I. Farfallina (Butterfly) 2. Lucciola (Firefly). Composed by Italian Folk So...(+)
I. Farfallina (Butterfly)
2.
Lucciola (Firefly).
Composed
by Italian Folk Song and
Tuscan Folk Song.
Arranged by
Christi Jones. Fold.
Octavo.
8 pages. Duration 2
minutes,
35 seconds. BriLee Music
#BL1123. Published by
BriLee
Music
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.
Choral (TTB Choir) SKU: HL.295214 By Linda Ronstadt. By Phil Everly. Arra...(+)
Choral (TTB Choir)
SKU: HL.295214
By
Linda Ronstadt. By Phil
Everly. Arranged by Erik
Foster. Shawnee Press.
Pop. Octavo. 8 pages.
Published by Shawnee
Press (HL.295214).
ISBN 9781540055514.
UPC: 888680946005.
6.75x10.5x0.019
inches.
Written by
Phil Everly of The Everly
Brothers, this popular
song was a huge hit when
the incomparable Linda
Ronstadt covered it in
1975. This arrangement is
straight-ahead fun with
the energy and drive of
the original recording.
Well-written harmony will
appeal to all mixed
choirs as well as men's
and women's ensembles as
a pop choral for concert
or show!
Composed by Mark Burrows.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Christmas;
Peace/Brotherhood;
Secular; Winter. Choral
Octavo. 8 pages. Alfred
Music #00-49764.
Published by Alfred Music
(AP.49764).
UPC:
038081568515.
English.
When
considering various
winter holidays, what is
the common thread? A
candle and a song.
Beautiful in its
simplicity, here's a
quiet celebration crafted
to resonate universally.
Mark's delicate melody
and sweet sonorities
float effortlessly over a
flowing piano
accompaniment. With
readable rhythms, easy to
learn notes, and sensible
vocal ranges, it's
intentionally
uncomplicated so that the
message of the text will
clearly speak. Hushed and
heartfelt, a memorable
moment. This title is
available in MakeMusic
Cloud.
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.
Two Folksongs of Love and Loss. Composed by American Folk Song Irish Folk So...(+)
Two Folksongs of Love and
Loss. Composed by
American
Folk Song Irish Folk
Song.
Arranged by Greg Gilpin.
Fold. Octavo. 8 pages.
Duration 1 minute, 40
seconds. Carl Fischer
Music
#CM9646. Published by
Carl
Fischer Music
Arranged by Teena Chinn. For Choir. (3-part Mixed). Choral Octavo. Broadway. Le...(+)
Arranged by Teena Chinn.
For Choir. (3-part
Mixed). Choral Octavo.
Broadway. Level: Moderate
(grade 3). Choral Octavo.
108 pages. Published by
Alfred Publishing.
Choral (SSA Choir) SKU: HL.295213 By Linda Ronstadt. By Phil Everly. Arra...(+)
Choral (SSA Choir)
SKU: HL.295213
By
Linda Ronstadt. By Phil
Everly. Arranged by Erik
Foster. Shawnee Press.
Pop. Octavo. 8 pages.
Published by Shawnee
Press (HL.295213).
ISBN 9781540055507.
UPC: 888680945992.
6.75x10.5
inches.
Written by
Phil Everly of The Everly
Brothers, this popular
song was a huge hit when
the incomparable Linda
Ronstadt covered it in
1975. This arrangement is
straight-ahead fun with
the energy and drive of
the original recording.
Well-written harmony will
appeal to all mixed
choirs as well as men's
and women's ensembles as
a pop choral for concert
or show!
Choral (SAB Choir) SKU: HL.295212 By Linda Ronstadt. By Phil Everly. Arra...(+)
Choral (SAB Choir)
SKU: HL.295212
By
Linda Ronstadt. By Phil
Everly. Arranged by Erik
Foster. Shawnee Press.
Pop. Octavo. 8 pages.
Published by Shawnee
Press (HL.295212).
ISBN 9781540055491.
UPC: 888680945985.
6.75x10.5
inches.
Written by
Phil Everly of The Everly
Brothers, this popular
song was a huge hit when
the incomparable Linda
Ronstadt covered it in
1975. This arrangement is
straight-ahead fun with
the energy and drive of
the original recording.
Well-written harmony will
appeal to all mixed
choirs as well as men's
and women's ensembles as
a pop choral for concert
or show!
Choir Secular (Women's Choir) SKU: AP.46440 Composed by Lawrence P. Derme...(+)
Choir Secular (Women's
Choir)
SKU:
AP.46440
Composed by
Lawrence P. Dermer.
Arranged by Eric Van
Cleave. Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Classic Pop; Secular.
Choral Octavo. 16 pages.
Alfred Music #00-46440.
Published by Alfred Music
(AP.46440).
UPC:
038081528199.
English.
Upbeat,
rhythmic, and joy-filled
all describe this classic
Gloria Estefan hit.
Perfect for choreography,
this arrangement creates
that boiling point when
the audience and
performers all overflow
with excitement.
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.
The Bones Chorale 3 parties SSA, Piano Alfred Publishing
Choir Secular (Women's Choir) SKU: AP.48515 Composed by Jimmy Robbins, La...(+)
Choir Secular (Women's
Choir)
SKU:
AP.48515
Composed by
Jimmy Robbins, Laura
Veltz, and Maren Morris.
Arranged by Alan
Billingsley. Performance
Music Ensemble; Single
Titles. Alfred Pop Choral
Series. Country; Pop;
Secular. Choral Octavo.
12 pages. Alfred Music
#00-48515. Published by
Alfred Music (AP.48515).
UPC: 038081553382.
English.
A
certified gold crossover
hit! When the bones are
good, the rest don't
matter. The paint could
peel, the glass could
shatter. A house becomes
an effective symbol for
an enduring relationship
in this solid pop ballad
from Maren Morris. This
right-from-the-radio
arrangement captures all
of the earthy harmonies
and keeps the strong
backbeat groove
intact.
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.
Discovery Level 2.
Composed by Kacey
Musgraves, Natalie Hemby,
and Shane McAnally.
Arranged by Cristi Cary
Miller. Discovery Choral.
Pop. Octavo. 16 pages.
Published by Hal Leonard
(HL.300664).
UPC:
888680963057. 6.75x10.5
inches.
What an
outstanding and
inspirational message to
send to young,
impressionable singers
today: When all seems
cloudy and gray, you must
remember that
“there's always
been a Rainbow hanging
over your head.”
Kacey Musgraves' iconic
song will stick with you
long after the
performance.
Composed by
Ammar Malik, Benjamin
Levin, Rob Thomas, Steve
Mac, and Wayne Hector.
Arranged by Ryder
Emerson. Performance
Music Ensemble; Single
Titles. Alfred Pop Choral
Series. Pop; Secular.
Choral Octavo. 16 pages.
Alfred Music #00-43361.
Published by Alfred Music
(AP.43361).
UPC:
038081489025.
English.
Following
appearances on The Voice
and The Ellen DeGeneres
Show, members of the
English pop band Rixton
were overwhelmed when
this hip groove became
their first U.S. top
twenty hit.
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 Ammar Malik,
Benjamin Levin, Rob
Thomas, Steve Mac, and
Wayne Hector. Arranged by
Ryder Emerson.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Pop; Secular. Choral
Octavo. 16 pages. Alfred
Music #00-43360.
Published by Alfred Music
(AP.43360).
UPC:
038081489018.
English.
Following
appearances on The Voice
and The Ellen DeGeneres
Show, members of the
English pop band Rixton
were overwhelmed when
this hip groove became
their first U.S. top
twenty hit.
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.
