(CME Beginning). By Rupert Lang. For Choral (3 Part Treble). CME Beginning Series. 16 pages. Boosey and Hawkes #M051476145. Published by Boosey and Hawkes

(Discovery Level 2). By John Lennon. Arranged by Audrey Snyder. 3-Part Mixed. Discovery Choral. 12 pages

Choral (3-Part Mixed choir)

SKU: HL.289843

Discovery Level 3. Composed by Marc Shaiman. Arranged by Audrey Snyder. Discovery Choral. Disney, Movies, Pop. Octavo. 24 pages. Published by Hal Leonard (HL.289843).

UPC: 888680917234. 6.75x10.5 inches.

This adventure with Mary Poppins gets off to a suitably magical and delightful start with this bubbly bath-time number. Choirs will have a blast with the tongue-in-cheek text and exhilarating music!

Choral (SSA Choir)

SKU: HL.125418

Composed by Audrey Snyder and John Jacobson. Festival Choral. Concert, Female Voices, Festival, Winter, Young Choir, Young Voices. Octavo. 12 pages. Published by Hal Leonard (HL.125418).

UPC: 884088990206. 6.75x10.5 inches. John Jacobson/Audrey Snyder.

Treble choirs in middle school and children's choirs will develop important choral skills with this charming original work that imagines the light, warmth and color of spring within winter's cold and dark embrace. Lyrical and expressive, this is a perfect selection for contest or festival!

Composed by John Lennon. Arranged by Jay Althouse. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Pop Choral. Secular. 12 pages. Published by Alfred Music

Composed by Jean-Francois Dandrieu. Arranged by Bill Schuetter. Score and Parts. Duration 1 minute. Imagine Music Publishing #BSM316. Published by Imagine Music Publishing

Composed by Wieslaw Rentowski. Score. Imagine Music Publishing #VMW198. Published by Imagine Music Publishing

Composed by Jean-francois Dandrieu (1682-1738). Arranged by Bill Schuetter. For bassoon trio. Level 3. Duration 1 minute. Published by Imagine Music

Composed by Martin J. Wimmer. For SAB choir, Flute and Piano. Level 3. Octavo. Duration 4 minutes. Published by Imagine Music

By Judith Katz. For flute trio. Level 3. Duration 2 minutes. Published by Imagine Music

Composed by Jean-francois Dandrieu (1682-1738). Arranged by Bill Schuetter. For flute trio. Level 3. Duration 1 minute. Published by Imagine Music

By R. Douglas Helvering. For SSA choir & piano. Level 3. Published by Imagine Music

(Song Based on Poem By Alfred, Lord Tennyson). By Gustov Holst. Arranged by Bill Schuetter. For flute trio. Level 3. Duration 1 minute 50 seconds. Published by Imagine Music

By Wieslaw Rentowski. For SSA choir, a cappella. Level 3. Published by Imagine Music

By Tom Schnauber. For SSA choir & piano. Pathways Series. Level 3. Published by Imagine Music

(Vancouver 2010 CTV Olympic Theme Song). Arranged by Mark A. Brymer. SAB. Pop Choral Series. 12 pages. Published by Hal Leonard

By John Lennon. By John Lennon. Arranged by Kirby Shaw. Pop Choral Series. Ballad, Inspirational, Pop, Seventies, Show Choir, Vocal Jazz. Octavo. 12 pages. Published by Hal Leonard

Performed by John Lennon. By John Lennon. Arranged by Mac Huff. (SSA). Choral. Size 6.8x10.5 inches. 8 pages. Published by Hal Leonard.

Composed by John Lennon. Arranged by Jay Althouse. Choir Secular. Women's Choir. Choral Octavo. Pop Choral. Secular. 12 pages. Published by Alfred Music

(from The Preacher's Wife). Performed by Whitney Houston. By Mervyn Warren, Hallerin Hilton Hill. Arranged by Keith Christopher. (SAB). Choral. Size 6.8x10.5 inches. 8 pages. Published by Hal Leonard.

Composed by Daniel Baldwin. Score and parts. Published by Imagine Music (IG.IMS087).

Performed by John Lennon. By John Lennon. Arranged by Mac Huff. (SAB). Choral. Size 6.75x10.5 inches. 8 pages. Published by Hal Leonard.

Composed by Marvin Carlton. Score and parts. Published by Imagine Music (IG.IMS155).

By Amy F. Bernon. For 3-part mixed choir (SAB) and piano. Concert. Octavo. 12 pages. Duration 2 minutes 20 seconds. Published by Heritage Music Press

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.

Composed by Erik Satie (1866-1925). Arranged by Jeff Gorbski. Score and Parts. Imagine Music Publishing #PES183. Published by Imagine Music Publishing

Composed by Gary Edwards. For string orchestra. Pathways Series. Grade 3. Full set. Duration 3 minutes, 45 seconds. Published by Imagine Music