CME Intermediate Repertoire

Written to excite and intrigue, this creative and improvisatory work for women's choir highlights the double meaning of the title. It's no wonder that winter itself creates snow wonder.

This popular William Blake text has a playful nature, which is reflected in the shifting meters that follow the rhythmic contour and accentuation of the words. The vocal line is light and bright, and encapsulates the joyful spirit of the poem. Duration: ca. 3:00.

This piece captures the happy frivolity of the merry month of May. With unflagging rhythms and driving vocal lines, treble choirs will enjoy the playfulness of this song.

with Guitar and Bass Guitar (or String Bass). (3:30)

Arranger: Stephen Hatfield

The title of Ain't That News is a tribute to the superb Staple Singers, who dang a piece by that name, not otherwise quoted in this chart. The opening seven measures are an adaptation of an old Paul Robeson 78. The rest of the piece is original material intended to pay homage to both the black church and black popo music, just one of the many genres that owes its soul to the spiritual. The composer states, "My goal is to allow even the most demure chorister to have at least a little taste of what it would be like to be Aretha Franklin." (2:15)

Arranger: Lee Kesselman | Composer: John Newton

Emily Dickinson's evocative poem charts the progress of an unspecified journey, although the young poet (only 23 years old at the time of writing) almost certainly had the journey of life itself in mind. The music reflects this idea by beginning with the solo cello and gradually increasing in volume and intensity until the final measures. (2:40)

While this song has become one of the most familiar in our culture, oft used for ushering in the new year, it remains a heartfelt air, extolling enduring friendship and waxing nostalgic over the passage of time. With Piano (or Harp).

Arranger: Lee R. Kesselman

Here is a playful and creative treatment of the alphabet centered around the theme of children and hope. Filled with slides and scoops, a conventional tone of delivery, and a steady rhythmic drive, audiences will enjoy every minute of the performance. May be performed with voices and piano only or with rhythm section and optional string quartet. String parts sold separately. Duration: ca. 3:10.

Birdsongis a celebration of life. The text comes from a collection of poems written by children who, while incarcerated in the Terezin Concentration Camp in Czechoslovakia during World War II, wrote of their experiences and their dreams. The text's positive and uplifting message is all the more striking when placed against the backdrop of war and the loss of personal freedom.

After multiple trips to Kenya, East Africa, and studying, watching, listening and singing Kenyan music of all styles, composer Hugh was inspired to write a new piece in the style of this region. Incorporating the guitar, driving percussion and the beautiful Swahili language, Bora Maisha will have you, your singers and the audience moving and dancing to this energetic and joyful music.

Written from the point of view of a young chorister, this Hatfield original tells the story of a young girl who wants to join her friends in the choir. The effect this has on her and her parents is profound. A perfect recruiting piece or first concert of the year. Optional steel drum or melody instrument part in vocal score. Duration: ca. 4:00.

Choirs will love this light-hearted text set to a flowing piano accompaniment.

Appropriate either as a processional or a concert piece, this song's texture builds and builds into beautiful imitative counterpoint. The final accelerando and crescendo of rising vocal lines reaches a high climactic chord, punctuated by metal wind chimes and a drum roll.

With texts by John Masefield and Henry Wadsworth Longfellow, the ebb and flow of the sea are manifest in the beautifully flowing vocal lines and piano accompaniment of this piece.

Daybreak Song, the fourth and final movement of Songs of the Lightes, Set I, is based on a Navajo text. The text and harmonies blend to beautifully express the sounds and sights of breaking dawn. For voices and piano with optional Flute & Glockenspeil parts included in the vocal score. Duration: ca. 5:10.

With Oboe, Piano and Finger Cymbals Earthsongs is a group of three pieces. The texts speak of the wonders of nature and of the importance of protecting the animals, caring for the plants and nurturing one another. The World is Full of Poetry is a text by the 19th century geologist James Gates Percival. In Safety and Bliss is a Buddhist writing from the Sutta Nipata. We join with the Earth is a text from the United Nations Environmental Sabbath Program. Duration: ca. 9:00.

Scored for unison voices and piano, this piece is a syllabic and through-composed setting of Laura E. Richards' text. The distinctive aspect of the piece is its rhythmic interest and shifting meters, its humor, evident in the lumbering nature of the piano accompaniment in the lower range of the keyboard, and the declamation of the text.

Eliyahu Hanavi is one of the many Elijah songs sung by almost every Jewish community from as early as the eleventh century. These folk and para-liturgical songs are sung at the departure of each Sabbath at the Havdalah service. Duration: ca. 3:25.

Arranger: Valerie Shields

Written for the Miami Children's Chorus, players from the New World Symphony and Dance Now!, this is a spirited and energetic composition from David Brunner.Reflecting the flavor of the text the world full of life... David's music is full of life and energy and the spirit we have come to expect from him. Duration: Ca.3 min. 30 sec ScorePlay - click to view score with recording.

Here we have a slangy de profundis about trying to placate your peer group. The soli section acts as the Drama Queen, while the rest of the choir takes the part of the peer group, commenting on the outsider in a mixture of English and Tex-Mex Spanish slang. (There's only a half dozen Spanish phrases to learn.) There is a clapping ostinato throughout the piece which looks terrific when the whole choir does it, but can also be played with brushes on a snare drum. The piece is not that demanding technically, and entire sections get repeated, although in different keys. Because of the cross-dialogue between the choir and the soli section this chart has lots of potential to be blocked in various ways, and would be perfect for choirs that are looking for a piece that lets them present themselves on stage in an unusual way. The tempo is fairly brisk, the words are humorous, and the overall effect is half positive, half sad and creepy - one of my favourite aesthetic experiences.

This creative work captures the experience of the artist perfectly, to imagine what can be, to see extraordinary possibilities in everyday things and to sense in our heart the oneness of the universe. With piano.

Three short musical pictures charmingly capture aspects of nature at a river: a spider web in the morning, playful children at a rope swing, and buzzing dragonflies. With piano.

This suite emulates the long phrases and finely developed breath control that is a hallmark of Gaelic singing.

Arranger: Stephen Hatfield

"Glettur" is an Icelandic word that signifies a mischievous but ultimately good-hearted sense of humour. Launching itself from a snatch of an old fiddle jig, "Glettur" lives up to its name with crafty changes of style and key, and with ironic allusions to a couple of other famous pieces of music that have something to do with high spirits. Somebody who is glettin will have a warm heart, but watch out for the garlic gym and the dribble glass. This fun and original piece is built entirely of nonsense "lyrics."

Contents: Gloria (SSAA) - Et In Terra Pax (SSAA) - Laudamus Te (SA) - Domine Deus (Unison) - Quoniam tu Solus Sanctus (SSAA) - Cum Sancto Spiritu (SSAA).

With a text based on a Sioux Nations prayer, the composer has this to say, For native peoples, the spirits of nature and the earth are a strong presence, as are the spirits of their ancestors and the living traditions of their culture. Approach this song with honesty, sincerity, reverence and with awe. For 2pt voices, piano, alto flute and percussion (rattle, windhcimes, hand drum, suspended cymbal). Duration: 6:30.

This contemporary work from Daniel Brewbaker is a jubilant shout of joy at the miracle of being alive. Based on poems by St. Thomas Aquinas and Rabia, their ideas resonate with each other across the centuries, and extend to our own. The music alternates between exhilarating elation and quiet amazement, concluding with an exuberant affirmation of the self as the central expression of the divine choir of life. From his cantata Living the Divine. Duration: 2:30.

This moving and sincere piece based on a traditional Baha'i blessing will connect all in heart and thought.

The musical structure of this piece is similar to the well known American folk hymn, Amazing Grace. A verse of Amazing Grace is included in the last section of this arrangement.

Arranger: Robert Lowry

Setting an intimate, almost private text by Texas poet, sculptor and song writer Bill Worrell, David Brunner has crafted a thoughtful, expressive and mature piece not often found for 2 part choir. If you could fly, where would you go? I Would sing with rapture until the end of time. That's what I would do if I could fly. Such poetry is the stuff that dreams are made of and your singers will dream of all things possible when exploring this beautiful song. Duration Ca.2 minutes 40 seconds

Arranger: David L. Brunner

Inngituq (She Sings) is a soundscape that honors the culture of the Inuit people of the Arctic. Musical references to traditional throat-singing and ay-ya songs are found in the music. The body percussion - stomping, clapping, chest pounding - and drum will add to the authentic experience this piece brings to singers and audience.

Arranger: Mark Sirett

A well-loved Québecois folksong, J'entends le moulin is a game of rhymes and double entendres. This folksong is full of energy and joy, and should be sung with vigor. The addition of spoons or tambourine would add to the energy of this rustic dance. Includes fiddle part. Duration: ca. 1:30.

Arranger: Mark Sirett

Arranger: Robert Hugh

Arranger: Stephen Leek

with Tenor Saxophone and Piano

Arranger: David Elliott

A soundscape that evokes the northern landscape of the Great Lakes and includes untraditional vocal sounds, improvisation, and the sounds of nature. With glockenspiel, wind chimes, and rainstick. Parts included. Duration: ca. 4:45.

Arranger: Doreen Rao

Laughing and Shouting for Joy is clearly intended for performance by treble choirs. It is one of the siplist and most vocally accessible cantata duets for young choirs. This duet provides the characteristically Baroque interaction between homophonic and polyphonic textures, perfectly demonstrated by the music of J.S. Bach.

Arranger: Doreen Rao

This song of playful innocence is an invitation to live and be merry. The lightness and carefree quality of the melody will bring joy to any performance. Duration: ca. 4:18.

Based on a Raga by the composer, this intriguing work is for Two-Part Treble, Piano and Drone. Duration: ca. 8:00.

A tiny voice is rising carried on the wind. A simple song of reason. Will we let it in? Listen to the children. This simple yet profound opening statement sets the stage for this inspirational song for 2-Part Children's Choir with SATB.

Listening exuberantly praises the music inherent and expressed by everything in nature, above all the myriad worlds of human nature. It sings of the great variety and contrast of the seasons of the earth and moods of the oceans, the single notes within a melody and the chords that comprise harmony. Music is viewed as the means through which the essence of life is made manifest, expressing the essential unity of all things, which underlies all the various forms that life assumes. Duration: ca. 3:15.

Although written with younger voices in mind, this setting is equally appropriate for more mature ensembles. It is the fourth in a set, Four Spirituals, and may be performed separately or in other configurations. Duration 2:00.

Arranger: Robert A. Harris

Strongly influenced by a visit to Ghana and longtime study of the music of that country, Live the Drum captures the spirit of celebration and community in Africa. Scored for voices, piano, and four percussionists.

This tune comes from the Veneto, the area surrounding the city of canals, Venice, and should be spirited and full of joy, like the twirling of a ballerina to a lively dance. Notice the old and interesting spellings of the Italian. Duration: ca. 2:20.

Arranger: Mark Sirett

Taken from the duet collection of Schubert's works for unaccompanied voices, this edition has been transposed from the original key to better suit the range and capabilities of the young treble voice. The addition of French Horns (or Recorders) in performance adds an opulent coloration to the two-part texture. Duration ca. 1:45.

Arranger: Doreen Rao

Written for the Virginia ACDA Voices United Children's Honor Choir, this is a Yiddish lament set to an unstoppable dance groove. The rhythms and melodic contour evoke the Middle East without being culturally specific, and driving percussion fuels cantabile vocal lines. A unique piece that will not soon be forgotten!

Arranger: Stephen Hatfield

Numerous composers have been drawn to the haunting melody of the popular Chinese folk song Jasmine Flower. This setting seeks to restore the tune to a more authentic stylistic palette with a few Western elements. Originally scored by composer Rogers for SATB choir (48020747) this new arrangement for SA choir, flute and optional plucked instrument is a wonderful addition to the treble repertoire. Includes translation and transliteration.