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.
By Stephanie Boosahda. By David J. Stearman III and Stephanie Boosahda. Arrang...(+)
By Stephanie Boosahda. By
David J. Stearman III and
Stephanie Boosahda.
Arranged
by John Leavitt. Daybreak
Choral Series. Christmas,
Communion, General
Worship,
Sacred. Octavo. 12 pages.
Published by Daybreak
Music
By Stephanie Boosahda. By David J. Stearman III and Stephanie Boosahda. Arrang...(+)
By Stephanie Boosahda. By
David J. Stearman III and
Stephanie Boosahda.
Arranged
by John Leavitt. Daybreak
Choral Series. Christmas,
Communion, General
Worship,
Sacred. Octavo. 12 pages.
Published by Daybreak
Music
Autumn Leaves Chorale 3 parties SAB, Piano Faber Music Limited
Autumn Leaves arranged by Joanna Forbes. Choir Secular. For with Piano (3-Part M...(+)
Autumn Leaves arranged by
Joanna Forbes. Choir
Secular. For with Piano
(3-Part Mixed Choir
(SAB)). Book; Choral
Collection. Faber
Edition: Choral Basics.
Published by Faber Music
Choral (SSA Choir) SKU: HL.48023291 CME In High Voice. Composed by...(+)
Choral (SSA Choir)
SKU: HL.48023291
CME In High Voice.
Composed by Kris Boerger.
In High Voice. Concert,
Contemporary, Festival.
Octavo. 12 pages. Boosey
and Hawkes #M051479955.
Published by Boosey and
Hawkes (HL.48023291).
This is
the last in the trilogy
of settings of verses
from a collection that
Sarah White calls her
Widow Poems,
written after the sudden
death of a lover. Each of
the three represents a
different stage in the
arc of the poet's grief.
In this one, written on
the first anniversary of
the beloved's death, a
trace of whimsy has
entered White's language
and the music masterfully
captures this same
emotion.
Composed by Roy Wood.
Arranged by Jack Zaino.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Christmas; Holiday Pops;
Pop/Rock; Radio; Secular.
Choral Octavo. 12 pages.
Alfred Music #00-51246.
Published by Alfred Music
(AP.51246).
UPC:
038081582832.
English.
With its
irresistible groove and
holiday spirit, it's no
wonder that this rock
song has been covered by
countless artists over
the decades! Choirs of
all ages will appreciate
the full harmonies,
tasteful key changes, and
woven vocal lines that
welcome the season. Add
the lively SoundTrax
complete with sleigh
bells and horns to let
the bells ring out for
Christmas!
Inspired by Jon
Batiste for the movie
Soul. Composed
by Curtis Mayfield.
Arranged by Robert T.
Gibson. Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Movie; Pop; Radio;
Secular. Choral Octavo.
16 pages. Alfred Music
#00-48963. Published by
Alfred Music (AP.48963).
UPC: 038081562872.
English.
Jon
Batiste's cover for
Pixar's Soul brings this
feel-good Curtis Mayfield
song to a whole new
generation. Built on a
soulful groove, jazzy
twists, and and upbeat
vibe, it's everywhere!
First made famous by The
Impressions, a 60s group
of which Mayfield was a
member, this happy hit
has stood the test of
time, recorded by many
diverse artists over the
years. The arranger adds
his own authentic touch
with some gospel
inflections and
interjections. It's all
right, have a good time,
'cause it's all
right!
By William Shakespeare from A Midsummer Night's Dream, music by Ruth Morr...(+)
By William Shakespeare
from A Midsummer
Night's Dream, music
by Ruth Morris Gray.
Choir Secular. 3-Part
Mixed Choir (SAB). Choral
Octavo. Choral Designs.
12 pages. Published by
Alfred Music
By William Shakespeare from A Midsummer Night's Dream, music by Ruth Morr...(+)
By William Shakespeare
from A Midsummer
Night's Dream, music
by Ruth Morris Gray.
Choir Secular. Women's
Choir. Choral Octavo.
Choral Designs. 12 pages.
Published by Alfred Music
Publishing
Arranged by Alexander L'Estrange. Choir Secular. For with Piano (SAB). ...(+)
Arranged by Alexander
L'Estrange. Choir
Secular.
For with Piano (SAB).
Choral
Octavo. Faber Choral
Singles. Christmas;
Secular;
Winter. Published by
Faber
Music
From Mary Poppins Returns. By Emily Blunt and Lin-Manuel Miranda. By Marc Shai...(+)
From Mary Poppins
Returns. By
Emily Blunt and
Lin-Manuel
Miranda. By Marc Shaiman
and
Scott Wittman. Arranged
by
Mark A. Brymer. Disney
Choral. Movies, Show
Choir,
Musicals, Disney,
Vaudeville.
Octavo. Published by Hal
Leonard
From Mary Poppins Returns. By Emily Blunt and Lin-Manuel Miranda. By Marc Shai...(+)
From Mary Poppins
Returns. By
Emily Blunt and
Lin-Manuel
Miranda. By Marc Shaiman
and
Scott Wittman. Arranged
by
Mark A. Brymer. Disney
Choral. Movies, Show
Choir,
Musicals, Disney,
Vaudeville.
Octavo. Published by Hal
Leonard
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!
All Is Well Chorale 3 parties SAB [Octavo] Hope Publishing Company
Composed by Michael W. Smith / Wayne Kirkpatrick. Arranged by Lloyd Larson. For ...(+)
Composed by Michael W.
Smith / Wayne
Kirkpatrick. Arranged by
Lloyd Larson. For SAB
choir. Christmas,
Assurance. Octavo.
Published by Hope
Publishing Company
3-part mixed choir and piano SKU: LO.15-3526H Composed by Greg Gilpin. Ch...(+)
3-part mixed choir and
piano
SKU:
LO.15-3526H
Composed
by Greg Gilpin. Choral.
Secular Christmas.
Octavo. Heritage Music
Press #15/3526H.
Published by Heritage
Music Press
(LO.15-3526H).
ISBN
9780787760694.
Begi
nning with a simple
statement of O Christmas
Tree, this playful
arrangement suddenly
breaks out in a happy
swing style with an
original tune and clever
text: We’re gonna
decorate the Christmas
tree, dress it all in
colors bright. Making
sure it’s covered
in ornaments and hit it
with a string of lights.
Comfortable ranges,
simple voice leading, and
a whole lot of fun put
this right in the groove
for your younger choirs.
Add the cool Yule synth
track for extra glitter
and glow!
Choral (SAB Choir) SKU: HL.35031346 Composed by Gerry Rafferty and Joe Eg...(+)
Choral (SAB Choir)
SKU: HL.35031346
Composed by Gerry
Rafferty and Joe Egan.
Arranged by Greg Gilpin.
Shawnee Press. Pop.
Octavo. 8 pages.
Published by Shawnee
Press (HL.35031346).
ISBN 9781495079672.
UPC: 888680653378.
6.75x10.5
inches.
Written by
Gerry Rafferty and Joe
Egan for their band
Stealers Wheel, this was
a surprise hit for them
in 1973. Since then, it
has been covered by
numerous singers and most
recently as the theme
song for “Grace and
Frankie” a Netflix
original comedy. This
arrangement keeps that
light folk feel with a
more contemporary
accompaniment and will be
a sure-fire hit with
mixed voices as well as
women's and men's
groups.
Choral (TTB Choir) SKU: HL.35031348 Composed by Gerry Rafferty and Joe Eg...(+)
Choral (TTB Choir)
SKU: HL.35031348
Composed by Gerry
Rafferty and Joe Egan.
Arranged by Greg Gilpin.
Shawnee Press. Pop.
Octavo. 8 pages.
Published by Shawnee
Press (HL.35031348).
ISBN 9781495079696.
UPC: 888680653392.
6.75x10.25
inches.
Written by
Gerry Rafferty and Joe
Egan for their band
Stealers Wheel, this was
a surprise hit for them
in 1973. Since then, it
has been covered by
numerous singers and most
recently as the theme
song for “Grace and
Frankie” a Netflix
original comedy. This
arrangement keeps that
light folk feel with a
more contemporary
accompaniment and will be
a sure-fire hit with
mixed voices as well as
women's and men's
groups.
