This anthem
is a gentle admonition to
linger only on the noble
Christ-honoring things of
life and to turn from
what would limit our walk
of faith. Creative use of
linear writing creates a
tapestry of sound that is
engaging and appropriate
to the spirit of the
text.
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.
Composed by Cole Porter.
Arranged by Jay Althouse.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Broadway; Secular. Choral
Octavo. 12 pages. Alfred
Music #00-46559.
Published by Alfred Music
(AP.46559).
UPC:
038081531342.
English.
There's
nothing quite like the
excitement of opening
night, captured
brilliantly here in the
showstopper from Cole
Porter's Kiss Me, Kate.
Anticipation gradually
builds as the bubbly tune
passes from voice to
voice in a crescendo,
eventually erupting into
the title line of the
song. A terrific
selection for staging or
choreography, smartly
arranged for developing
choirs!
About Alfred
Pop Choral
Series
The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs.
Composed by Joel Raney. Arranged by Joel Raney. Lent, Holy Week, General Worsh...(+)
Composed by Joel Raney.
Arranged by Joel Raney.
Lent, Holy Week,
General Worship, Sacred.
Octavo. 12 pages. Hope
Publishing Company
#C6045. Published by Hope
Publishing Company
(HP.C6045).
The Cambiata Collection Chorale 3 parties TTB/TBB [Partition + Accès audio] Alfred Publishing
Range-Ready Repertoire for Developing TTB Choirs. Composed by Lon Beery. Chor...(+)
Range-Ready Repertoire
for
Developing TTB Choirs.
Composed by Lon Beery.
Choral Collection; Choral
Resources; Collections;
Performance Music
Ensemble.
Secular. Book; Online
Audio.
72 pages. Alfred Music
#00-
48641. Published by
Alfred
Music
3-Part Mixed or SAB Voicings for the Changing Needs of Young Singers. Arranged...(+)
3-Part Mixed or SAB
Voicings
for the Changing Needs of
Young Singers. Arranged
by
Greg Gilpin. Shawnee
Press.
Elementary, Choral
Collections, Collection.
Softcover Audio Online.
104
pages. Published by
Shawnee
Press
For Three-Part Mixed Voices with Keyboard. By Traditional. Arranged by Eliazbeth...(+)
For Three-Part Mixed
Voices with Keyboard. By
Traditional. Arranged by
Eliazbeth Campbell. Mixed
choir. For Treble Voice
I, Treble Voice II, Bass
Voice, Keyboard. Choral.
Piano/Vocal Score. 8
pages. Published by Carl
Fischer.
Choral SSA choir, piano SKU: CF.CM9773 Composed by Brady Weldon. Duration...(+)
Choral SSA choir, piano
SKU: CF.CM9773
Composed by Brady Weldon.
Duration 2 minutes, 49
seconds. Carl Fischer
Music #CM9773. Published
by Carl Fischer Music
(CF.CM9773).
ISBN
9781491164440. UPC:
680160923342. Key: C#
minor. English. Christina
Rossetti.
In the
bleak midwinter, frosty
wind made moan, Â
    Â
    Â
    Â
    Â
    Â
 Earth stood hard as
iron, water like a
stone;Â Â Â Â
    Â
    Â
    Â
    Â
    Â
   Snow had
fallen, snow on snow,
snow on snow, Â
    Â
    Â
    Â
    Â
    Â
    In the
bleak midwinter, long
ago.What can I give Him,
poor as I am? Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
  If I were a
shepherd, I would bring a
lamb;Â Â Â Â
    Â
    Â
    Â
    Â
    Â
    Â
   If I were a
Wise Man, I would do my
part;Â Â Â Â
    Â
    Â
    Â
    Â
    Â
    Â
  Yet what I can
I give Him: give my
heart.The text from this
beloved poem of Christina
Rossetti
(1830–1894) was
originally published in
an 1872 issue of
Scribner’s
Monthly, under the title
A Christmas Carol. In the
first of its five
stanzas, the speaker
describes in great detail
a bitingly cold winter
scene, void of both
warmth and light. By the
final stanza, the
speaker's thoughts turn
inward, asking what gift
they may offer the infant
Jesus, meek though they
believe themselves to
be.The poem was later set
by English composer
Gustav Holst
(1874–1934) as a
contribution to the
English Hymnal in 1906
and remains the most
popular setting
today.London-born
Rossetti came to be
regarded not only as one
of the greatest female
poets of her time, but as
an outspoken advocate on
several societal issues,
including slavery and
cruelty towards
animals.In this setting,
word painting is of the
utmost importance.
Careful attention to word
stress throughout the
course of the piece will
make the performance all
the more captivating.
Descriptive lines such as
“frosty wind made
moan†should be
conveyed with swelling
crescendos, like frigid
gusts of frozen air.While
this piece features an
original tune, the
beloved Holst melody is
also featured briefly,
beginning in m. 28. Take
care to bring this
out.There are plenty of
other allusions to wintry
scenes scattered
throughout the choral
parts as well as the
accompaniment. I
encourage you to put your
sleuthing
“hats†on and
find them all. It will
make the learning
experience much more
memorable and fun.
SAB choir, cantor, Presider, assembly, organ accompaniment, handbells SKU: GI...(+)
SAB choir, cantor,
Presider, assembly, organ
accompaniment, handbells
SKU: GI.G-005270
Composed by Brett C
Ballard. Advent, Advent 4
Year A, Advent 3 Year A,
Advent 2 Year A, Advent 1
Year A. Tune Name:
Incorporating Divinum
Mysterium. Sacred.
Octavo. 12 pages. GIA
Publications #005270.
Published by GIA
Publications
(GI.G-005270).
UPC:
641151052700. Latin,
English.
Brett's
noteworthy setting, based
on the familiar hymn tune
DIVINUM MYSTERIUM and
incorporating texts from
the Sacramentary, makes
an effective and
memorable Advent
gathering rite, seamless
from procession through
the opening prayer. The
presider's part is
readily perceived as it
outlines the elegant,
stepwise motion in the
melodic classic. The
writing for chorus is
proficiently set for SAB.
Within the body of the
octavo you will find
Introits and Opening
Prayers for all Sundays
in Advent as well as the
solemnity of the
Immaculate
Conception.
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.47677 (A Song of ...(+)
Choir Secular (SAB
choir/3-Part choir Mixed)
SKU: AP.47677
(A Song of
Winter). Performance
Music Ensemble; Single
Titles. Alfred Choral
Designs. Secular; Winter.
Choral Octavo. 16 pages.
Alfred Music #00-47677.
Published by Alfred Music
(AP.47677).
UPC:
038081543703. English.
Adam Podd; Matt
Podd.
The
shimmering winter-themed
text and lilting 6/8
rhythms dance right off
the page in this
contemporary choral like
none other. Accessible
yet unexpected harmonies
provide warmth, and a
full dynamic range takes
us on a journey from a
single voice to full
ensemble singing. The
breathtaking add-on
section weaves three
independent lines into
one radiant tapestry of
sound and suggests that
the light we search for
may be found within.
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.
Essays, Interviews, and Clippings. Composed by John Philip Sousa / Bryan ...(+)
Essays, Interviews,
and Clippings.
Composed by John Philip
Sousa / Bryan J. Proksch.
Music Education. 206
pages. GIA Publications
#9278. Published by GIA
Publications (GI.G-9278).
Composed by Julian R.
Fleisher. Arranged by
Lisa DeSpain. Performance
Music Ensemble; Single
Titles. Alfred Pop Choral
Series. Christmas;
Holiday Pops; Jazz;
Secular. Choral Octavo.
16 pages. Alfred Music
#00-50251. Published by
Alfred Music (AP.50251).
UPC: 038081574219.
English.
Broadway
veteran and comedian Ana
Gasteyer's holiday album
is filled with clever
gems like this nifty
novelty number. Can you
think of a rhyme for the
word Christmas? It's
nearly impossible. After
several failed attempts,
grins, chuckles, and
one-liners throughout the
jazzy tune, the lyrics
conclude that we don't
need a rhyme for
Christmas, only you!
SAB choir, keyboard, piano accompaniment SKU: GI.G-008814 Composed by Mic...(+)
SAB choir, keyboard,
piano accompaniment
SKU: GI.G-008814
Composed by Michael A.
Perza. Advent, Advent 4
Year C, advent 3 Year A,
advent 3 Year B, advent 4
Year B. Tune Name:
Shining Hope. Sacred.
Octavo. With guitar chord
names. 12 pages. GIA
Publications #008814.
Published by GIA
Publications
(GI.G-008814).
UPC:
641151088143.
Micha
el writes, adapts, and
arranges music that
always catches the eyes
and ears of music
directors. Choral
accessibility and musical
care are foremost in his
mind as he writes.
Michael's setting of this
cherished prayer is one
of his best to date. The
accompaniment is
reminiscent of the
well-known Bach/Gounod
setting as the arpeggio
figures accompany the
vocal line and choral
harmonies. Within the
choral texture are some
unusual but pleasing
harmonic shifts to keep
singer and listener
engaged. If you know any
of Michael's earlier
works, you will surely
want this one in your
library.
Choir Secular (Women's Choir) SKU: AP.50252 Composed by Julian R. Fleishe...(+)
Choir Secular (Women's
Choir)
SKU:
AP.50252
Composed by
Julian R. Fleisher.
Arranged by Lisa DeSpain.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Christmas; Holiday Pops;
Jazz; Secular. Choral
Octavo. 16 pages. Alfred
Music #00-50252.
Published by Alfred Music
(AP.50252).
UPC:
038081574226.
English.
Broadway
veteran and comedian Ana
Gasteyer's holiday album
is filled with clever
gems like this nifty
novelty number. Can you
think of a rhyme for the
word Christmas? It's
nearly impossible. After
several failed attempts,
grins, chuckles, and
one-liners throughout the
jazzy tune, the lyrics
conclude that we don't
need a rhyme for
Christmas, only you!
Keep the Beat Chorale 3 parties SAB Alfred Publishing
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.49711 From the an...(+)
Choir Secular (SAB
choir/3-Part choir Mixed)
SKU: AP.49711
From the animated
movie Vivo.
Composed by Lin-Manuel
Miranda. Arranged by Andy
Beck. Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Movie; Secular. Choral
Octavo. 16 pages. Alfred
Music #00-49711.
Published by Alfred Music
(AP.49711).
UPC:
038081567983.
English.
Here's an
optimistic Lin-Manuel
Miranda original
jam-packed with his
energetic signature
style. Syncopated rhythms
and rap-like riffs come
to life with a singable
melody, bright choral
harmonies, and a lively
counterline descant.
Don't miss the flexible
body percussion
interludes that bring the
beat-keeping theme to
life. Featured in the
animated movie musical
Vivo, this is an
uplifting pep talk about
the power of
perseverance, perfect for
our time. What should we
do when things don't go
as planned? Play on and
keep the beat!
By Laura Farnell. For SSA choir and piano accompaniment. (SSA/2 Part/Unison). C...(+)
By Laura Farnell. For SSA
choir and piano
accompaniment. (SSA/2
Part/Unison). Choral
Octavos. Treble
Spotlight. Choral. Choral
Octavo. Published by Neil
A. Kjos Music Company.
Composed by Ruth Morris
Gray. Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Secular. Choral Octavo.
12 pages. Alfred Music
#00-46590. Published by
Alfred Music (AP.46590).
UPC: 038081531656.
English. Words by Henry
Van
Dyke.
Expressive
legato vocal lines are
set to Henry Van Dyke's
powerful poem about the
need for balance in all
things. A flowing piano
accompaniment provides
harmonic support, while
the voices remain
independent. Serene and
lovely.
Composed by
Ruth Morris Gray.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Secular. Choral Octavo.
12 pages. Alfred Music
#00-46591. Published by
Alfred Music (AP.46591).
UPC: 038081531663.
English. Words by Henry
Van
Dyke.
Expressive
legato vocal lines are
set to Henry Van Dyke's
powerful poem about the
need for balance in all
things. A flowing piano
accompaniment provides
harmonic support, while
the voices remain
independent. Serene and
lovely.
Composed by Andy Beck.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Peace/Brotherhood;
Secular. Choral Octavo.
12 pages. Alfred Music
#00-48894. Published by
Alfred Music (AP.48894).
UPC: 038081562186.
English.
Written as
a prompt for discussing
diversity, equity, and
inclusion, this heartfelt
song favors no group over
another, but rather
emphasizes the value of
each individual. Follow
the ever-changing texture
as an earnest unison
melody blossoms into a
fully harmonized bridge,
before new and compelling
lines are introduced and
interwoven. In the end,
you'll have a patchwork
quilt with many unique
squares joined together
to create one thing of
beauty.
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.
Ubi Caritas Chorale 3 parties 3 parties Mixtes - Facile Hampton Roads Music Group
3-part mixed chorus - early intermediate SKU: XC.HRMG2045 Composed by Mic...(+)
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. Â .
Composed by Doc Pomus and Mort Shuman. Arranged by Mac Huff. Pop Choral Series...(+)
Composed by Doc Pomus and
Mort Shuman. Arranged by
Mac
Huff. Pop Choral Series.
Doo-
Wop, Show Choir, Pop,
Oldies.
Octavo. 16 pages.
Published
by Hal Leonard
