Boruch Ate Chorale 3 parties 3 parties Mixtes Transcontinental Music
By Solomon Golub. Arranged by Ken Corneille. (3 Part). This edition: 993338. Tr...(+)
By Solomon Golub.
Arranged by Ken
Corneille. (3 Part).
This edition: 993338.
Transcontinental Music
Choral. Jewish. 12 pages.
Published by
Transcontinental Music
Publications.
3-part equal voices, 3-part mixed voices, piano reduction - Early intermediate <...(+)
3-part equal voices,
3-part mixed voices,
piano reduction - Early
intermediate
SKU:
GI.G-9392
Composed by
Daniel C. Meyer. Lent 4
A, Lent 5 A, Easter 4 A,
OT 16 B, OT 28 A, Christ
the King A, Sacred Heart
C. Simple Gifts. Sacred.
8 pages. GIA Publications
#9392. Published by GIA
Publications (GI.G-9392).
UPC: 785147939207.
English. Text Source:
Based on Psalm 23. Text
by John Quincy Adams.
Scripture: Psalm
23.
Although best
known as the sixth
President of the United
States, John Quincy
Adams’ great
desire was to write
poetry, upon hearing his
words set to music by one
of his contemporaries, he
exclaimed his delight
“as the organ
pealed and the choir of
voices sung the praise of
Almighty God from the
soul of David, adapted to
my native tongue by
me.†This setting
was written for SAB
choir, however, it could
be sung by an SSA
ensemble as well. The
tune is original, but
Meyer has written in the
style of the music that
Adams might have heard in
his day.
Composed by John Angotti
& Noelle Garcia McHugh.
Arranged by Ed Bolduc. OT
5 A, OT 5 C, OT 6 C, OT
33 B, OT 33 C, OT 4 A, OT
33 A, OT 30 C, OT 29 A,
Easter 3 C, Lent 4 A, OT
21 B, OT 30 B, OT 5 B,
All Saints. Sacred.
Octavo. With guitar chord
names. 12 pages. GIA
Publications #008248.
Published by GIA
Publications
(GI.G-008248).
English,
Spanish.
Johnâ€
versatility shines in a
salsa-influenced work
with lyrics by friend
Noelle Garcia. The choral
refrain is bilingual.
This high-energy piece
also features a
rap‚ section
immediately following the
percussion ad lib.
Contemporary groups will
love this one! From the
recording and music
collection Testify
(008242, 008243) and also
recorded on Angotti Live:
The Memphis Concert
(008288).
By 5 Seconds of Summer. By Ashton Irwin, John Feldman, Calum Hood, and Nicholas ...(+)
By 5 Seconds of Summer.
By Ashton Irwin, John
Feldman, Calum Hood, and
Nicholas Ras Furlong.
Arranged by Alan
Billingsley. Choir
Secular. Women's Choir.
Choral Octavo. Pop
Choral. Pop; Secular. 12
pages. Published by
Alfred 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.
Spark of Light Chorale 3 parties SSA, Piano Carl Fischer
Choral SSA Choir and Piano SKU: CF.CM9747 Composed by Andrew Steffen. Dur...(+)
Choral SSA Choir and
Piano
SKU:
CF.CM9747
Composed by
Andrew Steffen. Duration
3 minutes, 4 seconds.
Carl Fischer Music
#CM9747. Published by
Carl Fischer Music
(CF.CM9747).
ISBN
9781491162354. UPC:
680160921102. Key: E
lydian. English. The
Vastness of the Universe
Jonas Hallgrimsson
(1807-1845).
About
Jónas
HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work
justice. About JÃ
nas HalgrÃmsson
(1807-1845) was an
Icelandic poet, author
and naturalist, who is
considered one of
Iceland's most renowned
poets. Considered a
Romantic writer, the
strong imagery in his
poetry was influenced
heavily by the landscapes
around him.The imagery,
excitement, and curiosity
of the universe leapt off
the page and the music
almost wrote itself.Â
Reflecting on the cosmos
and origin of the
heavens, the poetry
elicits excitement and
stirs spatial imagery -
...speeding spark of
light, ...wings swifter
than wind..., ...I
watched the stars...rise
from the still stream of
heaven... The pure and
almost child-like
fascination with the
universe and its
expansion and progression
fuels the perpetual
rhythm of the work as it
continually pushes
forward.A good friend
asked if I would write a
song for her ensemble.
The original voicing, for
SAB choir, contained
parameters in that it had
to be three-part with a
limited range in the Bass
part. With these
stipulations I began to
write. I searched for
something that would be
exciting for them and
landed on Jonas
Halgrimsson’s
writings. I believe it is
equally as exciting,
accessible and
challenging for treble
choirs.Note to the
DirectorTruly consider
how the work can come to
‘life’ off
the page. Rise and fall
with phrase and sometimes
each note. The magic
exists beyond the ink on
the page!Consideration to
range, tessitura, and
content was all
considered as part of
this process in creating
music that is accessible
to all programs and
ensembles.Accompaniment
NoteThe accompaniment can
look intimidating, but
please feel free to alter
the pulsing eighth notes
in the left hand with the
eighth notes in the
right-hand so it creates
a compound rhythm. So
long as the momentum of
the work is pressed
onward, you are doing
this work justice.
(SSS and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). ...(+)
(SSS and Harp or Piano,
New Edition). Composed by
Benjamin Britten
(1913-1976). For Choral
(SSA). Boosey and Hawkes
Sacred Choral. 12 pages.
Boosey and Hawkes
#M051481620. Published by
Boosey and Hawkes
(SSA Chorus, Harp or Piano). By Benjamin Britten (1913-1976). For Choral (SSA). ...(+)
(SSA Chorus, Harp or
Piano). By Benjamin
Britten (1913-1976). For
Choral (SSA). Boosey and
Hawkes Sacred Choral. 12
pages. Boosey and Hawkes
#M051481644. Published by
Boosey and Hawkes
(SSA and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). ...(+)
(SSA and Harp or Piano,
New Edition). Composed by
Benjamin Britten
(1913-1976). For Choral
(SSA). Boosey and Hawkes
Sacred Choral. 12 pages.
Boosey and Hawkes
#M051481590. Published by
Boosey and Hawkes
By 5
Seconds of Summer. By
Ashton Irwin, John
Feldman, Calum Hood, and
Nicholas Ras Furlong.
Arranged by Alan
Billingsley. Performance
Music Ensemble; Single
Titles. Alfred Pop Choral
Series. Love; Pop;
Secular. Choral Octavo.
12 pages. Alfred Music
#00-43288. Published by
Alfred Music (AP.43288).
UPC: 038081488301.
English.
The
Australian boy band 5
Seconds of Summer burst
onto the U.S. scene with
a number one CD,
including this hit
single. Equal parts
apology and love song,
this arrangement's
natural repetition and
sensible voice-leading
make it quick to learn
and easy to sing.
About Alfred
Pop Choral
Series
The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs.
Vanitas Canon Chorale 3 parties SAB Alfred Publishing
Choir (SAB choir/3-Part choir Mixed) SKU: AP.48358 Composed by J. P. Swee...(+)
Choir (SAB choir/3-Part
choir Mixed)
SKU:
AP.48358
Composed by
J. P. Sweelinck. Arranged
by Russell L. Robinson.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Masterwork Arrangement;
Sacred. Choral Octavo. 12
pages. Alfred Music
#00-48358. Published by
Alfred Music (AP.48358).
UPC: 038081551814.
English.
Originally
part of his longer work
Cantiones Sacrae, the
canon on the famous text
from Ecclesiastes
(Vanity, vanity, all is
vanity) was published by
Dutch composer Jan
Pieterszoon Sweelinck in
1619. This arrangement
features three equal
voices and may be
performed with or without
the supportive piano
accompaniment.
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.
Vanitas Canon Chorale 3 parties SSA, Piano Alfred Publishing
Choir (Women's Choir) SKU: AP.48359 Composed by J. P. Sweelinck. Arranged...(+)
Choir (Women's Choir)
SKU: AP.48359
Composed by J. P.
Sweelinck. Arranged by
Russell L. Robinson.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Masterwork Arrangement;
Sacred. Choral Octavo. 12
pages. Alfred Music
#00-48359. Published by
Alfred Music (AP.48359).
UPC: 038081551821.
English.
Originally
part of his longer work
Cantiones Sacrae, the
canon on the famous text
from Ecclesiastes
(Vanity, vanity, all is
vanity) was published by
Dutch composer Jan
Pieterszoon Sweelinck in
1619. This arrangement
features three equal
voices and may be
performed with or without
the supportive piano
accompaniment.
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 Secular (SAB choir/3-Part choir Mixed) SKU: AP.50215 Recorded by...(+)
Choir Secular (SAB
choir/3-Part choir Mixed)
SKU: AP.50215
Recorded by Justin
Bieber. Composed by
Jonathan Bellion, Jordan
Kendall Johnson, Justin
Bieber, Michael Pollack,
and Stefan Johnson.
Arranged by Andy Beck.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Halloween; Pop; Radio;
Secular. Choral Octavo.
12 pages. Alfred Music
#00-50215. Published by
Alfred Music (AP.50215).
UPC: 038081573854.
English.
Justin
Bieber's tribute to a
lost loved one topped
Billboard charts around
the world. Equally
suitable for the concert
hall or the pop choir
stage, this
acoustic-inspired setting
features a variety of
choral textures to
showcase the meaningful
text. Light strings and
guitar add a contemporary
touch on the SoundTrax
CD, or perform with just
piano for a more intimate
presentation. If I can't
be close to you, I'll
settle for the ghost of
you.
About
Alfred Pop Choral
Series
The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs.
Ghost Chorale 3 parties SSA, Piano Alfred Publishing
Choir Secular (Women's Choir) SKU: AP.50216 Recorded by Justin Bieber<...(+)
Choir Secular (Women's
Choir)
SKU:
AP.50216
Recorded
by Justin Bieber.
Composed by Jonathan
Bellion, Jordan Kendall
Johnson, Justin Bieber,
Michael Pollack, and
Stefan Johnson. Arranged
by Andy Beck. Performance
Music Ensemble; Single
Titles. Alfred Pop Choral
Series. Halloween; Pop;
Radio; Secular. Choral
Octavo. 12 pages. Alfred
Music #00-50216.
Published by Alfred Music
(AP.50216).
UPC:
038081573861.
English.
Justin
Bieber's tribute to a
lost loved one topped
Billboard charts around
the world. Equally
suitable for the concert
hall or the pop choir
stage, this
acoustic-inspired setting
features a variety of
choral textures to
showcase the meaningful
text. Light strings and
guitar add a contemporary
touch on the SoundTrax
CD, or perform with just
piano for a more intimate
presentation. If I can't
be close to you, I'll
settle for the ghost of
you.
About
Alfred Pop Choral
Series
The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs.
Glacier Suite Chorale 3 parties SSA Pavane Publishing
(SSA Choir) SKU: HL.291937 Glacier National Park Conservatory Series(+)
(SSA Choir)
SKU:
HL.291937
Glacier
National Park
Conservatory Series.
Composed by Matthew
Harrison. Pavane Choral.
Octavo. 56 pages. Pavane
Publishing #P3017.
Published by Pavane
Publishing (HL.291937).
UPC: 888680928520.
6.75x10.5
inches.
The
National Parks in the USA
are among our most
precious assets. Matthew
Harrison has created a
set of stunning,
aesthetic pieces for
treble voices based on
descriptive words from
4th grade children. This
offers a uniquely
artistic view of our
National Parks. The music
is spacious and paints
the landscapes in
breathtaking tones.
Simple and yet profound,
the music also comes with
a multimedia video that
elevates the entire
experience. Although
perfect for young voices,
it works equally well
with adult voices.
Arranged by Michael
Yannette. Performance
Music Ensemble; Single
Titles. Lawson-Gould.
Folk; Multicultural;
Secular; World. Choral
Octavo. 12 pages. Alfred
Music #00-50287.
Published by Alfred Music
(AP.50287).
UPC:
038081574578. English.
Michael
Yannette.
Translati
on: I am one with the
great spirit. Equally
suited for mixed, treble,
or tenor-bass choirs,
this flexible arrangement
opens with a Native
American flute, the
sounds of flowing water,
and tuned singing bowls.
Next, two robust solo
voices introduce the core
sections: the traditional
melody with Eastern Band
Cherokee Indian lyrics;
and an original
English-text refrain that
later pairs with the
authentic tune. Please
visit alfred.com for
complete background
information and
performance suggestions
for this stunning
selection which premiered
at the 2022 ACDA Southern
Region Conference.