Mixed Chorus, Alto Solo, Piano6'

SDG 04-101 Chorus Score$ 2.10
"It was a year ago last summer, and everything in my life was gray when Jesus came into my life and brought me where I am today: Unending joy, Jesus is unending joy, Jesus is life!"

A gentle alto solo precedes a gospel-style setting that builds, section by section, to a glorious and joyous finale!

(The Glory of His Majesty)
Mixed Chorus, Baritone Solo, Keyboard4.5'

SDG 87-102 Chorus Score$ 1.35
Above All Names is a lofty song of highest praise. Chant-like, in 7/8, it begins with a baritone solo sung in a recitative style and moves into a noble expression of Isaiah's prophecy of a future king. The choral setting allows excitement, sensitivity, and beautiful song. The power of emotion and vocal interpretation surges and swells with an overwhelming sense of worship and exaltation.

Mixed Chorus, Orchestra 2222, 4331, Perc, Timp, Piano, Strings17'

SDG 07-100 Chorus/Keyboard Reduction$ 1.35
SDG 07-500 Conductor's Score$ 75.00
SDG 07-500P Orchestra Parts$ 175.00
A 2007 commission for Iowa City (IA) High School and conductor Candy Wiebner, the work is in two movements. The first is energetic, with a dynamic "blast-off" in the orchestra, which leads to "tongue and cheek" humor from the choir. The lyrical, sustained second movement is a setting of a beautiful and well-known quote from William Shakespeare's Richard III (Act I, Scene ii): "Look, how this ring encompasseth thy finger. Even so thy breast encloseth my poor heart; Wear both of them, for both of them are thine."

(The Eternal Life)
Mixed Chorus, Baritone Solo, Keyboard2'

WW 1206 (Walton Music)
An exciting mix of baritone solo recitative with the SATB choir setting up each solo entrance. Choir functions vocally and instrumentally (in easy 4-part divisi in both SA and TB) and progresses to a "Handelesque," baroque-inspired "We had walked in darkness until the dawning of a great light! You Lord, have made us glad, and we rejoice in your presence!" A choral pyramid (with easy multiple divisi) builds in reverse (top to bottom) to bring the piece to an exciting close. Contact HalLeonard.com to order.

(American Journey, Carnegie Hall Series)
Mixed Chorus, Keyboard3.5'

SDG 90-101 Chorus$ 1.50
Jackson Berkey's Amazing Grace seems to have a life of its own - separate from anything that the composer/arranger had in mind. It has been used in concerts and services too numerous to mention and invariably elicits a powerful response from its listeners. At once intensely personal and at the same time universal in its appeal, it is unlike any other setting of the familiar hymn. The poetry of Amazing Grace was written by John Newton (1725-1807), a former slave ship captain. After a frightening experience at sea, his conversion occurred through his reading of Thomas Kempis' The Imitation of Christ, and led to these lyrics.

(Carnegie Hall Series)
Mixed Chorus, Orchestra 2221, 3421, Percussion I, II, III, Timpani, Piano, Strings35'

SDG 05-101 Chorus/Piano Score$ 12.95
SDG 05-501 Conductor's Score$ 75.00
SDG 05-501P Orchestra Parts
Six of Berkey's mixed chorus original works and arrangements are expanded with full symphony orchestra in this glorious "Americana" statement of our history and heritage. The collection of diverse movements was prepared for a Mid-America Productions Carnegie Hall concert in June, 2005. It travels through joyous celebrations, sombre recollections, and tender moments of love.

Sacramento~Sis Joe
Black is the Colour
Tenting Tonight
Silent Tents
Amazing Grace
Hold On!

Jackson Berkey's Anniversary Carols are as unusual as they are familiar. Using surprises in rhythm, meter, voicing, instruments and harmonies, the composer brings a refreshing sparkle to the familiar melodies, presenting audiences with songs that are at once dear and traditional, yet delightfully new again. Jackson Berkey's collection of Christmas carol and hymn arrangements were originally presented as anniversary gifts to his lady, Almeda, Music Director of Nebraska's Professional Chorale, Soli Deo Gloria Cantorum. Commending the Berkey settings, John Rutter wrote: "With consummate skill, craftsmanship and imagination he has taken a wassail cup full of well-loved carols and miraculously made them new."

Mixed Chorus a cappella and accompanied (Harp, Bass, Perc.), Soloists (Soprano, Mezzo-Soprano, Baritone)44.20'

SDGM 99-100 Chorus$ 10.95
SDG 99-100P Harp, Bass, Percussion Parts (Order complete set)$ 25.00
The Anniversary Carols book includes all of the Anniversary Carols and Harp Interludes, as recorded by Soli Deo Gloria Cantorum on their Cantorum Christmas! CD. This Collection is offered by the publisher especially for those wishing to perform all of the carols, with notes on performing Lessons and Carols. Some titles are also available in solo instrumental versions. Some are also set for Treble or Male Chorus. All choral titles are also published separately.

Angels We Have Heard On High
Come, Thou Long-expected Jesus
A Day in a Manger
God Rest Ye Merry, Gentlemen
Anniversary Carols Organ Book
Il est né le divin enfant
Jesu, Son Most Sweet And Dear
Joy to the World
O Come, All Ye Faithful
The Silent Word
Still, Still Night
Keyboard Carols
Four Lullabies for Harp
Anniversary Carols Organ Book
Jackson Berkey's Organ Carols

(Anniversary Carols)
Mixed Chorus a cappella or Handbell Ensemble4'

SDG 94-101 Chorus$ 1.25
SDG 98-204 Handbell Ensemble (Arr. Robert Noland)$ 3.95
A Day in a Manger is a contemporary setting of the popular carol, Away in a Manger. What we now understand as the standard American tune was first offered in Cincinnati in 1887 in the collection Dainty Songs for Little Lads and Lasses by James R. Murray. You will delight in Jackson Berkey's unusual a cappella arrangement of this carol.

(Anniversary Carols)
Chorus a cappella or Handbell Ensemble2'

SDG 98-203 Handbell Ensemble (Arr. Robert Noland)$ 3.95
SDG 91-101 Mixed Chorus$ 1.25
SDG 12-401 Male Chorus$ 1.25
Angels We Have Heard on High is one of America's most beloved carols. It comes to us from the French countryside where it emerged anonymously as a "macaronic" carol (that is, with its text a mlange of Latin and vernacular French,) probably in the 1700s, called Les angel dans nos campagnes. Jackson Berkey's arrangement is strikingly individual, with its particular non-strophic handling of the text.See also Angels We Have Heard On High for Handbells (SDG 98-203).

Mixed Chorus a cappella11'

SDG 89-110 Chorus$ 3.65
Arma lucis is an extended a cappella work written for the 100-year celebration at the Cathedral of St. Cecilia in Omaha, Nebraska. The title translates to "The Armour of Light." The complete text appears on the upper walls of the Cathedral and serves as the basis for the entire work. The premire performance of Arma lucis was given at the first concert appearance by Nebraska's Professional Chorale, Soli Deo Gloria Cantorum, and was directed by the composer's wife, Almeda. Arma lucis was performed on July 13, 1996, by the Detroit Concert Choir (directed by Gordon Nelson) at the International Musical Eisteddfod, in Llangollen, Wales, where they won the impressive title of "Choir of the World" in a competition of choirs from 46 countries.

Chorus a cappella3.5'

SDG 96-102 Male Chorus$ 1.50
SDG 96-103 Treble Chorus$ 1.50
SDG 96-104 Mixed Chorus$ 1.70
Ascendit Deus, in its original TTBB voicing, is the second commissioned work written for Gary Schwartzhoff and the Singing Statesmen, University of Wisconsin~Eau Claire. The work opens with the original Gregorian chant transliterated from the Liber Usualis and progresses tonally and rhythmically into a Twentieth Century Alleluia which reaches a powerfully climactic vocal peak. Ascendit Deus was also set for SATB chorus (for Almeda Berkey and Soli Deo Gloria Cantorum) and for SSAA treble voices (for Jerome Wright's Seattle Girls' Choir). See also Gregorian Tangent for Cello Ensemble (SDG 07-204).

Treble Chorus a cappella4.3'

SDG 99-301 Chorus Score$ 1.50
This stunning a cappella work makes use of a wide vocal tessitura in a manner similar to the works of 12th century mystic Hildegard von Bingen. A final ostinato section in thirds and fourths supports a slow moving cantus firmus, leading to a hauntingly beautiful soprano melody. The work was written as a gift to Jerome Wright and the Seattle Girls' Choir in appreciation for their superb recording of their CD, Jackson Berkey Meets the Seattle Girls' Choir.

(Thoughts and Remembrances, Carnegie Hall Series)
Chorus, Piano5.5'

SDG 96-116 Mixed Chorus$ 1.60
SDG 96-117 Treble Chorus$ 1.60
This choral setting expresses a double meaning for the Berkeys. For the originators of this spiritual there is an inherent hope of forgiveness and eternal peace and a desire to serve God well while on this earth. It was a favorite song of Almeda's mother, Opal, who never tired of serving others or in offering encouragement and strength to those in need. It bears the inscription: "For Almeda's mother, Opal, who told me of the Love." SATB version was performed in the Carnegie Hall Series.

Also available:
Mixed Chorus a cappella5.5'

SC 156 (Plymouth Music)
The accompanimental aspect is combined with the vocal lines in this a cappella "Competition Series" version commissioned by the Detroit Concert Choir, Gordon Nelson, conductor. Berkey's writing here emanates from a style reminiscent of Rachmaninoff in his "Vespers." Contact Colla Voce Music (www.collavoce.com), order 55-54156.

(The Glory of His Majesty)
Mixed Chorus, optional Keyboard2.5'

SDG 87-103 Chorus Score$ 1.10
The text of the Barcarolle describes the birthplace of the Son of God. "In Bethlehem of Judea, a stable, cold, and empty.No room, no shelter, Baby Jesus, Infant Holy, Infant King.A lamb on a hillside, An angel and a shepherd,A Baby wrapped in swaddlin', Infant Holy, Holy King, A new Kingdom. Alleluia."

Mixed Chorus, Piano, Marimba, Vibraphone, Bass, Percussion5.5'

SDG 05-104 Chorus Score$ 5.95
SDG 05-104P Parts set$ 12.95
The text chosen for Benjamin Franklin's 13 includes, with some exercise of poetic license, Franklin's "13 virtues" and, as its opening and closing, the famous Franklin quote: "A good Conscience is a continual Christmas." This music setting of Franklin's words can aid in establishing a new dialog between Franklin and the populace of America.In the final edition of Poor Richard's Almanac, which Franklin published for 26 years, he ends with this advice: "Do not depend too much upon your own industry, and frugality and prudence, though excellent things, for they may all be blasted without the blessing of Heaven."

(American Journey, Carnegie Hall Series)
Chorus, Piano, String Quartet5'

SDG 02-100 Mixed Chorus/Piano (includes instruments)$ 5.95
SDG 02-100P Conductor's Score and Parts$ 10.00
SDG 05-301 Treble Chorus/Piano (includes instruments)$ 5.95
SDG 05-301P Conductor's Score and Parts$ 10.00
Unexpected turns of mode and melody characterize this beautiful setting of the Appalachian folk song. Thick vocal textures as well as transparent lines weave throughout the arrangement. Commissioned by the Rochester (MN) Choral Arts Ensemble, Rick Kvam, Director.

(21st Century Carols)
Mixed Chorus, Piano5.25'

SDG 13-101 Chorus$ 3.25
Jackson's arrangement of the Gustav Holst hymn begins with a quiet statement of the tune as a piano solo. As is always his intention, the lyrics are treated with great attention to inflection and deep meaning. The unleashing of emotion shines through Christina Rossetti's words with great clarity and power as dynamics eventually lead to a quiet piano interlude. The sincere question, "What can I give him, Poor as I am?...Give my heart" shows the intense devotion of poet and composer.

(Carnegie Hall Series)
Mixed Chorus, Strings (VI-II, Vla, Vc, Db), Percussion I (Tambourine, Tri., Susp. Cymbal), II (2 Tom-toms, Bass Drum), Piano, Marimba I-II22'

SDGM 2000P4H Piano 4-Hands Part$ 16.00
SDGM 2000P Instrumental Parts$ 25.00
SDGM 2000 Treble Chorus/Piano$ 8.95
SDGM 01-100 Mixed Chorus/Piano$ 9.95
The original version of Cantate 2000 was a joint commission from the Phoenix (AZ) Boys Choir (Georg Stangelberger, Conductor) and the Tucson Arizona Boys Chorus (Julian Ackerley, Conductor). The work is in four movements, the first three of which are performed without pause. The Latin texts are from Biblical sources. Running the gamut from soaring exultant song to sorrowful, then resolute to fearful and strange to jubilant praise; Cantate 2000 is an intense experience for singers and audience. There is no age requirement, since youth choirs and adults alike produce successful and meaningful performances.

Other performance possibilities:
Chorus, Piano, Marimba I-II, Acoustic Bass, Percussion I (Tambourine, Tri., Susp. Cymbal), II (2 Tom-toms, Bass Drum).

Chorus and Piano 4-Hands, Acoustic Bass, Percussion I (Tambourine, Tri., Susp. Cymbal), II (2 Tom-toms, Bass Drum) Allows performance of treble or mixed chorus versions without marimbas. Percussion still recommended.

Resonet in laudibus
Super flumina Babylonis
Terra aliena
Cantate Domino

Chorus, Piano; Varied Vocal Versions5'

SDG 10-101 Mixed Chorus, Piano$ 2.25
SDG 11-301 Treble Chorus, Piano$ 2.25
SDG 10-202 Voice, Piano$ 8.95
SDG 10-203 Voice, Violoncello, Piano$ 9.95
SDG 10-204 Soprano/Baritone Duet, Piano$ 9.95
Emily Dickinson's poem I Never Saw a Moor serves as the inspiration for this statement of simple, yet powerful faith. Varied settings of this work's beautiful melody and accompaniment lead young or mature voices in a rewarding music experience. The original version was commissioned by the "Cantabile" chorus of young voices at the Kingswood-Oxford School in West Hartford, CT, Marcos Carreras, Director.See Homage to Emily Dickinson for instrumental solo and ensemble versions.

(The Phillip Whitehawk Collection)
Chorus, Piano, Guitar, Bass (opt.)4'

SDG 06-102 Mixed Chorus$ 4.75
SDG 06-402 Male Chorus$ 3.80
Cello Ensemble
Berkey's setting of Cibola masterfully captures the essence of Native American Phillip White Hawk's style from a very masculine and dynamic vocal timbre to a falsetto. Commissioned for the 2006 Songfest Men's Choral Conference at the University of Illinois-Urbana, Dr. Barrington Coleman, Conductor, it is successfully performed with piano alone, or with added bass and a single acoustic guitar or larger guitar ensemble. Exciting to sing!See also Spanish Gold for Cello Ensemble, Piano, Guitars (SDG 07-207).

Treble Chorus, Organ, Keyboard, Large bell, Assorted small hand-held bells4'

SDG 02-301 Chorus Score$ 2.60
2001 commission from Trinity Episcopal Cathedral Choristers, Diane Hurley, Director, Omaha, NE. Two-part treble plus obligato. Colossians 3:1 is in three sections which proceed without interruption: Processional, Anthem ("Risen with Christ"), and Recessional ("Dancing Lights").

(Carnegie Hall Series)
Mixed Chorus, Dramatic Reader, Soloists, Piano, Org., Percussion I-II42'

SDG 93-107 Chorus/Piano Score$ 10.95
SDG 93-107CD Earthquake Sound FX CD$ 15.00
SDGM 93-107P Org, Perc (3 stands, one player) Parts$ 25.00
SDG 93-107 Chorus/Piano Score$ 10.95
Come, Follow Me! is a dramatic presentation for Palm Sunday, Good Friday, Easter Sunday, or during the Great Fifty Days following the Resurrection. It is a compelling, eclectic composition that depicts the calling of the Twelve Apostles, their relationship to Jesus in the final days prior to the Crucifixion, and their joy in the Resurrection. Numerous solos, choruses, and a dramatic reader vividly bring the Easter scriptures to life!

Come, Follow Me!
Gently, Gently
Gethsemane Prayer
Joy! Great Joy!
Mary Magdalena
Rejoice, Rejoice!

Other performance possibilities:
An Easter Celebration for Mixed Chorus, Dramatic Reader, Soloists (Soprano, Mezzo-Soprano, Tenor, Baritone), Orchestra 2222, 2221, Timp, Perc I-II, Organ, Piano, Strings42'

SDG 93-500 Conductor's Score$ 75.00
SDG 93-500P Orchestra Parts$ 175.00
Joy, Great Joy!
Come, Follow Me
The Priceless Touch
Mary Magdalena
Rejoice! Rejoice!
Gently, Gently
Simon Peter
Gethsemane Prayer
Peter's Denial
The Crucifixion
The Earthquake
Our Lord is Risen!
Finale: Hosanna!

(Carnegie Hall Series)
Mixed Chorus, Keyboard4.5'

W 3410 (Walton Music)
Dynamic and powerful, this excerpt from the Easter Celebration, Come, Follow Me! offers a wonderful challenge to singers and instrumentalists alike. It's multi-rhythmic structure highlights and strengthens the powerful language of its text: "Take up thy cross, take up thy cross and follow me, follow Christ the Lord!" It also features the calling of the Apostles with shouts of the twelve names emanating from the choir.

Chorus, Harp4.5'

SDG 98-101 Mixed Chorus$ 1.35
SDG 98-301 Treble Chorus$ 1.35
SDG 03-401 Male Chorus$ 1.35
SDG 99-100P Harp, Bass, Percussion Parts (Order complete set)$ 25.00
This famous Christmas hymn is introduced by a beautiful harp solo and then delicately voiced throughout, sometimes venturing into the Lydian mode. The middle section intersperses the chorus with double glissandi in the harp, followed by another solo instrumental statement of the lesser known Away in a Manger tune. The choir chants the end of the arrangement with a hushed, "Ivesian" combination of the hymn and the carol.

(Carnegie Hall Series)
Chorus, Orchestra 1,1 (Ob/EngHn dbl), Strings11'

SDG 01-504P Orchestra Parts
SDG 03-504 Conductor's Score (Treble)
SDGM 01-304 Treble Chorus/Keyboard Reduction
SDG 03-504P Orchestra Parts
SDGM 01-104 Mixed Chorus/Keyboard Reduction$ 2.10
SDG 01-504 Conductor's Score (Mixed)
Jackson Berkey's Crucifixus, the first completed movement of Towers of Sagrada Famlia, found its origins in Soli Deo Gloria Cantorum's 1999 concert tour to Barcelona, Spain. The composer's inspiration for the entire work came immediately while visiting the church. He studied the cryptogram engraved in the limestone facade by Subirachs, the architect carrying out Antonio Gaud's magnificent and grand vision for this immense artistic and sacred structure. The cryptogram appears on the "Death and Passion" entrance to the cathedral. The pathos, the passion, the sorrow, and the heavy load of the sins of all people are heard in this incredible piece. Suspension upon suspension carries the unending tension and anguish. A wonderful and penetrating English horn solo sustains over pizzicato cellos and arco double basses.

Chorus and Handbells3.5'

SDG 02-304 Treble Chorus$ 4.95
SDG 05-105 Mixed Chorus$ 4.95
SDG 02-304P Handbells part$ 4.00
Contemporary setting of 6th C. Gallican chant. Varied tempi and vocal colors occur as the text is mixed throughout in Latin and English. Beautiful handbells sometimes play as a duet to the voices, as well as a solo section. Commissioned by the Seattle Girls' Choir, Dr. Jerome Wright, Founder and Artistic Director.

(Mass Over a Period of Time)
Mixed Chorus, a cappella8'

SDG 03-101 Chorus$ 3.10
Mixed meters, facilitating the rapid text, help to ground the unleashing of praise and glory to the Father. Although this final text is set as an allegro spiritoso movement, an additional Amen brings Berkey's now-complete Missa Brevis to a pensive, quiet ending. Commissioned by Floyd Slotterback and the Marquette (MI) Choral Society, who commissioned the first notes of the Mass in 1993.

Chorus, Piano, Bells or Chimes (part in score)8'

SDG 03-103 Mixed Chorus$ 4.75
SDG 03-304 Treble Chorus$ 4.75
Setting of text attributed to St. Patrick, specifically "St. Patrick's Shield" or "Breastplate," also known historically as "Deer's Cry." The text speaks to the continuing presence of Christ and His free gift of salvation to all generations and all people. Commissioned for Ed Brodnicki by his loving wife, Judith.

(Mass Over a Period of Time)
Mixed Chorus, a cappella, Baritone Solo3.5'

SDG 97-106 Chorus$ 1.25
Domine Deus opens with triadic chordal writing reminiscent of the work's preceding movement, Laudamus te. The reminiscence is short-lived as the tempo suddenly changes and makes an immediate progression into quartal writing with clashing major seconds between the men and women of the mixed chorus. Constant pedal points prevail between the voices as the different sections repeat the Domine Deus, rex coelestis, Deus Pater omnipotens. A short Domine fili unigenite section sets up a complete 4-part statement of the text and closes as the mixed chorus becomes a choral background for a baritone solo, fashioned after the "Roasted Swan" in Orff's Carmina Burana. Commissioned by the Lancaster (OH) Chorale, Robert Trocchia, conductor.

A Christmas Cantata for Mixed Chorus, Soloists (Soprano, Mezzo-Soprano, Tenor, Baritone), Piano, Organ, Chimes (opt. Handbells), Melodica (opt. Synthesizer), Glass Harmonica (indeterminate pitch)33'

WM 156 Chorus, Piano (Walton Music)
The Christmas story told through twelve original compositions which offer an eclectic mix of classical, contemporary, chant, and avant garde. The story and the melodies are beautiful in this joyous cantata. Contact HalLeonard.com to order.Alleluia! A Child Is Born (The Eternal LIfe) Glory To God In The Highest (The Eternal LIfe) God's Priceless Gift (The Eternal LIfe)

Great is the Lord
From the Beginning
Alleluia! A Child is Born!
Shepherd of Peace
Jesus, Saviour
Glory to God in the Highest
Our Joy
Dear, Precious Child
God's Priceless Gift
Come to Him
He's Here!
The King of Kings!

(South Dakota Shadows, Carnegie Hall Series)
Mixed Chorus a cappella3.5'

SDG 89-103 Chorus$ 1.75
In Evening Shadows, Lillian Edmison's beautiful poem quietly paints a vivid picture of the changing colors of early evening shadows on canyon walls as the sun sets. In keeping with the solitude at this time of day, the work is set a cappella with the choral sound interrupted only by occasional silence. After an opening section which sets the title of the poem, the work continues with the development of a two-note falling motif in all voice parts.

(21st Century Carols)
Mixed Chorus, Oboe, & Harp6'

SDG 05-102 Chorus (includes instruments)$ 2.10
SDG 05-102P Oboe & Harp Parts$ 5.95
A very lyrical, slow melody is layered over a mesmerizing vocal ostinato in this setting of the traditional carol, the first of Berkey's 21st Century Carols. Idiomatic and soloistic oboe and harp writing are beautifully accomplished throughout the piece. Dedicated to the Eau Claire, WI Master Singers, Dr. Gary Schwartzhoff, Conductor.
See also Nr. 1 Noel for Flute Orchestra (SDG 08-600).

Mixed Chorus, Congregation or Audience, Organ, Piano4'

SDG 97-108 Chorus$ 1.70
Berkey's setting combines the Vaughan-Williams melody and text with the lesser known John Barnby hymn tune in a celebration of faith and promise. Commissioned for Pat Ruigh (Organist, Chorister and Accompanist) by the First United Methodist Church Chancel Choir, Iowa Falls, IA, Richard Dewein, conductor.

Treble Chorus, Organ8-10'

SDG 07-301 Chorus Score$ 4.75
SDG 07-301P Organ Score (landscape)$ 6.00
This work was commissioned for the Peace College Chamber Singers of Raleigh, NC, for their performances at the College's sesquicentennial and the Singers' 2007 European Tour. The text from John Milton's Il Penseroso determines the work's five sections. The piece awakens with the quietest breath from the organ, followed by a sweet and free canon in the voices. The voices coax the organ to unleash its power, slightly reminiscent of Tschaikovsky, until dissolved into ecstasy as "all Heav'n" is brought before our eyes. In 2009, the Seattle Girls' Choir opened the prestigious Salzburg Festival with this exciting work.

(Come, Follow Me!, Carnegie Hall Series)
Mixed Chorus, Alto Solo, Keyboard4.5'

W 3408 (Walton Music)
"And the people brought young children to Jesus for the touch of His precious hand." This narrative from the Easter celebration serves as the catalyst for this beautiful, lilting lullaby. Uncomplicated in its vocal structure, Gently, Gently offers lyrical, memorable melodic choral lines and features an alto solo midway in the piece. The text also is suitable for a Children's Day presentation: "Gently, He reached out to them. Tenderly, He called them to Him. Gently, He touched them in his way. Bring them to Me. Don't turn them away. Suffer the little children to come to Me. Let the children come to Me; of such is the Kingdom of God, my Father." Contact HalLeonard.com to order.

(Come, Follow Me!, Carnegie Hall Series)
Mixed Chorus, Tenor Solo, Keyboard4.5'

SDG 94-106 Chorus Score$ 1.35
The anguish that Christ felt in the Garden of Gethsemane is powerfully portrayed in this moving work. The text, "Father, O Father, hear me, O my Father. Deliver me, and forsake me not" is beautifully set for tenor solo with mixed chorus and keyboard accompaniment.

(Mass Over a Period of Time)
Mixed Chorus a cappella, Tenor Solo3.2'

SDG 97-103 Chorus Score$ 1.25
The Gloria in excelsis opens with a tenor solo leading to choral plainchant in combination with ison (pedal point), much like the writing of Arvo Part. Following the opening (written in stemless notation), the work progresses to a highly rhythmic section with melodic material shifting quickly between the voices. A tenor solo briefly interrupts over a pedal point and a second rhythmic section follows. A series of repeated quintuplet-quadruplets follows with the opening text, and a tenor solo closes the movement. Commissioned by the Greeley (CO) Chorale, Carl Gerbrandt, conductor.

Chorus, Keyboard, opt. Synthesizer part included3'

SDG 91-100 Treble Chorus$ 1.50
SDG 91-103 Mixed Chorus$ 1.50
Gloria in Excelsis Deo! was written on commission from the late Dan Nelson for the Edina High School Choirs, Edina, MN. It is a vibrant, intense setting of a small portion of the Gloria text. Its rhythmic variety is immediately apparent and combines beautifully with varied vocal textures throughout. On its last two pages, the choral score includes an optional synthesizer part that may be used in conjunction with the piano part.

Mixed Chorus a cappella3'

WW 1280 (Walton Music)
This 2001 addition to Berkey's "Competition Series" combines the highly rhythmic piano part and the vocal lines of the original accompanied work. The result is an exciting a cappella competition piece. Latin text throughout. Contact HalLeonard.com to order.

Mixed Chorus, Soloists, Piano, Organ, Synthesizer37'

SDGM 91-104 Mixed Chorus, Piano$ 9.95
SDGM 91-104P Organ, Synthesizer Parts$ 20.00
SDGM 91-104FS Conductor's Score$ 25.00
The Glory of His Majesty is an eclectic mixture of musical styles and textures. This work displays the angularity of the baroque, American jazz, as well as dissonance associated with the avant garde. The simplicity of a child's solo is juxtaposed with the robust sound of a male quartet, and ancient chant. A tour de force vocal quintet features the tenor as soloist, and a glorious finale carries the energy to its peak.

Above All Names
God's Perfect Sign
Lullaby--Baby Jesus, Asleep In My Arms

Other performance possibilities:
A Christmas cantata for Mixed Chorus, Solo Quintet (SSATB), Solo Quartet (TTBB), Soloists (Treble, Soprano, Mezzo-Soprano, Tenor, Baritone), Orchestra 1111, 1121, Timp, Perc I-II-II, Harp, Piano, Strings37'

SDG 91-504 Conductor's Score$ 75.00
SDG 91-504P Orchestra Parts$ 175.00
The Annunciation
Above All Names
God's Perfect Sign
God of Light
Exultate! Jubilate! Celebrate!
Lullaby-Baby Jesus, Asleep in My Arms
Lift Him Up!
The Glory of His Majesty

(From The Eternal Life)
Mixed Chorus, Keyboard2.5'

W 3405 (Walton Music)
This setting of the familiar text, "Glory to God in the Highest, And on Earth, God's peace to all men," makes a rhythmically exciting concert opener. Also very powerful when used as a call to worship. Contact HalLeonard.com to order.

Chorus a cappella3.5'

SDG 93-104 Male Chorus$ 1.40
SDG 93-105 Treble Chorus$ 1.40
SDG 93-106 Mixed Chorus$ 1.40
God Be In My Head was commissioned by Gary Schwartzhoff and the Singing Statesmen at the University of Wisconsin-Eau Claire. It is structured around original chant-like melodic fragments which are hinted at in the optional "celebrant" solo at the start of the piece and then fully stated in the first three ad libitum measures. With the melody throughout, the expressive setting exploits the dynamic and vocal ranges of the chorus while exploring both mixtures and combinations of tertian and quartal harmonic structures.
See also Sarum Primer 1545 for Cello Ensemble (SDG 07-203).

(Anniversary Carols)
Mixed Chorus, Tambour, Finger Cymbals, Triangle, Bass, Harp4'

SDG 98-102 Chorus$ 2.00
SDG 99-100P Harp, Bass, Percussion Parts (Order complete set)$ 25.00
The famous carol opens with a cappella chanting in the choir and, following a short harp solo, turns into a rhythmic, joyous dance. The familiar tune is coupled with a not-so-familiar one as the textual meaning is highlighted through Berkey's particular wit and wisdom. Tonal shifts and modal modulations take us on a whirlwind trip, accompanied by harp, tambour, triangle and finger cymbals.

(The Glory of His Majesty)
Mixed Chorus, Soprano Solo, Keyboard3'

SDG 92-100 Chorus Score$ 1.35
The stars must have shined their brightest that night when the angels sang. One star became God's Perfect Sign to guide the Wise Men to Jesus. This contemporary jazz ballad setting gives us a twentieth century picture of the star that guided the three travelers. Almeda Berkey's beautiful text draws us personally closer as it pleads, "Now please shine upon our eyes tonight and guide us to the God of Light."

(From The Eternal Life)
Mixed Chorus, Keyboard (opt. tambour, finger cymbals)2.5'

W 3406 (Walton Music)
Add a few hand drums and finger cymbals and make a holiday processional with God's Priceless Gift. This joyously rhythmic work opens with three-part TB combined with a modal and angular keyboard part. Perfect for Christmas! Contact HalLeonard.com to order.

(From Mass Over a Period of Time)
Mixed Chorus a cappella, Solo Tenors (2), Solo Sopranos (2)6'

SDG 97-105 Chorus Score$ 2.80
Gratias agimus tibi is a minimalist work that can function beautifully as a multiple choir work. As such, it may be performed by three treble choirs, occupying different spaces in a large area, eventually moving together to form a large mixed chorus with the men. The entire text is stated initially as chant by the tenors and basses. Then follows a segment by the three treble choirs, each singing very similar material, offset at a half bar between each choir. The first such statement soon becomes the background for the tenors and basses to enter falsetto. The third iteration features the tenors and basses full force, eventually singing chant in imitation. The three treble choirs close the third section with an arrival at a vertical sonority which again iterates the complete text. A closing section is constructed on an ostinato which changes harmonically underneath a repeated solo by two tenors and two sopranos. Commissioned by the Ames (IA) Chamber Artists, Everett Johnson, conductor.

(The Phillip Whitehawk Collection)
Chorus, Piano, opt. Rhythm4'

SDG 93-103 Mixed Chorus$ 1.70
SDG 06-401 Male Chorus$ 1.70
SDG 93-103P Bass, Guitar, and Percussion parts$ 6.00
Native American composer/guitarist Phillip White Hawk has been writing songs about America almost all of his life and has hundreds of songs in his Phillip White Hawk Collection. Jackson first became acquainted with Phil in the mid-1970's when he produced two LP recordings with the guitarist. Among the songs produced in those sessions was Hold On! Jackson's arrangement maintains the "feel and flavor" of the original version as Phil recorded it. A great concert closer! SATB setting is also found in the American Journey collection and the Carnegie Hall Series.

(Come, Follow Me!, Carnegie Hall Series)
Mixed Chorus, Keyboard4'

W 3407 (Walton Music)
Hosanna! is a delightfully syncopated, powerful statement of praise for Palm Sunday, Easter, general worship celebration, or concert. The mixed vocal writing is fast, brilliant, and great fun for all. Contact HalLeonard.com to order.

(Anniversary Carols)
Chorus, Tambour, Bass, Harp4'

SDG 95-101 Mixed Chorus$ 2.40
SDG 03-402 Male Chorus$ 2.40
SDG 99-100P Harp, Bass, Percussion Parts (Order complete set)$ 25.00
Il est ne is a traditional French melody with a text which first appeared about 1875. The decision to set this familiar tune in English left enough to be desired that the composer decided to maintain some of the French style lost in the lingual translation. Historically, this arrangement also compares nicely with the old Normandy hunting tune's original appearance in 6/8 meter. The tambour is a drum similar to a snare drum but played with the snares off. A "bolero" rhythm begins quietly in the tambour and continues throughout the song. There is a dance in the vocal rhythms, as well, but an additional striking quality is the singers' silky phrases that seem to pull and stretch and weave layer upon layer of resonance. Lush sonorities provide the wrapping to this charming arrangement.
See also Charmingly Perfect Child for Flute Orchestra (SDG 09-600).

(Thoughts and Remembrances, Carnegie Hall Series)
Mixed Chorus, Soprano Solo, Piano10.5'

SDG 86-100 Chorus/Piano Score$ 2.60
An extended choral work, In Memoriam: Kassarjian was commissioned in 1985 by the Clarion Chamber Chorale of Omaha, NE, Stanley Schmidt, conductor. The work encompasses the complete biblical text of the transfiguration of Christ and vividly portrays the transformation which occurred. It is a compelling work, equally successful in concert or when used in combination with its scriptural text in a worship service. See also Piano Trio Kassarjian SDGS 975

(South Dakota Shadows, Carnegie Hall Series)
Mixed Chorus, Piano, String Quartet5.5'

SDG 89-101 Chorus Score$ 2.10
Indian Summer, like much of South Dakota Shadows, is set in a romantic choral style reminiscent of many late Nineteenth Century Scandinavian composers. James Livingston's American Shadows CD program notes beautifully describe this work. He writes, "The sudden shifts of South Dakota's climate provide more opportunities for Indian Summer than any other region. This little meditation evokes the plains, where light transforms images, and an observer reaches instinctively for a hand. Touch defines the moment. Stone, water, golden sunlight, the sound of a crow draw together in a scene of unique human significance."

(Thoughts and Remembrances, Carnegie Hall Series)
Chorus, Organ, Piano, Harp3.2'

SDG 96-108 Mixed Chorus$ 1.50
SDG 96-109 Treble Chorus$ 1.50
SDG 96-110 Male Chorus$ 1.50
Isaiah 44:3 expresses a beautiful promise from God to His people. An ancient text set to a chant-like melody by the composer hearkens back to the sound of Hebrew melody. Beginning from barely audible sounds, the choral dynamics progress fully as the work unfolds. The repetition of the chant develops both through extensions in the voice parts as well as in the accompaniment. While the melody remains constant throughout, harmonic extensions occur in the underlying parts. The work seems to develop roots almost figuratively as the promise of God takes root and nourishes generation after generation of His people's seed upon the earth. The SATB version was performed in the Carnegie Hall Series. Isaiah 44:3 is also available in a setting for solo harp.
The Wisdom of Isaiah SDGS 971 (Nature of the World)

Mixed Chorus, a cappella5.5'

SDG 99-101 Chorus Score$ 1.35
A most unusual combination of the hymn tune O Master, Let Me Walk With Thee, the Latin text of Jesus, the Very Thought of Thee, and the Gregorian chant, Jesu, dulcis memoria. Notation similar to that used by Arvo Part in his Te Deum makes this stunning work both challenging and rewarding for the above-average ensemble.

Mixed Chorus, Mezzo-Soprano Solo, Harp or Keyboard4'

WW 1160 Chorus, Harp (Walton Music)
SDG 99-100P Harp, Bass, Percussion Parts (Order complete set)$ 25.00
Jesu, Son Most Sweet and Dear is a centuries old anonymous English poem. Colin Brumby, an Australian composer and teacher at the University of Queensland, Brisbane, found it in an 1866 edition of Political, Religious and Love Poems collected by F.J. Furniwall of "The Early English Text Society". Jackson Berkey's arrangement of Brumby's 1977 setting is hauntingly beautiful. A gorgeous solo carries the arrangement throughout, with overlapping phrase endings between the choral forces and the soloist. Contact HalLeonard.com to order.

(Anniversary Carols)
Chorus a cappella2.5'

SDG 94-103 Mixed Chorus$ 1.35
SDG 03-403 Male Chorus
Joy to the World is a Christmas hymn familiar to all of us in spite of its somewhat confusing history. With importance of text constantly in mind, this setting makes use of Isaac Watts' words and the tune usually known as Antioch. In this arrangement, the third verse words appear at the outset in a modal treatment which is fast overcome by 20th Century rhythms and a polymetric combination of ostinato and hymn tune. Word painting occurs as we "repeat the sounding joy," but the "wonders of His Love" eventually surface triumphant.

(Come, Follow Me!, Carnegie Hall Series)
Mixed Chorus, Keyboard2'

W 3409 (Walton Music)
This opening chorus from the Easter celebration features strong 2-part writing at the outset, followed by beautiful SA three-part writing and TB unisons. The text is beautifully appropriate for most any worship occasion: "Joy, Great Joy! My heart is filled with joy! Joy of knowing Christ, the Lord. Praise! Wonderful praise! My song is filled with praise!Praise for Christ, my Lord and King!There's new life in Christ. There's joy in the Lord.Peace. My soul is filled with peace. Peace while resting in the Lord. Peace." Contact HalLeonard.com to order.

Chorus, Piano 4-hands, Train Whistle, opt. Marimba/Xylophone5'

SDG 98-103 Mixed Chorus$ 2.00
SDG 98-401 Male Chorus$ 2.00
SDG 99-303 Treble Chorus$ 2.00
SDG 98-103P Marimba, Xylophone parts$ 5.00
The tune Casey Jones (alias K.C.) takes place amidst train whistles and a dramatic spoken history, with a train in the choir! This song is great fun to sing and exciting to hear.

Chorus, Piano, Guitar, Bass & Percussion4'

SDG 08-401 Male Chorus$ 3.95
SDG 08-401P Guitar, Bass, Percussion parts$ 10.00
Containing a certain charm and optimism in the midst of sometimes dire circumstances, Frank Stanton's lyrics touch readers in all walks of life. Commissioned by the Langham Family in honor of William P. Langham's 75th birthday and his 18 years of singing with the Naperville (IL) Men's Glee Club, both choral settings can be performed successfully with piano alone or with the additional instrumental parts.

(Mass Over a Period of Time)
Mixed Chorus a cappella, Solo Tenors (2), Solo Sopranos (2)3.5'

SDG 97-102 Chorus Score$ 1.50
SDG 03-301 Chorus Score$ 1.50
The Kyrie is an ABA form with multiple divisi in the A section coupled with an exciting, bravura middle section which offers highly rhythmic writing in the tenor and bass parts against legato, chant-like singing in the soprano and alto parts. The work is quartal in nature and offers many seconds, sevenths, and fourths in a Scandinavian style similar to Knut Nystedt. The repetition of the Kyrie eleison text follows the standard repetitions found in the Ordinary of the Mass. Commissioned by the Marquette (MI) Choral Society, Floyd Slotterback, conductor.

Three Treble Choruses, 3 sets of tuned Wind Chimes, Handbells, (opt. Vibraphones), prerecorded ambiances (ocean, wind, natural aviary)21'

SDG 01-301 Treble Chorus$ 3.95
SDG 01-301CD Sound FX CD$ 20.00
A commission from Carol Stewart for the AmericaFest "International Singing Festival for Women" in Seattle, Washington, 2001, this minimalist work attempts to capture the "white light" period that so many people have related, due to near death experiences. The text is a gravestone epitaph written some sixty years prior to his death by Catalan composer Frederico Mompou. The text is set both in English and the original Catalan.

(From Mass Over a Period of Time)
Mixed Chorus a cappella3.5'

SDG 97-104 Chorus Score$ 1.25
Inspired by his beautiful Ave verum corpus, this movement is respectfully dedicated to Imant Raminsh. Laudamus te opens with lyrical triadic, polytonal writing between the men and women. Eventually the work becomes more tonal with soaring lines especially evident in tenor/soprano doubling. The benedicimus te section offers contrast and makes a transition to the closing adoramus te with a hypnotic ostinato in the altos and basses. The work draws to a close with a choral pyramid built from the center around middle C, progressing up an octave in the women and down two octaves to low C in the basses.

Mixed Chorus, Concert Band (Picc, Fl I-II, Ob, Cl I-II-III, Alt Cl, Bs Cl, Alt Sax I-II, Ten Sax I-II, Bsn, FrHn, Tpt I-II-III, Tbn I-II, Tba, Euph, Timp, Perc I-II-III, Mallets)5'

SDG 01-103 Chorus/Keyboard Reduction
SDG 01-103P Conductor's Score and Parts
A celebratory work, the jubilant text implores us to "Take time to laugh and live and love. It is the music of the soul." Written in 2000 for Conductor James Eitel and the Kingsway Regional High School Concert Band and Chorus in Glassboro, New Jersey, this upbeat work honors the school's new expansion.

Mixed Chorus, Brass Quintet, Timpani, Piano, Organ10'

SDG 11-102 Chorus$ 3.25
SDG 11-102P Conductor's Score, Instrumental Parts,
Piano-Organ-Chorus Scores (3, for performance with keyboards)
$ 75.00

This powerful anthem can be sung in its 10-minute entirety with chorus, organ, piano, brass quartet, and timpani or in short sections for choir and keyboard(s) ("call to worship", "benediction"). Almeda Berkey' text touches scripture from Isaiah to Acts to celebrate the connection of today's church to the First Century Church, including "One Lord, one faith, one baptism", "Thro' God's Word Christ shall be known", and "Led by Christ, O Lord, to Thee."

Chorus, Keyboard, opt. Harp4'

SDG 93-101 Mixed Chorus$ 1.40
SDG 93-102 Treble Chorus$ 1.40
Little Fire was commissioned by Sharon Hansen and the Iowa Choral Directors Association for their 1993 summer Symposium. Subtitled "A Remembrance of Aidan O'Neil," this work has as its title the translation of the name "Aidan." Little Fire depicts the courage and strength of a nine year old girl who, through her valiant battle with childhood cancer, left a life pattern for many of us to emulate in our adult lives. The work is accompanied on piano and ends with a heavenly jig on harp.

(The Glory of His Majesty)
Mixed Chorus, Alto Solo, Treble Voice Solo, Keyboard4'

SDG 87-104 Chorus Score$ 1.40
We came to look for the Baby Jesus in Bethlehem, and we sang this lullaby to Him: "Baby Jesus, Asleep in My Arms. May I rock the child divine and wrap Him in this love of mine? Little Baby Jesus, I come to you."

(The Glory of His Majesty)
Mixed Chorus, Keyboard3.5'

SDG 87-101 Chorus Score$ 1.50
The text of the Magnificat, "My soul doth magnify the Lord, and my spirit rejoices in God my Savior," has been set by master composers through the ages. The fascination with this text may lie with the number of scriptures (ten) given to Mary's response. It is a marvelous song of praise to God. Because of its beauty, parts of the Latin scriptures are interspersed within the Magnificat.

(Come, Follow Me!, Carnegie Hall Series)
Mixed Chorus, Mezzo-Soprano Solo, Keyboard5.5'

SDG 94-105 Chorus Score$ 1.40
Mary Magdalena, like the Apostles, was a faithful follower who, through Christ, found salvation from her sinful ways and experienced complete rebirth. In her song of pleading, she "asks for mercy and for grace" and is freed from "devils numbering seven." Her song sets forth the unusual eclecticism of the composer as it reveals Gregorian chant-like melodies juxtaposed with a "lead solo" over a twelve-bar blues.

Mass Over A Period Of Time is a composition whose movements are reserved for commission by sources as yet undetermined. The original commission held that Floyd Slotterback and the Marquette (MI) Choral Society would commission an extended work from Jackson Berkey. When plans changed due to time constraints surrounding the planned 1994 premiere, the Mass was already well underway in the composer's thinking. Consequently, Floyd decided to commission a shorter work which was mutually agreed would be the Kyrie from the Mass. It occurred to the composer that many different choirs could commission the remaining movements, and that the commissions might be written in the future. Hence the title Mass Over a Period of Time. At the writing of this catalog, the Kyrie and the extended seven-movement Gloria are complete and available in print.


(Mass Over a Period of Time)
The seven-movement GLORIA features the complete Latin text from the Mass, with each movement written on commission from varied sources. The individual movements are performed a cappella. The subtitle, "Theatre Pieces, 1995 - 1998" refers to Berkey's three-year writing process of motifs for the GLORIA . "All motivic elements were written at theaters across the United States while the composer was on tour with Mannheim Steamroller." The movements were later developed and completed as commissions were received. Due to the nature of the commissioning process, all movements are published separately.

Gloria in excelsis
Laudamus te
Gratias agimus tibi
Domine Deus
Qui tollis
Cum sancto spiritu

(South Dakota Shadows, Carnegie Hall Series)
Mixed Chorus, Piano, Strings, String Band (Acoustic Guitar, Bass)3.5'

SDG 89-104 Chorus Score$ 2.85
Mercy Song is a powerful, contemporary jazz-rock setting of South Dakota poet Rita Crom's strophic poem, Mercy Song, A Spiritual. A rubato choral opening leads directly to an instrumental vamp which sets the mood and tempo. With the addition of string quartet and string band (bass and guitar), this arrangement really comes alive!

(21st Century Carols)
Mixed Chorus, Keyboard7.5'

SDG 09-102 Chorus Score$ 2.25
Third in the series entitled 21st Century Carols, premired with the St. Paul Methodist Sanctuary Choir in Lincoln, NE, William Wyman, Director. An ageless memory rocks as a lullaby, and distant bells ring from the piano. A bold return introduces the recognizable tune of It Came Upon a Midnight Clear with the later remnant of the Chopin Berceuse. Eventually Pietro Yon's Gesu Bambino joins the telling of the story as silent angels calm the weary world.

Solo Instrumental version also available:
Piano 4-hands7.5'

SDG 10-201 Piano 4-hands (solo instrumental version)$ 9.95
Coming from somewhere in the past, an ageless memory rocks as a lullaby soothing the Greatest Gift to Mankind. Jackson Berkey begins his telling with the delicate ringing of distant bells from the piano. Berkey's setting of It Came Upon A Midnight Clear is beautifully entwined with the lullabies of Pietro Yon's 1917 Christmas hymn Gesu Bambino and Frdric Chopin's Berceuse. A written trill in the piano accompanies the silent energy of angels moving through the skies, until the weary world becomes still.

Mixed Chorus, Tenor Solos, Soprano Solos, Dramatic Reader, Native American Flute (part included), Prerecorded Percussion, Natural Environmental Sounds10-26'

SDGM 93-100 Conductor, Chorus Score$ 3.35
SDGM CDR 93-100 Prerecorded Sounds CD$ 25.00
Compelling musical settings of words from prophetic Native American leaders. The Ambiances exist in contrasting and combined layers of a cappella mixed chorus, Native American Flute, and prerecorded percussion and natural environmental sounds. Also included for optional use in performance are selected readings by Nebraska poet laureate John G. Neihardt. The vocal score includes all parts necessary for performance. A prerecorded CD of the sparse percussion and natural environmental sounds is available from the publisher. Please note: the prerecorded elements have specified start points but are "non-critical synch." That is, once underway, they do not require exact synchronization by the conductor.

Loon Lake by Morning
The Sacred Earth
Words from our Brothers
Prairie Fire
This We Know
The Web of Life

Mixed Chorus, Brass Quintet, Organ, Timpani, small brass bells6'

SDG 06-101 Chorus Score$ 3.80
SDG 06-101P Parts
Setting of In Christ There Is No East or West, Amazing Grace, and chant. In celebration, choir, brass, organ, bells and timpani joyously proclaim the timelessness of the eternal Christ.

Chorus a cappella6'

SDG 02-401 Male Chorus$ 1.50
SDG 03-305 Treble Chorus$ 1.50
Varied tempi and notation styles relative to an eclectic mix of historic periods define this work. On suggestion from the commissioning body, the text (Luke 2:29-32), is presented in both Latin and English. Commissioned by The Singing Statesmen, University of Wisconsin - Eau Claire, Dr. Gary Schwartzhoff, Conductor.
See also Lumen for Cello Ensemble (SDG 07-206).

(Anniversary Carols)
Chorus a cappella, opt. Tambour, Finger cymbals3'

SDG 91-102 Mixed Chorus$ 1.25
SDG 03-404 Male Chorus
SDG 99-100P Harp, Bass, Percussion Parts (Order complete set)$ 25.00
O Come, All Ye Faithful is probably the most popular Christmas hymn (as distinguished from carol) in America. Although its origins remained obscure for more than two centuries, this originally Latin hymn, Adeste fideles, can now be attributed with certainty to John Francis Wade (1711-1786), a teacher of music who specialized in copying plainchant for use in chapels and homes of prominent families in France. It was translated into English by the Rev. Frederick Oakley in 1842 and was first printed in Murray's Hymnal in 1852 in England. Jackson Berkey has a lively arrangement, with a striking treatment of the refrain.

(21st Century Carols)
Mixed Chorus, Baritone Solo, Piano & Pipe Organ6'

SDG 07-102 Chorus Score$ 5.95
Second of the composer's 21st Century Carols, this is an artful setting of Phillip Brooks' well-known lyric. From the strength of the opening instrumental and choral declaration, this unique carol paints a picture of antiquity as the mystery unfolds into one of power and promise. The text set in changing meters personalizes the familiar hymn, as the colorful expression cradles the "holy Child of Bethlehem."

A Song Cycle About Baseball Treble Chorus or Solo Soprano, Piano12'

SDG 02-302 Chorus Score (octavo)$ 5.95
SDGS 2000-1 Solo Voice, Piano (9x12 Concert)$ 20.00
Jackson Berkey's 1999 commission from soprano Carol Eikum of Northwest College, St. Paul, Minnesota, includes lyrics from Elisavietta Ritchie, May Swenson, Isabel Joshlin Glaser, and the composer himself. In versions both for solo and treble chorus, the score includes suggested costume and stage directions and is guaranteed to successfully energize a serious song recital.

Sittin' on the Bench
Baseball Wrap-up
Substitute Blues
Someday, Someday

(A Messenger Named John, Thoughts and Remembrances,
Carnegie Hall Series)

Mixed Chorus, Soprano or Alto Solo, Keyboard3'

SDG 09-101 Chorus Score$ 1.35
Particularly empowering when used as a benediction anthem, this piece is poignant, gentle, and moving. Worship services have been centered on its text and music. This final movement of A Messenger Named John is dedicated to the composer's father.

Mixed Chorus, Keyboard1.5/3.5'

SDG 89-100 Chorus Score$ 1.40
Praise Ye the Lord is an exciting call to worship which may be performed with or without accompaniment. Accompaniment may include organ and brass or just piano. Love One Another may be used as a communion hymn or in conjunction with any service material related to the scriptural passage. The accompaniment may be handled by any keyboard instrument including organ, electric piano, acoustic piano, or any combination thereof. Separate parts are not required.

(Mass Over a Period of Time)
Mixed Chorus a cappella5.2'

SDG 97-107 Chorus Score$ 1.50
Qui tollis opens with a hearkening to plainsong. The presence of isons (pedal points with changing text) are heard as the piece progresses through a series of modes including Aeolian, Ionian, Lydian and Mixolydian. Eventually a jazz inflection is felt with the presence of 13th chords and beyond, all implied in four voices in a rather "Messaien" style, similar to that French composer's O sacrum convivium. Qui tollis is the second of three sections of the Mass Over a Period of Time commissioned by the Marquette Choral Society, Floyd Slotterback, conductor.

(Mass Over a Period of Time)
Mixed Chorus a cappella6'

SDG 02-101 Chorus Score$ 3.10
A lyrical setting of the text which exalts the holiness of the Lord. It is the sixth part of the Gloria of the Mass Over a Period of Time. A middle section uses the central theme repetitively as an accompaniment to a fascinating trio of solo sopranos. Following a short, joyous "vocal dance" the piece closes with a tender and expressive statement of Jesu Christi Dominus. Equally successful with either a large or small performing ensemble, the Quoniam was commissioned by Hashimoto Kyoichi and the 12-member Mediaeval and Renaissance Consort in Fukui, Japan.

(Come, Follow Me!, Carnegie Hall Series)
Mixed Chorus, Keyboard2.5'

SDG 94-107 Chorus Score$ 1.35
Rejoice! Rejoice! is a fast, 4-part round with keyboard accompaniment. It comes together with limited rehearsal and makes a joyous statement. Wonderful as a procession or as a call to worship. "Rejoice and praise the Lord!
Sing praise and bless the Lord!
Give thanks and praise the Lord!"

Mixed Chorus, Piano, Strings4.4'

SDG 89-105 Chorus Score
Based on a poem by Margaret Delaney, the Requiem is a final settlement; a final accounting. Gentle strings and piano accompany this tribute to the pioneer women who tended prairie home fires, and whose souls have found "rest at last."

Debussy's original Piano Solo orchestrated with voices5'

SDG 08-101 Mixed Chorus$ 2.50
SDG 09-302 Treble Chorus$ 2.50
Claude Debussy's early 1890 composition is loved by audiences the world over. In this arrangement designed to feature the pianist as soloist with choral accompaniment, Jackson Berkey takes Debussy's original work and cradles the piano with blankets of voices. Even without lyrics, one can hear poetry. If desired, both voicings may be combined in performance.

Mixed Chorus, Soprano Solo, Audience Participation,Obligato or Treble Chorus, Orchestra 1111, 2211, Harp, Perc I-II-III, Timp, Harp, Keyboard, Strings, opt. Handbells16'

SDG 01-102 Chorus, Piano$ 6.95
SDG 01-503 Conductor's Score$ 30.00
SDG 01-503P Orchestra Parts$ 150.00
A brilliant Christmas collection infused throughout with interesting and unexpected harmonic and rhythmic devices. The 2000 commission from Maurice Casey and Worthington United Methodist Church, Columbus (OH), is structured to allow audience participation at the beginning and end. An instrumental transition in the orchestra precedes each section allowing for the entire piece to be performed with (or without) interruption. The very important soprano solo in O, Holy Night is supported with harp and choir.

O, Come Emmanuel
The Good King (Wenceslas)
Carol Collage
O, Holy Night
Deck the Hall
O, Come All Ye Faithful

Treble Chorus, Keyboard, Bass, Percussion (Tri., Glock., Tamb.)5'

SDG 02-303 Chorus Score$ 3.75
SDG 02-303P Bass & Percussion parts set$ 12.00
A positive, up-tempo composition that mixes the childlike character of the treble voice with a poignant emotional character via an extended harmonic structure in the instruments. The work also includes sections of The Star-Spangled Banner and America the Beautiful. Commissioned in 2000 by Keynote Arts Associates for the "Children in Harmony Festival", Dr. Barbara Tagg, Artistic Director.

(American Journey, Carnegie Hall Series)
Chorus, Piano 4-hands, opt. Marimba/Xylophone5'

SDG 96-105 Mixed Chorus$ 2.95
SDG 96-106 Male Chorus$ 2.95
W 5040 Chorus (Walton Music)
SDG 96-107 Treble Chorus$ 2.95
SDG 96-567 Marimba, Xylophone mallet parts$ 5.00
Sacramento~Sis Joe was commissioned by Dr. Charles Smith for the Hastings (NE) College Concert Choir tour to Japan in March of 1996. The work is a joyous, eclectic mix of Americana at its best! It is a combination of Camptown Races (with text about the Sacramento gold rush) and Sis Joe, a railroad work song used by Aaron Copland in his Rodeo! With the addition of a dance section, piano 4-hands, and mallet instruments, it makes a tremendous concert closer! SATB setting also found in American Journey, Carnegie Hall Series.

(American Journey, Carnegie Hall Series)
Chorus, Piano, Percussion (Field Drum, Picc. Snare, Triangle)10'

SDG 02-305 Treble Chorus/Piano Score$ 3.80
SDG 03-102 Mixed Chorus$ 3.80
SDG 02-305P Percussion Parts$ 10.00
A pensive choral setting of excepts from Civil War poetry by Longfellow and O'Hara. The use of a color guard processional is encouraged during the extended instrumental introduction that includes the drum cadence played in President John F. Kennedy's funeral cortege. Commissioned by the Brooklyn (NY) Youth Chorus, Dianne Berkun, Artistic Director. SATB setting also found in American Journey, Carnegie Hall Series.

(Anniversary Carols)
Mixed Chorus a cappella, Baritone Solo, Treble or Soprano Solo4'

SDG 94-102 Chorus$ 1.35
The Silent Word is based on the famous English melody Greensleeves and is written in the "tintinabulistic" style of the contemporary Estonian composer, Arvo Part. It distinguishes itself from many settings of the familiar tune by its lilting 5/8 meter coupled with the appearance of a verse in a major key. Also present are all of the refrain texts originally penned by the English writer, William Chatterton Dix in his 1865 Christmas carol What Child Is This?

(Thoughts and Remembrances, Carnegie Hall Series)
Chorus, Piano 4-Hands2'

SDG 96-113 Mixed Chorus$ 1.50
SDGS 967 Piano 4-hands$ 4.50
SDG 96-114 Treble Chorus$ 1.50
SDG 96-115 Male Chorus$ 1.50
SDG 96-113 Mixed Chorus$ 1.50
The English rhyme Sing a Song of Six Pence, is the basis for 6Pence. Following a robust statement of the familiar melody by all the voices, the tune continues while the background begins "counting money, eating bread and honey, counting bread," (as in "money")! This leads to the "Counting and Eating" instrumental solo which includes excerpts from Mozart's Overture to The Marriage of Figaro and a Berkey frenzy on the piano. During this extravaganza, the women eat bread and honey while the men count their money. The piece concludes with the voices reiterating the overture to Mozart's opera, taking them to a high "C" and finishing with uproarious laughter and applause. The work bears the dedication: "For my mother, Josephine, in celebration of her ever-present, always irreverent sense of humor!" SATB version was performed in the Carnegie Hall Series.

Treble Chorus, Violoncello & Piano11'

SDG 09-301 Chorus Score$ 3.95
The timeless words of Percy Bysshe Shelley's poem Music, When Soft Voices Die informs the structure of this Berkey composition, written for the Milwaukee Choral Artists' Tenth Anniversary Season, Sharon A. Hansen, Conductor. A lovely exchange between treble voices and cello melodies shifts to a dance section and ends with an ethereal solo soprano line.

Mixed Chorus, opt. Treble Chorus, Audience Participation, Tenor & Treble Obligatos, Woodwinds 1111, Brass 1211, Organ, Timpani (3), Perc I-II-III6'

SDG 01-101 Chorus, Organ
SDG 01-101P Conductor's Score and Parts
A 2000 commission from Michael Jewell and Kent Keating for the First United Methodist Church and the Washington (IA) Choral Society features an arrangement of two hymns: The Solid Rock and O For a Thousand Tongues To Sing. The piece begins quietly, followed by an extended instrumental introduction that leads to a choral introduction. The first verse of O For a Thousand Tongues To Sing dances in mixed meters, giving fresh insight to the well-known lyrics. Choral parts are strong and well within a shorter learning curve. Audience participation and two choral obligati combine to bring the work to an exciting conclusion. While the instrumentation is exciting, dynamic, and beautifully integrated, the piece can also be performed successfully with chorus and organ alone.

Treble Chorus, Violin, Viola, Violoncello & Piano, opt. handbells4.5'

SDG 97-301 Chorus Score$ 1.50
SDG 97-301P Violin, Viola, Violoncello & Handbell parts$ 10.00
A dramatic setting of text adapted from the Song of Solomon: "I will sing the song of all songs to my Love and he will smother me with kisses... Take me with you and we will run together...Let us rejoice together and be glad! ...If you find my beloved, tell him that I am faint with Love."
See also Solomon Quintet for Clar, Vln, Vla, Vlc, Pf (SDGS 976) and For This, I Love You for Soprano, Violin, Viola, Cello, Piano, and optional Handbells (SDGS 942).

(Carnegie Hall Series)
Mixed Chorus, Baritone Solo, Dramatic Reader, Orchestra 2(Pic. dbl) 221, 2221, Timp (3), Perc I-II-III, Mallets, Piano, Harp, Strings29'

SDGM 97-100 Chorus, Piano$ 8.95
SDG 97-500 Conductor's Full Score$ 75.00
SDG 97-500P Orchestra Parts$ 175.00
Smaller ensemble version with String Quartet and String Band
SDGM 97-100P String Quartet, String Band Parts$ 15.00
South Dakota Shadows was commissioned by Al Stanga and the Master Singers of Sioux Falls (SD). The work was premired in 1989 with the state's centennial. CD liner notes by James Livingston: "Its words and music reflect the heartland of America. The texts come from poets rooted in the state, watered by the Missouri, which merges high plains, sacred mountains, and badlands. Its varied citizens speak through these poets, nativeborn and settler, pioneers, and their descendants. This land, near the West, holds a special place in the American imagination. Its river boundary has much to do with it. Lingering near it, these people have not yet quite crossed over. The suite shadows them. Jackson Berkey demonstrates amazing versatility in combining various musical traditions to mirror the fusion of cultures." Poets include Charles "Badger" Clark, South Dakota poet laureate.
Excerpts available:Evening Shadows (South Dakota Shadows, Carnegie Hall Series) Indian Summer (South Dakota Shadows, Carnegie Hall Series)Mercy Song (A Spiritual) (South Dakota Shadows, Carnegie Hall Series)Requiem for a Pioneer Woman (South Dakota Shadows, Carnegie Hall Series)Turkeys and Badger's (South Dakota Shadows, Carnegie Hall Series)

Indian Summer
Turkeys and Badger's
Evening Shadows
Boxing With Snowflakes
Mercy Song
Requiem For A Pioneer Woman

Treble Chorus, Dramatic Reader, Keyboard, String Quartet22'

SDG 97-300 Conductor, Chorus, Piano Score$ 6.95
SDG 97-300P String Quartet Parts$ 15.00
Beautiful treble chorus settings of four movements from South Dakota Shadows. Haunting and serene, the treble suite includes the slower, more pensive, romantic pieces from the extended mixed chorus work.

Indian Summer
Evening Shadows
Boxing With Snowflakes

(Anniversary Carols)
Chorus and Harp or Keyboard6'

WW 1255 Mixed Chorus, Mezzo-Soprano Solo (Walton Music)
W 5035 Treble Chorus, Mezzo-Soprano Solo
W 9005 Male Chorus, Baritone Solo
SDG 99-100P Harp, Bass, Percussion Parts (Order complete set)$ 25.00
Still, Still Night (Silent Night) is a carol known the world over. Its music by Franz Gruber and text by Joseph Mohr have been translated into virtually every language where Christmas is celebrated. As an expression of love and thanks, this setting intentionally emulates, in key and feeling, the wonderful arrangement of Still, Still, Still by the composer's mentor, Norman Luboff. The arrangement bears a dedication to Norman and his wife, Gunilla. Contact HalLeonard.com to order.
See also Silver Winds in the Night for Flute Orchestra (SDG 01-600).

(American Journey, Carnegie Hall Series)
Mixed Chorus, Piano7.5'

SDG 96-101 Chorus/Piano Score$ 1.50
Tenting Tonight was originally written for men's voices as a part of the musical Battle Cry by Leland Ball, an adaptation of Stephen Crane's The Red Badge of Courage, with music score by Jackson Berkey. Tenting Tonight captures the very essence of the longing for home and family felt so strongly by both the Blue and the Gray of the American Civil War. Tender and moving, it is a somber statement of deep feeling and emotion.

(Carnegie Hall Series)
Mixed Chorus, Soprano & Alto Solos, Orchestra 2(with Pic dbl)22(B flat, A flat Cl)2 2211, Timp (3), Perc. I-II-III, Mallets, Piano, Harp, Strings. For Choir, order six movements, published separately.33'

SDG 09-500 Conductor's Score$ 75.00
SDG 09-500P Orchestra Parts$ 175.00
Thoughts and Remembrances, a collection of pieces, published separately and written for Carnegie Hall 2009, celebrates the universal love and connection between parent or guardian and child. The deep familial roots, nourished from generation to generation, are remembered tenderly and with deep respect. Each movement is beautifully orchestrated to magnify the substance and power of each. The six movements are published separately.

Balm In Gilead
In Memoriam: Kassarjian
Isaiah 44:3
Peace, Evermore!
View Me, Lord, A Work Of Thine

(Bless'd be the Tie)
Mixed Chorus, opt. Congregation/Audience, Harp or Piano4'

SDG 05-106 Chorus Score$ 8.50
SDG 05-106P Harp Part
Familiar and new melodies and rich harmonies create a fresh song from the traditional hymn, Bless'd be the Tie. Melodies soar to new heights and seem to take away one's breath by the length of singing and the lush sonorities. A beautiful solo gives weight to God's promise, while the purity in choral answer phrases captures the tenderness of the "Tie." The seamlessness of phrase upon phrase reminds one of sweet Eternity. Commissioned by Loree Lynn for the Tribe of Dan.

(South Dakota Shadows, Carnegie Hall Series)
Mixed Chorus, Baritone Solo, Piano, String Band (Acoustic Guitar, Bass, Dobro, & Dulcimer)3.5'

SDG 89-102 Chorus Score$ 2.95
Turkeys and Badger's takes its name from the composer's combination of the old folk tune Turkey in the Straw and the poem The Bunk-House Orchestra by Charles "Badger" Clark. James Livingston's American Shadows CD program notes aptly provide background information on this joyous, romping work. He writes, "In Turkeys and Badger's the apostrophe is not a misprint. In his poem, South Dakota poet laureate Charles "Badger" Clark shows how the West transforms the stay-at-home sentiments of the land left behind. Badger welcomes listeners to a Turkey in the Straw hoe down, do-it-yourself entertainment where anything goes, and constant communion compensates for daily loneliness and work. In verses which alternate between the grinding toil and the ecstasy of blowing off steam, the poet offers his frontier philosophy: "Rainy dark or firelight, bacon rind or pie, Livin' is a luxury that don't come high; Oh, be happy and onruly while your years and luck allow...."

Jackson Berkey's 21st Century Carols continue the composer's artful setting of time-honored, favorite Christmas carols. Taking the descriptive, narrative poetry and connecting it vividly to unique phrasing, dynamic climaxes, unexpected modal shifts, and ever-careful word painting is essential to Mr. Berkey's music understanding. Sometimes it is the removal of a traditional breath in the strophic hymn singing, or it is lingering on the most powerful words of a phrase that gives new life to an old hymn and designs new challenges for the singers and conductor. The challenge is not set in needless difficulty, but it embraces the full understanding of each meaningful phrase. Characteristic of Berkey's arrangements is rhythmic intensity, gorgeous lyricism that sets melody and countermelody soaring, and lush vertical sonorities among the voices. Sometimes "the dance" in his carols is between voices and instruments, sometimes in a joyous release within voices, sometimes in a stately restraint. Ancient tradition becomes new with his unique settings. With careful attention to every expression mark, subtle tempo changes, meter changes, and focused balancing, choirs can create a living expression of Jackson's inspired imagination. All titles available separately.

(21st Century Carols)
Mixed Chorus, Recorder, Renaissance Percussion3.30'

SDG 11-101 Chorus$ 3.25
The fourth piece in the series entitled 21st Century Carols. To experience the full impact of this buoyant carol, imagine the excitement that youngsters feel on Christmas Eve. Changing meters and dance rhythms contrast with a childlike aspect woven throughout with Renaissance rhythm instruments and recorder. The merry-making is endless; the laughter is robust; the tailspin is palpable, atmospheric.

(Thoughts and Remembrances, Carnegie Hall Series)
Chorus, Alto Solo, Piano4.5'

SDG 96-111 Mixed Chorus, Alto Solo, Piano$ 1.50
SDG 96-112 Treble Chorus, Alto Solo, Piano$ 1.50
SDGS 962 Vocal Solo, Piano
SDG 04-201 Handbell Ensemble (Arr. Robert Noland)$ 3.95
The text source for View Me, Lord, A Work Of Thine is English poet and composer Thomas Campion (1567-1610). Berkey's beautiful composition interweaves the vocal elements with contrasting ranges and colors in the accompaniment. The melody is hauntingly beautiful and engaging. Friends of Soli Deo Gloria Cantorum, Nebraska's Professional Chorale, commissioned Berkey to compose a work in memory of his and his wife Almeda's mothers.
See Homage to Thomas Campion for instrumental solo and ensemble versions.

Treble Chorus, B-flat Clarinet, (opt. Ob/Eng Hn), Cello, Piano13'

SDG 99-302 Conductor, Chorus Score$ 7.95
SDG 99-302P Parts Set B-flat Cl, (opt. Ob/Eng Hn), Violoncello$ 10.00
SDGS 941 Soprano Song Cycle (Parts and two full scores included)$ 25.00
A song cycle commissioned in 1978 for voice and piano, these four songs offer an expansive range of emotion and vocal color and can be performed by soprano or mezzo soprano. The cycle, later revised, was augmented with clarinet and violoncello parts. The setting for treble chorus was completed in 1999. The cycle has also been adapted as a piano quintet with solo violin assuming the vocal role.
See also the instrumental ensemble version, Earth Voices, for Clar, Vln, Vla, Vlc, and Pf (SDGS 944).

Autumn Comes to Woman
In a French Mountain Village

Mixed Chorus, Brass Quintet (2,1,1,1), Timpani, Organ Opt. Treble Choir, Congregation or Audience4.5'

SDG 97-101 Chorus Score$ 1.70
SDG 97-101P Instrumental Parts$ 15.00
A great and glorious celebratory anthem that can also include the congregation or audience. The text is from Micah 6:8, also uses the lyrics from Amazing Grace. Commissioned by the Irvine (CA) United Church of Christ Sanctuary Choir, Ted L. Reid, conductor, to commemorate the dedication of the new church sanctuary in 1997.

Male Chorus a cappella7'

SDG 04-401 Chorus Score$ 2.10
This fourth commission from Gary Schwartzhoff and the Singing Statesmen is a setting of the poem "Do Not Stand at My Grave and Weep." Using extended divisi and falsetto, the work places the listener and singer on the same plane as the departed loved ones.
See also Weepe Not For Me for Cello Ensemble (SDG 07-205).

Mixed Chorus, Piano, Flute9'

SDG 05-103 Chorus Score$ 2.10
SDG 05-103P Flute part$ 3.50
Christina Rossetti's famous poem, set for voices with piano and flute, is filled with soloistic and idiomatic writing throughout. It was commissioned for and performed by the University of Northern Michigan Singers, Dr. Floyd Slotterback, Conductor, in honor of the installation of Dr. Leslie Wong as President of the University in 2004.

Treble Chorus, Speaking solo, Piano7'

SDG 03-303 Chorus Score$ 3.80
A quirky set of three songs based on memories of the words and wit of the composer's mother. Each song is a "play on words," an English language rule, or a strange witticism. At some point in each song a solo reader sets forth the text. Commissioned by the Nebraska Children's Chorus, Z. Randall Stroope, Conductor. Titles include Her has gone, Es ist kalt, and Eye B4 Eee.