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.
Four Carols Chorale 3 parties SSA, Piano [Octavo] Theodore Presser Co.
(Women's Voices - S.S.A.). By Emma Lou Diemer (1927-). Female chorus. For SSA, P...(+)
(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
Run to Bethlehem Chorale 3 parties SAB, Piano [Octavo] Lorenz Publishing Company
(Based on Pat-a-Pan ). By Mary Mcdonald. For SAB choir and piano (with optional...(+)
(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
(For Church, Home or Community Singing) Arranged by Gladys Pitcher. For SSA choi...(+)
(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 o...(+)
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
3-part Choir, cello,flute,harp SKU: GI.G-005752 Composed by J. Michael Th...(+)
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...(+)
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. Chr...(+)
Composed by Stephen
Mager. University of
Notre Dame Children's
Choir Series. Christmas,
21st Century. Octavo.
Published by MorningStar
Music Publishers
(MN.50-1715).
O Bethlehem Chorale 3 parties SSA A Cappella Treble Clef Music Press
SSA, a cappella SKU: SU.80300250 For SSA, a cappella. Arranged by ...(+)
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.
Everlasting Light Chorale 3 parties SAB, Piano Lorenz Publishing Company
SAB choir and piano SKU: LO.65-2103L Composed by Jay Rouse, Larry Shackle...(+)
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!.
Bethlehem's Child Chorale 3 parties SAB, Piano Lorenz Publishing Company
By Lloyd Larson. Arranged by Victor C Johnson. For SAB choir and piano (with opt...(+)
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