PARTITIONS GRATUITES : QUATUOR DE CUIVRES
- Coventry Carol

(10 carol arrangements for mixed voices). By Bob Chilcott. For SATB choir accompanied and a cappella (away in a manger - harp and strings coventry carol - 1.1.2.1-2.0.0.0-str gaudete! - 1.1.2.2-2.2.0.0-timp-str jesus, jesus rest your head - harp and strings jingle, bells - 2.2.2.2-2.0.0.0 - sleigh bells, glock, hp-str sussex carol - 2.2.2.2-2.0.0.0-timps-). Mixed Voices. Composer Carol Collections. Christmas Choral Collection. Vocal score. 72 pages

Composed by Malcolm Archer. Christmas Songs and Carols - Mixed Voices. Vocal score. 8 pages. Duration 3'. Oxford University Press #9780193523777. Published by Oxford University Press

Composed by Dan Davison. Hinshaw Music. Carol. Octavo. 8 pages. Hinshaw Music Inc. #HMC2543. Published by Hinshaw Music Inc.

Score and Parts. By The Canadian Brass. By Traditional. Arranged by Don Gillis. Brass Ensemble. Carol, Christmas, Classical, Quintet. Full Score and Parts. 8 pages. Canadian Brass #THCB71. Published by Canadian Brass

Choral TBB choir, piano

SKU: CF.CM9711

Composed by English Carol. Arranged by Noah Reese. 12 pages. Duration 2 minutes, 51 seconds. Carl Fischer Music #CM9711. Published by Carl Fischer Music (CF.CM9711).

ISBN 9781491160060. UPC: 680160918669. Key: G minor. English. English Carol.

Coventry Carol was first performed during the sixteenth century in Coventry, England as a part of the Pageant of the Shearman and Tailors. It was a lament by the mothers of children taken in the Biblical Slaughter of the Innocents. Robert Croo is credited with writing the lyrics in 1534, and the music was written by an unknown composer in 1591. The original manuscript of Robert Croo's poem lasted until a fire destroyed it in 1879. The underlying mixed meter feeling of this arrangement is meant to help the piece build momentum to the third verse to tell the tragic story depicted in the poem. The repeated motif is a descending chromatic scale and can be found throughout all three parts. Teaching a descending chromatic scale from G3 down to D3 will help the basses find their entrances throughout the chorus of the piece. The tenors have the same descending line up an octave in the cued notes starting at m. 49 and can sing in octaves with the basses for practice.  .
Coventry Carol was first performed during the sixteenth Century in Coventry, England as a part of the Pageant of the Shearman and Tailors. It was a lament by the mothers of children taken in the Biblical Slaughter of the Innocents. Robert Croo is credited with writing the lyrics in 1534, and the music was written by an unknown composer in 1591. The original manuscript of Robert Croo's poem lasted until a fire destroyed it in 1879. The underlying mixed meter feeling of this arrangement is meant to help the piece build momentum to the third verse, helping to tell the tragic story depicted in the poem. The repeating motif is based around the altos' descending chromatic scale. The repeated motif is a descending chromatic scale and can be found throughout all three parts. Teaching a descending chromatic scale from G3 down to D3 will help the basses find their entrances throughout the chorus of the piece. The tenors have the same descending line up an octave in the cued notes starting at m. 49 and can sing in octaves with the basses for practice.
Coventry Carol was first performed during the sixteenth Century in Coventry, England as a part of the Pageant of the Shearman and Tailors. It was a lament by the mothers of children taken in the Biblical Slaughter of the Innocents. Robert Croo is credited with writing the lyrics in 1534, and the music was written by an unknown composer in 1591. The original manuscript of Robert Croo's poem lasted until a fire destroyed it in 1879.The underlying mixed meter feeling of this arrangement is meant to help the piece build momentum to the third verse, helping to tell the tragic story depicted in the poem. The repeating motif is based around the altos' descending chromatic scale.The repeated motif is a descending chromatic scale and can be found throughout all three parts. Teaching a descending chromatic scale from G3 down to D3 will help the basses find their entrances throughout the chorus of the piece. The tenors have the same descending line up an octave in the cued notes starting at m. 49 and can sing in octaves with the basses for practice.