SKU: GI.G-4307
Text source: English Hymnal, 1933.
SKU: UT.TME-2
ISBN 9790215318380. 9 x 12 inches.
Gaudeamus omnes. Mottetto a 8 voci (SATB-SATB) con Trombe, Cornetti, Archi e Basso Continuo; Date melos, date honores. Mottetto a 8 voci (SATB-SATB) con Archi e Basso Continuo; Cantate laeta carmina. Mottetto a 5 voci (SSATB) con Trombe, Cornetti, Archi e Basso ContinuoPerformance Material on HireSix grandiose Motets, with rich appendix, and two solemn Benedictus make the opera omnia of the Bolognese Perti for the court of the Florence Grand Duke: the scores, rendered here in the tricentennial of their composition, in that time impressed the Emilian audience as much as the Tuscan one. The first volume includes the Motets Gaudeamus omnes, Date melos, date honores and Cantate laeta carmina, first performed respectively in 1704, 1705 and 1706.
SKU: MN.30-401
UPC: 688670304019.
Based on GAUDEAMUS PARITER. Festive, accessible. 3 octaves (26 bells).
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: GI.G-3675
Text Source: John of Damascus, ca. 696–754.
SATB, optional SSAA.
SKU: GI.G-3205
Brass Quintet (2 Tpts, Horn, Tbn, Tuba).
SKU: GI.G-2098
UPC: 785147209805.
SKU: HL.49005329
ISBN 9783795740009. UPC: 073999172874. 4.75x7.25x0.46 inches. German.
Diese Standard-Sammlung von 203 der schonsten und bekanntesten Volks-, Wander-, Trink- und Scherzlieder gehort in jeden Wander-Rucksack und die Hand eines jeden, der Freude am Singen hat. Zu dieser Sammlung ist auch ein Textbuchlein erhaltlich (ISBN 3-7957-3000-7).
SKU: GI.G-9508
UPC: 785147950806. English. Text Source: Text I: Christopher M. Idle, alt., Text II: John of Damascus, ca. 675-ca. 749, tr. John M. Neale, 1818-1886, alt.; Translation: John Mason Neale. Text by Christopher Idle.
SKU: GI.G-10448
UPC: 785147044864.
A collection of Easter hymn preludes arranged by Robert Farrell. The C instrument part in this volume can be played by flute, violin, or oboe. .
SKU: AP.48280
UPC: 038081551036. English.
PianoTrax 12 CD contains accompaniment tracks for the following choral publications: Are You Proud of Me? * The Bicycle * Carnival of the Animals: Choral Set I * Clap Your Hands! * The Cloud * Dandelion Child * Desperta Ferro! * Dixit Dominus * Dona Nobis Pacem * Enter with Song! * Follow the Drinking Gourd * Friendship Canon * Gaudeamus Hodie * Gloria in Excelsis Deo * Grow Your Garden * Hava Nagila (Let Us Rejoice) * Hodie * I Lift My Lamp * In the Bleak Midwinter * Lovely Rainbow * Marvelous, Magical World * Music Is . . . * O Wind * One Can Hear the Falling Snow * Out of the Silence * The Road Not Taken * Ständchen * Tuba Mirum * The Turtle Dove * Twilight * Un Poquito Cantas * Vanitas Canon * Words of Wisdom.
About Alfred Choral Designs
The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: GI.G-2447
UPC: 785147244790.
Scored for two trumpets, two trombones and organ, this suite of four movements by Robert Powell features hymn tunes from both Kentucky Harmony and Sacred Harp. The open harmonies and rustic sound give this work an idyllic and distinctly American charm. A recording of this suite is available on Gaudeamus! Music for Brass with Organ and Timpani, (CD-503) featuring The Concord Brass Ensemble. Contents: salvation • foundation • protection • exhortation • exhilaration.
SKU: HL.49023852
ISBN 9783795756789. 8.25x6.0x0.21 inches.
Seit vielen Jahren lernen Kinder das Blockflotenspielen mit den Spiel mit uns!-Banden. Bereits in vierter Auflage erscheint Spiel mit uns! Blockfloten Lieder. Die besonders breit gefacherte Liedauswahl erstreckt sich von Barock uber Klassik zu deutschen Volksliedern von Traditionals uber Kinderlieder, Schlager zur Pop-Musik. Die 92 ein- bis zweistimmigen Lieder sind fur 6-14jahrige SchulerInnen geeignet, die schon etwas Erfahrung mit der Blockflote gesammelt haben. Fast alle Stucke sind mit Akkorden fur Gitarrenbegleitung versehen. So eignet sich dieser Band auch besonders fur das gemeinsame Musizieren in der Musikschule oder im Familienkreis, zu zweit oder im Ensemble.
SKU: VD.ED23105
ISBN 9790202011058. 11.69 x 8.26 inches.