| A Hymn to the Virgin Chorale SSAATTBB SSAATTBB A Cappella Boosey and Hawkes
SSAATTBB a cappella. By Benjamin Britten. (SSAATTBB A Cappella). Boosey and Haw...(+)
SSAATTBB a cappella. By
Benjamin Britten.
(SSAATTBB A Cappella).
Boosey and Hawkes Sacred
Choral. Size 6.75x10.5
inches. 8 pages.
Published by Boosey and
Hawkes.
(2)$1.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A Basque Carol Carl Fischer
Choral Cello, Contrabass voice, Piano, Viola, Violin 1, Violin 2, Violin 3, SATB...(+)
Choral Cello, Contrabass
voice, Piano, Viola,
Violin 1, Violin 2,
Violin 3, SATB chorus
SKU: CF.CM9734
Composed by Basque Carol.
Arranged by Christopher
Thomas. 12 pages.
Duration 2 minutes, 37
seconds. Carl Fischer
Music #CM9734. Published
by Carl Fischer Music
(CF.CM9734). ISBN
9781491161142. UPC:
680160919734. Key: A
minor. English. Basque
Carol. A Basque
Carol (also known as
Gabriel's Message) holds
a special place in
Western music. The carol
originates from Basque
country around the 13th
century, based on the
Latin hymn, Angelus ad
Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in Chaucer's
Canterbury Tales: Playing
so sweetly that the
chamber rang; / and
Angelus ad virginem he
sang. . .. Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the song's
lasting popularity. I
would also attribute A
Basque Carol's continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as his wings
as drifted snow, his eyes
as flame. I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I've added an
obligato line for a solo
recorder (solo flute or
violin work just as
well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino. I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you're a choir, a string
orchestra, or a combined
ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!. A
Basque Carol (also known
as Gabriel’s
Message) holds a special
place in Western music.
The carol originates from
Basque country around the
13th century, based on
the Latin hymn, Angelus
ad Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in
Chaucer’s
Canterbury Tales:Â
“Playing so sweetly
that the chamber rang; /
and Angelus ad virginem
he sang. .
.â€.Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the
song’s lasting
popularity. I would also
attribute A Basque
Carol’s continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as “his
wings as drifted snow,
his eyes as
flame.â€I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I’ve
added an obligato line
for a solo recorder (solo
flute or violin work just
as well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino.I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you’re a choir, a
string orchestra, or a
combined ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program! $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| There Is No Rose Chorale 3 parties SSA Carl Fischer
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. $1.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Len Enns : Winter's Blanket Chorale SSAA SSAA A Cappella [Octavo] Cypress Choral Music
By Len Enns. For SSAA choir, a cappella or with piano. Christmas. Octavo. Publis...(+)
By Len Enns. For SSAA
choir, a cappella or with
piano. Christmas. Octavo.
Published by Cypress
Choral Music
$3.10 $2.945 (- 5%) Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Big Praise for a Great Big God, Book 1 - CD/Book Combo Voix d'Enfants [Accompaniment Cassette|Book and Cassette|CD] Lillenas Publishing Co.
117 Fun, Exciting, Singable Songs for Younger Children. Edited by Thomas Fettke,...(+)
117 Fun, Exciting,
Singable Songs for
Younger Children. Edited
by Thomas Fettke, Ken
Bible. Arranged by Thomas
Fettke, Ken Bible.
(unison). This edition:
MD492. Suggested Use: For
children pre-school to
third grade. Use at
Sunday school, children's
choir, children's church,
VBS, camps, Christian
schools, and home.
Lillenas Publications.
Great resource for
working with younger
kids. Sacred.
Book/Split-Channel
Accompaniment Cassette
Combo. 144 pages.
Published by Lillenas.
(1)$39.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Brazilian Images Orchestre [Conducteur et Parties séparées] - Intermédiaire Kjos Music Company
By Paulo Braga Diniz. Orchestra. Level: Grade 3. Music Book. Published by Neil A...(+)
By Paulo Braga Diniz.
Orchestra. Level: Grade
3. Music Book. Published
by Neil A. Kjos Music
Company.
$35.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rockschool Electric Guitar Level 5 [Partition + Accès audio] Rock School Limited (RSL)
Level 5 Electric Guitar; Guitar SKU: HL.360290 By Various. Guitar. Rock I...(+)
Level 5 Electric Guitar;
Guitar SKU:
HL.360290 By Various.
Guitar. Rock Instruction.
Softcover Audio Online.
80 pages. Rockschool
#RSK200047US. Published
by Rockschool
(HL.360290). ISBN
9781789361438. UPC:
840126990904.
9.0x12.0x0.378
inches. Learn to
play rock and pop with
Rockschool. These
specially written
arrangements develop the
skills and techniques you
need to help you achieve
your musical goals. For
Rockschool's 2018-2024
Guitar series, Rockschool
have commissioned
arrangements of titles
reflecting popular
music's rich heritage in
all its forms and have
tailored each piece to
make it exactly right for
the grade. You can also
use titles from
Rockschool's Classics
series as part of the
syllabus. The
arrangements have been
written and performed by
top session musicians who
have worked with some of
the biggest names in
rock, metal and pop. The
tracks were recorded at
Real World's acclaimed
recording studios and
feature live instruments
and first rate
performances for an
unrivalled level of feel,
authenticity and
musicianship. Featuring:
Hell Ain't a Bad Place to
Be (AC/DC) • Lay
Down Sally (Eric Clapton)
• Lose Yourself
(Eminem) • Love on
Top (Beyonce) •
People Say (The Meters)
• Pick up the
Pieces (Average White
Band) • and six
Rockschool originals.
Plus: • Band and
artist fact files with
recommended listening
• In-depth
walkthroughs of every
track • Easy-access
downloadable audio
• Example tests and
exercises • Amp
settings and tone advice
for each track. $26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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