. Robert Ray's invigorating and powerful gospel setting will thrill audiences and singers alike. With a theme of magnifying the name of the Lord, this work includes moments ranging from forte to quiet and contemplative. The length of this work will require budgeting some extra rehearsal time. Available: SATB, SSA, Instrumental Pak (Rhythm), ChoirTrax Cassette (rhythm section accompaniment), ChoirTrax Cassette (full orchestra accompaniment), Preview Cassette (full orchestra), Preview Pak. Performance Time: Approx. 13:30.

George Frideric Handel: Zadok The Priest (7-Part Ed. Edouard Silas)

Handel wrote his magnificent Zadock the Priest for the Coronation of King George II and Queen Caroline in 1727, and it has been performed at every British coronation since then. It is often used in royal weddings, as well, and is the television theme for the UEFA Cup champsionships.This Zadock the Priest is scored for SSAATB Chorus and Piano. Its familiar opening no longer carries the surprise element it once did, with the mezzoforte String passage leading to a sudden tutti forte entrance with the words ‘Zadok the Priest’, but it retains its effectiveness. The middle passage is a dancelike ¾ rhythm before the work returns to stately 4/4 for the God Save the King, alleluias and amens.

Prison : E minor - Op. 83,1

Paul Verlaine spent 555 days in prison because he had shot his fellow poet and companion Arthur Rimbaud with a revolver whilst in a drunken state. This spell in prison evidently fostered his artistic inspiration, so at least it did his literary career some good. The world of French literature even gave Verlaine the unofficial title “Prince des Poètes”. In the poem Prison the author was able to draw on his very own experiences: the monotony behind bars (expressed musically in Gabriel Fauré’s setting through the repeated target note of b), the inner rebelling against this monotonous stillness (surprising forte dynamic), and the reproachful self-questioning: “Was hast du getan?... Was hast du mit deiner Jugend getan?” [What have you done? ... What have you done with your youth?] (diminishing piano). Denis Rouger, founder and director of the figure humaine chamber choir, has arranged art songs for solo voice and piano for his ensemble, in the process carefully adapting these to the needs and expressive possibilities offered by a larger ensemble. Music edition for the successful CD “Kennst du das Land...” (Carus 83.495).