Composed by Tim Attride. The antiphon for use with the Seven Penitential Psalms and the Lenten chant Parce Domine are presented here in chant with Latin text, followed by SAB polyphony with English text. This is an accessible and wonderfully appropriate anthem for your choir this. Lent, General. Published by CanticaNOVA Publications (C5.5042).

By Scott Wilkinson. For choir. (Sab). Choral Octavos. Music for the Church Year. Sacred, Christmas and Christmastide. Choral Octavo. Published by Neil A. Kjos Music Company.

Choral (SSA Choir)

SKU: HL.357220

The May You Heal Project. Composed by Mark Sirett. Rejoice Honoring Jewish Spirit. Concert, Festival. Octavo. Published by Hal Leonard (HL.357220).

UPC: 840126943160. 6.75x10.5x0.019 inches.

Jewish leader and scholar, Hillel the Elder, captures the tension between the need for healthy self-care and the importance of caring for others. Canadian composer Mark Sirett combines the ancient Hebrew text with modern English to create an elegant and folk-like setting.

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.

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

SKU: AP.48874

Composed by Arr. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Carol Arrangement; Christmas; Sacred. Choral Octavo. 12 pages. Alfred Music #00-48874. Published by Alfred Music (AP.48874).

UPC: 038081561981. English. Ben Cohn.

A Renaissance-era carol brought up to date in a fresh contemporary setting. Veteran Broadway music director and conductor Ben Cohn brings a modern musical theatre sound to this traditional English song. A serenely sparse piano part (during two opening alto solos) gradually grows to a full and glorious accompaniment as more voices join. Listen closely for the juxtaposed stillness/motion and minor/major that symbolize the cold of winter versus the warmth of the season. The entire piece garners edge-of-your-seat wonder, but the greatest chills will come when brief strains from four additional carols trickle in. Simply stunning.

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 Wolfgang Amadeus Mozart. Arranged by Patrick M. Liebergen. For Choir. (3-Part Mixed). Choral Octavo. Choral Designs. Masterwork. Choral Octavo. 12 pages. Published by Alfred Publishing.

Choir Sacred ATB Choir (SAB choir/3-Part choir Mixed)

SKU: PE.EP67196

Composed by Stephen Sturk. A cappella. Edition Peters. Modern. Choral Octavo. 16 pages. Duration 00:07:00. Edition Peters #98-EP67196. Published by Edition Peters (PE.EP67196).

ISBN 9790300736396. English.

SAB choir, assembly, piano accompaniment, trumpet in B-flat, trumpet in C, violin, guitar - Beginning

SKU: GI.G-9452

Composed by Robert Williams. Arranged by Tony Alonso S.J. Eastertide, Easter Vigil, Easter Sunday, Ascension of the Lord. Celebration Series. Tune Name: Llanfair. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #9452. Published by GIA Publications (GI.G-9452).

UPC: 785147945208. English. Text Source: Charles Wesley, 1707-1788, alt., st. 5 of 'Hail the Day That Sees Him Rise' from The New Century Hymnal Text by Charles Wesley.

From the Revival collection, this piece takes the tune LLANFAIR, adds a modern accompaniment, and pairs it with two texts by Charles Wesley. This very accessible work offers multiple presentation possibilities. Fresh and inviting!

Arranged by Tony Alonso S.J. Lent. Celebration Series. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #9454. Published by GIA Publications (GI.G-9454).

Choral (SSA Choir)

SKU: HL.289048

Voices Rising Series. Arranged by Audrey Snyder. Voices Rising. Christmas, Concert, Festival. Octavo. 12 pages. Published by Hal Leonard (HL.289048).

UPC: 888680915193. 6.75x10.5 inches.

Now available for women's choirs, this 18th century English carol is delicately set in this new arrangement. There is an equally delicate piano accompaniment that is optional for the SATB voicing but required here. Modern harmonies and shifting keys make this a centerpiece of your Christmas or winter concert.

Composed by Mark Lowry; Buddy Greene. Arranged by Tim Hayden. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Choral Designs. Christmas; Sacred; Winter. Choral Octavo. 12 pages. Jubilate Music Group #00-45610. Published by Jubilate Music Group (AP.45610).

Choir Secular (Women's Choir)

SKU: AP.35479

Composed by Janet Gardner. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Madrigal; Secular. Choral Octavo. 12 pages. Alfred Music #00-35479. Published by Alfred Music (AP.35479).

UPC: 038081396750. English.

Here's a modern day madrigal for SSA choirs that may be performed a cappella or with the lilting in one accompaniment. Program this joyful song for holiday concerts or any time you want to celebrate love . . . with peace and joy and all good things.

Edited and arranged by Patrick M. Liebergen, composed by Wolfgang Amadeus Mozart (1756-1791). Octavo for SAB choir and piano accompaniment. C Major. Series: Choral Octavo. 12 pages. Published by Alfred Publishing.