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.

Arranged by Joel Raney. For SAB choir. HOLY MANNA. Quick Study Chorals. Call To Worship, General Worship, Hymntune. Octavo. 8 pages. Published by Hope Publishing Company

(A bold meditation on conflict, communication and compromise). Composed by Elizabeth Alexander. For SSA, SAB (youth choir), piano. Anthems, Sacred, Secular, Jazz / Blues / Rock. Medium. Choral Score. Duration 4 minutes. Published by Seafarer Press

Composed by Marty Haugen. Arranged by Michael Burkhardt. For SSA choir, organ and opt. handbells. Epiphany, Confirmation, Commitment/Discipleship. Moderately Easy. Octavo. Published by MorningStar Music Publishers

Composed by Pepper Choplin. For SAB choir, solo voice and piano accompaniment (with optional Triangle, tambourine). Ready to Worship Series. Sacred Anthem, Advent, Christmas. Octavo. Lorenz Publishing Company #10/4681L. Published by Lorenz Publishing Company

Composed by Patti Drennan. For SAB choir and piano accompaniment (with optional rhythm). Ready to Worship Series. Sacred Anthem. Octavo. Lorenz Publishing Company #10/4661L. Published by Lorenz Publishing Company

By Keith Getty. Arranged by Kristyn Getty. For SATB/SAB choir and piano (with optional Rhythm). Sacred: Discipleship, General, Lent, Missions. Octavo. Published by Lorenz Publishing Company

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

Composed by Victor C Johnson. Choral. Sacred Anthem. Octavo. Lorenz Publishing Company #10/5218L. Published by Lorenz Publishing Company

By Pepper Choplin. Arranged by Stan Pethel. For SAB choir and piano (with optional snare (orchestration)). Sacred Anthem, Good Friday, Holy Week. Octavo. Published by Lorenz Publishing Company

By Anna Laura Page. For SAT(B) choir and piano. Mixed Voices. Eastertide, Sacred. Sacred Anthem

Composed by Matthew Prime; Justin Franks; Charlie Puth; Breyan Isaac; Maureen Mcdonald; Shy Carter. Arranged by Alan Billingsley. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Gospel; Pop; Secular. Choral Octavo. 12 pages. Alfred Music #00-45540. Published by Alfred Music (AP.45540).

Composed by Matthew Prime, Justin Franks, Charlie Puth, Breyan Isaac, Maureen Mcdonald, and Shy Carter. Arranged by Alan Billingsley. Choir Secular. Women's Choir. Choral Octavo. Pop Choral. Gospel; Pop; Secular. 12 pages. Published by Alfred Music

Choral (SAB Choir)

SKU: HL.1361693

Composed by John Leavitt. Brookfield Choral Series. General Worship. Octavo. Duration 143 seconds. Published by Brookfield Press (HL.1361693).

UPC: 196288193036. 6.75x10.5x0.019 inches. John 1:15, Matthew 28:18-20.

This spirited anthem celebrates the majestic truth of the Trinity with elegant style and grace. Rooted in an ancient sacred text, this octavo joins refreshing new music with a useful lyric that is liturgically needful. This splendid choral gesture will be a welcome addition to your worship planning.

Choral (SAB Choir)

SKU: HL.139988

Three Call and Response Songs. Arranged by Robert I. Hugh. Henry Leck Creating Artistry. Concert, Festival. Octavo. 16 pages. Published by Hal Leonard (HL.139988).

UPC: 888680040444. 6.75x10.5 inches.

Three favorite call and response folksongs are combined in this short medley with piano, conga drum and tambourine for a fun and energetic choral showcase! Includes: Oh, John the Rabbit; Lucy Rabbit; G'wan Roun' Rabbit.

Choral (SAB Choir)

SKU: HL.35028527

Together We Sing Series. Composed by Joseph M. Martin. Choral. Patriotic, Shaker. Octavo. 12 pages. Published by Shawnee Press (HL.35028527).

ISBN 9781476805641. UPC: 884088665241. 6.75x10.5 inches. Joseph M. Martin.

A vigorous Shaker tune takes on fresh purpose when joined with this original patriotic text. A powerful choral that celebrates the gift of freedom and good citizenship!

Available separately: SATB, SAB, 2-Part, Orchestration, StudioTrax CD. Duration: ca. 2:20.

About Together We Sing

Shawn ee Press: Together We Sing series

Choral (SAB Choir)

SKU: HL.365106

Composed by Diane Hannibal. Arranged by Stacey Nordmeyer. Daybreak Choral Series. Communion, Easter, General Worship, Lent, Sacred. Octavo. Duration 200 seconds. Published by Daybreak Music (HL.365106).

UPC: 840126960853. 6.75x10.5x0.029 inches. Colossians 3:15, Luke 24:30, Psalm 23:5.

With a pristine quote from the classic hymn tune BREAD OF LIFE, this piece raises the curtain on a winsome invitation to the Lord's Supper. Mercy and forgiveness draw the seeker in lovely melodic strains that rise and fall like a prayer as the anthem unfolds. A lush and satisfying chorus showcases the timbre of the choir while passionately calling the faithful to “Bring every burden, bring every need... to the table of peace.” Highly recommended!

Choral (SSA Choir)

SKU: HL.368587

Composed by Marie-Claire Saindon. Andrea Ramsey Choral Series. Concert, Festival. Octavo. Duration 120 seconds. Published by Hal Leonard (HL.368587).

UPC: 840126968811. 6.75x10.5x0.045 inches.

Here is an energetic invitation to trust our innate desire to connect with others, follow our dreams, and to listen and lose oneself to the world's sweet enchanting song. Most importantly, it calls on us to take a stand against indifference, and to open our eyes to new possibilities.

By Mark Hayes. For SAB choir and piano. Worship Works. Holy Week, Palm Sunday, Eastertide, Sacred. Sacred Anthem

By Z. Randall Stroope. For 2-part women's voices or 3-part women's voices (SSA), organ. Medium. Octavo. Published by MorningStar Music Publishers

By Mark Hayes. For SAB Choir and Piano (with optional trumpet (brass quintet, percussion)). Sacred Anthem: Easter. Octavo. Published by Lorenz Publishing Company

(Crazy Little Thing Called Love with It's Still Rock and Roll to Me). By Billy Joel and Queen. By Billy Joel and Freddie Mercury. Arranged by Tom Anderson. Pop Choral Series. Classic Rock, Show Choir, Medley, Pop, Rock. Octavo. Published by Hal Leonard

Composed by Pavel Borkovec. Arranged by Ken Berg. Sheet music. Pavane Choral. Festival, Concert. Octavo. 1581. 12 pages. Pavane Publishing #P1581. Published by Pavane Publishing (HL.232824).

By Wolfe. Arranged by Jack Schrader. (SAB or Three-Part). Call To Worship, Christ's Presence, General Worship and Sacred. Print Music Single (SAB). 8 pages. Published by Hope Publishing Company.

A Call to Worship. Composed by Charles McCartha. Glory Sound. Octavo. 8 pages. Published by Glory Sound (HL.35031629).

Music from the Motion Picture La La Land. Composed by Justin Hurwitz, lyrics by Benj Pasek and Justin Paul. Arranged by Alan Billingsley. Choral Octavo. Alfred Pop Series. Movie; Secular. 16 pages. Published by Alfred Music

Three Call and Response Songs. Arranged by Robert I. Hugh. Henry Leck Creating Artistry. 16 pages. Published by Hal Leonard (HL.139989).

SAB choir, cantor, assembly, keyboard accompaniment, trumpet in B-flat, trumpet in C - Beginning

SKU: GI.G-4395

Composed by Carl Johengen. Ascension, Trinity Sunday B, OT 14 C, OT 11 A, OT 15 B. Celebration Series. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #4395. Published by GIA Publications (GI.G-4395).

UPC: 785147439509. Text by Sylvia Dunstan.

This dancelike setting of Sylvia Dunstan’s classic text will be a favorite of your choir and assembly—and all who hear it will be inspired by the call to discipleship. Trumpet part optional.

Text by Sylvia G. Dunstan.