Matériel : Vocal Score
from Exsultate Jubilate-The buoyant aria from Mozart's Exsultate jubilate is offered here in an arrangement for treble voices. Wonderful for developing tone and phrasing it is also a great introduction to music of the Classical era.
SKU: HL.1218058
ISBN 9781705195413. UPC: 196288141242. 6.75x10.5x0.029 inches. Psalm 118:24, Psalm 135:3.
Rhythmic energy and lively syncopation fill this joyous anthem of praise. Recurring text and a limited vocal range allow singers to learn the piece quickly and easily. Excellent for older elementary choirs and younger youth choirs.
SKU: SU.80300210
Ed. by James H. Laster (b. 1934). This bouyant baroque setting of a Psalm text imitates the sound of the trumpet with melismas in both choral parts. (If your two-part treble choir enjoyed Purcell’s Sound the Trumpet, they will revel in this.) The basso continuo part has been realized, and may be doubled by cello or bassoon. SA & Organ; Latin. Easy-Medium. SA, organ Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: LP.765762117525
UPC: 765762117525.
Becau se we are committed to serving the needs of church choirs of all sizes - and especially those of smaller choirs in the real world - we're excited to offer you Christ Is Risen! Alleluia!, the latest from our Worship in Unison Series. We feel certain you'll appreciate the flexibility and accessibility built into the vocal arrangements here. And the theme and celebratory nature of this new, 15-minute musical is just right for Easter Sunday morning worship, leaving enough time for other elements of the service. While the entire work can be sung in unison, there are a few optional voice divisions available to you. And you can assign these however you wish, the choice is yours! Because the opening and closing medleys in this musical include lots of familiar material, the option of including the congregation on these selections is obvious. The narrations are taken exclusively from the book of I John, so the theme of God's love in Christ is prominent. The narrator may read these passages dressed in street clothes. Or, for added dramatic effect, you may choose to have the narrator portray the apostle John, dressed in biblical attire, and reading as if from his actual letters. We're honored to partner with you in your ministry. May the reality of the risen Christ be very real to you this Easter season and throughout the year.
SKU: 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: LO.30-2010H
UPC: 000308105087.
Take each letter of the word Christmas, create nine songs whose titles each begin with one of those letters, and voila!-you've created a Christmas acrostic! The original songs in Linda's clever new collection encompass a variety of seasonal/holiday and Christmas themes and employ a variety of styles, with the music ranging from easy to moderate. The versatility of this collection allows it to be performed in its entirety as a special concert or presentation, or for the songs to be utilized individually. The format includes not only the full score of each song, but also separate reproducible Orff and vocal parts. Helpful teaching tips for each song are also included!
SKU: CA.2711012
ISBN 9790007200534. Key: C major. Language: Latin.
Eberlin's programmatic setting of the offertory Terra tremuit was written for the festive liturgy of Easter Sunday at Salzburg Cathedral, which in the 17th and 18th centuries was a center of the cultivation of the polyphonic offertory. Verses 9 and 10 of Psalm 76 (Vulgata 75), with their vivid description of the earth trembling and falling silent are Eberlin's basis for the offertory. Eberlin depicts the earthquake by means of a written-out tremolo of the strings, and by staccato singing of the syllables of the word tremuit. The Resurrection is depicted musically by ascending figures at the words dum resurgere. An Alleluia concludes the work. Score and part available separately - see item CA.2711000.
SKU: CA.2711011
ISBN 9790007200527. Key: C major. Language: Latin.
SKU: CA.2711009
ISBN 9790007200510. Key: C major. Language: Latin.
Eberlin's programmatic setting of the offertory Terra tremuit was written for the festive liturgy of Easter Sunday at Salzburg Cathedral, which in the 17th and 18th centuries was a center of the cultivation of the polyphonic offertory. Verses 9 and 10 of Psalm 76 (Vulgata 75), with their vivid description of the earth trembling and falling silent are Eberlin's basis for the offertory. Eberlin depicts the earthquake by means of a written-out tremolo of the strings, and by staccato singing of the syllables of the word tremuit. The Resurrection is depicted musically by ascending figures at the words dum resurgere. An Alleluia concludes the work. Score and parts available separately - see item CA.2711000.
SKU: CA.2711019
ISBN 9790007138899. Key: C major. Language: Latin.
SKU: HP.8728
UPC: 763628187286. Key: Key of g. By Jester Hairston. Luke 2:8, Luke 2:9, Luke 2:10, Luke 2:11, Luke 2:12, Luke 2:13, Luke 2:14.
Calypso Lullaby by Jester Hairston By combining the lively Jester Hairston classic, Mary's Little Boy Child with additional new text and a beautiful lullaby setting, Joel Raney has crafted a spirited Christmas celebration for both SATB and Two-Part choirs. The calypso rhythms provide a joyful expression of the angels' song, Alleluia, shout for joy, alongside an original cradlesong, Sleep little one, rest your head. The addition of the optional flute, percussion, bass guitar, and handbells brings this stunning setting to life - a perfect Christmas selection for churches and schools. The Instrumental packet includes a Conductor's Score and parts for Flute, Bass Guitar, Percussion, and 3-Oct. Handbell.