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).

By Jay Althouse. For Choir. (SAB). Choral Octavo. Latin, World: Latin. Choral Octavo. 12 pages. Published by Alfred Publishing.

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).

By Laszlo Halmos. Edited by Kalman Zsongor. For SSA Choir. Masses, Latin. Score. Language: Latin. 12 pages

(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.

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

By Jerry Estes. For Choir. (3-Part Mixed). Choral Octavo. Choral Designs. Choral Octavo. 16 pages. Published by Alfred Publishing.

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 Gary E. Parks. Choir Sacred. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Christmas; Latin; Sacred; Winter. 12 pages. Published by Alfred Music

By Jerry Estes. For 3-part mixed Choir Piano, Latin Text. Christmas, Concert. Octavo. Published by Heritage Music Press

(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. Traditional Latin Text. Series: Alfred Choral Designs. 12 pages. Published by Alfred Publishing.

By Kirby Shaw. (SAB). Choral. Festival. Size 6.8x10.5 inches. 12 pages. Published by Hal Leonard.

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.

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

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

Composed by Laura Farnell. Traditional Latin. Octavo. Duration 1 minute, 50 seconds. BriLee Music #BL980. Published by BriLee Music (CF.BL980).

Choral (3-Part Mixed choir)

SKU: HL.282853

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 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.

Choral (3-Part Mixed choir)

SKU: HL.260499

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 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

3-Part Mixed Choral (3-Part Mixed choir)

SKU: HL.1118330

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.

Choral (3-Part Mixed choir)

SKU: HL.8552380

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.

Choir Secular Percussion (SAB choir/3-Part choir Mixed)

SKU: AP.47586

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 Designs. Folk Song; Latin; Multicultural, World: Latin. Choral Octavo. 12 pages. Published by Alfred Publishing.

SAB choir

SKU: GH.CG-5228

Composed by Lennart Lunden. Octavo. With Language: Latin. Gehrmans Musikforlag #CG 5228. Published by Gehrmans Musikforlag (GH.CG-5228).

ISBN 9790070023665. 185 x 262 mm inches. Text: Traditional.

Text fran en latinsk studentramsa - Den som dricker gott, sover gott.