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.
SAB choir, cantor, assembly, keyboard accompaniment, clarinet in B-flat - Early ...(+)
SAB choir, cantor,
assembly, keyboard
accompaniment, clarinet
in B-flat - Early
intermediate
SKU:
GI.G-9622
Composed by
Ephrem Feeley. Ordinary
Time 5 C, Ordinary Time
17 C, Ordinary Time 21 A.
Choral. Sacred. Octavo.
12 pages. GIA
Publications #9622.
Published by GIA
Publications (GI.G-9622).
This
gentle piece is a
paraphrase of Psalm 138,
a psalm that unites us
with the angels in praise
of God’s goodness
and greatness. The choral
parts in verses 2 and 3
are optional, they work
just as well with a
single voice. There are
many occasions, inside
and outside of liturgical
worship settings, when
this piece would be
appropriate.
Choral SSA choir, piano SKU: CF.CM9772 Composed by Greg Gilpin. Duration ...(+)
Choral SSA choir, piano
SKU: CF.CM9772
Composed by Greg Gilpin.
Duration 3 minutes, 16
seconds. Carl Fischer
Music #CM9772. Published
by Carl Fischer Music
(CF.CM9772).
ISBN
9781491164433. UPC:
680160923335. Key: G
major. English. Words
adapted from Angels from
the Realms of Glory by
JAMES MONTGOMERY
(1771-1854).
I've
always enjoyed
celebratory and rhythmic
singing. I also know
there's a need for this
style in treble voices.
The holiday season is a
perfect time to create
such a work.The text of
The Angels' Gloria is
based on the familiar
Montgomery hymn with
original music. This work
can be easily be done as
a call and answer or
antiphonal setting. Try
using it as a
processional, too.
Hearing the voices
surround the audience is
always exciting for
everyone and a superb
teaching and learning
experience.The
accompaniment is
intentionally simple and
bell-like, supporting the
three-part harmonies.
I've also created a
B-section that is a
cappella in full
three-part singing, rich
and full giving lots of
contrast to the
piece.There is so much
good teaching throughout
the piece, making for
interesting rehearsals
and a terrific
performance piece. I hope
this adds just the right
sparkle for your
Christmas or holiday
program.—Greg
Gilpin.
Angels' Gloria Chorale 3 parties SAB, Piano [Octavo] Alfred Publishing
(Featuring: Angels We Have Heard on High / Hark! The Herald Angels Sing / O Come...(+)
(Featuring: Angels We
Have Heard on High /
Hark! The Herald Angels
Sing / O Come, All Ye
Faithful / Gesu Bambino /
In the Bleak Midwinter /
Silent Night). Arranged
by Laura Farnell. Choir
Secular. 3-Part Mixed
Choir (SAB). Choral
Octavo. Choral Designs.
Form: Medley. Christmas;
Winter. 12 pages.
Published by Alfred Music
Publishing
Angels' Gloria Chorale 3 parties SSA, Piano [Octavo] Alfred Publishing
(Featuring: Angels We Have Heard on High / Hark! The Herald Angels Sing / O Come...(+)
(Featuring: Angels We
Have Heard on High /
Hark! The Herald Angels
Sing / O Come, All Ye
Faithful / Gesu Bambino /
In the Bleak Midwinter /
Silent Night). Arranged
by Laura Farnell. Choir
Secular. Women's Choir.
Choral Octavo. Choral
Designs. Form: Medley.
Christmas; Winter. 12
pages. Published by
Alfred Music Publishing
Composed by Ruth Morris
Gray. Choir Sacred.
3-Part Mixed Choir (SAB).
Choral Octavo. Choral
Designs. Christmas;
Sacred; Spiritual;
Winter. 12 pages.
Published by Alfred Music
Composed by Greg Gilpin.
Choir Sacred. 3-Part
Mixed Choir (SAB). Choral
Octavo. Choral Designs.
Christmas; Sacred;
Winter. 12 pages.
Published by Alfred Music
3-part mixed choir and piano SKU: LO.15-3804H Composed by Victor C Johnso...(+)
3-part mixed choir and
piano
SKU:
LO.15-3804H
Composed
by Victor C Johnson.
Choral. Christmas,
General. Octavo. Heritage
Music Press #15/3804H.
Published by Heritage
Music Press
(LO.15-3804H).
ISBN
9780787772062.
With
its sweet melodies,
sensitive accompaniment,
and optional flute
obbligato, Victor
Johnson's setting of this
traditional Spanish
lullaby is sure to charm
choirs and audiences
alike. In addition to the
original Spanish, two
sets of English
lyrics—one for
general use and the other
for
Christmas—offer
flexible performance
options. A pronunciation
guide for the Spanish
text is also
included.
SAB choir, cantor, assembly, presider with keyboard accompaniment SKU: GI.G-7...(+)
SAB choir, cantor,
assembly, presider with
keyboard accompaniment
SKU: GI.G-7846CD
Revised Order of Mass
2010. Composed by
Steven R. Janco. Mass.
Sacred. CD. GIA
Publications #7846CD.
Published by GIA
Publications
(GI.G-7846CD).
UPC:
785147784623. English.
Text Source: Revised
Order of Mass 2010,
Lectionary for
Mass
One of
GIA's best-selling
liturgical settings, Mass
of the Angels and Saints
provides the ultimate in
flexibility, while
retaining a wonderful
musical unity that will
enable your assembly to
sing it with ease. Many
options are provided to
encourage your creativity
in adapting the setting,
yet the writing is
straightforward and
accessible. Written for
SAB choir and optional
descant, these settings
provide both a
substantial choral sound
and greater accessibility
to smaller parish choirs
and ensembles.
SAB choir, keyboard accompaniment SKU: GI.G-005276 Composed by Kathleen D...(+)
SAB choir, keyboard
accompaniment
SKU:
GI.G-005276
Composed
by Kathleen Demny.
Sacred. Octavo. With
guitar chord names. 8
pages. GIA Publications
#005276. Published by GIA
Publications
(GI.G-005276).
English.
This
lovely SAB choral work is
based on the In
Paradisum.. The sweet
melody and harmony lines
are logical and
user-friendly. Peter
Kolar, has arranged an
engaging keyboard part
that delicately functions
as the foundation for the
chorus.
Composed by
Ted Hutchinson. Arranged
by Thomas Fettke.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Christmas; Sacred. Choral
Octavo. 16 pages. Alfred
Music #00-47736.
Published by Alfred Music
(AP.47736).
UPC:
038081544298.
English.
Made
popular by American Idol
star David Archuleta and
the Mormon Tabernacle
Choir on their Glad
Christmas Tidings album,
this original carol tells
the Christmas story from
the perspective of two
animals in the stable.
And the night skies rang
as the angels sang, when
love came down to the
earth. Appropriate for
both school and
church.
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.
(Angels We Have Heard on High / Silent Night). Choir Sacred. 3-Part Mixed Choir ...(+)
(Angels We Have Heard on
High / Silent Night).
Choir Sacred. 3-Part
Mixed Choir (SAB). Choral
Octavo. Choral Designs.
Christmas; Sacred;
Winter. 12 pages.
Published by Alfred Music
Choral SSA Choir and Piano SKU: PR.312416910 For S.S.A. Chorus and Pia...(+)
Choral SSA Choir and
Piano
SKU:
PR.312416910
For
S.S.A. Chorus and
Piano. Composed by
Betty Fletcher. Choral.
Part. With Standard
notation. Duration 2:40.
Theodore Presser Company
#312-41691. Published by
Theodore Presser Company
(PR.312416910).
