Composed by Dave and Peg Dunbar. For SAB choir. Sacred. Octavo. Published by Print Music Source

Composed by Terri Bailey. Anthem. Choral octavo. Published by Print Music Source (P3.C160104).

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.

3-part equal voices, voice solo, piano accompaniment - Beginning

SKU: GI.G-5558

Composed by Larry Schexnaydre and Yve Braud. Arranged by Kate Cuddy. Leavensong Series. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #5558. Published by GIA Publications (GI.G-5558).

English. Text Source: Schexnaydre, Larry, Braud, Yve. Text by Various.

Text Source: Larry Schexnaydre, Yve Braud.

SAB choir, piano reduction - Beginning

SKU: GI.G-4958

Composed by Larry Harris. Ash Wednesday. Choral. Sacred. Octavo. 4 pages. GIA Publications #4958. Published by GIA Publications (GI.G-4958).

UPC: 785147495802. Text Source: Genesis 3:19, Joel 2:13, Sacramentary (Ash Wednesday). Scripture: Genesis 3:19, Joel 2:13.

Text Source: Genesis 3:19; Joel 2:13; Sacramentary (Ash Wednesday).

3-part equal voices, 3-part mixed voices, cantor, assembly, piano accompaniment, guitar, b-flat instrument 1, B-flat instrument 2, B-flat instrument 3 - Beginning

SKU: GI.G-6038

Composed by Michael Mahler. OT 4 A, All Saints, OT 6 C. Leavensong Series. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #6038. Published by GIA Publications (GI.G-6038).

UPC: 785147603801. English. Text Source: Matthew 5:3–12, adapt. MM. Scripture: Matthew 5:3–12.

The Beatitudes.

By Heinrich Isaac. Edited by Richard Proulx. Arranged by Leonard Lechner. For Voices: SAB. Piano reduction. Ars Antiqua Choralis Series Sacred. Level: easy. 3 pages. Published by GIA Publications.

3-part mixed voices, voice solo, piano accompaniment - Beginning

SKU: GI.G-5552

Composed by Christopher Dutkiewicz and Richard Putorti. Arranged by Kate Cuddy. Lent, Christmas Day, Epiphany, Lent 4 A, Lent 4 B. Leavensong Series. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #5552. Published by GIA Publications (GI.G-5552).

UPC: 785147555209. English. Text Source: Putorti, Richard, Dutkiewicz, Christopher. Text by Various.

Text Source: Richard Putorti, Christopher Dutkiewicz.

3-part equal voices, piano accompaniment - Early intermediate

SKU: GI.G-10211

Composed by Bob Moore. Choral. Sacred. Octavo. 8 pages. GIA Publications #10211. Published by GIA Publications (GI.G-10211).

UPC: 785147021117. English. Text Source: 1 John 4:8, John 3:16, alt. Scripture: 1 John 4:8, John 3:16.

3-part equal voices, 3-part mixed voices, cantor, assembly, keyboard accompaniment, violin 1, violin 2, viola, cello, flute - Beginning

SKU: GI.G-4020

Rite of Blessing and Sprinkling of Water. Composed by Gary Daigle. Celebration Series. Sacred. Octavo. With guitar chord names. 16 pages. GIA Publications #4020. Published by GIA Publications (GI.G-4020).

Text Source: vs. of sprinkling rite. Text by Rory Cooney.

3-part equal voices, assembly, piano accompaniment, guitar - Early intermediate

SKU: GI.G-7513

Composed by Paul Melley. Ordinary Time 29 C. Leavensong Series. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #7513. Published by GIA Publications (GI.G-7513).

UPC: 785147751304. English. Text Source: Psalm 121:1–2, 3–4, 5–6, 7–8, NAB, ref.: Lectionary for Mass

Your choir and congregation will enjoy the driving beat and syncopated rhythms of this setting of Psalm 121. The three-part mixed harmonies are especially fun to sing! .

3-part equal voices, 3-part mixed voices, cantor, voice solo, assembly, piano accompaniment, guitar - Early intermediate

SKU: GI.G-7517

Composed by Paul Melley. Ordinary Time 22 A, Ordinary Time 23 C. Leavensong Series. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #7517. Published by GIA Publications (GI.G-7517).

UPC: 785147751700. English. Text Source: Based on Mark 8:34-38, adapt. PM and GD. Scripture: Mark 8:34–38.

Her e is another remarkable piece from the pen of Liam Lawton and arranged by Gary Fry. The text explores the meaning of church-not a stone edifice, but the people of God. For cantor or soloist.

3-part equal voices, 3-part mixed voices, cantor, voice solo, assembly, piano accompaniment - Beginning

SKU: GI.G-7521

Composed by Paul Melley. Trinity Sunday. Leavensong Series. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #7521. Published by GIA Publications (GI.G-7521).

UPC: 785147752103. English. Text Source: John Marriott, 1780-1825, adapt. PM. Text by John Marriott.

This hymn of praise to the Trinity comes alive through the musical inspiration of Paul Melley. The lilting 6/8 melody and rhythmic accompaniment let this piece shine! For cantor or soloist.

3-part equal voices, cantor, voice solo, assembly, keyboard accompaniment, C instrument, guitar - Beginning

SKU: GI.G-7684

Composed by Paul Tate. Pentecost B. Celebration Series. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #7684. Published by GIA Publications (GI.G-7684).

UPC: 785147768401. English. Text Source: Based on Galatians 5:16–17, 22–25. Text by David Haas. Scripture: Galatians 5:16–17, 22–25.

Cast in 3-part harmony, this is a welcome contribution to the ensemble repertoire. The refrain is a bit extended, and the somewhat shorter verses, drawn from Galations 5, are in the form of call and response between cantor and all. For cantor or soloist.

3-part equal voices, 3-part mixed - Early intermediate

SKU: GI.G-7392

Composed by Glenn Wonacott. Lent 1 C. Choral. Sacred. Octavo. 4 pages. GIA Publications #7392. Published by GIA Publications (GI.G-7392).

UPC: 785147739203. English. Text Source: Psalm 91:1-2, NIV Scripture: Psalm 91:1–2.

The chant-like treatment of the Psalm verses, in addition to creating a simply lovely setting, can also be a great exercise in sensitively conveying the meaning of the words through proper textual stress—a skill that can be applied to less lyrical pieces in the choral repertoire. The voice parts are minimal in scope (each roughly an octave), but the fluctuating accidentals will require some attention for tuning.

3-part equal voices, 3-part mixed voices, cantor, voice solo, assembly, piano accompaniment, guitar - Early intermediate

SKU: GI.G-7516

Composed by Paul Melley. Advent 2 B, Ordinary Time 15 B, Ordinary Time 19 A. Leavensong Series. Sacred. Octavo. With guitar chord names. 4 pages. GIA Publications #7516. Published by GIA Publications (GI.G-7516).

UPC: 785147751601. English. Text Source: Psalm 85:8, 9, 10, 11&ndash,12, 13&ndash,14, NAB, ref.: Lectionary for Mass Scripture: Psalm 85:8, 9, 10, 11–12, 13–14.

This simple, satisfying psalm setting will have many uses during your community’s worship. In addition to its place in the Liturgy of the Word, you might also use it for services that focus on social justice or healing.   For cantor or soloist.

3-part equal voices, voice solo, assembly, piano accompaniment, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, violin 1, violin 2, violin 3, guitar - Early intermediate

SKU: GI.G-10303

My Loving Mother. Composed by Al Valverde and Richard Valverde. Arranged by Al Valverde. Mother's Day. Tu Pueblo Canta. Sacred. Octavo. With guitar chord names. 16 pages. GIA Publications #10303. Published by GIA Publications (GI.G-10303).

English, Spanish. Text Source: Al Valverde and Richard Valverde, tr. al ing. / Eng. tr. Peter M. Kolar; Translation: Peter M. Kolar.

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.

3-part equal voices, 3-part mixed voices, voice solo, assembly, piano accompaniment, trumpet 1 in B-flat, trumpet 2 in B-flat, tenor saxophone, trombone, guitar - Early intermediate

SKU: GI.G-6111

Composed by Timothy Valentine. Arranged by Peter Valentine. Eastertide, Easter Vigil. Leavensong Series. Sacred. Octavo. With guitar chord names. 16 pages. GIA Publications #6111. Published by GIA Publications (GI.G-6111).

English. Text Source: Words inspired from Exodus, Isaiah, Ezekiel and Revelation. Text by Timothy Valentine. Scripture: (inspired from Exodus, Isaiah, Ezekiel, Revelation).

Inspir ed by several Old Testament texts, as well as Revelation, Timothy Valentine, SJ, has composed a song that will appeal to those who want a more contemporary feel to their worship. Parts for trumpets, trombone, and tenor sax are available separately. .

3-part equal voices, keyboard accompaniment, flute - Early intermediate

SKU: GI.G-10481

Composed by Mark Patterson. Easter 4 C. Singing Our Faith. Sacred. 12 pages. GIA Publications #10481. Published by GIA Publications (GI.G-10481).

UPC: 785147048114. English. Text source: Psalm 100. Scripture: Psalm 100.

3-part equal voices, voice solo, percussion - Early intermediate

SKU: GI.G-9994

Three Kpanlogo Songs. Arranged by Kathy Armstrong. Global Encounters for Young Choirs. Music Education. Octavo. 8 pages. GIA Publications #9994. Published by GIA Publications (GI.G-9994).

UPC: 785147999409. English, Ga. Text Source: Trad. Ga (Ghana).

The percussion part is for hand claps, gangokui (iron double bell), axatse (gourd rattle) and hand drum. About the Series: Doreen Rao, 2019 Robert Shaw Award recipient, launches her culturally inclusive choral series, Global Encounters for Young Voices, featuring accessible treble- and mixed-voice works for developing choirs.

3-part equal voices, cantor, assembly, keyboard accompaniment, guitar - Early intermediate

SKU: GI.G-10831

Psalm 65. Composed by Ed Bolduc. Ordinary Time 15 A. Voices. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #10831. Published by GIA Publications (GI.G-10831).

English. Text Source: Lectionary for Mass, ,Psalm 65:10, 11, 12&ndash,13, 14 (cf. Luke 8:8). Scripture: Luke 8:8, Psalm 65:10, 11, 12–13, 14.

3-part equal voices, piano accompaniment - Early intermediate

SKU: GI.G-8068

Arranged by Peter Fischer. Children. Music for Young Voices,Young Voices-ES. Music Education. Octavo. 12 pages. GIA Publications #8068. Published by GIA Publications (GI.G-8068).

UPC: 785147806806. English. Text Source: Trad. Scottish.

3-part equal voices, piano reduction - Early intermediate

SKU: GI.G-7999

Arranged by Harry T. Burleigh. African American Church Music Series. Sacred. Octavo. 8 pages. GIA Publications #7999. Published by GIA Publications (GI.G-7999).

UPC: 785147799900. English. Text source: Negro Spiritual.

3-part mixed chorus - early intermediate

SKU: XC.HRMG2045

Composed by Michael John Trotta. Holy Week, Holy Thursday, General. Michael John Trotta. Sacred. Octavo. 8 pages. Hampton Roads Music Group LLC #HRMG2045. Published by Hampton Roads Music Group LLC (XC.HRMG2045).

UPC: 785147100157. Latin. Text source: Traditional.

Beauti ful modern harmonies create the backdrop for this elegantly simple a cappella work that is well within reach for most choirs. Straightforward rhythms and moments of release create a tapestry of sound that surrounds the solo chant line, which may be sung by a soloist, small group, or performed by a C instrument. Also available for SATB, SAB, 3pt, SA, and unsion voices with piano. This artistic setting is equally appropriate for litugical use or the concert stage.  .

3-part equal voices, voice solo, percussion - Early intermediate

SKU: GI.G-9993

Alleluia (from Bobobo). Arranged by Kathy Armstrong. Global Encounters for Young Choirs. Music Education. Octavo. 8 pages. GIA Publications #9993. Published by GIA Publications (GI.G-9993).

UPC: 785147999300. English, Ewe. Text Source: Trad. Ewe (Ghana), English tr. Doreen Rao; Translation: Doreen Rao.

The percussion parts are for dondo (talking drum) and ferikywia (iron casanet bell). About the Series: Doreen Rao, 2019 Robert Shaw Award recipient, launches her culturally inclusive choral series, Global Encounters for Young Voices, featuring accessible treble- and mixed-voice works for developing choirs.

3-part equal voices, cantor, assembly, keyboard accompaniment - Early intermediate

SKU: GI.G-008041

Composed by Ed Bolduc. Pentecost. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #008041. Published by GIA Publications (GI.G-008041).

UPC: 641151080413. English. Text Source: Vss. Edwin Hatch, 1835&ndash,1889, alt., ref. Ed Bolduc. Text by Edwin Hatch.

SAB choir, piano accompaniment - Beginning

SKU: GI.G-6250

Composed by Daniel C. Meyer. Ordinary Time 19 C. Choral. Sacred. Octavo. 8 pages. GIA Publications #6250. Published by GIA Publications (GI.G-6250).

UPC: 785147625001. English. Text Source: William Cowper, 1731–1800, alt. Daniel C. Meyer. Text by William Cowper.

Text Source: alt. Daniel C. Meyer.

SAB choir, keyboard accompaniment - Early intermediate

SKU: GI.G-2866

Composed by Samuel Howard. Arranged by Walter Ehret. Choral. Choral. Sacred. Octavo. 8 pages. GIA Publications #2866. Published by GIA Publications (GI.G-2866).

Text source: J. F. Wade (attr. to).

Text Source: J.F. Wade, (attr. to).

By Jacob Obrecht. Edited by Richard Proulx. For Voices: SAB. Piano reduction. English and Latin text. Ars Antiqua Choralis Series Sacred. Level: medium. 4 pages. Published by GIA Publications.