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 Joan Szymko (1957-). For SSA choir (divisi), Hand Drum. Choral octavo only. Instrumental accompaniment sold separately (SBMP-734.1). Medium. Octavo. Published by Santa Barbara Music Publishing

By Chris Tomlin, Ed Cash and Jesse Reeves. Arranged by Jack Schrader. For SAB choir or 3-part choir. Choral music. General, Creation, General Worship, Praise, Praise and Worship, Worshiping, Contemporary, Hymntune, Sacred. Choral octavo. 12 pages. Published by Hope Publishing Company

By Allen Pote. (SAB or Three-Part). Scripture Reference: Psalm 92:1-15. Celebration, Festival, General Worship, Praise, Psalms, Worshiping and Sacred. Print Music Single (SAB). 16 pages. Published by Hope Publishing Company.

(A Joyful Christmas Acclamation). By Mary Mcdonald. Arranged by Larry Shackley. For SAB choir and piano (with optional Orchestra). Choral: Christmas. Choral score. Published by Lorenz Publishing Company

By Allen Pote. For Choir. (SAB or Three-Part). Call To Worship, Celebration, Comfort, Confidence, God's Attributes/Character, Psalms and Sacred. Print Music Single (SAB w/opt. 2 Trumpets). Published by Hope Publishing Company.

Arranged by Jack Schrader. For SAB choir. Confidence, Guidance, Hope. Hymntune, General. Octavo. Published by Hope Publishing Company

Composed by C.J. Adams. For SAB choir. Quick Study Chorals. Call To Worship, Communion, Hymntune. Octavo. 8 pages. Published by Hope Publishing Company

Composed by Pepper Choplin. Sacred Anthem, General, Transfiguration. Octavo. Lorenz Publishing Company #10/4850L. Published by Lorenz Publishing Company (LO.10-4850L).

Composed by Tim Attride. The antiphon for use with the Seven Penitential Psalms and the Lenten chant Parce Domine are presented here in chant with Latin text, followed by SAB polyphony with English text. This is an accessible and wonderfully appropriate anthem for your choir this. Lent, General. Published by CanticaNOVA Publications (C5.5042).

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.

Composed by Lloyd Larson. Choral, cantatas. Eastertide, Lent. Choral score. Lorenz Publishing Company #55/1205L. Published by Lorenz Publishing Company

By Twila Paris. Arranged by Lloyd Larson. For SSA choir. Atonement, Devotion, Discipleship, Good Friday, Lamb of God, Sacrifice. Contemporary, General, Lent. Octavo. Published by Hope Publishing Company

By Michael Larkin. For keyboard (SAB choir). Choral Music. Choral. Evangelism. Evening. Moderately Easy to Medium. Octavo. Published by MorningStar Music Publishers

(Songbook). By The King's Singers. Arranged by The King's Singers. For choir (one, two, or three-part voices) (Songbook). King's Singer's Choral. Pop Vocal, Traditional Folk, Baroque and Classical Period. Difficulty: easy-medium. Vocal score (one, two and three part rounds). Vocal melody, harmony part and leadsheet notation. 80 pages. Published by Hal Leonard

By Paris, Twila. Arranged by Lloyd Larson. For Choir. (SAB or Three-Part). Sacred. Print Music Single (SAB). Published by Hope Publishing Company.

By Lloyd Larson. Arranged by Lloyd Larson. Atonement, Blood, Cross of Christ, Good Friday, Gratefulness, Holy Week, Lamb of God, Life of Christ, Maundy Thursday, Redemption, Sacrifice and Sacred. Print Music Single (SAB). 8 pages. Published by Hope Publishing Company.

Arranged by Ruth Morris Gray. Choral Octavo. Alfred Choral Designs. Sacred; Spiritual. 12 pages. Published by Alfred Music (AP.43265).

By Ruth Elaine Schram. For SAB choir and piano (with optional orchestration). Sacred Anthem, General, Lent. Octavo. Published by Lorenz Publishing Company

By Craig Courtney. For SAB choir and piano. Baptism, Dedication, Funeral, General, Thanksgiving, Sacred. Sacred Anthem

By Daniel Meyer. For SAB Chorus and Piano accompaniment. Choral. Sacred. Easy. Text language: English. 8 pages

Arranged by Ruth Morris Gray. Choir Sacred. Men's Choir. Choral Octavo. Choral Designs. Sacred; Spiritual. 16 pages. Published by Alfred Music

By Mark Hayes. For SAB Choir and Piano (with optional trumpet (brass quintet, percussion)). Sacred Anthem: Easter. Octavo. Published by Lorenz Publishing Company

(Man of Sorrows, King of Glory, Lord of Life!). By Lloyd Larson. For SAB choir and piano. Cantata. Choral: Easter, Lent. Choral score. Published by Lorenz Publishing Company