For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.

(253 of the finest praise and worship songs). Composed by Various. For voice, piano and guitar (chords only). Sacred Folio. Gospel and Worship. Difficulty: medium. Songbook (spiral bound). Vocal melody, piano accompaniment, lyrics and chord names. 420 pages. Hal Leonard #080689006395. Published by Hal Leonard

By Kosnik. For organ. General, sacred. Published by Concordia Publishing House.
Level: Moderately Easy.

Composed by Adrian Batten. For SATB choir, a cappella. Choral, General. Medium. Choral octavo. Published by Paraclete Press

2-part mixed voices, cantor, assembly, keyboard accompaniment, guitar - Early intermediate

SKU: GI.G-006403

Composed by Carol Browning. Trinity Sunday B, OT 19 C. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #006403. Published by GIA Publications (GI.G-006403).

UPC: 641151064031. English. Text Source: Psalm 33. Scripture: Psalm 33.

(Music for First Communion). Composed by Various. For voice(s), keyboard. Sacred. Easy. Collection. Guitar chord names. 104 pages. Published by GIA Publications

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.

SKU: GI.G-9541

Music for the Wedding Liturgy. Sacred. 72 pages. GIA Publications #9541. Published by GIA Publications (GI.G-9541).

UPC: 785147954125. English.

Blest Are Those Who Love You is the ultimate resource for pastors, cantors, organists, brides-to-be, and anyone who is looking for the best in wedding music. Every inclusion conforms to the Roman Catholic Church’s new Order of Celebrating Matrimony (2016). Inside you’ll find the appointed wedding psalms (using the official Revised Grail translation) in three distinct settings—Guimont, Gelineau, and The Lyric Psalter, a dozen appropriate gospel acclamations with the official verses, and a wide array of beloved psalm settings for use in the Liturgy of the Word or throughout the wedding rite. All of the songs in this edition may be sung as a solo, but each selection also has an optional part for congregation. Additionally, many of these songs originally appeared as choral octavos, the settings included here are fully compatible with those original editions. Contents: Beloved, God's Chosen • Covenant Hymn • Every Morning in Your Eyes • God beyond Glory • God, in the Planning • God of Love, Embrace Your People • In Love We Choose to Live • Love Has Brought Us Here Together • Love Is a Longing • Love Is the Sunlight • No Greater Love • Not for Tongues of Heaven's Angels • What a Gift to Be Gathered • At the Table of Jesus • Wherever You Go.

After too many years of absence, John Foley, SJ, has returned to the liturgical music scene with his first GIA release, When Every Gate. The wait has been well worth it! Performed simply by cantor and assembly or with a full complement of musicians and singers, this excellent liturgical music in the Foley tradition will inspire your assembly and choir alike with haunting and memorable tunes, challenging yet satisfying choral parts, and inspiring texts. Collection highlights include creative settings of Psalms 104 and 16, music for a number of liturgical seasons, and two songs chosen for liturgies at the NPM National Convention in St. Louis (1993): How Lovely Is Your Dwelling and When In Our Music God Is Glorified. In addition to John, text writers include Fred Pratt Green, Michael Dennis Browne, and Jean Janzen.  CONTENTS: THE CARPENTER (G-3931) • PSALM 104: GOD, SEND OUT YOUR SPIRIT (G-3932) • HALLELUIA, BLESS THE LORD (G-3934) • PSALM 84: HOW LOVELY IS YOUR DWELLING (G-3935) • PSALM 16: KEEP ME SAFE, O GOD (G-3936) • LET JUSTICE ROLL DOWN (G-3937) • LITTLE HEART OF AGES (G-3938) • MOTHERING GOD, YOU GAVE ME BIRTH (G-3940) • OUR GOD HAS DONE GREAT THINGS FOR US (G-3941) • PRAISE TO YOU, LORD OF ETERNAL GLORY (G-3942) • WE KNOW YOU ARE THE LAMB (G-3943) • WHEN EVERY GATE (G-3944) • WHEN IN OUR MUSIC GOD IS GLORIFIED (G-3945)

Choir

SKU: GI.G-6050CD

Music for First Communion. Composed by Various. This edition: Book and CD edition. Children. Sacred. Book and CD. GIA Publications #6050CD. Published by GIA Publications (GI.G-6050CD).

ISBN 9781579992743. English, Spanish.

The title says it all! In this new, expanded, and updated collection, we bring you the very best songs GIA has to offer for the blessed occasion of First Communion. Carefully chosen, the music in this collection is assembly-friendly and easy to sing for both children and adults. A demo recording of all songs is available. Separate choral octavos are also available for most titles. A must-have for every parish! CONTENTS: Come to the Table ALONSO - Take and Eat JONCAS - Come and Eat This Living Bread GLOVER - Eat This Bread BERTHIER - We Will Take What You Offer BELL - I Received the Living God - Come to the Banquet CHEPPONIS - Live-giving Bread, Saving Cup CHEPPONIS - All Who Hunger MOORE - Come All You People BELL - Jesus, Be Our Bread WOLD - Stand Up, Friends - We Come to Your Table - Now in This Banquet - I Am the Bread of Life / Yo soy el pan de vida TOOLAN - Song of the Body of Christ / Cancin del cuerpo de Cristo HAAS - Pues si vivimos / If We Are Living - Bread of Life from Heaven / Pan de vida eterna HAUGEN - All Who Hunger DUNSTAN - Prepare a Room for Me STUEMPFLE - I Want to Walk as a Child of the Light - Let the Children Come BRINGLE - I Come with Joy - Come to the Feast MOORE - Taste and See MOORE - Final Blessing (from Jesus, the Compassion of God) HAAS - In the Lord I-ll Be Ever Thankful BERTHIER - Jubilate Servite BERTHIER - I Am Special MOORE - Psalm 78: The Lord Gave Them Bread GUIMONT - Psalm 34: Taste and See GUIMONT - Psalm 23: The Lord Is My Shepherd SENSMEIER.

SKU: GI.G-CD-698

Composed by Various. Sacred. CD. GIA Publications #698. Published by GIA Publications (GI.G-CD-698).

Featuring songs and hymns by women composers and authors! GIA Publications, Inc., in partnership with Fireside Catholic Publishing, has created this 2-CD set of compelling songs chosen specifically to enhance the themes found in Fireside's Faith-Filled Catholic Women's Bible. The 22, four-color inserts in this bible feature over 20 topics—ranging from love, compassion, and acceptance to sacrifice, suffering, and forgiveness - which relate to women's issues and women's contributions to salvation history. Also included are short biographies about the lives of women saints. The corresponding songs on this CD set augment each insert and help to encourage the evolution of your faith journey. The spirit of these faith-filled women of old join today with the women composers and text writers who contributed their God-given gifts to this amazing recording.  .

Vocal Score. By Benjamin Britten. Arranged by Arthur Oldham. (Vocal Score). Boosey and Hawkes Large Choral. Book only. Size 7.25x10.25 inches. 88 pages. Published by Boosey and Hawkes.

Composed by Mary McDonald. Sacred. Lorenz Publishing Company #70/2249L. Published by Lorenz Publishing Company

(Book/CD-ROM Pack). By Mississippi Mass Choir. Shawnee Press. Sacred. Book and Disk Package. 88 pages

Composed by Kevin Waters. For organ. New settings of familiar tunes. General, Marian. Published by CanticaNOVA Publications

Piano - Medium

SKU: AU.9781506487281

Piano Settings. Composed by John Helgen. Christian. Score. Augsburg Fortress #9781506487281. Published by Augsburg Fortress (AU.9781506487281).

ISBN 9781506487281. 8.5x11 inches.

John Helgen masterfully spins original music from the tunes he has chosen for this collection and skillfully weaves the two together, creating varied and delightful settings. The seven hymn-based arrangements are useful throughout the year and feature The Earth Adorned (SOMMARPSALM) and Oceans Rise, the Coastlands Tremble/God Alone Be Praised (AD LUCEM).

Composed by Richard Nichols. Fred Bock Publications. Sacred. Octavo. 10 pages. Fred Bock Music Company #BG2670. Published by Fred Bock Music Company

SKU: WD.080689610233

Composed by Jay Rouse. Choral. Sacred Anthem. Octavo. Word Music #080689610233. Published by Word Music (WD.080689610233).

UPC: 080689610233.

Arran ged and orchestrated by Jay Rouse, this popular Hillsong Worship song is a lilting, 6/8 anthem your choir and congregation will love singing! Who You Say I Am tells of the powerful truth in who God says we are. We are chosen, not forsaken. We are His children, and He already has a special place for us in His house. With exciting choral sounds and inspiring lyrics, there will be an outpouring of joy in your worship service, for Christ has set us free. We are ransomed! We are free indeed!