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.1455441
UPC: 196288209676.
A masterful concert choral setting of a hard-hitting, profound song. Mark Brymer's arrangement of â??One Song Gloryâ? from the modern Broadway classic Rent captures all the powerful emotion of the original, from the desperation of regret and meaninglessness to the comfort of redemption. â??Find glory in a song that rings true.â?.
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: GI.G-10515C
UPC: 785147051510.
The first comprehensive resource of its kind, Gloriosi contains a treasure trove of ritual music that bridges linguistic, cultural, and musical differences for the liturgies of Holy Thursday, Good Friday, and the Easter Vigil. Weaving together familiar tunes and ancient chants with newly-composed pieces, Tony Alonso has meticulously crafted the music of Gloriosi to inspire the participation of a diverse assembly during these celebrations at the heart of the liturgical year. In addition to settings of all of the ritual texts found in the Roman Missal / Misal Romano for the Three Days, this collection contains settings of every prescribed psalm drawn from texts approved for liturgical use in English and in Spanish. El primer recurso completo de su tipo, Gloriosi es un tesoro rebosante de música ritual que supera las diferencias lingüÃsticas, culturales y musicales para las liturgias del Jueves Santo, Viernes Santo y la Vigilia Pascual. Tejiendo melodÃas familiares y cantos antiguos con piezas recién compuestas, Tony Alonso ha elaborado meticulosamente la música de Gloriosi para inspirar la participación de una asamblea diversa durante estas celebraciones que están al centro del año litúrgico. Además de proporcionar los textos rituales que se encuentran en el Misal Romano / Roman Missal para los Tres DÃas en forma musicalizada, esta colección también ofrece nueva música para todos los salmos prescritos para las liturgias del Triduo utilizando los textos oficiales en español y en inglés. Listen to Music Samples on the Gloriosi Recording Page by Clicking HERE. CONTENTS: Holy Thursday Mass of the Lord’s Supper / Jueves Santo de la Cena del Señor: We Should Glory in the Cross / Que Nuestro Único Orgullo Sea la Cruz • Blessed Be God Forever / Bendito Sea Dios por Siempre • Kyrie, Eleison • Our Blessing-Cup / El Cáliz que Bendecimos • Glory to You / Gloria a Ti • A New Commandment / Un Mandamiento Nuevo • Love One Another / Ãmense Unos a Otros • Lord, Hear Our Prayer / Te Rogamos, Óyenos • Ubi Caritas • Agnus Dei • Called to the Supper of the Lamb / Llamados al Banquete del Señor • Called to Keep Vigil with the Lord / Llamados a Velar con el Señor • Tantum Ergo Sacramentum Good Friday of the Passion of the Lord / Viernes Santo de la Pasión del Señor: Into Your Hands / En Tus Manos • Glory to You / Gloria a Ti • Adoramus Te • The Solemn Intercessions of Good Friday / La Oración Universal del Viernes Santo • Behold the Wood of the Cross / Miren el Ãrbol de la Cruz • Faithful Cross / Cruz Fiel • Forgive Us, Your People / Perdona a Tu Pueblo • O Come, Let Us Worship / Venid, Oh Cristianos • Called to the Supper of the Lamb / Llamados al Banquete del Señor The Easter Vigil in the Holy Night / Vigilia Pascual en la Noche Santa: The Easter Proclamation / Pregón Pascual • Lord, Send Out Your Spirit / EnvÃa Tu EspÃritu, Señor • Keep Me Safe, O God / Protégeme, Dios MÃo • Let Us Sing to the Lord / Cantemos al Señor • I Will Praise You, Lord / Te Ensalzaré, Señor • You Will Draw Water Joyfully / Ustedes Sacarán Agua con Gozo • Words of Everlasting Life / Palabras de Vida Eterna • Like a Deer that Longs / Como Busca la Cierva (Psalm 42, 43 / Salmo 42/41, 43/42) • Easter Alleluia / Aleluya Pascual • Litany of the Saints / LetanÃa de los Santos • Alleluia Popular: Blessing of Water / Aleluya Popular: Bendición del Agua • Alleluia Popular: Baptism / Aleluya Popular: Bautismo • Alleluia Popular: Acclamation / Aleluya Popular: Aclamación • Veni Sancte Spiritus • Alleluia Popular: Sprinkling / Aleluya Popular: Aspersión • Lord, We Ask You, Hear Our Prayer / Te Rogamos, Óyenos • Called to the Supper of the Lamb / Llamados al Banquete del Señor.
SKU: GI.G-10515
UPC: 785147051527. English, Spanish. Scripture: Psalm 16, Psalm 19, Psalm 30, Psalm 31, Psalm 42:3, 5cdef, Psalm 43:3, 4, Psalm 103:1–2a, 5–6, 10, 12, 13–14, 24, 35c, Psalm 103:30, Psalm 116, Psalm 118, 1 Corinthians 10:16, Luke 23:46, Isaiah 12.
The first comprehensive resource of its kind, Gloriosi contains a treasure trove of ritual music that bridges linguistic, cultural, and musical differences for the liturgies of Holy Thursday, Good Friday, and the Easter Vigil. Weaving together familiar tunes and ancient chants with newly-composed pieces, Tony Alonso has meticulously crafted the music of Gloriosi to inspire the participation of a diverse assembly during these celebrations at the heart of the liturgical year. In addition to settings of all of the ritual texts found in the Roman Missal / Misal Romano for the Three Days, this collection contains settings of every prescribed psalm drawn from texts approved for liturgical use in English and in Spanish. El primer recurso completo de su tipo, Gloriosi es un tesoro rebosante de música ritual que supera las diferencias lingüÃsticas, culturales y musicales para las liturgias del Jueves Santo, Viernes Santo y la Vigilia Pascual. Tejiendo melodÃas familiares y cantos antiguos con piezas recién compuestas, Tony Alonso ha elaborado meticulosamente la música de Gloriosi para inspirar la participación de una asamblea diversa durante estas celebraciones que están al centro del año litúrgico. Además de proporcionar los textos rituales que se encuentran en el Misal Romano / Roman Missal para los Tres DÃas en forma musicalizada, esta colección también ofrece nueva música para todos los salmos prescritos para las liturgias del Triduo utilizando los textos oficiales en español y en inglés. Listen to Music Samples on the Gloriosi Recording Page by Clicking HERE. CONTENTS: Holy Thursday Mass of the Lord’s Supper / Jueves Santo de la Cena del Señor: We Should Glory in the Cross / Que Nuestro Único Orgullo Sea la Cruz • Blessed Be God Forever / Bendito Sea Dios por Siempre • Kyrie, Eleison • Our Blessing-Cup / El Cáliz que Bendecimos • Glory to You / Gloria a Ti • A New Commandment / Un Mandamiento Nuevo • Love One Another / Ãmense Unos a Otros • Lord, Hear Our Prayer / Te Rogamos, Óyenos • Ubi Caritas • Agnus Dei • Called to the Supper of the Lamb / Llamados al Banquete del Señor • Called to Keep Vigil with the Lord / Llamados a Velar con el Señor • Tantum Ergo Sacramentum Good Friday of the Passion of the Lord / Viernes Santo de la Pasión del Señor: Into Your Hands / En Tus Manos • Glory to You / Gloria a Ti • Adoramus Te • The Solemn Intercessions of Good Friday / La Oración Universal del Viernes Santo • Behold the Wood of the Cross / Miren el Ãrbol de la Cruz • Faithful Cross / Cruz Fiel • Forgive Us, Your People / Perdona a Tu Pueblo • O Come, Let Us Worship / Venid, Oh Cristianos • Called to the Supper of the Lamb / Llamados al Banquete del Señor The Easter Vigil in the Holy Night / Vigilia Pascual en la Noche Santa: The Easter Proclamation / Pregón Pascual • Lord, Send Out Your Spirit / EnvÃa Tu EspÃritu, Señor • Keep Me Safe, O God / Protégeme, Dios MÃo • Let Us Sing to the Lord / Cantemos al Señor • I Will Praise You, Lord / Te Ensalzaré, Señor • You Will Draw Water Joyfully / Ustedes Sacarán Agua con Gozo • Words of Everlasting Life / Palabras de Vida Eterna • Like a Deer that Longs / Como Busca la Cierva (Psalm 42, 43 / Salmo 42/41, 43/42) • Easter Alleluia / Aleluya Pascual • Litany of the Saints / LetanÃa de los Santos • Alleluia Popular: Blessing of Water / Aleluya Popular: Bendición del Agua • Alleluia Popular: Baptism / Aleluya Popular: Bautismo • Alleluia Popular: Acclamation / Aleluya Popular: Aclamación • Veni Sancte Spiritus • Alleluia Popular: Sprinkling / Aleluya Popular: Aspersión • Lord, We Ask You, Hear Our Prayer / Te Rogamos, Óyenos • Called to the Supper of the Lamb / Llamados al Banquete del Señor. Learn more about this collection in this webinar below featuring composer Tony Alonso.
SKU: AP.46938
UPC: 038081535876. English.
A quote from Swing Low, Sweet Chariot opens this gospel original with soulful style before breaking into a full-blown spiritual celebration! The energized and syncopated chorus is a strong hook designed especially for developing voices. In the 3-part voicing, a handful of cued Baritone notes offer even more flexibility for changing male voices.
SKU: PE.EP68524A
ISBN 9790300759043. Lat.
My Exsultet uses the ancient chant to which the Easter Proclamation is declaimed, normally by a deacon at the start of the Great Vigil of Easter. The chant dates from somewhere between the fourth and seventh centuries and consists of formulaic repetitions of simple phrases. I have elaborated these phrases canonically, melodically, and harmonically into a three-part vocal fabric, accompanied by obbligato instruments. The full text of the original goes on for quite some time. My choral-instrumental version is much shorter.
Commissioned by the Young People's Chorus of New York City for Transient Glory and dedicated to Francisco J. Núñez.
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