Originally written for The Children's Aid Society Chorus of New York City, this e.e. cummings text lends itself so nicely to the pure sound of treble voices and explores the idea of transformative innocence - that no state of being is so dark or hopeless that it cannot be transformed into light and joy through innocence. Duration: ca. 4:00.

Arranger: Daniel Brewbaker

Written for the 20th anniversary of the CME Institute, A Living Song serves to honor and reflect on the passion for music that CME has instilled in countless singers throughout the years.

Arranger: David L. Brunner

Already chosen for several All-State choral festivals, this exciting choral fanfare is the perfect concert opener. The text, in Italian and based on lines from Dante's Divine Comedy, speaks of goodness and love. The sound of non-pitched bells will establish a special mood for the night ahead. Duration ca. 1:40. Performed by Women's Chamber Ensemble, Michigan State University, Sandra Snow, conductor.

Arranger: Lee Kesselman

Arranger: Stephen Hatfield

This work for treble voices, cello and classical guitar begins with an ostinato repetition of the title, before the entrance of the melodic theme superimposed in counterpoint with the cello melody. The texture becomes more homophonic and builds to a climax before dissolving into a counterpoint on the words not quite the same with the cello and voices above a ground. Duration: 4:30.

Arranger: Richard Kidd

One of the songs of Mirabai (1498-1547), this setting for 4-Part women's chorus is marked by sinuous and sensual solo lines, drones, embellishment, rhythmic ostinati and layering of voices and instruments. Written for and premiered at ACDA 2009 by the Michigan State University Women's Chamber Ensemble, Sandra Snow, Conductor. With cello.

Arranger: David L. Brunner

Using the most up to date scholarship, Meredith Bowen has created a beautiful score which allows for an authentic performance. The figured bass has been realized and all editorial markings are in brackets, allowing the conductor and singers to make informed performance choices.

Composer: Chiara Margarita Cozzolani

The Michigan State University Women's Chorus enthralled their audiences at the 2009 National ACDA convention in Oklahoma City with this unique setting of the beloved hymn by John Newton. It incorporates the traditional melody in its original shape note context as well as with modern compositional techniques of chord clusters and aleatoric effects. Duration: ca. 4:10.

Arranger: Michael Hanawalt | Composer: John Newton

Based on a biblical text, And Miriam Sang is a song of celebration following Israel's deliverance from Egypt through the Red Sea. It begins in a slow, chant-like manner, and soon shifts to an up-tempo dance-like mood. Although the melodies are original, they incorporate the augmented second interval and melodic formulas common to Hasidic and some Middle-Eastern music. The use of Hebrew text, tambourine and drums add to the authentic feel. Duration: ca. 3:15. Performed by Michigan State University Women's Chamber Ensemble, Sandra Snow, conductor.

Arranger: Zebulun M. Highben

This setting of a profound text by poet William Ayot explores the deep emotions that a person travels in a lifetime. The music depicts our turmoil, vulnerability and sense of inadequacy, but ultimately provides a sense of repose.

Arranger: Andrea Ramsey

Bring in the new year with this lovely arrangement that uses the beloved Scottish poem by Robert Burns and a tune that predates the one commonly used today. The song speaks to the value of old friends, although life circumstances (and people themselves) are ever changing. Duration: ca. 4:30.

Arranger: Mairi Campbell

With a text taken from a 4th century Latin hymn, this fiery anthem explores the contrast between heaven and hell in a contemporary neoclassical style. An exciting and powerful concert opener, and especially ideal for a reverberant performance space! With opt. string quartet.

Arranger: Andrea Ramsey

This beautiful work by the 17th century female composer Chiara Margarita Cozzolani (1602-1678) is sophisticated and accessible and a perfect vehicle for introducing this important musical period to your treble choir. Duration: ca. 3 minutes 20 seconds.

Arranger: Kristina MacMullen

Taking its text from a 12th century monastic prayer, this setting for women's chorus is bright and uplifting and features a contemporary harmonic palette and rhythmic vitality. Duration: ca. 2:10.

Arranger: Larys Kuzmenko

This Ojibwa text, adapted by the composer, explores the beloved flower of the forest, Sky-treading bird of the prairie, wonderful fawn-eyed one. Opening with a joyful fanfare-like exclamation of the word Awake and ending as though in soaring flight, this is an excellent selection for advanced women's choir repertoire.

Arranger: Imant Raminsh

This is a highly emotional and powerful piece for women's choir. Composer Boerger asks the chorus to produce the sound of bereavement when it first strikes. A total commitment to the emotions as masterfully created by the poet and the composer will result in a tour de force for the mature women's choir. Duration: ca. 3:30.

Arranger: Kristina Boerger

Several variants of this famous English folk ballad are incorporated into this evocative setting for women's voices. First performed by the Varsity Women's Choir of Appleton North High School, James Heiks, conductor.

Arranger: Stephen Hatfield

Battant Son Plein is French slang, literally "hitting his fill," the equivalent of the English "in full swing." Written for Scala, a children's choir from Bruxelles, the title refers to what these children sound like when they sing, and the piece is a salute to their confidence and daring.

Arranger: Stephen Hatfield

Nick Page uses an energetic, driving, percussive style to set the text Be lifted, be received, be embraced by love, reminding us that we are not alone. We're part of something greater than ourselves. Duration: ca. 3 minutes 30 seconds.

Arranger: Nick Page

Written as a celebration of a wedding anniversary, David Brunner has set this beautiful Rumi text with highly impressionistic harmonies and frequently shifting key centers.The text is full of beautiful sensations: carving gems, dressing the earth, feeling the breeze, scattering gold dust, lighting our path to love. Universal themes from this 13th Century poet that are as relevant today as ever. Duration: Ca. 3 minutes

Arranger: David L. Brunner

Taking advantage of the ancient and at the same time relevant musical style we know as Chant, Stephen Hatfield has created a funky, rhythmic, modern look at musical styles and how reality and the digital world have changed what is possible. Music is in us and has been in us from the beginning of time. Now is the time to express the music in me. Duration ca. 3 minutes, 40 seconds.

Arranger: Stephen Hatfield

Lindsay Kesselman's poetic words provide wonderful material for a choral art-song. The words speak of a Nature connected to people and their Souls.

Composer: Lee Kesselman

Written to honor the memory of the influential teacher of singing Dr. William McIver, this piece describes the rippling effects of a teacher's life work with word painting and resonant Biblical texts. With piano.

Arranger: Francisco J. Nunez

A unique pairing of Latin text (taken from a bell inscription) and the percussive beats of African drumming, Carillon is full of rhythmic excitement, call-and-response singing, and relentless energy.

Arranger: Stephen Hatfield

Change My Name is a series of melodic variations on the opening line of a spiritual more commonly known as If He Changed My Name. Composer Stephen Hatfield has created an intense, grave, peaceful arrangement for women's voices that will cast a spell over both singer and listener. Duration: ca. 4:00

Arranger: Stephen Hatfield

The melodic, often linear nature of the vocal parts compliments the rhythmic animation creating a musically satisfying performance opportunity for treble choirs. With optional String and Basso Continuo. (4:00)

Arranger: Doreen Rao

This work is based on three medieval English song fragments, the first, Ich am of Irlande, an invitation to dance, the second, Of every Kinne tre, a parallel between the hawthorn and the lover, the third, Maiden in the more lay, describing a spirit who lives among the flowers. The viola adds an important dimension to the work, from graceful backdrop to lively playmate.

Arranger: Sheena Phillips

Combining the 15th century Bianco Da Siena text Laudi Spiritualis with a single verse from Christina Rossetti's A Christmas Carol. In the first, the poet invites divine love to descend. In the latter, Rossetti considers the gift of love manifested in the birth of the Christ child. Together, they remind the listener that holy love may come in many forms.

Composer: Sally Lamb McCune

Second in the cycle of Ecstatic Songs on texts by the Hindu mystic poet Mirabei written for the Michigan State University Women's Chamber Ensemble and their conductor Sandra Snow, the soloist in this piece embodies the voice of Mira with words of intensity, passion, conviction and devotion. With percussion (pakhawaj, finger cymbals, bells, wind chimes and brass bowls). Duration: ca. 4 minutes 30 seconds.

Arranger: David L. Brunner

Arranger: Stephen Hatfield

Now available for SSAA voices, this South African folk song of the Xhosa people is boisterous, open-throated and joyful. Duration: 3:30.

Arranger: Stephen Hatfield

Bach's Cantata No. 93 presents an opportunity for young treble choirs to learn a distinctly beautiful melody, master it vocally, then trace its development in a contrapuntal duet setting. May be performed with keyboard and optional strings. A set of string parts sold separately for Violin I, II and Viola. Performed by Anima-Young Singers of Greater Chicago. Emily Ellsworth, conductor.

Arranger: Doreen Rao

Duration: ca. 3:40

Arranger: Stephen Hatfield

Originally written for unison choir with descant and part of Nick's Nursery Rhyme Cantata this new voicing for SSA and piano is lush and worthy of any fine choir. Dedicated to Dr. Barbara Tagg and already performed by one of her choirs at Syracuse, her stamp of approval for this arrangement is high praise indeed. Duration Ca. 3 minutes

Arranger: Nick Page

Commissioned by the 2012 ACDA Women's Choir R&S Commissioning Consortium, the entire piece drives toward the last line of the Stacy Gnall poem big brother, I am catching up to you. One long, rhythmic race, this selection will be a wonderful contrast to much of the repertoire often included in women's choral concerts.

Arranger: Dale Trumbore

Frozen In evokes the icy calm of a placid winter evening walk, not just any walk but the walk of great friends with a long shared history. The crystalline imagery of the poetry is perfectly depicted in this setting for women's voices, evoking the calm of the atmosphere and the icy walk. With violin.

Composer: Kristen Anderson-Lopez | Musical: Frozen

Hamisha Asar are the Ladino words (the Spanish Hebrew language spoken by the Sephardic Jews) for Tu Be'Shevat, the Jewish holiday in the spring that celebrates the time when sap begins flowing in the tress. Duration: ca. 2:00.

Arranger: Nick Page

The eloquent text by Charles Anthony Silvestri serves as the driving force of this work. It addresses the beauty all around us that we often fail to notice - those glimpses of heaven right here on earth. A perfect selection for a children's or youth treble choir, with piano and cello accompaniment. Written mainly for two-parts with limited divisi passages. Duration: 4:45.

Arranger: Andrea Ramsey

Hineni is the Hebrew word which means Here am I and is spoken by Abraham in the book of Genesis at the sacrifice of Isaac. Contrasting a rubato instrumental section with a more straightforward vocal section, the music is always romantic and expressive.

Arranger: Lee Kesselman

A musical representation of the sonnet by Keats of the same name, this work expresses the creative process in variously musing and emphatic music. With piano and oboe or violin.

Arranger: Michael Richardson

Based on poetry by e.e. cummings, this setting is dedicated to the composer's mother on the occasion of her 87th birthday. Masterful vocal writing and an engaging piano accompaniment evoke images both humble and grandiose, and allow choirs to showcase balance and blend through expansive homophonic passages. Duration: ca. 6:30.

Arranger: Daniel Brewbaker

Matching the sensuous poetry of the Song of Songs with the swirling rhythms and melodic modes of Jewish folk dances, this second movement of Song of Songs is as dramatic as it is virtuosic.

Composer: Lee Kesselman

These intimate and comforting lines of Elizabeth Bishop's Sonnet are set to music that is reflective, lush and lyrical, with the text always foremost. Originally written for SATB chorus, this voicing for treble choir maintains the lush harmonies of the original while taking into account the potential of the women's voices.

Arranger: David L. Brunner

A warmly romantic love song of true beauty. Tender lyricism and vocal richness make this piece a rewarding conclusion to the full Song of Songs, or a fine concert selection of its own. With piano.

Arranger: Lee Kesselman

The fragmented nature of the poetry is reflected in the many small musical sections. (3:00)

Arranger: David L. Brunner

Exploring the emotional extremes of the willful momentum generated by one who aspires to expand herself in light of another, this is a piece for advanced women's choirs. Big contrasts abound in range, dynamics, rhythms and emotions.

Composer: Philip Silvey

A gentle and sensitive poem by Emily Dickinson, evoking the wait for a love's return, is tenderly shaded by DeWald's flowing melodies and graceful harmonies. With piano and French horn (or cello).

Arranger: Frank K. DeWald

Playful and inspirational energy courses through this lively song, bringing to life a poem about the joy of musical sharing and personal interconnectedness. With piano.

Arranger: David L. Brunner

This fleet-footed setting of a medieval French folksong is packed with energy and self-assurance. Sure to please!

Arranger: Stephen Hatfield

Now available in an SSA voicing, this choral work offers a taste of layered ostinatos and African polyrhythms and may be performed a cappella or with two or more percussionists.

Arranger: Stephen Hatfield