(Vocal Solos for Worship). Arranged by Heather Sorenson. For Voice, Piano Accompaniment. Glory Sound. Softcover with CD. 64 pages. Published by Glory Sound

Arranged by John Carter. For piano, 4-hands. This edition: Complete. Collection. Carter 4-Hand Piano Series. General, Sacred. Easy. Collection. 40 pages. Published by Hope Publishing Company

Choral

SKU: HL.49003005

Performance Score. Edited by Mervyn Horder. Arranged by Mervyn Horder. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Playing score. 46 pages. Schott Music #ED12072. Published by Schott Music (HL.49003005).

ISBN 9780901938787. UPC: 073999922370. 6.5x10.0x0.214 inches. English.

Alleluia (Mozart) * Alleluia (Boyce) * Cedit Hiems Eminus * Christ is Risen Again * Death and Darkness * Early Morning * Easter Eggs * Easter Morning * Good Christian Men * Good Joseph had a Garden * Hail, Easter Bright * Hilariter * I Danced in the Morning * Jesus Christ is Risen Today * Jesus, Life and Comfort Given * Let the Merry Church Bells Ring * Let the Song be Begun * Let us Sing this Easter Morning * Lord of the Dance * Now the Green Blade Riseth * O Sons and Daughters * Ring the Bell, Ring it Well * Slowly Winter Fades Away * The Angel rolles the Stone away * The Drums of Calvary * The Glory of our King * The Lamb's High Banquet * The Whole Bright World * They were Beating as he dragged himself * The World itself keeps Easter day * This joyful Eastertide * Tomorrow shall be my dancing day * While Christ lay dead * Ye choirs of New Jerusalem.

Sacred, Holy Week, Palm/Palm-Passion Sunday. Lillenas Publishing Company #9780787754822. Published by Lillenas Publishing Company (LO.9780787754822).

Choral (SATB Choir)

SKU: HL.35032507

Composed by David Foley. Shawnee Sacred. General Worship, Sacred. Octavo. 8 pages. Published by Shawnee Press (HL.35032507).

UPC: 888680893095. 6.75x10.5 inches. Pamela Stewart/David Foley.

An exquisitely beautiful poem entwines with a stunning melody in this octavo of praise to the Creator. The lyric paints the glory of nature with vivid hues and the music has a soundtrack of expressiveness that is especially endearing. Picturesque piano writing supports the concept and the text moves steadily toward our response of praise to God. Concluding with quiet shimmering alleluias, this is a singular anthem!

CD. Published by Daehn Publications (DH.CDVOL9). Song List (19) Gilroy: Heroica: Fantasia for Winds and Percussion Forsblad: Pegasus: The Magnificent Winged Horse La Plante: High Barbaree: Songs of the Sea Grice: Dark Fortress Overture Handel/Daehn: A Handel Festival Praetorius/Fenske: Dances from ÒTerpsichoreÓ Forsblad: Medea Haydn/Daehn: Festmusik for Winds Grice: Harambee Forte: Hermes: Swift of Motion Manuel/Cross: Alleluia Farmer: Silent Hills of My Childhood La Plante: The Thunder and the Roar: Rondo of the Rails Daehn: Adagio for Winds Burns: Enchanted Night Hanson: Pageants of Glory: Antiphonies for Winds and Percussion Woodward: You Were There

Composed by Franklin Ashdown (1942-). For organ solo. Easter. Published by Augsburg Fortress

16 Great Gospel Songs. By Various Composers. Arranged by Jochen Rieger. (tenor saxophone). Schott. Book & CD Package. Size 9x12 inches. 32 pages. Published by Schott.

Trumpet in C. By Various. Arranged by Jochen Rieger. This edition: ED9709. Schott. Book with CD. 32 pages. Published by Schott Music.

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.

(25 Solo Keyboard Medleys for Contemporary Worship) Arranged by Carol Tornquist. For piano. Format: piano solo book (no lyrics). With chord names and chord chart. Gospel. 103 pages. 9x12 inches. Published by Word Music.

(2-Part Mixed, SAB and SATB Anthems). Composed by Various. Arranged by Various. For Choral (2PT/SAB/SATB). Glory Sound. Softcover Media Online. Published by Glory Sound

By Andrew Miller. For SATB choir (a cappella). The Andrew Miller Choral Series. General Worship, Christmas, Sacred. Octavo. 8 pages. Published by Hope Publishing Company