These arrangements may be freely downloaded, printed, copied, and performed for non-commercial purposes. If you find them useful or get a chance to perform one I’d love to hear about it!
The scores are PDF files ranging up to 267 kB, so they make take a minute or so to download across slower connections. The MIDI previews, on the other hand, are very small files that sound like video game music, but even video game heroes need good music when they go to church.
| Mixed Voices |
All Creatures of Our God and King (SSAATTBB) text by St. Francis of Assisi. This is much more challenging than the other pieces here, but it would very rewarding for a large, capable choir. The harmonies by Gustav Holst are elegant and beautiful and I love the ending. You may need to remind the singers that the word fortissmo is not a license to blast out ugly sounds at the end of a song. Come, Come Ye Saints (SAB) text by William Clayton. If your ward choir is anything like ours, then practical can be spelled “SAB”. This one should be easy to learn and fun to sing at the same time. Did You Think to Pray? (SATB) text by Mary A. Pepper Kidder, music by William O. Perkins. There’s nothing revolutionary here, but I really like the way the accompaniment and the vocals work together. Thanks to Will Findlay for the beautiful recording of the piano accompaniment. Gesù Bambino (SATB) music by Pietro A. Yon. This is not a new arrangement, but when I realized that this Christmas classic was now in the public domain I just had to prepare an internet edition. Jesus Holy (SATB) text by Andrew Hawlyluk, music by W. A. Mozart. I wanted to include something by Mozart in a Christmas program in 2006 for his 250th birthday and this was the result. It's hard to go wrong with source material like this (his beloved “Ave Verum Corpus”). Let the Mountains Shout for Joy (SATB) by Evan Stephens. Not a new arrangement, but an internet edition of one of Brother Stephens’ most memorable anthems. Nearer, Dear Savior to Thee (SAB) text by Joseph L. Townsend, music by William Clayson. This should make the singers very happy, along with anyone who enjoys sharps (my apologies to the pianists for the verse in B major). You can check out some of the working sketches of this one. O Canada (SATB) text by R. Stanley Weir, music by C. Lavallée. My national anthem, re-typeset from a 1908 harmonization by G. A. Grant-Shaefer. The original source and its cover are available from Library and Archives Canada. O Divine Redeemer (SATB) by Charles Gounod. This is another digital re-engraving of a classic choral work that is now in the public domain. The soprano part includes some high notes, and requires at least one voice with an attractive high A. Although the score indicates that the accompaniment is an organ part, it could also be nice with piano. O My Father (SATB) text by Eliza R. Snow, music by James McGranahan. The choir sings the first three verses (quoted directly from the hymnal), with a flute entering on the second verse. The fourth verse must not be taken too quickly, especially the last line. |
| Women’s Voices |
Father in Heaven (SSA) text by Angus S. Hibbard, music by Friedrich F. Flemming. This hymn has some beautiful phrases, and the third verse is sung without the piano so it won’t get in the way. I Know That My Redeemer Lives (SSA) music by Lewis D. Edwards. This was written for a stake women’s conference where they wanted the whole congregation to be the special musical number. (Each ward would practice it in their own Relief Society opening excercises for a few weeks.) It Came upon the Midnight Clear (SSAA) text by Edmund H. Sears, music by Richard S. Willis. Were there both man-angels and lady-angels on that holy night? I don’t know, but this one is sung entirely by the ladies. |
| Men’s Voices |
All Glory, Laud, and Honour (TTBB) text by Theodulph of Orleans, music by Melchior Teschner. The singers may feel more couragous with the piano or organ playing doubling the voice parts in the background, especially at the beginning of the third verse. Come, O Thou King of Kings (TTBB) text by Parley P. Pratt. The fourth verse is taken verbatim from Hymns #332, so the editors get the credit for some great part writing. Glory to God on High (TTBB) text by James Allen, music by Felice de Giardini. This is the second simplest men’s arrangement here and nobody has to sing very high, but it’s always a hit. Guide Us, O Thou Great Jehovah (TTBB) text by William and Peter Williams, music by John Hughes. I am particularly fond of this one, especially third verse. The recording is by the The Magpie Consort and demonstrates it beautifully! Hark, the Herald Angels Sing (TTBB) text by Charles Wesley, music by Felix Mendelssohn. The transition between the two verses is based on music by John Menzies Macfarlane, with text by the angelic hosts (see Luke 2:14). The mp3 version was recorded by Voces Capituli in a very big cathedral in Antwerp, Belguim. Love at Home (TTBB) text by Lowrie M. Hofford, music by John Hugh McNaughton. Specially requested by Carol Dahl, who only had to wait a year and a half for it. That’s patience! I’m sure glad it turned out well after all that. O Come, O Come Emmanuel (TTBB) traditional. Stemming from centuries of plainchant tradition, it almost seems wrong to sing this song with anything other than an unaccompanied men’s choir. Thanks to the Apostolic Christian Men's Sing and the Calgary Institute Choir for the recordings! Sweet Hour of Prayer (TBB) text by William W. Walford (attr.), music by William B. Bradbury. The simplest men’s arrangement here, it’s almost too simple to bother posting, but I’m sure it will come in handy sometime. |
| Solo or Duet |
Be Still, My Soul (mixed deut with piano) text by Katharina von Schlegel translated by Jane Borthwick, music by Jean Sibelius. I might not have been brave enough to arrange such a well-loved hymn if Burns and Paige had not suggested it. Thanks! I love the counterpoint in the second verse and the chance to alter the timing a bit in measures 48–49 to fit the words better. Jesus, Once of Humble Birth (voice and piano) text by Parley P. Pratt, music by Giacomo Meyerbeer. A reverent setting with some very nice harmonies in the accompaniment, especially the last line. The vocal range is just over an octave (from D-flat up to E-natural). |
| Instru- mental |
An Angel From on High (piano) text by Parley P. Pratt, music by John E. Tullidge. I’ve been meaning to write this one out for a couple of years now, but the results were worth the wait. (The chords in measures 53–54 require placing one hand over the other.) Let Us Adore Him (piano) a medley of two traditional Christmas carols. This one has been my spare musical number in case of emergency for several Yuletide seasons now. Let Zion in Her Beauty Rise (piano) text by Edward Partridge, traditional German hymn tune. This is a lot of fun, especially the low D-flats! The First Noel (piano trio) traditional English carol. This one was put together for an Institute Choir concert, and was a lot of fun. The simplicity of the tune makes it quite versatile. |
