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18.10.2013
Lenny LeBlanc and Paul Baloche’s majestic Christian worship song is set here in a TTTBB a cappella male choir arrangement, featuring tenor or baritone vocal soloist.
Billy Vera’s song, which topped the pop charts after being rereleased in 1987, is a wonderfully heartfelt gospel waltz-style “love lost” lament, and is arranged here for SATB a cappella gospel choir and alto soloist. This is a light-hearted parody-lyric, to the tune of the old ‘50’s Chordettes hit song, “Mr. A beautiful urban gospel power ballad from Christian artist Natalie Grant, arranged here for TTBB male vocal group and rhythm section, with various tenor step-out solo features.
This haunting Randy Crenshaw original Celtic ballad is on the subject of “The Troubles”, the bloody sectarian violence that Belfast, Northern Ireland suffered through for so many years, but told from the perspective of two Belfast mothers, one Protestant and one Catholic, both of whom have lost sons in the conflict. A lovely a cappella SSAA women’s choir setting of the classic tune, adapted from the Gene Puerling “Hi-Lo’s” original arrangement to fit women’s voices. Henry Mancini and Johnny Mandel’s melancholy song, from the film of the same name, originally written as a waltz, is reimagined here as a driving, up-tempo, big band type of arrangement, with the vocal group as the “horns” of the big band. Simple, Native American-influenced a cappella TTBB male choir arrangement of Terry Talbot’s plaintive Christian worship song. Traditional Christian hymn, set reverently and majestically for TTTBBB a cappella large male choir. Gorgeous, atmospheric, wordless Randy Crenshaw original tone poem, written antiphonally for two SATTBB choirs, tenor and soprano soloists and optional percussion. This is a high-speed romp through the theme song from the long-running Hanna-Barbera television cartoon series of the same name.
This Renaissance English liturgical song dating back to the early 1500’s, and is a lively and rhythmic Christmas piece. This flowing Georg Friedrich Handel composition, from his monumental work “Messiah”, is rearranged here for a cappella 4-part vocal group. The Paul McCartney Beatles classic is arranged here in an SSATBB a cappella jazz ballad style, with rich, luscious chord voicings, ambitious key changes, and featuring each of the upper five voices doing step-out lead vocals at different places within the arrangement.
A gentle, swaying bossa nova-style a cappella arrangement of the Jimmy Van Heusen standard, designed to feature either a smooth alto or bass vocal jazz soloist, with TTBB male vocal group accompaniment behind them. This plaintive modern-day Celtic-style hymn, written by Anne Barbour and Marsha Skidmore, is arranged for TTBBB a cappella male voices, featuring various male vocal soloists on the different verses, along with a solo Irish tin whistle part. The 1964 Motown hit song, originally recorded by Marvin Gaye, was later covered by James Taylor. This beautiful Jimmy Owens Christian worship chorus talks about how God has promised to forgive and save His people, if only they will pray. This arrangement was modelled after the fine recording of the old traditional gospel song “We Are Climbing Jacob’s Ladder” on Bruce Springsteen’s 2006 “We Shall Overcome: The Seeger Sessions” album. Bill Batstone has written a rockin’ Christian worship chorus, arranged here for TTB male trio with rhythm section accompaniment.


This gospel “shouter” original by Randy Crenshaw is a rallying cry, encouraging us all to become more socially aware and active in our communities, churches, and society as a whole. This lovely German Christmas chorale from the late 1500’s, with music by Michael Praetorius and English lyrics by Theodore Baker, is arranged here in Renaissance style, as an a cappella 5-part chart, in TTTBB male-voice or SATBB mixed-voice versions.
Lovely Christian worship chorus, with a modern English paraphrase of the historic “Kyrie Eleison” from the Catholic mass. This is an English Renaissance motet-styled setting of an old British hymn, featuring text by English poet John Milton.
This traditional Irish tune, with wry lyrics by Percy French, is beloved among Irish folk music enthusiasts, and is set here in an a cappella SSATB voicing, featuring soprano and tenor soloists on the verses.
A jazzy uptempo treatment of this evergreen song from Rodgers & Hammerstein’s “The Sound Of Music”.
This a cappella vocal setting of the haunting Eden Ahbez jazz standard starts out very flowing and mysterious, and then kicks into a great salsa-type Latin groove, which it keeps up until it gently winds to a conclusion. The Thomas Morley English madrigal from 1595 is rearranged here for a primarily-female vocal group, in SSAAB voicing. From the Oxford Book of Carols collection, this little-known early Renaissance Christmas song (complete with the archaic spelling of the title!) is arranged as it might have been performed by a European town wind band and choir in the 1500’s. A lush, thickly-voiced Take 6-like TTTBBB a cappella male vocal group arrangement of this favorite Christmas hymn.
A cappella SATB gospel choir setting of this traditional gospel hymn, with a nod toward the famous Edwin Hawkins recording. A very silly parody-lyric version of the familiar Christmas carol “O, Christmas Tree”, passed down by word of mouth from caroling group to caroling group, arranged for standard SATB a cappella vocal group. This “rock madrigal” was first recorded by Christian male vocal group Glad, and is adapted here for either a cappella TTTBB male choir or SATBB mixed choir. A new original Easter song by Randy Crenshaw, written in English Renaissance style for TTBB male choir and soloists with only a 4-part (AATB) recorder consort as accompaniment. A fresh new South African-flavored version of the traditional African-American spiritual, written for TTBB a cappella male choir and tenor soloist(s), with optional hand percussion accompaniment.
Thelonius Monk’s brooding jazz standard gets fashioned into a TTBBB a cappella chart that works like an emotional underscore to the storyline of love lost. The well-known children’s Christmas classic, arranged as a swing chart in 1940’s close-harmony style, SATBB, with rhythm section accompaniment, backing up a featured baritone vocal soloist throughout. The famous traditional Austrian Christmas carol is reimagined here as a richly-reharmonized jazz ballad. This is the iconic Louis Prima song, as recorded by the Benny Goodman Orchestra in their 1938 Carnegie Hall concert, but with vocals recreating all of the horn parts, as well as singing the song’s lyrics. This inspirational gospel song about heaven, written by the late, great music giant Andrae Crouch, is set here for a cappella TTBB male vocal group, with several solo step-outs in the verses.


This gorgeous, evocative Chick Corea jazz instrumental tune, with its intro based on Joaquin Rodrigo’s “Concierto de Aranjuez”, had a beautiful lyric written for it by Al Jarreau and Artie Maren. This urban gospel-flavored song was first made popular during the men’s PromiseKeepers conferences of the 1990’s, and is a powerful anthem for racial and societal reconciliation.
This Christian folk hymn of the 1960’s is updated here into an TTBB a cappella male R&B-flavored groove tune.
A classic hymn about God’s provision for us, written by Ira Sankey, given a “fresh coat of paint” in this arrangement for TTBB male vocal group, tenor soloist, and rhythm section accompaniment.
The most famous song to emerge from the 1960’s Civil Rights movement, this folk hymn is given an SSATB a cappella gospel choir treatment here. A hauntingly beautiful modal Christmas carol, originally from County Wexford in Ireland, taken from the Oxford Book of Carols collection. Tasty SATB a cappella vocal arrangement of this Jack Segal jazz standard, with baritone male soloist.
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Please help keep my music affordable and accessible to everyone by not distributing unauthorized photocopies to others who haven’t paid me for them. It’s arranged as it might have been played and sung by a Renaissance wind band and church singers of that era. Though she stayed true to the traditional bodysuits that she's become famous for, the one pieces were spiced up with many of the fashion influences debuted in her new visual album Lemonade. Never one to go without heels, Beyoncé completed the opening look with ruffled and jeweled black ankle boots. Online - Your source for entertainment news, celebrities, celeb news, and celebrity gossip. Kaburagi, the Wild Tiger, relaxes nonchalantly as a non-scale (15 centimeters long) fixed-pose figure.



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