Composed by Greg Gilpin. Choral Octavo. Alfred Choral Designs. Christmas; Sacred; Winter. 12 pages. Published by Alfred Music (AP.43377).

Arranged by Kirby Shaw. Choir Sacred. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Christmas; Jazz; Sacred; Traditional; Winter. 12 pages. Published by Alfred Music

Composed by Alice Jean Cleator, music by Donald Moore. Choir Sacred. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Christmas; Sacred; Winter. 8 pages. Published by Alfred Music

Composed by Alice Jean Cleator, music by Donald Moore. Choir Sacred. Women's Choir. Choral Octavo. Choral Designs. Christmas; Sacred; Winter. 8 pages. Published by Alfred Music

By Barry Rose (Editor). For SSA, Organ. Classical. Sheet Music. 164 pages. Published by Novello and Co Ltd.

By Gustav Holst. For SSA Choir. Romantic. Sheet Music. 44 pages. Published by Novello and Co Ltd.

By Glenda E. Franklin. For SSA choir, with accompaniment. Spiritual. Choral octavo. 12 pages. Duration 2:10

Choral SSA choir, piano

SKU: CF.CM9772

Composed by Greg Gilpin. Duration 3 minutes, 16 seconds. Carl Fischer Music #CM9772. Published by Carl Fischer Music (CF.CM9772).

ISBN 9781491164433. UPC: 680160923335. Key: G major. English. Words adapted from Angels from the Realms of Glory by JAMES MONTGOMERY (1771-1854).

I've always enjoyed celebratory and rhythmic singing.  I also know there's a need for this style in treble voices. The holiday season is a perfect time to create such a work.The text of The Angels' Gloria is based on the familiar Montgomery hymn with original music. This work can be easily be done as a call and answer or antiphonal setting. Try using it as a processional, too. Hearing the voices surround the audience is always exciting for everyone and a superb teaching and learning experience.The accompaniment is intentionally simple and bell-like, supporting the three-part harmonies. I've also created a B-section that is a cappella in full three-part singing, rich and full giving lots of contrast to the piece.There is so much good teaching throughout the piece, making for interesting rehearsals and a terrific performance piece. I hope this adds just the right sparkle for your Christmas or holiday program.—Greg Gilpin.

SAB choir, cantor, assembly, presider with keyboard accompaniment

SKU: GI.G-7846CD

Revised Order of Mass 2010. Composed by Steven R. Janco. Mass. Sacred. CD. GIA Publications #7846CD. Published by GIA Publications (GI.G-7846CD).

UPC: 785147784623. English. Text Source: Revised Order of Mass 2010, Lectionary for Mass

One of GIA's best-selling liturgical settings, Mass of the Angels and Saints provides the ultimate in flexibility, while retaining a wonderful musical unity that will enable your assembly to sing it with ease. Many options are provided to encourage your creativity in adapting the setting, yet the writing is straightforward and accessible. Written for SAB choir and optional descant, these settings provide both a substantial choral sound and greater accessibility to smaller parish choirs and ensembles.

Joy: A Carol Collection (20 A Cappella Christmas Favorites). Arranged by Jay Althouse. Choir Secular. For SSA, a cappella choir (Women's Choir). Choral Collection. Choral Designs. Choral, Christmas, Sacred and Secular. Collection. 24 pages. Published by Alfred Music Publishing

Composed by Michael and Angela Souders. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Graduation; Patriotic; Secular. 8 pages. Published by Alfred Music

By Jester Hairston. Arranged by Joel Raney. For SAB choir or 3-part choir. Choral music. Christmas, Devotion, Sacred. Choral octavo. 12 pages. Published by Hope Publishing Company

Choral SSA Voices & Piano

SKU: XC.SSA2302A

Composed by Traditional English Melody. Arranged by Steve Parsons. Octavo. Excelcia Music Publishing #SSA2302A. Published by Excelcia Music Publishing (XC.SSA2302A).

6.75 x 10.5 inches.

A sparkling setting of the traditional text, but with the alternate tune predominantly used in the British Isles, this beautiful SSA arrangement highlights the image of soaring angels bending near the earth to bring their wondrous Christmas message.

SAB choir and piano

SKU: LO.10-5272S

Composed by Jane Marshall. Arranged by Geoffrey Edwards. Choral. Sacred Anthem. Octavo. Sacred Music Press #10/5272S. Published by Sacred Music Press (LO.10-5272S).

ISBN 9780787765217.

Jane Marshall’s classic setting of Michelangelo’s prayer has been arranged by Geoffrey Edwards for SAB voices and accompaniment, making this beloved anthem accessible to smaller choirs or those with limited rehearsal time.

By David Waggoner. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Christmas; Winter. 8 pages. Published by Alfred Music Publishing

By Michael and Angela Souders. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Patriotic. 8 pages. Published by Alfred Music

By David Waggoner. Choir Secular. Women's Choir. Choral Octavo. Choral Designs. Christmas; Winter. 8 pages. Published by Alfred Music Publishing

SAB choir - Beginning

SKU: GI.G-RP26

With plainsong Creed, Gloria. Composed by Various. Royal School of Church Music. Sacred. Octavo. 12 pages. GIA Publications #RP26. Published by GIA Publications (GI.G-RP26).

English.

Arranged by Lloyd Larson. For SAB choir. Christmas Musicals. Advent, Christmas. Choral score. Published by Hope Publishing Company

SAB choir, assembly, keyboard accompaniment, violin, cello, guitar - Early intermediate

SKU: GI.G-10431

Arranged by Tony Alonso S.J. Christmastide, Chirstmas Vigil, Christmas Night, Christmas Dawn, Christmas Day. Christmas. Tune name: Gloria. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #10431. Published by GIA Publications (GI.G-10431).

English, Latin. Text Source: Les anges dans nos campagnes, French carol, ca. 18th c., tr. from Crown of Jesus Music, London, 1862.

By Linda Spevacek. For SSA choir (a cappella). Christmas. Educational choral collection

Composed by David Zippel and Cy Coleman. Arranged by Paris Rutherford. Jazz Chorals. Broadway, Musicals, Vocal Jazz. Octavo. 8 pages. Published by Hal Leonard

By Larry Shackley. For SAB choir and piano. Christmas, Sacred. Cantata. Published by Lorenz Publishing Company. (65/2003L)

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.

SAB choir and piano

SKU: LO.65-2103L

Composed by Jay Rouse, Larry Shackley, Lloyd Larson, and Mary McDonald. Choral, cantatas. Advent, Christmas, Sacred. Choral score. Lorenz Publishing Company #65/2103L. Published by Lorenz Publishing Company (LO.65-2103L).

ISBN 9780787767044.

From the collaborative efforts of Lloyd Larson, Mary McDonald, Jay Rouse, and Larry Shackley, Everlasting Light showcases the profound significance of the light of Christ come to earth. An insightful narration by Rose Aspinall incorporates scripture and personal reflection to tie together the compelling combination of powerful original music and beloved carols. Mary McDonald’s celebratory opener, Everlasting Light, acts as the cornerstone of the work. Larry Shackley’s Longing for the Light beautifully portrays a yearning for restoration; Jay Rouse offers a stirring original song with words inspired by Mary’s Songs of Praise found in Luke 1:44-56; and Lloyd Larson’s Shepherds and Angels adds rhythmic and joyful energy. The work concludes with a robust medley of carols that points back to the opening song: He is the Light, Everlasting Light; born a Savior, born this night. He is the One, the Everlasting Son; Child of heaven, He is the Light!.

Arranged by Wesley D. Peters. Sing! Christmas, Holiday, Winter. Octavo. Published by Chorister's Guild (LO.CGE89).