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: HL.222699 By Judy Collins. By Judy Collins. Arran...(+)
Choral (SSA Choir)
SKU: HL.222699
By
Judy Collins. By Judy
Collins. Arranged by
Audrey Snyder.
Contemporary Choral.
Children'S Choir,
Concert, Female Voices,
Festival. Octavo.
Duration 290 seconds.
Published by Hal Leonard
(HL.222699).
UPC:
888680671303.
6.75x10.5x0.029
inches.
This song
by Judy Collins from 1994
was written for the
children of the Bosnian
War of the 1990s, but has
continuing meaning for
today's children of
conflict. I dream of
Peace, I dream of flowers
on the hill, I dream I
see my mother smiling,
When I close my eyes I
dream of Peace..
(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 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.
Triptych Chorale 3 parties SSA [Octavo] Kjos Music Company
By Diane McAninch. For SSA choir/2-part choir/unison choir. Bradley Ellingboe Mu...(+)
By Diane McAninch. For
SSA choir/2-part
choir/unison choir.
Bradley Ellingboe Music
for Women's Choir.
Secular, Choral. Choral
octavo. Published by Neil
A. Kjos Music Company
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
SSA chorus and piano - Medium-easy to medium SKU: JK.00462 Composed by Ly...(+)
SSA chorus and piano -
Medium-easy to medium
SKU: JK.00462
Composed by Lynn S. Lund.
Choral SA, Difficulty
Easy Medium, Difficulty
Medium, Piano Choir,
Seasonal Music Mothers
Day, Charity, Commitment,
Duty, Love, Motherhood,
Service, Sisterhood.
Christian, Inspirational.
Duration 3:30. Jackman
Music Corporation #00462.
Published by Jackman
Music Corporation
(JK.00462).
Alma
56:48, Moroni
7:18-19.
Anthem for
women's chorus (SSA) and
piano, extolling the
virtues of womanhood and
admonishing women to walk
in the Light of Christ,
arranged in the key of C.
Highest soprano note:
F. Composer: Lynn S.
Lund Lyricist: Mabel
Jones Gabbott
Difficulty: Medium-easy
to medium Performance
time: 3:30 References:
Alma 56:48, Moroni
7:18-19.
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
A
Partner Song.
Arranged by Andy Beck.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Fall; Secular;
Thanksgiving. Choral
Octavo. 8 pages. Alfred
Music #00-43416.
Published by Alfred Music
(AP.43416).
UPC:
038081489568.
English.
A
wonderful wintertime
selection that's easy to
put together! Sing the
familiar song the first
time, the rollicking
original melody the
second, then put them
together and you're off
to grandmother's house! A
new we're on a sleigh
ride refrain adds to the
merriment. Now available
for 3-part mixed.
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 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.
