Look For Us Again
for SATB chorus
A charming setting of a Carl Sandburg poem for a cappella chorus (SATB) laden with evocative images of shooting stars and seahorses.
SKU: CME-014
Categories: Choral Music, Mixed Voices
Instrumentation: Choral
| Duration: | 1-5 Minutes |
| Voicing: | SATB |
| Language: | English |
$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.
Print orders are printed on demand and shipped by our printing partner, and can be expected to be processed within a few days of the order. Please do not hesitate to contact [email protected] to follow up.
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Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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SATB | 5' 40" | English | “Prelude and Cherubic Hymn” was commissioned by the John F. Kennedy School in Berlin, to mark the 25th anniversary of their annual Advent services held in Berlin Cathedral. It was performed by joint choirs, drawn from students, parents and faculty, and choir members of the American Church in Berlin on 29 November 2017. The piece […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
“Prelude and Cherubic Hymn” was commissioned by the John F. Kennedy School in Berlin, to mark the 25th anniversary of their annual Advent services held in Berlin Cathedral. It was performed by joint choirs, drawn from students, parents and faculty, and choir members of the American Church in Berlin on 29 November 2017. The piece […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SA | 3' | English | “Community of Unity” is an exciting and uplifting piece written specifically for civic and municipal events. Beginning with a lyrical, unison verse, the soundscape opens up to a chorus in 2 part harmony. A driving, rhythmic piano accompaniment propels the piece throughout. There is a 4 measure a cappella section near the end, and two […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
“Community of Unity” is an exciting and uplifting piece written specifically for civic and municipal events. Beginning with a lyrical, unison verse, the soundscape opens up to a chorus in 2 part harmony. A driving, rhythmic piano accompaniment propels the piece throughout. There is a 4 measure a cappella section near the end, and two […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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 ⋅ SATB+SATB | 3' | English | A 17th-century riddle poem, “I Saw a Peacock With a Fiery Tail” at first seems fantastical: A peacock with a fiery tail! I saw a comet drop down hail! Full of evocative text painting, this choral setting reveals the sense of the poem by dividing each line between the two choirs and then reordering the […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
A 17th-century riddle poem, “I Saw a Peacock With a Fiery Tail” at first seems fantastical: A peacock with a fiery tail! I saw a comet drop down hail! Full of evocative text painting, this choral setting reveals the sense of the poem by dividing each line between the two choirs and then reordering the […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | – | English | This familiar Spiritual is intertwined with another less-known hymn-tune, from one of the earliest collections of Slave songs known- collected by William Francis Allen in 1867. This ardent abolitionist gathered many songs from the post- Slavery communities of Port Royal, South Carolina to create a remarkable published collection of African American music. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
This familiar Spiritual is intertwined with another less-known hymn-tune, from one of the earliest collections of Slave songs known- collected by William Francis Allen in 1867. This ardent abolitionist gathered many songs from the post- Slavery communities of Port Royal, South Carolina to create a remarkable published collection of African American music. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Equal Voices ⋅ SSAA | Each round 1′30″ to 2′ (in performance) | English | The round is the first tool of any music teacher wishing to develop in children an ability to listen to others while holding an independent line. Rounds also build cohesion among singers, providing opportunities to improve ensemble, sight-reading, articulation and breathing. Here are thirteen original rounds of varying difficulty for Youth Choir: while intended for […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The round is the first tool of any music teacher wishing to develop in children an ability to listen to others while holding an independent line. Rounds also build cohesion among singers, providing opportunities to improve ensemble, sight-reading, articulation and breathing. Here are thirteen original rounds of varying difficulty for Youth Choir: while intended for […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | 1' 45" | English | A metrical presentation of the Gregorian chant antiphon harmonised with jazz-inspired chords. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
A metrical presentation of the Gregorian chant antiphon harmonised with jazz-inspired chords. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | 4' | English | This beloved folk tune has been arranged with optional, muted trumpet (the timbre adds to the mood of the piece). The piano accompaniment expands the 4-part harmony of the choir to suggest more contemporary harmony with a few jazz chords. It’s not overdone, however; “Poor Wayfarin’ Stranger” is still a traditional, compelling portrait of a […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
This beloved folk tune has been arranged with optional, muted trumpet (the timbre adds to the mood of the piece). The piano accompaniment expands the 4-part harmony of the choir to suggest more contemporary harmony with a few jazz chords. It’s not overdone, however; “Poor Wayfarin’ Stranger” is still a traditional, compelling portrait of a […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SAB ⋅ SATB | 5' | English ⋅ Hebrew | In the poem “Psalm of the Sky,” Rabbi Rachel Barenblat reimagines “The Lord is My Shepherd” (Psalm 23) in a contemporary context. Performers may highlight the many instances of text painting and create contrast between moments of gentleness, boldness, and carefree movement. The last verse of Psalm 23 is included in Hebrew as a coda […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
In the poem “Psalm of the Sky,” Rabbi Rachel Barenblat reimagines “The Lord is My Shepherd” (Psalm 23) in a contemporary context. Performers may highlight the many instances of text painting and create contrast between moments of gentleness, boldness, and carefree movement. The last verse of Psalm 23 is included in Hebrew as a coda […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SSATBB | 6' | English | This carol was first published in 1833 in a collection entitled “Christmas Carols Ancient and Modern”. William Sandys, a solicitor by day and music & manuscript collector by night, purportedly came across the tune in Devonshire, England. In this gentle setting from 1991 many colors of choral writing appear with sections for SATB, 3-part men, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
This carol was first published in 1833 in a collection entitled “Christmas Carols Ancient and Modern”. William Sandys, a solicitor by day and music & manuscript collector by night, purportedly came across the tune in Devonshire, England. In this gentle setting from 1991 many colors of choral writing appear with sections for SATB, 3-part men, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||