((Women, Wake Up!)). Composed by Paul Caldwell and Sean Ivory. For Choral (SSA). Caldwell and Ivory. 20 pages. Published by Hal Leonard

Choir Secular. Women's Choir. Choral Octavo. Lawson-Gould. 12 pages. Published by Alfred Music Publishing

By Gwyneth W. Walker (1947-). For SSA Choir and piano (Women's Voices). Secular. Choral. 12 pages. Published by E.C. Schirmer Publishing

Edited by Jane Holstein. For women's voices. Collection. Women in Song Series. General, Sacred. Collection. Published by Hope Publishing Company

Arranged by Jane Holstein Jack Schrader. (Women's Voices). Sacred. Print Music Collection (Choral Collection for Women's Voices). 78 pages. Published by Hope Publishing Company.

Choral (SSA collection)

SKU: HP.8912

Arranged by Joel Raney. Choral Anthems. Women in Song Series. Morning, Advent, Christmas, Lent, General Worship, Sacred. Choral Collection, Score. Hope Publishing Company #8912. Published by Hope Publishing Company (HP.8912).

UPC: 763628189129. By Various Writers.

Eight classic hymnsby Various Writers
Here is the 8th volume in our successful series of settings for women's choirs. Included are eight top-sellers composed and arranged by Joel Raney for SSA voices. There are selections for Advent, Christmas, Lent, Communion, and general occasions throughout the year. A CD of Accompaniment tracks is available for rehearsal and performance.

Choral SSA choir

SKU: HP.8985

Composed by Hal H. Hopson, Jay Althouse, Joel Raney, Joseph M. Martin, Lee Dengler, Mary McDonald, and Pepper Choplin. Arranged by Mary McDonald. Women in Song Series. Choral Collection, Score. 83 pages. Hope Publishing Company #8985. Published by Hope Publishing Company (HP.8985).

UPC: 763628189853. Joel Raney; Mary McDonald; Joseph M. Martin; Pepper Choplin; Hal H. Hopson; Jay Althouse; Lee Dengler.

Nine familiar tunes by Various Writers Here is the 9th volume in our successful series of settings for women's choirs. Included are nine top-selling arrangements of popular contemporary songs, arranged for SSA voices. A CD of accompaniment tracks is available separately for rehearsal and performance.

SSA, Piano

SKU: SU.80300101

For SSA, Piano. Composed by Dame Ethel Mary Smyth. Vocal/Choral, Sacred Choral. Accompanied by piano. Choral Octavo. Treble Clef Music Press #80300101. Published by Treble Clef Music Press (SU.80300101).

Shout! Shout! Up with your song! The battle anthem of the British women's suffrage movement, this stirring piece expresses women's strength and solidarity in wider struggles, shoulder to shoulder and friend to friend. First published in 1911. SSA and piano. Easy.SSA, piano Published by: Treble Clef Music Minimum order quantity: 8 copies.

By John Parker, music by Vicki Tucker Courtney. Choir Secular. Women's Choir. Choral Octavo. Choral Designs. 12 pages. Published by Alfred Music Publishing

Arranged by Mark Hayes Lloyd Larson Mary McDonald Joel Raney Jack Schrader. Women in Song Series. General Worship, Sacred. Book. Published by Hope Publishing Company (HP.8842).

Composed by Edward Bury. Arranged by Richard Zielinski. For SSA choir (a cappella). Janet Galvan Women's Choral Series. Concert, General. Octavo. Roger Dean Publishing #15/2438R. Published by Roger Dean Publishing

(As performed by the cast of Glee (featuring: Faithfully / Any Way You Want It / Lovin?, Touchin?, Squeezin? / Don?t Stop Believin?)). Arranged by Alan Billingsley. Choir Secular. Women's Choir. Choral Octavo. Pop Choral. Form: Medley. Rock; TV. 24 pages. Published by Alfred Music Publishing

(Recorded by The Chiffons). Composed by Barbara Baer, Eliot Greenberg, Doug Morris, and Robert Schwartz [The Chiffons]. Arranged by Jay Althouse. Choir Secular. Women's Choir. Choral Octavo. Pop Choral. Pop; Secular. 12 pages. Published by Alfred Music

By Various. Arranged by Thomas Fettke. For women's voices and piano. Sacred. Moderate. Book. 108 pages. Published by Lillenas Publishing Company

Arranged by Mark Hayes. Choir Secular. Women's Choir. Choral Octavo. Choral Designs. Folk; Secular. 8 pages. Published by Alfred Music

Composed by Meghan Trainor and Kevin Kadish. Arranged by Alan Billingsley. Choir Secular. Women's Choir. Choral Octavo. Pop Choral. Pop; Secular. 20 pages. Published by Alfred Music

Composed by Florence Earle Coates, music by Vicki Tucker Courtney. Choir Secular. Women's Choir. Choral Octavo. Choral Designs. Secular. 12 pages. Published by Alfred Music

Composed by Sally K. Albrecht. Choir Secular. Women's Choir. Choral Octavo. Choral Designs. Secular. 12 pages. Published by Alfred Music

By Vanja Y. Watkins. For SSA Women's Chorus and Piano. Sacred. Medium. Choral octavo. Duration 2:00. Published by Jackman Music Corporation

((O Sing)). Edited by and arr., with English words, by Patrick M. Liebergen. Choir Secular. Women's Choir. Choral Octavo; Masterworks. Choral Designs. Baroque; Masterwork Arrangement; Secular. 12 pages. Published by Alfred Music

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.

SSA choir, flute, cello - Level 3

SKU: CA.950500

Fragmente. Composed by Wilfried Hiller. Carus Novus; Contemporary choral music. German title: Sappho. Secular choral music. Full score. Composed 1997. Duration 10 minutes. Carus Verlag #CV 09.505/00. Published by Carus Verlag (CA.950500).

ISBN 9790007089665. Language: German.

Sappho * Fragments for women's chorus, flute and cello (1997) was commissioned by the Arbeitskreis fur Musik in der Jugend for the project KomponistInnen schreiben fur Kinder und Jugendchore. Thus the use of flute and cello in this work for women's choir is intended to assist intonation. According to Hiller the two instruments may also represent the aulos and lyre, the instruments which in classical antiquity accompanied the declamation of poems. He writes about the ancient Greek poetess: With her verses Sappho, who lived on the Aegean island of Lesbos, has for thousands of years inspired poets, visual artists and composers to create new works of art. In our time, for example, Aribert Reimann, Wilhelm Killmayer, Iannis Xenakis and Carl Orff have composed monuments in sound to her. The fragments of her verses which survive give rise to speculation about what is missing, to new interpretations, and to the idea of filling the gaps with music. What also fascinates me in Sappho's texts are the glowing eroticism, their iridescent glitter, and their constant high tension. These poems must be sung, especially by women, to whom Sappho dedicated most of these beautiful lines.

Choral SSA choir

SKU: PR.312418600

Fors.S.A. Chorus, A Cappella. Composed by Chen Yi. Premiere: Calvin Women's Chorale, conducted by Pearl Shangkuan, Calvin College, Grand Rapids, MI. Contemporary. Performance Score. With Standard notation. Composed 2010. 12 pages. Duration 4 minutes. Theodore Presser Company #312-41860. Published by Theodore Presser Company (PR.312418600).

ISBN 9781598063769. UPC: 680160596300. Octavo inches. Chinese. Text: Du Fu. Du Fu. Text by Du Fu (Tang Dynasty), from the poem 'Happy Rain on a Spring Night'.

Commissione d by Calvin Women's Chorale, Dr. Pearl Shangkuan, conductor, of Calvin College in Grand Rapids, Michigan, this piece was premiered on April 29th, 2011.

Andrea Ramsey Choral Series. Composed by Misty L. Dupuis. Choral. Festival, Concert. Octavo. 20 pages. Published by Hal Leonard

By Jamie Hillman. For SSA choir and piano. Christmas. Octavo. Published by Cypress Choral Music

SSA chorus and piano - Medium-easy to medium

SKU: JK.00462

Composed by Lynn S. Lund. Choral SA, Difficulty Easy Medium, Difficulty Medium, Piano Choir, Seasonal Music Mothers Day, Charity, Commitment, Duty, Love, Motherhood, Service, Sisterhood. Christian, Inspirational. Duration 3:30. Jackman Music Corporation #00462. Published by Jackman Music Corporation (JK.00462).

Alma 56:48, Moroni 7:18-19.

Anthem for women's chorus (SSA) and piano, extolling the virtues of womanhood and admonishing women to walk in the Light of Christ, arranged in the key of C. Highest soprano note: F.
Composer: Lynn S. Lund
Lyricist: Mabel Jones Gabbott
Difficulty: Medium-easy to medium
Performance time: 3:30
References: Alma 56:48, Moroni 7:18-19.

Composed by Robert Applebaum. For 3-part treble voices or 3-part women's voices (SSA children or women) a cappella. Sacred Service. Octavo. Published by E.C. Schirmer Publishing

By Z. Randall Stroope. For 2-part women's voices or 3-part women's voices (SSA), organ. Medium. Octavo. Published by MorningStar Music Publishers