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 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 Mary McDonald. Sacred Anthem, All Saints' Day, Christian Life, General. Octavo. Lorenz Publishing Company #10/4844L. Published by Lorenz Publishing Company (LO.10-4844L).

Composed by Ken Medema. Arranged by Mary McDonald. For SAB choir. Father's love, Grace of Jesus, Spirit's power, General. Octavo. Published by Hope Publishing Company

By Gloria; William Gaither. Arranged by Jack Schrader. (SAB or Three-Part). Funeral and Sacred. Print Music Single (SAB). 8 pages. Published by Hope Publishing Company.

By Pepper Choplin. For SAB choir and piano. Dedication, General, Sacred. Sacred Anthem. Published by Monarch Music. (10/3610M)

There is joy overflowing in this Christmas Calypso-style anthem. Tim Bushong makes his Shawnee debut working with veteran Stan Pethel and the results are a one-rehearsal wonder for your holiday programming. Schools and churches alike will resonate with this winner.

(Songbook). By The King's Singers. Arranged by The King's Singers. For choir (one, two, or three-part voices) (Songbook). King's Singer's Choral. Pop Vocal, Traditional Folk, Baroque and Classical Period. Difficulty: easy-medium. Vocal score (one, two and three part rounds). Vocal melody, harmony part and leadsheet notation. 80 pages. Published by Hal Leonard

By Jerry Harris. Edited by Bradley Ellingboe. For SAB choir. Music for the Church Year. Sacred, Choral. Grade 2. Choral octavo. 8 pages. Published by Neil A. Kjos Music Company

Choral SAB or 3-part choir; SAT(B) (SAB or 3-part choir)

SKU: HP.SP824

Composed by Mark Kellner. Piano Accompaniment. General Worship, Renewal, Sacred. Octavo. 8 pages. Hope Publishing Company #SP824. Published by Hope Publishing Company (HP.SP824).

UPC: 763628141639. Christopher Idle. Song of Solomon 2:10-13, Song of Solomon 8:14, John 13:1, Galatians 2:20, 1 John 4:10.

Original ballad The Christopher Idle text for this piece is adapted from the Song of Solomon. These beautiful words of poetry dedicated to love are appropriate for either church or school use. Mark Kellner has provided a gentle ballad setting for three-part mixed voices with optional men's divisi.

Composed by Traditional American. Arranged by Kyle Pederson. School, Church. Walton Choral. Octavo. Walton Music #WW1813. Published by Walton Music

Composed by Matthew Machemer. Sacred. Octavo. Published by Concordia Publishing House (CR.98-4266).

Composed by Sandra Ford. Hinshaw Music. Octavo. 12 pages. Hinshaw Music Inc. #HMC2518. Published by Hinshaw Music Inc. (HL.233908).

By Ken Medena. For SAB choir and Piano accompaniment. The Ken Medena Choral Series. Sacred, General, Celebration, Church, Dedication, Pentecost, Unity. Octavo. 12 pages. Published by Hope Publishing Company.

Composed by Orlando Gibbons (1583-1625). Arranged by David Domet. Text: Saint John 1:19-23. Renaissance treasure. Advent. Octavo. Published by CanticaNOVA Publications (C5.7110).

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

By Mark Hill. For SAB choir and piano (with optional cello). Ready to Worship. Sacred Anthem, Discipleship, Eastertide, General. Octavo. Published by Lorenz Publishing Company

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

Choral (SAB Choir)

SKU: HL.118956

(Venite Adoremus Dominum). Composed by John Purifoy. Sacred Christmas Choral. Christmas. Octavo. 8 pages. Published by Hal Leonard (HL.118956).

UPC: 884088903855. 6.75x10.5 inches.

The traditional Christmas text and new music combine to create an introspective work filled with reverent mystery and rich emotion. Set in a rocking 6/8 and minor mode, the first verse opens with back and forth phrases between the women and men, leading into a contrasting homophonic section in the 2nd verse. Following a modulation, the original melodic material then returns for the final verse. Excellent for school, church and community concerts!

Choral (SAB Choir)

SKU: HL.374949

Arranged by John Leavitt. Brookfield Easter Choral. Easter, Holy Week, Spiritual. Octavo. Duration 210 seconds. Published by Brookfield Press (HL.374949).

UPC: 196288017431. 6.75x10.5x0.029 inches. Acts 2:32, Acts 5:30, Isaiah 53:1, Luke 22:14-24.

From the cantata Calvary's Mountain comes this perennial favorite adorned with gracious writing. Directors will enjoy the quick learning curve on this well-crafted choral, which delivers a fullness of sound without raising the difficulty level. The emotional spiritual is standard repertoire for churches during Holy Week and the restrained approach of this version is a sensitive choice for Tenebrae or other Holy Week traditions. Simply beautiful! Score and Parts (fl 1-2, ob, cl 1-2, bn, perc 1-2, hp, vn 1-2, va, vc, db) available as a digital download.

Composed by Jay Althouse. Octavo for SAB choir and keyboard accompaniment. Series: Alfred Church Choral Series. 12 pages. Published by Alfred Publishing.

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

(A Carol Suite). By Larry Shackley. For SAB choir and piano (with optional congregation, orchestra). Sacred Anthem: Christmas. Octavo. Published by Lorenz Publishing Company

By Ralph Johnson. For choir. (Sab). Choral Octavos. Music for the Church Year. Sacred, Communion. Choral Octavo. Published by Neil A. Kjos Music Company.