v. Qui Tollis
SDG 97-107 $1.50
Mixed Chorus, a cappella 5.2’ 12 pgs.

Like the Gloria in excelsis, Qui tollis opens with a hearkening to plainsong. The presence of isons (pedal points with changing text) are again 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.

vi. Quoniam
SDG 02-101 $3.10
Mixed Chorus, a cappella 6’ 24 pgs.

A lyrical setting of the text which exalts the holiness of the Lord. It is the sixth part of the “Gloria” of 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.

vii. Cum Sancto Spiritu
SDG 03-101 $3.10
Mixed Chorus, a cappella 8’ 24 pgs.

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 the 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.

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v. Qui Tollis SDG 97-107 $1.50 Mixed Chorus, a cappella 5.2’ 12 pgs. Like the Gloria in excelsis, Qui tollis opens with a hearkening to plainsong. The presence of isons (pedal points with changing text) are again 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. vi. Quoniam SDG 02-101 $3.10 Mixed Chorus, a cappella 6’ 24 pgs. A lyrical setting of the text which exalts the holiness of the Lord. It is the sixth part of the “Gloria” of 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. vii. Cum Sancto Spiritu SDG 03-101 $3.10 Mixed Chorus, a cappella 8’ 24 pgs. 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 the 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.	Native American Ambiances SDGM 93-100 $3.35 Mixed Chorus, Tenor Solos (2), Soprano Solos (2), Native American Flute, Prerecorded Percussion, and Natural Environmental Sounds 10’-26’ 28 pgs. heavy cover, flute part included 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 or DAT tape 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. Titles: Loon Lake by Morning • The Sacred Earth • Words from our Brothers • Prairie Fire • This We Know • The Web of Life Ambiances Performance Tape or CD (DAT) SDGM DAT 93-100 $25.00 (CD) SDGM CDR 93-100 $25.00
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