There Is Nothing Like the Sun Cover Image

There Is Nothing Like the Sun: SSAA Choral Octavo

$1.85 USD
$1.85 USD
Skip to product information
There Is Nothing Like the Sun Cover Image
There Is Nothing Like the Sun: SSAA Choral Octavo

There Is Nothing Like the Sun: SSAA Choral Octavo

Words by Mary Langford, music by Paul Langford

Item: 00-41582
$1.85
Shipped

One moment…

Related Items

There Is Nothing Like the Sun: SATB Choral Octavo

$1.85
View
Description
An eloquent lyric and a soaring vocal line are seamlessly combined in this tribute to the power of the sun. Expressive and dynamic, the warm harmonies are well suited to the beautiful text.

There Is Nothing Like the Sun: SSAA Choral Octavo isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

Request This Title

Tell us you want it.

Start Your Free Trial

Explore everything that's ready to play right now.
Sample Pages

Sample Audio
0:00
0:00
Sample Video
No sample videos found.
Additional Details
Series: Lawson-Gould
Publisher: Alfred Music
Page Count: 12
UPC: 038081466620
SKU: 00-41582

More about this title

About the Composer: Paul Langford

Paul Langford

Paul Langford's career spans three decades of composition, arranging, and performance across classical, pop, and commercial music. Based in Chicago after growing up in Hong Kong, he has built a prolific publishing catalog through major publishers including Alfred Music, Hal Leonard, Oxford University Press, and others. His works have been performed by regional orchestras nationwide, theme park ensembles, and international choirs and jazz bands.

Beyond the page, Langford maintains an active presence as a guest conductor, music educator, and session musician. He founded Paul Langford Studios, a full-service recording facility where he produces and engineers projects for artists and media clients. His performance credits include collaborations with Grammy-winning artists and appearances before national leadership, establishing him as a versatile figure in both the concert and commercial music worlds.

Why we love this

The soaring melodic line paired with that text creates an immediate emotional connection for singers and listeners alike. Langford's warm harmonic language sits beautifully in the treble range without demanding excessive range or technical acrobatics, making it accessible for developing choirs while remaining sophisticated enough for stronger ensembles.

What to expect

Warm and affirming, with a text that resonates universally. The music meets the emotional honesty of the words with unforced harmony and a vocal line that feels generous rather than constrained, inviting singers to embrace both the technical and human dimensions of the piece.

Who it's for

This octavo suits treble choirs at the intermediate to advanced level who have foundational part-singing skills and are ready for expressive, lyric-driven repertoire. It works equally well in concert settings, festival competitions, or community choir programs seeking contemporary secular material with substance.

How to get the most out of it

  • Shape the vocal line through the phrase rather than treating it as isolated musical gestures; the lyricism depends on breath placement and long-line thinking.
  • Balance the inner voices carefully during tutti passages to ensure the expressive dynamic markings land with clarity rather than muddiness.
  • Experiment with the recorded accompaniment during early rehearsals to lock the harmonic foundation, then rehearse a cappella to strengthen ensemble independence.

How to use it

Program this as a centerpiece for a spring or summer concert, where its uplifting character and accessible melodic appeal engage general audiences. It pairs well alongside more classical treble literature and can anchor a thematic program about nature, light, or renewal.

Skills your students will build

  • Sustaining long, expressive vocal lines with consistent breath support
  • Balancing inner harmony parts while maintaining awareness of the top-line melody
  • Interpreting dynamic and expressive markings as part of phrase architecture rather than isolated effects
  • Blending warm vowel sounds within a sustained harmonic context

You May Also Like