Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
(253 of the finest praise and worship songs). Composed by Various. For voice, pi...(+)
(253 of the finest praise
and worship songs).
Composed by Various. For
voice, piano and guitar
(chords only). Sacred
Folio. Gospel and
Worship. Difficulty:
medium. Songbook (spiral
bound). Vocal melody,
piano accompaniment,
lyrics and chord names.
420 pages. Hal Leonard
#080689006395. Published
by Hal Leonard
Composed
by Carol Browning.
Trinity Sunday B, OT 19
C. Sacred. Octavo. With
guitar chord names. 8
pages. GIA Publications
#006403. Published by GIA
Publications
(GI.G-006403).
UPC:
641151064031. English.
Text Source: Psalm 33.
Scripture: Psalm
33.
(Music for First Communion). Composed by Various. For voice(s), keyboard. Sacred...(+)
(Music for First
Communion). Composed by
Various. For voice(s),
keyboard. Sacred. Easy.
Collection. Guitar chord
names. 104 pages.
Published by GIA
Publications
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.
Choir SKU: GI.G-6050CD Music for First Communion. Composed by Vari...(+)
Choir
SKU:
GI.G-6050CD
Music
for First Communion.
Composed by Various. This
edition: Book and CD
edition. Children.
Sacred. Book and CD. GIA
Publications #6050CD.
Published by GIA
Publications
(GI.G-6050CD).
ISBN
9781579992743. English,
Spanish.
The title
says it all! In this new,
expanded, and updated
collection, we bring you
the very best songs GIA
has to offer for the
blessed occasion of First
Communion. Carefully
chosen, the music in this
collection is
assembly-friendly and
easy to sing for both
children and adults. A
demo recording of all
songs is available.
Separate choral octavos
are also available for
most titles. A must-have
for every parish!
CONTENTS: Come to the
Table ALONSO - Take and
Eat JONCAS - Come and Eat
This Living Bread GLOVER
- Eat This Bread BERTHIER
- We Will Take What You
Offer BELL - I Received
the Living God - Come to
the Banquet CHEPPONIS -
Live-giving Bread, Saving
Cup CHEPPONIS - All Who
Hunger MOORE - Come All
You People BELL - Jesus,
Be Our Bread WOLD - Stand
Up, Friends - We Come to
Your Table - Now in This
Banquet - I Am the Bread
of Life / Yo soy el pan
de vida TOOLAN - Song of
the Body of Christ /
Cancin del cuerpo de
Cristo HAAS - Pues si
vivimos / If We Are
Living - Bread of Life
from Heaven / Pan de vida
eterna HAUGEN - All Who
Hunger DUNSTAN - Prepare
a Room for Me STUEMPFLE -
I Want to Walk as a Child
of the Light - Let the
Children Come BRINGLE - I
Come with Joy - Come to
the Feast MOORE - Taste
and See MOORE - Final
Blessing (from Jesus, the
Compassion of God) HAAS -
In the Lord I-ll Be Ever
Thankful BERTHIER -
Jubilate Servite BERTHIER
- I Am Special MOORE -
Psalm 78: The Lord Gave
Them Bread GUIMONT -
Psalm 34: Taste and See
GUIMONT - Psalm 23: The
Lord Is My Shepherd
SENSMEIER.
Concert Band (Score & Parts) - Level 3.5 SKU: HL.4008198 Fantasy Conce...(+)
Concert Band (Score &
Parts) - Level 3.5
SKU: HL.4008198
Fantasy Concertante on
“C(on)C(or)D(i)Aâ
De Haske Concert &
Contest Collection.
Composed by Jan de Haan.
De Haske Concert Band.
Concert. Duration 620
seconds. De Haske
Publications #033214.
Published by De Haske
Publications
(HL.4008198).
UPC:
196288137313. 9.0x12.0
inches.
Concordia
was the Roman goddess of
concord or unity. To
convey the unity among
their musicians, many
music societies over the
years, including the band
that commissioned this
composition, have chosen
this name. The literal
translation of Color
Concordia is color
harmony. Consequently,
the composer has
gratefully used the many
ranges of coloring of the
concert band for the
instrumentation of this
work. He based the
thematic material on the
four note names in
Concordia: C, C, D and A,
resulting in a brilliant
piece of music that will
suit any band.
Concert Band (Score) - Level 3.5 SKU: HL.4008199 Fantasy Concertante o...(+)
Concert Band (Score) -
Level 3.5
SKU:
HL.4008199
Fantasy
Concertante on
“C(on)C(or)D(i)Aâ
De Haske Concert &
Contest Collection.
Composed by Jan de Haan.
De Haske Concert Band.
Concert. Duration 620
seconds. De Haske
Publications #033214.
Published by De Haske
Publications
(HL.4008199).
UPC:
196288137320.
Conco
rdia was the Roman
goddess of concord or
unity. To convey the
unity among their
musicians, many music
societies over the years,
including the band that
commissioned this
composition, have chosen
this name. The literal
translation of Color
Concordia is color
harmony. Consequently,
the composer has
gratefully used the many
ranges of coloring of the
concert band for the
instrumentation of this
work. He based the
thematic material on the
four note names in
Concordia: C, C, D and A,
resulting in a brilliant
piece of music that will
suit any band.
Vocal Score. By Benjamin Britten. Arranged by Arthur Oldham. (Vocal Score). Boo...(+)
Vocal Score. By Benjamin
Britten. Arranged by
Arthur Oldham. (Vocal
Score). Boosey and Hawkes
Large Choral. Book only.
Size 7.25x10.25 inches.
88 pages. Published by
Boosey and Hawkes.
Piano - Medium SKU: AU.9781506487281 Piano Settings. Composed by J...(+)
Piano - Medium
SKU:
AU.9781506487281
Piano Settings.
Composed by John Helgen.
Christian. Score.
Augsburg Fortress
#9781506487281. Published
by Augsburg Fortress
(AU.9781506487281).
ISBN 9781506487281.
8.5x11 inches.
John
Helgen masterfully spins
original music from the
tunes he has chosen for
this collection and
skillfully weaves the two
together, creating varied
and delightful settings.
The seven hymn-based
arrangements are useful
throughout the year and
feature The Earth Adorned
(SOMMARPSALM) and Oceans
Rise, the Coastlands
Tremble/God Alone Be
Praised (AD LUCEM).
SKU: WD.080689610233 Composed by Jay Rouse. Choral. Sacred Anthem. Octavo...(+)
SKU:
WD.080689610233
Composed by Jay Rouse.
Choral. Sacred Anthem.
Octavo. Word Music
#080689610233. Published
by Word Music
(WD.080689610233).
UPC:
080689610233.
Arran
ged and orchestrated by
Jay Rouse, this popular
Hillsong Worship song is
a lilting, 6/8 anthem
your choir and
congregation will love
singing! Who You Say I Am
tells of the powerful
truth in who God says we
are. We are chosen, not
forsaken. We are His
children, and He already
has a special place for
us in His house. With
exciting choral sounds
and inspiring lyrics,
there will be an
outpouring of joy in your
worship service, for
Christ has set us free.
We are ransomed! We are
free indeed!