SAB choir SKU: LO.10-2859LA Composed by John Purifoy. Choral. Sacred Anth...(+)
SAB choir
SKU:
LO.10-2859LA
Composed
by John Purifoy. Choral.
Sacred Anthem, Christmas.
Octavo. Laurel Press
#10/2859LA. Published by
Laurel Press
(LO.10-2859LA).
UPC:
000308064766.
From
the new cantata Christmas
Seekers this rhythmic
anthem is full of the
upbeat excitement that
the shepherds must have
felt and that we all feel
in anticipation of
Christmas. Functioning
equally well on Christmas
Eve or as part of any
Christmas celebration,
your spirits will be
lifted by this joyful
offering.
(from The Christmas Suite). By Mark A. Brymer. Arranged by Mark A. Brymer. (SSA...(+)
(from The Christmas
Suite). By Mark A.
Brymer. Arranged by Mark
A. Brymer. (SSA).
Secular Christmas Choral.
Size 6.75x10.5 inches. 11
pages. Published by Hal
Leonard.
Run, Shepherds! Chorale 3 parties SAB, Piano Lorenz Publishing Company
Composed by Victor C Johnson. Choral. Sacred Anthem, Christmas. Octavo. Lorenz ...(+)
Composed by Victor C
Johnson. Choral. Sacred
Anthem, Christmas.
Octavo. Lorenz Publishing
Company #10/4791L.
Published by Lorenz
Publishing Company
(LO.10-4791L).
Discovery Level 3. Composed by African-American Spiritual. Arranged by Ro...(+)
Discovery Level 3.
Composed by
African-American
Spiritual. Arranged by
Rollo Dilworth. Discovery
Choral. 16 pages.
Published by Hal Leonard
(HL.116784).
Loving Shepherd Chorale 3 parties [Octavo] Oxford University Press
Loving shepherd of thy sheep by Bob Chilcott. For SSS choir and keyboard. Upper ...(+)
Loving shepherd of thy
sheep by Bob Chilcott.
For SSS choir and
keyboard. Upper Voices.
Sacred, Choral Leaflet.
Vocal score. 8 pages.
Duration 3'. Published by
Oxford University Press
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.
Rise Up, Shepherd Chorale 3 parties SAB - Intermédiaire Lorenz Publishing Company
SAB choir - Intermediate SKU: LO.10-1475L Composed by David Paxton. Chora...(+)
SAB choir - Intermediate
SKU: LO.10-1475L
Composed by David Paxton.
Choral. Exaltation
Series. Sacred Anthem,
Christmas. Octavo. Lorenz
Publishing Company
#10/1475L. Published by
Lorenz Publishing Company
(LO.10-1475L).
Gentle Shepherd Chorale 3 parties SAB, Piano [Conducteur] Hal Leonard
Choral (SAB Choir) SKU: HL.1436094 Composed by Bill Gaither. Arranged by ...(+)
Choral (SAB Choir)
SKU: HL.1436094
Composed by Bill Gaither.
Arranged by Ronn Huff and
Russell Mauldin. Fred
Bock Publications.
Octavo. 12 pages. Hal
Leonard #GMC1001.
Published by Hal Leonard
(HL.1436094).
UPC:
196288203926.
6.75x10.5x0.029
inches.
Calling on
Christ, our Gentle
Shepherd, the words of
Psalm 23 are beautifully
illustrated in this Bill
and Gloria Gaither anthem
first premiered over 50
years ago. This very
accessible arrangement
will be beloved by your
choir and congregation
for many more years to
come - featuring an
opportunity to highlight
a member or the ensemble,
clergy, or congregation
with a spoken recitation
of Psalm 23 in the middle
of the anthem.
(from The Christmas Suite). By Mark A. Brymer. Arranged by Mark A. Brymer. (SAB...(+)
(from The Christmas
Suite). By Mark A.
Brymer. Arranged by Mark
A. Brymer. (SAB).
Secular Christmas Choral.
Size 6.75x10.5 inches. 12
pages. Published by Hal
Leonard.
SAB choir - Intermediate SKU: LO.7580 Composed by Gene Grier. Arranged by...(+)
SAB choir - Intermediate
SKU: LO.7580
Composed by Gene Grier.
Arranged by Lowell
Everson. Choral. Sacred
Anthem. Octavo. Lorenz
Publishing Company #7580.
Published by Lorenz
Publishing Company
(LO.7580).
UPC:
000308018035.
Med.
Diff. Gentle setting of
the beloved Psalm 23 with
piano accompaniment E169
SATB.
(For SSA Choir). By Howard Goodall. Choir Sacred. Women's Choir. Choral (Sacred)...(+)
(For SSA Choir). By
Howard Goodall. Choir
Sacred. Women's Choir.
Choral (Sacred); Choral
Octavo; Worship
Resources. Faber Edition.
Sacred. Published by
Faber Music
(Together We Sing Series). By Henry Purcell (1659-1695). Arranged by Earlene Ren...(+)
(Together We Sing
Series). By Henry Purcell
(1659-1695). Arranged by
Earlene Rentz. For Choral
(3-Part Mixed). Choral.
16 pages. Published by
Shawnee Press
SAB choir, organ accompaniment SKU: GI.G-RCA443 Composed by Peter Nardone...(+)
SAB choir, organ
accompaniment
SKU:
GI.G-RCA443
Composed
by Peter Nardone.
Christmastide. Royal
School of Church Music.
Sacred. Octavo. 8 pages.
GIA Publications #RCA443.
Published by GIA
Publications
(GI.G-RCA443).
A simple song
that ponders the future
of the babe in the
manger, surrounded by
shepherds and angels on
the holy night. Easily
learned harmonies are
interspersed among
generous unison passages
in this quiet reflection
on the Savior’s
birth.
