by Gail Smith. For Piano. method. You Can Teach Yourself. Gospel-Old Time. Level: Intermediate. Book/CD Set. Size 8.75x11.75. 128 pages. Published by Mel Bay Publications, Inc.

By Gail Smith. For piano. Methods. You Can Teach Yourself. Gospel-Old Time. Level: Intermediate. Book. Size 8.75x11.75. 128 pages. Published by Mel Bay Publications, Inc.

For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord names and guitar chord chart. Gospel and worship. Series: Hal Leonard Fake Books. 295 pages. 9x12 inches. Published by Hal Leonard.

For voice. Format: vocal songbook (spiral bound). With vocal score and chord names. Gospel and Country. 9x12 inches. Published by Brentwood-Benson Music Publishing.
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16 Great Gospel Songs. By Various Composers. Arranged by Jochen Rieger. (tenor saxophone). Schott. Book & CD Package. Size 9x12 inches. 32 pages. Published by Schott.

16 Great Gospel Songs. By Various. Arranged by Jochen Rieger. (Clarinet). Schott. BOOK W/CD. Size 9x12 inches. 33 pages. Published by Schott.

16 Great Gospel Songs. By Various. Arranged by Jochen Rieger. (Flute). Schott. BOOK W/CD. Size 9x12 inches. 32 pages. Published by Schott.

Choral/Vocal (The Mark Hayes Vocal Solo Collection, 10 Hymns and Gospel Songs). Published by Alfred Publishing.

By William Bay. For Guitar (Flatpick). Solos. Made Easy. Gospel-Old Time. Level: Beginning. Book/CD Set. Size 8.75x11.75. 32 pages. Published by Mel Bay Publications, Inc.

Choral/Vocal (The Mark Hayes Vocal Solo Collection, 10 Hymns and Gospel Songs). Published by Alfred Publishing.

Choral/Vocal (The Mark Hayes Vocal Solo Collection, 10 Hymns and Gospel Songs). Published by Alfred Publishing.

Choral/Vocal (The Mark Hayes Vocal Solo Collection, 10 Hymns and Gospel Songs). Published by Alfred Publishing.

By Leon C. Roberts. For Instruments: String quartet (2 violins, viola, cello), tenor saxophone, trumpet, trombone (instruments optional). Mass; Choral Sacred. Published by GIA Publications.

Composed by Joel Raney. General Worship, Sacred. Rhythm parts. Published by Hope Publishing Company (HP.C6115R).

Composed by Joel Raney. General Worship, Sacred. Performance/accompaniment CD. Published by Hope Publishing Company (HP.C6115C).

Composed by Joel Raney. General Worship, Sacred. Octavo. Published by Hope Publishing Company (HP.C6115).

Unison with descant, SATB choir, cantor, assembly, organ accompaniment - Beginning

SKU: GI.G-8469

Rite of Sprinkling and Gospel Acclamation for Eastertide. Composed by James Biery. Arranged by James Biery. Eastertide, Easter Sunday, Easter 2 A, Easter 2 B, Easter 2 C, Easter 3 A, Easter 3 B, Easter 3 C, Easter 4 A, Easter 4 B, Easter 4 C, Easter 5 A, Easter 5 B, Easter 5 C, Easter 6 A, Easter 6 B, Easter 6 C, Easter 7 A, Easter 7 B, Easter 7 C, Pentecost. Ritual Prayer. Sacred. Octavo. 8 pages. GIA Publications #8469. Published by GIA Publications (GI.G-8469).

UPC: 785147846901. English. Text Source: 1. Vidi aquam egredientem, cf. Ezekiel 47:1-2, 9 from the Sacramentary, 1973, alt., 2. Lectionary for Mass Scripture: Ezekiel 47:1–2, 9.

The alleluia refrain for the sprinkling rite and again for the gospel acclamation uses the melody of the undulating vesper antiphon for Low Sunday from the Liber usualis. The sprinkling rite is scored for cantor, assembly, and organ with a soprano descant for the refrain. The verses for the gospel acclamation are printed separately for cantor and organ or for a cappella SATB voices, texts are provided for all Sundays between Easter Day and Pentecost as well as Ascension.

SATB choir, cantor, assembly, keyboard accompaniment, 2 or 3 octaves handbells, C instrument, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, trombone 1, trombone 2, percussion

SKU: GI.G-7202INST

Alleluia and Lenten Acclamation with Verses for All Sundays and Solemnities. Composed by James Chepponis. Chamber Music. Sacred. Full score and parts. With guitar chord names. 8 pages. GIA Publications #7202INST. Published by GIA Publications (GI.G-7202INST).

UPC: 785147720294. English. Text Source: Lectionary for Mass, 1998.

This versatile setting includes refrains for both the Alleluia and the Lenten Gospel Acclamation along with through-composed settings of the verses for all Sundays Solemnities, Feasts of the Lord and the Saints as well as a setting of the verses of the Easter Vigil Responsorial Psalm 118 for use with the Alleluia refrain. Although this majestic setting is scored for brass quartet, timpani/suspended cymbal, C instrument, guitar, and handbells it can also be performed simply using only Cantor and keyboard.

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.

Composed by Carl F. Schalk. Sacred. Octavo. Published by Concordia Publishing House (CR.98-4257).

SATB choir, cantor, assembly, organ accompaniment, flute, B-flat clarinet, 3 or 4 octaves handbells - Beginning

SKU: GI.G-8699

Gospel Acclamation and Verses for the Easter Season. Composed by Rob Glover. Arranged by Rob Glover. Eastertide, Easter Sunday, Easter 2 A, 2 B, 2 C, 3 A, 3 B, 3 C, 4 A, 4 B, 4 C, 5 A, 5 B, 5 C, 6 A, 6 B, 6 C, Ascension, Easter 7 A, 7 B, 7 C, Pentecost. Ritual Prayer. Sacred. Octavo. 24 pages. GIA Publications #8699. Published by GIA Publications (GI.G-8699).

UPC: 785147869900. English. Text Source: Gospel vv.: Lectionary for Mass