I. Farfallina (Butterfly) 2. Lucciola (Firefly). Composed by Italian Folk So...(+)
I. Farfallina (Butterfly)
2.
Lucciola (Firefly).
Composed
by Italian Folk Song and
Tuscan Folk Song.
Arranged by
Christi Jones. Fold.
Octavo.
8 pages. Duration 2
minutes,
35 seconds. BriLee Music
#BL1123. Published by
BriLee
Music
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.
(The Christmas Story from Prophecy to Fulfillment). By Pepper Choplin. For SAB c...(+)
(The Christmas Story from
Prophecy to Fulfillment).
By Pepper Choplin. For
SAB choir and piano (with
optional orchestra).
Advent, Christmas,
Sacred. Cantata
Choral SAB chorus, piano SKU: CF.CM9731 From Requiem, Op 45. Compo...(+)
Choral SAB chorus, piano
SKU: CF.CM9731
From Requiem, Op
45. Composed by
Johannes Brahms. Arranged
by Russell L. Robinson.
20 pages. Duration 5:30.
Carl Fischer Music
#CM9731. Published by
Carl Fischer Music
(CF.CM9731).
ISBN
9781491161111. UPC:
680160919703. Key: C
major.
English.
Johannes
Brahms, born May 7, 1833
in Hamburg, Germany and
died April 3, 1897 in
Vienna where he lived
most of his life. Brahms
is one of the most famous
composers of the Romantic
period (1830-1920)
although his music has
many elements of the
Classical period (1750 to
1830) as he followed many
of the practices of
Classical composers
Haydn, Mozart and
Beethoven. In addition to
being a composer, he was
also well-known as a
pianist and conductor.
Brahms began writing the
Requiem (also known as
the German Requiem, Opus
45) soon after his mother
died in February 1865
which caused him great
grief. In April of that
year, he completed the
first, second and fourth
movements and completed
the rest of the seven
movements in May of 1868.
How Lovely is Thy
Dwelling Place (Wie
Lieblich sind Deine
Wohnungen) was the fourth
movement of his seven
movement work.
Originally written for
SATB voices in E-flat
major, this seamlessly
similar arrangement for
SAB voices, now in C
major, affords all voices
comfortable ranges.
Although, it is
approximately 5 minutes
and 30 seconds in length,
it is perceived to be
much shorter because of
the contrasting stylistic
sections within the work.
How Lovely is Thy
Dwelling Place is one of
the most beautiful choral
pieces by Brahms, perhaps
in the entire Romantic
period. Although
Brahms wrote the original
piano reduction, in this
edition, it has been made
more accessible for
pianists with a wide
range of skills. Pay
close attention to the
dynamic markings
throughout the piece,
making them apparent to
the voices, conductor,
and audience. I hope you
enjoy singing this
beautiful and timeless
piece by Johannes Brahms!
Russell Robinson,
Arranger
. Johannes
Brahms, born May 7, 1833
in Hamburg, Germany and
died April 3, 1897 in
Vienna where he lived
most of his life. Brahms
is one of the most famous
composers of the Romantic
period (1830-1920)
although his music has
many elements of the
Classical period (1750 to
1830) as he followed many
of the practices of
Classical composers
Haydn, Mozart and
Beethoven. In
addition to being a
composer, he was also
well-known as a pianist
and conductor. Brahms
began writing the Requiem
(also known as the German
Requiem, Opus 45) soon
after his mother died in
February 1865 which
caused him great
grief. In April of
that year, he completed
the first, second and
fourth movements and
completed the rest of the
seven movements in May of
1868. How Lovely is
Thy Dwelling Place (Wie
Lieblich sind Deine
Wohnungen) was the fourth
movement of his seven
movement
work. Originally
written for SATB voices
in E-flat major, this
seamlessly similar
arrangement for SAB
voices, now in C major,
affords all voices
comfortable ranges.
Although, it is
approximately 5 minutes
and 30 seconds in length,
it is perceived to be
much shorter because of
the contrasting stylistic
sections within the work.
How Lovely is Thy
Dwelling Place is one of
the most beautiful choral
pieces by Brahms, perhaps
in the entire Romantic
period. Although
Brahms wrote the original
piano reduction, in this
edition, it has been made
more accessible for
pianists with a wide
range of skills. Pay
close attention to the
dynamic markings
throughout the piece,
making them apparent to
the voices, conductor,
and audience.I hope you
enjoy singing this
beautiful and timeless
piece by Johannes
Brahms!Russell Robinson,
Arranger    .
Songspin Songbook Chorale 3 parties SSA University Of York Music Press
SSA Choir SKU: BT.MUSM570366033 By James Whittle_Paul Slid. Hymns & Chora...(+)
SSA Choir
SKU:
BT.MUSM570366033
By
James Whittle_Paul Slid.
Hymns & Chorals. Book
Only. 145 pages.
University of York Music
Press #MUSM570366033.
Published by University
of York Music Press
(BT.MUSM570366033).
English.
A
genre-defying collection
of songs for female vocal
trio, Songspin Songbook
is a collaboration
between Juice Vocal
Ensemble and UYMP, funded
by an Arts Council
England grant. Described
as “the 21st
century’s answer to
the Swingles or
King’s
Singers” (The
Times), Juice have
emerged as the face of a
revitalised experimental
scene for vocal music.
Songspin Songbook
publishes songs from
their debut album,
Songspin. The album was
released on Nonclassical
in 2011 to critical
acclaim, winning an
international Independent
Music Award for Best
Contemporary Classical
Album in 2012. Featuring
remixes by the likes of
Camille producer MaJiker
and
Björkcollaborator
Mikhail Karikis, the
album was reviewed by The
Observer as
“eighteen
immaculately achieved
tracks, spanning
Elisabeth Lutyens to
Gabriel Prokofiev via
folk song and avant
garde, enchant and
enthrall”. Songspin
also featured the
premiere recording of
Elisabeth Lutyens' Of The
Snow, which The Telegraph
described of a
performance by Juice as
an amazing sustained
piece of virtuosity.
Songspin Songbook
was edited by James
Whittle and Paul Sild.
Artwork designed by
Christopher Leedham and
Martin Scheuregger.
Arranged by Teena Chinn. (3-Part Mixed). Choral Octavo. Pop Choral Series. Pop. ...(+)
Arranged by Teena Chinn.
(3-Part Mixed). Choral
Octavo. Pop Choral
Series. Pop. Level:
Moderate (grade III).
Choral Octavo. Published
by Alfred Publishing.
SSA, a cappella SKU: SU.80300113 For SSA, a cappella. Composed by ...(+)
SSA, a cappella
SKU:
SU.80300113
For
SSA, a cappella.
Composed by Edith
Borroff. Vocal/Choral,
Sacred Choral. A
cappella. Choral Octavo.
Treble Clef Music Press
#80300113. Published by
Treble Clef Music Press
(SU.80300113).
The text by
G.K. Chesterton expresses
the physical closeness of
mother and child, and the
wonder of the observer,
in a setting with gentle,
rocking rhythms and rich
harmonies. SSA a
cappella; English.
Medium. SSA, a cappella
Published by: Treble Clef
Music Minimum order
quantity: 8 copies.
A Mother's Prayer Chorale 3 parties SSA [Octavo] - Intermédiaire Alfred Publishing
By Carole Bayer Sager and David Foster. Arranged by Teena Chinn. For Choir. (SS...(+)
By Carole Bayer Sager and
David Foster. Arranged by
Teena Chinn. For Choir.
(SSA). Choral Octavo. Pop
Choral Series. Level:
Moderate (grade III).
Choral Octavo. Published
by Alfred Publishing.
SSA, Piano SKU: SU.80300235 For SSA, Piano. Composed by Samuel Col...(+)
SSA, Piano
SKU:
SU.80300235
For
SSA, Piano. Composed
by Samuel
Coleridge-Taylor.
Vocal/Choral, Secular
Choral. Accompanied by
piano. Choral Octavo.
Treble Clef Music Press
#80300235. Published by
Treble Clef Music Press
(SU.80300235).
It's time to
revive the music of this
splendid Afro-British
composer! The
accompaniment to this
setting of the Christina
Rossetti poem leaps in
irregular eighth-note
patterns, suggesting the
frolicking and nudging of
the lambs and baby birds
who cuddle up close to
their mothers. A perfect
choice for a spring or
Mother's Day concert. SSA
& Piano; English.
Easy-Medium. SSA, piano
Published by: Treble Clef
Music Minimum order
quantity: 8 copies.
2. To My Girls Chorale 3 parties SSA A Cappella Treble Clef Music Press
SSA, a cappella SKU: SU.80300152 For SSA, a cappella. Composed by ...(+)
SSA, a cappella
SKU:
SU.80300152
For
SSA, a cappella.
Composed by Gwyneth W.
Walker. Vocal/Choral,
Secular Choral. A
cappella. Choral Octavo.
Treble Clef Music Press
#80300152. Published by
Treble Clef Music Press
(SU.80300152).
I command you
to be good runners, the
poet tells her four
graceful, nearly grown
daughters. Reflective
homophonic sections tell
the mother's hopes. They
alternate with ostinato
patterns of simmering
energy, reflecting the
dancing excitement of
four girls ready to burst
forth, out into the
world. 7 pages; duration:
2:30 min.; range: f to g;
difficulty: medium. SSA,
a cappella Published by:
Treble Clef Music Minimum
order quantity: 8
copies.
SAB choir and piano SKU: LO.15-3666H Composed by Douglas E. Wagner. Chora...(+)
SAB choir and piano
SKU: LO.15-3666H
Composed by Douglas E.
Wagner. Choral. Octavo.
Heritage Music Press
#15/3666H. Published by
Heritage Music Press
(LO.15-3666H).
ISBN
9780787765620.
Beyo
nd the silver mountains,
beyond the beautiful
hills, my spirit and joy,
my lovely one, has gone,
and winds have been
stilled. Douglas Wagner
wrote this tender song of
parting shortly after his
mother's passing. Scored
especially for smaller
mixed ensembles, careful
attention has been made
to the voice leading in
all parts. Teachable
moments of phrasing,
breath support, and tall
vowels make this a strong
selection for developing
choirs.
A Mother's Prayer Chorale 3 parties SAB [Octavo] - Intermédiaire Alfred Publishing
By Carole Bayer Sager and David Foster. Arranged by Teena Chinn. For Choir. (SA...(+)
By Carole Bayer Sager and
David Foster. Arranged by
Teena Chinn. For Choir.
(SAB). Choral Octavo. Pop
Choral Series. Level:
Moderate (grade III).
Choral Octavo. Published
by Alfred Publishing.
Organ Accompaniment (SSA Choir) SKU: HL.48025443 SSA and Organ. Co...(+)
Organ Accompaniment (SSA
Choir)
SKU:
HL.48025443
SSA
and Organ. Composed
by James Macmillan. BH
Secular Choral. Choral,
Classical. Octavo.
Duration 360 seconds.
Boosey and Hawkes
#M060142017. Published by
Boosey and Hawkes
(HL.48025443).
ISBN
9781784549053. UPC:
196288216414.
Setti
ng of a prayer by Mother
Cornelia Connelly,
foundress of the Society
of the Holy Child Jesus
in 1846 and latterly
Mayfield School. In 1863
she was inspired to
transform the ruins of
the Old Palace of
Mayfield into a girls
school embodying the
ethos of the Society;
this was accomplished in
1872. The Cornelian ethos
of the text make this
piece suitable for a wide
range of occasions, such
as Easter, weddings and
general thanksgiving. The
choral writing is
expressively scored in
response to the poem; the
organ part, for manuals
throughout, is supportive
and provides musical
punctuation, with a short
decorative postlude.
SAB chorus, organ - Early Intermediate SKU: AU.9798889832508 Composed by ...(+)
SAB chorus, organ - Early
Intermediate
SKU:
AU.9798889832508
Composed by Kenneth
Lowenberg. General,
Creation. Augsburg Choral
Library. Christian.
Octavo. Augsburg Fortress
#9798889832508. Published
by Augsburg Fortress
(AU.9798889832508).
ISBN 9798889832508. 7
x 10.25
inches.
This
well-loved hymn,
featuring a text based on
writings from Julian of
Norwich and the tune
NORWICH by Carolyn
Jennings, is set for SAB
cChoir with organ by
Kenneth Lowenberg. The
melody floats from voice
to voice, creating an
easily learned and
enjoyable anthem. The
organ supports the
singers and provides
interludes in 5/4 meter,
adding rhythmic interest
throughout. Useful for
the Easter Vigil, the
season of Pentecost,
Trinity Sunday,
communion, and
creation-themed
worship.
Lullaby Chorale 3 parties SSA, Piano [Octavo] GIA Publications
(from Three Nocturnes). Composed by Daniel Elder. For SSA choir, piano accompani...(+)
(from Three Nocturnes).
Composed by Daniel Elder.
For SSA choir, piano
accompaniment.
Westminster Choir Series.
Music Education.
Easy/Medium. Octavo. 12
pages. Published by GIA
Publications
By George Stone. For harp, guitar, or piano (SAB choir, Voice Solo or Small Treb...(+)
By George Stone. For
harp, guitar, or piano
(SAB choir, Voice Solo or
Small Treble Ensemble).
Choral. Christmas.
Moderately Easy. Octavo.
8 pages. Published by
MorningStar Music
Publishers
Cruel Mother Chorale 3 parties SSA University Of York Music Press
SSA Choir SKU: BT.MUSM570366057 Composed by Sarah Dacey. Classical. Vocal...(+)
SSA Choir
SKU:
BT.MUSM570366057
Composed by Sarah Dacey.
Classical. Vocal Score. 8
pages. University of York
Music Press
#MUSM570366057. Published
by University of York
Music Press
(BT.MUSM570366057).
English.
Cruel
Mother for three voices
(SSA), a traditional
ballad arranged by Sarah
Dacey . Duration: 4
minutes Composed: 2008
Also published as part of
UYMP's Songspin Songbook,
ISMN M 57036 603 3. This
is a very old cautionary
ballad that, like many
folk tales, has no
definite origin, there
being many different
versions from around
Europe. I shifted the
tonality of the melody
from the Cecil Sharp
arrangement to something
slightly less cheery.
First performed by Juice
Vocal Ensemble in
December 2008 at St.
James Piccadilly,
London.
By Chrissy Metz. By Diane Warren. Arranged by Mac Huff. Pop Choral Series. In...(+)
By Chrissy Metz. By Diane
Warren. Arranged by Mac
Huff. Pop Choral Series.
Inspirational, Movies,
Pop,
Show Choir. Octavo. 16
pages. Published by Hal
Leonard
Arranged by John Lewers. Choir Secular. Women's Choir. Choral Octavo. Lawson-Gou...(+)
Arranged by John Lewers.
Choir Secular. Women's
Choir. Choral Octavo.
Lawson-Gould. Folk;
Multicultural; Secular.
Choral Octavo. 16 pages.
Published by Alfred Music
