Choral (2-Part) SKU: HL.1723103 Discovery Level 1. Composed by Rog...(+)
Choral (2-Part)
SKU:
HL.1723103
Discovery Level 1.
Composed by Roger
Emerson. Discovery
Choral. Concert,
Festival, Latin. Octavo.
Duration 165 seconds.
Published by Hal Leonard
(HL.1723103).
UPC:
196288277781. 6.75x10.5
inches.
âGlori
a! Gloria!â is an
energetic piece ideal for
contest or festival with
its contrasting sections
and emphasis on pure
vowels. Easy to sing and
inspiring for novice
singers, this work is a
sequel to âAlleluia!
Alleluia!â (00383578
and 00383579), a best
seller also by Roger
Emerson.
Discovery Level 1.
Composed by Roger
Emerson. Discovery
Choral. Concert,
Festival, Latin. Octavo.
Duration 165 seconds.
Published by Hal Leonard
(HL.1723102).
UPC:
196288277774. 6.75x10.5
inches.
âGlori
a! Gloria!â is an
energetic piece ideal for
contest or festival with
its contrasting sections
and emphasis on pure
vowels. Easy to sing and
inspiring for novice
singers, this work is a
sequel to âAlleluia!
Alleluia!â (00383578
and 00383579), a best
seller also by Roger
Emerson.
Piano Collection. Composed by Bill Gaither and Gloria Gaither. Arranged by Mar...(+)
Piano Collection.
Composed by
Bill Gaither and Gloria
Gaither. Arranged by Mark
Hayes. Fred Bock
Publications.
General Worship, Sacred.
Softcover. 48 pages. Hal
Leonard #GGK7001.
Published by
Hal Leonard
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.
SATB Chorus & Piano SKU: SU.92070490 For SATB Chorus & Piano. Comp...(+)
SATB Chorus & Piano
SKU: SU.92070490
For SATB Chorus &
Piano. Composed by
Roberto Sierra.
Vocal/Choral, Sacred
Large Choral Works.
Choral Octavo. Subito
Music Corporation
#92070490. Published by
Subito Music Corporation
(SU.92070490).
Adapted and
edited by Judith Clurman
SATB Chorus & Piano
Duration: 4' Composed:
2013 Published by: Subito
Music Publishing Minimum
order quantity: 8 copies.
To order quantities fewer
than 8, please write to
sales@subitomusic.com.
SKU: GI.G-7362 Composed by Carol Browning. Sacred. Collection. GIA Public...(+)
SKU: GI.G-7362
Composed by Carol
Browning. Sacred.
Collection. GIA
Publications #7362.
Published by GIA
Publications (GI.G-7362).
UPC: 785147736233.
English, Latin,
Spanish.
This
release by Carol Browning
intertwines songs
heralding the coming of
Christ with songs
celebrating our own
return to the Lord. Her
rich arrangements give
depth to her inspiring
texts. The selections on
this recording are filled
with an emotion of
longing. Many songs on
this recording are
perfect for use at
funerals and memorial
services. Your fall
remembrance services will
have an air of added
tenderness with “We
Remember—Reading
of Names.†As the
pastoral musician in a
culturally diverse
parish, Carol also brings
to this project her
experience with not only
bilingual but trilingual
liturgical music.
CONTENTS: Creator of the
Stars of Night/ De las
Estrellas, Creador
(G-7333) - Lead Us to
Your Light (G-5323) -
Come to the Stable
(G-5421) - Deo Gloria!
(G-5889) - Child of Joy
and Peace (G-5903/) -
Lord Jesus Christ
(G-5905/) - Come and
Receive (G-6255/) -
Trilingual Intercession
Response (G-5906) - All
of Us in Exile (G-7257) -
Healer of My Soul
(G-5904) - The Lord Is My
Light/El Señor Es Mi
Luz (G-7256) - Deo Gloria
Alleluia—Easter
Gospel Acclamation
(G-6402) - We Remember
(G-7332) - We
Remember—Reading
of Names (G-7332) - Peace
Be with Those
(G-6922).
Inspiring
new liturgical music from
Carol Browning.
Star Carol Chorale 3 parties SAB, Piano [Octavo] Alfred Publishing
Composed by Cathryne E. Parks, music by Gary E. Parks. Choir Sacred. 3-Part ...(+)
Composed by Cathryne E.
Parks, music by Gary E.
Parks. Choir Sacred.
3-Part
Mixed Choir (SAB). Choral
Octavo. Choral Designs.
Christmas; Sacred;
Winter.
12 pages. Published by
Alfred Music
By Antonio Vivaldi (1678-1741). Edited by Patrick M. Liebergen. Arranged by Patr...(+)
By Antonio Vivaldi
(1678-1741). Edited by
Patrick M. Liebergen.
Arranged by Patrick M.
Liebergen. For SATB choir
(SATB). Choral. Shawnee
Press. Sacred,
Masterwork. 12 pages.
Shawnee Press #A2354.
Published by Shawnee
Press
III. Alleluia Chorale SATB SATB A Cappella Boosey and Hawkes
From Gloria Patri. By Urmas Sisask. (SATB A Cappella). Boosey and Hawkes Sacred...(+)
From Gloria Patri. By
Urmas Sisask. (SATB A
Cappella). Boosey and
Hawkes Sacred Choral.
Size 8.5x11 inches. 4
pages. Published by
Warner/Chappell Music.
(SATB) SKU: HL.8767211 Composed by Bill Gaither, Gloria Gaither, and Ronn...(+)
(SATB)
SKU:
HL.8767211
Composed
by Bill Gaither, Gloria
Gaither, and Ronn Huff.
Arranged by Ronn Huff.
Gaither Music. General
Worship, Non-Seasonal.
Softcover. 116 pages. Hal
Leonard #GG4501.
Published by Hal Leonard
(HL.8767211).
Guitar SKU: GI.G-6402G Easter Gospel Acclamation. Composed by Caro...(+)
Guitar
SKU:
GI.G-6402G
Easter
Gospel Acclamation.
Composed by Carol
Browning. This edition:
Guitar edition.
Eastertide, Easter
Sunday, Ascension,
Pentecost. Sacred. Guitar
part. With guitar chord
names. 4 pages. GIA
Publications #6402G.
Published by GIA
Publications
(GI.G-6402G).
Let the Men Sing! Chorale 2 parties TB [Partition + CD] Shawnee Press
((10 Reproducible Chorals for Tenor and Baritone Voices)). By Greg Gilpin. For m...(+)
((10 Reproducible Chorals
for Tenor and Baritone
Voices)). By Greg Gilpin.
For men's choir. Shawnee
Press. Softcover with CD.
76 pages. Shawnee Press
#GN0124. Published by
Shawnee Press