Composed by Kirby Shaw. Choral. A Cappella, Concert, Festival, Inspirational. Octavo. 4 pages. Duration 90 seconds. Published by Hal Leonard

By Horatius Bonar. Arranged by Russell Schulz-Widmar. For SAB or Three-Part Mixed choir & 7 Handbells. Scripture References: Matthew 11:28 -- John 4:14 -- John 1:4-9. Hymntune, Sacred. Choral octavo. 8 pages. Published by Hope Publishing Company

Composed by Bob Chilcott. For SSA choir and piano. Vocal score. Duration 4.5 minutes. Published by Oxford University Press

Composed by Eugene S. Butler. Octavo. With Standard notation. 12 pages. Duration 4 minutes. Carl Fischer #CM09430. Published by Carl Fischer (CF.CM9430).

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.

Choral SSA Choir and Piano

SKU: CF.CM9706

Composed by Meredith Tompkins. 12 pages. Duration 2:45. Carl Fischer Music #CM9706. Published by Carl Fischer Music (CF.CM9706).

ISBN 9781491160022. UPC: 680160918621. Key: D minor. English. Sara Teasdale, adapted by Meredith Tompkins.

Sara Teasdale was a celebrated American poet who lived at the turn of the twentieth century, known for her classical style and pure, openhearted writing. At the young age of twenty-three, she became a published author and went on to release a total of eight award-winning collections of poetry in her lifetime. Love-Free is a reflective poem that appears in Part I of Rivers to the Sea, published in 1915. In the text, the narrator experiences a range of emotions centering around lost love and the desire to either separate from or rekindle it. Reminiscent of an antique music box, the text is paired with a waltz-like accompaniment in a lilting 3/4 pattern. Melodic exploration of the natural minor scale is achieved through mostly step-wise motion and some carefully placed, text-painted leaps ranging from a minor third to a sixth. With some unison, SA, and SSA sections, this piece can show off the wide array of colors and textures available to treble choirs.
Sara Teasdale was a celebrated American poet who lived at the turn of the twentieth century, known for her classical style and pure, openhearted writing. At the young age of twenty-three, she became a published author and went on to release a total of eight award-winning collections of poetry in her lifetime. Love-Free is a reflective poem that appears in Part I of Rivers to the Sea, published in 1915. In the text, the narrator experiences a range of emotions centering around lost love and the desire to either separate from or rekindle it. Reminiscent of an antique music box, the text is paired with a waltz-like accompaniment in a lilting 3/4 pattern. Melodic exploration of the natural minor scale is achieved through mostly step-wise motion and some carefully placed, text-painted leaps ranging from a minor third to a sixth. With some unison, SA, and SSA sections, this piece can show off the wide array of colors and textures available to treble choirs.

SAB choir, keyboard accompaniment

SKU: GI.G-009452

Composed by Bob Moore. Advent, Advent 4 B, advent 4 A, advent 4 C, Assumption, Immaculate Conception. Sacred. Octavo. 8 pages. GIA Publications #009452. Published by GIA Publications (GI.G-009452).

UPC: 641151094526. Text by Paul Cross.

Bob has set his original miusic to the contemplative words of the poem Mary the Dawn, Christ the Perfect Day, telling of Mary's important and supportive role in bringing the Messiah into the world. The piece begins with a vocal dialogue between unison men and women alternating the poem's phrases. The choral writing builds to a homophonic texture, an interlude introduces a new key and the piano writing adds a new texture to the closing phrase Mary the shrine, Christ God adored..

SSA choir, piano accompaniment, cello - Intermediate

SKU: GI.WLG153

Composed by James Baas. Lynne Gackle. Music Education. Octavo. 16 pages. Walton Music #WLG153. Published by Walton Music (GI.WLG153).

UPC: 888680092436. English. Text by Robert Frost.

A fantastic selection for treble choirs. This beautifully sorrowful Robert Frost poem has been captured by the composer's melody and accompaniment. Nice polyphonic vocal writing creates good texture while being singable. The addition of the cello reflects the voice of sorrow. Duration: Approx. 4:00. Optional Violin Part Recording by Baylor University Bella Voce, Lynne Gackle, conductor A fantastic selection for treble choirs. This beautifully sorrowful Robert Frost poem has been captured by the composer's melody and accompaniment. Nice polyphonic vocal writing creates good texture while being singable. The addition of the cello reflects the voice of sorrow. Duration: Approx. 4:00. Optional Violin Part Recording by Baylor University Bella Voce, Lynne Gackle, conductor.

Choral SSA choir

SKU: PR.312418600

Fors.S.A. Chorus, A Cappella. Composed by Chen Yi. Premiere: Calvin Women's Chorale, conducted by Pearl Shangkuan, Calvin College, Grand Rapids, MI. Contemporary. Performance Score. With Standard notation. Composed 2010. 12 pages. Duration 4 minutes. Theodore Presser Company #312-41860. Published by Theodore Presser Company (PR.312418600).

ISBN 9781598063769. UPC: 680160596300. Octavo inches. Chinese. Text: Du Fu. Du Fu. Text by Du Fu (Tang Dynasty), from the poem 'Happy Rain on a Spring Night'.

Commissione d by Calvin Women's Chorale, Dr. Pearl Shangkuan, conductor, of Calvin College in Grand Rapids, Michigan, this piece was premiered on April 29th, 2011.

By Sheldon Curry. Choir Secular. Women's Choir. Choral Octavo. Choral Designs. 12 pages. Published by Alfred Music Publishing

SAB choir, organ or piano - Early Intermediate

SKU: MN.CH-1105

Composed by Franz Joseph Haydn and Robert Van Howten. Choral Masterworks for Small Choirs Series. Classical. Octavo. Duration 2 minutes, 4 seconds. Laurendale Associates #CH-1105. Published by Laurendale Associates (MN.CH-1105).

English. Scripture: Genesis.

This triumphal chorus from the oratorio, The Creation, received its first public performance in Vienna in 1779. Texts are taken from Genesis and from Milton's epic poem, Paradise Lost. This was the first piece published with both German and English as original texts. Original English text was translated into German for Haydn to set (he felt uncomfortable with setting English) to music. The English text was subsequently added and thus was first released with both texts underlaid. Optional MIDI file available separately (on MIDI disk LMF-1001)

Duration 2:04.

By D. Farrell Smith. For TBB choir, Keyboard. Octavo. 12 pages. Published by Carl Fischer

By Mary Lynn Lightfoot. For SAB choir and piano. Concert. Octavo. Published by Heritage Music Press. (15/2274H)

Composed by Thomas Juneau. Walton. Music Education. Octavo. 12 pages. Walton Music #WW1562. Published by Walton Music (GI.WW1562).

SAB choir & piano

SKU: OU.9780193561793

Composed by Eleanor Daley. Oxford Three-part Repertoire. Octavo. 12 pages. Duration 4'. Oxford University Press #9780193561793. Published by Oxford University Press (OU.9780193561793).

ISBN 9780193561793. 10 x 7 inches.

For SABar and piano Suitable for concert use, this simple, delightful setting of a Yeats poem embraces nature's beauty and the secret joy of solitude. Soaring melodies, rich harmonic language, and a piano part that is both driving and supportive create a piece that is evocative and poignant.

Choral (3-Part Mixed choir)

SKU: HL.35032408

Composed by George L.O. Strid and Mary Donnelly. Shawnee Press. Concert. Octavo. Duration 120 seconds. Published by Shawnee Press (HL.35032408).

ISBN 9781540036490. UPC: 888680826369. 6.75x10.5x0.036 inches. Mary Donnelly & George L.O. Strid.

Incorporatin g poems by Bronte and Rossetti, Donnelly and Strid have created a wonderful setting that moves along like a bouncing breeze in 3/4 time. The addition of flute adds sparkle to the 2-part and 3-part mixed voicings accompanied by a simple, but spirited piano accompaniment.

SSA Choir

SKU: BT.WH3060502

Composed by Per Nørgård, Hans Christian Andersen. Classical. Vocal Score. Composed 2011. 4 pages. Edition Wilhelm Hansen #WH3060502. Published by Edition Wilhelm Hansen (BT.WH3060502).

ISBN 9788759875438.

Seco nd work from 'Two Hans Christian ANdersen Poems'. For SSA choir. Vocal Score.

Choral (SSA Choir) - intermediate

SKU: HL.49045474

For SSA Chorus. Composed by Nino Rota. This edition: Saddle stitching. Sheet music. Choral. Classical. Octavo. Composed 1932. 16 pages. Duration 4'. Schott Music #C57825. Published by Schott Music (HL.49045474).

ISBN 9790001164245. UPC: 841886030978. 7.5x10.75x0.042 inches. Italian.

At the end of December 1930, Nino Rota travelled to the United States of America where he was accepted at the Curtis Institute of Music in Philadelphia upon the recommendation of Arturo Toscanini. One year later, he composed Four Canons: four short compositions the lyrics of which are based on Italian love poems from the 15th and 16th centuries. The madrigal-like style of the unison canons testifies to an innovativeness which goes far beyond a simple study work.