By A Donato. Arranged by Russell L. Robinson. For Choir. (3-Part Mixed, a cappella). Choral Octavo. Madrigal. Level: Level 3 (grade L3). Choral Octavo. 8 pages. Published by Alfred Publishing.

SAB choir, keyboard accompaniment, violin 1, violin 2, viola, cello

SKU: GI.G-8751INST

Arranged by Rory Cooney. Christmastide, Christmas Eve. Christmas. Sacred. Full score and parts. 12 pages. GIA Publications #8751INST. Published by GIA Publications (GI.G-8751INST).

English. Text by Rory Cooney.

Traditional Spiritual/arr. John Leavitt. Arranged by John Leavitt. Sacred Choral. Christmas, Concert, Sacred, Spiritual. Octavo. 12 pages. Published by Hal Leonard

Arranged by Mark Hayes. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Folk. Choral Octavo. 12 pages

(For SAB Voices with Keyboard). By Anonymous. Arranged by Crawford R. Thoburn. Mixed chorus. For SAB, Keyboard. Music of Crawford Thoburn. Choral. Piano/Vocal Score. Standard notation. 8 pages

By Antonio Vivaldi (1678-1741). Arranged by Patrick M. Liebergen. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo; Masterworks. Choral Designs. Baroque; Christmas; Masterwork; Winter. Choral Octavo. 12 pages

(The Dove). By Traditional Venezuelan. Arranged by Cristian Grases. (SSA). Walton Choral. 16 pages. Published by Walton Music.

By Chris Eaton and Amy Grant. Arranged by Lloyd Larson. For SAB or Three-Part Mixed choir. Scripture Reference: Luke 1:26-56. Advent, Christmas, Contemporary, Sacred. Choral octavo. 12 pages

By Robin Mark. Arranged by Jack Schrader. For SAB or Three-Part Mixed choir. Scripture References: Deuteronomy 18:15-18 -- 1 Kings:17:1 -- Isaiah:40:3 -- Ezekiel:37:1-14 -- 1 Thessalonians 4:16. Sacred, Festival, Praise and Worship, Contemporary. Choral octavo. 16 pages

By George Gershwin and Ira Gershwin. Arranged by Jay Althouse. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Pop Choral. 12 pages. Published by Alfred Music

By George Gershwin and Ira Gershwin. Arranged by Jay Althouse. Choir Secular. Women's Choir. Choral Octavo. Pop Choral. 12 pages. Published by Alfred Music Publishing

SAB choir, assembly, keyboard accompaniment, guitar, flute, violin 1, violin 2, viola, cello

SKU: GI.G-9374INST

Composed by Marty Haugen. Tune Name: Seek Peace. Sacred. Full score and parts. With guitar chord names. 16 pages. GIA Publications #9374INST. Published by GIA Publications (GI.G-9374INST).

UPC: 785147937494. English. Text by Adam M. L. Tice.

The keyboard accompaniment and guitar chords are printed in the full score.

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.

For Three-Part Mixed Voices with Keyboard and Optional Rhythm Parts. By Anonymous. Arranged by Carl Strommen. Text: Anonymous. Mixed choir. For 3-part Mixed and Keyboard W/Optional Rhythm Parts. (2-part). Choral. Piano/Vocal Score. 12 pages. Published by Carl Fischer.

Composed by Roy C. Bennett and Sid Tepper. Arranged by Gary Fry. Choir Secular. For Chamber Orchestra (Women's Choir). Choral Octavo. Archive Edition. Christmas; Novelty; Secular; Winter. 12 pages. Published by Alfred Music

Choral Octavo. Alfred Choral Designs. Sacred. 12 pages. Published by Alfred Music (AP.45373).

SSA choir, a cappella (Upper Voices - 3 parts or more)

SKU: OU.9780193862418

Composed by Libby Larsen. Secular Choral - Upp. Voices. Secular, Choral Leaflet. Vocal score. 20 pages. Duration 3'. Oxford University Press #9780193862418. Published by Oxford University Press (OU.9780193862418).

ISBN 9780193862418.

For upper voices (SSA), unaccompanied An exuberant song of rejoicing at the dawn, with a catchy, toe-tapping refrain of 'Cry jubilee'.

By John Leavitt. Choir Sacred; Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Sacred. 8 pages. Published by Alfred Music Publishing

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

SKU: AP.31129

Composed by David Lantz. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular. Choral Octavo. 12 pages. Alfred Music #00-31129. Published by Alfred Music (AP.31129).

UPC: 038081339016. English. Susan Bentall Boersma.

This lively song features equal parts English and Spanish text, telling you to dance . . . from your head down to your feet. And that's exactly what you'll want to do when performing the infectious Latin rhythms and the fresh contemporary harmonies. Sizzles and grows to the end. Featured on the Danza! Movement DVD (00-31225).

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

By Christoph Willibald Gluck, ed. and arr. Patrick M. Liebergen. Choir Secular. For 2 Opt. Flutes (Women's Choir). Choral Octavo; Masterworks. Choral Designs. Classical; Masterwork Arrangement. 12 pages. Published by Alfred Music

Choral (SSA Choir)

SKU: HL.8203036

By Enya. By Enya and Nicky Ryan. Arranged by Kirby Shaw. Pop Choral Series. New Age, Nineties, Pop, Show Choir. Octavo. 12 pages. Published by Hal Leonard (HL.8203036).

UPC: 884088633219. 6.75x10.5 inches.

The Irish artist Enya captures the ebb and flow of the Caribbean wind and waters in this lilting song from her second album. The layered vocals and finger style accompaniment for guitar or keyboard will create a mesmerizing atmosphere in performance. Available separately: SATB, SAB, SSA, ShowTrax CD. Rhythm section parts available as a digital download (syn, gtr, b, dm). Duration: ca. 3:10.

SAB choir, piano accompaniment - Early intermediate

SKU: GI.G-9648

Composed by Bob Moore. Palm Sunday, Holy Thursday, Good Friday, Body and Blood of Christ. Choral. Sacred. Octavo. 12 pages. GIA Publications #9648. Published by GIA Publications (GI.G-9648).

UPC: 785147964803. Latin. Text Source: Ascr. Innocent VI, d. 1362.

This contemporary setting of the classic Latin eucharistic text finds a charming introduction and conclusion in brief quotes of Felix Mendelssohn’s familiar Songs without Words, op. 30, no. 3. Accessible phrasing and voice leading in the SAB choral parts seamlessly follow multiple modulations with adept support from the piano accompaniment, while the endearing recurrence of the opening melodic motive further unifies the piece.

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

SKU: AP.49646

Arranged by Ruth Morris Gray. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Christmas; Folk; Secular; Traditional; Winter; World. Choral Octavo. 16 pages. Alfred Music #00-49646. Published by Alfred Music (AP.49646).

UPC: 038081567334. English. Traditional Andalusian Villancico.

A basic synopsis of the Spanish: let's celebrate the holiday by playing tambourines and rattles. This lively a cappella arrangement of the traditional Andalusian villancico offers downloadable percussion parts, as inspired by the text. Ruth Morris Gray's real-world teaching experience and seasoned writing skills are evident throughout, ensuring a smooth rehearsal process during the busiest time of year. A fun way to bring variety to holiday programs!

Composed by Susan Bentall Boersma, music by David Lantz III. Choir Secular. For Opt. Guitar/Mandolin, Bass, and Violin (Women's Choir). Choral Octavo. Choral Designs. Secular. 12 pages. Published by Alfred Music

SAB choir, cantor, assembly, keyboard accompaniment, C instrument, bassoon, cello, guitar - Beginning

SKU: GI.G-9483

Composed by Zack Stachowski. Advent, OT 15 C, Christ the King A. Celebration Series. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #9483. Published by GIA Publications (GI.G-9483).

UPC: 785147948308. English. Text by Zack Stachowski.

Instrum ent parts are for C instrument and cello or bassoon. Listen to the song and follow the score in the video below.  .