Choral (SSA Choir)

SKU: HL.158171

Composed by Billy Higgins and W. Benton Overstreet. Arranged by Kirby Shaw. Jazz Chorals. Show Choir, Swing, Vocal Jazz. Octavo. Duration 140 seconds. Published by Hal Leonard (HL.158171).

UPC: 888680611804. 6.75x10.5x0.029 inches.

Here's a throwback tune all the way back to the jazz age! Your choir will love recreating the Gatsby-esque look and sound of the 1920s with this quick two-step change-of-pace!

Choral SSA choir

SKU: CF.CM9580

Composed by Richard Rasch. Arranged by Richard Rasch. Fold. Performance Score. 4 pages. Duration 2 minutes, 42 seconds. Carl Fischer Music #CM9580. Published by Carl Fischer Music (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.

SSA and Harp. Composed by Judith Weir. Choral. Octavo. 12 pages. Duration 210 seconds. Chester Music #CH88147. Published by Chester Music

Choral (SAB Choir)

SKU: HL.35032482

Composed by Jerry Herman. Arranged by Mark Hayes. Shawnee Press. Broadway. Octavo. Published by Shawnee Press (HL.35032482).

ISBN 9781540038166. UPC: 888680888329. 6.75x10.5x0.036 inches.

From the musical Parade and covered by many artists in its lifetime, here is a superb arrangement with all the Broadway fun and finesse! It begins with an opening verse of solos in different styles reflecting the diverse nature of musical show tunes and then we hit the spirited two-beat feel and go to Broadway. A great opening to a themed concert or just a great performance piece any time of year!

Choral (SAB Choir)

SKU: HL.113425

(from Ghost the Musical). Composed by Bruce Joel Rubin, David Allan Stewart, and Glen Ballard. Arranged by Ed Lojeski. Broadway Choral. Broadway, Musicals, Pop, Pop/Rock, Rock, Show Choir. Octavo. 16 pages. Published by Hal Leonard (HL.113425).

UPC: 884088868833. 6.75x10.5 inches.

Adapted from the 1990 movie starring Patrick Swayze, Demi Moore and Whoopi Goldberg, Ghost the Musical opened on London's West End in 2011 before transferring to Broadway in 2012. Performed in the musical by the cast and the psychic Oda Mae Brown, this is a full-out rock & roll production number that will be an awesome selection for pop and show choirs!

Arranged by Mac Huff. (SAB Singer). Secular Christmas Choral. Size 6.75x10.5 inches. 56 pages. Published by Hal Leonard.

Choral (SAB Choir)

SKU: HL.158555

Composed by Lesley Gore and Michael Gore. Arranged by Mac Huff. Pop Choral Series. Ballad, Concert, Light Concert, Movies, Pop, Show Choir. Octavo. Duration 210 seconds. Published by Hal Leonard (HL.158555).

UPC: 888680613037. 6.75x10.5x0.018 inches.

This ballad from the 1980 musical film Fame remains a powerful statement for young artists to follow their dreams and pursue their passion! This setting is an ideal closer for pop, show and concert choirs.

Performed by Bryan Adams. By Hanz Zimmer, Gretchen Peters, Bryan Adams. Arranged by Ed Lojeski. (SAB). Pop Choral Series. Size 6.75x10.5 inches. 12 pages. Published by Cherry Lane.

Performed by The Beatles. By George Harrison. Arranged by Alan Billingsley. (SSA). Pop Choral Series. Size 6.75x10.5 inches. 12 pages. Published by Hal Leonard.

Performed by The Beatles. By George Harrison. Arranged by Alan Billingsley. (SAB). Pop Choral Series. Size 6.75x10.5 inches. 12 pages. Published by Hal Leonard.

By Roger Emerson. (SAB). Choral. Size 6.75x10.5 inches. 8 pages. Published by Hal Leonard.

Choral (3-Part Mixed choir)

SKU: HL.218407

Discovery Level 2. Composed by Audrey Snyder. Discovery Choral. Concert, Festival. Octavo. 16 pages. Published by Hal Leonard (HL.218407).

UPC: 888680668679. 6.75x10.5 inches.

“Seasons come, seasons go, nothing stays the same” – this is the message of this folk-like original with words based on the text from Ecclesiastes. Younger choirs will enjoy singing this well-crafted work that will allow them to build performing skills.

Choral (SSA Choir)

SKU: HL.254450

Composed by John Leavitt. Festival Choral. Concert, Festival. Octavo. 12 pages. Published by Hal Leonard (HL.254450).

UPC: 888680721299. 6.75x10.5 inches.

This beautiful and thought provoking text by Emily Dickinson is a wonderful vehicle for poetry discussions. A lush piano accompaniment and fluid vocal lines will shine through in your choral concert.

Choral (SAB Choir)

SKU: HL.374949

Arranged by John Leavitt. Brookfield Easter Choral. Easter, Holy Week, Spiritual. Octavo. Duration 210 seconds. Published by Brookfield Press (HL.374949).

UPC: 196288017431. 6.75x10.5x0.029 inches. Acts 2:32, Acts 5:30, Isaiah 53:1, Luke 22:14-24.

From the cantata Calvary's Mountain comes this perennial favorite adorned with gracious writing. Directors will enjoy the quick learning curve on this well-crafted choral, which delivers a fullness of sound without raising the difficulty level. The emotional spiritual is standard repertoire for churches during Holy Week and the restrained approach of this version is a sensitive choice for Tenebrae or other Holy Week traditions. Simply beautiful! Score and Parts (fl 1-2, ob, cl 1-2, bn, perc 1-2, hp, vn 1-2, va, vc, db) available as a digital download.