By Michael Praetorius (1571-1621). Arranged by Russell L. Robinson. For Choir. (SSA, a cappella). Choral Octavo. Masterwork, Christmas. Choral Octavo. 8 pages. Published by Alfred Publishing.

By Michael Praetorius (1571-1621). Arranged by Russell L. Robinson. For Choir. (SAB, a cappella). Choral Octavo. Masterwork, Christmas. Choral Octavo. 8 pages. Published by Alfred Publishing.

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

3-part mixed choir and piano

SKU: LO.45-1633H

Composed by Russell L. Robinson. Choral collection. Educational Choral, Christmas. Heritage Music Press #45/1633H. Published by Heritage Music Press (LO.45-1633H).

ISBN 9780787761318.

A treasury of eight traditional Christmas carols in easy-to-learn arrangements presented in a budget-stretching reproducible format. This collection features a rich mix of styles, tempi, and usages in two-to-three-minute titles, easily combined for longer durations. Careful attention has been made to Part III to ensure comfortable ranges and simple voice-leading. Full performance/accompaniment CD is also available.

Composed by Lloyd Larson. Choral, cantatas. Advent, Christmas. Choral score. Lorenz Publishing Company #65/2085L. Published by Lorenz Publishing Company (LO.65-2085L).

Composed by John Baptiste Calkin, words by Henry Wadsworth Longfellow. Choir Sacred. Men's Choir. Choral Octavo. Choral Designs. Christmas; Sacred; Winter. 12 pages. Published by Alfred Music

Arranged by John Moss, Audrey Snyder. (3 Part Mixed). Secular Christmas Choral. 12 pages. Published by Hal Leonard.

By Susan Naylor Callaway. For SAB choir and piano (with optional C instrument, digital keyboard). Sacred Anthem: Advent, Christmas. Octavo. Published by Lorenz Publishing Company

By Jay Althouse. For Choir. (SAB). Choral Octavo. Choral Designs. Multicultural; Spiritual, Christmas. Choral Octavo. 8 pages. Published by Alfred Publishing.

Composed by David Blackwell. Christmas Songs and Carols - Mixed Voices. Christmas. Vocal score. 12 pages. Duration 3.5'. Oxford University Press #9780193535534. Published by Oxford University Press

Composed by Stephen Mager. University of Notre Dame Children's Choir Series. Christmas, 21st Century. Octavo. Published by MorningStar Music Publishers (MN.50-1715).

(and the Day Before That!). Composed by Amy F. Bernon. For 3-part mixed choir and piano. Secular Christmas. Octavo. Published by Heritage Music Press

Arranged by Rory Cooney. Christmastide, Christmas Vigil, Christmas Night, Christmas Dawn, Christmas Day. Sacred. Octavo. With guitar chord names. 12 pages. Published by GIA Publications (GI.G-8783).

SAB choir and piano

SKU: LO.65-2125L

Composed by Pepper Choplin. Arranged by Michael Lawrence. Choral, cantatas. Christmas. Choral score. Lorenz Publishing Company #65/2125L. Published by Lorenz Publishing Company (LO.65-2125L).

ISBN 9780787789961.

Ball ads have been used throughout history to tell a story through music. Pepper Choplin has long used his signature musical voice to tell the meaningful stories of our faith, so itâ??s especially fitting that heâ??s brought the timeless story of Christmas alive once more with The Ballad of Bethlehem. Available for SATB or SAB choirs with rehearsal aids and accompaniment options ranging from piano only to a thrilling full orchestra written by Michael Lawrence to recorded tracks, this stunning cantata dramatically moves from a recollection of ancient prophecies through the quiet manger scene to its joyous conclusion featuring a rousing call to â??Shout with the Shepherds!â? This season, let the folk-like energy of Pepper Choplinâ??s unique voice bring The Ballad of Bethlehem to you and your listeners. â??O sing a ballad of Bethlehem. I want to hear it once more. I love that story so often told to generations before.â?.

Choral (SSA Choir)

SKU: HL.286300

Creating Artistry. Arranged by Nancy Grundahl. Henry Leck Creating Artistry. Christmas, Concert. Octavo. 12 pages. Published by Hal Leonard (HL.286300).

UPC: 888680894887. 6.75x10.5 inches.

This beautiful German carol, famously harmonized by Praetorius is here arranged for women's voices. Beginning in a gentle and homophonic style, the singers begin polyphonic singing with each voice part rising above one another creating beautiful lines and vocal independence. An optional piano or harp part is offered for choirs needing the support but longing for such a beautiful and stylistic piece for their winter/Christmas concert.

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.

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

SKU: AP.48302

Composed by Greg Gilpin. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Christmas; Secular; Traditional. Choral Octavo. 16 pages. Alfred Music #00-48302. Published by Alfred Music (AP.48302).

UPC: 038081551258. English.

Zesty old-world charm resonates throughout this festive original Christmas song by Greg Gilpin, which nestles a few favorite carol lyrics within a delightful children's poem. Notated vocal slides decorate many cadences along the way and add to the minor-key merriment. Perform with ribboned tambourines and the optional SoundTrax for extra Eastern European flair!

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 Jerry Estes. For Choir. (3-Part Mixed (with Opt. Sign Language)). Choral Octavo. Choral Designs. Peace/Brotherhood, Christmas. Choral Octavo. 12 pages. Published by Alfred Publishing.

Choir Secular (Women's Choir)

SKU: AP.50199

Recorded by Dan Shay. Composed by Andy Albert, Dan Smyers, Jordan Reynolds, and Shay Mooney. Arranged by Jack Zaino. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Christmas; Country; Holiday Pops; Radio; Secular. Choral Octavo. 12 pages. Alfred Music #00-50199. Published by Alfred Music (AP.50199).

UPC: 038081573694. English.

Christmas isn't Christmas if it's not with you. Nashville music duo Dan Shay wrote this sentimental ballad with their families in mind. The sweet melodic hook and a heartfelt text translate beautifully for choral singing. Stage an intimate performance with piano alone, invite a guitar player to strum along for some contemporary color, or use the orchestrated SoundTrax for full effect.

Arranged by John Purifoy. (SAB). Brookfield Choral Series. Sacred. Size 6.8x10.5 inches. 40 pages. Published by Brookfield Press.

Discovery Level 1. Composed by Benjamin R. Hanby. Arranged by Mac Huff. Discovery Choral. Christmas. Octavo. Published by Hal Leonard

By Donna Gartman Schultz. For SSA choir, piano, harp (keyboard), oboe. Christmas, Sacred. Sacred Anthem. Published by Lorenz Publishing Company. (10/3717L)

Choral (3-Part Mixed choir)

SKU: HL.287264

Discovery Level 2. Arranged by Cristi Cary Miller. Discovery Choral. Christmas, Holiday. Octavo. 16 pages. Published by Hal Leonard (HL.287264).

UPC: 888680902964. 6.75x10.5 inches.

The Christmastime favorite has been given a playful and unique setting for elementary and middle school choirs. Set in 4/4 meter, along with an optional descant and part for French Horn, this traditional piece evolves into something special that both encourages the singer and delights the audience!

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

SKU: AP.50265

Composed by Gordon Lightfoot. Arranged by Justine Sasanfar and Michael Hanawalt. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Christmas; Holiday Pops; Pop; Radio; Secular; Winter. Choral Octavo. 12 pages. Alfred Music #00-50265. Published by Alfred Music (AP.50265).

UPC: 038081574356. English.

Songsmith Gordon Lightfoot's ballad expresses the longing to be with loved ones on a cold, snowy night. This artistic concert setting is a beautiful feature for your collaborative pianist with an elegant accompaniment that ebbs and flows beneath the light and airy melody. In the middle, this distinctive arrangement softens to a rubato a cappella section, garnering chills.