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.

(Women's Voices - S.S.A.). By Emma Lou Diemer (1927-). Female chorus. For SSA, Piano Rehearsal. Piano reduction/vocal score. Standard notation. 19 pages. Published by Theodore Presser Company

SSA Collection. Composed by Various. Choral Collection. Secular, Holiday, Christmas, Sacred, Winter. Softcover. Published by Hal Leonard

(Based on Pat-a-Pan ). By Mary Mcdonald. For SAB choir and piano (with optional orchestration). Sacred Anthem, Christmas. Octavo. Published by Lorenz Publishing Company

By Willcocks and Rutter. For (Choral Collection) SSA Choir. Published by Oxford University Press.

(For Church, Home or Community Singing) Arranged by Gladys Pitcher. For SSA choir. Format: vocal songbook. With vocal score and lyrics. Christmas. 32 pages. 6.7x10.5 inches. Published by G. Schirmer, Inc.

By Michael Burkhardt. For Unison 3-part treble choir and Orff Instruments (SAB or 3-part). Choral Music. Christmas. Medium. Published by MorningStar Music Publishers

Composed by Ruth Elaine Schram. Sing! Christmas. Octavo. Published by Chorister's Guild (LO.CGE85).

Composed by Ruth Elaine Schram. Sing! Christmas. Octavo. Published by Chorister's Guild (LO.CGE84).

This edition: Musical. Modern Christian: Christmas. Level: Adult. Published by Word Music.

3-part Choir, cello,flute,harp

SKU: GI.G-005752

Composed by J. Michael Thompson. Christmas, Children. Tune Name: Traditional Hungarian Carol (PÁ, Sztorok),Default. Sacred. Octavo. GIA Publications #005752. Published by GIA Publications (GI.G-005752).

UPC: 641151057521. English.

A charming three-part choir arrangement of the traditional Hungarian carol (Pasztorak). Nice chance for the women of your choir to shine! Recorded on O Come Rejoicing.

SSA choir, piano accompaniment, clarinet in B-flat - Beginning

SKU: GI.G-7327

Arranged by Will Nichols. Christmastide, Christmas Vigil, Christmas Night, Christmas Dawn, Children. Christmas. Tune Name: Besançon. Sacred. Octavo. 12 pages. GIA Publications #7327. Published by GIA Publications (GI.G-7327).

UPC: 785147732709. English. Text Source: Berger, secoue ton sommeil profond, French trad. carol, tr. Anonymous.

When you first listen to this arrangement, if you are like us, you will be captivated by the charming playfulness between the piano and clarinet. The writing for women’s voices is accessible, but quite effective. The most challenging aspect of the piece likely will be coordinating the ensemble of the instrumentalists, as the forward-spinning, 16th-note figures must move at a brisk and even pace.

Composed by Stephen Mager. University of Notre Dame Children's Choir Series. Christmas, 21st Century. Octavo. Published by MorningStar Music Publishers (MN.50-1715).

SSA, a cappella

SKU: SU.80300250

For SSA, a cappella. Arranged by Martha Alter. Vocal/Choral, Sacred Choral. A cappella. Choral Octavo. Treble Clef Music Press #80300250. Published by Treble Clef Music Press (SU.80300250).

This gentle arrangement of a Basque traditional tune uses subtly deployed drones to mark it as a shepherds' carol. The paraphrased text is suitable for general Christmas use, especially on Christmas Eve. SSA; a cappella; English; Easy-Med. SSA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.

SAB choir and piano

SKU: LO.65-2103L

Composed by Jay Rouse, Larry Shackley, Lloyd Larson, and Mary McDonald. Choral, cantatas. Advent, Christmas, Sacred. Choral score. Lorenz Publishing Company #65/2103L. Published by Lorenz Publishing Company (LO.65-2103L).

ISBN 9780787767044.

From the collaborative efforts of Lloyd Larson, Mary McDonald, Jay Rouse, and Larry Shackley, Everlasting Light showcases the profound significance of the light of Christ come to earth. An insightful narration by Rose Aspinall incorporates scripture and personal reflection to tie together the compelling combination of powerful original music and beloved carols. Mary McDonald’s celebratory opener, Everlasting Light, acts as the cornerstone of the work. Larry Shackley’s Longing for the Light beautifully portrays a yearning for restoration; Jay Rouse offers a stirring original song with words inspired by Mary’s Songs of Praise found in Luke 1:44-56; and Lloyd Larson’s Shepherds and Angels adds rhythmic and joyful energy. The work concludes with a robust medley of carols that points back to the opening song: He is the Light, Everlasting Light; born a Savior, born this night. He is the One, the Everlasting Son; Child of heaven, He is the Light!.

By Lloyd Larson. Arranged by Victor C Johnson. For SAB choir and piano (with optional orchestration). Cantatas. Christmas, Sacred. Choral score. Duration 30 minutes. Published by Lorenz Publishing Company

By Larry Shackley. For SAB choir and piano. Christmas, Sacred. Cantata. Published by Lorenz Publishing Company. (65/2003L)