Choral (TTB Choir)

SKU: HL.35031348

Composed by Gerry Rafferty and Joe Egan. Arranged by Greg Gilpin. Shawnee Press. Pop. Octavo. 8 pages. Published by Shawnee Press (HL.35031348).

ISBN 9781495079696. UPC: 888680653392. 6.75x10.25 inches.

Written by Gerry Rafferty and Joe Egan for their band Stealers Wheel, this was a surprise hit for them in 1973. Since then, it has been covered by numerous singers and most recently as the theme song for “Grace and Frankie” a Netflix original comedy. This arrangement keeps that light folk feel with a more contemporary accompaniment and will be a sure-fire hit with mixed voices as well as women's and men's groups.

Arranged by Ben Parry. Choir Sacred. For with Piano (SAB). Choral Octavo. Faber Choral Singles. Sacred; Spiritual. Published by Faber Music

(SSS and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). For Choral (SSA). Boosey and Hawkes Sacred Choral. 12 pages. Boosey and Hawkes #M051481620. Published by Boosey and Hawkes

(SSA and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). For Choral (SSA). Boosey and Hawkes Sacred Choral. 12 pages. Boosey and Hawkes #M051481590. Published by Boosey and Hawkes

Composed by Brian L. Hanson. General, Faith. With Violin. Octavo. Chorister's Guild #CGA1676. Published by Chorister's Guild

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.

Arranged by Alexander L'Estrange. Choir Secular. For with Opt. Piano (SAB). Choral Octavo. Faber Choral Singles. Secular. Published by Faber Music

Arranged by Alexander L'Estrange. Choir Sacred. For with Opt. Piano (SAB). Choral Octavo. Faber Choral Singles. Sacred. Published by Faber Music

Choral (SAB Choir)

SKU: HL.371969

By The Backstreet Boys. By Andreas Carlsson and Max Martin. Arranged by Nathan Howe. Shawnee Press. Pop. Octavo. 16 pages. Duration 135 seconds. Published by Shawnee Press (HL.371969).

ISBN 9781705148563. UPC: 196288014638. 6.75x10.5x0.036 inches.

In 2012, Jimmy Fallon started a recurring segment on “The Tonight Show” in which The Roots use classroom instruments to play pop songs with celebrity guests. These skilled musicians pull off engaging performances using instruments many people don't take seriously beyond the elementary music room. Nathan Howe has continued his musical genius in a cappella writing with this pop tune sung a cappella with classroom percussion. It's amazing and fun and suitable for all ages with the variety of voicings available. The choral also includes notes on different ways to teach, learn, and perform the piece and all the percussion parts are included as a free download.

Choral (TTB Choir)

SKU: HL.371971

By The Backstreet Boys. By Andreas Carlsson and Max Martin. Arranged by Nathan Howe. Shawnee Press. Pop. Octavo. Duration 135 seconds. Published by Shawnee Press (HL.371971).

ISBN 9781705148587. UPC: 196288014652. 6.75x10.5x0.036 inches.

In 2012, Jimmy Fallon started a recurring segment on “The Tonight Show” in which The Roots use classroom instruments to play pop songs with celebrity guests. These skilled musicians pull off engaging performances using instruments many people don't take seriously beyond the elementary music room. Nathan Howe has continued his musical genius in a cappella writing with this pop tune sung a cappella with classroom percussion. It's amazing and fun and suitable for all ages with the variety of voicings available. The choral also includes notes on different ways to teach, learn, and perform the piece and all the percussion parts are included as a free download.

(SSA Choir)

SKU: HL.35029369

Composed by Jill Gallina. Choral. 12 pages. Published by Shawnee Press (HL.35029369).

ISBN 9781480361577. UPC: 884088956561. 6.75x10.5 inches.

In this celebratory choral, each part sings its own melody which later combine in partner-style form. It's an excellent choice for smaller choirs and younger singers learning to harmonize as well as to sing independently and in unison. The lyric uses English and easy Latin phrases to make learning quick while giving the opportunity for musical development.

By Greg Gilpin. For 3-part mixed choir, with accompaniment. Choral octavo. Duration 2:41

Composed by Ken Medema. Arranged by Mary McDonald. For SAB choir. Father's love, Grace of Jesus, Spirit's power, General. Octavo. Published by Hope Publishing Company

Choral (3-Part Mixed choir)

SKU: HL.155573

By Whitney Houston. Arranged by Roger Emerson. Pop Choral Series. Oldies, Pop, Show Choir. Octavo. Duration 240 seconds. Published by Hal Leonard (HL.155573).

UPC: 888680600815. 6.75x10.5x0.029 inches.

The Whitney Houston song from 1987 is recast as a powerful ballad with a theatrical feel and jazz stylistic elements that give the song a contemporary flair. This selection will be especially strong as a closer in pop, Broadway and spring programming for ensembles of all ages and voice types.

Arranged by Alexander L'Estrange and Joanna Forbes L'Estrange. Choir Secular. For Piano & Opt. Flute (Women's Choir). Choral Octavo. Faber Edition: Choral Signature Series. Published by Faber Music

(Songs from South Africa). Arranged by Alexander L'Estrange. Choir Secular. For with Piano (3-Part Mixed Choir (SAB)). Book; Choral Collection. Faber Edition: Choral Basics. Multicultural; World. Published by Faber Music

Choral (3-Part Mixed choir)

SKU: HL.152218

Discovery Level 2. Composed by James Oliver Young. Arranged by Rosana Eckert. Discovery Choral. Concert, Festival, Jazz. Octavo. 16 pages. Published by Hal Leonard (HL.152218).

UPC: 888680093174. 6.75x10.5 inches.

Here is a song written in the big band era, first sung by jazz vocalist, Ella Fitzgerald, in 1939 and ideal for introducing beginning and developing groups to swing style. In the Discovery Series, it's perfect for building jazz diction and rhythmic skills.

Choral (SSA Choir)

SKU: HL.287163

By Starship. By Bernie Taupin, Dennis Lambert, Martin Page, and Peter Wolf. Arranged by Kirby Shaw. Pop Choral Series. Concert, Eighties, Pop, Rock, Show Choir. Octavo. Duration 210 seconds. Published by Hal Leonard (HL.287163).

UPC: 888680902254. 6.75x10.5x0.024 inches.

Classic rock and roll is here merged with Kirby Shaw harmonies and style. There is a history lesson in this song as there are many references to major musical cities across America that will be fun to discover. The song was released by the band Starship and there is much rock history to be uncovered about the band and the time.

Choral (SAB Choir)

SKU: HL.287162

By Starship. By Bernie Taupin, Dennis Lambert, Martin Page, and Peter Wolf. Arranged by Kirby Shaw. Pop Choral Series. Concert, Eighties, Pop, Rock, Show Choir. Octavo. 12 pages. Duration 210 seconds. Published by Hal Leonard (HL.287162).

UPC: 888680902247. 6.75x10.5x0.029 inches.

Classic rock and roll is here merged with Kirby Shaw harmonies and style. There is a history lesson in this song as there are many references to major musical cities across America that will be fun to discover. The song was released by the band Starship and there is much rock history to be uncovered about the band and the time.

(SSA Chorus, Harp or Piano). By Benjamin Britten (1913-1976). For Choral (SSA). Boosey and Hawkes Sacred Choral. 12 pages. Boosey and Hawkes #M051481644. Published by Boosey and Hawkes

From The Band's Visit. Composed by David Yazbek. Arranged by Mark A. Brymer. Broadway Choral. Broadway, Concert. Octavo. Published by Hal Leonard

By Phyllis Wolfe White. For 3-part mixed choir. General, Novelty. Octavo. Published by Heritage Music Press. (15/1529H)

Choral (SAB Choir)

SKU: HL.1167164

Composed by Eric Tsavdar. Choral Exploration. Concert, Winter. Octavo. Published by Hal Leonard (HL.1167164).

ISBN 9781705188606. UPC: 196288123651. 6.75x10.5x0.036 inches.

Although any piece with abundant references to snow and cold would easily be placed in the “winterâ� �‚¬Â category, “Watch it Snow” is a song that can be sung at any time of year. The falling snow can serve as an expressive metaphor: just as we must wait for the storm to pass before we begin shoveling our driveways, we must rest and reflect in the moments of calm between the many challenges of life.

By Thomas Weelkes (1576-1623). Edited by John Leavitt. For Choral (SAB A Cappella). Treasury Choral. 4 pages. Published by Hal Leonard

Arranged by Alexander L'Estrange. Choir Secular. For with Piano (SAB). Choral Octavo. Faber Choral Singles. Christmas; Secular; Winter. Published by Faber Music

Choral (SAB Choir)

SKU: HL.265090

By Twisted Sister. By Daniel Dee Snider. Arranged by Alan Billingsley. Pop Choral Series. Classic Rock, Eighties, Hard Rock, Pop, Rock, Show Choir. Octavo. 12 pages. Published by Hal Leonard (HL.265090).

UPC: 888680731595. 6.75x10.5 inches.

Expressing the same feelings that almost every adolescent feels, this song by Twisted Sister is one that your students will easily relate to. The guitar driven score is very singable and the chorus lends itself to choral singing.