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.

(A Dramatic Musical Experience for Holy Week). By Ruth Elaine Schram. For SAB choir, piano and narrator (with optional orchestra (instrument parts)). Holy Week, Sacred. Cantata

Composed by Wes Cameron. Holy Week, Easter. Octavo. Hope Publishing Company #C 6125. Published by Hope Publishing Company (HP.C6125).

By Larry Shackley. For SSA choir, Solo, piano 4-hands. Sacred Anthem, All Saints' Day, Ascension, Christ the King, General. Octavo. Published by Lorenz Publishing Company

Arranged by Sally K. Albrecht. For Choir. (3-Part). Choral Octavo. Choral Designs. Spiritual. Choral Octavo. 12 pages. Published by Alfred Publishing.

Arranged by Philip Kern. For Choir. (SSA). Choral Octavo. Choral Designs. Christmas. Choral Octavo. 16 pages. Published by Alfred Publishing.

(With America, the Beautiful ). Composed by Samuel F. Smith, music and additional words by Ruth Morris Gray. Choral Octavo. Alfred Choral Designs. 4th of July; Patriotic; Secular; Summer. 12 pages. Published by Alfred Music (AP.45450).

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

SKU: AP.48928

Arranged by Mark Hayes. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Christmas; Novelty; Secular. Choral Octavo. 20 pages. Alfred Music #00-48928. Published by Alfred Music (AP.48928).

UPC: 038081562520. English. Words by Deborah Craig-Claar; music from March of the Toys by Victor Herbert.

Presenting Victor Herbert's instantly recognizable March of the Toys with all-new hilarious lyrics! This festive feature reads like a wacky to-do list of holiday preparations with non-stop punchlines from the choir and a couple cameo soloists. Your fullest sounds, brightest faces, and biggest personalities are on full display with this theatrical celebration of the season. Get ready to giggle when handheld percussion instruments and sound effects (played by choristers) introduce a parade of unwanted out-of-town guests. It's a crazy cast of characters and Christmas chaos straight out of a comedic holiday movie. Mark Hayes provides a showy piano reduction and a grand orchestration (on the SoundTrax or SoundPax) from fanfare to finish. Visit to download free staging suggestions: alfred.com/countdownstagi ng.

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.

By Tom Fettke; Steve Green. For SAB choir and piano. Advent, Christmas, Sacred. Sacred Anthem. Published by Lorenz Publishing Company. (10/3753L)

Arranged by Philip Kern. For Choir. (SAB). Choral Octavo. Choral Designs. Gospel; Spiritual, Christmas. Choral Octavo. 16 pages. Published by Alfred Publishing.

By Jay Althouse. For Choir. (SAB). Choral Octavo. Choral Designs. Multicultural; Spiritual, Christmas. Choral Octavo. 8 pages. Published by Alfred Publishing.

By Sally K. Albrecht, Jay Althouse. For Choir. (3-Part Mixed/SAB (with Opt. Staging)). Choral Octavo. Choral Designs. Broadway; Novelty. Choral Octavo. 12 pages. Published by Alfred Publishing.

(Go Down Moses / Didn't My Lord Deliver Daniel?). Arranged by Sally K. Albrecht. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Spiritual. 12 pages. Published by Alfred Music Publishing

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

SKU: AP.48862

Composed by David Waggoner. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular. Choral Octavo. 12 pages. Alfred Music #00-48862. Published by Alfred Music (AP.48862).

UPC: 038081561868. English.

After a year with limited music making, there could be nothing better. Imagine throwing open the shutters to sing with your neighbors as this beautiful piece unfolds. It's consistently lyrical and legato, with peaks and valleys built into the dynamics to heighten emotions and capture joy. We love this expressive piano part, especially the delicate music box-inspired introduction. Don't miss the dramatic modulation before the pinnacle refrain crescendos to a big finish.

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.

(Go Down Moses / Didn't My Lord Deliver Daniel?). Arranged by Sally K. Albrecht. Choir Secular. 2-Part Choir; Women's Choir. Choral Octavo. Choral Designs. Spiritual. 12 pages. Published by Alfred Music Publishing

Composed by Jaromir Hruska. Arranged by Maria Theresa Vizconde-Roldan. Sheet music. Pavane Secular. Octavo. 12 pages. Pavane Publishing #P1588. Published by Pavane Publishing

Arranged by Greg Gilpin. Choir Sacred. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Sacred; Spiritual. 12 pages. Published by Alfred Music

Arranged by Michael Ryan. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Christmas; Secular; Winter. 8 pages. Published by Alfred Music

Composed by Ruth Morris Gray. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular. Choral Octavo. 12 pages. Alfred Music #00-48344. Published by Alfred Music

From the movie Smallfoot. Composed by Wayne Kirkpatrick and Karey Kirkpatrick. Arranged by Andy Beck. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Movie; Pop; Secular. Choral Octavo. 12 pages. Alfred Music #00- 47650. Published by Alfred Music

Choir (SAB choir/3-Part choir Mixed)

SKU: AP.46551

Performance Music Ensemble; Single Titles. Alfred Choral Designs. Sacred; Secular. Choral Octavo. 16 pages. Alfred Music #00-46551. Published by Alfred Music (AP.46551).

UPC: 038081531267. English. David Waggoner.

Upper voices introduce a jubilant refrain, then the entire choir sings it in harmony. A contrasting section offers a gorgeous new motive, followed by a rich harmonization of the new material. The return to the original chorus is heightened by a soaring descant, which builds momentum into an exciting finish.

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.

Choir (Women's Choir)

SKU: AP.46552

Performance Music Ensemble; Single Titles. Alfred Choral Designs. Sacred; Secular. Choral Octavo. 16 pages. Alfred Music #00-46552. Published by Alfred Music (AP.46552).

UPC: 038081531274. English. David Waggoner.

Upper voices introduce a jubilant refrain, then the entire choir sings it in harmony. A contrasting section offers a gorgeous new motive, followed by a rich harmonization of the new material. The return to the original chorus is heightened by a soaring descant, which builds momentum into an exciting finish.

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.

By Earlene Rentz. For 3-Part Mixed Voices with Keyboard. 12 pages. Duration 2 minutes. Published by Carl Fischer

Composed by Sammy Hagar, Alex Van Halen, Michael Anthony, and Edward Van Halen. Arranged by Kirby Shaw. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Pop Choral. Rock; Secular. 16 pages. Published by Alfred Music

By Jay Althouse. For Choir. (3-Part Mixed). Choral Octavo. Choral Designs. Novelty; Secular, Christmas. Choral Octavo. 8 pages. Published by Alfred Publishing.