Antelope Freeway by Steven L. Rosenhaus, Grade 1 Composer Steven L. Rosenhaus has crafted a charming new work for young String players! The title is both captivating and a little puzzling, but just like the music itself – will keep them coming back for more!
About the Authors: Eric Stratton is the Jazz Specialist at Stanton’s Sheet Music. From Westerville, OH, Eric received a Bachelor of Music in Classical Bass Performance and a Bachelor of Arts in Jazz Studies from Otterbein University. On both electric and double bass, he plays in various groups around Columbus, including New Albany Symphony and Westerville Symphony orchestras. He enjoys listening to and playing many types of music, from jazz, pop, to rock and metal. Some of Eric’s favorite performance opportunities are in the pit orchestras of musical theatre productions. When Eric isn’t gigging or at Stanton’s, he enjoys playing video games, hanging out with his cats, performing repair and tech work on guitars, and going to local restaurants and breweries with friends.
Megan W., originally from Pittsburgh PA, is happy to call Columbus and Stanton’s Sheet Music “Home.” As a musician, Megan has played in marching and concert bands, youth orchestras, full orchestras, small ensembles, and a few choirs. Her interests include fiddling, reading, writing, martial arts and yoga.
Carbine and Lance by Justin McCall, Grade 4 “Carbine & Lance” is a great concert selection that emulates the compositional techniques of some of America’s most prolific march composers. This march is accessible to bands of all levels and its use of both 6/8 and 2/4 present a colorful change in pace moving into the trio. Closing out the march, a careful listener may catch the Star Spangled Banner in the trio and final strain.
Colossus of Columbia by Russell Alexander/arr. Andrew Glover, Grade 3.5 One of the truly great standard American marches is Russell Alexander’s “Colossus of Columbia.” This edition for the Barnhouse “Heritage of the March” series presents this classic march in a concert edition, adhering closely to the original 1901 publication. Toes will be tapping as your band plays this exciting and powerful march.
Homestretch Galop by Karl L. King/arr. Gene Milford, Grade 3 “Homestretch Galop” arranged by Gene Milford can be a march or a galop. It all depends on the tempo your group can handle and what your musicality tells you. It’s another magnificent work from the pen of an American march master that will sparkle on any program.
International Peace by Karl L. King/arr. Gene Milford, Grade 4 A rousing classic march by Karl King in a new setting by arranger Gene Milford. All of the integrity of the original march has been kept intact, while presenting this challenging march in a full score setting with meticulous editing.
The Soaring Eagle by Karl L. King/arr. Andrew Glover, Grade 4 Karl King was a true American march master, and “The Soaring Eagle” is one of his finest and most tuneful marches! Memorable melodies, exciting countermelodies, and woodwind obbligatos combine to make this an outstanding choice for mature bands. Originally entitled “Cle Elum Eagles,” this edition for the Karl L. King Centennial Series provides a wealth of historical and performance material, as well as background on this great march.
About the Author: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Chorale and Allegro by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 4 “Chorale and Allegro” captivates the imagination with a solemn chorale. As this lush chorale closes, the mood quickly transforms into an energetic allegro section filled with excitement throughout. Claude T. Smith concludes the composition with intertwines the ideas from the allegro section with portions of the opening chorale leading to an enthusiastic ending. This flexible arrangement allows ensembles to perform the work with as few as thirteen musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Chorale Prelude: Rejoice Ye Pure in Heart by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 4 “Chorale Prelude: Rejoice Ye Pure in Heart” is a dramatic and beautiful setting of the well-known hymn Rejoice Ye Pure in Heart. This flexible arrangement allows ensembles to perform the work with as few as thirteen musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Cumberland Cross by Carl Strommen, Grade 4 Your band will sound great with Carl Strommen’s classic original piece. “Cumberland Cross” explores the rich American folk style in two sections. The first has broad, moving harmonies under a Shenandoah-like melody, and the second a lively dance reminiscent of Copland. It is not too difficult, yet very impressive!
Greensleeves (A Symphonic Setting) by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 4 “Greensleeves” dates to the 16th century as a traditional English folk song. Claude T. Smith created a masterful setting of this timeless classic providing many solo opportunities and melodic interest throughout all the sections of the band. The use of standard and contemporary harmonies gives the listener a wonderful experience. This flexible arrangement allows ensembles to perform the work with as few as thirteen musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Rondo (from Incidental Suite) by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 4.5 “Rondo” from Incidental Suite is the third movement of this suite originally scored for concert band. This work is rhythmically engaging from beginning to end as the percussion establishes the rhythmic motives that move and transform throughout. This flexible arrangement allows ensembles to perform the work with as few as thirteen musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Nocturne (from Incidental Suite) by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 4.5 “Nocturne” from Incidental Suite is the second movement of this suite originally scored for concert band. This work highlights a beautiful melodic line filled with lush and occasionally dissonant harmonies. This flexible arrangement allows ensembles to perform the work with as few as thirteen musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Symphonic Variations on In Dulci Jubilo by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 4 “Symphonic Variations on In Dulci Jubilo” promotes joy and celebration. ‘In Dulci Jubilo’ is Latin for ‘in sweet rejoicing.’ The lovely choral beginning features the familiar carol “Good Christian Men, Rejoice,” and forms the groundwork for this unique setting of this timeless traditional Christmas carol. This flexible arrangement allows ensembles to perform the work with as few as thirteen musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Tarantella (from Incidental Suite) by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 4.5 “Tarantella” from Incidental Suite is the first movement of this suite originally scored for concert band. Claude T. Smith has elevated the basic meaning of tarantella creating engaging rhythmic interest throughout the duration of the movement. This flexible arrangement allows ensembles to perform the work with as few as fourteen musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
About the Author: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Sansa Kroma arr. Victor C. Johnson, 2-part with piano and percussion (optional a cappella) This not-to-be-missed setting of a Ghanaian folksong sparkles with energy and excitement. Whether it is sung with or without piano accompaniment, the strong vocal pairings, handclaps, and active percussion parts combine to create a full choral experience accessible to any choir.
Famba Naye arr. Victor C. Johnson, 2-part with piano and optional percussion This exuberant arrangement of a popular Zimbabwean folk song is a multicultural programming winner! Easy-to-sing melodic and harmonic patterns, a rhythmic piano accompaniment, and accessible parts for shaker, hand drum, and djembe all combine to provide an exciting performance opportunity for developing choirs. A pronunciation guide and translation guide are included.
Okina Kuri No (The Chestnut Tree) arr. Michael Ryan, 2-part with piano and optional hand drum, triangle & flute This traditional Japanese folk tune about a towering chestnut tree has been set in a lovely, flowing setting for two-part choirs. With limited text, this is a wonderful opportunity to present a Japanese text to young singers and explore Japanese folk music. Light percussion including hand drum, triangle, provides a rhythmic groove and a floating flute part ties the arrangement together for a full, but accessible musical opportunity. Instrumental parts are included in the choral octavo.
Come and Sing Together arr. Andrew Parr, Unison with piano There is a vast body of Hungarian folk music, rich both melodically and rhythmically. Here, composer Andrew Parr provides an English translation and sets the tune for unison voices. Try the piece with children or even senior adults.
About the Authors: Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.
Lora Moore joined the Stanton’s choral staff in July 2018. A former middle school and high school director of 32 years and a former church choir director of 20 years, she holds a Bachelor of Arts in Choral Music from Capital University and a Master’s of Arts in Choral Music from The Ohio State University. During the off hours, Lora enjoys scouting out new day trips in Ohio to balance what her budget allows for her frequent trips to New York City to visit family and take in a Broadway show or two!
Battle of the Bows by Chris Thomas, Grade 2.5 Experience a contest of strength, bravery, and determination. With constant momentum and energy, the music explores a range of articulations and dynamics as each section competes for supremacy. Bravado, dynamic contrast, independence, and excitement – it is all here and ready to showcase your orchestra!
Midnight Storm by Erica Donahoe, Grade 2.5 Written in G minor and using primarily the pentatonic scale, students will love the dark and brooding sound of this piece. Cello and Bass players are featured throughout with exciting bass lines that define the piece. The entire orchestra will have lots of opportunity to work on articulations and string crossings, in addition to the more complex finger patterns required by G minor.
Call of Heroes by Christian A. Williams, Grade 1.5 Reminiscent of the exciting call-to-battle themes of our favorite action and superheroes, “Call of Heroes”, with its driving rhythmic pulse, aims to stir the blood and call every hero to action.
Sea Squall by Eric B. Davis, Grade 3 “Sea Squall” is about the journey of a ship traveling across turbulent seas. As the piece progresses, variations of the primary theme change like the winds: sometimes calm and safe, sometimes stormy and powerful. Contrasting dynamics and articulations undulate like an unpredictable storm on the high seas.
Sea Shanty Saga (A Miniature Suite) arr. Tyler Arcari, Grade 3.5 Who would have thought that sea shanties would have caused a huge social media craze? These three classic yet timely shanties are scored for String Orchestra. These are also perfectly suitable for festival performance in addition to the countless other applications of this fun and energetic music!
About the Authors: Eric Stratton is the Jazz Specialist at Stanton’s Sheet Music. From Westerville, OH, Eric received a Bachelor of Music in Classical Bass Performance and a Bachelor of Arts in Jazz Studies from Otterbein University. On both electric and double bass, he plays in various groups around Columbus, including New Albany Symphony and Westerville Symphony orchestras. He enjoys listening to and playing many types of music, from jazz, pop, to rock and metal. Some of Eric’s favorite performance opportunities are in the pit orchestras of musical theatre productions. When Eric isn’t gigging or at Stanton’s, he enjoys playing video games, hanging out with his cats, performing repair and tech work on guitars, and going to local restaurants and breweries with friends.
Megan W., originally from Pittsburgh PA, is happy to call Columbus and Stanton’s Sheet Music “Home.” As a musician, Megan has played in marching and concert bands, youth orchestras, full orchestras, small ensembles, and a few choirs. Her interests include fiddling, reading, writing, martial arts and yoga.
TRW’s adapted musicals for kids are available in two distinct product lines tailor-made for young actors: Young@Part® musicals run 60 minutes and are designed for performers aged 8 to 14 years old. Younger@Part® editions are designed for performers 6-11 years old and run 30 minutes. Ideally suited to the school and youth theatre producing environment and perfect for fully-staged productions, assemblies, or classroom shares, these author-approved versions are developed and thoroughly workshopped by distinguished theatre educators. Cast sizes are expandable, song keys are adjusted for developing voices, and scenes are edited for time and content – all while keeping the spirit of the original Broadway show intact.
New productions in this valuable series include:
We Will Rock You (Young @ Part) Featuring chart-topping Queen songs including “Another One Bites the Dust;” “Bohemian Rhapsody;” “We Will Rock You;” “Somebody to Love;” “We Are the Champions” and many more, this 70-minute adaptation of the West End show follows two young rebels as they restore rock ‘n’ roll to “the iPlanet” in a post-apocalyptic world. Designed especially for elementary and middle schools as well as children’s theater, the song keys have been adapted to be accessible, and songs and scenes have been edited for length and content while keeping the spirit of the original show intact. There are many great roles, and the production can include any size chorus that appears throughout the show. This memorable show will be tons of fun to perform – and the audience will absolutely love it!
The Wind in the Willows (Young @ Part) This riotous comedy follows Mole, Rat, Badger, and the impulsive Mr. Toad, whose antics land him in serious trouble. With his beloved home under threat from the notorious Chief Weasel and his gang of sinister Wild Wooders, Toad must attempt a daring escape leading to a series of misadventures and a heroic battle to recapture Toad Hall. Full of humor, wit, a gorgeous, soaring score, and heartwarming lessons of friendship, it’s a rich 60-minute ensemble show perfect for schools and youth theaters.
All Shook Up (Younger @ Part) It’s 1955, and into a square little town rides a guitar-playing young man who changes everything and everyone he meets. Loosely based on Shakespeare’s “Twelfth Night” and inspired by and featuring the songs of Elvis Presley, this hip-swiveling, lip-curling musical fantasy will have you jumpin’ out of your blue suede shoes with such classics as Teddy Bear; Hound Dog and Jailhouse Rock. With great roles for all genders, this 35-40 minute adaptation of the Broadway show is an unforgettable thrill for elementary school performers and their audiences.
Miss Nelson Is Missing (Younger @ Part) Humor is underscored by lessons of appreciation and respect in this 35-minute adaptation of the book “Miss Nelson is Missing” by Harry Allard and James Marshall for elementary school-age performers. Miss Nelson’s class is the worst-behaved in the whole school, with spitballs and paper airplanes flying everywhere. But class 207 is in for a surprise when gentle Miss Nelson is replaced by Viola Swamp, a no-nonsense substitute who assigns piles of homework! The students must find their beloved Miss Nelson… will they ever get her back?
How I Became a Pirate (Younger @ Part) Sail off on a fantastic musical excursion as a band of comical pirates lands at North Beach looking for an expert digger to join their crew. Braid Beard and his/her mates enlist young Jeremy Jacob as they look for the perfect spot to bury their treasure. Jeremy learns that adventuring can be lots of fun, but love and home are treasures you can’t find on any map. Your elementary-school-age cast will love flaunting their pirate swagger in this delightful and swashbuckling musical adventure that is flexible for any size cast!
The Addams Family (Younger @ Part) Celebrate the wackiness in every family with this best-selling Broadway musical adapted for middle-school-age performers! Wednesday Addams, the ultimate princess of darkness, has grown up and fallen in love with a sweet, smart young man from a respectable family whom her parents have never met. She confides in her father and begs him not to tell her mother. Now, Gomez Addams must do something he’s never done before – keep a secret from his beloved wife, Morticia. Everything will change for the whole family on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents.
Measure Me, Sky! by Elaine Hagenberg, SATB with piano “Measure Me, Sky!” encourages singers to take hold of their limitless potential. Ascending vocal lines stretch across a driving accompaniment, as if reaching out to grasp the expanse depicted in Leonora Speyer’s rapturous poem. This impassioned piece builds through key changes and several returns of the opening material before arriving at its brilliant final chord, reflecting “Loveliness, wings for my flight”! A thrilling selection for concerts, festivals, or graduation.
We Are Held by Susan LaBarr, SATB with piano In any time of trial, there is great comfort in being held. This work for SATB choirs with its beautiful text by Robert Bode reflects upon the ways in which all things are held. Appropriate for church and concert performance.
Aquí Te Amo (Here I Love You) by Bruce W. Tippette, SATB with piano Textured choral writing glides effortlessly over a graceful piano accompaniment in this elegant setting of the romantic text by Chilean poet and Nobel Prize-winner Pablo Neruda. Variations in tempo and contrasts in dynamics guide singers to a nuanced performance of a fully developed form, creating a complete musical story. The purity of Spanish vowels invites beautiful choral singing (phonetic and IPA pronunciation guide included). Exquisite.
Day of Fire and Sun by Kate Crellin, SSAA a cappella Kate Crellin’s energetic and rhythmic setting of the Sara Teasdale text is a standout for SSAA choirs! With contemporary musical characteristics and artistic choral integrity, this is a piece that directors will love teaching and singers will love performing.
The Road Not Taken by Z. Randall Stroope, SATB with piano and cello Z. Randall Stroope connects: through his teaching, his thoughtful compositions, and the poetry he chooses for his compositions. In his poem “The Road Not Taken,” Robert Frost connects to the core of the human spirit in just a few stanzas using the analogy of a fork in a road. Stroope employs both lush harmonies with simplistic melodic lines, all of which work beautifully to convey Frosts’ intent that there is an inner desire to feel empowered and to create one’s own destiny, to forge a “road not taken,” and ultimately in doing so, to make a difference.
When I Believe and Sing by Robert I. Hugh, SAB with piano Set to the poem, “Upon the Swallow,” this thoughtful anthem speaks of hope and courage. The relaxed tempo ushers a message of optimism and encourages all to “not go where the path may lead.” Instead, “go where there is no path and leave a trail.”
If Love Should Count You Worthy by Victor C. Johnson, SATB with piano Lyric based on the poem by Sidney Royse Lysaght, speaks the blessings of when love enters our lives. Melodic writing rises and falls weaving with rich choral arranging, rests above a well-crafted and challenging piano accompaniment propelling this musical work.
Ten Thousand Miles by Ruth Morris Gray, SAB with piano How fun! A unique setting of words adapted from a familiar English folk song. Handclaps, leg taps, and brushing palms decorate each voice part from the first statement of their independent line to the final layered recap. A departure from the traditional tune and tempo, Ruth’s jaunty melody and andante interpretation creates a feeling of motion in triple meter, representing a return to home.
The Lake Isle of Innisfree by Penny Rodriguez, SAB with piano Lilting music resembles a folk song from the British Isles in this happy setting of Yeats’ text, inspired by memories of childhood summers spent in the Irish countryside. The 12-line poem expresses a city-dweller’s longing for the simple, tranquil life of Innisfree. Includes proven part-singing strategies – the tune first appears in unison, then becomes a canon; a peaceful bridge passes the melody through lower voice parts, while others sing sweet counterlines; and a modulation leads to full triadic harmony.
I Am Not Yours by Cheridy Saunders, TTB with piano This piece creates opportunities for success for young men at all stages of the changing voice. The poetry of Sara Teasdale provides a theme of beauty, longing, and the quest for love that is easily accessible to all ages. The optional a cappella section on page 5 provides an opportunity for students to be challenged and can be used as an incentive to explore the beauty and demands of quality a cappella singing.
The Lake Isle of Innisfree by Eleanor Daley, TTB with piano Suitable for concert use, this simple, delightful setting of a Yeats poem embraces nature’s beauty and the secret joy of solitude. Soaring melodies, rich harmonic language, and a piano part that is both driving and supportive create a piece that is evocative and poignant.
The Tide by Jenny Mahler, SSA with piano In this captivating piece Mahler explores feelings of doubt and insecurity, employing the compelling metaphor of the tide and asking searching questions in a quest for existential meaning. Bewitching piano cascades and rolling broken chords accompany addictive melodies, with strong three-part harmonies in the chorus providing a supportive anchor to the more soloistic verses.
Sing My Child by Sarah Quartel, TTBB a cappella with drum “Sing, my Child” sets a joyful text celebrating the beauty found all around us in everyday life. Characterized by tight harmonies and a dynamic percussion line, the buoyant 7/8 metre of the opening drives the piece forward. Lush harmonies colour the hymn-like B section as the text evolves into a call for strength despite the troubles that may come.
Come to Me by Ivo Antognini, SATB a cappella An outstanding and challenging setting of the Christina Rossetti text, this selection crafted for The Aeolians flows with lush choral divisi harmonies that shimmer with delicious dissonance and some jazz-inspired chords in a meterless feel that will be a very rewarding experience for more advanced ensembles.
Invitation to Love by Brent Wells, SATB divisi a cappella Brent Wells has created a beautiful musical setting of Paul Laurence Dunbar’s words, inviting us to love one another regardless of our circumstance. For more advanced choirs.
About the Authors: Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.
Lora Moore joined the Stanton’s choral staff in July 2018. A former middle school and high school director of 32 years and a former church choir director of 20 years, she holds a Bachelor of Arts in Choral Music from Capital University and a Master’s of Arts in Choral Music from The Ohio State University. During the off hours, Lora enjoys scouting out new day trips in Ohio to balance what her budget allows for her frequent trips to New York City to visit family and take in a Broadway show or two!
recommended by Jennifer F., Sacred Choral Music Specialist
Come, Spirit, Come by Lloyd Larson, SATB with piano A lovely new setting of the ancient text: “Come, Holy Ghost, Creator blest, and in our hearts take up Your rest….come, Spirit, come and make us whole.” Suitable for Pentecost or general worship.
Peter Gonna Preach by Larry Shackley, SATB a cappella Larry Shackley and John Parker combine their talents to bring us this new anthem for Pentecost. Written for a cappella choir and a rousing solo, this anthem is bursting at the seams with life and vitality. Your basses will love being featured on the chorus, and, toward the end of the anthem, an ostinato section brings the anthem to a thrilling conclusion. “Peter gonna preach ’bout the glory of the Son of God!”
Breathe On Me, Breath of God by Lloyd Larson, SATB with piano Edwin Hatch the lyricist, Robert Jackson the hymn writer and Lloyd Larson the arranger join forces to create this beautiful setting of “Breathe on Me, Breath of God.” Although Pentecost is the logical choice for this selection, the quiet lyricism of the anthem make it a perfect choice for a prayer response throughout the year.
About the Author: Jennifer F. is a graduate of Otterbein College with a degree in Vocal Performance. She has worked at Stanton’s for over 20 years specializing in Sacred Choral, Classical Vocal and Handbell music. Jennifer is Director of Handbells at Worthington Presbyterian Church, and sings in the First Church Choir and rings with the First Church Ringers at First Congregational Church in Columbus Ohio. When not singing or ringing, Jennifer can be found doing conformation and other competitive sports with her three standard long haired dachshunds, Fanny, Frenchie, and Lukas.
Cum Sancto Spiritu by José Maurício Nunes Garcia, SATB with piano The composer, from Brazil, is one of the greatest exponents of Classicism from not only South America, but all the Americas. Gratefully, the editors have brought this piece into current notation for release to today’s choirs. It is a spirited setting of the traditional Latin “Cum Sancto Spirit” that would bring joy to any concert or service of worship.
Your Voices Tune by G.F. Handel/arr. Matthew Michaels, SSA with piano This beautiful and stylistic Baroque chorus from the major work “Alexander’s Feast” was originally written for Mixed chorus. Here it is skillfully arranged for treble voices for our Choral Treasury Series by Matthew Michaels. This is a wonderful opportunity for your treble choir to experience this important style.
Laudate Dominum by Andy Beck, SAB/3-part mixed with piano Lyrical voices float over a Bach-inspired piano accompaniment in this beautiful setting built on five common Latin words. Three independent melodies are introduced one at a time and eventually layered to create artful polyphony that is easily achieved. Cue-sized notes in the SAB/3-Part Mixed provide options for changing voices, and the treble arrangement can be sung in either two or three parts. An ideal vehicle for improving vocal production and building musicianship.
Solfège Sonata arr. Audrey Snyder, 2-part with piano Have fun practicing solfège with this lighthearted spoof of Mozart’s famous Piano Sonata #16. Excellent as a concert closer or encore, this piece will make your audience chuckle as they learn a little music trivia about Mozart and melody!
Agnus Dei (from Requiem) by W.A. Mozart/arr. Russell Robinson, 3-part mixed with piano This wonderful movement from Mozart’s “Requiem” K. 626 is now available for young and developing voices in this carefully crafted setting by Russell Robinson. Robinson has skillfully arranged the vocal parts, keeping the main vocal lines intact and simplified the piano accompaniment, making this setting extremely accessible. This is a welcome addition to educational repertoire and is highly recommended!
Sing We and Chant It by Bob Chilcott, SATB with piano and optional bass & drums “Sing we and Chant it” sets the text of a well-known sixteenth-century madrigal of the same name by Thomas Morley in a jazz waltz style. Chilcott injects energy and fun into the piece through a quick three-time metre and extended and altered chords. This is an offprint from the four-movement work “Little Jazz Madrigals.” The optional bass and drum kit parts are printed in this vocal score.
Alleluia by Gabriele Saro/arr. Z. Randall Stroope, SATBB divisi a cappella This warm and sentimental concert work features two soloists who also duet at the beginning and end, with a middle section that swells with joy. Including only the lyric “Alleluia,” this piece allows the divisi vocals to truly shine.
About the Authors: Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.
Lora Moore joined the Stanton’s choral staff in July 2018. A former middle school and high school director of 32 years and a former church choir director of 20 years, she holds a Bachelor of Arts in Choral Music from Capital University and a Master’s of Arts in Choral Music from The Ohio State University. During the off hours, Lora enjoys scouting out new day trips in Ohio to balance what her budget allows for her frequent trips to New York City to visit family and take in a Broadway show or two!
Choral Reflections: Insights from American Choral Conductor-Teachers edited by Brandon Williams “Choral Reflections” offers inspiration, ideas, and insights for conductor-teachers at any stage. The goal for “Choral Reflections” is to provide a platform for a new and more representative cross-section of American choral conductor-teachers to share their reflections, beliefs, values, and visions for the choral art.
Tesfa Wondemagegnehu writes, “The compendium you hold in your hands represents the glimmering of the North Star. All thought-leaders and outstanding practitioners of our time, these authors have provided myriad ways to navigate through the messy, deafening, and sometimes terrifying chaos around us.”
The thirty contributors are: Hilary Apfelstadt, Anton Armstrong, Geoffrey Boers, Edith A. Copley, Rollo A. Dilworth, Jason Max Ferdinand, Lynne Gackle, Janet Galvan, Lynnel Joy Jenkins, Craig Hella Johnson, Ann Howard Jones, Henry H. Leck, Iris S. Levine, Fernando Malvar-Ruiz, Kevin McBeth, Marcela Molina, Gary Packwood, Rosephanye Powell, Amanda Quist, Doreen Rao, Jeffery B. Redding, Eugene Rogers, Diana V. Saez, Pearl Shangkuan, Tom Shelton, Sandra Snow, Andre J. Thomas, Betsy Cook Weber, Brad Wells, and Jace Kaholokula Saplan.
About the Authors: Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.
Lora Moore joined the Stanton’s choral staff in July 2018. A former middle school and high school director of 32 years and a former church choir director of 20 years, she holds a Bachelor of Arts in Choral Music from Capital University and a Master’s of Arts in Choral Music from The Ohio State University. During the off hours, Lora enjoys scouting out new day trips in Ohio to balance what her budget allows for her frequent trips to New York City to visit family and take in a Broadway show or two!
Oxford Book of Choral Music by Black Composers edited Marques L.A. Garrett “The Oxford Book of Choral Music by Black Composers” is a landmark collection of non-idiomatic compositions from the sixteenth century to the present day, providing a comprehensive introduction to an area of choral music that has been historically under-represented. This unique anthology seeks both to improve representation in the historical canon and to showcase the music of some of the best names in choral music today.
• 35 pieces for SATB choir, unaccompanied or with piano or organ • Mixture of sacred and secular works, including anthems, choral art songs, madrigals, motets, and part-songs • Pieces from the Renaissance, Classical, and Romantic eras, in addition to the 20th and 21st centuries • Several pieces published here for the first time • Features composers from a variety of nations, including Brazil, Canada, Portugal, the United Kingdom, and the United States • Includes a general introduction, biographical information for each composer, and commentary for each piece, including editorial practice and source information where applicable • Playable piano reductions for rehearsal purposes, where needed
About the Authors: Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.
Lora Moore joined the Stanton’s choral staff in July 2018. A former middle school and high school director of 32 years and a former church choir director of 20 years, she holds a Bachelor of Arts in Choral Music from Capital University and a Master’s of Arts in Choral Music from The Ohio State University. During the off hours, Lora enjoys scouting out new day trips in Ohio to balance what her budget allows for her frequent trips to New York City to visit family and take in a Broadway show or two!
recommended by Jen Sper and Lora Moore, School Choral & Classroom Music Specialists
Jazz Junior: 10 Standards for Solo or Unison Singing arr. Jay Althouse, Lisa DeSpain, Russell Robinson, Kirby Shaw, and Michele Weir Alfred’s top vocal jazz arrangers were called upon to contribute Great American Songbook arrangements designed to introduce beginners to the genre. And oh, how they delivered! This is an indispensable collection for young soloists or unison singers including reproducible song sheets and a fabulous foreword (with developmental exercises) by Dr. Michele Weir. Enhance the jazzy vibe with full rhythm section accompaniments on the available audio. Teach swing, scat, jazz articulations, stylizations, and more! Grades 4 and up.
Titles include: “Bye Bye Blackbird,” “Duke’s Place,” “Fascinating Rhythm,” “It Don’t Mean a Thing (If It Ain’t Got That Swing),” “Jeepers Creepers,” “Let’s Call the Whole Thing Off,” “Misty,” “Orange Colored Sky,” “Over the Rainbow,” and “Straighten Up and Fly Right.”
About the Authors: Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.
Lora Moore joined the Stanton’s choral staff in July 2018. A former middle school and high school director of 32 years and a former church choir director of 20 years, she holds a Bachelor of Arts in Choral Music from Capital University and a Master’s of Arts in Choral Music from The Ohio State University. During the off hours, Lora enjoys scouting out new day trips in Ohio to balance what her budget allows for her frequent trips to New York City to visit family and take in a Broadway show or two!
Music for a Darkened Theater arr. Michael Brown, Grade 3 Chilling and delightful, here is a medley of classic Danny Elfman themes in a flexible format. Includes themes from “Edward Scissorhands,” “The Nightmare Before Christmas,” “Spider-Man,” “Beetlejuice,” and “Tales from the Crypt.”
Obi-Wan arr. Johnnie Vinson, Grade 2 From the new series “Obi-Wan Kenobi,” this Star Wars character finally gets his own theme! John Williams masterfully captures the emotional depth of the character along with a spirit of adventure. Scored here for flexible instrumentation.
Spider-Man: No Way Home (Main Theme) arr. Johnnie Vinson, Grade 2 Scored for flexible instrumentation, this dynamic arrangement of the Spider-Man main theme includes three stylistic sections – the slow opening, delicate treatment in 3/4, and concluding with the exciting setting in 4/4.
About the Author: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Journey On by Derrick Fox, SATB with piano This sweet and simple original song, with a lilting melody and folklike harmonies, illustrates the impact of the relationships that we build throughout our lives. Optimistic about the future, the text speaks of friendships, journeying together, and then journeying apart. A terrific choice for graduation!
Remember This arr. Roger Emerson, SATB with piano and optional rhythm Described as one of the Jonas Brothers most upbeat, undeniable, and uplifting anthems, this music was played during the 2020 Summer Olympics in Tokyo. The energy is high and the choral writing is exceptional in this number one hit.
Hope Grows by Douglas E. Wagner, SATB with piano With a gentle feel and an expressive melody, Douglas E. Wagner’s original text is an inspiring reminder of hope in the face of adversity. Imagery from nature paints a picture of sunrises, budding flowers, and life returning to barren ground. This accessible setting is a beautiful selection for any SATB choir.
Our Roots by Bob Chilcott, SSAA with piano “Our Roots” is an upbeat setting of evocative words by Delphine Chalmers on the themes of unity and commonality. An effective syncopated, single-note motif in the piano underpins the piece, rooting the tonality and providing a firm ostinato around which the music blossoms. Chilcott’s word-painting – in places such as the drawing together of the four-part choral texture into unison on the words ‘yours and mine the same’ and the use of the piano’s upper and lower registers as the text looks to roots and sky – creates a great sense of unity between music and lyrics. Powerful key changes and a strong rhythmic drive create an affirmatory setting that is sure to uplift both singer and listener.
May the Road Rise to Meet You by Victor C. Johnson, SAB with piano and optional oboe Don’t miss this elegant setting of the traditional Irish Blessing – it is beautifully melodic and singable. With lyrical vocal lines and a gently flowing accompaniment, it is the ideal closer for any performance, and the optional oboe obbligato adds warmth. Highly recommended!
Your Song by Mark Burrows, 3-part mixed with piano “Your song is my very heart.” The beautiful metaphor describes a loved one as a song with qualities such as hope, healing, laughter, and love. Mark Burrows honors his daughter on the occasion of her high school graduation with this musical tribute. Appropriate for choirs of any age, with a tender melody, harmonic warmth, and an expressive piano accompaniment.
The Call by Regina Spektor/arr. Dianne Gryba, SATB with piano This hit from the Narnia movie by Regina Spektor, young people resonate with this music and the message. This arrangement emerges from the subconscious, builds to a climax, and then recedes back into a quiet place of assurance.
The Gift to Sing by Timothy Michael Powell, SATB with piano James Weldon Johnson was an American writer, civil rights activist and was a leader of the NAACP in 1917. His poetry has been celebrated and set to music for decades. This is a new, expertly-textured arrangement from Timothy Michael Powell.
For All We Know arr. Kirby Shaw, SATB a cappella Real deal a cappella jazz writing with great attention paid to phrasing, dynamics, expressive rhythms that sound unmetered, and bringing the emotional words to life. Be prepared to put in the time and feel the satisfaction of singing a lush and lovely ballad. The song has been recorded by a host of artists including Billie Holiday, Doris Day, Aretha Franklin, and Bette Midler, but Kirby’s arrangement is inspired by soul artist Donny Hathaway’s heart-wrenching performance.
Harmony’s Never Too Late arr. Mark Hayes, TTBB with piano and optional rhythm This powerful choral anthem was written by Broadway songwriters Lynn Ahrens and Stephen Flaherty in honor of the 40th anniversary of The Gay Men’s Chorus of Washington, DC. Lynn’s text uses harmony as a metaphor to represent acceptance, and Stephen’s inspirational music is a canvas of hope and strength. Robust piano, bass, and drum parts provide a sturdy pop accompaniment for three full voicings designed to accommodate any four-part group.
A Life Well Lived by Braeden Ayres, TBB with piano and pennywhistle or flute “A Life Well Lived” is the first publication in the Emily Crocker Emerging Composers Series. The piece uses the Edgar Albert Guest poem, “Compensation,” to consider what we would like to be able to say about our lives, looking back in old age. The melody has a familiar folksong sound similar to those heard in Ireland and Scotland. The addition of a pennywhistle or flute enhances the warm, comfortable tone of the piece.
Memories arr. Andy Beck, TTBB with piano Maroon 5 has perfected their pop song template – a catchy tune, memorable hook, and genuine, relatable lyrics. Toss in hints of Pachelbel’s “Canon in D” and you have an undeniable hit. This well-crafted arrangement sets a few accompanimental guitar figures in the voices, and offers some subtle text adaptations for all occasions. It’s a perfect choice any time, but especially effective for end-of-year events, marking a changing era with heartfelt emotion.
Our Story by Mark Burrows, 2-part with piano With text inspired by the profound thoughtfulness of members of the Kettering Children’s Choir in Kettering, OH, Mark Burrows has crafted this touching anthem of togetherness and support of one another. Part I and II are both featured at different times and the parts are craftily woven together to emphasize the message of the text. “I’m a part of your story and you’re a part of mine.”
About the Authors: Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.
Lora Moore joined the Stanton’s choral staff in July 2018. A former middle school and high school director of 32 years and a former church choir director of 20 years, she holds a Bachelor of Arts in Choral Music from Capital University and a Master’s of Arts in Choral Music from The Ohio State University. During the off hours, Lora enjoys scouting out new day trips in Ohio to balance what her budget allows for her frequent trips to New York City to visit family and take in a Broadway show or two!
