Composed by Joel Raney. Easter, Children, Sacred. Octavo. 8 pages. Published by Hope Publishing Company (HP.C6058).

By Ashley Brooke. SAB, HANDBELLS. Harold Flammer. 12 pages. Published by Harold Flammer Music

Arranged by Greg Gilpin. Shawnee Press. Concert, Folk. Octavo. 16 pages. Published by Shawnee Press

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

SKU: AP.49667

Composed by Ruth Morris Gray. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Multicultural; Secular. Choral Octavo. 12 pages. Alfred Music #00-49667. Published by Alfred Music (AP.49667).

UPC: 038081567549. English.

The word aloha is much more than just a greeting---it has a deeper meaning that conveys cultural beliefs about how to treat others. This rhythmic original by Ruth Morris Gray celebrates the five traits of aloha, sung in Hawaiian, and then defines them in English. The two independent lines are a perfect fit when later combined. A few enthusiastic handclaps during the intro and interlude add excitement. Chord symbols are provided for optional ukuleles or sing with the island-inspired SoundTrax.

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

SKU: AP.48889

Arranged by Jack Zaino. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Folk; Novelty; Secular; Traditional. Choral Octavo. 16 pages. Alfred Music #00-48889. Published by Alfred Music (AP.48889).

UPC: 038081562131. English. Traditional Sea Ballad.

Clamoring to join the sea song craze? Here's an exceptionally well-prepared traditional sea ballad that is equal parts authentic and enjoyable. Dating back to the mid 1700s, this rollicking nautical adventure (probably from England or Scotland) tells the story of a ship's captain who spots a mermaid in the distance. Since mermaids were thought to bring bad luck, the whole crew panics! A chorus of sailors, a captain, the chef, and a parrot take turns expressing their woe---often in a comedic way. Singers will quickly be hooked, so directors can sink into the educational merits to uncover many hidden treasures. View the arranger's intro video for even more history and teaching ideas.

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.

SAB choir, cantor, Presider, assembly, organ accompaniment, handbells

SKU: GI.G-005270

Composed by Brett C Ballard. Advent, Advent 4 Year A, Advent 3 Year A, Advent 2 Year A, Advent 1 Year A. Tune Name: Incorporating Divinum Mysterium. Sacred. Octavo. 12 pages. GIA Publications #005270. Published by GIA Publications (GI.G-005270).

UPC: 641151052700. Latin, English.

Brett's noteworthy setting, based on the familiar hymn tune DIVINUM MYSTERIUM and incorporating texts from the Sacramentary, makes an effective and memorable Advent gathering rite, seamless from procession through the opening prayer. The presider's part is readily perceived as it outlines the elegant, stepwise motion in the melodic classic. The writing for chorus is proficiently set for SAB. Within the body of the octavo you will find Introits and Opening Prayers for all Sundays in Advent as well as the solemnity of the Immaculate Conception.

(And Watch Me Bounce). Composed by Duke Ellington and Don George. Arranged by Mark Hayes. Choral Octavo. Alfred Pop Series. Great American Songbook; Secular. 12 pages. Published by Alfred Music

Choral (SAB Choir)

SKU: HL.217987

By The Beatles. Arranged by Kirby Shaw. Pop Choral Series. Oldies, Pop, Rock, Show Choir. Octavo. Duration 165 seconds. Published by Hal Leonard (HL.217987).

UPC: 888680667825. 6.75x10.5x0.029 inches.

This Beatles pop hit is a 1966 throwback featuring the iconic guitar intro and satiric lyrics that all generations will love! Super fun for all types of ensembles!

(And Watch Me Bounce). Composed by Duke Ellington and Don George. Arranged by Mark Hayes. Choral Octavo. Alfred Pop Series. Great American Songbook; Secular. 12 pages. Published by Alfred Music

Choral (SSA Choir)

SKU: HL.217988

By The Beatles. Arranged by Kirby Shaw. Pop Choral Series. Oldies, Pop, Rock, Show Choir. Octavo. Duration 165 seconds. Published by Hal Leonard (HL.217988).

UPC: 888680667832. 6.75x10.5x0.024 inches.

This Beatles pop hit is a 1966 throwback featuring the iconic guitar intro and satiric lyrics that all generations will love! Super fun for all types of ensembles!

Choral (SSA Choir)

SKU: HL.266475

Arranged by Greg Jasperse. Jazz Chorals. Jazz, Standards, Swing, Vocal Jazz. Octavo. 20 pages. Duration 320 seconds. Published by Hal Leonard (HL.266475).

UPC: 888680733049. 6.75x10.5x0.039 inches.

This classic swing tune was arranged for the Michigan All-State Vocal Jazz Ensemble. Beginning with the rubato intro just right for a soloist to stylize in their own way, it launches into a sweet swinging ensemble arrangement that is hip and contemporary and just right for an advanced vocal jazz choir.

By Charles E. Callahan, Jr. (1951-). For SAB choir and organ. Choral Music. Medium-Easy. Octavo. Published by MorningStar Music Publishers

By Ledger. For Choral Collection: SSA Choir. Published by Oxford University Press.

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.

Composed by Sandra Howard. For Part 1, Part 2, Part 3, Optional Baritone. Octavo. 12 pages. Duration 3 minutes, 36 seconds. Published by BriLee Music

SAB choir - Early Intermediate

SKU: AU.9798889830368

Composed by Walter L. Pelz. Lent, Christ the King, General Use. Augsburg Choral Library. Christian. Octavo. Augsburg Fortress #9798889830368. Published by Augsburg Fortress (AU.9798889830368).

ISBN 9798889830368.

Here is a festive setting of Psalm 95 by well-loved composer Walter Pelz, written in honor of his 95th birthday. Choirs of any size will create a big sound with the skillful part writing in this accessible SAB anthem. The organ accompaniment supports the singing and adds a festive sparkle. Perfect as an introit or call to worship as well as for Lent-Year A and Christ the King.

By Joseph M. Martin. For SAB choir and piano. Sacred. Sacred Anthem. Published by Lorenz Publishing Company. (10/3723L)

(SSA a cappella)

SKU: HL.48023078

Boosey & Hawkes Sacred Choral. Octavo. Hal Leonard #M060128134. Published by Hal Leonard (HL.48023078).

Choral SAB chorus w/opt. 8 Handbells (included)

SKU: HP.C6285

Composed by Wes Cameron. Piano with Optional 8 Handbells (included). Palm Sunday, Praise to Christ. Octavo. 8 pages. Hope Publishing Company #C6285. Published by Hope Publishing Company (HP.C6285).

UPC: 763628162856.

Origi nal Anthem This energetic introit for Palm Sunday comes from Wes Cameron and begins with unison voices singing Hosanna to the Son of David! The melody then builds and is split into two parts, and then expands to SATB. The optional 8 handbells provide an added element of joyous praise to this festive worship opener proclaiming, Blessed is he who comes in the name of the Lord.

By Gabriel Faure; Desmond Ratcliffe (Arranger). For SSA, Piano Accompaniment. Romantic, Sacred. Sheet Music. 60 pages. Published by Novello and Co Ltd.

Composed by Richard Frost. Epiphany, Triduum/Three Days, 21st Century, Confession/Forgiveness. Published by MorningStar Music Publishers (MN.50-3219).

Composed by Bob Moore. Augsburg Choral Library. Octavo. Published by Augsburg Fortress (AU.9781506422152).