For SSA with keyboard.
Jane Roman Pitt has crafted a powerful and convincing statement about the central role of women in Jewish-and world-history.
A stirring piece for women's voices, this piece speaks timelessly and clearly and would be welcome in any women's chorus program, as well as for female voices in any other choral context.
For SATB and three solo voices with clarinet and keyboard accompaniment and optional drum set.
From the stages of classic Yiddish musical theater to Las Vegas cabaret, you’d be hard-pressed to find someone who hasn’t heard the infectious melody of this “multi-cultural” ode to a loved one. Transcontinental entrusted Joshua Jacobson to put his unique spin on it, and few arrangers do things like he does. With playful interaction of the male and female voices, a jazzy feel, a cameo by an Andrews-Sisters-esque trio (which can be sung by any three male or female solo voices who have the range!) and a wailing clarinet part, this arrangement never lets up.
For SSA with keyboard.
Jane Roman Pitt has crafted a powerful and convincing statement about the central role of women in Jewish-and world-history.
A stirring piece for women's voices, this piece speaks timelessly and clearly and would be welcome in any women's chorus program, as well as for female voices in any other choral context.
For SATB with clarinet and keyboard accompaniment.
A shining example of Jewish influence on American culture, this widely-renowned classic – covered by the likes of everyone from Ella Fitzgerald to Benny Goodman – finds its roots in the classic klezmer melody “Der Shtiler Bulgar.” Joshua Jacobson’s arrangement is a live one, replete with swing and vocalese (in English), and lots of fun for your choir. Not really in Yiddish, but it seems to belong in that category!
