Choral (SAB Choir) SKU: HL.222095 By Prince. By Prince. Arranged by Mark ...(+)
Choral (SAB Choir)
SKU: HL.222095
By
Prince. By Prince.
Arranged by Mark A.
Brymer. Pop Choral
Series. Eighties, Pop,
Show Choir. Octavo. 12
pages. Published by Hal
Leonard (HL.222095).
UPC: 888680670597.
6.75x10.5 inches.
A
signature song by Prince
and the lead single from
his 1984 album Purple
Rain, it was a
worldwide hit, and his
first American #1 single,
topping the charts for
five weeks. Ranked #52 on
the Rolling Stone
list of the 500 Greatest
Songs of All Time, it is
also included in The
Rock and Roll Hall of
Fame's 500 Songs that
Shaped Rock and Roll.
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 (SAB Choir) SKU: HL.35031945 Composed by Ellie Greenwich, Jeff Bar...(+)
Choral (SAB Choir)
SKU: HL.35031945
Composed by Ellie
Greenwich, Jeff Barry,
and Phil Spector.
Arranged by Lisa DeSpain.
Shawnee Press. Christmas.
Octavo. 12 pages.
Published by Shawnee
Press (HL.35031945).
ISBN 9781540014610.
UPC: 888680722111.
6.75x10.5
inches.
Rolling
Stone magazine ranked
this holiday rock song as
#1 of “The Greatest
Rock and Roll Christmas
Songs,” noting that
“nothing can match
Darlene Love's emotion
and sheer vocal
power.” This
arrangement equals the
original recorded version
and will be a powerhouse
addition to your holiday
concert. Instrumental
parts available for a
festive performance.
Arranged by
Ruth Morris Gray.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Sacred; Spiritual;
Traditional. Choral
Octavo. 12 pages. Alfred
Music #00-46342.
Published by Alfred Music
(AP.46342).
UPC:
038081527215. English.
Traditional
Spiritual.
A
rhythmic piano
accompaniment drives this
well-crafted arrangement
of the classic spiritual.
Singers will love the
crescendoing choral riff
that connects the
syncopated refrains to
the call and response
verses. A vibrant descant
grows more and more
soulful toward the end,
bringing the piece to a
climactic close!
Discovery Level 3
3-Part Mixed. By The
Who. By Pete Townshend.
Arranged by Roger
Emerson. Discovery
Choral. Broadway, Pop,
Rock, Young Voices.
Octavo. 16 pages.
Published by Hal Leonard
(HL.114989).
UPC:
884088877286. 6.75x10.5
inches.
The rock
opera Tommy
revolutionized the world
of rock and roll when it
was first released in
1969. Younger and
developing choirs will
love this Discovery
Series arrangement that
takes range and
part-singing into
consideration while
retaining all the impact
of this powerhouse 60s
song!
(Medley). Arranged by Alan Billingsley. Pop Choral Series. Oldies, Medley, Sho...(+)
(Medley). Arranged by
Alan
Billingsley. Pop Choral
Series. Oldies, Medley,
Show
Choir, Pop, Rock, Classic
Rock. Octavo. 20 pages.
Published by Hal Leonard
Radio Chorale 3 parties 3 parties Mixtes Hal Leonard
Choral (3-Part Mixed choir) SKU: HL.8621826 From Memphis. Composed...(+)
Choral (3-Part Mixed
choir)
SKU:
HL.8621826
From
Memphis. Composed by
David Bryan. Arranged by
Roger Emerson. Broadway
Choral. Broadway,
Musicals. Octavo. 12
pages. Published by Hal
Leonard (HL.8621826).
UPC: 884088633677.
6.75x10.5
inches.
The
exhilarating musical
Memphis, about the
1950s birth of rock and
roll on the radio, has
produced this
irresistible production
number that will
absolutely electrify your
stage! From the fist
pounding piano
introduction to the final
raise-the-roof vocals,
this powerful selection
will be a fantastic
closer or concert theme.
Available separately:
SATB, 3-Part Mixed, SSA,
ShowTrax CD. Combo parts
(tpt 1-2, tsx, tbn, syn,
gtr, b, dm) available as
a digital download.
Duration: ca. 2:45.
Top Classic Pop Chorale 3 parties SAB [Partition] Alfred Publishing
(Five Favorites for 3-Part Mixed Voices). By Bobby Pickett, Leonard Capizzi, Jef...(+)
(Five Favorites for
3-Part Mixed Voices). By
Bobby Pickett, Leonard
Capizzi, Jeff Funk,
George Jackson, Thomas E.
Jones, Huey Smith, Buddy
Johnson, and Alan
Billingsley. Choir
Secular. 3-Part Mixed
Choir (SAB). Choral
Collection. Signature
Series. Classic Pop.
Book. 56 pages
Discovery Level 2.
Composed by Cynthia
Echeumuna-Erivo and
Joshuah Campbell.
Arranged by Rollo
Dilworth. Discovery
Choral. Concert, Light
Concert, Movies. Octavo.
16 pages. Duration 200
seconds. Published by Hal
Leonard (HL.371375).
ISBN 9781705148136.
UPC: 840126994957.
6.75x10.5x0.036
inches.
The
dramatic song
“Stand Up,â€
from the movie,
“Harriet,â€
depicts the determined
mindset of Harriet Tubman
as she led escaped slaves
out of the South to
freedom in the North.
Song themes highlight
courage, perseverance,
and care for others,
important historical
issues and present day as
well.
Discovery Level 2.
Arranged by Rollo
Dilworth. Discovery
Choral. African-American,
Concert. Octavo. 12
pages. Duration 170
seconds. Published by Hal
Leonard (HL.397411).
ISBN 9781705158791.
UPC: 196288049876.
6.75x10.5x0.029
inches.
“We
Shall Overcomeâ€
became a prominent theme
song in the early days of
the Civil Rights
Movement. This song was
often referenced in the
speeches and sermons of
Dr. Martin Luther King.
The day after the funeral
of Martin Luther King,
blacks and whites held
hands in the streets of
Atlanta and sang this
anthem of unity and
social justice.
Composed by Johnny Marks
and Marvin Brody.
Arranged by Kirby Shaw.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Christmas; Holiday Pops;
Secular. Choral Octavo.
12 pages. Alfred Music
#00-46960. Published by
Alfred Music (AP.46960).
UPC: 038081536095.
English.
Originally
popularized by Chuck
Berry in 1958, some say
this was the very first
rock 'n' roll Christmas
song. Since then, it's
been covered by everybody
from Bryan Adams and
Billy Idol to Kelly
Clarkson, Conan O'Brien,
and The Muppets! Kirby
Shaw kicks off his
arrangement with that
characteristic guitar
lick and builds from
there. The optional
SoundPax allows you to
assemble your own rock
band, or use the
live-instrument SoundTrax
CD.
Composed by Bill Hayes
and Jay Johnson. Arranged
by Jay Althouse.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Christmas; Pop; Secular.
Choral Octavo. 12 pages.
Alfred Music #00-38085.
Published by Alfred Music
(AP.38085).
UPC:
038081425573.
English.
A little
rock and roll PLUS a
little disco! Shine a
blue light on your mirror
ball this Christmas and
boogie on down with this
surefire holiday hit!
Choral (SSA Choir) SKU: HL.8621827 From Memphis. Composed by David...(+)
Choral (SSA Choir)
SKU: HL.8621827
From Memphis.
Composed by David Bryan.
Arranged by Roger
Emerson. Broadway Choral.
Broadway, Musicals.
Octavo. 12 pages.
Published by Hal Leonard
(HL.8621827).
UPC:
884088633684. 6.75x10.5
inches.
The
exhilarating musical
Memphis, about the
1950s birth of rock and
roll on the radio, has
produced this
irresistible production
number that will
absolutely electrify your
stage! From the fist
pounding piano
introduction to the final
raise-the-roof vocals,
this powerful selection
will be a fantastic
closer or concert theme.
Available separately:
SATB, 3-Part Mixed, SSA,
ShowTrax CD. Combo parts
(tpt 1-2, tsx, tbn, syn,
gtr, b, dm) available as
a digital download.
Duration: ca. 2:45.
Composed by Diane Warren.
Arranged by Eric Van
Cleave. Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Broadway; Classic Pop;
Pop; Secular. Choral
Octavo. 12 pages. Alfred
Music #00-48500.
Published by Alfred Music
(AP.48500).
UPC:
038081553238.
English.
From Las
Vegas to Broadway to your
stage! This iconic Cher
anthem appears as the
opening number in the
musical The Cher Show,
about the life and early
career of the legendary
songstress. No-fuss
harmonies and recurring
rhythm hooks make this a
quick-learn for pop
groups and show choirs.
Sequins and dance moves
are optional, but a rock
'n roll attitude is
required!
Composed
by Reg Presley. Arranged
by Roger Emerson. Secular
Christmas Choral.
Christmas. Octavo. 8
pages. Duration 150
seconds. Published by Hal
Leonard (HL.1335000).
UPC: 196288187271.
6.75x10.5
inches.
Featured in
the beloved
holiday-themed romantic
comedy Love Actually, the
intentionally sappy rock
n' roll ballad
“Christmas Is All
Around” (a re-vamp of
the Troggs' 1967 hit
“Love Is All Around”)
will offer a generous
helping of fun to both
singers and audiences.
Roger Emerson's
arrangement features
seamless and approachable
choral writing that
flawlessly captures the
spirit of the
original.
