Upon This Rock Chorale 3 parties SAB, Piano Lorenz Publishing Company
By Pepper Choplin. For SAB choir and piano (with optional orchestration). Cantat...(+)
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 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.
(A bold meditation on conflict, communication and compromise). Composed by Eliza...(+)
(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
One Call Away Chorale 3 parties SAB A Cappella Alfred Publishing
Composed by Matthew Prime, Justin Franks, Charlie Puth, Breyan Isaac, Maureen Mc...(+)
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 b...(+)
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
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!
One Call Away Chorale 3 parties SAB, Piano Alfred Publishing
Composed by Matthew Prime; Justin Franks; Charlie Puth; Breyan Isaac; Maureen Mc...(+)
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).
One Call Away Chorale 3 parties SSA, Piano Alfred Publishing
Composed by Matthew Prime, Justin Franks, Charlie Puth, Breyan Isaac, Maureen Mc...(+)
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
Composed by
Paul Tate. Celebration
Series. Sacred. Octavo.
With guitar chord names.
16 pages. GIA
Publications #9094.
Published by GIA
Publications (GI.G-9094).
Upon This Rock Chorale 3 parties SAB A Cappella [Octavo] Lorenz Publishing Company
Composed by Pepper Choplin. For SAB choir (a cappella) and vocal soloist (with o...(+)
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 b...(+)
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...(+)
(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
Hymn to the Trinity Chorale 3 parties SAB, Piano [Conducteur] Brookfield Press
Choral (SAB Choir) SKU: HL.1361693 Composed by John Leavitt. Brookfield C...(+)
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. A...(+)
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. Compo...(+)
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.
Arranged by Teena Chinn. For Choir. (3-part Mixed). Choral Octavo. Broadway. Le...(+)
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. Andre...(+)
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 Sw...(+)
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!
Go to the World! Chorale 3 parties SAB - Débutant GIA Publications
SAB choir, cantor, assembly, keyboard accompaniment, trumpet in B-flat, trumpet ...(+)
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.
(A Hymn Concertato on Christ the Lord Is Risen Today ). Composed by Mary Mcdona...(+)
(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...(+)
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...(+)
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...(+)
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).
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.
Choral SSA choir, piano SKU: CF.CM9772 Composed by Greg Gilpin. Duration ...(+)
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...(+)
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.