We aim to connect the New York state choral community by sharing expertise in specific voicings and ensembles with educators and conductors within our state. We hope you are inspired to consider these recommendations for your future repertoire programming. If you have any questions or would like to learn more about repertoire in these voicings and ensemble settings, do not hesitate to connect with the R&R chairs!
Journey On (Derrick Fox) – SAB
Perfect for middle school, especially 8th graders moving on high school – The lyrics are about moving on but remembering your time together. I used this for our moving up ceremony. The piece starts with a simple melody that begins unison (I actually made it a solo), and then harmonies are added later on. The harmonies are not incredibly difficult and the range for the baritones is perfect for both changed voices and those who are not fully changed yet.
Does the World Say (Kyle Pederson) – SSAA – but can also be SA, SAA, SSA – it’s choose your own adventure!
This song is perfect for middle school as the text focuses around what it means to be “good enough” according to society. Middle schoolers are often self-conscious, learning to find their own way, navigating the world with new pressures, new bodies, new friends, and new struggles. This piece is about reaching out to those who need a hand and making sure that nobody goes through those struggles alone. The best part of this piece is that it can be as challenging as you want — I chose to do the 2-part, but the score is notated in a way that you can sort of “choose your own adventure” and pick which parts you want to incorporate or omit. It’s truly customizable for your group, and would also empower the students to make those decisions with you! It also has a gorgeous violin part!
Dreamers (Devine/Jung-Kook, El Ouardi, Khayat, arr. Zaino) – 3 part mixed
This was an atypical pick for me and my students LOVED IT. There are so many hooks to reach every student in the room:
1. It’s co-written by a BTS star, so any K-Pop fans will love it. This has an even bigger draw now with the viral Demon Hunters!
2. It was used for the FIFA World Cup 2022 so it hooked my athletes – especially the boys! One boy told me it was his favorite piece we did in his 3 years with me.
3. It has a lengthy solo in Arabic, which was a hook for my Arabic-speaking students. They were thrilled to help me teach the pronunciation.
4. It is SO upbeat and fun. We had some professional percussionists join on dumbek and drumset.
5. It’s a 3-part MIXED so you can really put any student on any part! The refrain is easy to learn and repetitive. It was a crowd pleaser for sure.
“A Classic Christmas” arranged by Douglas E. Wagner features three Baroque masterworks: Gloria by Antonio Vivaldi, From Heaven to Earth I Come by J.S. Bach, For Unto Us a Child Is Born, and Hallelujah Chorus by G.F. Handel from his Messiah. This medley is a great introduction to this classic choral repertoire for an SAB or SATB high school choir. There is potential with this piece to combine the choir with an instrumental ensemble.
In honor of the late Audrey Snyder, “Changes” is an inspirational a cappella piece whose message is driven by the call and response vocals, pleasing harmonies, and body percussion. I conducted “Changes” with a small SSA women’s high school choir and the students connected with the lyrics about how changing the world starts with just one person. The body percussion is very impressive on stage and can be easily modified to suit any group. There is also an SATB version of this piece available.
“Sing, My Child” by Sarah Quartel is a wonderful piece to use to expose high school choirs to odd meters. “Sing, My Child” opens with a 7/8 meter and then changes to 5/8 shortly after. Students enjoy mastering the feel of these meters that can seem so difficult when first introduced. I have found this piece to be enjoyable for students and audiences alike. The bongo part is an added element that adds to the joy of this lighthearted music.
Joseph & Grace (by Shane Lynch)- SSAATTBB/unacc.– A beautiful and harrowing love story told during the Easter Uprising of 1916. This unaccompanied piece begins in unison and eventually expands into a dense, SSAATTBB texture, featuring two extensive Soprano & Tenor solos portraying the ‘roles’ of Joseph & Grace. The tension of the story is demonstrated by a dramatic and heart-wrenching climax, followed by aleatory and a steady decline. Joseph & Grace is not your typical love song and challenges the adage, ‘love is as a strong as death.’
Away and in Danger (by Lee Kleiner and Shawn Kirchner)- SATB/piano– Almost as a call & response, where each verse of “Away in a Manger,” sung as a treble solo, alternates with a choral response about the refugee crisis. The piano is stark, yet supportive, allowing the solo and choir the exposure this theme requires. The choral textures are largely homophonic, but each of the three ‘responses’ are tonally different with more chromaticism and atypical voice leading.
When the violin (by Reena Esmail)- SSAATTBB/cello – Inspired by Hindustani tradition, Esmail includes elements of raga and quarter-tone singing to a text referencing the past, present, and future. The cello plays an integral role in furthering the middle-eastern influence, while serving as a character of its own. This piece is a real ‘center piece,’ as it is strikingly different from what we traditionally hear in a choral performance. Better for an advanced-level ensemble with an advanced-level cellist.
Angel Band, arr. Ryan James Brandau. Beauty in simplicity! Starts with a soprano/alto solo trio, the parts layer in. For choirs with fewer tenors/basses, completely possible to replace the tenor part with altos and put tenor/basses on the written bass part. Has fiddle, guitar, and string bass parts. Also available in treble voicing. Comes together fast! https://www.ryanbrandau.com/angel-band
Every Night When The Sun Goes Down, Gwyneth Walker SATB. I love this setting. It honors the tune while developing the imagery in the text with clear musical ideas. It builds to an incredible climax. Medium difficult, great for choirs 40 or less.
Evening Hymn, Henry Balfour Gardiner. SATB and organ. Many of you will know this, but it is such a gem. Can be sung in its English or Latin text (Te Lucis). Need a great organ, works well with larger choirs. Can’t beat the beauty of the text–“from all ill dreams defend our eyes….”
Amy Gordon – Mars in Retrograde (SSA & Piano – Graphite Publishing)
This is an outstanding and interesting piece for advanced treble choirs. Composer Amy Gordon has fused scientific data from the planetary orbits of Venus, Mars, and Earth along with the harmonic fundamentals found in outer space, and crafted an extraordinary textless vocalise that is engaging and challenging.
Laura Jēkabsone – Father Thunder (for SSAA & body percussion. Available through Musica Baltica or Alfred Music)
In “Father Thunder,” Latvian composer Laura Jēkabsone recalls the traditional mythology of the Baltic God of Thunder, Pērkontēvs. This is a fantastic accessible a cappella piece that challenges choirs with moments of vocal special effects, body percussion, and non-traditional vocal techniques, contrasted with folk-inspired melodies and homophonic textures. An exciting way to introduce your choirs to Baltic choral music!
Darius Lim – Lady of the Evening Star (for SSA & Piano. Available through Cypress Choral Music)
This ethereal and powerful work by Singaporean composer Darius Lim has a distinctive cinematic element that choirs and audiences will connect with. The piece was inspired by the Elvish queen, Lady Galadriel from J.R.R. Tolkein’s “The Lord of the Rings,” and perfectly captures the magic and wonderment of that mythos. It features a flowing piano accompaniment and some brief aleatoric sections for the choir, before a sweeping epic finale.
Revelations 19:1
Arr. The Sunday Service Choir
The Sunday Service Choir rendition of “Revelations 19:1” is a powerful and transcendent arrangement of the classic gospel song (originally by Jeffrey LaValley) that leverages the choir’s massive, layered vocals to create an otherworldly, rapturous experience of worship. It’s a full-throated, uplifting declaration that praises God’s omnipotence, glory, and wonderful nature, building in dynamic intensity and harmony to evoke the heavenly sound of a great multitude praising the King of Kings.
Total Praise
Richard Smallwood
“Total Praise” is a powerful contemporary gospel anthem, inspired by Psalm 121, that serves as a declaration of faith and devotion to God as the ultimate source of strength and peace in times of struggle. The song, written by Richard Smallwood during a difficult period as a caregiver, emphasizes the necessity of offering God complete, unwavering praise regardless of one’s circumstances, culminating in the repeated, soaring affirmation of “Amen.”
Any Day Now
Vincent Bohanan
“Any Day Now” is a compelling gospel song that motivates listeners to trust in God’s word and remain steadfast in their belief in His divine assurances.
2.a. Hátið fer að höndum ein – arr. Jón Ásgeirsson
The text for this Icelandic folk hymn can be used in secular and sacred programs. While it is often used in Christmas programs, it refers to the winter tradition of lighting candles to welcome the “festivals of light” during times of (literal or figurative) darkness. Multiple arrangements exist, including SSAA, two-part treble, solo, TTBB, etc. The SATB version by Ásgeirsson is highly accessible.
Available here
2.b. Estrela é lua Nova – arr. Heitor Villa-Lobos, ed. Cristian Grasses
The text for this Afro-Brazilian chant introduces singers to the hybrid Portuguese and Kibund language used in the Macumba ritual for the birth of a new star or moon. The adapted edition by Grases might seem simple on the surface, but the rhythmic and harmonic changes take unpredictable turns. It is a great joy to stumble through and eventually master the unexpected surprises of this highly accessible SATB arrangement with soprano-alto duet. Available here.
Flot Libre Francois-Hughes LeClair https://huguesleclair.com/accueil This complex and beautiful piece by Quebecque/French composer LeClair is based on a poem by Alexis Lefrancois. It features an improvisatory choral section and virtuosic piano parts. If you want to highlight the talent of your accompanist, this piece offers a wonderful opportunity.
One Sweet Baby Arr. Shawn Kirchner, music and lyrics by Glenn McClure and Wes Kennison
https://shawnkirchner.com/product/one-sweet-little-baby
A passionate choral transformation of the original song that explores parental love in the midst of the Christmas story.
Home and Love by Tristino Ali (a building, powerful piece with a great message. Performed at a CCCC reading session and was received very well). Journey by Sam Scheibe (a unique piece that explores minimalism in an accessible and exciting way).
1) Adonai Mah Adam – Robin Anne Joseph
Scored for cantor (or soloist), SATB choir, and piano, Joseph’s stunning solo melody is supported by thoughtfully written choral and piano parts. While the soloist does sing throughout the entirety of the piece, the scope of the choral parts keeps the choir well-engaged and the introspective text (“My God, what is man?”) works particularly well for a Yizkor service. Robin Anne Joseph is Cantor at Temple Beth Shalom in Hastings-on-Hudson and her music has been published by Transcontinental Music Publications and OySongs.
2) Let the Peace of Christ Rule in Your Hearts – David Hurd
This work for SATB choir and organ begins with a motif in the organ accompaniment that frequently appears between a cappella passages. In spite of an often rhythmically active organ accompaniment, Hurd’s anthem suitable for general use remains very serene and sostenuto. David Hurd is Organist & Music Director at the Church of St. Mary the Virgin, located steps from Times Square in Manhattan and his music has been published in the Episcopal Church’s Hymnal 1982 as well as by nearly every major American music publisher.
3) My Lord Has Come – Will Todd
UK-based composer, conductor, and presenter Will Todd is likely most famous for being commissioned to compose and anthem for Queen Elizabeth II’s Diamond Jubilee (The Call of Wisdom). This beautiful Christmas anthem for a cappella SATB choir (with a few measures of bass divisi) can be found in Oxford University Press’s Carols for Choirs, Volume 5 as well as in octavo form; it is a great choice for that small church choir that wants to sing Lauridsen’s O magnum but needs something with much less divisi. Todd’s music is published by Boosey & Hawkes, Oxford University Press, and Tyalgum Press.
Tyler Thomas – Show Choir & Jazz
1) Satellite, arr. Will Clements https://anchormusic.com/product/satellite-wcl/
Available in SATB, SAB, and SSA voicings, this chart is a great bridge to the world of vocal jazz for those with less experience in the idiom. The contemporary straight-8th groove and clear verse/pre-chorus/chorus structure will be familiar to those with pop sensibilities, especially on the lyric solo lines. With fully-notated rhythm section parts and no need for syllabic improvisation, directors can focus on ensemble fundamentals and build rhythmic and harmonic foundations in an authentic setting, even if comping and improv aren’t (yet!) your strong suit.
2) For All We Know, arr. Peter Eldridge & Darmon Meader https://www.jwpepper.com/for-all-we-know-10047478/p
This classic ballad belongs in every vocal jazz library. Faithful to the New York Voices recording, the chart is a rare example of an authentic SATB+piano texture in vocal jazz, not simply a notated rhythm section reduction for piano. With an SA/TB duet, sumptuous reharmonization, and elegant voice-leading in the heterophonic passages, this arrangement breathes new poignancy into a straight-ahead jazz standard. Recommended for intermediate-level ensembles, due to part independence, harmonic language, and mature lyric message.
3) Your Mind Is On Vacation, arr. Rosana Eckert https://anchormusic.com/product/your-mind-is-on-vacation-eck/
A very approachable medium swing chart, available in SAB and SSA voicings, it’s a great way to work on 12-bar blues concepts with beginner to intermediate groups. There are several opportunities for lyric solos of varying lengths, simplified changes with two-part backing vocals in the open improv choruses, and a built-in opportunity for a solo extension (or instrumental solo) before we take it up a half-step for the back half. Complete with sassy, teen-appropriate lyrics, a mini shout chorus, and half-time ending, this chart makes for a fun closer or stand-alone vocal jazz arrangement.