Composed by Appalachian Song. Arranged by Debra Morton. Fold. Octavo. 8 pages. Duration 2:30. BriLee Music #BL1118. Published by BriLee Music

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 Belinda Carlisle. By Ellen Shipley and Rick Nowels. Arranged by Mark A. Brymer. Pop Choral Series. Pop, A Cappella, Show Choir, Rock, Eighties, Pop/Rock. Octavo. 16 pages. Published by Hal Leonard

Choral SSA Choir and Piano

SKU: CF.CM9718

Composed by Meredith Tompkins. 8 pages. Duration 2 minutes, 23 seconds. Carl Fischer Music #CM9718. Published by Carl Fischer Music (CF.CM9718).

ISBN 9781491160978. UPC: 680160919574. Key: D major. English. Manmohan Ghose.

Manmohan Ghose was a professor, poet, and brilliant scholar from Eastern India in the late 19th century. He was educated in London, and was one of the first poets originally from India to publish poetry in English. A Lament is one of his earliest published poems; it progresses with vivid, scenic language from lullaby to permanent goodbye. Much later in life, Manmohan experienced a series of family tragedies that gave him a unique perspective on grief. After returning to India to mourn his father's death and eventually the passing of his wife, he never again made it back to England as he had wished to before his own death. The text of this piece has been paired with a mixolydian modal structure and a blend of musical elements designed to invoke a nostalgic, dream-like atmosphere. In the words of the composer: I like to think of this piece as a metaphorical hall of mirrors. The original 'image' of the melody becomes the source for multiple echoes and imitations that blossom into layers of polyphonic movement. As a nod to the poet's birth place, notes reminiscent of the kan-swar grace note technique of Hindustani classical music add ornamental interest to the piano and voices. This piece functions as an excellent educational introduction or further study into the concept of modes. When presenting this piece to a choir, directors may find it helpful to identify G as the tonal center and follow up with an explanation that G mixolydian has the same key signature as the key of C, because it naturally has no sharps or flats.
Manmohan Ghose was a professor, poet, and brilliant scholar from Eastern India in the late 19th century. He was educated in London, and was one of the first poets originally from India to publish poetry in English. “A Lament” is one of his earliest published poems; it progresses with vivid, scenic language from lullaby to permanent goodbye. Much later in life, Manmohan experienced a series of family tragedies that gave him a unique perspective on grief. After returning to India to mourn his father’s death and eventually the passing of his wife, he never again made it back to England as he had wished to before his own death. The text of this piece has been paired with a mixolydian modal structure and a blend of musical elements designed to invoke a nostalgic, dream-like atmosphere. In the words of the composer: “I like to think of this piece as a metaphorical hall of mirrors. The original ‘image’ of the melody becomes the source for multiple echoes and imitations that blossom into layers of polyphonic movement.” As a nod to the poet’s birth place, notes reminiscent of the kan-swar grace note technique of Hindustani classical music add ornamental interest to the piano and voices. This piece functions as an excellent educational introduction or further study into the concept of modes. When presenting this piece to a choir, directors may find it helpful to identify G as the tonal center and follow up with an explanation that G mixolydian has the same key signature as the key of C, because it naturally has no sharps or flats.

Choral SAB chorus, piano

SKU: CF.CM9731

From Requiem, Op 45. Composed by Johannes Brahms. Arranged by Russell L. Robinson. 20 pages. Duration 5:30. Carl Fischer Music #CM9731. Published by Carl Fischer Music (CF.CM9731).

ISBN 9781491161111. UPC: 680160919703. Key: C major. English.

Johannes Brahms, born May 7, 1833 in Hamburg, Germany and died April 3, 1897 in Vienna where he lived most of his life. Brahms is one of the most famous composers of the Romantic period (1830-1920) although his music has many elements of the Classical period (1750 to 1830) as he followed many of the practices of Classical composers Haydn, Mozart and Beethoven. In addition to being a composer, he was also well-known as a pianist and conductor. Brahms began writing the Requiem (also known as the German Requiem, Opus 45) soon after his mother died in February 1865 which caused him great grief. In April of that year, he completed the first, second and fourth movements and completed the rest of the seven movements in May of 1868. How Lovely is Thy Dwelling Place (Wie Lieblich sind Deine Wohnungen) was the fourth movement of his seven movement work.   Originally written for SATB voices in E-flat major, this seamlessly similar arrangement for SAB voices, now in C major, affords all voices comfortable ranges. Although, it is approximately 5 minutes and 30 seconds in length, it is perceived to be much shorter because of the contrasting stylistic sections within the work. How Lovely is Thy Dwelling Place is one of the most beautiful choral pieces by Brahms, perhaps in the entire Romantic period.   Although Brahms wrote the original piano reduction, in this edition, it has been made more accessible for pianists with a wide range of skills. Pay close attention to the dynamic markings throughout the piece, making them apparent to the voices, conductor, and audience. I hope you enjoy singing this beautiful and timeless piece by Johannes Brahms! Russell Robinson, Arranger        .
Johannes Brahms, born May 7, 1833 in Hamburg, Germany and died April 3, 1897 in Vienna where he lived most of his life. Brahms is one of the most famous composers of the Romantic period (1830-1920) although his music has many elements of the Classical period (1750 to 1830) as he followed many of the practices of Classical composers Haydn, Mozart and Beethoven.  In addition to being a composer, he was also well-known as a pianist and conductor.  Brahms began writing the Requiem (also known as the German Requiem, Opus 45) soon after his mother died in February 1865 which caused him great grief.  In April of that year, he completed the first, second and fourth movements and completed the rest of the seven movements in May of 1868.  How Lovely is Thy Dwelling Place (Wie Lieblich sind Deine Wohnungen) was the fourth movement of his seven movement work. Originally written for SATB voices in E-flat major, this seamlessly similar arrangement for SAB voices, now in C major, affords all voices comfortable ranges. Although, it is approximately 5 minutes and 30 seconds in length, it is perceived to be much shorter because of the contrasting stylistic sections within the work. How Lovely is Thy Dwelling Place is one of the most beautiful choral pieces by Brahms, perhaps in the entire Romantic period. Although Brahms wrote the original piano reduction, in this edition, it has been made more accessible for pianists with a wide range of skills.  Pay close attention to the dynamic markings throughout the piece, making them apparent to the voices, conductor, and audience.I hope you enjoy singing this beautiful and timeless piece by Johannes Brahms!Russell Robinson, Arranger    .

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

SKU: AP.48924

Composed by Greg Gilpin. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Graduation; Secular. Choral Octavo. 16 pages. Alfred Music #00-48924. Published by Alfred Music (AP.48924).

UPC: 038081562483. English.

Carefully placed staccatos and well-chosen chord inversions illuminate the gospel style of this original anthem of hope. It's a perfect pep talk or pick-me-up theme song for whenever your program needs a lift. A solo voice becomes a duet before all the singers join in and grow with intensity. Several ascending key changes raise spirits, ensuring that the uplifting message resonates. Everything will be alright, everything will be okay, 'cause I can see a new horizon on a brand new day. If you don't perform with the kickin' SoundTrax accompaniment, be sure to add a groovin' drummer and riffing organ of your own. We dare you (and your audience) not to clap along!

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.

(SSS and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). For Choral (SSA). Boosey and Hawkes Sacred Choral. 12 pages. Boosey and Hawkes #M051481620. Published by Boosey and Hawkes

By Don Besig, Nancy Price. For SAB Choir. Choral, Christmas, Epiphany, Incorporating Hymn Tunes and Sacred. Sheet Music. Published by Shawnee Press.

(SSA Chorus, Harp or Piano). By Benjamin Britten (1913-1976). For Choral (SSA). Boosey and Hawkes Sacred Choral. 12 pages. Boosey and Hawkes #M051481644. Published by Boosey and Hawkes

(SSA and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). For Choral (SSA). Boosey and Hawkes Sacred Choral. 12 pages. Boosey and Hawkes #M051481590. Published by Boosey and Hawkes

Composed by Daniel Elder. For Choral (SSA). Walton Choral. Octavo. Walton Music #WW1587. Published by Walton Music

Composed by Paul David Thomas. Sws. Octavo. 16 pages. Duration 3 minutes, 8 seconds. Carl Fischer Music #CM9647. Published by Carl Fischer Music

Choral (SAB Choir)

SKU: HL.214289

Choral Explorations Jazz Series. Composed by Gene De Paul and Sammy Cahn. Arranged by Paris Rutherford. Choral Exploration. Jazz, Standard. Octavo. 12 pages. Published by Hal Leonard (HL.214289).

UPC: 888680663780. 6.75x10.5 inches.

This setting of the fabulous standard is built in a gentle Count Basie style. Beginning with a “two” feel, it moves to a more “four” feel as the arrangement progresses while the singers use a rhythmic style which will place them gently on the back of the beat. Feature your best soloist with either their own improvisation or the notated solo in the score.

From Mary Poppins Returns. Composed by Marc Shaiman. Arranged by Mac Huff. Disney Choral. Movies, Lullaby, Disney, Ballad, Musicals. Octavo. 12 pages. Published by Hal Leonard

Composed by Pavel Borkovec. Arranged by Ken Berg. Sheet music. Pavane Choral. Festival, Concert. Octavo. 1581. 12 pages. Pavane Publishing #P1581. Published by Pavane Publishing (HL.232824).

((Choral Highlights from the Broadway Musical)). Composed by Jason Robert Brown. Arranged by Roger Emerson. For Choral (3-Part Mixed). Broadway Choral. 56 pages. Published by Hal Leonard

Composed by Chris De Silva. Celebration Series. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #9493. Published by GIA Publications

Choral (SSA Choir)

SKU: HL.119263

Composed by Andrew Lippa. Arranged by Mac Huff. Contemporary Choral. Octavo. 16 pages. Published by Hal Leonard (HL.119263).

UPC: 884088907020. 6.75x10.5 inches.

Written by Broadway composer Andrew Lippa while serving as Composer-in-Residence at Texas State University in 2011 in support of the “It Gets Better” project, this uplifting song is a powerful work of affirmation and inclusion to anyone who has ever been bullied or felt out of place.

By Nancy Grundahl. For SSA choir/2-part choir/unison choir. Bradley Ellingboe Music for Women's Choir. Secular, Choral. Choral octavo. Published by Neil A. Kjos Music Company

Choral (SAB Choir)

SKU: HL.288559

From Aladdin. Composed by Alan Menken and Tim Rice. Arranged by John Leavitt. Disney Choral. Broadway, Concert, Disney, Festival, Movies, Musicals, Pop. Octavo. Duration 160 seconds. Published by Hal Leonard (HL.288559).

UPC: 888680911805. 6.75x10.5x0.029 inches.

A thrilling chase, A wondrous place for you and me New audiences are being introduced to this timeless love ballad which takes you on a magic carpet ride to remember. Alan Menken's Aladdin masterpiece now finally joins John Leavitt's treasury of musical theater for the concert stage with optional String and Percussion accompaniment.

By Daniel Meyer. For SAB Chorus and Piano accompaniment. Choral. Sacred. Easy. Text language: English. 8 pages

(CME Beginning). By Rupert Lang. For Choral (3 Part Treble). CME Beginning Series. 16 pages. Boosey and Hawkes #M051476145. Published by Boosey and Hawkes

By Bette Midler. By Julie Gold. Edited by Bob Dingley. Arranged by Teena Chinn. Performance Music Ensemble; Single Titles. Pop choral octavo (SSA). Choral, Adult Contemporary and Pop Vocal. Octavo. With chord names. 12 pages. Alfred Music #00-5802FC2X. Published by Alfred Music

Choral (3-Part Mixed choir)

SKU: HL.1445403

By N Sync. Arranged by Alan Billingsley. Pop Choral Series. Octavo. Duration 220 seconds. Published by Hal Leonard (HL.1445403).

UPC: 196288206323. 6.75x10.5 inches.

After a two-decade recording hiatus, *NSYNC was back on the charts in 2023 with a new smash hit. Featured in Trolls Band Together, “Better Place” combines catchy, feel-good lyrics and a driving disco-pop beat to cast a spell that's nostalgic yet new. With typical panache, Alan Billingsley captures the infectious spirit of the original in an exciting, approachable choral arrangement. Nothing but fun for singers and audience alike!

Composed by Ken Berg. For TTB/TBB choir, piano. Randy and Rachel Stenson Choral Series. Concert, General. Octavo. Santa Barbara Music Publishing #SBMP1169. Published by Santa Barbara Music Publishing

From The Unofficial Bridgerton Musical. Composed by Abigail Barlow and Emily Bear. Arranged by Mac Huff. Pop Choral Series. Ballad, Musicals, Pop, Tv. Octavo. 8 pages. Duration 140 seconds. Published by Hal Leonard

From The Unofficial Bridgerton Musical. Composed by Abigail Barlow and Emily Bear. Arranged by Mac Huff. Pop Choral Series. Ballad, Musicals, Pop, Tv. Octavo. 8 pages. Duration 140 seconds. Published by Hal Leonard

Composed by Lloyd Larson. Arranged by Ed Hogan. Choral, cantatas. Christmas. Choral score. Lorenz Publishing Company #65/2112L. Published by Lorenz Publishing Company