By Linda Spevacek. For SSA choir (a cappella). Christmas. Educational choral collection

Joy: A Carol Collection (20 A Cappella Christmas Favorites). Arranged by Jay Althouse. Choir Secular. For SSA, a cappella choir (Women's Choir). Choral Collection. Choral Designs. Choral, Christmas, Sacred and Secular. Collection. 24 pages. Published by Alfred Music Publishing

Arranged by Deke Sharon. (SAB A Cappella). Choral Collection. Size 6.75x10.5 inches. 30 pages. Published by Contemporary A Cappella Publishing.

SSA Collection. Composed by Various. Choral Collection. Secular, Holiday, Christmas, Sacred, Winter. Softcover. Published by Hal Leonard

Arranged by Jay Althouse. Collection for SAB A Cappella. 24 pages. Published by Alfred Publishing.

By Larry Pugh. For SAB choir, 2-part choir, 2-part mixed choir and Unison choir. Sacred. Sacred Choral Collection. Published by Lorenz Publishing Company. (45/1118L)

By Mary Goetze. (SSA A Cappella). BH Mary Goetze. Size 6.75x10.5 inches. 8 pages. Published by Boosey & Hawkes.

Arranged by Robert DeCormier. Choir Sacred. Women's Choir. Choral (Sacred); Choral Octavo; Worship Resources. Lawson-Gould. Christmas; Sacred; Winter. Grade 3. 12 pages. Published by Alfred Music Publishing

Arranged by William Ryden. For SAB Choir. Choral Music. Octavo. Published by Bourne Music Co.

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.

Arranged by Wesley D. Peters. Sing! Christmas, Holiday, Winter. Octavo. Published by Chorister's Guild (LO.CGE89).

Choral (TTB Choir)

SKU: HL.300447

Arranged by David Waggoner. Shawnee Press. Christmas. Octavo. 16 pages. Published by Shawnee Press (HL.300447).

ISBN 9781540062857. UPC: 888680961770. 6.75x10.5x0.036 inches.

Rhythmic with lots of vocal color, this new arrangement of the sixteenth century Spanish carol is a delight for mixed as well as men's voices. A steady eighth note pattern in the energetic accompaniment creates a steady beat as the piece moves seamlessly from the Rui, Rui, Chiu to God Rest Ye Merry, Gentlemen, making use of both Spanish and English languages adding a delightful familiarity for the audience.

Choral (SAB)

SKU: HL.300446

Arranged by David Waggoner. Shawnee Press. Christmas. Octavo. 12 pages. Published by Shawnee Press (HL.300446).

ISBN 9781540062840. UPC: 888680961763. 6.75x10.5x0.036 inches.

Rhythmic with lots of vocal color, this new arrangement of the sixteenth century Spanish carol is a delight for mixed as well as men's voices. A steady eighth note pattern in the energetic accompaniment creates a steady beat as the piece moves seamlessly from the Rui, Rui, Chiu to God Rest Ye Merry, Gentlemen, making use of both Spanish and English languages adding a delightful familiarity for the audience.

Arranged by James Jerome Williams. Octavo. 20 pages. Duration 2 minutes, 40 seconds. Carl Fischer #CM09454. Published by Carl Fischer (CF.CM9454).

Based on a Traditional Glouchester Carol, words and music by Douglas E. Wagner. For Choir. (SSA). Choral Octavo. Choral Designs. Madrigal; Multicultural. Choral Octavo. 12 pages. Published by Alfred Publishing.

Arranged by Hal H. Hopson. For SAB choir (2-part). Masterwork, Classics, Peace, Christmas, Sacred. Octavo. 8 pages. Published by Hope Publishing Company

Choral Octavo. Alfred Choral Designs. Christmas; Secular; Winter. 16 pages. Published by Alfred Music

By Douglas E. Wagner. For SSA Choir and Piano (with optional concert band). Christmas. Grade 3. Octavo. Published by Heritage Music Press

By Douglas E Wagner. For TTB/TBB choir and piano (with optional concert band). Christmas. Octavo

By Douglas E Wagner. For SAB choir and piano (with optional concert band). Christmas. Octavo

(Traditional English Carols). By David Perry, Jean Perry. For TBB choir, optional keyboard. Octavo. Duration 2 minutes. Published by Carl Fischer

Composed by Christopher Pillsbury Lynn Bailey. SWS. Octavo. With Standard notation. BriLee Music #BL1010. Published by BriLee Music

Choral Octavo. Alfred Choral Designs. Christmas; Novelty; Secular; Winter. 16 pages. Published by Alfred Music (AP.43336).

Arranged by and ed. Gwyn Arch and Ben Parry. Choir Sacred. 3-Part Mixed Choir (SAB). Book; Choral (Sacred); Choral Worship Collection; Worship Resources. Faber Edition. Christmas; Sacred; Winter. Published by Faber Music

Choir (Women's Choir)

SKU: AP.48320

Arranged by Chad Weirick. Performance Music Ensemble; Single Titles. Lawson-Gould. Christmas; Sacred; Traditional. Choral Octavo. 20 pages. Alfred Music #00-48320. Published by Alfred Music (AP.48320).

UPC: 038081551432. English. Traditional English Carol.

Here's a wildly inventive reimagining of the traditional English carol that will be a highlight on holiday concerts. The dazzling piano introduction ushers in a rush of crystal-clear chords in bright contemporary harmony, while frequent shifts of meter and style conjure an assortment of moods, from celebratory to reflective. A stunning concert setting that is worth the extra rehearsal.