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.
Ye Jaliya-o Chorale 3 parties SSA divisi, A Cappella [Octavo] - Intermédiaire Santa Barbara Music Publishing
Composed by Joan Szymko (1957-). For SSA choir (divisi), Hand Drum. Choral octav...(+)
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
How Great is Our God Chorale 3 parties SAB, Piano [Octavo] Hope Publishing Company
By Chris Tomlin, Ed Cash and Jesse Reeves. Arranged by Jack Schrader. For SAB ch...(+)
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
Festive Praise Chorale 3 parties SAB [Octavo] Hope Publishing Company
By Allen Pote. (SAB or Three-Part). Scripture Reference: Psalm 92:1-15. Celebra...(+)
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. ...(+)
(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
God Is Our Refuge Chorale 3 parties SAB [Octavo] Hope Publishing Company
By Allen Pote. For Choir. (SAB or Three-Part). Call To Worship, Celebration, Co...(+)
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.
God's Peace Chorale 3 parties SAB [Octavo] Hope Publishing Company
Composed by C.J. Adams. For SAB choir. Quick Study Chorals. Call To Worship, Com...(+)
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. L...(+)
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 ...(+)
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...(+)
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
Lamb of God (SSA) Chorale 3 parties SSA [Octavo] Hope Publishing Company
By Twila Paris. Arranged by Lloyd Larson. For SSA choir. Atonement, Devotion, Di...(+)
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. E...(+)
By Michael Larkin. For
keyboard (SAB choir).
Choral Music. Choral.
Evangelism. Evening.
Moderately Easy to
Medium. Octavo. Published
by MorningStar Music
Publishers
Chorale 3 parties 3 parties Mixtes [Vocal Score] - Intermédiaire Hal Leonard
(Songbook). By The King's Singers. Arranged by The King's Singers. For choir (on...(+)
(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
Chorale 3 parties SAB [Octavo] Hope Publishing Company
By Lloyd Larson. Arranged by Lloyd Larson. Atonement, Blood, Cross of Christ, Go...(+)
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.
How Great His Love Chorale 3 parties SAB, Piano [Octavo] Lorenz Publishing Company
By Ruth Elaine Schram. For SAB choir and piano (with optional orchestration). Sa...(+)
By Ruth Elaine Schram.
For SAB choir and piano
(with optional
orchestration). Sacred
Anthem, General, Lent.
Octavo. Published by
Lorenz Publishing Company
By Mark Hayes. For SAB Choir and Piano (with optional trumpet (brass quintet, pe...(+)
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 a...(+)
(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