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.
Chorale 3 parties 3 parties Mixtes [Vocal Score] - Intermédiaire Hal Leonard
(Songbook). By The King's Singers. Arranged by The King's Singers. For choir (on...(+)
(Songbook). By The King's
Singers. Arranged by The
King's Singers. For choir
(one, two, or three-part
voices) (Songbook).
King's Singer's Choral.
Pop Vocal, Traditional
Folk, Baroque and
Classical Period.
Difficulty: easy-medium.
Vocal score (one, two and
three part rounds). Vocal
melody, harmony part and
leadsheet notation. 80
pages. Published by Hal
Leonard
Arranged by Teena Chinn. For Choir. (3-part Mixed). Choral Octavo. Broadway. Le...(+)
Arranged by Teena Chinn.
For Choir. (3-part
Mixed). Choral Octavo.
Broadway. Level: Moderate
(grade 3). Choral Octavo.
108 pages. Published by
Alfred Publishing.
By Jill Jackson and Sy Miller. Arranged by Jay Althouse. For Choir. (SSA). Chora...(+)
By Jill Jackson and Sy
Miller. Arranged by Jay
Althouse. For Choir.
(SSA). Choral Octavo.
Peace/Brotherhood; Pop.
Level: Level 3 (grade
L3). Choral Octavo. 8
pages. Published by
Alfred Publishing.
By Jill Jackson and Sy Miller. Arranged by Jay Althouse. For Choir. (TBB). Chora...(+)
By Jill Jackson and Sy
Miller. Arranged by Jay
Althouse. For Choir.
(TBB). Choral Octavo.
Peace/Brotherhood; Pop.
Level: Level 3 (grade
L3). Choral Octavo. 8
pages. Published by
Alfred Publishing.
Choral SSA Choir and Piano SKU: CF.CM9704 Composed by Richard Hageman. Ar...(+)
Choral SSA Choir and
Piano
SKU:
CF.CM9704
Composed by
Richard Hageman. Arranged
by Stephen Rotz. Jbc. 12
pages. Duration 2
minutes, 49 seconds. Carl
Fischer Music #CM9704.
Published by Carl Fischer
Music (CF.CM9704).
ISBN 9781491160114.
UPC: 680160918713. Key:
F# minor. English. Sir
Rabindranath
Tagore.
Richard
Hageman (1881-1966) was a
born into a family of
musicians. As a pianist,
he performed concerts
from the age of six, and
his mastery of this
instrument is evident in
the intricate
accompaniment of this
piece. After coming to
America, (originally as
accompanist to touring
French singer Yvette
Guilbert), he worked for
a period of years as a
conductor and pianist for
the Metropolitan Opera in
New York. It was during
this period of time that
he composed Do Not Go, My
Love for solo voice,
originally dedicating it
to the operatic tenor,
George Hamlin. Hageman's
later career included
work in Hollywood, first
as a conductor, but later
as a film-score composer
and actor. Do Not Go, My
Love is well-known among
classical soloists, and
many recordings exist.
The SSA version of this
American standard brings
a vocal classic to
younger singers who might
not yet possess the
dexterity to perform the
original solo.
Rabindranath Tagore
(1861-1941) was an Indian
polymath; someone who
possesses deep knowledge
and understanding of many
disparate subjects.
Tagore's expertise
included the visual arts,
music, and poetry. Tagore
won the Nobel Prize in
Literature in 1913,
contributing to his
receiving knighthood from
King George V in 1915,
but Tagore renounced his
knighthood after the 1919
Jallianwala Bagh
massacre. There are five
Tagore museums in
Bangladesh and three in
India; at least three
universities bear his
name. Do Not Go, My Love
is taken from The
Gardener, a collection of
poems translated from
Bengali by Tagore and
published in 1915. Number
34 in the collection, and
taken by itself, the poem
might be interpreted as
someone watching over the
deathbed of a lover or
child; however, the
larger narrative woven
through The Gardener
suggests a romantic
relationship being clung
to by the speaker.
 . Richard Hageman
(1881–1966) was a
born into a family of
musicians. As a pianist,
he performed concerts
from the age of six, and
his mastery of this
instrument is evident in
the intricate
accompaniment of this
piece. After coming to
America, (originally as
accompanist to touring
French singer Yvette
Guilbert), he worked for
a period of years as a
conductor and pianist for
the Metropolitan Opera in
New York. It was during
this period of timeÂ
that he composed Do Not
Go, My Love for solo
voice, originally
dedicating it to the
operatic tenor, George
Hamlin. Hageman’s
later career included
work in Hollywood, first
as a conductor, but later
as a film-score composer
and actor. Do Not Go, My
Love is well-known among
classical soloists, and
many recordings exist.
The SSA version of this
American standard brings
a vocal
“classic†to
younger singers who might
not yet possess the
dexterity to perform the
original
solo.Rabindranath Tagore
(1861–1941) was an
Indian polymath; someone
who possesses deep
knowledge and
understanding of many
disparate subjects.
Tagore’s expertise
included the visual arts,
music, and poetry. Tagore
won the Nobel Prize in
Literature in 1913,
contributing to his
receiving knighthood from
King George V in 1915,
but Tagore renounced his
knighthood after the 1919
Jallianwala Bagh
massacre. There are five
Tagore museums in
Bangladesh and three in
India; at least three
universities bear his
name.Do Not Go, My
Love is taken
from The Gardener, a
collection of poems
translated from Bengali
by Tagore and published
in 1915. Number 34 in the
collection, and taken by
itself, the poem might be
interpreted as someone
watching over the
deathbed of a lover or
child; however, the
larger narrative woven
through The
Gardener suggests a
romantic relationship
being clung to by the
speaker. .
The Gift of Love Chorale 3 parties SAB [Octavo] Hope Publishing Company
(Key of G). Arranged by Hal H. Hopson. For SAB choir, keyboard with optional str...(+)
(Key of G). Arranged by
Hal H. Hopson. For SAB
choir, keyboard with
optional string quartet
(Key of G). Hope's
All-Time Best Selling
Choral Series. Wedding,
Love, Hymntune, Children,
General, Sacred. Octavo.
8 pages. Published by
Hope Publishing Company
By Jill Jackson And Sy Miller. Arranged by Jay Althouse. For Choir. (SAB). Chor...(+)
By Jill Jackson And Sy
Miller. Arranged by Jay
Althouse. For Choir.
(SAB). Choral Octavo.
Choral Designs.
Peace/Brotherhood; Pop.
Choral Octavo. 8 pages.
Published by Alfred
Publishing.
No Time to Diet Chorale 3 parties SSA, Piano [Octavo] Crystal Sea Music Publishing
By David Huntsinger. Arranged by Bonnie Huntsinger. For SSA choir, piano (with o...(+)
By David Huntsinger.
Arranged by Bonnie
Huntsinger. For SSA
choir, piano (with
optional orchestration).
Christmas. Octavo.
Published by Crystal Sea
Music Publishing
Two Folksongs of Love and Loss. Composed by American Folk Song Irish Folk So...(+)
Two Folksongs of Love and
Loss. Composed by
American
Folk Song Irish Folk
Song.
Arranged by Greg Gilpin.
Fold. Octavo. 8 pages.
Duration 1 minute, 40
seconds. Carl Fischer
Music
#CM9646. Published by
Carl
Fischer Music
Arranged by Joel Raney. For SAB choir. Hope's Recent Best Sellers serie...(+)
Arranged by Joel Raney.
For
SAB choir. Hope's
Recent
Best Sellers series.
General
Worship, Comfort,
Confidence,
Encouragement,
Faithfulness, Gospel,
Jazz/Swing, Promise,
Blues-
Gospel-Spirituals,
Hymntune.
Octavo. 12 pages.
Published
by Hope Publishing
Company
Composed by John Parker, music by Heather Sorenson. Choir Secular. For Piano and...(+)
Composed by John Parker,
music by Heather
Sorenson. Choir Secular.
For Piano and Cello
(3-Part Mixed Choir
(SAB)). Choral Octavo.
Choral Designs. Secular;
Winter. 12 pages.
Published by Alfred Music
Composed by John Parker, music by Heather Sorenson. Choir Secular. For Piano and...(+)
Composed by John Parker,
music by Heather
Sorenson. Choir Secular.
For Piano and Cello
(Women's Choir). Choral
Octavo. Choral Designs.
Secular; Winter. 12
pages. Published by
Alfred Music
Choral (SSA Choir) SKU: HL.287163 By Starship. By Bernie Taupin, Dennis L...(+)
Choral (SSA Choir)
SKU: HL.287163
By
Starship. By Bernie
Taupin, Dennis Lambert,
Martin Page, and Peter
Wolf. Arranged by Kirby
Shaw. Pop Choral Series.
Concert, Eighties, Pop,
Rock, Show Choir. Octavo.
Duration 210 seconds.
Published by Hal Leonard
(HL.287163).
UPC:
888680902254.
6.75x10.5x0.024
inches.
Classic
rock and roll is here
merged with Kirby Shaw
harmonies and style.
There is a history lesson
in this song as there are
many references to major
musical cities across
America that will be fun
to discover. The song was
released by the band
Starship and there is
much rock history to be
uncovered about the band
and the time.
Choral (SAB Choir) SKU: HL.287162 By Starship. By Bernie Taupin, Dennis L...(+)
Choral (SAB Choir)
SKU: HL.287162
By
Starship. By Bernie
Taupin, Dennis Lambert,
Martin Page, and Peter
Wolf. Arranged by Kirby
Shaw. Pop Choral Series.
Concert, Eighties, Pop,
Rock, Show Choir. Octavo.
12 pages. Duration 210
seconds. Published by Hal
Leonard (HL.287162).
UPC: 888680902247.
6.75x10.5x0.029
inches.
Classic
rock and roll is here
merged with Kirby Shaw
harmonies and style.
There is a history lesson
in this song as there are
many references to major
musical cities across
America that will be fun
to discover. The song was
released by the band
Starship and there is
much rock history to be
uncovered about the band
and the time.
Choral (SAB Choir) SKU: HL.35032482 Composed by Jerry Herman. Arranged by...(+)
Choral (SAB Choir)
SKU: HL.35032482
Composed by Jerry Herman.
Arranged by Mark Hayes.
Shawnee Press. Broadway.
Octavo. Published by
Shawnee Press
(HL.35032482).
ISBN
9781540038166. UPC:
888680888329.
6.75x10.5x0.036
inches.
From the
musical Parade and
covered by many artists
in its lifetime, here is
a superb arrangement with
all the Broadway fun and
finesse! It begins with
an opening verse of solos
in different styles
reflecting the diverse
nature of musical show
tunes and then we hit the
spirited two-beat feel
and go to Broadway. A
great opening to a themed
concert or just a great
performance piece any
time of year!
Choral (SSA Choir) SKU: HL.35032484 Composed by Jerry Herman. Arranged by...(+)
Choral (SSA Choir)
SKU: HL.35032484
Composed by Jerry Herman.
Arranged by Mark Hayes.
Shawnee Press. Broadway.
Octavo. Published by
Shawnee Press
(HL.35032484).
ISBN
9781540038180. UPC:
888680888343.
6.75x10.5x0.036
inches.
From the
musical Parade and
covered by many artists
in its lifetime, here is
a superb arrangement with
all the Broadway fun and
finesse! It begins with
an opening verse of solos
in different styles
reflecting the diverse
nature of musical show
tunes and then we hit the
spirited two-beat feel
and go to Broadway. A
great opening to a themed
concert or just a great
performance piece any
time of year!
There Is A Season Chorale 3 parties SAB, Piano [Octavo] Alfred Publishing
Words based on Ecclesiastes 3:1-8, 11, music by Greg Gilpin. For Choir. (SAB). ...(+)
Words based on
Ecclesiastes 3:1-8, 11,
music by Greg Gilpin. For
Choir. (SAB). Choral
Octavo. Choral Designs.
Sacred; Secular. Choral
Octavo. 8 pages.
Published by Alfred
Publishing.
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.49739 From Jin...(+)
Choir Secular (SAB
choir/3-Part choir Mixed)
SKU: AP.49739
From Jingle
Jangle. Composed
by David Talbert, Davy
Nathan, and Philip
Lawrence. Arranged by
Lisa DeSpain. Performance
Music Ensemble; Single
Titles. Alfred Pop Choral
Series. Christmas; Movie;
Secular; Winter. Choral
Octavo. 20 pages. Alfred
Music #00-49739.
Published by Alfred Music
(AP.49739).
UPC:
038081568263.
English.
Here's a
rhythmic modern-day
showstopper with the
heart of a timeless
classic. This spectacular
opening number from the
Netflix movie, Jingle
Jangle has unmistakable
theatrical flair---no
surprise since the movie
was originally conceived
for the stage. The
brightly optimistic
lyrics will shine at any
time of year, not just
the holidays! What I got
in my hands could be the
spark that turns it all
around . . . 'Cause all
my life I've waited for
this day. Don't miss the
impressive SoundTrax
accompaniment and a
flexible SoundPax
orchestration for rhythm
and synth. (or optional
horns).
By Vince Guaraldi. Edited by Bob Dingley. Arranged by David Pugh. Pop choral oct...(+)
By Vince Guaraldi. Edited
by Bob Dingley. Arranged
by David Pugh. Pop choral
octavo (3-part mixed
voices). Level: 3-part
mixed. 8 pages. Published
by Warner Brothers.
(2621CC3X) 6-PACK
includes six original
copies of this piece.
Choral SSA choir, piano SKU: CF.CM9773 Composed by Brady Weldon. Duration...(+)
Choral SSA choir, piano
SKU: CF.CM9773
Composed by Brady Weldon.
Duration 2 minutes, 49
seconds. Carl Fischer
Music #CM9773. Published
by Carl Fischer Music
(CF.CM9773).
ISBN
9781491164440. UPC:
680160923342. Key: C#
minor. English. Christina
Rossetti.
In the
bleak midwinter, frosty
wind made moan, Â
    Â
    Â
    Â
    Â
    Â
 Earth stood hard as
iron, water like a
stone;Â Â Â Â
    Â
    Â
    Â
    Â
    Â
   Snow had
fallen, snow on snow,
snow on snow, Â
    Â
    Â
    Â
    Â
    Â
    In the
bleak midwinter, long
ago.What can I give Him,
poor as I am? Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
  If I were a
shepherd, I would bring a
lamb;Â Â Â Â
    Â
    Â
    Â
    Â
    Â
    Â
   If I were a
Wise Man, I would do my
part;Â Â Â Â
    Â
    Â
    Â
    Â
    Â
    Â
  Yet what I can
I give Him: give my
heart.The text from this
beloved poem of Christina
Rossetti
(1830–1894) was
originally published in
an 1872 issue of
Scribner’s
Monthly, under the title
A Christmas Carol. In the
first of its five
stanzas, the speaker
describes in great detail
a bitingly cold winter
scene, void of both
warmth and light. By the
final stanza, the
speaker's thoughts turn
inward, asking what gift
they may offer the infant
Jesus, meek though they
believe themselves to
be.The poem was later set
by English composer
Gustav Holst
(1874–1934) as a
contribution to the
English Hymnal in 1906
and remains the most
popular setting
today.London-born
Rossetti came to be
regarded not only as one
of the greatest female
poets of her time, but as
an outspoken advocate on
several societal issues,
including slavery and
cruelty towards
animals.In this setting,
word painting is of the
utmost importance.
Careful attention to word
stress throughout the
course of the piece will
make the performance all
the more captivating.
Descriptive lines such as
“frosty wind made
moan†should be
conveyed with swelling
crescendos, like frigid
gusts of frozen air.While
this piece features an
original tune, the
beloved Holst melody is
also featured briefly,
beginning in m. 28. Take
care to bring this
out.There are plenty of
other allusions to wintry
scenes scattered
throughout the choral
parts as well as the
accompaniment. I
encourage you to put your
sleuthing
“hats†on and
find them all. It will
make the learning
experience much more
memorable and fun.
Keep the Beat Chorale 3 parties SAB Alfred Publishing
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.49711 From the an...(+)
Choir Secular (SAB
choir/3-Part choir Mixed)
SKU: AP.49711
From the animated
movie Vivo.
Composed by Lin-Manuel
Miranda. Arranged by Andy
Beck. Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Movie; Secular. Choral
Octavo. 16 pages. Alfred
Music #00-49711.
Published by Alfred Music
(AP.49711).
UPC:
038081567983.
English.
Here's an
optimistic Lin-Manuel
Miranda original
jam-packed with his
energetic signature
style. Syncopated rhythms
and rap-like riffs come
to life with a singable
melody, bright choral
harmonies, and a lively
counterline descant.
Don't miss the flexible
body percussion
interludes that bring the
beat-keeping theme to
life. Featured in the
animated movie musical
Vivo, this is an
uplifting pep talk about
the power of
perseverance, perfect for
our time. What should we
do when things don't go
as planned? Play on and
keep the beat!