I. Jubilate Deo II. Ubi Caritas. Composed by Mark Patterson. Traditional ...(+)
I. Jubilate Deo II.
Ubi Caritas. Composed
by Mark Patterson.
Traditional Latin.
Octavo. With Standard
notation. BriLee Music
#BL967. Published by
BriLee Music (CF.BL967).
Composed by Tim Attride. The antiphon for use with the Seven Penitential Psalms ...(+)
Composed by Tim Attride.
The antiphon for use with
the Seven Penitential
Psalms and the Lenten
chant Parce Domine are
presented here in chant
with Latin text, followed
by SAB polyphony with
English text. This is an
accessible and
wonderfully appropriate
anthem for your choir
this. Lent, General.
Published by CanticaNOVA
Publications (C5.5042).
(Cantemos Noel). By Linda Spevacek. For 3-part mixed choir (with optional small ...(+)
(Cantemos Noel). By Linda
Spevacek. For 3-part
mixed choir (with
optional small
percussion). Secular
Christmas. Octavo.
Published by Heritage
Music Press . Octavo.
Secular Christmas.
Canta Conmigo Chorale 3 parties SAB, Piano Alfred Publishing
Composed by Victor C Johnson. Choir Secular. For Percussion Ostinati (3-Part Mix...(+)
Composed by Victor C
Johnson. Choir Secular.
For Percussion Ostinati
(3-Part Mixed Choir
(SAB)). Choral Octavo.
Choral Designs. Latin;
Secular. 12 pages.
Published by Alfred Music
Hot Chocolate! Chorale 3 parties SAB, Piano [Octavo] Alfred Publishing
By Andy Beck and Brian Fisher, music by Andy Beck. Choir Secular. 3-Part Mixed C...(+)
By Andy Beck and Brian
Fisher, music by Andy
Beck. Choir Secular.
3-Part Mixed Choir (SAB).
Choral Octavo. Choral
Designs. Latin; Novelty;
Winter. 12 pages.
Published by Alfred Music
((Let Us All Go to Bethlehem)). Composed by Cathryne E. Parks, music by Ga...(+)
((Let Us All Go to
Bethlehem)). Composed by
Cathryne E. Parks, music
by
Gary E. Parks. Choir
Sacred.
3-Part Mixed Choir (SAB).
Choral Octavo. Choral
Designs. Christmas;
Latin;
Sacred; Winter. 12 pages.
Published by Alfred Music
(I: Jubilate Deo, II: Ubi Caritas). By Mark Patterson. For SSA choir, with accom...(+)
(I: Jubilate Deo, II: Ubi
Caritas). By Mark
Patterson. For SSA choir,
with accompaniment
(optional a cappella).
Choral octavo. 16 pages.
Duration I - 1:46; II -
2:54
Music by Sally K. Albrecht. Octavo for SAB choir and piano accompaniment. Tradit...(+)
Music by Sally K.
Albrecht. Octavo for SAB
choir and piano
accompaniment.
Traditional Latin Text.
Series: Alfred Choral
Designs. 12 pages.
Published by Alfred
Publishing.
Ecce Fidelis Servus Chorale 3 parties SAB, Orgue [Octavo] - Facile GIA Publications
By Gabriel Faure. Edited by Richard Proulx. Text by: Gabriel Faure; Translated b...(+)
By Gabriel Faure. Edited
by Richard Proulx. Text
by: Gabriel Faure;
Translated by: Richard
Proulx. For SAB Chorus,
Organ accompaniment, and
Cello or Contrabass.
Choral. Sacred. Level:
easy. Text language:
Latin. 8 pages. Published
by GIA Publications.
Another Star Chorale 3 parties SAB, Piano Hal Leonard
By Stevie Wonder. By Stevie Wonder. Arranged by Kirby Shaw. Pop Choral Series....(+)
By Stevie Wonder. By
Stevie
Wonder. Arranged by Kirby
Shaw. Pop Choral Series.
Latin, Pop, Seventies,
Show
Choir, Vocal Jazz.
Octavo.
12 pages. Published by
Hal
Leonard
Another Star Chorale 3 parties SSA, Piano Hal Leonard
By Stevie Wonder. By Stevie Wonder. Arranged by Kirby Shaw. Pop Choral Series....(+)
By Stevie Wonder. By
Stevie
Wonder. Arranged by Kirby
Shaw. Pop Choral Series.
Latin, Pop, Seventies,
Show
Choir, Vocal Jazz.
Octavo.
12 pages. Published by
Hal
Leonard
Discovery Level 2.
Composed by John
Kavanaugh. Arranged by
Audrey Snyder. Discovery
Choral. Christmas,
Disney, Holiday, Pop.
Octavo. 16 pages.
Published by Hal Leonard
(HL.282853).
UPC:
888680790233. 6.75x10.5
inches.
Elena of
Avalor is the story
of a young Latina
princess who is thrust
upon the throne of her
family's kingdom after
her parents, the King and
Queen, are killed. The
song draws upon the Latin
American tradition of
“Parranda
Navideña,”
in which a group of
friends surprise an
unsuspecting individual
with holiday song,
instrument-playing, and
refreshment!
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.
Discovery Level 2.
Composed by Cristi Cary
Miller. Discovery Choral.
Concert, Latin. Octavo.
16 pages. Published by
Hal Leonard (HL.260499).
UPC: 888680726874.
6.75x10.5
inches.
Reflecting
the times in our lives
that we feel so great we
have to burst into song,
“Rejoice and
Sing” is here
represented in Latin
“Exultate!
Cantate!”. A strong
piece that allows young
singers to sing in Latin
and with total
independence.
In the Heights * Breathe * Carnaval del Barrio. Composed by Lin-Manuel Miran...(+)
In the Heights * Breathe
*
Carnaval del Barrio.
Composed
by Lin-Manuel Miranda
(1980-). Arranged by Lisa
DeSpain. Performance
Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Form: Medley. Broadway;
Secular. Choral Octavo.
Alfred Music #00-48967.
Published by Alfred Music
Composed by Ruth Morris
Gray. Shawnee Press.
Christmas, Concert,
Festival, Latin. Octavo.
12 pages. Duration 150
seconds. Published by
Shawnee Press
(HL.1118330).
ISBN
9781705181072. UPC:
196288107033.
6.75x10.5x0.029
inches.
Accompanied
by piano and optional
hand drum, this Latin
work in 3/4 meter
includes an English verse
and celebrates the
Christmas season, though
it can be performed any
time of year. Available
for both 3-part mixed and
3-part treble, young
voices will love this
selection as a majestic
opening number or
processional, filled with
rhythmic and dynamic
energy.
Discovery Level 2.
Composed by Roger
Emerson. Discovery
Choral. Christmas Sacred,
Concert, Festival, Latin,
Middle School, Young
Choir. Octavo. 16 pages.
Published by Hal Leonard
(HL.8552380).
UPC:
884088630287. 6.75x10.5
inches.
Younger
choirs will develop
important part-singing
skills with this
contemporary treatment of
the Latin text used by
Michael Praetorius at the
turn of the 17th century.
Syncopation and vivid
dissonance make this an
exciting and impressive
work for Christmas and
concert performances.
Available separately:
3-Part Mixed, 2-Part,
VoiceTrax CD. Duration:
ca. 2:30.
Discovery Level 2.
Composed by Roger
Emerson. Discovery
Choral. Concert,
Festival, Latin. Octavo.
8 pages. Duration 147
seconds. Published by Hal
Leonard (HL.1118640).
UPC: 196288107484.
6.75x10.5x0.019
inches.
Latin text
provides an ideal
opportunity for
developing pure vowel
sounds that builds strong
blend in choral
ensembles. Roger Emerson
has set this timeless
text to new music which
is easy to sing and will
help every choir sound
beautiful.
(Party Time).
Composed by Clay Ostwald,
Emilio Estefan Jr., and
Lawrence Dermer. Arranged
by Eric Van Cleave.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Classic Pop; Secular.
Choral Octavo. 12 pages.
Alfred Music #00-47526.
Published by Alfred Music
(AP.47526).
UPC:
038081542195.
English.
The Latin
rhythms of this Gloria
Estefan hit are hot, hot,
hot. Spend a little time
learning the rapid-fire
lyrics, and then let the
party begin! Optional
solos are passed around
during verses, but the
scintillating harmonized
hook is everybody's game.
An eight-bar interlude at
the coda doubles as a
brief dance break just
before the final choral
riffs. A bonafide
crowd-pleaser!
About Alfred
Pop Choral
Series
The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs.
Composed by
Ruth Morris Gray.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Secular. Choral Octavo. 8
pages. Alfred Music
#00-47586. Published by
Alfred Music (AP.47586).
UPC: 038081542799.
English.
A
bombastic and stately
theme, based on stacked
modal harmonies, gives a
triumphant air to this
contemporary setting of
the traditional Latin
text. Hushed B and C
sections offer contrast
before recapitulating the
grandiose opening and an
even fuller final
cadence. Timpani, tubular
bells, and triangle
(which may be downloaded
for free) may be
performed by a single
percussionist and add to
the riveting drama.
Arranged by Sally K. Albrecht. For Choir. (3-Part Mixed). Choral Octavo. Choral...(+)
Arranged by Sally K.
Albrecht. For Choir.
(3-Part Mixed). Choral
Octavo. Choral Designs.
Folk Song; Latin;
Multicultural, World:
Latin. Choral Octavo. 12
pages. Published by
Alfred Publishing.