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


Publisher & Catalog Number: Clydesdale & Clydesdale 080689 77527 7

Year: 2003

Pub. Contact: 3319 West End Ave., Nashville, TN


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


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


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


Publisher & Catalog Number: Rejoice 109304

Year: 1987/2007

Pub. Contact: rejoicemusic.com


Keys: B-flat, C

Meters: 3/4

Level: 1.5

Range/Tessitura: Very comfortable for all

Style/Influences: Contemporary


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


Publisher & Catalog Number: Word Music 3010742169

Year: 1994



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


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


Publisher & Catalog Number: Glory Sound A-6618

Year: 1990

Pub. Contact: Delaware Water Gap, PN 18327


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


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


Publisher & Catalog Number: Lillenas MB-625 (Carry the Light book)

Year: 1990

Pub. Contact: ?????????????


Keys: F

Meters: 4/4

Level: 2

Range/Tessitura: ridiculously comfortable, low tessitura for the basses

Style/Influences: Contemporary pop/worship style


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



Year: 1990

Pub. Contact: ????????????


Keys: B-flat, C

Meters: 4/4, 2/4

Level: 2.5

Range/Tessitura: all parts comfortable, basses low tessitura



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



Year: 1990

Pub. Contact: ??????????????


Keys: G, D, G

Meters: 2/2

Level: 3

Range/Tessitura: Ranges OK



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



Year: 1990

Pub. Contact: ????????????????????


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


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


Publisher & Catalog Number: Clydesdale & Clydesdale 080689063091

Year: 1985

Pub. Contact: 25 Music Square West, Nashville, TN


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



Publisher & Catalog Number: Word 080689495274

Year: 1970



Keys: F, G-flat, G

Meters: 4/4, 2/4

Level: 2.5

Range/Tessitura: ranges fairly comfortable



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


Publisher & Catalog Number: Word 310 0502 167

Year: 1990

Pub. Contact: 5221 O’Connor Blvd. Suite 1000, Irving, TX 75039


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


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



Year: 2008



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


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



Publisher & Catalog Number: Cameron Hill 0-6330-1262-9

Year: 2000

Pub. Contact: 1-800-234-2446


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.



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


Publisher & Catalog Number: Word 0 80689 37178 3

Year: 1989

Pub. Contact: 1-800-234-2446


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


Publisher & Catalog Number: Beckenhorst Press BP 1309

Year: 1988

Pub. Contact: P.O. Box 14273 Columbus, OH 43214


Keys: F, A-flat (hints at Fm), F, G

Meters: 4/4

Level: 2

Range/Tessitura: Comfortable

Style/Influences: hymn


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


Publisher & Catalog Number: Lillenas MB-567 (Day Star book)

Year: 1986

Pub. Contact: Kansas City, MO 64141


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



Year: 1986

Pub. Contact: Kansas City, MO


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


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




Year: 1986



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


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



Year: 1986



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


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



Publisher & Catalog Number: Norman Clayton/Word 3010122160

Year: 1979

Pub. Contact: P.O. Box 1790 Waco, TX 76796


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.



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



Year: 1984



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


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




Year: 2003



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


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


Publisher & Catalog Number: Word 301-0406169

Year: 1978

Pub. Contact: P.O. Box 1790 Waco, TX 76796


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.


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


Publisher & Catalog Number: Lillenas AN-2648

Year: 1995

Pub. Contact: Kansas City, MO 64141


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.


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


Publisher & Catalog Number: Hope GC 943

Year: 1992



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.


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




Year: 2007



Keys: E-flat, E, F, G-flat

Meters: 3/4

Level: 2.5

Range/Tessitura: easy



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


Publisher & Catalog Number: Lillenas MB-679 (The Gospel Truth book)

Year: 1993



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



Publisher & Catalog Number: Ariose S40060C

Year: 1985

Pub. Contact: N/A


Keys: A, B-flat

Meters: 4/4

Level: 3.5

Range/Tessitura: Tenors sit high right away.

Style/Influences: High Classical style, very difficult.


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


Publisher & Catalog Number: Lillenas MB-841 (Then I Met the Master book)

Year: 2000



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.



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



Year: 2007



Keys: G, A-flat, A

Meters: 4/4

Level: 2

Range/Tessitura: cake

Style/Influences: Contemporary pop/gospel


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



Publisher & Catalog Number: Brentwood 45757-0226-7

Year: 1986

Pub. Contact: 741 Cool Springs Blvd. Franklin, TN 37067


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.


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



Year: 2002

Pub. Contact: 3319 West End Ave Nashville, TN 37203


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


Publisher & Catalog Number: Word 301 0623 16X

Year: 1968

Pub. Contact: 5221 N. O’Connor Blvd. Suite 1000, Irving, TX 75039


Keys: Cm, C, Cm, C, D-flat

Meters: 4/4

Level: 3.5

Range/Tessitura: Sits high for all but Altos, especially at chorus.



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


Publisher & Catalog Number: Benson B0938 (The Day He Wore My Crown musical)

Year: 1981

Pub. Contact: 365 Great Circle Road Nashville, TN 37228


Keys: B-flat, G, A-flat, B-flat, D-flat

Meters: 4/4

Level: 2.5

Range/Tessitura: High, High, High, and unnecessarily so.



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




Year: 2007



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


Publisher & Catalog Number: Beckenhorst BP 1403

Year: 1981

Pub. Contact: Columbus, OH 43214


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.


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



Year: 1985

Pub. Contact: 741 Cool Springs Blvd. Franklin, TN 37067


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


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



Year: 2007



Keys: B-flat, C

Meters: 4/4

Level: 2

Range/Tessitura: cake

Style/Influences: Contemporary pop/folk influence


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


Publisher & Catalog Number: Harold Flammer A-6884

Year: 1994

Pub. Contact: Delaware Water Gap, PA 18327


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.



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


Publisher & Catalog Number: Lillenas MB-841 (Then I Met the Master book)

Year: 2000



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


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



Year: 1990

Pub. Contact: 5221 N. O’Connor Blvd. Suite 1000 Irving, TX 75039


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.



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


Publisher & Catalog Number: Hope GC 873

Year: 1982



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.


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




Year: 2007



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



Year: 1990

Pub. Contact: 5221 N. O’Connor Blvd., Suite 1000, Irving, TX 75039


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


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


Publisher & Catalog Number: Lillenas MB-552 (Glory Bound book)

Year: 1985



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


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



Publisher & Catalog Number: Lillenas AN-1877

Year: 2001



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


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


Publisher & Catalog Number: Soundforth 104893

Year: 1953; 1981

Pub. Contact: Manna Music, 35255 Brooten Road, Pacific City, OR 97135


Keys: B-flat, C

Meters: 4/4, 5/4

Level: 2

Range/Tessitura: comfortable



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


Publisher & Catalog Number: Glory Sound A 7189

Year: 1997



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


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


Publisher & Catalog Number: Royal Tapestry DTE33031

Year: 1985

Pub. Contact: unavailable


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.


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



Year: 2007



Keys: E-flat, E

Meters: 4/4, 2/4

Level: 1.5

Range/Tessitura: In the staff

Style/Influences: Contemporary pop influence


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



Publisher & Catalog Number: Rejoice105546

Year: 2007



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


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



Year: 2007



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


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


Publisher & Catalog Number: Lillenas MB-679 (The Gospel Truth book)

Year: 1993



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


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



Year: 1989

Pub. Contact: 3319 West End Ave., Nashville, TN 37203


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.



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




Year: 1999



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


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



Year: 1992



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


Publisher & Catalog Number: Integrity 09707

Year: 1993

Pub. Contact: 1000 Cody Rd., Mobile, AL 36695


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



Year: 2007



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


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


Publisher & Catalog Number: Gaither GG5288

Year: 1989

Pub. Contact: Gaither Music Company


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


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




Year: 2007



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


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


Publisher & Catalog Number: Royal Tapestry DTE33083

Year: 1982



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


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



Year: 1991



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.



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



Year: 1989



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).



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




Year: 2007



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


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



Publisher & Catalog Number: Genevox 0-7673-9782-7

Year: 1998



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


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




Year: 1991



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


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



Year: 1980



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


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



Year: 1990



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


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


Publisher & Catalog Number: Genevox 9 780633011956 (Gospel Celebration book)

Year: 2001

Pub. Contact: Nashville, TN 37234


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


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




Year: 1993

Pub. Contact: 741 Cool Springs, Blvd., Franklin, TN


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


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



Publisher & Catalog Number: Genevox 9 780633 011956 (Gospel Celebration book)

Year: 2001

Pub. Contact: Nashville, TN 37234


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)


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


Publisher & Catalog Number: Genevox 9 78063 011956

Year: 2001

Pub. Contact: Nashville, TN


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


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



Publisher & Catalog Number: Praise Gathering A08116

Year: 1989



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.



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.


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



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


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



Year: 2000


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


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


Publisher & Catalog Number: Brentwood 45757-0390-7

Year: 2000

Pub. Contact: 741 Cool Springs Blvd., Franklin, TN 37067


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.


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


Publisher & Catalog Number: Glory Sound A 6223

Year: 1985


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


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



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).



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



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


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


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


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


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


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



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


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.

jesus is coming in glory; adams/adams; satbjesus is …schoolofsacredmusic.vpweb.com/upload/sample...

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