Jesus is Coming in Glory; Adams/Adams; SATBJesus is …schoolofsacredmusic.vpweb.com/upload/Sample...
Transcript of Jesus is Coming in Glory; Adams/Adams; SATBJesus is …schoolofsacredmusic.vpweb.com/upload/Sample...
Jesus is Coming in Glory; Adams/Adams; SATBJesus is Coming in Glory; Adams/Adams; SATBJesus is Coming in Glory; Adams/Adams; SATBJesus is Coming in Glory; Adams/Adams; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Benson 45757-0605-7
Year: 2002
Pub. Contact: 741 Cool Springs Blvd., Franklin, TN
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: D-flat, D, G, A-flat
Meters: 9/8, 3/4
Level: 2.5
Range/Tessitura: Tenors have high G, solo has high F-sharp; both are negotiable
Style/Influences: Has hints of a spiritual
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This is a very majestic piece. The solo is workable for M or W. Accompaniment includes
leadsheet notation.
Song of the Angels; Alexander/Borders; SATBSong of the Angels; Alexander/Borders; SATBSong of the Angels; Alexander/Borders; SATBSong of the Angels; Alexander/Borders; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Clydesdale & Clydesdale 080689 77527 7
Year: 2003
Pub. Contact: 3319 West End Ave., Nashville, TN
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: D
Meters: 6/8 with hemiolas interspersed
Level: 3
Range/Tessitura: Men’s ranges are alright, but tessitura is high. Women are comfortable.
Style/Influences: Nice modern harmonic treatment of simple melody
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This would fit well for Christmas. It’s a little bit tough to learn, but a lot of fun; very
exciting! The high tessituras are somewhat balanced by the energetic feel. It won’t be
as hard to get the men to use good tone on the high notes because of the style.
When the Angels’ Song is Silent; Beall/Carter; When the Angels’ Song is Silent; Beall/Carter; When the Angels’ Song is Silent; Beall/Carter; When the Angels’ Song is Silent; Beall/Carter; SATBSATBSATBSATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication Publication Publication Publication InformationInformationInformationInformation
Publisher & Catalog Number: Hope C 5204
Year: 2002
Pub. Contact: Carol Stream, IL 60188
2 Basic Description, AnBasic Description, AnBasic Description, AnBasic Description, Analysis, and Difficultyalysis, and Difficultyalysis, and Difficultyalysis, and Difficulty
Keys: F, G
Meters: 4/4
Level: 2
Range/Tessitura: Very comfortable for all; F-C range could work with middle school
men.
Style/Influences: Contemporary folk-style melody & functional harmony
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
The style and tempo make this piece a great study in phrasing. The divisi parts are often
approached by unison lines, making the parts easier to learn. Tempo is very important
for this piece; rushing sounds trite and meaningless; dragging will kill the energy and
message. Watch the page turn from p. 5-6. This is good for general use or for Christmas.
Only One Star; Parsons/Soule; SATBOnly One Star; Parsons/Soule; SATBOnly One Star; Parsons/Soule; SATBOnly One Star; Parsons/Soule; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice 109304
Year: 1987/2007
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: B-flat, C
Meters: 3/4
Level: 1.5
Range/Tessitura: Very comfortable for all
Style/Influences: Contemporary
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Solid part writing in this piece. This would be a good one to teach sight-reading or to
illustrate common harmonic progressions in the context of choral voice leading; it’s
TEXTBOOK! This is appropriate for Christmas or for general use. Available as octavo or
download from website. Accompaniment Cds available with split track to be easily
used in rehearsal.
In the Beauty of Your Holiness; Berry; SATBIn the Beauty of Your Holiness; Berry; SATBIn the Beauty of Your Holiness; Berry; SATBIn the Beauty of Your Holiness; Berry; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word Music 3010742169
Year: 1994
Pub. Contact: 3319 West End Ave., Nashville, TN
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A-flat, A, B-flat
Meters: 4/4
Level: 3
Range/Tessitura: Ranges moderate; everything but Tenor stays in the staff. Tenors have
D4.
Style/Influences: Contemporary Art
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Many good examples of harmonic text painting in this piece. The men have a
comfortable, baritone-range soli section. There is ample opportunity to work on tenuto
and rubato styles. This is a good general use piece. Concert choir might enjoy it.
Go Ye into all the World; Price/Besig; SATBGo Ye into all the World; Price/Besig; SATBGo Ye into all the World; Price/Besig; SATBGo Ye into all the World; Price/Besig; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Glory Sound A-6618
Year: 1990
Pub. Contact: Delaware Water Gap, PN 18327
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: B-flat, C
Meters: 4/4, with a lot of 8/8 feel 3+3+2
Level: 3
Range/Tessitura: Moderate ranges with high tessitura for men and sopranos. Tempo
alleviates some of this.
Style/Influences: Spiritual/Gospel influence
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Accompaniment is difficult, but has leadsheet notation as well. Great general use
piece. This is highly energetic with a driving feel. There are good opportunities to teach
rhythmic precision and diction. Very Very fast. Don’t do it without a great
accompanist.
Carry the Light; Paris/Fettke; SATBCarry the Light; Paris/Fettke; SATBCarry the Light; Paris/Fettke; SATBCarry the Light; Paris/Fettke; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-625 (Carry the Light book)
Year: 1990
Pub. Contact: ?????????????
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: F
Meters: 4/4
Level: 2
Range/Tessitura: ridiculously comfortable, low tessitura for the basses
Style/Influences: Contemporary pop/worship style
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This piece has a catchy “hook.” The basses will be in a comfortable and fun tessitura,
but they must be reminded not to force a bright and tense tone. RELAX to the low
notes and let them speak. Concert Choir/General use/Spring concert.
God & God Alone; McHugh/Fettke; SATBGod & God Alone; McHugh/Fettke; SATBGod & God Alone; McHugh/Fettke; SATBGod & God Alone; McHugh/Fettke; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-625 (Carry the Light book)
Year: 1990
Pub. Contact: ????????????
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: B-flat, C
Meters: 4/4, 2/4
Level: 2.5
Range/Tessitura: all parts comfortable, basses low tessitura
Style/Influences: Contemporary pop/worship style
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This piece is a quick-learn. Basses can be taught what it feels like to sing something
OTHER than a chord root! Basses have leading tone at points of dominant preparation;
it’s even approached by leap! Great teaching opportunity.
Magnify; Garrett/Fettke; SATBMagnify; Garrett/Fettke; SATBMagnify; Garrett/Fettke; SATBMagnify; Garrett/Fettke; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-625 (Carry the Light book)
Year: 1990
Pub. Contact: ??????????????
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G, D, G
Meters: 2/2
Level: 3
Range/Tessitura: Ranges OK
Style/Influences: Contemporary pop/worship style
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Mm. 25-33 have some tricky developmental material. The heavy use of syncopation is
made more difficult by the cut time. Once the main motives are learned, this piece
falls together. Lots of fun, good contrast between sections, lots of potential for dynamic
contrast.
He’s Worthy; Crouch/Fettke; SATBHe’s Worthy; Crouch/Fettke; SATBHe’s Worthy; Crouch/Fettke; SATBHe’s Worthy; Crouch/Fettke; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-625 (Carry the Light book)
Year: 1990
Pub. Contact: ????????????????????
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G, A
Meters: 6/8
Level: 2
Range/Tessitura: ranges mostly in the staff; tenors have a few Ds
Style/Influences: Contemporary worship style rounded out by a hint of Classicism
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This piece is easy to learn, though there are some tricky moments to count. The
contemporaneous style is governed by a classical feel in the accompaniment…I like it!
Concert Choir could definitely do this as a general use piece. Solo opportunity as well.
Holy is He; Clydesdale; SATBHoly is He; Clydesdale; SATBHoly is He; Clydesdale; SATBHoly is He; Clydesdale; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Clydesdale & Clydesdale 080689063091
Year: 1985
Pub. Contact: 25 Music Square West, Nashville, TN
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A, D-flat, D
Meters: 4/4
Level: 2
Range/Tessitura: Ranges are comfortable, but song is long
Style/Influences: Hymn adaptation; stylistically appropriate
3 SpecifiSpecifiSpecifiSpecific Commentsc Commentsc Commentsc Comments
This is a long piece, good for working on endurance and phrasing. The
accompaniment is no small chore. There are some opportunities to play with tempo.
This song is easy to learn, but is vocally demanding. This could be a candidate for the
school’s signature hymn. Concert Choir needs to do it this spring!
Ten Thousand Years; Cole/Speck, Goss, Zaloudik; Ten Thousand Years; Cole/Speck, Goss, Zaloudik; Ten Thousand Years; Cole/Speck, Goss, Zaloudik; Ten Thousand Years; Cole/Speck, Goss, Zaloudik; SATBSATBSATBSATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 080689495274
Year: 1970
Pub. Contact: 3319 West End Ave., Nashville, TN
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: F, G-flat, G
Meters: 4/4, 2/4
Level: 2.5
Range/Tessitura: ranges fairly comfortable
Style/Influences: Contemporary pop/worship style
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This piece has very difficult modulations. It includes a familiar hymn tune, “When
Redeemed I Stand.” There is a solo option as well. Accompaniment CD available with
split track.
In Christ Alone; Craig/Koch/Clydesdale; SATBIn Christ Alone; Craig/Koch/Clydesdale; SATBIn Christ Alone; Craig/Koch/Clydesdale; SATBIn Christ Alone; Craig/Koch/Clydesdale; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 310 0502 167
Year: 1990
Pub. Contact: 5221 O’Connor Blvd. Suite 1000, Irving, TX 75039
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: D-flat, D, E-flat
Meters: 4/4
Level: 3
Range/Tessitura: Bass tessitura is low, but does ascend to high D (unison w/Tenors) Solo is
HIGH
Style/Influences: Hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Solo is considerably more difficult than the choral parts. There are some easily
approached divisi at cadences. These are all homophonic and closest position voice
leading; pretty easy to hear. Final cadence includes high G for tenors and B-flat for
sopranos. These are negotiable. The end will want to drag. Don’t let it. This song has
everything and the kitchen sink in it. Much of it is optional and negotiable. With a
good soloist, this is doable with a mediocre choir.
Even in the Valley; Peck/Unthank/Soule; SATBEven in the Valley; Peck/Unthank/Soule; SATBEven in the Valley; Peck/Unthank/Soule; SATBEven in the Valley; Peck/Unthank/Soule; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice 105449
Year: 2008
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: E-flat, F, G
Meters: 4/4, 2/4
Level: Cake (2)
Range/Tessitura: Comfortable, Tenors up to E, Opening soli down to A-flat
Style/Influences: Contemporary pop/folk style
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Rhythms look much harder than they are. The melody is simply written in a
conversational style. The syncopations are not difficult to hear.
Rehearsal/performance CD available 117118. Sheet music downloadable on website.
Quick learn. Pleasant to sing and to listen to, but a little fluffy for my taste. The text is
solid, but the musical treatment doesn’t seem to match it, though there is some text
painting worth pointing out.
Glorious City of God; Cross/Smith/Dickinson; Glorious City of God; Cross/Smith/Dickinson; Glorious City of God; Cross/Smith/Dickinson; Glorious City of God; Cross/Smith/Dickinson; SATBSATBSATBSATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Cameron Hill 0-6330-1262-9
Year: 2000
Pub. Contact: 1-800-234-2446
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G, A-flat
Meters: 4/4
Level: 3
Range/Tessitura: Basses go to D in unison with Tenors, but sit comfortably most of the
time. Sopranos only leave staff on final cadence to A-flat.
Style/Influences: Hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Divisi often makes five parts, but they splits are approached easily and are all in closest
position voice leading. Boom-chuck accompaniment really supports the theme of
marching, but this is by no means a “serious” piece. It’s far more celebratory than
instructive or worshipful. I think that limits its usefulness, though not its quality. The
beginning may work better in 2, but the accompaniment at the chorus seems to require
a feeling of four to reflect the idea of marching.
He’s Been Faithful; Cymbala/Goss; SATBHe’s Been Faithful; Cymbala/Goss; SATBHe’s Been Faithful; Cymbala/Goss; SATBHe’s Been Faithful; Cymbala/Goss; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 0 80689 37178 3
Year: 1989
Pub. Contact: 1-800-234-2446
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A-flat, A,
Meters: 4/4, 3/4
Level: 2
Range/Tessitura: Tenors up to E, Basses up to C, all else in staff, mostly comfortable
Style/Influences: Folk/hymn/maybe a hint of spiritual
3 SpecifiSpecifiSpecifiSpecific Commentsc Commentsc Commentsc Comments
Most of the load is carried by the soloist. The choral parts were written to be learned by
rote, so a literate choir would have NO problem learning this quickly. Rich harmonies.
There’s a lot of freedom in the soloist’s rhythms, so there can be a lot of conducting
challenges. With a really solid soloist, this song would be fun with Concert Choir. The
success will depend entirely on the quality of the soloist and the foresight of the choir.
In the Quiet Hours; Petersen; SATBIn the Quiet Hours; Petersen; SATBIn the Quiet Hours; Petersen; SATBIn the Quiet Hours; Petersen; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Beckenhorst Press BP 1309
Year: 1988
Pub. Contact: P.O. Box 14273 Columbus, OH 43214
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: F, A-flat (hints at Fm), F, G
Meters: 4/4
Level: 2
Range/Tessitura: Comfortable
Style/Influences: hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Open score. Very nice piece! Good use of unison to approach independent parts.
Good opportunities to work on following at fermatas. A little high tessitura for the
basses, but not impossible. Harmonically intelligent. Accompaniment reflects the text
very well; harmonic instability at “dreams,” and sixteenth notes at “winding brook.” This
is a solid contemporary piece in all respects. Concert Choir would do this well. Good
for general use.
Let There be Praise; Tunney/Holck; SATBLet There be Praise; Tunney/Holck; SATBLet There be Praise; Tunney/Holck; SATBLet There be Praise; Tunney/Holck; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-567 (Day Star book)
Year: 1986
Pub. Contact: Kansas City, MO 64141
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: E-flat, E, G, A-flat
Meters: 4/4
Level: 3
Range/Tessitura: high for basses in order to keep tight voice leading throughout
Style/Influences: Contemporary pop/worship
3 SpSpSpSpecific Commentsecific Commentsecific Commentsecific Comments
Accompaniment printed throughout choral book. Orchestrations available. Very fast.
Splits to 5 parts on p. 9 S1 still never leaves the staff until final cadence (A). I sincerely
don’t like this piece. It’s hard, but in spite of the difficulty, it still sounds fluffy to me.
Perhaps fun to sing.
He is Risen Like He Said; Peterson/Fettke; SATBHe is Risen Like He Said; Peterson/Fettke; SATBHe is Risen Like He Said; Peterson/Fettke; SATBHe is Risen Like He Said; Peterson/Fettke; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-567 (Day Star book)
Year: 1986
Pub. Contact: Kansas City, MO
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A, D, E-flat, A-flat
Meters: ¾, 4/4, 2/4, 3/4
Level: 3
Range/Tessitura: a little high for the basses, though mostly in the staff
Style/Influences: a little borrowing from Handel, but not worthy of him
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
The setting does NOT reflect the seriousness of the text. Also, it would be good to alter
the downbeat placement of “the” so that “gift” receives the emphasis. I can’t imagine
ever doing this.
Hosanna, Loud Hosanna; Gesangbuch/ Holck; Hosanna, Loud Hosanna; Gesangbuch/ Holck; Hosanna, Loud Hosanna; Gesangbuch/ Holck; Hosanna, Loud Hosanna; Gesangbuch/ Holck; SATBSATBSATBSATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-567 (Day Star book)
Year: 1986
Pub. Contact: Kansas City, MO
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A-flat, D-flat, E-flat
Meters: 4/4, 2/4, 4/4
Level: 3
Range/Tessitura: Women in the staff but for two cadences, men sit high most of the time
Style/Influences: Hymn
3 SSSSpecific Commentspecific Commentspecific Commentspecific Comments
Divisi are approached by unison. This is almost good. The end ruins it. Why all the
modulations. The new text may be a challenge, though the original is included as well.
There is good voice leading here. The text can get muddled if this is done as written.
Perhaps an “ooh” or “aah” underscoring the text would help.
There is a Redeemer; Green/Holck; SATBThere is a Redeemer; Green/Holck; SATBThere is a Redeemer; Green/Holck; SATBThere is a Redeemer; Green/Holck; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-567 (Day Star book)
Year: 1986
Pub. Contact: Kansas City, MO
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: D-flat, D
Meters: 4/4
Level: 2.5
Range/Tessitura: Very comfortable for all, even a low A for the altos
Style/Influences: Hymn/Contemporary Worship
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This is a nice contemplative setting. Comfortable ranges, simple arrangement, solid
voice leading, interesting parts, reflective of the text. One modulation is well
approached and not simply done for its own sake. This is a good possiblility for general
use in Concert Choir. This song can be a study in execution of the “s.” Good
possibilities here for small ensemble work within the choir.
The Majesty and Glory of Your Name; The Majesty and Glory of Your Name; The Majesty and Glory of Your Name; The Majesty and Glory of Your Name; Fettke/Johnson; SATBFettke/Johnson; SATBFettke/Johnson; SATBFettke/Johnson; SATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Norman Clayton/Word 3010122160
Year: 1979
Pub. Contact: P.O. Box 1790 Waco, TX 76796
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: E-flat/Cm, C/Am, E-flat
Meters: 4/4, 6/4, 4/4, 2/4, 4/4
Level: 2.5
Range/Tessitura: Tenors above the staff most of the time, Basses on the upper half with
low final cadence, Women in the staff, Sopranos have one G and several high notes at
the final cadence.
Style/Influences: Contemporary Art
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This is very nice. It’s not overly major or minor, but the text is treated very well both
melodically and harmonically as well as contrapuntally. There is excellent voice
leading and some imitation that is simple, but not simplistic. The potential of the
bass/baritone range is exploited very well. The text portrays God’s majesty through the
viewing of creation. Good for general use, or for themes that employ creation. Must
have basses for low E-flat at the end.
Name of All Majesty; DudleyName of All Majesty; DudleyName of All Majesty; DudleyName of All Majesty; Dudley----Smith/Fettke; SATBSmith/Fettke; SATBSmith/Fettke; SATBSmith/Fettke; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Hope C 5239
Year: 1984
Pub. Contact: Carol Stream, IL 60188
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: C, Cm, C, G
Meters: 4/4
Level: 3
Range/Tessitura: Good variety in tessitura. Ranges are spread out.
Style/Influences: Contemporary Art/ Hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Very nice piece. Doesn’t always go where we expect, so there are good opportunities
to teach the importance of READING! This is very accessible in range, difficulty,
readability, and the music is a great reflection of the text. Contemplative, but not
boring. Supportive accompaniment. Good opportunities to teach tight harmonies and
dissonance.
More Precious than Silver; More Precious than Silver; More Precious than Silver; More Precious than Silver; DeShazo/Altrogge/Larson; SATBDeShazo/Altrogge/Larson; SATBDeShazo/Altrogge/Larson; SATBDeShazo/Altrogge/Larson; SATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Hope C 5254
Year: 2003
Pub. Contact: Carol Stream, IL 60188
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G, A-flat
Meters: 4/4
Level: 2
Range/Tessitura: Tenors stay above the staff towards the end, but women are
comfortable throughout
Style/Influences: Contemporary Art/worship
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Medley of “Lord you are more precious than silver” and “I stand in awe.” Very tasteful
combination, neither forceful, nor too repetitive. Majestic at points in the middle, but
contemplative at the final cadence. This is a great easy learn. I should get several of
these for Ensemble to learn for community events and church engagements. Good
solo opportunities. The men start the song in a soli section. Use this to teach basses
about the FUNCTION of a pedal tone!
Our God Reigns; Smith/Rhodes; SATBOur God Reigns; Smith/Rhodes; SATBOur God Reigns; Smith/Rhodes; SATBOur God Reigns; Smith/Rhodes; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 301-0406169
Year: 1978
Pub. Contact: P.O. Box 1790 Waco, TX 76796
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: C, A, D-flat, A, D
Meters: 4/4, ¾, 4/4,
Level: 3 (not difficult to hear, but vocally demanding)
Range/Tessitura: Basses stay in the staff except for a few Cs and Ds which are in unison
with the Tenors. Sopranos have optional descants written up to A. Tenors sit in a high
tessitura most of the time, but descend to support Basses in presentations of melody.
Style/Influences: This song incorporates the hymn “All hail the power of Jesus’ name”
with a modern praise song. The primary influence is hymnody.
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
The musical material is solid, but the treatment at the end is stereotypically cheesy; BIG,
LONG, and LOUD! If I did this piece, I would surely truncate the ending somehow so
that it fits more properly the mood and style of the piece as a whole. Parts are very
logical, beginning in unison and then splitting to two parts. Four parts are first seen at m.
24. There is a nice Bass/Tenor duet at m. 33; could be men’s chorus, ensemble, or duet.
I could see the same at m. 41 with respect to the ladies, and adding the entire choir in
unison at m. 47. Parts become slightly more complex at m. 50 when the hymn is
introduced. There are hints of polyphony in the hymn’s voice leading, but still very
homophonic in feel.
Glorious is Thy Name; McKinney/Fettke; SATBGlorious is Thy Name; McKinney/Fettke; SATBGlorious is Thy Name; McKinney/Fettke; SATBGlorious is Thy Name; McKinney/Fettke; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas AN-2648
Year: 1995
Pub. Contact: Kansas City, MO 64141
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: C, G, C
Meters: 4/4
Level: 2.5
Range/Tessitura: Basses and Altos: comfortable. Sopranos and Tenors: HIGH tessitura.
Tenors can double basses if they are unable to reach the consistent high Gs.
Sopranos…tough luck.
Style/Influences: Very Classical style. The opening motive is from Mozart, and the whole
piece reflects this high Classicism in its style.
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
HIGH, HIGH, HIGH. Teach the Sopranos to sing lightly in this tessitura and to modify their
vowels so as not to inhibit a free and ringing tone. Parts are often doubled and rarely
surprising; there is not one accidental in all the choral parts. Parallel 3rds at m. 54 allow
for exercise in intonation and phrasing as well as dynamic contrast on the repetition.
Soprano descant is optional, and requires excellent control and a light and accurate
tone. The difficulty of tessitura is alleviated by the inherent dance, accent, and fun in
the style.
‘Tis the Church Triumphant Singing; Pethel; SATB‘Tis the Church Triumphant Singing; Pethel; SATB‘Tis the Church Triumphant Singing; Pethel; SATB‘Tis the Church Triumphant Singing; Pethel; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Hope GC 943
Year: 1992
Pub. Contact: Carol Stream, IL 60188
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G, (Dm), G
Meters: 4/4, 2/4, 4/4
Level: 2.5
Range/Tessitura: Generally comfortable. Basses and Altos only venture out of comfort
zones when in unison with Sopranos and Tenors, (mm. 14-15).
Style/Influences: Written in a high Classical style; dance-like, fun, sensible harmony,
good voice leading, supportive accompaniment.
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This piece ends big, but it is not bombastic and obnoxious. The final cadence is neither
over-prepared nor drawn out. The high G is also reachable for a majority of Sopranos.
The parts are fun and easy to hear, though the men will probably have to be coached
into a good tone in the unison cadences.
Blessed be the Name of the Lord; Blessed be the Name of the Lord; Blessed be the Name of the Lord; Blessed be the Name of the Lord; Atkinson/Steele/Crawford/Roberts/Soule; SATBAtkinson/Steele/Crawford/Roberts/Soule; SATBAtkinson/Steele/Crawford/Roberts/Soule; SATBAtkinson/Steele/Crawford/Roberts/Soule; SATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice 11017502
Year: 2007
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: E-flat, E, F, G-flat
Meters: 3/4
Level: 2.5
Range/Tessitura: easy
Style/Influences: Contemporary Art
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Awesome mp3 rehearsal files downloadable from website for $.99. These are VERY cool.
This is an easy learn, very repetitious, but the formulaic upwards modulations get pretty
corny. Great solo opportunities and memorable melody in this piece; sensible part
writing. Fun to sing and a lot of opportunities to showcase the men in soli sections.
Great theme: JOB. Quick 3 will be better than 1 to conduct this piece.
All of Me; Fettke; SATBAll of Me; Fettke; SATBAll of Me; Fettke; SATBAll of Me; Fettke; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-679 (The Gospel Truth book)
Year: 1993
Pub. Contact: Kansas City, MO
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: F, D-flat, F
Meters: 4/4
Level: 2
Range/Tessitura: easy, comfortable. Nothing outside the staff. Tenors up to a D.
Style/Influences: Hymn (incorporates “I surrender all”)
3 SpecificSpecificSpecificSpecific Comments Comments Comments Comments
Great Song! This is a quick learn as well as a great utilization of modulation. It might be
hard not to let this piece drag. Comfortable ranges. This would be good for a
rehearsal opener or closer. There is a shared melody in “I surrender all” between the
men and the women.
Then will the very Rocks Cry Out; Then will the very Rocks Cry Out; Then will the very Rocks Cry Out; Then will the very Rocks Cry Out; McSpadden/George/Thompson/Scruggs/Hayes; McSpadden/George/Thompson/Scruggs/Hayes; McSpadden/George/Thompson/Scruggs/Hayes; McSpadden/George/Thompson/Scruggs/Hayes; SATBSATBSATBSATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Ariose S40060C
Year: 1985
Pub. Contact: N/A
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A, B-flat
Meters: 4/4
Level: 3.5
Range/Tessitura: Tenors sit high right away.
Style/Influences: High Classical style, very difficult.
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Precise rhythms, difficult lines, parts very independent of each other. This is very difficult
for a church choir, but it can be a lot of fun when it is learned. Lots of repetitions mean
that there is a lot of opportunity to play with dynamics. Polyphonic section begins at m.
31. I may want to rehearse this very staccato to enhance accuracy and style. This
requires an excellent accompanist.
While Ages Roll; Lister/Kingsmore; SATBWhile Ages Roll; Lister/Kingsmore; SATBWhile Ages Roll; Lister/Kingsmore; SATBWhile Ages Roll; Lister/Kingsmore; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-841 (Then I Met the Master book)
Year: 2000
Pub. Contact: Kansas City, MO
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A-flat, F, D-flat, G, A-flat
Meters: 3/4
Level: 3
Range/Tessitura: In the staff. Tenors up to E-flat, Sopranos up to G on final cadence
only, Last key area gets awfully high, esp. for Basses, but supported by Tenors.
Style/Influences: Contemporary Art
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Nice solo in the middle. Other than the high ranges, which are limited, this is a very
comfortable song, and easy to hear. I imagine a little difficulty on the MI RI MI RE DO
sections of the primary melodic motive. Solo might work better for a man, because the
supporting choir parts require more of the women.
Jesus Saves; Bennett/Bennett/Wolaver; SATBJesus Saves; Bennett/Bennett/Wolaver; SATBJesus Saves; Bennett/Bennett/Wolaver; SATBJesus Saves; Bennett/Bennett/Wolaver; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice 10621601
Year: 2007
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G, A-flat, A
Meters: 4/4
Level: 2
Range/Tessitura: cake
Style/Influences: Contemporary pop/gospel
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Lots of unison and two-part singing. Syncopation looks harder than it is; rhythms are
very speechlike. Very simple with CD accompaniment. A lot of fun to sing. The four-
part sections are approached very sensibly.
Let the Blood of Calvary Speak for Me; Let the Blood of Calvary Speak for Me; Let the Blood of Calvary Speak for Me; Let the Blood of Calvary Speak for Me; Hemphill/Hemphill/Goss/Dickinson; SATBHemphill/Hemphill/Goss/Dickinson; SATBHemphill/Hemphill/Goss/Dickinson; SATBHemphill/Hemphill/Goss/Dickinson; SATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Brentwood 45757-0226-7
Year: 1986
Pub. Contact: 741 Cool Springs Blvd. Franklin, TN 37067
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A-flat, A, B-flat, C
Meters: 4/4, 3/4
Level: 2.5
Range/Tessitura: cake. Basses do go up to a D, but are well supported by Tenors and its
forte, so pretty easy.
Style/Influences: Hints of traditional gospel influence.
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Easy. Some of the preparations for the modulations are difficult, but not complicated.
Basses leap to flat-6 in preparation for 5, so train this in warm-ups. Lots of repeated
notes, so make sure they don’t stagnate. DO SOMETHING WITH THEM!
It is Finished; Evans/Harrah/Kirkland; SATBIt is Finished; Evans/Harrah/Kirkland; SATBIt is Finished; Evans/Harrah/Kirkland; SATBIt is Finished; Evans/Harrah/Kirkland; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 0 80689 51827 0
Year: 2002
Pub. Contact: 3319 West End Ave Nashville, TN 37203
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: F, Em/G, D
Meters: 4/4,
Level: 2.5
Range/Tessitura: men split, tenors go high pp. 7-8. Big finish; Soprano A.
Style/Influences: Contemporary art
3 Specific Specific Specific Specific CommentsCommentsCommentsComments
Big ending, but not obnoxious. Great Easter song. Great treatment of the text “It is
finished.” Loud, requires lots of energy and HEALTHY singing. There is a lot of repetition,
so there are a lot of options for formal structure and dynamics. This is a solid piece. I
like it. Harmonic text painting on p. 6 reflects a great awareness of the text. Concert
Choir for the Spring…here it comes.
But Still He Loved Me; Wyatt/Krogstad; SATBBut Still He Loved Me; Wyatt/Krogstad; SATBBut Still He Loved Me; Wyatt/Krogstad; SATBBut Still He Loved Me; Wyatt/Krogstad; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 301 0623 16X
Year: 1968
Pub. Contact: 5221 N. O’Connor Blvd. Suite 1000, Irving, TX 75039
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: Cm, C, Cm, C, D-flat
Meters: 4/4
Level: 3.5
Range/Tessitura: Sits high for all but Altos, especially at chorus.
Style/Influences: Contemporary art
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Ridiculously difficult, especially for accompanist. The choral parts are not easy. This
piece will take a lot of rehearsal. I don’t like it. Lots of repeated notes. Do something
with the dynamics. +8 at p. 10 in the 5/4 bar will be hard to hear.
Cornerstone; Goss/Clydesdale; SATBCornerstone; Goss/Clydesdale; SATBCornerstone; Goss/Clydesdale; SATBCornerstone; Goss/Clydesdale; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Benson B0938 (The Day He Wore My Crown musical)
Year: 1981
Pub. Contact: 365 Great Circle Road Nashville, TN 37228
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: B-flat, G, A-flat, B-flat, D-flat
Meters: 4/4
Level: 2.5
Range/Tessitura: High, High, High, and unnecessarily so.
Style/Influences: Contemporary art
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
I wouldn’t let my choir do this in a million years. The melody is repeated too much via
ascending sequence. The ranges and tessituras are PROHIBITIVE to healthy singing,
especially being the first piece in the cantata. Whatever effectiveness a high, loud,
drawn out, powerful choral sound can have is wasted by overuse. I would only do this
with a mature, well-trained, BIG choir; 100+ voices.
Nothing but the Blood; Thompson/Crawford; Nothing but the Blood; Thompson/Crawford; Nothing but the Blood; Thompson/Crawford; Nothing but the Blood; Thompson/Crawford; SATBSATBSATBSATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice 10931201
Year: 2007
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: F, G-flat, G,
Meters: 4/4
Level: 2.5
Range/Tessitura: Unison men sit high on and above the staff. On the divisi the basses
get a break.
Style/Influences: Contemporary hymn
3 SpecSpecSpecSpecific Commentsific Commentsific Commentsific Comments
Nice solo appears twice and is good for any voice type. Choir parts are very
supportive of the melody and they incorporate the original hymn tune without relying
on it too much. This is a nice, comfortable piece; good to learn quickly and to
showcase a nice solo voice. The modulations make sense in this piece. The song can
also be done without a soloist. Syncopation is conversational. It needn’t be
metronomic.
Here I am, Lord; Schutte/Courtney; SATBHere I am, Lord; Schutte/Courtney; SATBHere I am, Lord; Schutte/Courtney; SATBHere I am, Lord; Schutte/Courtney; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Beckenhorst BP 1403
Year: 1981
Pub. Contact: Columbus, OH 43214
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: B-flat, C, D
Meters: 4/4,
Level: 2
Range/Tessitura: Tenors go high on the men’s split (E), but ranges are mostly in the staff
for all.
Style/Influences: Contemporary hymn
3 Specific Specific Specific Specific CommentsCommentsCommentsComments
Slow, contemplative style. Very nice call to worship or dismissal. I wish there wasn’t an
epidemic addiction to modulation. It detracts from the message which is better
expressed in simplicity. The setting is very sensitive and utilizes the tendencies of a choir
quite well. I would consider doing this piece with Concert Choir or Ensemble.
Mighty Fortress; George/Chisum/Coates; SATBMighty Fortress; George/Chisum/Coates; SATBMighty Fortress; George/Chisum/Coates; SATBMighty Fortress; George/Chisum/Coates; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Benson 45757-0628-7
Year: 1985
Pub. Contact: 741 Cool Springs Blvd. Franklin, TN 37067
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: E-flat, B-flat, E-flat
Meters: ¾ with strong 6/8 feel, 4/4, ¾, 4/4, 5/4, 7/4, 4/4, 2/4, 3/4
Level: 3.5
Range/Tessitura: Accented high notes are common, but never sustained and always
return to comfortable range shortly. P. 11 is a Tenor’s worst nightmare. Basses have E-
flat at the end.
Style/Influences: Contemporary treatment of a hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Oh, my…
Extremely demanding of musicianship and vocal ability. This is a very advanced piece
for church choir. It would be a very appropriate challenge for Concert Choir, but I’m
not sure I’m sold on the piece. It is a great example of 20th century composition
techniques. It would go nicely in my history rotation.
Master of the Wind; Hemphill/Soule; SATBMaster of the Wind; Hemphill/Soule; SATBMaster of the Wind; Hemphill/Soule; SATBMaster of the Wind; Hemphill/Soule; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice 10550302
Year: 2007
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: B-flat, C
Meters: 4/4
Level: 2
Range/Tessitura: cake
Style/Influences: Contemporary pop/folk influence
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Easy, but nice melody. It reflects a popular style without being cheesy or defectively
obvious. I think this is a case where the music matches the text well; both simple, both
true, both clear and accessible. I would consider this to help teach sight reading in
comfortable tessituras. I might also use it as a combined piece for middle school and
high school (MS men covering tenor line only). There is a lot of two-part singing. The
four-part texture is limited, homophonic, and easy. Easy on the voice, very therapeutic
to sing.
Blow out the Trumpet; Martin; SATBBlow out the Trumpet; Martin; SATBBlow out the Trumpet; Martin; SATBBlow out the Trumpet; Martin; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Harold Flammer A-6884
Year: 1994
Pub. Contact: Delaware Water Gap, PA 18327
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A-flat, F, A-flat
Meters: 4/4, 6/8, ¾, 4/4
Level: 2.5
Range/Tessitura: Tenors are high at m. 66 at ff dynamic.
Style/Influences: Contemporary art
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This piece mimics a trumpet. Big ending, but not inappropriate. I like the piece. It
utilizes some proven compositional techniques and has an exciting feel to it. The
accompaniment is difficult, and doesn’t support the parts particularly well. This piece
requires independence.
You are my Song; Lister/Kingsmore; SATBYou are my Song; Lister/Kingsmore; SATBYou are my Song; Lister/Kingsmore; SATBYou are my Song; Lister/Kingsmore; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-841 (Then I Met the Master book)
Year: 2000
Pub. Contact: Kansas City, MO
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G, A-flat,
Meters: 4/4,
Level: 3
Range/Tessitura: Final cadence is high for Bass, Tenor, and Soprano. Tenor tessitura on
the duet is very high.
Style/Influences: Contemporary pop
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
There is a reasonably difficult duet for Soprano and Tenor which sits very high for the
tenor. Big ending…of course. Melody is pretty, but it seems boring to me. I see this
piece stagnating quickly. Maybe with the right choir…
We Have Won; Hamm/Speck/Borop/Fettke; SATBWe Have Won; Hamm/Speck/Borop/Fettke; SATBWe Have Won; Hamm/Speck/Borop/Fettke; SATBWe Have Won; Hamm/Speck/Borop/Fettke; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 301 0661 169
Year: 1990
Pub. Contact: 5221 N. O’Connor Blvd. Suite 1000 Irving, TX 75039
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: F-sharp m, A, D-flat
Meters: 2/2,
Level: 2.5
Range/Tessitura: Sits high for most of the piece. Altos have comfortable tessitura.
Style/Influences: Contemporary art
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Powerful message, told through story. Big ending; appropriate. Two important
ritardandos should be rehearsed; following is necessary. It sits high, so teach supported
singing with good pharyngeal resonance. This can get throaty very quickly.
Great song.
Great is the Lord; Smith/Smith/Schrader; SATBGreat is the Lord; Smith/Smith/Schrader; SATBGreat is the Lord; Smith/Smith/Schrader; SATBGreat is the Lord; Smith/Smith/Schrader; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Hope GC 873
Year: 1982
Pub. Contact: Carol Stream, IL 60188
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: C, with several developmental episodes, but still C
Meters: 6/8, 3/8, 6/8
Level: 3.5
Range/Tessitura: Tenors high, everyone else in the staff. Sopranos high on the last
cadence.
Style/Influences: Contemporary praise chorus, with some polyphonic treatment in the
middle.
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Cool arrangement. I like it. The high notes are usually supported by louder dynamics.
The accompaniment is difficult, but very invigorating and appropriate to the style. On
the polyphonic section, the accompaniment becomes very supportive. Phrasing is
important; the vowels will tend to implode at a quick tempo, so work on legato
phrasing.
Mercy came Down; Williams/Rowsey/Roberts; Mercy came Down; Williams/Rowsey/Roberts; Mercy came Down; Williams/Rowsey/Roberts; Mercy came Down; Williams/Rowsey/Roberts; SATBSATBSATBSATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice 106437
Year: 2007
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: F, G
Meters: 6/8
Level: 2.5
Range/Tessitura: cake, not too high. Basses to sit fairly low most of the time, but in the
staff.
Style/Influences: Contemporary pop/folk influences
3 SpecSpecSpecSpecific Commentsific Commentsific Commentsific Comments
Easy parts. Tricky rhythmic variations of the dotted eighth-sixteenth combinations in 6/8.
Good solo opportunities, esp. for bass at the beginning. Rhythmic difficulties demand
precise and accurate rehearsal techniques. DON’T LET THEM LEARN IT WRONG!
Almighty; Watson/Hart; SATBAlmighty; Watson/Hart; SATBAlmighty; Watson/Hart; SATBAlmighty; Watson/Hart; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 301 0635 168
Year: 1990
Pub. Contact: 5221 N. O’Connor Blvd., Suite 1000, Irving, TX 75039
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: F, G
Meters: 4/4
Level: 3
Range/Tessitura: Men not too high, but if they allow the volume to make them throaty, it
will SEEM high! S1 has a B on p. 12 (optional descant) and a big high final cadence.
Style/Influences: Contemporary pop/praise
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
A lot of fun. Great text. Difficult accompaniment. Good part writing. Very repetitious,
but some of the repeats could be optional. Very “80s” sound, but not ridiculously so. I
would consider this piece for the right choir and the right occasion. I think this is a
piece in which the musical setting reflects the subject of the text very well. The
repetitions offer a lot of opportunity for dynamic contrast.
Heavenly Love; Ellis/McPheeters/Linn; SATBHeavenly Love; Ellis/McPheeters/Linn; SATBHeavenly Love; Ellis/McPheeters/Linn; SATBHeavenly Love; Ellis/McPheeters/Linn; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-552 (Glory Bound book)
Year: 1985
Pub. Contact: Kansas City, MO
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G, A-flat, B-flat
Meters: 12/8
Level: 2
Range/Tessitura: Basses may sit a bit low for some of their comfort. Sopranos venture to
a G.
Style/Influences: Contemporary pop/gospel
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This is a nice song with a simple and profound message, but it can get boring FAST!
There needs to be a huge amount of attention to phrasing and dynamics in order to
maintain interest for congregation AND choir. The melody is accompanied by the
piano AND by the lower three choral parts. It might be interesting to rehearse these
together separately from the melody.
We Preach Christ; We Preach Christ; We Preach Christ; We Preach Christ; Machen/Machen/Harland/Wolaver; SATBMachen/Machen/Harland/Wolaver; SATBMachen/Machen/Harland/Wolaver; SATBMachen/Machen/Harland/Wolaver; SATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas AN-1877
Year: 2001
Pub. Contact: Kansas City, MO
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: F, G, A-flat
Meters: 4/4, 2/4, 4/4,
Level: 2
Range/Tessitura: tends to sit high for basses and for all at the final cadence (of course)
Style/Influences: Contemporary pop/folk/gospel
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This is a fun piece, and a great one to practice diction. The word “Christ” contains
three distinct consonants and a diphthong. This is a majestic piece with a very
supportive accompaniment. There must be 110% energy for this to work most
effectively. Rhythms look harder than they are. They are very natural to the natural
stresses of the speech.
How Great Thou Art; Hine/Pinkston; SATBHow Great Thou Art; Hine/Pinkston; SATBHow Great Thou Art; Hine/Pinkston; SATBHow Great Thou Art; Hine/Pinkston; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Soundforth 104893
Year: 1953; 1981
Pub. Contact: Manna Music, 35255 Brooten Road, Pacific City, OR 97135
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: B-flat, C
Meters: 4/4, 5/4
Level: 2
Range/Tessitura: comfortable
Style/Influences: Hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Great arrangement and easy to get excited. There must be discipline to not let the
piece get too loud to early. The double dotted rhythms with 32nd notes are very
exciting, but may be difficult, esp. for the accompanists (piano & organ). The piece
also incorporates the congregation singing the melody only. The incorporation of so
many elements is done quite sensibly, such that there is little confusion, but it does
mean that there are many things that can go wrong. This is really a big showcase for
pianist and organist. The congregation and choir are equal players, not master and
servant. It may be possible to include this as a Spring Concert closer involving the
audience, but I think it would take some modification, (with permission from the
publisher, of course)!
We are More than Conquerors; Hayes; SATBWe are More than Conquerors; Hayes; SATBWe are More than Conquerors; Hayes; SATBWe are More than Conquerors; Hayes; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Glory Sound A 7189
Year: 1997
Pub. Contact: Delaware Water Gap, PA 18327
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A-flat, B-flat, Fm, F, A-flat
Meters: 2/2
Level: 2.5
Range/Tessitura: high for tenors and sopranos in tessitura, but not range
Style/Influences: Contemporary art
3 SpecificSpecificSpecificSpecific Comments Comments Comments Comments
FUN! This has a great “hook” and some solid part writing. The high tessitura is not that
hard given the tempo and the dynamic and necessarily high energy level. I could see
Concert Choir enjoying this as one of their twentieth century pieces, though I’m not sure
there are enough specifically 20th century compositional elements to teach in it. Still, it
would be fun to do. With the D.S. it is over four minutes long. Sectional form; setting of
Romans 8:37-39 and Ephesians 6:10-13.
There is Power; Clydesdale; SATBThere is Power; Clydesdale; SATBThere is Power; Clydesdale; SATBThere is Power; Clydesdale; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Royal Tapestry DTE33031
Year: 1985
Pub. Contact: unavailable
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G, F, B-flat, E-flat,
Meters: 4/4,
Level: 2.5
Range/Tessitura: Ridiculously high for the Basses and Sopranos. Constantly flirting with
the passagio.
Style/Influences: Hymn
3 Specific CommSpecific CommSpecific CommSpecific Commentsentsentsents
Never do this…never. Unnecessarily high, loud, long, and cheesy. I appreciate nothing
about this piece.
I Turn to You; Wahlen/Roberts; SATBI Turn to You; Wahlen/Roberts; SATBI Turn to You; Wahlen/Roberts; SATBI Turn to You; Wahlen/Roberts; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice 111155
Year: 2007
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: E-flat, E
Meters: 4/4, 2/4
Level: 1.5
Range/Tessitura: In the staff
Style/Influences: Contemporary pop influence
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Slow, contemplative. Very conversational style in the solo. Very little choral work
required; they are an accompaniment for the soloist. Probably not a good choice for
any of my choirs right now.
He Washed my Eyes with Tears; He Washed my Eyes with Tears; He Washed my Eyes with Tears; He Washed my Eyes with Tears; Stanphill/Roberts; SATBStanphill/Roberts; SATBStanphill/Roberts; SATBStanphill/Roberts; SATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice105546
Year: 2007
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: D-flat, D
Meters: 4/4
Level: 2.5
Range/Tessitura: Opening solo has a low A-flat, nothing too high.
Style/Influences: Contemporary pop/folk influence
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Easy. Good solo opportunity; memorable and expressive melody. It’s a bit chromatic
and “George Beverly” for my taste, but it’s alright. There are a lot of accidentals and
several double flats. This is hard to read, but easy to hear. I think one or two run-thrus
would eliminate this concern. “Lush.” Good vocal therapy.
Faces; Griffin/Roberts; SATBFaces; Griffin/Roberts; SATBFaces; Griffin/Roberts; SATBFaces; Griffin/Roberts; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice 105406
Year: 2007
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: D-flat, D, E-flat
Meters: 4/4
Level: 2.5
Range/Tessitura: Solo line has low A-flat, Tenors tend to sit high on the divisi sections, but
Basses and men’s unison parts are comfortable if not a bit low in tessitura.
Style/Influences: Contemporary ballad; storytelling
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Nice tune, good harmony and voice leading. This song needs strong altos. The solos
are very conversational in style and rhythm, but not too difficult to read. Easy to learn.
Again, this is a solo with choral accompaniment, so it could be a good showcase for
some; perhaps as part of a longer program where the choir needs an easy space-filler.
For What Earthly Reason; Rambo/Fettke; SATBFor What Earthly Reason; Rambo/Fettke; SATBFor What Earthly Reason; Rambo/Fettke; SATBFor What Earthly Reason; Rambo/Fettke; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Lillenas MB-679 (The Gospel Truth book)
Year: 1993
Pub. Contact: Kansas City, MO
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: D, E-flat
Meters: ¾
Level: 2.5
Range/Tessitura: Solo sits high for men, after divisi, the tenors are in a moderate tessitura
and the basses have a low F-sharp
Style/Influences: Contemporary pop/folk/gospel
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Very good text. Great musical treatment of the message. The rhythms are not always
predictable, but sensible. The tempo is marked “Freely” and the free rhythmic style is
very appropriate to this. The four-part, legato, ritenuto, sections are beautiful; really a
lot of potential to work on phrasing and dynamics.
Amazing Love; Kendrick/Clydesdale; SATBAmazing Love; Kendrick/Clydesdale; SATBAmazing Love; Kendrick/Clydesdale; SATBAmazing Love; Kendrick/Clydesdale; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 310 0557 166
Year: 1989
Pub. Contact: 3319 West End Ave., Nashville, TN 37203
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: B-flat, C, D
Meters: 4/4
Level: 3
Range/Tessitura: Opening is a high tessitura for the Basses, but divisi places the men and
women comfortably.
Style/Influences: Contemporary hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Q: How many keys does it take to unlock a Clydesdale?
A: Only 24, assuming they’re all used in the same piece.
This is actually a very nice piece. The acapella section on the last page has a great
effect. I would like a tempo slightly faster than indicated. The piece is reflective, but
also has a majestic feel to it. The parts make a lot of sense, so I don’t think it would be
hard to learn, but the tenors sit high for most of the piece, so it could be easily over-
rehearsed.
I Stand Redeemed; I Stand Redeemed; I Stand Redeemed; I Stand Redeemed; Garner/DeGazio/Smith/Kirkland; SATBGarner/DeGazio/Smith/Kirkland; SATBGarner/DeGazio/Smith/Kirkland; SATBGarner/DeGazio/Smith/Kirkland; SATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 0 80689 51627 6
Year: 1999
Pub. Contact: 3319 West End Ave., Nashville, TN 37203
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: C, D-flat, E-flat
Meters: 4/4
Level: 2.5
Range/Tessitura: after p. 9, Sopranos and Tenors sit very high. Solo sits high as well.
Style/Influences: Contemporary pop/hymn style
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Ladies parts are usually split three ways. This is an exciting song with some powerful
moments. It has a big ending, but because the song is not obnoxious and bombastic,
the ending IS ACTUALLY POWERFUL instead of boring. This is an APPROPRIATE use of
“bigness.”
Heavenbound; Lucas/Mayfield; SATBHeavenbound; Lucas/Mayfield; SATBHeavenbound; Lucas/Mayfield; SATBHeavenbound; Lucas/Mayfield; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Glory Sound A-6769
Year: 1992
Pub. Contact: Delaware Water Gap, PA 18327
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G, E-flat, A-flat
Meters: 4/4, 12/8, 4/4, ¾, 2/4, 4/4
Level: 3
Range/Tessitura: Depends on the song (this is a medley). Mostly comfortable.
Style/Influences: HYMN
3 Specific ComSpecific ComSpecific ComSpecific Commentsmentsmentsments
A ton of variety. A lot of fun. High, but energetic, so not too stressful. Over 5 minutes
long! It’s actually easier than it looks. There are a lot of options to make this a
wonderful fit for many choir/congregation situations; descants, repeats, congregational
singing - all kinds of options.
Shout to the Lord; Zschech/Smith; SATBShout to the Lord; Zschech/Smith; SATBShout to the Lord; Zschech/Smith; SATBShout to the Lord; Zschech/Smith; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Integrity 09707
Year: 1993
Pub. Contact: 1000 Cody Rd., Mobile, AL 36695
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A, B-flat, B, C
Meters: 4/4
Level: 2
Range/Tessitura: Men sit high throughout. Women are comfortably in the staff.
Style/Influences: Contemporary Worship
3 Specific CommenSpecific CommenSpecific CommenSpecific Commentstststs
Exceedingly high tessitura for the basses. Very repetitious. This would be a good choice
to do from memory. Key changes can be abrupt, so prepare the choir beforehand.
Look for Me; Goodman/Roberts; SATBLook for Me; Goodman/Roberts; SATBLook for Me; Goodman/Roberts; SATBLook for Me; Goodman/Roberts; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice 106313
Year: 2007
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: D, E-flat
Meters: 4/4
Level: 2
Range/Tessitura: Opening ladies soli has a low A. Men sit comfortably; bass’ high notes
are supported by tenors, and tenors don’t go past E4.
Style/Influences: Contemporary pop/folk/ballad
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Very comfortable to sing; nice mixture of two-part and four-part singing. Good
opportunities to teach phrasing, following, listening within the choir, etc. Demands
some solid fundamentals in technique, reading, listening, and tone. Great teaching
piece.
Higher Ground; Gabriel/Kirkland; SATBHigher Ground; Gabriel/Kirkland; SATBHigher Ground; Gabriel/Kirkland; SATBHigher Ground; Gabriel/Kirkland; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Gaither GG5288
Year: 1989
Pub. Contact: Gaither Music Company
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: B-flat, G, A-flat, B-flat, A-flat, B-flat
Meters: 4/4
Level: 3
Range/Tessitura: High for Sopranos and Tenors, Basses have a middle-high tessitura
Style/Influences: Hymn
3 Specific CommeSpecific CommeSpecific CommeSpecific Commentsntsntsnts
Very quick, very energetic, about 3:30 in length. The high tessituras are made easier by
the style. Kind of odd harmonic support of the basic melody, but very effective. This is
a fun piece. There is a very majestic feel to the whole piece, and this style is affected
partially by the use of 4/4 in a hymn which is usually ¾. Mostly homophonic, but there
are some nice imitative sections between the men and women; not too difficult, but a
nice effect. This piece requires good sopranos that are comfortable in a very high
tessitura for a long time.
Wherever You Are; Wherever You Are; Wherever You Are; Wherever You Are; McCollough/McCollough/Lindsey/Fettke; SATBMcCollough/McCollough/Lindsey/Fettke; SATBMcCollough/McCollough/Lindsey/Fettke; SATBMcCollough/McCollough/Lindsey/Fettke; SATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice 107085
Year: 2007
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: C
Meters: 4/4
Level: 2
Range/Tessitura: Basses get high before their divisi, but sit comfortably afterwards. Men
high, women low seems to be the theme for a lot of Rejoice music.
Style/Influences: Contemporary pop/folk
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Phrases are short and very predictable. There are some rhythmic peculiarities like
triplets juxtaposed with dotted rhythms; good for teaching reading and listening. Over
four minutes long, so a good space filler if needed. Short phrases could be connected
to provide variety and for teaching technique of abdominal support. Very repetitious
but a nice piece.
There is a Redeemer; Green/Scholl; SATBThere is a Redeemer; Green/Scholl; SATBThere is a Redeemer; Green/Scholl; SATBThere is a Redeemer; Green/Scholl; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Royal Tapestry DTE33083
Year: 1982
Pub. Contact: unavailable
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: C, F, D-flat, A, F, G
Meters: 4/4
Level: 2.5
Range/Tessitura: Sits high for the men, esp. Basses. Sopranos go up to G several times,
and hang out towards the top of the staff during the choruses.
Style/Influences: Contemporary pop/hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Good arrangement, but superfluous ending. This can be painful if not sung in a healthy
way. Requires very good first sopranos and basses that don’t mind being treated like
tenors. The piece grows from beginning to end, with a nice break for a women’s soli
verse in the middle.
I Stand in Awe; Clydesdale; SATBI Stand in Awe; Clydesdale; SATBI Stand in Awe; Clydesdale; SATBI Stand in Awe; Clydesdale; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 0 80689 71727 7
Year: 1991
Pub. Contact: 3319 West End Ave., Nashville, TN 37203
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G, A-flat, A, B-flat
Meters: 4/4, 6/4, 4/4
Level: 3
Range/Tessitura: Tenors…I’m sorry to do this to you. Sopranos…the passagio is there to
be endlessly dwelt upon.
Style/Influences: Contemporary hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Very nice ending. Clydesdale gets his “clydesdaleness” out of the way in the middle
sections. The coda is very nice, much thinner accompaniment, contemplative and
reflective. This is structurally effective for the piece and a good thing for the health of
the choir as well. It is important to carefully observe the meter changes from 6/4 and
4/4.
Soar Like an Eagle; Althouse; SATBSoar Like an Eagle; Althouse; SATBSoar Like an Eagle; Althouse; SATBSoar Like an Eagle; Althouse; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Glory Sound A-6478
Year: 1989
Pub. Contact: Delaware Water Gap, PA 18327
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A-flat, with some short-lived developmental harmonic excursions.
Meters: 4/4 with lots of hemiolas
Level: 2.5
Range/Tessitura: Very comfortable, all in the staff until the final cadence (Tenors go up
to C beforehand).
Style/Influences: Contemporary art
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This is a great teaching piece because it contains a interesting musical elements that
are worth teaching (mixed meter, hemiola, form, divisi, harmonic development…) in a
context that is of musical quality, governed by PURPOSE, structure, and identifiable
compositional tools (motivic development and variation, ritornello form, coda…). It is
also in a very comfortable range for high school choirs and it is fun to sing.
I Bowed on my Knees and Cried Holy; I Bowed on my Knees and Cried Holy; I Bowed on my Knees and Cried Holy; I Bowed on my Knees and Cried Holy; Cantwell/Soule; SATBCantwell/Soule; SATBCantwell/Soule; SATBCantwell/Soule; SATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Rejoice 105813
Year: 2007
Pub. Contact: rejoicemusic.com
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G-flat, G, A-flat
Meters: 6/4
Level: 2
Range/Tessitura: Tenors spend a lot of time above the staff, but only have one F.
Sopranos only at the final cadence. Basses occupy the staff throughout but for the final
cadence.
Style/Influences: Contemporary folk style/ballad
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
The ending is unnecessary. A little over 4 minutes long. This is mostly very relaxing to
sing. The alto part is not stagnant, so it is good for them to have an interesting part. 6/4
meter is easily handled, and using a solid 6 pattern instead of 2 will keep it from rushing.
There aren’t a lot of dynamic indications, so there is freedom for the conductor and
little inhibition for the choral psyche. A little cheesy for either of my high school choirs,
and too low for middle school. A nice song, though. Maybe for church.
There Stands the Cross; There Stands the Cross; There Stands the Cross; There Stands the Cross; McBride/Westfall/Davis/Christopher; SATBMcBride/Westfall/Davis/Christopher; SATBMcBride/Westfall/Davis/Christopher; SATBMcBride/Westfall/Davis/Christopher; SATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Genevox 0-7673-9782-7
Year: 1998
Pub. Contact: unavailable
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A-flat/Fm, B-flat
Meters: 2/2
Level: 2
Range/Tessitura: Moderate in the unison sections; smartly written. The divisi sections
keep the parts in comfortable ranges, but starting at p. 10, the tessitura gets higher
(Basses above the staff).
Style/Influences: Contemporary hymn/gospel ballad
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Well-written. This piece is written a bit like a warm up; soft and easy at first, big and high
at the end, but not TOO MUCH. I think the modulation for the last verse is superfluous,
but I guess it’s to be expected. It certainly doesn’t ruin the song. I would consider this
for church functions or as a general use piece for Concert Choir in the spring.
Hallelujah, Praise the Lamb; Hallelujah, Praise the Lamb; Hallelujah, Praise the Lamb; Hallelujah, Praise the Lamb; McSpadden/Thomas/Thum/Christopher; SATBMcSpadden/Thomas/Thum/Christopher; SATBMcSpadden/Thomas/Thum/Christopher; SATBMcSpadden/Thomas/Thum/Christopher; SATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 301 0522 169
Year: 1991
Pub. Contact: 3319 West End Ave., Nashville, TN
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: G-flat, D, F/Dm, B-flat, C
Meters: 4/4
Level: 3
Range/Tessitura: Wide ranges for the men, Basses high passages are or could be
doubled with tenors if needed. Women’s opening soli section has a low A. Sopranos
have a few Fs but don’t sit above the staff for any length of time except at the final
cadecne.
Style/Influences: Contemporary folk/ballad
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Confusing rhythms, uncomfortable to sing, redundant ending. Music shouldn’t be used
this way. This is a difficult piece which offers no reward for the work it will take. The
message of this song is too plainly presented in the text to be represented by such
complicated music. I don’t see this piece challenging the congregation/audience to
think. It begs to be listened to passively and the musical challenges don’t reflect this.
Oh Lord, You’re Beautiful; Green/Greer; SATBOh Lord, You’re Beautiful; Green/Greer; SATBOh Lord, You’re Beautiful; Green/Greer; SATBOh Lord, You’re Beautiful; Green/Greer; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 0 80689 51027 4
Year: 1980
Pub. Contact: 3319 West End Ave., Nashville, TN 37203
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: B-flat, E-flat, F, B-flat
Meters: 2/2, 4/4
Level: 2.5
Range/Tessitura: Comfortable throughout. Second to last verse ventures quite high in
all parts in unison. Sopranos have one high G. Ending is low and soft.
Style/Influences: Contemporary praise/worship
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Very well structured. The piece is bookended in key, style, and mood. Good
opportunities to teach men the proper use of PURE falsetto on the true unisons at the
ends of the first and last verses. The high sections are supposed to be louder than the
rest, so singers need not hold back. This is a great piece to encourage healthy singing
in different registers and at different dynamic levels. Solid text. Good for general use.
Call upon the Lord; Logan/Mann/Wolaver; SATBCall upon the Lord; Logan/Mann/Wolaver; SATBCall upon the Lord; Logan/Mann/Wolaver; SATBCall upon the Lord; Logan/Mann/Wolaver; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Word 301 0892 160
Year: 1990
Pub. Contact: 3319 West End Ave., Nashville, TN 37203
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: F, G, F/Dm, G, A
Meters: 6/8, 3/8, 6/8
Level: 3.5
Range/Tessitura: High opening section, and as the keys get higher, the sopranos’ and
tenors’ tessituras go higher.
Style/Influences: Contemporary praise/worship
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
FUN FUN FUN! I don’t understand the obsession with modulations; they get in the way.
Still, the piece is solid and fun to sing. There is a lot to teach: diction, forward tone,
hemiola/mixed meter, HEBREW NAMES FOR GOD, call and response, SEQUENTIAL
IMITATION…
I would consider this for Concert Choir. It is rather difficult, so it will take a lot of
rehearsal. I’ll bet this piece rehearses well.
He is my Cornerstone; Talley/Smith; SATBHe is my Cornerstone; Talley/Smith; SATBHe is my Cornerstone; Talley/Smith; SATBHe is my Cornerstone; Talley/Smith; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Genevox 9 780633011956 (Gospel Celebration book)
Year: 2001
Pub. Contact: Nashville, TN 37234
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A-flat, A, B-flat
Meters: 4/4
Level: 2
Range/Tessitura: Comfortable. Basses high passages are in unison with the tenors.
Style/Influences: Contemporary gospel
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Good upbeat song. A lot of fun to sing if your accompanist can play it fast. Good
variations in a simplistic style help to maintain the interest of the choir and the
congregation/audience. This might work well as a quick learn for the Ensemble to sing
at the Flathead Gospel Festival. It wouldn’t need a huge amount of rehearsal for them.
The “feel” of this piece is vital to its success. Don’t get hung up on technicalities.
We Shall see God; Funderburk/Settle/Coates; We Shall see God; Funderburk/Settle/Coates; We Shall see God; Funderburk/Settle/Coates; We Shall see God; Funderburk/Settle/Coates; SATBSATBSATBSATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Benson 45757-0630-7
Year: 1993
Pub. Contact: 741 Cool Springs, Blvd., Franklin, TN
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: E-flat, A-flat, D-flat
Meters: 4/4
Level: 2.5
Range/Tessitura: Mostly comfortable, with high passages limited. Final cadence is
unnecessary.
Style/Influences: Contemporary hymn/gospel
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
The four-part sections with sparse accompaniment are quite beautiful. The final
cadence is way too much (of course). There are two nice solos (alto and tenor) which
could be solos, small groups, or whatever. I don’t think I can use this.
To Rescue a Sinner like Me; Calcote/Kirkland; To Rescue a Sinner like Me; Calcote/Kirkland; To Rescue a Sinner like Me; Calcote/Kirkland; To Rescue a Sinner like Me; Calcote/Kirkland; SATBSATBSATBSATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Genevox 9 780633 011956 (Gospel Celebration book)
Year: 2001
Pub. Contact: Nashville, TN 37234
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: C, D-flat, D
Meters: ¾
Level: 2.5
Range/Tessitura: Doesn’t come any more comfortable than this.
Style/Influences: Contemporary art/gospel? (this doesn’t have a characteristic gospel
sound to me, but it’s in a gospel book)
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Nicely structured. Begins and ends contemplatively with the big section in the middle;
this is appropriate. Very nice piece. The big isn’t too big, and the message is very well
reflected in the musical treatment. The accompaniment is an equal player here, so
utilize it and work with it. Nice piece.
One Holy Lamb; Cross/Ballard/Mauldin; SATBOne Holy Lamb; Cross/Ballard/Mauldin; SATBOne Holy Lamb; Cross/Ballard/Mauldin; SATBOne Holy Lamb; Cross/Ballard/Mauldin; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Genevox 9 78063 011956
Year: 2001
Pub. Contact: Nashville, TN
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A-flat, A, D
Meters: 4/4, ¾, 4/4
Level: 2.5
Range/Tessitura: Men have a wide tessitura, equally spread from the middle-lower staff
to D4. Women’s ranges are more limited after the opening soli, which goes down to
low A-flat. Sopranos do spend some time at the top of the staff around F.
Style/Influences: Contemporary folk/ballad
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
I’m not sure about the ending. This message is melancholy and contemplative, the
ending should not be this big unless more time has been spent on the theme of
redemption within the body of the piece. The primary motive is very repetitive, so either
change the harmony to create a periodic phrase relationship or pay careful attention
to the performance styles of each phrase so it doesn’t get boring. It is a nice piece, but
may require some tweaking.
“THE DEATH HAS DIED” IS ALSO IN THIS BOOK.
Honored, Glorified, Exalted; Honored, Glorified, Exalted; Honored, Glorified, Exalted; Honored, Glorified, Exalted; Vader/Rouse/Kirkland; SATBVader/Rouse/Kirkland; SATBVader/Rouse/Kirkland; SATBVader/Rouse/Kirkland; SATB
Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InformationPublication InformationPublication InformationPublication Information
Publisher & Catalog Number: Praise Gathering A08116
Year: 1989
Pub. Contact: unavailable
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: A-flat/Fm, A, B-flat, C, A
Meters: 4/4
Level: 2.5
Range/Tessitura: Comfortable, though does venture up to isolated Fs and Gs for Tenors
and Sopranos. “All Hail the Power” takes them consistently high, but this is short.
Style/Influences: Contemporary hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
POOR TEXT SETTING! The accents are all wrong. The melody is nice, but the
modulations are entirely unnecessary. The chromatic mediant modulation at the final
cadence is poorly executed, utilizing a deceptive cadential function that does not
resolve until the final cadence, in which the major third is added to end the piece. I
think the majestic feeling that is intended is decreased by the DOWNWARD modulation.
It seems like an afterthought just to allow the Sopranos to sing the tonic as a high note.
It’s too bad I can’t reconcile this piece with my weird principles, because there are
some very nice moments in it. The hymn arrangement is quite nice, but I won’t do this
piece.
None other Lamb; Courtney; SATBNone other Lamb; Courtney; SATBNone other Lamb; Courtney; SATBNone other Lamb; Courtney; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InforPublication InforPublication InforPublication Informationmationmationmation
Publisher & Catalog Number: Beckenhorst BP1301
Year: 1987
Pub. Contact: P.O. Box 14273, Columbus, OH 43214
2 Basic Basic Basic Basic Description, Analysis, and DifficultyDescription, Analysis, and DifficultyDescription, Analysis, and DifficultyDescription, Analysis, and Difficulty
Keys: D
Meters: 4/4, 2/4, 6/4, 4/4
Level: 3
Range/Tessitura: Sopranos cover the entire staff up to F-sharp regularly. The ranges are
quite wide in all parts.
Style/Influences: Contemporary art
3 Specific CommentSpecific CommentSpecific CommentSpecific Commentssss
Christina Rossetti text makes this song worth a look or two. Call and response treatment
between Sopranos and choir and between men and women. Contemplative
treatment is appropriate, but the melody and harmonic treatment are just a little bit
trite…I still give Courtney credit for setting this text thoughtfully. It might be worth
looking at with Ensemble as a 20th century piece. There are some nice moments of text
painting, esp. in Soprano part. MISPRINT IN ALTO PART M. 27; eighth notes printed as
quarter notes. ENSEMBLE SHOULD LOOK AT THIS.
Sing, Oh, Sing; Prisk/Soule; SATBSing, Oh, Sing; Prisk/Soule; SATBSing, Oh, Sing; Prisk/Soule; SATBSing, Oh, Sing; Prisk/Soule; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InforPublication InforPublication InforPublication Informationmationmationmation
Publisher & Catalog Number: Rejoice 106712
Year: 2007
Pub. Contact: rejoice music.com
2 Basic Description, AnalysisBasic Description, AnalysisBasic Description, AnalysisBasic Description, Analysis, and Difficulty, and Difficulty, and Difficulty, and Difficulty
Keys: D, A, D, E
Meters: 4/4, 2/4, 4/4,
Level: 2.5
Range/Tessitura: Opening solo sits high and is very disjunct. Basses do go to low F-sharp.
T & B unison up to E. Tenors up to G-sharp on final cadence.
Style/Influences: Contemporary praise/hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Solo opportunities. Give the men a break from the high notes. This is a fun song. 2:47!
I’m a genius. Incorporates “Crown Him with Many Crowns.” I probably wouldn’t do this
piece with school choirs. Maybe with the right church situation. Experimenting with the
accompaniment to provide some acapella moments for the choir might be very
effective.
How Beautiful; Paris/Larson; SATBHow Beautiful; Paris/Larson; SATBHow Beautiful; Paris/Larson; SATBHow Beautiful; Paris/Larson; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InforPublication InforPublication InforPublication Informationmationmationmation
Publisher & Catalog Number: Hope C 5031
Year: 2000
Pub. Contact: Carol Stream, IL 60188
2 Basic Description, AnalysBasic Description, AnalysBasic Description, AnalysBasic Description, Analysis, and Difficultyis, and Difficultyis, and Difficultyis, and Difficulty
Keys: D, E-flat
Meters: 3/4
Level: 2
Range/Tessitura: Comfortable in all parts throughout.
Style/Influences: Contemporary folk/pop/gospel
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
This is a nice, simple setting of a classic CCM song. MAYBE Concert Choir in a really
shallow year, or even as an easy learn for community purposes (Auction/Evening of the
Arts/Calling all Angels…). Very sensitively set. Tons of opportunities to vary the
dynamics. Final cadence could be very effective acapella. Possibly some doctrinal
issues with text…possibly too “Catholic” for some fundamentalist papists.
Shoutin’ Time; Knight; SATBShoutin’ Time; Knight; SATBShoutin’ Time; Knight; SATBShoutin’ Time; Knight; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InforPublication InforPublication InforPublication Informationmationmationmation
Publisher & Catalog Number: Brentwood 45757-0390-7
Year: 2000
Pub. Contact: 741 Cool Springs Blvd., Franklin, TN 37067
2 Basic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and DifficultyBasic Description, Analysis, and Difficulty
Keys: Dm, F, Dm, G-flat
Meters: 4/4, 2/4, 4/4
Level: 2.5
Range/Tessitura: Tenors have “shoutin’” high Gs all over the place. Basses sit at the top
of the staff, women are right in the staff most of the time.
Style/Influences: Traditional Irish folk tune with gospel chorus.
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Unbelievably inappropriate coupling of texts and styles. NEVER NEVER NEVER. Maybe
I’m too picky. I guess that’s the price of caring.
Jesus Paid it All; Grape/Sterling; SATBJesus Paid it All; Grape/Sterling; SATBJesus Paid it All; Grape/Sterling; SATBJesus Paid it All; Grape/Sterling; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InforPublication InforPublication InforPublication Informationmationmationmation
Publisher & Catalog Number: Glory Sound A 6223
Year: 1985
Pub. Contact: Delaware Water Gap, PA 18327
2 Basic DescriBasic DescriBasic DescriBasic Description, Analysis, and Difficultyption, Analysis, and Difficultyption, Analysis, and Difficultyption, Analysis, and Difficulty
Keys: E-flat, C, D
Meters: 4/4, ¾, 4/4
Level: 3
Range/Tessitura: Very wide range, men sit at the top of the staff and above. Tenors
have a lot of Fs and Gs.
Style/Influences: Contemporary hymn setting
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Nice arrangement, but the second to last verse is high and loud without any building to
it. This is only effective if there is tension and release in the music, which seems forced in
this piece by overuse of the flat 6 via the iv6 chord. The accompaniment is difficult and
very nice; it complements the choir very well. This piece requires solid tenors. There is a
lot of unison and two part singing on melodic passages. This is a decent piece. I might
consider it in a church situation.
Portrait of Praise; Butler; SATBPortrait of Praise; Butler; SATBPortrait of Praise; Butler; SATBPortrait of Praise; Butler; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InforPublication InforPublication InforPublication Informationmationmationmation
Publisher & Catalog Number: Beckenhorst BP1313
Year: 1988
Pub. Contact: P.O. Box 14273 Columbus, OH 43214
2 Basic DBasic DBasic DBasic Description, Analysis, and Difficultyescription, Analysis, and Difficultyescription, Analysis, and Difficultyescription, Analysis, and Difficulty
Keys: B-flat, D, B-flat
Meters: 4/4, ¾, 4/4
Level: 3.5
Range/Tessitura: Fairly high for the men; they sit at the top of the staff and steadily make
their new home around B-flat/C. Sopranos don’t get too high after the introduction
until final cadence (F).
Style/Influences: Contemporary art
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Ternary form (ABA). Some call and response between the homophonic sections. Very
disjunct melodic lines. This piece is fairly difficult, but could be effective. There are
accidentals all over the place. This piece employs logical structure, exciting rhythms,
modal harmonies, and solid text. This is a good piece of music. It would be within
reach of Concert Choir or Ensemble.
Every Valley; Ness Beck; SATBEvery Valley; Ness Beck; SATBEvery Valley; Ness Beck; SATBEvery Valley; Ness Beck; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InforPublication InforPublication InforPublication Informationmationmationmation
Publisher & Catalog Number: Beckenhorst BP1040
Year: 1976
Pub. Contact: P.O. Box 14273
2 Basic Description, AnalysiBasic Description, AnalysiBasic Description, AnalysiBasic Description, Analysis, and Difficultys, and Difficultys, and Difficultys, and Difficulty
Keys: D-flat, D, G (mixolydian melody)
Meters: 4/4
Level: 3
Range/Tessitura: Men venture to a lot between G and D, Women as well. No part goes
too low.
Style/Influences: Chant/plainsong/Contemporary art
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Nice piece. I would totally do this. Written in 4/4, but has a nice feel in 2/2.
This is the Day the Lord has Made; Hayes; SATBThis is the Day the Lord has Made; Hayes; SATBThis is the Day the Lord has Made; Hayes; SATBThis is the Day the Lord has Made; Hayes; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InforPublication InforPublication InforPublication Informationmationmationmation
Publisher & Catalog Number: Beckenhorst BP 1442
Year: 1995
Pub. Contact: P.O. Box 14273 Columbus, OH
2 Basic DescriBasic DescriBasic DescriBasic Description, Analysis, and Difficultyption, Analysis, and Difficultyption, Analysis, and Difficultyption, Analysis, and Difficulty
Keys: E-flat, E
Meters: 4/4
Level: 3
Range/Tessitura: Plenty of time spent above the staff for the men. Men have similar
range. Altos have a high D in their independent part. Their high E/E-flat is in unison with
the Sopranos.
Style/Influences: Contemporary art/hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Mostly homophonic, some call and response and a short 2-part fugal hint at the bottom
of 10. This piece has a lot of variety in style. Upbeat and rhythmically driving beginning
and end with slower legato middle section. The primary material is treated in a variety
of ways. This is a good piece. It’s worth teaching. WOOHOO! This is a FUN piece. High
school would love this. This will require energetic and crisp diction, which will inherently
help the tone stay forward.
Forever I will Sing; Hayes; SATBForever I will Sing; Hayes; SATBForever I will Sing; Hayes; SATBForever I will Sing; Hayes; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InforPublication InforPublication InforPublication Informationmationmationmation
Publisher & Catalog Number: Hinshaw HMC-622
Year: 1983
Pub. Contact: P.O. Box 470, Chapel Hill, NC 27514
2 Basic DeBasic DeBasic DeBasic Description, Analysis, and Difficultyscription, Analysis, and Difficultyscription, Analysis, and Difficultyscription, Analysis, and Difficulty
Keys: G, E-flat, C, D-flat
Meters: 4/4
Level: 3
Range/Tessitura: Unison parts are pretty high (D), but on the divisi section on p. 6, the
parts go to very comfortable ranges. Sopranos have a couple of isolated high Gs.
Tenors and Sopranos high on p. 9. Final cadence is big and high for all except A2.
Style/Influences: Contemporary art/praise hymn
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Very difficult piece but exciting and definitely musically worthwhile. Very powerful
potential. I need to use this in the future.
I could Not Do Without Thee; Curry; SATBI could Not Do Without Thee; Curry; SATBI could Not Do Without Thee; Curry; SATBI could Not Do Without Thee; Curry; SATB Pensacola Theological Seminary CM 544 - Sacred Choral Literature Course Project - Samuel M. Hunter 112089
1 Publication InforPublication InforPublication InforPublication Informationmationmationmation
Publisher & Catalog Number: Beckenhorst BP1493
Year: 1997
Pub. Contact: P.O. Box 14273, Columbus, OH 43214
2 Basic Basic Basic Basic Description, Analysis, and DifficultyDescription, Analysis, and DifficultyDescription, Analysis, and DifficultyDescription, Analysis, and Difficulty
Keys: D-flat, E-flat, F
Meters: ¾
Level: 3
Range/Tessitura: Tenors sit high. Basses sit at the top of the staff. Sopranos are
comfortable except for the opening soli verse which goes to a low A-flat. Altos are
comfortable.
Style/Influences: Contemporary folk/pop
3 Specific CommentsSpecific CommentsSpecific CommentsSpecific Comments
Absolutely beautiful piece. Very expressive. Wonderful solo opportunity. This piece has
a somewhat early American, colonial flavor. This song is simply excellent in every way.
Ensemble would do this well with a soloist.