SKU: CF.CM9580
ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
SKU: HL.365106
UPC: 840126960853. 6.75x10.5x0.029 inches. Colossians 3:15, Luke 24:30, Psalm 23:5.
With a pristine quote from the classic hymn tune BREAD OF LIFE, this piece raises the curtain on a winsome invitation to the Lord's Supper. Mercy and forgiveness draw the seeker in lovely melodic strains that rise and fall like a prayer as the anthem unfolds. A lush and satisfying chorus showcases the timbre of the choir while passionately calling the faithful to “Bring every burden, bring every need... to the table of peace.†Highly recommended!
SKU: GI.G-9094
UPC: 785147909408. English. Text by Paul A. Tate.
For cantor or soloist.
SKU: HL.1361693
UPC: 196288193036. 6.75x10.5x0.019 inches. John 1:15, Matthew 28:18-20.
This spirited anthem celebrates the majestic truth of the Trinity with elegant style and grace. Rooted in an ancient sacred text, this octavo joins refreshing new music with a useful lyric that is liturgically needful. This splendid choral gesture will be a welcome addition to your worship planning.
SKU: HL.35028527
ISBN 9781476805641. UPC: 884088665241. 6.75x10.5 inches. Joseph M. Martin.
A vigorous Shaker tune takes on fresh purpose when joined with this original patriotic text. A powerful choral that celebrates the gift of freedom and good citizenship! Available separately: SATB, SAB, 2-Part, Orchestration, StudioTrax CD. Duration: ca. 2:20.
About Together We Sing
Shawnee Press: Together We Sing series
SKU: HL.139988
UPC: 888680040444. 6.75x10.5 inches.
Three favorite call and response folksongs are combined in this short medley with piano, conga drum and tambourine for a fun and energetic choral showcase! Includes: Oh, John the Rabbit; Lucy Rabbit; G'wan Roun' Rabbit.
SKU: HL.368587
UPC: 840126968811. 6.75x10.5x0.045 inches.
Here is an energetic invitation to trust our innate desire to connect with others, follow our dreams, and to listen and lose oneself to the world's sweet enchanting song. Most importantly, it calls on us to take a stand against indifference, and to open our eyes to new possibilities.
SKU: HL.142309
UPC: 888680047962. 6.75x10.5 inches.
The second release on her critically acclaimed album 1989, Taylor Swift continues to turn heads with her transition from country to pop. With a breathless pop sound, always interesting vocals and a certain amount of autobiography, this song demonstrates why Taylor Swift is the star she is. Fantastic for pop and show groups!
SKU: GI.G-4395
UPC: 785147439509. Text by Sylvia Dunstan.
This dancelike setting of Sylvia Dunstan’s classic text will be a favorite of your choir and assembly—and all who hear it will be inspired by the call to discipleship. Trumpet part optional.
SKU: CF.CM9772
ISBN 9781491164433. UPC: 680160923335. Key: G major. English. Words adapted from Angels from the Realms of Glory by JAMES MONTGOMERY (1771-1854).
I've always enjoyed celebratory and rhythmic singing. I also know there's a need for this style in treble voices. The holiday season is a perfect time to create such a work.The text of The Angels' Gloria is based on the familiar Montgomery hymn with original music. This work can be easily be done as a call and answer or antiphonal setting. Try using it as a processional, too. Hearing the voices surround the audience is always exciting for everyone and a superb teaching and learning experience.The accompaniment is intentionally simple and bell-like, supporting the three-part harmonies. I've also created a B-section that is a cappella in full three-part singing, rich and full giving lots of contrast to the piece.There is so much good teaching throughout the piece, making for interesting rehearsals and a terrific performance piece. I hope this adds just the right sparkle for your Christmas or holiday program.—Greg Gilpin.
SKU: HL.156337
UPC: 888680605544. 6.75x10.5x0.029 inches.
Jazz/cabaret artist Ann Hampton Callaway has written and recorded a Christmas song that is sure to be an instant classic! Expressing the hope that Christmas is a day lasting longer than a season, this heartwarming song will fill you with holiday cheer to last all year through.
SKU: HL.8202204
UPC: 884088215774. 6.75x10.5x0.07 inches.
Enjoy the fun, the energy and the nostalgia of the '80s! This medley makes a perfect concert theme or special feature for choirs of all ages. Songs include: Our Lips Are Sealed, Walk Like an Egyptian, Jessie's Girl, Mickey, Sweet Dreams Are Made of These, Whip It, Call Me, The Look of Love, Wake Me Up Before You Go-Go, Girls Just Want To Have Fun, Everybody Have Fun Tonight.
SKU: HL.48023291
UPC: 888680027216. 6.75x10.5 inches. Kristina Boerger.
This is the last in the trilogy of settings of verses from a collection that Sarah White calls her Widow Poems, written after the sudden death of a lover. Each of the three represents a different stage in the arc of the poet's grief. In this one, written on the first anniversary of the beloved's death, a trace of whimsy has entered White's language and the music masterfully captures this same emotion. ScorePlay - click to view score with recording.
SKU: HL.48021254
UPC: 884088652203. 6.75x10.5 inches.
With a text by thirteenth century poet Meister Eckhart that speaks of the fall from and a return to grace, composer Brewbaker uses mostly homophonic writing with soft, contemporary harmonies to find the soul's rightful place in the universe. This emotional showstopper calls for the full range of a woman's voice and mature emotions. Duration: ca. 4:00.Performed by Somerset Festival Chorus at Wells Cathedral in England, Emily Ellsworth, conductor.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version