| The King's Singers: The King's Singers Book of Rounds, Canons and Partsongs
Choral 3-part 3-Part Mixed [Vocal Score] - Intermediate Hal Leonard
(Songbook). By The King's Singers. Arranged by The King's Singers. For choir (on...(+)
(Songbook). By The King's Singers. Arranged by The King's Singers. For choir (one, two, or three-part voices) (Songbook). King's Singer's Choral. Pop Vocal, Traditional Folk, Baroque and Classical Period. Difficulty: easy-medium. Vocal score (one, two and three part rounds). Vocal melody, harmony part and leadsheet notation. 80 pages. Published by Hal Leonard
(5)$10.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| There Is No Rose Choral 3-part SSA Carl Fischer
Choral SSA choir SKU: CF.CM9580 Composed by Richard Rasch. Arranged by Ri...(+)
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. $1.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| In the Bleak Midwinter Choral 3-part SSA, Piano Carl Fischer
Choral SSA choir, piano SKU: CF.CM9773 Composed by Brady Weldon. Duration...(+)
Choral SSA choir, piano SKU: CF.CM9773 Composed by Brady Weldon. Duration 2 minutes, 49 seconds. Carl Fischer Music #CM9773. Published by Carl Fischer Music (CF.CM9773). ISBN 9781491164440. UPC: 680160923342. Key: C# minor. English. Christina Rossetti. In the bleak midwinter, frosty wind made moan,                            Earth stood hard as iron, water like a stone;                                Snow had fallen, snow on snow, snow on snow,                               In the bleak midwinter, long ago.What can I give Him, poor as I am?                                            If I were a shepherd, I would bring a lamb;                                     If I were a Wise Man, I would do my part;                                    Yet what I can I give Him: give my heart.The text from this beloved poem of Christina Rossetti (1830–1894) was originally published in an 1872 issue of Scribner’s Monthly, under the title A Christmas Carol. In the first of its five stanzas, the speaker describes in great detail a bitingly cold winter scene, void of both warmth and light. By the final stanza, the speaker's thoughts turn inward, asking what gift they may offer the infant Jesus, meek though they believe themselves to be.The poem was later set by English composer Gustav Holst (1874–1934) as a contribution to the English Hymnal in 1906 and remains the most popular setting today.London-born Rossetti came to be regarded not only as one of the greatest female poets of her time, but as an outspoken advocate on several societal issues, including slavery and cruelty towards animals.In this setting, word painting is of the utmost importance. Careful attention to word stress throughout the course of the piece will make the performance all the more captivating. Descriptive lines such as “frosty wind made moan†should be conveyed with swelling crescendos, like frigid gusts of frozen air.While this piece features an original tune, the beloved Holst melody is also featured briefly, beginning in m. 28. Take care to bring this out.There are plenty of other allusions to wintry scenes scattered throughout the choral parts as well as the accompaniment. I encourage you to put your sleuthing “hats†on and find them all. It will make the learning experience much more memorable and fun. $2.15 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Heaven's Child Choral 3-part SAB, Piano Lorenz Publishing Company
By Pepper Choplin. For SAB choir and piano (with optional orchestration). Cantat...(+)
By Pepper Choplin. For SAB choir and piano (with optional orchestration). Cantatas. Christmas. Published by Lorenz Publishing Company
$12.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Carols For Choirs 4
Choral 3-part SSA [Sheet music] Oxford University Press
By Willcocks and Rutter. For (Choral Collection) SSA Choir. Published by Oxford ...(+)
By Willcocks and Rutter. For (Choral Collection) SSA Choir. Published by Oxford University Press.
(1)$28.50 - See more - Buy online | | |
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