Composer: Ryan R. Brechmacher

Composer: Ryan R. Brechmacher

"Agnus Dei" is a standard Latin text from the Mass, and is part of the Ordinary (the five or six sections of the Mass that remain the same from day to day). With the repetition of the first line of text, the heartfelt prayer of petition and yearning is in three parts. This setting follows the tradition of using similar music for the first two statements, with some contrast in the music for the concluding "dona nobis pacem."

Composer: Ryan R. Brechmacher

Arranger: Peter Fischer

"Beyond Borders" was written for the "Amani Invitational Children's Choir Festival" sponsored by the Central Carolina Children's Chorus (Winston-Salem, NC - Anne Saxon, Artistic Director). The purpose of the festival was to raise awareness of abandoned orphans in Kenya due to HIV/AIDS and poverty, as supported and served by the Amani Children's Foundation, also based in Winston-Salem. Children and Youth 'sing together in harmony and celebrate our unity.'The inaugural festival was held on November 19-20, 2010 at Centenary United Methodist Church. A love offering was collected for the Amani Children's Foundation during the final concert.In January 2010, an "Amani Night" was held as a preview for this event. Around 150 young singers gathered at Centenary to learn about the organization, sing, and have fun with bead-making led by Amani Volunteers. They also had an opportunity to write their thoughts, phrases, or a poem about Amani. I used this thematic material and incorporated it into

Composer: Tom Shelton

Composer: Ian Good

In response to popular demand, GIA has embarked on a new collection of choral music as a part of the acclaimed Evoking Sound Choral Series-called Music for Young Voices. The pieces to be published in this collection will focus on appropriate literature for middle school and elementary age singers.

Composer: Neil Ginsberg

Arranger: Peter Fischer

The timeless setting of the Latin text for "Grant us peace" is presented with two differences from the traditional version. Rather than a cappella, an accompaniment provides support for the vocal lines. And instead of a "round" or "canon" format, the piece is more accurately a "catch." Each voice learns their own eight-measure phrase, which they repeat. When layered on top of each other, it still gives an effect that is similar to a round.

Arranger: Neil Ginsberg

A traditional spiritual with a fresh approach. A jazz inflected accompaniment sustains the voices and provides rhythmic movement. Certain melodic rhythms offer a departure from the familiar form of this tune, and cadences resolve in new ways.

Arranger: Neil Ginsberg

Arranger: Michael Burkhardt

This simple text can be interpreted in many ways. Some of the themes mentioned included personal growth and passing away. The central message that I intended to communicate is that of community, of the necessity of relying on each other to achieve our dreams. There may be times when we have to "fly" on our own, but ultimately our greatest strength is born of our unity. The djembe player is encouraged to embellish the given rhythm per the idiom of the instrument. Adding additional percussion is also encouraged.ÊPercussion part is for djembe.

Composer: Ian Good

A simple Hebrew canon (Let us sing a song of praise. Halleluia) arranged as a catch rather than a round, i.e., each section sings only one phrase of the tune. To conclude sections I & III are sung together, then I, II & III. A rhythmic keyboard accompaniment supports the voices. Useful for interfaith services.This arrangement is structured as a catch rather than a round. Text is Hebrew; pronunciation and translation provided in notes.

Arranger: Neil Ginsberg | Composer: Johannes Ockeghem

Composer: Ryan R. Brechmacher

Arranger: Sergey Tkachenko | Composer: Matvey Blanter

Arranger: Peter Fischer

Composer: Ryan R. Brechmacher

In response to popular demand, GIA has embarked on a new collection of choral music as a part of the acclaimed Evoking Sound Choral Series-called Music for Young Voices. The pieces to be published in this collection will focus on appropriate literature for middle school and elementary age singers.

Arranger: Neil Ginsberg

In response to popular demand, GIA has embarked on a new collection of choral music as a part of the acclaimed Evoking Sound Choral Series-called Music for Young Voices. The pieces to be published in this collection will focus on appropriate literature for middle school and elementary age singers.

Arranger: Peter Frost | Composer: Harry Dixon Loes

The traditional spiritual is arranged in a bit of a folk-rock style, with a highly syncopated and involved bass line in the piano typical of that played by an electric bass. On an eight-bar section about half way through, two groups of singers use non-pitched sounds to great effect to create the sound of an old locomotive. This is a developed arrangement that makes a crowd pleasing concert piece.Cambiata part is optional

Arranger: Peter Frost

1. "Mangwani mpulele" is a Sotho folk song of the Bantu people in South Africa, Lesotho, and Botswana. It was made popular in the United States by The Kingston Trio, a prominent part of the folk revival of the 1950s and 1960s. One rendering of the text into English has:Aunt, open the door for me. I am getting wet with rain. Whether it's here or whether it's there, I am getting wet with rain.2. "Ise oluwa" is a well-known Yoruba (Nigerian) Christian song that was made widely popular by the African American singing group Sweet Honey in the Rock. It was first arranged (or perhaps composed) by Thomas Ekundayo Phillips (1884-1969), the "father" of Nigerian church music, when he was organist and choir director at the Anglican cathedral in Lagos, Nigeria. The translation of the text is: The works of God cannot be undone.Improvised percussion should be played throughout both songs, intensifying where percussion "fills" are indicated. Appropriate instruments include: djembe (or low-soundi

Arranger: Andrea Ramsey

Composer: Kevin Nicoletti