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Books > Arts & Architecture > Music > Other types of music > Vocal music > Choral music
for SATB (with divisions) and piano or orchestra This joyful,
sprightly carol has been offprinted, by popular request, from Sir
David Willcocks: A Celebration in Carols. With its uplifting 7/8
time signature, memorable melody, rich and diverse textures, and
delightful orchestral accompaniment, this carol is a fitting
tribute to one of the great names synonymous with Christmas: David
Willcocks.
for CCBar & piano This fine arrangement of the popular
sea-shanty 'Haul away' provides enjoyment and learning
opportunities through call-and-response, opportunities for solos,
amusing (and historical) lyrics, and an appealing, catchy chorus. A
footnote makes further suggestions for choreography and how to
inject the drama of the open seas.
for CBar and piano This original composition combines several
traditional proverbs (Good things come to those who wait, What goes
up..., Where there's a will...), a quirky melody, a laid-back swing
feel, a whispering section, and an immediate melodic 'hook'.
Sufficient unison writing supports effective learning, for this age
group, and challenging duplet rhythms are made accessible within
helpful longer phrases. The music is well-suited to the text and
displays Bullard's accessible but highly accomplished compositional
technique.
for CCBar and piano This arrangement of the well-loved spiritual
celebrates gospel style in all its colours, through rhythm, close
harmony, memorable melody, and piano riffs. Ian Crawford is
Director of Music at The King's School in Macclesfield and musical
director of Cambiata North West.
for CCBar unaccompanied This title features the celebrated
spirituals 'Steal away' and 'My Lord, what a morning!'. With their
repeating choruses and verses, the arrangements are quick to learn
yet effective concert items, with healthy amounts of contrast and
pleasing dramatic effect, and sensitive treatment of the text.
for SSSAA unaccompanied Sanctum is a captivating setting of four
movements of the Requiem text, inspired by the landscape of the
west coast of Canada. Each movement depicts an aspect of Vancouver
Island (the water, mountains, wind, and sky), exploring landscape
as a place of healing and sanctuary. The combined effect is some of
Quartel's most atmospheric and dramatic writing to date.
for SATB (with divisions) and piano7L This charming French carol
(with E.C. Nunn's English translation) tells of the milkmaids
Jeanette and Isabella, who run to tell the shepherds to come and
see the baby Jesus in the stable. The 3/8 time signature and
interplay between the vocal lines give it a lilting and engaging
character. Scores and parts for the orchestral accompaniment are
available on sale and on hire/rental.
for SATB, piano, and optional saxophone, bass, and drum kit
Ophelia, Caliban, and Miranda puts a jazzy twist on three
Shakespearean characters. With newly written texts by Charles
Bennett, each of the three movements focuses in on Ophelia from
Hamlet and Caliban and Miranda from The Tempest. In the funky
opener, 'River Bride', the upper voices take the part of Ophelia,
while the tenors and basses play a lover figure. Caliban's song,
'Ariel taught me how to play', is a reflective ballad in which the
slave tells Miranda, who has escaped his advances, about the spirit
helper Ariel teaching him to play the saxophone. The final
movement, 'All good things come to an end', is a sassy yet tender
number, where Miranda bids farewell to her beloved husband
Ferdinand, declaring: 'I've gone back to the island to remember who
I am'. The piano part may be played as written or serve as a guide,
and a part for saxophone, bass, and drum kit is available
separately for jazz quartet accompaniment.
for SATB and piano Written in memory of John Scott, the celebrated
organist and choirmaster, who died in 2015, The Real of Heart is a
beautifully tender and reflective piece. The anonymous text reminds
us to remember things in their best form, 'untarnished and
supreme', and Chilcott's music is the perfect match. Arc-shaped
melodies and a variety of choral textures are complemented by
gently flowing arpeggio figures in the piano, with a central
triplet section providing contrast.
for CCBarBar and piano This celebrated Spiritual has a strong,
appealing, comfortable melody suitable for boys' choirs, and is
arranged skilfully here for four-part choir and piano, with Ia
cappella sections and affecting modulations. Suited to more
established choirs, it has plenty of opportunities for musical
growth.
for SATB with divisions, unaccompanied This setting of texts from
Cymbeline and The Merchant of Venice, and Sonnet 98, is
characterised by inventive textures and vibrant word-setting. The
harmonic language is for the most part diatonic, but never plain,
and there are some pungent dissonances, as the contrasts between
and within the texts are laid bare in music of evocative power.
for SATB and small orchestra Full score for this classic Rutter
anthem, which is also available in John Rutter Anthems and in a
version for upper voices.
for SATB and piano/small orchestra Christmas Lullaby was
commissioned in 1989 by the Bach Choir in celebration of the
seventieth birthday of its conductor, Sir David Willcocks. The
haunting melody of the verses and the reflective refrain of 'Ave
Maria' have made this an immensely popular carol.
for SATB unaccompanied In this unaccompanied setting of a text by
contemporary poet Thomas A. Clark, Jackson skilfully evokes the
magical atmosphere of the onset of nightfall. This is a striking
and complex piece, with highly imaginative word setting.
for SATB unaccompanied Described by Elgar as an elegy for
unaccompanied chorus, this mournful, reverent, and dignified
setting was composed for a service commemorating Queen Victoria on
the anniversary of her death. The text is by Cardinal John Henry
Newman, whose poem The Dream of Gerontius was set by Elgar in one
of his most enduringly popular works.
for SATB and optional congregation with two keyboards, timpani, and
percussion, or full orchestra or concert band Setting this classic
American patriotic song, which dates back to the Civil War, Rutter
makes prominent use of trumpets and percussion to create a rousing
arrangement. The setting is equally effective when accompanied by
the two keyboard parts of the reduced vocal score, which may be
performed by two pianos, piano and organ, piano and synthesiser, or
two synthesisers. Orchestral and band parts are available on hire.
for SATB (with divisions) unaccompanied This festive arrangement of
a traditional German carol features an English text, translated and
adapted by John Rutter himself. The first two verses are sung by
soloists (or alternatively by a semi-chorus over a background of
choral hums) before all singers come together in the final verse
and then fade into solemn stillness.
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