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: GI.G-9616C
UPC: 785147961604. English.
By his words and actions, Pope Francis compels the global Church to a radically renewed personal encounter with Jesus Christ. Encounter: From the Heart of Pope Francis is a performance piece that animates this call in song, story, and prayer, inviting all Christians to risk stepping toward Jesus in both the blessing and the bruising of daily life. Encounter takes us to the front lines of God’s field hospital, calling us to a revolution of tenderness in a world desperate for healing, wholeness and hope. This choral edition for Encounter includes vocal parts for soloists, choir, and assembly. When used in connection with the other available editions listed below, any parish or community will be able to bring this performance piece to life. However, the songs of Encounter are also useful for liturgical celebrations and other occasions throughout the year.
SKU: GI.G-9616K
UPC: 785147961666. English.
By his words and actions, Pope Francis compels the global Church to a radically renewed personal encounter with Jesus Christ. Encounter: From the Heart of Pope Francis is a performance piece that animates this call in song, story, and prayer, inviting all Christians to risk stepping toward Jesus in both the blessing and the bruising of daily life. Encounter takes us to the front lines of God’s field hospital, calling us to a revolution of tenderness in a world desperate for healing, wholeness and hope. This keyboard edition for Encounter includes vocal and piano parts, as well as chord symbols. When used in connection with the other available editions listed below, any parish or community will be able to bring this performance piece to life. However, the songs of Encounter are also useful for liturgical celebrations and other occasions throughout the year.
SKU: GI.G-7517
UPC: 785147751700. English. Text Source: Based on Mark 8:34-38, adapt. PM and GD. Scripture: Mark 8:34–38.
Here is another remarkable piece from the pen of Liam Lawton and arranged by Gary Fry. The text explores the meaning of church-not a stone edifice, but the people of God. For cantor or soloist.
SKU: AP.43418
UPC: 038081489582. English. Traditional Carols.
Two carols in one! A rhythmic pattern in the accompaniment introduces an ostinato in the lower voices and lays the groundwork for the tuneful German carol, which bookends glorious strains from another Christmas classic. A creative arrangement that school and church singers are sure to love.
SKU: GI.G-9616
UPC: 785147961628. English. Text Source: 'A Weary Couple' by Adam M. L. Tice. Text by Adam M. L. Tice.
By his words and actions, Pope Francis compels the global Church to a radically renewed personal encounter with Jesus Christ. Encounter: From the Heart of Pope Francis is a performance piece that animates this call in song, story, and prayer, inviting all Christians to risk stepping toward Jesus in both the blessing and the bruising of daily life. Encounter takes us to the front lines of God’s field hospital, calling us to a revolution of tenderness in a world desperate for healing, wholeness and hope. This full score contains all of the music for the Encounter performance piece for use in connection with the script (G-9616S), which includes all spoken text and staging directions. However, the music in this edition is also useful for liturgical celebrations and other occasions throughout the year.
SKU: CA.9173500
ISBN 9790007124298. Language: German.
SKU: HL.1105189
UPC: 196288102106. 6.75x10.5x0.036 inches.
Now available for SSAA.This thrilling new arrangement by twin brothers Matt and Adam Podd became an internet sensation shortly after we were all quarantined due to Covid-19. Drawing on friendships in the New York City Broadway, church, and opera worlds, more than 120 world class singers and players came together to create the virtual choir and orchestra. In the final chorus, the arrangers very cleverly turn the iconic phrase “How can I keep from singing?†into “Keep Singing.†A message we all need to hear and remember during times of isolation and at all times.
SKU: HL.232906
UPC: 888680679552. 6.75x10.5 inches.
Conductor, Cristian Grases, has infused his charismatic personality into this delightful composition. He brings energy and life to the Scripture texts from the Rule of St. Benedict. The accompaniment dances up and down the keyboard while the choir tosses rhythmic fragments of the text to one another. The singers unite for the chorus statement which is full of praise and meaning. Great for treble choirs at church or school. Medium in difficulty.
SKU: 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.
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