Gathering Rite.
Composed by Gary Daigle.
Ritual Prayer. Sacred,
Gathering. Octavo. With
guitar chord names. 16
pages. GIA Publications
#4762. Published by GIA
Publications (GI.G-4762).
SAB choir, assembly, keyboard accompaniment, 2 C instruments, 2 octaves handbell...(+)
SAB choir, assembly,
keyboard accompaniment, 2
C instruments, 2 octaves
handbells, guitar
SKU:
GI.G-9006
A
Through-Composed Setting,
Revised Order of Mass
2010. Composed by
Marty Haugen. Ritual
Prayer. Sacred. Octavo.
With guitar chord names.
8 pages. GIA Publications
#9006. Published by GIA
Publications (GI.G-9006).
UPC: 785147900603.
English. Text Source:
Revised Order of Mass
2010.
A tasteful,
sophisticated adaptation
of Marty Haugen’s
beloved “Glory to
God†in a new,
through-composed setting.
Although interspersed
with new transitions and
harmonies, Haugen
maintains the essence of
what made his Mass of
Creation so popular over
thirty years
ago—and a mainstay
ever since. A must-have
for a congregation
requiring use of a
through-composed
“Glory to
God†without
venturing into unfamiliar
territory.
Rite of
Blessing and Sprinkling
of Water. Composed by
Gary Daigle. Celebration
Series. Sacred. Octavo.
With guitar chord names.
16 pages. GIA
Publications #4020.
Published by GIA
Publications (GI.G-4020).
Text Source: vs. of
sprinkling rite. Text by
Rory Cooney.
Arranged by Hal H. Hopson. For SAB choir (2-part). Masterwork, Classics, Peace, ...(+)
Arranged by Hal H.
Hopson. For SAB choir
(2-part). Masterwork,
Classics, Peace,
Christmas, Sacred.
Octavo. 8 pages.
Published by Hope
Publishing Company
By Johann Christoph Friedrich Bach. Arranged by Patrick M. Liebergen. (SSA). Ch...(+)
By Johann Christoph
Friedrich Bach. Arranged
by Patrick M. Liebergen.
(SSA). Choral. Festival.
Size 6.75x10.5 inches. 12
pages. Published by Hal
Leonard.
SAB choir, assembly,
keyboard accompaniment,
flute, oboe, violin 1,
violin 2, viola, cello,
guitar - Early
intermediate
SKU:
GI.G-10048
A
Through-Composed Setting,
Revised Order of Mass
2010. Composed by
Tony Alonso S.J. Ritual
Prayer. Sacred. Octavo.
With guitar chord names.
8 pages. GIA Publications
#10048. Published by GIA
Publications
(GI.G-10048).
UPC:
785147004813. English.
Text Source: Revised
Order of Mass
2010.
Glory to God Chorale 3 parties 3 parties Mixtes [Octavo] Heritage Music Press
Composed by George Frideric Handel (1685-1759). Arranged by Michael Ryan. Christ...(+)
Composed by George
Frideric Handel
(1685-1759). Arranged by
Michael Ryan. Christmas.
Octavo. Heritage Music
Press #15/3410H.
Published by Heritage
Music Press
(LO.15-3410H).
Choral SSA choir SKU: CF.CM9580 Composed by Richard Rasch. Arranged by Ri...(+)
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.
(Easy-to-Prepare Christmas Anthems for SAB Choirs). By Larry Pugh. For SAB choir...(+)
(Easy-to-Prepare
Christmas Anthems for SAB
Choirs). By Larry Pugh.
For SAB choir and piano.
Advent, Christmas,
Epiphany, Sacred. Sacred
Choral Collection
Gloriosi Chorale 3 parties SAB - Facile GIA Publications
SAB choir, cantor, priest, assembly, keyboard accompaniment, 2 C instruments, tr...(+)
SAB choir, cantor,
priest, assembly,
keyboard accompaniment, 2
C instruments, trumpet in
B-flat, trumpet in C,
cello, guitar - Early
intermediate
SKU:
GI.G-10515
Music
of the Paschal Triduum /
Música del Triduo
Pascual. Composed by
Tony Alonso S.J. Lent,
Eastertide, Holy
Thursday, Good Friday,
Easter Vigil, Easter
Sunday, Easter PM.
Sacred. With guitar chord
names. 296 pages. GIA
Publications #10515.
Published by GIA
Publications
(GI.G-10515).
SAB choir, cantor, priest, assembly, 2 C instruments, trumpet in B-flat, trumpet...(+)
SAB choir, cantor,
priest, assembly, 2 C
instruments, trumpet in
B-flat, trumpet in C,
cello, guitar
SKU:
GI.G-10515C
Music
of the Paschal Triduum /
Música del Triduo
Pascual. Composed by
Tony Alonso S.J. This
edition: Choral edition.
Sacred. 128 pages. GIA
Publications #10515C.
Published by GIA
Publications
(GI.G-10515C).
SAB choir, solo or solo section (medium range), piano - Beginning SKU: GI.G-8...(+)
SAB choir, solo or solo
section (medium range),
piano - Beginning
SKU:
GI.G-8115
Composed by
Bob Moore. Christ the
King. Celebration Series.
Sacred. Octavo. 12 pages.
GIA Publications #8115.
Published by GIA
Publications (GI.G-8115).
UPC: 785147811503.
English. Text Source: Sei
Lob und Ehr' den
höchsten Gut;
Translation: Frances
Elizabeth Cox. Text by
Johann Jacob
Schütz.
This
lesser-known, yet solid,
text may be from times
passed, but the tune is
fresh and jaunty. A
soloist or unison voices
take the first stanza
along with piano
accompaniment, the second
stanza adds the choir
singing oo to support the
soloist. For the third
stanza, the choir divides
into two parts, then all
join together for the
final stanza. A coda
builds from unison to
SAB, ending in a final
outcry from the choir,
“To God all praise
and glory!â€.
Messiah Chorale 3 parties 3 parties Mixtes Heritage Music Press
Composed by George Frideric Handel (1685-1759). Arranged by Michael Ryan. Choral...(+)
Composed by George
Frideric Handel
(1685-1759). Arranged by
Michael Ryan. Choral
collection. Educational
Choral, Christmas.
Choral score
(reproducible). Heritage
Music Press #45/1184H.
Published by Heritage
Music Press
(LO.45-1184H).
SAB choir, cantor, priest, assembly, keyboard accompaniment, flute, trumpet in B...(+)
SAB choir, cantor,
priest, assembly,
keyboard accompaniment,
flute, trumpet in B-flat,
trumpet in C, guitar -
Early intermediate
SKU: GI.G-9664
Composed by Francis
Patrick O'brien. This
edition: Choral /
Accompaniment edition.
Mass. Sacred. With guitar
chord names. 80 pages.
GIA Publications #9664.
Published by GIA
Publications (GI.G-9664).
UPC: 785147966401.
English, Greek, Latin.
Text Source: Revised
Order of Mass 2010,
Lectionary for
Mass
Francis
Patrick O’Brien
has written a new mass
setting that speaks to
the sensible and real
needs of parish settings.
Engaging congregational
melodies are enhanced by
simple—but never
simplistic— SAB
choral parts, both of
which are supported by a
versatile keyboard part.
The instrumental parts
for flute and trumpet may
be used separately or
together. Two settings of
the Glory to God are
included: a
through-composed setting
and a refrain
setting.
SAB chorus SKU: HP.C6322 Composed by Mary McDonald. Piano with optional O...(+)
SAB chorus
SKU:
HP.C6322
Composed by
Mary McDonald. Piano with
optional Orchestra.
Octavo. Hope Publishing
Company #C6322. Published
by Hope Publishing
Company (HP.C6322).
UPC:
763628163228.
Origi
nal anthem This original
anthem powerfully
proclaims that God is
'the light, he's the
courage, he's the
strength. Holy, holy, God
Almighty! He is the power
and the glory, God
Almighty is!'Celebrating
the many attributes of
God, the riveting melody
and harmonies will lift
the congregation in
praise to God. The
sweeping orchestration is
by Ed Hogan.
((with We Plow the Fields and Scatter and Now Thank We All Our God)). By James B...(+)
((with We Plow the Fields
and Scatter and Now Thank
We All Our God)). By
James Barnard. Arranged
by Stan Pethel. SAB.
Glory Sound Simply
Sacred. 8 pages.
Published by Shawnee
Press
SSA choir, piano accompaniment SKU: KJ.6287 Composed by John Ferguson. Co...(+)
SSA choir, piano
accompaniment
SKU:
KJ.6287
Composed by
John Ferguson.
Collection. Bradley
Ellingboe Music for
Women's Choir. Sacred,
Choral, Christmas.
Octavo. Neil A. Kjos
Music Company #6287.
Published by Neil A. Kjos
Music Company (KJ.6287).
By Michael Burkhardt. For 2-part choir and keyboard (2 optional C instruments). ...(+)
By Michael Burkhardt. For
2-part choir and keyboard
(2 optional C
instruments). (SAB or
3-part). Choral Music.
Christmas. Level:
Medium/Medium-Difficult.
Published by MorningStar
Music Publishers.
SAB choir, assembly, keyboard accompaniment, 2 octaves handbells, guitar, C inst...(+)
SAB choir, assembly,
keyboard accompaniment, 2
octaves handbells,
guitar, C instrument 1, C
instrument 2
SKU:
GI.G-9006INST
A
Through-Composed Setting,
Revised Order of Mass
2010. Composed by
Marty Haugen. Sacred.
Full score and parts. 8
pages. GIA Publications
#9006INST. Published by
GIA Publications
(GI.G-9006INST).
UPC:
785147900696. English.
Text Source: Revised
Order of Mass
2010.
By Dale Peterson and J. Paul Williams. For SAB Choir (SAB). Shawnee Press. Chora...(+)
By Dale Peterson and J.
Paul Williams. For SAB
Choir (SAB). Shawnee
Press. Choral, Obligato
Instrument-Flute,
Christmas, Youth Choirs
and Sacred. 12 pages
