By Pepper Choplin. For SAB choir and piano (with optional orchestration). Cantatas. Holy Week, Eastertide. Choral octavo. Published by Lorenz Publishing Company

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.

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

(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 Matthew Prime, Justin Franks, Charlie Puth, Breyan Isaac, Maureen McDonald, and Shy Carter. Arranged by Bryan Sharpe. Choral Octavo. Alfred Pop Series. Pop; Secular. 12 pages. Published by Alfred Music (AP.45689).

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

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!

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

3-part equal voices, 3-part mixed voices, cantor, voice solo, assembly, keyboard accompaniment

SKU: GI.G-9094

Composed by Paul Tate. Celebration Series. Sacred. Octavo. With guitar chord names. 16 pages. GIA Publications #9094. Published by GIA Publications (GI.G-9094).

UPC: 785147909408. English. Text by Paul A. Tate.

For cantor or soloist.

Composed by Pepper Choplin. For SAB choir (a cappella) and vocal soloist (with optional djembe, shaker, conga). Sacred Anthem, Christ the King, Eastertide, General, Lent. Octavo. Lorenz Publishing Company #10/4728L. Published by Lorenz Publishing Company

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

(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

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) The Judith Herrington Choral Series. Composed by Judith Herrington. Pavane Choral. Concert, Poetry. Octavo. Duration 150 seconds. Pavane Publishing #P1744. Published by Pavane Publishing

Arranged by Teena Chinn. For Choir. (3-part Mixed). Choral Octavo. Broadway. Level: Moderate (grade 3). Choral Octavo. 108 pages. Published by Alfred Publishing.

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.

Choral (SSA Choir)

SKU: HL.142309

Composed by Jack Antonoff and Taylor Swift. Arranged by Alan Billingsley. Pop Choral Series. Dance, Pop, Show Choir. Octavo. 16 pages. Published by Hal Leonard (HL.142309).

UPC: 888680047962. 6.75x10.5 inches.

The second release on her critically acclaimed album 1989, Taylor Swift continues to turn heads with her transition from country to pop. With a breathless pop sound, always interesting vocals and a certain amount of autobiography, this song demonstrates why Taylor Swift is the star she is. Fantastic for pop and show groups!

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.

(A Hymn Concertato on Christ the Lord Is Risen Today ). Composed by Mary Mcdonald. For SAB choir, descant, organ and piano (with optional 2 trumpets, 2 trombones, 3-5 octave handbells, congregation). Worship Works Series. Sacred Anthem, Eastertide. Octavo. Published by Lorenz Publishing Company

Choral (SAB Choir)

SKU: HL.156337

By Ann Hampton Callaway. By Ann Hampton Callaway and William Schermerhorn. Arranged by Ed Lojeski. Secular Christmas Choral. Ballad, Christmas, Christmas Secular, Holiday, Holiday Pops, Secular Christmas. Octavo. Duration 240 seconds. Published by Hal Leonard (HL.156337).

UPC: 888680605544. 6.75x10.5x0.029 inches.

Jazz/cabare t artist Ann Hampton Callaway has written and recorded a Christmas song that is sure to be an instant classic! Expressing the hope that Christmas is a day lasting longer than a season, this heartwarming song will fill you with holiday cheer to last all year through.

Choral (SSA Choir)

SKU: HL.8202204

Arranged by Mark A. Brymer. Pop Choral Series. Pop. Octavo. 32 pages. Published by Hal Leonard (HL.8202204).

UPC: 884088215774. 6.75x10.5x0.07 inches.

Enjoy the fun, the energy and the nostalgia of the '80s! This medley makes a perfect concert theme or special feature for choirs of all ages. Songs include: Our Lips Are Sealed, Walk Like an Egyptian, Jessie's Girl, Mickey, Sweet Dreams Are Made of These, Whip It, Call Me, The Look of Love, Wake Me Up Before You Go-Go, Girls Just Want To Have Fun, Everybody Have Fun Tonight.

Choral (SSA Choir)

SKU: HL.48023291

CME In High Voice. Composed by Kris Boerger. In High Voice. Concert, Contemporary, Festival. Octavo. 12 pages. Boosey and Hawkes #M051479955. Published by Boosey and Hawkes (HL.48023291).

UPC: 888680027216. 6.75x10.5 inches. Kristina Boerger.

This is the last in the trilogy of settings of verses from a collection that Sarah White calls her Widow Poems, written after the sudden death of a lover. Each of the three represents a different stage in the arc of the poet's grief. In this one, written on the first anniversary of the beloved's death, a trace of whimsy has entered White's language and the music masterfully captures this same emotion.

ScorePlay - click to view score with recording.

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.

Choral (SSA Choir)

SKU: HL.48021254

CME In High Voice. Composed by Daniel Brewbaker. In High Voice. Classical, Concert, Festival. Octavo. 16 pages. Boosey & Hawkes #M051480173. Published by Boosey & Hawkes (HL.48021254).

UPC: 884088652203. 6.75x10.5 inches.

With a text by thirteenth century poet Meister Eckhart that speaks of the fall from and a return to grace, composer Brewbaker uses mostly homophonic writing with soft, contemporary harmonies to find the soul's rightful place in the universe. This emotional showstopper calls for the full range of a woman's voice and mature emotions. Duration: ca. 4:00.



Perf ormed by Somerset Festival Chorus at Wells Cathedral in England, Emily Ellsworth, conductor.

Arranged by Russell L. Robinson. For SSA Choir. Sheet Music. Published by Shawnee Press.

Arranged by Mac Huff. (Sab Singer). Broadway Choral. Size 6.75x10.5 inches. 56 pages. Published by Hal Leonard.

Choral SSA choir

SKU: CF.CM9708

Celebrate Hanukkah!. Composed by Traditional. Arranged by JB Levine. 8 pages. Duration 1 minute, 25 seconds. Carl Fischer Music #CM9708. Published by Carl Fischer Music (CF.CM9708).

ISBN 9781491160039. UPC: 680160918638. Key: F major. Hebrew. Traditional.

The traditional Jewish practice for the holiday of Hanukkah is to recall ancient miracles and increase the light in the world by lighting a nine-stemmed menorah. One candle is added each night until the menorah is full on the eighth night. After lighting the candles each night, those gathered around the menorah sing these ancient blessings. The first two blessings are sung on all eight nights, and the third blessing is only sung on the first. This melody, first published in New York in 1922, is commonly used throughout the world. It is sung by crowds of thousands gathering to light a community menorah and small families gathering in their homes alike.