3-part equal voices, 3-part mixed voices, SAT, cantor, priest, assembly, keyboard accompaniment, flute - Beginning

SKU: GI.G-4762

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).

Text by Rory Cooney.

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.

By Robert Charlton Bayley. For SAB or Three-Part Mixed choir (2-part). Sacred Praise. Choral octavo

By Blake Shelton. Arranged by Alan Billingsley. For Choral (SSA). Pop Choral Series. 12 pages. Published by Hal Leonard

By Chris Tomlin and Louis Giglio. Arranged by Joel Raney. For SAB choir and piano with optional rhythm section. Octavo. 8 pages. Published by Hope Publishing Company

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.

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.

Choral (SAB Choir)

SKU: HL.155567

By The Beach Boys. By Brian Wilson and Tony Asher. Arranged by Ed Lojeski. Pop Choral Series. Oldies, Pop, Show Choir, Sixties. Octavo. 12 pages. Published by Hal Leonard (HL.155567).

UPC: 888680600754. 6.75x10.5 inches.

From the Beach Boys' 1966 album Pet Sounds, this is arguably one of the top rock songs of all time, with its unconventional orchestration, harmonies, vocal textures and recording techniques - a perfect selection for choirs of today!

By Hugh Livingston. For SAB choir. Sacred. Sacred Choral Collection. Published by Lorenz Publishing Company. (45/1036L)

Praise Be to You, My God!. Composed by Marty Haugen. Celebration Series. Sacred. Octavo. With guitar chord names. 12 pages. Published by GIA Publications (GI.G-9235).

(Sign Us with Ashes, Gather Your People, Feed Us and Guide Us). By Tony Alonso. For SAB Choir, cantor, assembly. Celebration Series. Sacred, Lent. Easy. 8 pages. Published by GIA Publications

Composed by Stuart Townend and Keith Getty. Arranged by Lloyd Larson. Easter, Pentecost, Sacred. Octavo. 12 pages. Published by Hope Publishing Company (HP.C6019).

Composed by Larry Shackley. Sacred Anthem. Octavo. Lorenz Publishing Company #10/4853L. Published by Lorenz Publishing Company (LO.10-4853L).

3-Part Mixed. Arranged by Tom Anderson. (3 Part Mixed). Discovery Choral. Size 6.75x10.5 inches. 8 pages. Published by Hal Leonard.

STB choir, viola or cello, and organ - Early Intermediate Composed by J. Christopher Pardini. All Saints/All Souls, Funeral, 21st Century. Score and instrument part. MorningStar Music Publishers #50-7085. Published by MorningStar Music Publishers

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

By Chris Tomlin, Ed Cash and Jesse Reeves. Arranged by Jack Schrader. For SAB choir or 3-part choir. Choral music. General, Creation, General Worship, Praise, Praise and Worship, Worshiping, Contemporary, Hymntune, Sacred. Choral octavo. 12 pages. Published by Hope Publishing Company

By Twila Paris. Arranged by Lloyd Larson. For SSA choir. Atonement, Devotion, Discipleship, Good Friday, Lamb of God, Sacrifice. Contemporary, General, Lent. Octavo. Published by Hope Publishing Company

By Johann Christoph Friedrich Bach. Arranged by Patrick M. Liebergen. (SSA). Choral. Festival. Size 6.75x10.5 inches. 12 pages. Published by Hal Leonard.

3-part equal voices, 3-part mixed voices, cantor, assembly, keyboard accompaniment, violin 1, violin 2, viola, cello, flute - Beginning

SKU: GI.G-4020

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.

SAT, cantor, assembly, keyboard accompaniment, guitar

SKU: GI.G-008340

Composed by John Angotti. Arranged by Ed Bolduc. Lent, Lent 2 B, Lent 1 C, Lent 2 A, Lent 4 A, Lent 1 A, Lent 1 B, Lent 2 C, Lent 3 A. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #008340. Published by GIA Publications (GI.G-008340).

UPC: 641151083407. Text by Alan J. Hommerding.

Arranged by Mac Huff. (SAB score). Choral. 112 pages. Published by Hal Leonard.

Arranged by Russell Schulz-Widmar. God - Creator, General Worship, Sacred, Thanksgiving and Gratitude. Octavo. Published by Hope Publishing Company (HP.C6110).

Composed by C.J. Adams. For SAB choir. Quick Study Chorals. Call To Worship, Communion, Hymntune. Octavo. 8 pages. Published by Hope Publishing Company

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!”.