Coro a tre Voci SAB Spartiti

L. Stanley Glarum's Lord, Hosanna In The Highest for SAB choir with optional Piano or Organ accompaniment. This is a setting of text from St. Mark XI: 9, 10.

The Laird O'Cockpen, arranged by Robert Rhein for SATB choir a cappella. This work features words by Carolina Oliphant [Lady Nairne] (1766-1845). Brief notes are included on the vocabulary andpronunci...

For SAB Voices A Cappella.

A recorder method for children. This method is designed to be used by people who know nothing or very little about music and cannot read notation.

A recorder method for children. This method is designed to be used by people who know nothing or very little about music and cannot read notation.

This full- sounding choral work with a driving, rhythmic intensity may be performed a cappella or with the piano doubling the voices. ABA form makes for quick learning. Secular text is perfect for sch...

This full- sounding choral work with a driving, rhythmic intensity may be performed a cappella or with the piano doubling the voices. ABA form makes for quick learning. Secular text is perfect for sch...

All Ye Who Love Music was given its English text by Thomas Oliphant in 1837. This arrangement has been lowered one step from the original key of G major to F major. The soprano (Part 1) melody is basi...

All Ye Who Love Music was given its English text by Thomas Oliphant in 1837. This arrangement has been lowered one step from the original key of G major to F major. The soprano (Part 1) melody is basi...

Breathtaking! This gorgeous setting of the Agnus Dei text begins piano and gradually crescendos to a mezzo forte before ending in a pure, hushed final major chord. Easy to teach, this ABA-form piece w...

Breathtaking! This gorgeous setting of the Agnus Dei text begins piano and gradually crescendos to a mezzo forte before ending in a pure, hushed final major chord. Easy to teach, this ABA-form piece w...

This popular general-purpose spiritual is now available for your men. Creative and full-sounding choral writing features both homophonic and 2-part textures. Clever, innovative, non-sacred text: 'No n...

This popular general-purpose spiritual is now available for your men. Creative and full-sounding choral writing features both homophonic and 2-part textures. Clever, innovative, non-sacred text: 'No n...

Another well-edited arrangement by Russell Robinson of a light and spirited work from the madrigal repertoire. It's the perfect choice for any SSA or 3-part mixed choir, with or without experience in...

Another well-edited arrangement by Russell Robinson of a light and spirited work from the madrigal repertoire. It's the perfect choice for any SSA or 3-part mixed choir, with or without experience in...

A thoughtful song of parting, benediction-like, in the style of an Irish blessing. Basic choral writing throughout with much opportunity for rubato phrasing. Moderate ranges in all voice parts in both...

A thoughtful song of parting, benediction-like, in the style of an Irish blessing. Basic choral writing throughout with much opportunity for rubato phrasing. Moderate ranges in all voice parts in both...

Morley's famous madrigal is arranged perfectly for 3-part mixed voices. Excellent for developing choirs and small vocal ensembles. Limited range male part.

Morley's famous madrigal is arranged perfectly for 3-part mixed voices. Excellent for developing choirs and small vocal ensembles. Limited range male part.

An original, newly composed madrigal written for developing SAB and SSA choirs. Great for any choir of any size learning to sing in the madrigal style. The unique text, written in 1912 by William Jero...

An original, newly composed madrigal written for developing SAB and SSA choirs. Great for any choir of any size learning to sing in the madrigal style. The unique text, written in 1912 by William Jero...

The energy of this piece is derived from the layering effect of vocal lines and handclaps. The interweaving of voice parts makes for joyous part singing.

The energy of this piece is derived from the layering effect of vocal lines and handclaps. The interweaving of voice parts makes for joyous part singing.

Much repetition and a catchy makes this 7/8 number deceptively easy to learn. Opens with eight measures in 7/8, then a smooth, homophonic andante section in 4/4, followed by a repeat of the opening 7/...