SKU: JBN-013
Categories: Choral Music, Mixed Voices
Instrumentation: Choral
| Voicing: | SAB |
| Instrumentation: | A Cappella |
| Language: | English |
| Sacred or Secular: | Sacred |
| Descriptive Tags: | Adoration, Heaven, Music About Music, Praise, Singing |
| Duration: | 1-5 Minutes |
$2.00
This title is available in print or for immediate download. For both options, there is a minimum required quantity of 8 copies for choral titles. Please support self-publishing composers by ordering the quantity according to the number of singers in the ensemble that will perform the work.
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Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 2' 50" | English | This modern English version of a 9th Century Old Irish benediction lends itself well to both concert and liturgical performance. Liturgically, it fits well as a call to worship or as a communion meditation. The text recalls the doxology given in Revelation 7:12. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This modern English version of a 9th Century Old Irish benediction lends itself well to both concert and liturgical performance. Liturgically, it fits well as a call to worship or as a communion meditation. The text recalls the doxology given in Revelation 7:12. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'30" | English | The text for How Can I Keep from Singing was written by members of the Derventio Choir of Allestree, Derbyshire, England, and Steven Paxton’s setting was composed for the competition celebrating that choir’s 30th anniversary. Moderate tempo a cappella sections alternate with fast, rhythmically driving sections mixing 6/8 and 5/8 meters. The piano accompaniment is […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The text for How Can I Keep from Singing was written by members of the Derventio Choir of Allestree, Derbyshire, England, and Steven Paxton’s setting was composed for the competition celebrating that choir’s 30th anniversary. Moderate tempo a cappella sections alternate with fast, rhythmically driving sections mixing 6/8 and 5/8 meters. The piano accompaniment is […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'30" | English | 2016 Idaho All-State, 2018 Arkansas All-State selection “If I Can Sing, I Still Am Free” was the winner of the San Diego choir SACRA/PROFANA’s 2014 composition competition. It’s an ideal piece for festivals and large ensembles, with a text that champions inner strength in the face of adversity. It has quickly become one of Campbell’s […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2016 Idaho All-State, 2018 Arkansas All-State selection “If I Can Sing, I Still Am Free” was the winner of the San Diego choir SACRA/PROFANA’s 2014 composition competition. It’s an ideal piece for festivals and large ensembles, with a text that champions inner strength in the face of adversity. It has quickly become one of Campbell’s […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SAB | 2' | Other | KONIKONECO (3-Part Mixed chorus) is a traditional call-and-response song of the Teso people, who live in eastern Uganda and in western Kenya. The lyrics, from the Ateso language combined with borrowings from other languages and dialects, roughly translates as “Let us celebrate our schools, our learning, and our empowerment.” The piano accompaniment suggests the arpeggios […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| KONIKONECO (3-Part Mixed chorus) is a traditional call-and-response song of the Teso people, who live in eastern Uganda and in western Kenya. The lyrics, from the Ateso language combined with borrowings from other languages and dialects, roughly translates as “Let us celebrate our schools, our learning, and our empowerment.” The piano accompaniment suggests the arpeggios […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSATBB | 3:30 | Latin | This original anthem is suitable for all occasions and offers a gentle, contemporary setting of the text used by Anton Bruckner in his well-known composition of the same name composed in 1869. “This place was made by God, a priceless sacrament; it is without reproach.” Genesis 28:16 Exodus 3:5. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This original anthem is suitable for all occasions and offers a gentle, contemporary setting of the text used by Anton Bruckner in his well-known composition of the same name composed in 1869. “This place was made by God, a priceless sacrament; it is without reproach.” Genesis 28:16 Exodus 3:5. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 5' | English | The bass section plays a featured role in this setting of the wistful and evocative poetry of Sadakichi Hartmann. A barcarolle-style accompaniment and layered, drifting harmonies express the themes of ocean waves, drifting ships, and nostalgia for things past. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The bass section plays a featured role in this setting of the wistful and evocative poetry of Sadakichi Hartmann. A barcarolle-style accompaniment and layered, drifting harmonies express the themes of ocean waves, drifting ships, and nostalgia for things past. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'50" | English | This arrangement opens by lining out the plainsong chant over a drone. Then, in succeeding verses we hear it in organum before more complex harmonies and rhythms are added. Finally all voices sing the melody in canon before a concluding fantasia. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This arrangement opens by lining out the plainsong chant over a drone. Then, in succeeding verses we hear it in organum before more complex harmonies and rhythms are added. Finally all voices sing the melody in canon before a concluding fantasia. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 33' | Latin | Mr. Ramsey’s Requiem sets the traditional Latin mass for the dead. It is intended to be a liturgical work, but is also at home in a sacred concert setting. The music stands in the traditions of Duruflé and Fauré, but is different from both. Two performances prove it to be within reach of non-professional, church […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Mr. Ramsey’s Requiem sets the traditional Latin mass for the dead. It is intended to be a liturgical work, but is also at home in a sacred concert setting. The music stands in the traditions of Duruflé and Fauré, but is different from both. Two performances prove it to be within reach of non-professional, church […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSAATTBB | 5'45" | English ⋅ Persian | “Song of Becoming” (2025) traces an arc through the four classical elements—Air, Earth, Fire, and Water—as symbols of transformation. Mostly sung in English, the score weaves in short phrases of original Persian as mantra-like refrains. Air opens in longing and awakening; Earth turns toward humility and groundedness; Fire burns with passion and surrender; Water dissolves, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Song of Becoming” (2025) traces an arc through the four classical elements—Air, Earth, Fire, and Water—as symbols of transformation. Mostly sung in English, the score weaves in short phrases of original Persian as mantra-like refrains. Air opens in longing and awakening; Earth turns toward humility and groundedness; Fire burns with passion and surrender; Water dissolves, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSAA | 2'30" | English | This sweet and gentle setting of a classic Southern Harmony hymn features the Alto section in its first verse, then opens out into a joyful depiction of the sensation of flight. The second verse features birdcalls in the piano accompaniment. Recording by First Readings Project. This recording is of the SATB version of the piece, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This sweet and gentle setting of a classic Southern Harmony hymn features the Alto section in its first verse, then opens out into a joyful depiction of the sensation of flight. The second verse features birdcalls in the piano accompaniment. Recording by First Readings Project. This recording is of the SATB version of the piece, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||