I. Farfallina (Butterfly) 2. Lucciola (Firefly). Composed by Italian Folk Song and Tuscan Folk Song. Arranged by Christi Jones. Fold. Octavo. 8 pages. Duration 2 minutes, 35 seconds. BriLee Music #BL1123. Published by BriLee Music

Arranged by Teena Chinn. (3-Part Mixed). Choral Octavo. Pop Choral Series. Pop. Level: Moderate (grade III). Choral Octavo. Published by Alfred Publishing.

By Carole Bayer Sager and David Foster. Arranged by Teena Chinn. For Choir. (SSA). Choral Octavo. Pop Choral Series. Level: Moderate (grade III). Choral Octavo. Published by Alfred Publishing.

Featuring: Honey, Honey / Does Your Mother Know / Gimme! Gimme! Gimme!. By Benny Andersson, Bjorn Ulvaeus, And Stig Anderson. Arranged by Andy Beck. For Choir. (SSA). Choral Octavo. Choral Designs. Choral Octavo. 20 pages. Published by Alfred Publishing.

((A Pastoral Song)). By Franz Joseph Haydn (1732-1809). Arranged by Jill Gallina. For Choral (SSA). Choral. 16 pages. Published by Shawnee Press

SSA, a cappella

SKU: SU.80300113

For SSA, a cappella. Composed by Edith Borroff. Vocal/Choral, Sacred Choral. A cappella. Choral Octavo. Treble Clef Music Press #80300113. Published by Treble Clef Music Press (SU.80300113).

The text by G.K. Chesterton expresses the physical closeness of mother and child, and the wonder of the observer, in a setting with gentle, rocking rhythms and rich harmonies. SSA a cappella; English. Medium. SSA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.

SSA, a cappella

SKU: SU.80300152

For SSA, a cappella. Composed by Gwyneth W. Walker. Vocal/Choral, Secular Choral. A cappella. Choral Octavo. Treble Clef Music Press #80300152. Published by Treble Clef Music Press (SU.80300152).

I command you to be good runners, the poet tells her four graceful, nearly grown daughters. Reflective homophonic sections tell the mother's hopes. They alternate with ostinato patterns of simmering energy, reflecting the dancing excitement of four girls ready to burst forth, out into the world. 7 pages; duration: 2:30 min.; range: f to g; difficulty: medium. SSA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.

By Dave and Jean Perry. Choir Secular. Women's Choir. Choral Octavo. Choral Designs. Multicultural; World. Choral Octavo. 12 pages

3-part choir, cantor, assembly, piano accompaniment, flute, guitar - Early intermediate

SKU: GI.G-10081

Litany to the Mother of the Americas. Composed by Tony Alonso S.J. Mary, Mother of God, Our Lady of Guadalupe, Immaculate Conception, Assumption, Assumption Vigil, Visitation. Tu Pueblo Canta. Sacred. Octavo. With guitar chord names. 20 pages. GIA Publications #10081. Published by GIA Publications (GI.G-10081).

English, Latin, Spanish.

By Crawford Gates. For SAB choir. Mother's Day. Medium. Octavo. Duration 2:00. Published by Jackman Music Corporation

Arranged by Zebulon Highben. For SAB choir, guitar, flute. Augsburg Choral Hymn Series. Sacred. Octavo. 8 pages. Published by Augsburg Fortress

Arranged by Charles Beale. Choir Secular. For with Piano (SAB). Choral Octavo. Faber Choral Singles. Secular. Published by Faber Music

By George Stone. For harp, guitar, or piano (SAB choir, Voice Solo or Small Treble Ensemble). Choral. Christmas. Moderately Easy. Octavo. 8 pages. Published by MorningStar Music Publishers

(from Three Nocturnes). Composed by Daniel Elder. For SSA choir, piano accompaniment. Westminster Choir Series. Music Education. Easy/Medium. Octavo. 12 pages. Published by GIA Publications

By Craig Courtney. For SAB choir and piano. Baptism, Dedication, Funeral, General, Thanksgiving, Sacred. Sacred Anthem

By Diane McAninch. For SSA choir/2-part choir/unison choir. Bradley Ellingboe Music for Women's Choir. Secular, Choral. Choral octavo. Published by Neil A. Kjos Music Company

Choral (SSA Choir)

SKU: HL.1461940

Composed by Annie Pasqua. Judith Clurman Choral Series. Concert. Octavo. Published by Hal Leonard (HL.1461940).

UPC: 196288211624.

A smile, like music, is universal. The simplicity of Mother Teresa's quote and the repetition of the word â??peaceâ? is used to great effect in this expressive and rhythmic composition from New York-based composer Annie Pasqua.

(The Christmas Story from Prophecy to Fulfillment). By Pepper Choplin. For SAB choir and piano (with optional orchestra). Advent, Christmas, Sacred. Cantata

By Hawley Ades ; Alfred Burt. For SSA Choir. Christmas Music, Collections, A Cappella. Sheet Music. Published by Shawnee Press.

By Pepper Choplin. For SAB Choir. Choral, Bass/Percussion, Children's Day, Father's Day, Mother's Day, General Use, Tracks and Sacred. Sheet Music. Published by Shawnee Press.

Arranged by John Lewers. Choir Secular. Women's Choir. Choral Octavo. Lawson-Gould. Folk; Multicultural; Secular. Choral Octavo. 16 pages. Published by Alfred Music

By Carole Bayer Sager and David Foster. Arranged by Teena Chinn. For Choir. (SAB). Choral Octavo. Pop Choral Series. Level: Moderate (grade III). Choral Octavo. Published by Alfred Publishing.

Composed by Lynn Shaw Bailey. Fold. Octavo. 12 pages. Duration 3:15. BriLee Music #BL1121. Published by BriLee Music

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.

SSA, Piano

SKU: SU.80300235

For SSA, Piano. Composed by Samuel Coleridge-Taylor. Vocal/Choral, Secular Choral. Accompanied by piano. Choral Octavo. Treble Clef Music Press #80300235. Published by Treble Clef Music Press (SU.80300235).

It's time to revive the music of this splendid Afro-British composer! The accompaniment to this setting of the Christina Rossetti poem leaps in irregular eighth-note patterns, suggesting the frolicking and nudging of the lambs and baby birds who cuddle up close to their mothers. A perfect choice for a spring or Mother's Day concert. SSA & Piano; English. Easy-Medium. SSA, piano Published by: Treble Clef Music Minimum order quantity: 8 copies.