SATB choir

SKU: ST.W217

Composed by Ronald Corp. SATB (Unaccompanied). . Myn Lyking; The Virgin's Cradle Hymn; Quem Pastores Laudavere. Choral. Octavo. Stainer & Bell Ltd. #W217. Published by Stainer & Bell Ltd. (ST.W217).

ISBN 9790220221941.

An expert choral director as well as a highly regarded composer, Ronald Corp has written unaccompanied SATB settings of three famous medieval carol texts, Myn Lyking, The Virgin's Cradle Hymn (Dormi Jesu) and Quem Pastores Laudavere. The idiom is modern yet accessible, with an ear for stylish harmony that includes both modal progressions and colourful added chords, embroidered in some rich yet untaxing divisi writing. The carols may be performed as separate items or as a group, the first two being cradle songs for the Nativity, the third also suited to the celebration of Epiphany on 6 Janaury. Ronald Corp is Founder and Artistic Director of the New London Orchestra and New London Children's Choir, and Musical Director of the London Chorus and Highgate Choral Society.

(Early Intermediate Level). By Carolyn C. Setliff. For Piano, Keyboard. Willis. Early Intermediate. 4 pages. Published by Willis Music

Band concert band - Grade 1.5

SKU: KJ.WB92F

Composed by Bruce Pearson. Score. Neil A. Kjos Music Company #WB92F. Published by Neil A. Kjos Music Company (KJ.WB92F).

Bell-like marcato sections contrast with lyrical phrases in this delightful setting of this familiar carol. The modal harmonies and grand finish will add just the right touch to your upcoming holiday concert! Correlates With Best In Class Bk. 2 Page 7 / SOE Bk. 2 Page 9.

Fanfare Band - Grade 3

SKU: BT.AMP-324-020

Composed by Philip Sparke. Anglo Music Midway Series. Set (Score & Parts). Composed 2011. Anglo Music Press #AMP 324-020. Published by Anglo Music Press (BT.AMP-324-020).

9x12 inches. English-German-French-Dutch.

Christmas is full of customs and traditions, both old and new. This is especially evident in Christmas songs, some of which have been part of Christian worship for centuries. A Medieval Christmas combines three ancient melodies that are stillpopular around the world today. Philip Sparke chose Gaudete, a song of praise from the middle ages, Coventry Carol, an English song from the 14th century, and In dulci jubilo, which can also be traced back to the 14th century, toform this joyous suite.

Kerst is een feest van tradities en gebruiken. Dit komt vooral naar voren uit de kerstliederen die al eeuwenlang een centrale plaats innemen binnen de christelijke cultuur. In A Medieval Christmas staan drie oude melodieën centraal diewereldwijd nog steeds populair zijn. Het zijn het middeleeuwse loflied Gaudete, het Engelse Coventry Carol en het bekende In dulci jubilo.

Weihnachten ist auch ein Fest des Brauchtums und der Tradition. Dies zeigt sich ganz besonders in den Weihnachtsliedern, die oft schon seit Jahrhunderten einen zentralen Platz in der christlichen Kultur einnehmen. A Medieval Christmasverwendet drei dieser alten Melodien, die sich heute noch weltweit größter Beliebtheit erfreuen: das mittelalterliche Loblied Gaudete, das englische Coventry Carol aus dem 14. Jahrhundert und das bekannte In dulci jubilo, dasebenfalls auf das 14. Jahrhundert zurückgeht.

Dans de nombreux pays, Noël est un moment privilégié, célébré par de nombreux chants et mélodies dont beaucoup constituent un élément central du culte chrétien. Le fait que ces chants anciens subsistent depuis si longtemps témoigne de leur attraitimmuable, formant un lien tangible avec les festivités de Noël qui se déroulaient il y a des centaines d'années. A Medieval Christmas emprunte trois de ces ancestrales mélodies, demeurées populaires dans le monde entier : Gaudete,Coventry Carol, et In Dulci Jubilo.

Il Natale é la festa delle tradizioni e ciò si riscontra facilmente nei canti natalizi che da secoli occupano un posto di primo piano nella tradizione cristiana. A Medieval Christmas propone tre antiche melodie, ancora oggi moltoattuali: il canto di lode Gaudete, Coventry Carol e In Dulci Jubilo, entrambe del XIV secolo.

Concert Band/Harmonie - Grade 3

SKU: BT.AMP-324-010

Composed by Philip Sparke. Anglo Music Midway Series. Set (Score & Parts). Composed 2011. Anglo Music Press #AMP 324-010. Published by Anglo Music Press (BT.AMP-324-010).

9x12 inches. English-German-French-Dutch.

Christmas is full of customs and traditions, both old and new. This is especially evident in Christmas songs, some of which have been part of Christian worship for centuries. A Medieval Christmas combines three ancient melodies that are stillpopular around the world today. Philip Sparke chose Gaudete, a song of praise from the middle ages, Coventry Carol, an English song from the 14th century, and In dulci jubilo, which can also be traced back to the 14th century, toform this joyous suite.

Kerst is een feest van tradities en gebruiken. Dit komt vooral naar voren uit de kerstliederen die al eeuwenlang een centrale plaats innemen binnen de christelijke cultuur. In A Medieval Christmas staan drie oude melodieën centraal diewereldwijd nog steeds populair zijn. Het zijn het middeleeuwse loflied Gaudete, het Engelse Coventry Carol en het bekende In dulci jubilo.

Weihnachten ist auch ein Fest des Brauchtums und der Tradition. Dies zeigt sich ganz besonders in den Weihnachtsliedern, die oft schon seit Jahrhunderten einen zentralen Platz in der christlichen Kultur einnehmen. A Medieval Christmasverwendet drei dieser alten Melodien, die sich heute noch weltweit größter Beliebtheit erfreuen: das mittelalterliche Loblied Gaudete, das englische Coventry Carol aus dem 14. Jahrhundert und das bekannte In dulci jubilo, dasebenfalls auf das 14. Jahrhundert zurückgeht.

Dans de nombreux pays, Noël est un moment privilégié, célébré par de nombreux chants et mélodies dont beaucoup constituent un élément central du culte chrétien. Le fait que ces chants anciens subsistent depuis si longtemps témoigne de leur attraitimmuable, formant un lien tangible avec les festivités de Noël qui se déroulaient il y a des centaines d'années. A Medieval Christmas emprunte trois de ces ancestrales mélodies, demeurées populaires dans le monde entier : Gaudete,Coventry Carol, et In Dulci Jubilo.

Il Natale é la festa delle tradizioni e ciò si riscontra facilmente nei canti natalizi che da secoli occupano un posto di primo piano nella tradizione cristiana. A Medieval Christmas propone tre antiche melodie, ancora oggi moltoattuali: il canto di lode Gaudete, Coventry Carol e In Dulci Jubilo, entrambe del XIV secolo.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Tambourine, Timpani, Triangle and more. - Grade 1.5

SKU: CF.FPS163

A Medieval Carol. Composed by French carol. Arranged by Gene Milford. Set of Score and Parts. Carl Fischer Music #FPS163. Published by Carl Fischer Music (CF.FPS163).

ISBN 9781491163498. UPC: 680160922284.

The melody of The Friendly Beasts (“Orientis Partibus”) originated in twelfth-century France and has been attributed to Pierre de Corbeil, Bishop of Sens. The song migrated to England by the thirteenth century, where its popularity grew and in the early twentieth century the familiar English words were added. The melody has been set in both quadruple and triple meter and is presented in both meters here. Ralph Vaughan Williams (1872–1958) included the carol in his English Hymnal (1906).The words in both the original Latin and modern English versions pay homage to the place of animals in the Christmas story. The carol has also been known as The Donkey Carol and The Animal Carol.This setting is intended to reflect the Medieval origins of the melody. Some freedom of tempo would be appropriate during the “chant” version of the melody (mm. 6–18). Adding poco ritardando at m. 28, at the discretion of the director, should lead to a stricter tempo in mm. 31–53, in the manner of a medieval round dance. A gentle approach to the performance is appropriate. Finger cymbals could be added to or replace all or part of the triangle part, again at the director’s discretion.

Choral

SKU: CF.CFD13

Composed by Various. Jewel Box/Shrink-wrap. Carl Fischer Concert Band Recordings. Audio CD. With Standard notation. 4 pages. Carl Fischer Music #CFD13. Published by Carl Fischer Music (CF.CFD13).

ISBN 9780825856549. UPC: 798408056544.

Ring in the Christmas season with great choral arrangements of some of your favorite carols and songs for the holidays. Songs featured on this recording include: Carol of the Bells, Sweet Little Jesus Boy, The First Noel, There's No Place Like Home for the Holidays, Soulful, Silent Night, Coventry Carol, God Rest Ye Merry Gentlemen, O Come to Bethlehem, Baby, What You Goin' to Be?, Caribbeann l Carol, I Saw Three Ships, Lo, How A Rose, E'er Blooming, Infant Lowly, Thou Didst Leave Thy Throne, The Wexford Carol, Silent Night, Holy Night, Medieval Noel Jazz Jingle, We Three Kings.

SATB. Edited by Gwyn Arch and Ben Parry. Arranged by Gwyn Arch and Ben Parry. Choral (Sacred); Choral Worship Collection; Collections; Performance Music Ensemble; Worship Resources. Faber Edition. Christmas; Sacred; Winter. Book. Faber Music #12-0571521274. Published by Faber Music

Brass Band (Score) - Grade 3

SKU: HL.44011013

Brass Band - Grade 3. Composed by Philip Sparke. Arranged by Philip Sparke. Anglo Music Concert Band. Christmas, Holiday. Score Only. Composed 2011. Anglo Music Press #AMP324130. Published by Anglo Music Press (HL.44011013).

UPC: 884088637743. 9x12 inches. English-German-French-Dutch.

In A Medieval Christmas, Philip Sparke uses three ancient melodies in creating a distinctive and appealing setting for band. That fact that these carols are still popular today after hundreds of years is a testament to their enduring power and beauty. This suite includes Gaudete, a song of praise from the Middle Ages, Coventry Carol, a song of lament from the 14th century, and the familiar In Dulci Jubilo.

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.

SS choir divisi and organ or piano - Early Intermediate

SKU: MN.56-0093

Composed by Howard Goodall. Christmas, 21st Century. Duration 2 minutes, 48 seconds. MorningStar Music Publishers #56-0093. Published by MorningStar Music Publishers (MN.56-0093).

UPC: 688670221026. English.

Originally conceived for the ensemble Enchanted Voices, these carols for SSA voices and organ (or piano) represent the composer’s desire for the tunes and texts to be heard in a new and fresh way. Largely contemplative, sometimes set against a gently-undulating foundation, these work well for concert and church use. Sometimes ethereal, sometimes other-worldly, the pieces succeed in bringing together the ancient purity of the medieval past and the here and now. Duration 2:48.

String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3, piano and tambourine - Grade 2.5

SKU: KN.9415

(A Gallery Carol and In Dulci Jubilo). Arranged by Janice L. McAlliste. Solo or Ensemble. Voyager String Orchestra. Kendor Music Inc #9415. Published by Kendor Music Inc (KN.9415).

UPC: 822795094152.

Bursting with spirited exuberance and joy, this grade 2 arrangement combines the traditional English A Gallery Carol with the famous medieval German carol In Dulci Jubilo. Special features include buoyant hooked bowings, dramatic pizzicato chords and optional 8va notes in the 1st Violin part before the closing sforzando. Each set includes three copies of the 3rd Violin/Viola T.C. part and optional parts for piano and tambourine. Duration 2:10.

Fanfare Band - Grade 3

SKU: BT.AMP-324-120

Composed by Philip Sparke. Anglo Music Midway Series. Festive and Solemn Music. Score Only. Composed 2011. 36 pages. Anglo Music Press #AMP 324-120. Published by Anglo Music Press (BT.AMP-324-120).

9x12 inches. English-German-French-Dutch.

Weihnachten ist auch ein Fest des Brauchtums und der Tradition. Dies zeigt sich ganz besonders in den Weihnachtsliedern, die oft schon seit Jahrhunderten einen zentralen Platz in der christlichen Kultur einnehmen. A Medieval Christmas verwendet drei dieser alten Melodien, die sich heute noch weltweit größter Beliebtheit erfreuen: das mittelalterliche Loblied Gaudete, das englische Coventry Carol aus dem 14. Jahrhundert und das bekannte In dulci jubilo, das ebenfalls auf das 14. Jahrhundert zurückgeht.