Various Arrangers: Broadway Choral

Sun And Moon - arr. Philip Lawson All I Ask Of You - arr. Bob Chilcott I Have Dreamed - arr. Kirby Shaw Seasons Of Love - arr. Deke Sharon / Anne Raugh SATB a cappella

“I Have Dreamed” - Lush vocal textures and expressive harmonies are the highlight of this well-crafted a cappella setting of the classic ballad from Rodgers & Hammerstein's The King and I. An excellent showcase for concert groups. “Sun & Moon” - Here is the tender ballad from Miss Saigon in a warm and expressive a cappella setting. The imploring melody emerges from the rich vocal accompaniment like a beacon. Stunning! “All I Ask Of You” - The King's Singers give special treatment to this Andrew Lloyd Webber classic from The Phantom of the Opera! “Seasons Of Love” - Rhythmic challenges will reward more advanced a cappella ensembles in this arrangement from the Broadway hit, RENT!

Bruce Sled: Fun and Nonsense

Bingo Bango Jing-ga-lye-ya La-ba-lin-da Simba Samba SATB a cappella

“Jing-ga-lye-ya” has been an instant success for everyone who's tried it. Using nonsense words, it is rhythmic and upbeat, and uses cyclical repetition in the parts creating an incredibly catchy groove! A must-see. “La-ba-lin-da” - This gentle, lilting song is flirtatious, with a swinging Latin beat. “Simba Samba” Here we go! This is a Latin-style romp. Women will be swinging their hips and men will be looking ever so suave! (At least that's the theory.) “Binga Bango” is another up-beat and exciting piece from Bruce. Perfect for High School or community choirs.

Andy Beck: A Cappella Overtures

SATB a cappella

Six world-famous opera overtures arranged for SATB choirs with a sense of adventure. Sung entirely on nonsensical “dops” and “bops,” this fast-paced musical collage is guaranteed to both entertain and educate! Includes snippets from: Fidelio, The Barber of Seville, Die Fledermaus, The Magic Flute, The Marriage of Figaro, and William Tell.

Greg Jasperse: Voices Dances Vol 1 - 5

Voicedance I Voicedance II Voicedance III Voicedance IV Voicedance V SATB a cappella

Voice Dance, a wordless vocal dance celebrating the human voice and the joy of singing together is perfect for any occasion. Written for nationally-known educator, arranger, and vocalist Jennifer Shelton for her marriage to well-known drummer Steve Barnes, this composition will teach your ensemble blend, alternative time signature as well as the freedom found in singing together. A musical challenge your students will love. Voice Dance II, continuing the wordless vocal dance celebrating the human voice and the joy of singing together. Bright with bounce and musical joy, this piece is perfect for any occasion. VoiceDance III. Greg has created a wordless vocal dance that has an African feel full of rhythmic, percussive and forward-moving vocal expression. Use of repetitive lines allows this work to be learned rather easily. Outstanding for festivals, concerts and even multicultural events! VoiceDance IV Soft consonants fill the jazz syllables while the energetic music of rhythm and vocal textures paint an incomparable picture of vocal sound. The piece is made up of repetitive phrases and sections, so learning is easier than imagined when first hearing this extraordinary choral.

Frank Bridge: Peter Piper

Peter Piper 3 parts a cappella

Here is a delightful extended arrangement of the classic children's nursery rhyme. The tongue-twister becomes a fun and challenging piece to sing. It also helps with annunciation, teaches alliteration and a useful teaching tool as well as a great deal of fun for both the performers and audiences alike.

Kirby Shaw: Joy Sounds

A wordless, a cappella celebration of the human voice and the joy that comes from singing together. This joyful celebration of the human voice is wordless except for “Imba wimbo wakona” which is Swahili for “sing songs forever.” A great showcase for all choirs. Exciting!

Various Arrangers: Songs of Love

Love - arr. Bob Chilcott You and Me - arr. Bob Chilcott Now Sleeps the Crimson Petal - arr. Jonathan David My True Love Hath My Heart - arr. John Rutter SATB a cappella

"You and Me" comprises two expressive love songs, each exploring a different side of love. 'Brightness' is a rapturous hymn to a beloved, its gentle syncopations and flexible rhythms building to a passionate intensity before the piece ends with a final, wistful refrain. 'The Good Side of Me', with text by Elizabeth Jennings, employs colourful harmonies to tell of a more complex, uncertain love, before reaching an affirmative, peaceful end. "Love" is is a quiet, expressive piece setting Tennyson’s poem very simply. It has an easy solo line for soprano and tenor. Memorable lilting melodies are woven together in a texture of free counterpoint in this lush setting of "Now Sleeps the Crimson Petal" that captures the quiet ecstasy of Tennyson’s famous love poem. Rhythmically challenging but very rewarding for the singer, this would make an ideal opener or closer for a program of love songs.

Ruth Watson Henderson (arranged Doreen Rao): Shades of Love

She Walks In Beauty Annabel Lee When We Two Parted Awake My Heart Remember SATB a cappella

The path of love is not always sunlit. In "Shades of Love," the music expresses a variety of emotions brought on by the diverse stages of love: ecstasy, tenderness, bitterness, wistfulness, eternal devotion. The colours and harmonies shift to match the mood of the poetry as each song portrays a different aspect of love.

Benjamin Britten: Five Flower Songs

To Daffodils The Succession of the Four Sweet Months Marsh Flowers The Evening Primrose Ballad of Green Broom SATB a cappella

Both beautiful and inspiring words and music with these delightful songs.

Morten Lauridsen: Les Chansons Des Roses

Contre Qui Rose De Ton Reve Trop Plein La Rose Complete En Une Seule Fleur Diriat-On SATB a cappella

"Les Chansons des Roses" is a collection of compositions based on the poetry of Rainer Maria Rilke. Says Lauridsend of his selection: "[Rilke's] poems on roses struck me as expecially charming, filled with gorgeous lyricism, deftly crafted and elegant in their imagery. There exquisite poems are primarily light, joyous and playful, and the musical settings are designed to enhance these characteristics and capture their delicate beauty and sensuousness."

Theron Kirk: Three Love Songs

I Love Love - Shelley Life's Delight - Thomas Campion Love is Life's End - Fletcher SATB a cappella

With over 1,000 published arrangements the late Theron Kirk was a talented and prolific arranger. Here's a collection of unaccompanied love songs - "I Love Life" is a brisk exuberant setting of words by Shelley. "Love is Life's End" is a contemplative setting of words by Phineas Fletcher. "Life's Delight" is a setting of words by Thomas Campion where the music begins delicately and accelerates to a full-voiced climax. Add a little love to your repertoire!

Eric Whitacre: Three Flower Songs

Go, Lovely Rose With a Lily in Your Hand I Hide Myself SATB a cappella

Go, Lovely Rose is structured around the cyclical life of a rose, and is connected throughout by the opening 'rose motif,' a seed that begins on the tonic and grows in all directions before it blossoms, dies and grows again. Each season is represented. With A Lily In Your Hand is from a prodigious series of poems arranged in thematic "suites," later collected and in 1983 published as Suites. The original poem is titled: Curva. I Hide Myself is a simple little song. All of the musical suggestions come from a careful study of the poem, a quiet, passionate soul occasionally speaking a little bolder than the age will allow. She loves almost to the point of distraction, and this mood must prevail in the performance: shy and sullen, her passion surging to the surface only to sink back into the silence that is herself.

Ralph Vaughan Williams: Three Shakespeare Songs

It Was A Lover and His Lass Oh Mistress Mine Daffodils SATB a cappella

Here's a collection from the great English composer of his original arrangements of three Shakespeare songs, two from "The Tempest" and one from "Midsummer Night's Dream". These are classics!

Robert H. Young: Poems Set to Music

Lovesight Dante Gabriel Rossetti Annabel Lee Edgar Allan Poe Somewhere Christina Rossetti Chanticleer William Austin SATB divisi a cappella

Robert Young's choral writings are famous for their warm, rich voicings, suspensions and resolutions. Using the poem of one of his favorite authors, Christina Rossetti, he has created another small masterpiece. The setting of "Lovesight" illuminates the rich beauty of the Dante Rossetti text. The expression is full and deep in both word and music. Using a cappella voices and violin obbligato, the new American sea-chantey "Annabel Lee" mourns the loss of the storyteller's love, Annabel Lee. An excellent concert piece for high school. The title "Chanticleer" alone makes us think of musical excellence, and Robert Young's setting of the William Austin (1587-1633) poem more than meets the demand. Celebrating the incarnation of Christ, this piece contains the classic sounds for which Robert Young has become famous. Excellent for church or concert.

Steven Sametz: The Heroine Triumphant

Mother Was A Lady Take Back Your Gold She Is More To Be Pitied Than Censured Ta-ra-ra-Boom-de-ay SATB divisi a cappella

A medley of songs (opening with a barbershop quartet) from the 1890's with soprano and mezzo-soprano soloists. The Heroine Triumphant links four songs which together trace the story of a young girl who comes to town in search of her brother ("Mother Was a Lady"); she is cruelly deceived by a drummer, an unscrupulous low-life, claiming to know her brother. He proposes marriage, but in "Take Back Your Gold" we find his intentions are less than honorable. The heroine finds herself alone and cast out in "She Is More To Be Pitied Than Censured." Finally, she rises above her misery and woe to find a new life in "Ta-ra-ra-Boom-de-ay!" The opening barbershop quartet may be sung by a small ensemble, but the character voices of the narrator and the drummer should be assigned to soloists. The Heroine Triumphant easily lends itself to some simple staging. Fun!

Rebecca Clarke: A Choral Collection

Come, Oh Come, My Life's Delight - Thomas Campion A Lover's Dirge - Shakespeare Music, When Soft Voices Die - Shelley My Spirit Like A Charmed Boat Doth Float - Shelley Philomela - Sir Philip Sidney Weep You No More, Sad Fountains - John Dowland When Cats Run Home and Light is Come - Alfred Tennyson SATB a cappella

Rebecca Clarke is considered by many commentators to be one of the most important British composers in the interwar period and has been described as the most distinguished British female composer of her generation. Best known for her chamber music featuring the viola she also composed many choral pieces, a great deal of which were never published. Thanks to the recent efforts of The Rebecca Clarke Society, based out of the Women's Studies Research Center at Brandeis University, there is a renewed interest in her work. This is a collection of newly published arrangements for unaccompanied mixed chorus that clearly demonstrate why her work was recognized for its compositional skill.

Edited by David Blackwell and Andrew Carter: In The Mood

Arr. by Blackwell and Carter Ain't Misbehavin' Autumn Leaves (Aca) Begin the Beguine Blue Moon (Aca) The Continental (Aca) Deep Purple I Got Rhythm (Aca) Laura Let's Do It (Aca) Over the Rainbow (Aca) She Was Beautiful (Aca) Smoke Gets in Your Eyes (Aca) Summertime (Aca) 'S Wonderful Tea for Two (Aca) Night and Day (Aca) In the Mood

In the mood is an anthology of choral arrangements of seventeen classic popular songs by great names such as Fats Waller, George Gershwin, Cole Porter, Jerome Kern, and Richard Rogers. All the pieces are expertly arranged to suit the needs of amateur SATB groups looking for lighter popular repertoire -- school choirs, youth schoirs, or chamber choirs of any description. There's a mixture of accompanied and unaccompanied numbers, and a variety of styles: smoky blues, up-tempo sat, sentimental swing, exuberant Dixieland, sophisticated close-harmony, plu an opulent show-stopper or two like 'Somewhere over the rainbow'.

A Stephen Foster Medley Nelly Blyi Camptown Races Come Where My Love Lies Dreaming SATB a cappella

Stephen Foster was America's Schubert - the lyric laureate of the 19th Century South. With Foster sentiment was a virtue, expressed in sweet harmonies and haunting tunes. The underlying emotion of these songs is nostalgia - a pervasive longing for things lost which seems to permeate the very intervals of the melodies. When Foster - like Schubert - died young and poor, it seemed as though he was fulfilling the prophecies of his own melancholy songs. Jon Washburn's medly of favorite Stephen Foster songs was composed in 1985 for the Vancouver Chamber Choir and premiered on a concert called the music of the Great Songwriters. Gregg Smith edits/arranges 'Come Where My Love Lies Dreaming,' which was elected by the National Endowment for the Arts as an one of the “American Masterpieces” of choral music. Halloran's arrangement of camptown races is very fun to sing, great opportunity for a soloist along with some excellent vocal accompaniment. Halloran's arrangement of Nelly Bly is equally fun with an energizing chorus, and the men get the melody in the verses!

Buffalo Gals Green Grow the Lilacs The Ol' Chilsholm Trail SATB a cappella

There are three songs making up this cycle entitled ‘Western Songs’ - Buffalo Gals, Green Grow the Lilacs, and Ol’Chisholm Trail. The arrangements by turn spin contrapuntal and antiphonal textures then relax intomeltingly beautiful chords, while glissandi and yipping vocal slides evoke the sounds of the barn dance the cattle drive. Lots of fun!

The Wild Prairie Rose - arr. Edwin Fissinger The Wind in the Wheat - arr. Edwin Fissinger The Prairie - arr. Edwin Fissinger Night on the Prairies - Walt Whitman - arr. Daniel Pederson Sing As The Prairie - arr. Mary Goetze SATB a cappella

Edwin Fissinger's music has a distinctly American sound, and his choral set “Dakota Prairies” uses poems that describe some of our north central states' most beautiful scenery. “The Wild Prairie Rose” uses a poem by Alice Sinclair Page. The madrigal-style writing is excellent for choirs of all sizes, from festival to chamber groups. “The Wind in the Wheat” is based on a poem by Jessamine Slaughter Burgum. One can almost smell the air of the northern plains through the poetry and music of this classic Fissinger selection, published here for the first time. “The Prairie” captures the essence of America's great open spaces in a text by Anne Murry Marius. “Night on the Prairies”, a Walt Whitman setting, returns us to our American heritage roots and the thoughts and feelings the prairie invites. “Sing As The Prairie” was written by John Neihardt, who was revered by Nebraskans as their poet laureate. Because his love of nature is evident in each phrase, the music incorporates the enchanting sounds of nature and the prairie. Arrangement by Mary Goetz.

Imant Raminsh: Northwest Trilogy

Born in Latvia, Imant Raminsh came to Canada in 1948 and has become one of Canada’s most highly regarded choral composer and arrangers. “Northwest Trilogy” is a wonderful set of songs from British Columbia. “Nootka Paddle Song” is a native welcoming song that features free incantation along with evocative choral writing. The piece contains some modern effects such as whispering and tone clusters, and is characterized by a feeling of building excitement and jubilation. "Bye, Bye Baby" - Based on a traditional Russian lullaby and would have been sung by members of the Doukhobar communities. A gentle, tonal work with rich harmonic background with varied textures and voicings bring this song of warmth and simplicity to life. “Sunset” - Folksy, poignant, and slighty tongue-in-cheek, this lament portrays the thoughts of a dying British Columbian cowboy. Replete with imitations of wailing coyotes, muffled death march drums, and other instances of word painting, this is a fun piece to perform.

VJ Singh: Pictures from the Northwest

Noted choral director, composer and member of the Vocal Jazz quartet, Just 4 Kicks, Vijay Singh, brings us 3 fun arrangements for mixed voices in this excellent sheet music package great for any choral showcase.

Dashing Away With the Smoothing Iron - arr. John Rutter I Do Like to be Beside the Seaside - arr. Andrew Carter The British Grenadiers- arr. John Rutter Teddy Bear's Picnic- arr. Andrew Carter SATB a cappella

This reviewer is the owner of Primarily A Cappella and an ExPat Englishman living in the US and each of these songs are ones I remember fondly from my youth growing up in England. These are all very popular traditional songs that most every Englishman knows and are classics of their kind. They are highly enjoyable songs that will add lots of fun to your repertoire and certainly will be thoroughly enjoyed by not only any British folks in the audience.

Felix Mendelssohn: Three Choral Songs

The Nightingale The Woodland Singers Song for the New Year SATB a cappella

'The Nightingale (Die Nachtigall)' was composted on June 19, 1843 and published as No. 4 in Sechs Lieder, Op 59. Words by Johann Wolfgang von Goeth, based on a Greek folksong published in 'Chants populaires de la Grece moderne' with French translations by Claude Charles Fauriel accompanying the original texts. Goethe's version, published in 1827 is entitled 'Landlich, though Mendelssohn preferred the title given here. 'The Woodland Singers (Die Waldvogelein)' was composed on June 19, 1843 and published as No 4 in Sechs Lieder, Op 88. The author of the words, given simply as Scutz, is almost certainly heinrich Schutz who published a volume of 'Vermischte Gedichte' at Karlsruhe in 1841. 'Song for the New Year (Neujahrslied)' was composed on August 8, 1844 and published posthumously as No 1 in Sechs Lieder, Op 88. Words by Johann Peter Hebel (1760-1826). The original poem has five verses, of which Mendelssohn set only the first four.

Ronald Corp: Forever Child - Seven Songs of Childhood

The Fly - William Blake New Year's Chimes - Francis Thompson A Boy's Song - James Hogg God be in my head The Swing - Robert Louis Sevenson On My First Sonne - Ben Jonson Requiem - Robert Louis Sevenson Where Go The Boats? - Robert Louis Sevenson SATB a cappella

Forever Child is a suite of seven pieces for unaccompanied mixed voices on the theme of childhood. it was composed in memory of a young boy, Ben Curiel, and is a celebration of his life in a sequences of well-loved texts. Corp skillfully evokes a variety of moods, from the innocence of childhood to the darker, more reflective mood of the final movements. The work forms an excellent concert suite, or any of its movements may be extracted for separate performance

Bob Chilcott: Weather Report

Weather Report SSAATTBB a cappella

The weather, the most quintessentially English of topics, was the inspiration for Bob Chilcott's Weather Report, written for the BBC Singers. Chilcott weaves together a tapestry of well-known weather rhymes to create a work that is energetic, quirky, and entertaining. His choral writing is inventive and full of character, using layered rhythms and jazzy harmonies. This is a fun piece to perform, and perfect as a light addition to any concert programme.

Libby Larsen: May Sky - A Collection of Haiku Kai

May Sky SSAATTBB a cappella

As one of the most active and successful composers working today, Libby Larsen has produced a substantial body of important works for orchestra, dance, opera, choral, chamber and solo performance. Recognized for "her subtle and sophisticated harmony, revealing an extraordinary capacity for combining seemingly dissimilar elements with great ease" her works are widely performed and recorded. "A collection of Haiku Kai" was commissioned for the 2002 World Choral Symposium, May Sky is based on haiku written by Japanese and Japanese-American detainees in camps in the American West.

Francis Poulenc: Sept Chansons

La Blanche Neige A peine defiguree Par une nuit nouvelle (Through a New Light) Tous les droits (All the Rights) Belle et ressemblante (Beautiful and Resembling)B Marie Luire (To Dawn) SSAATTBB a cappella

Poulenc was a member of Les Six, a group of young French composers, Milhaud, Auric, Durey, Honegger and Tailleferre, who also had links with Erik Satie and Jean Cocteau. He embraced the Dada movement's techniques, creating melodies that would have challenged what was considered appropriate for Parisian music halls. Here is a fine set of his unaccompanied choral works. With English translation by Robert Hess.

Richard Proulx: Songs of Love and Old Age

Thou Sleepest Fast Love Is A Secret, Feeding Fire Three Score and Ten The Old Man's Complaint SSAATTBB a cappella

The anonymous words for this piece, four brief reflections on the pleasures and insults of love, are drawn from sixteenth and seventeenth century English texts. The brevity and brilliance of the pieces, and the charm of the texts, will make them good encore pieces when performed individually. Their precise gestures - formed of snappy rhythms, stylish melodies, and expanded harmonies - blend vestiges of the English madrigal with a modern jazz idiom to yield delicate yet vigorous works of charm and delight. They are not difficult.

Gerald Finzi: A Cappella Compositions

All This Night I Praise the Tender Flower Clear and Gentle Stream Wherefore Tonight So Full of Care White-Flowering Days SATB a cappella

Gerald Finzi is one of the most admired British composers of the 20th Century. His music embraces a rich variety of moods, from elegiac lyricism, through spiritual reflection, to radiant joy. Finzi epitomised much that was characteristic of English Music, Literature and Landscape. He was part of that generation of composers who came to maturity in the middle of the 20th century. He was friends with Ralph Vaughan Williams, Edmund Rubbra, Howard Ferguson, Arthur Bliss and Robin Milford. The beautiful and sensitive nature of Gerald Finzi's compositions is displayed in these six excellent 4-part arrangements.

John Rutter: Five Childhood Lyrics

Monday's Child The Owl And The Pussy Cat Windy Nights Matthew, Mark, Luke, and John Sing A Song Of Sixpence SATB a cappella

Gerald Finzi is one of the most admired British composers of the 20th Century. His music embraces a rich variety of moods, from elegiac lyricism, through spiritual reflection, to radiant joy. Finzi epitomised much that was characteristic of English Music, Literature and Landscape. He was part of that generation of composers who came to maturity in the middle of the 20th century. He was friends with Ralph Vaughan Williams, Edmund Rubbra, Howard Ferguson, Arthur Bliss and Robin Milford. The beautiful and sensitive nature of Gerald Finzi's compositions is displayed in these six excellent 4-part arrangements.

Lewis Henry Horton: The A Cappella Primer

Let Us Sing (cannon) Whistle, Mary, Whistle Billy Boy A Round of Rounds March Of The Kings Song From "Pippa Passes" O How Lovely Is The Evenin Riggety-Jig Stars Of The Summer Night Neighbors Here I Have A Tasty Pie Gaily The Troubadour To Celia Good King Wenceslas Years Of Peace Bendemeer's Stream

A first introduction to a cappella singing containing a choice repertoire of twenty choruses with pedagogical suggestions for interpretation. The choruses in this collection appear in the progressive order of their respective degrees of difficulty: First, two-part music, with occasional four-part endings; then, the use of the melodic style and imitation afforded by rounds and canons; and finally, choice material in four-part harmony. In these, special attention has been given to the melodic line of the harmony parts; awkward skips have been avoided, while both smooth melodic line and variety have been sought within the easy compass of youthful voices. Piano, or preferably reed organ if available, may be used freely while teaching the parts, but should be omitted as soon as the parts have been learned, and should, however, be used occasionally during rehearsal in order to test for accuracy in pitch.

King's Singers: Encores

The Barber of Seville Overature - arr. Daryl Runswick Chanson D'Amour - arr. Paul Hart The Creole Love Call - arr. Paul Kuhn Honey Pie - arr. Paul Hart I Know an Old Lady (There Was an Old Lady Who Swallowed a Fly), - arr. Darryl Runswick If You're Gonna Play in Texas (You Gotta Have a Fiddle in the Band) Ob-la-di, Ob-la-da - arr. Bill Ives The Pirate King - arr. Bob Chilcott Seaside Rendezvous - arr. Paul Hart SATB divisi a cappella

Enjoy the applause as your group performs some of the most often requested King's Singers selections in a variety of styles.

Peter Gritton (editor): Encores For Choirs

Banquet Fugue - John Rutter Christopher Robin is saying his Prayers - H. Fraser-Simson arr. Andrew Carter Drunken Sailor arr. Jonathan Willcocks Geographical Fugue The Goslings - Frederick Bridge Home is a Special Kind of Feeling - John Rutter Home, Sweet Home - Henry Bishop arr. Bob Chilcott I do Like to be Beside the Seaside - John A.Glover-Kind arr. Andrew Carter Irish Blessing - Bob Chilcott Italian Salad - Richard Genee arr. C.E. Rowley Let's Begin Again - John Rutter Londonderry Air arr. Bob Chilcott The Lost Chord - Sir Arthur Sullivan arr. Peter Gritton The Mermaid arr. John Whitworth Name that Tune - Grayston Ives Old McDonald had a farm - arr. George Mitchell Quick! We have but a Second arr. Charles V. Stanford Rejection - John Gardner Sourwood Mountain arr. John Rutter Steal Away - arr. Bob Chilcott The Teddy Bears' Picnic - John Bratton arr. Andrew Carter Tequila Samba - Guy Turner Two for the Price of One arr. Andrew Carter Viva la Musica - Ivan Erod

SATB choirs are always on the look-out for approachable show-stopping concert pieces guaranteeed to bring the house down. This is such a collection, containing 24 varied numbers carefully collected by editor Peter Gritton, and ranging in character from classic, sentimental leave-taking items, through humorous or quirky pieces, to exciting fast-moving numbers. As well as containing well known standards of the repertoire there are many new compositions by such acknowledged choral experts as John Rutter, Andrew Carter and Bob Chilcott.

Peter Gritton (editor): Encores For Choirs Vol 2

A Modern Major-General (arr. Peter Gritton) Auld Lang Syne (arr. Joanna Forbes) Bring us in good ale (Gustav Holst) Buffalo Gals (arr. Bob Chilcott) Calme des nuits (Cmille Sain-Saens) Chick, chick, chicken! (Holt, McGhee, and King) Counting Up My Toes (David Cullen) Country Gardens (arr. Peter Gritton) Dashing Away with the Smoothing Iron (arr. John Rutter) Deconstructing Johann (Daryl Runswick) Dry Bones (arr. Peter Gritton) El Hambo (arr. Jaakko Mantyjarvi) Ev'ry time I feel the Spirit (arr. Bob CHilcott) Good Hope (Peter Gritton) Ill WInd (arr. Peter Gritton) It was a lover and his lass (John Rutter) Jargon (William Billings) Mission: Impossible (arr. Mark WIlliams) Nachtlied (Max Reger) Orpheus in the Underground (arr. Cantabile) Parting Friends (John G. McCurry) Shenandoah (arr. James Erb) Stranger in Paradise (arr. Peter Gritton) Take it from Figure 'O' (arr. Ben Parry) The Long Day Closes (Arthur Sullivan) The tide rises, the tide falls (Howard Skempton) Three-minute Messiah (Peter Gritton) 'Un'-Popular Song (arr. Roderick Williams) Vocalise (arr. Peter Gritton) Wiegenlied (arr. Robin Gritton)

SATB choirs are always on the look-out for approachable show-stopping concert pieces guaranteeed to bring the house down. This is such a collection, containing 24 varied numbers carefully collected by editor Peter Gritton, and ranging in character from classic, sentimental leave-taking items, through humorous or quirky pieces, to exciting fast-moving numbers. As well as containing well known standards of the repertoire there are many new compositions by such acknowledged choral experts as John Rutter, Andrew Carter and Bob Chilcott.

James Fankhauser: Risky Encores

Mr's Murphy's Chowder Shootin' With Rasputin Landlord Fill the Flowing Bowl Good Fish Chowder Viva Tutte Le Vezzose On Mondays I Never Want to Go to Work SATB a cappella

A collection of folk songs arranged as encores by Jim Fankhauser for his University Choir - very suitable for "non-encore" use. They are fairly simple but do require a moderate amount of rehearsal to sing well. Lots of fun here!