New Releases - Sacred
SATB
Treble
Men
SAB
New Releases - Secular
SATB
Treble
Men
The Child's Natural Vocal Range
By Marie Stultz, Contributing Editor
I have taught children to sing since I was fourteen years of age. The observations made below are based on years of experience both in the private studio and in a group-singing environment.The first thing choral directors need to better understand is the actual range of the child's voice of both boys and girls, from the very beginning of their vocal experience, until vocal maturity. This is the point at which the boy's voice completely changes and the female voice matures and shifts into an adult sound.
In watching my experience, many conductors of children's choirs do not select music geared to build or train the young voice. Power and beautiful tone come from singing in our head voice on our air, with beautifully supported vowels and consonants. Children are no exception. If young singers are constantly asked to sing in ranges that are relentless for them, they will develop bad vocal habits and sometimes do permanent damage to the voice. Becoming a good vocal curator is the job of any conductor working with young singers in all stages of development
Children Speak and Sing Correctly By Nature
What is the normal speaking and singing range for children? The answer can be found on the school playground where children are speaking or calling to their friends in a high voice. This is true of both boys and girls. Children play and shout to their friends in the range that is the most comfortable for them. A trained ear can immediately hear that the voices are high and clear, carrying long distances without necessarily shouting. These pitches heard on the playground are the pitches you must encourage the child to rediscover in the choir room.All too often children sing out of tune, with a shouting vocal quality. Directors who do not understand the child's normal speaking and singing voice have allowed these children to sing on their cords, forcing their voices into an unnatural range. As a result, they have never learned to sing on their air. These children are singing in what is called the chest-and-mid-range of their vocal spectrum, rather than in the head range where they would feel more comfortable. When high pitches are sung with the chest voice, they have a shouted, almost strained quality. When a child says, "I can't sing that high," it simply means the singer is using the chest voice to produce the higher pitch. As the chest voice is exercised above the mid-range into the head range, it becomes increasingly difficult to produce the notes.
Headtone Singing and Children
Training children to sing in their natural voice is critical to a successful music program. Children have the capability and can enjoy singing high once they understand the singing process and mechanism.Headtone singing can be defined as vocal tones sung on the air: tones that sound perfectly clear, relaxed and in tune. Most young singers cannot produce this relaxed crystal-like tone unless they are singing above the break of the voice, which normally falls between b flat 1 and b natural 1. This description of headtone also holds true with the more advanced adolescent singer. The difference between the beginning and advanced young singer is experience, and expanding vocal color. As the older treble voices gain in vocal capability, they should be encouraged to sing with the same ease and clarity as the young voice -- but with more resonance, power and color typical of the more mature female voice.
Music that expands a choir's headtone must be in the proper tessitura, never lying relentlessly between c1 and c2, but always rising above the natural break of the voice between b1 and c2, with texts that require a molasses-like OO sound on d2 and beyond. The best selections have at least one f2 or g2, with the melody consistently incorporating notes from b1 to a2. The chart below outlines the range of the child's voice. An important fact to know: as young singers advance in vocal experience the break in the child's voice naturally begins to disappear.
Range of the child's voice:
CHEST VOICE: G to e1
MID-RANGE: f1 to b1 (break at b flat1)
HEAD VOICE: c2 to a2
UPPER HEAD VOICE: b2 to c
ADVANCED HEAD RANGE:c3 to e3 and beyondVocal Ease and the Head Voice
Most children are able to sing in the head voice easily. The instructor should simply encourage and teach them to do so. It must be pointed out that children who are allowed to sing in the chest-and-mid-range over an extended period of time cannot realize their full vocal potential and often have vocal therapy issues. They are simply unaware of their vocal ability in the upper tessitura. Children can be taught to find and develop their head voice through simple exercises and the right choral literature. Once the head voice is discovered, the teacher can help children understand that singing in the chest range with a shouting vocal quality makes it impossible to sing in tune, or with clarity or true carrying power.Children and Vocal Imitation
Children learn to sing by imitating what they hear. If a child imitates a favorite rock singer, a revered parent with a low, raspy voice, or a teacher who teaches singing with a poor vocal quality or wobble, he or she can become vocally confused. It is important that the child hears and emulates good vocal models. The choral director must develop a relaxed vocal technique for the young singer to imitate, a voice that sounds rounded and beautiful, unaffected and totally at ease. This clear, crystal-like sound can be best imitated on the syllable DOO on d1, which is the best note for building a beautiful, natural focus.The Male Teacher as a Vocal Role Model
The imitation and range issues pose special problems when men are involved in the training of children. Men simply do not sing in a child's range unless they are singing in falsetto. It is important that the male teacher be able to sing in falsetto to insure pitch accuracy. Under most circumstances, however, it is recommended that the male instructor sing in his natural range. Children will imitate the tone quality and natural ease of the voice, imitating the relative pitch rather than the actual pitch. If tone production or pitch disorientation is a problem, select a singer in the choir who already has a beautiful head tone. Use that singer as the vocal role model for the other children. As more singers gain the ability to achieve the vocal tone you want, enlarge your vocal tone force until the entire choir makes the choral sound you desire.Slide Exercises to Explore Range
Both ascending and descending slides through the entire range of the voice are tremendous tools as you work on the children's range. This is actually a superb tool for all singers, helping the cords to come together properly. The exercises suggested below are variations on what is called a J Glide.The Whooping Exercise: Whoop upward over the interval of a 10th starting on middle c and whooping to e2. Repeat the exercise, whooping a little higher each time.
The whooping exercise is both a vocal and physical exercise that will help the singers relax. The children should reach down towards the floor with their hands. Once the whoop begins, the children should throw their voices away by throwing their hands over the tops of their head. As the top of the whoop is reached, the children should stand on tiptoe and then rotate their bodies from side to side. Work to get the whoops a little higher each time.
The Sighing Exercise: The sighing exercise should cover well over an octave. Start at d2 and sigh downward covering every note. Repeat the sigh's, getting a little higher each time. Rotate the use of the words sigh~high~ah.
Sighing is an excellent descending J glide to use. It helps the children to relax as they sigh easily. Encourage them to put their hands above their head and gradually lower their arms as their voices descend. They should drop their arms clear to the floor and swing them in a drooping and relaxed manner, bobbing from the waist. This exercise assists the children in exploring their range as they relax. Begin the exercise just above the break and sigh gently, allowing the voice to resonate with a natural sound. The sigh should begin a little higher each time, allowing the sound to buzz gently into the head.
The Pepé Le Pew Exercise: This exercise begins on d2 with pe-pe, then goes up to e2 on the syllable pew. Now slide down as low as everyone possibly can. Finish this exercise by expiring all the air with ah.
The name of this colorful and amusing cartoon character is actually a fabulous J Glide, while being terribly amusing. This should be a playful exercise where the "P's" are clearly articulated. The hands and arms should be used as the children drop to the floor and expire all of their air.
Understanding the child's range is the most important musical observation you can make before teaching them to sing. Understanding the range applies both to warm-ups and to your selection of choral literature. If you don't understand how to train the natural voice, you can't properly develop children into good adult singers.
Music Suggestions for Treble Voices to Build Headtone
The music suggestions made below are mostly in unison. Unison singing is a critical point in building a crystal-like headtone in the choir.
SACRED
Bist du bei mir by G.H. Stölzel/J.S Bach, German/English text, Warner, VG 183, Unison & organ (piano).Lo, How a Rose E'er Blooming, by Michael Praetorius/Stultz, German/English text, MorningStar, 50-9901, unison with descant & organ or piano (opt. cymblestern).
Shepherd's Pipe Carol, by John Rutter, English text, Oxford, 3420333, unison (opt. descant and alto part) & piano or orchestra.
Then Will I Sing Jehovah's Praise by G.F. Handel, English text, Choristers Guild, (Lorenz) CGA 220, unison & organ (opt. orchestra).
SECULAR
Begone Dull Care, from the larger work, FRIDAY AFTERNOONS, by Benjamin Britten, English text, Boosey & Hawkes (Hal Leonard), 48011758, unison & piano.Hark! The Echoing Air. By Henry Purcell, English text, Novello, 160061, unison & keyboard (opt. strings & trumpet).
The Path To the Moon, by Eric Thiman, Boosey (dist. Hal Leonard) 48003957, unison voices.
Sure On This Shining Night, Samuel Barber, English text, MorningStar, 50-9921, unison & piano.
Portions of this article are taken from "Innocent Sounds~Building Choral Tone and Artistry in Your Children's Choir," by Marie Stultz, MorningStar Music Publishers and "Choral Excellence for Treble Voices--Your Guide to the World's Finest Literature", Choral Excellence Press. Both books are available from Spectrum Music (www.spectrum-music.com).
New Releases ~ Sacred Gift of Love, by Austin C. Lovelace, English text, Hinshaw, HMC2139, SATB & organ. Based on the tune entitled PRIMROSE, by Chapin, found in SOUTHERN HARMONY and published in 1835, the anthem opens with simple thirds between the men and women's section. The simple rhythms are set to changing meters of 4/4 and 3/4 with an occasional 2/4 signature included to help with the text versification. The lyrical accompaniment supports the voice parts quite nicely. The anthem is the perfect choice when small forces are available. Difficulty rating 2-3. $1.55
Gloria Patri, by Giovanni Pierluigi da Palestrina (1525-1594), Latin text, Hal Leonard 08596772, SATB double choir a cappella. This anthem for double chorus is set both canonically and antiphonally. Simple rhythms on effective harmonies dominate this beautiful setting of a popular Latin text. The answering choir could easily be sung with great effect by a solo quartet. The final section is composed in four-part unison between the two choirs, solving any balance concerns if the solo quartet is used. It would be extremely powerful if it were sung antiphonally much like it would have been done during the high Renaissance. This edition by John Leavitt offers an alternate "Amen." Difficulty rating 3-4. $1.70
Light of Life, by Johann Gottfried Schicht (1753-1823). English text, Hal Leonard, 08746897, SATB a cappella (opt. piano). This little known composer was born in Saxony where the present-day Germany, Poland and the Czech Republic meet. Performance notes and biographical information are included in this edition by Rhonda Sandberg with English text by Frank Pooler. The anthem is filled with graceful counterpoint and harmonies of simple beauty. The piano accompaniment is an alternative offered by Sandberg, but this anthem should and can be sung a cappella. Difficulty rating 3-4. $1.70Nobody Knows the Trouble I've Seen, arr. Moses Hogan, English text, Hal Leonard 08746907, SATB, solo & divisi a cappella. This is one of Hogan's more accessible arrangements. It requires a strong solo voice that can sing in the gospel style. This is actually an arrangement where the choir acts as the accompanying instrument, showcasing the soloist. The harmonies are magnificent and surprising. There is a "bit of the blues" and jazz in this arrangement. This is the perfect choice for the accomplished high school choir that understands the style. Difficulty rating 3. $1.70
Rejoice, by Jeffery L. Ames, English text, Santa Barbara, SBMP 728, SATB (divisi) & piano. Commissioned by Dr. Jo-Michael Scheibe for the University of Miami Chorale, this piece requires an accomplished chorus of singers. The offbeat rhythms and challenging divisi in the voice parts makes this a fine choice for the advanced ensemble. The text versification is loaded with rhythmic challenges and the harmonies are filled with major and minor seconds. The anthem opens with a choral fanfare of great power. The piano part requires an accomplished player as the choir sings their joyous "shout." This piece is the perfect concert opener. Difficulty rating 4-5. $2.35
Sing Aloud with Gladness (Exsultate Deo), by Alessandro Scarlatti (1660-1725), English/Latin text, GIA Publications, G-5955, SATB a cappella. This powerful anthem is set in English with text taken from Psalm 81:1, transcribed by editor Robert McDowall. First published in England by The Royal College of Church Music, the anthem is filled with triumphant counterpoint that pronounces the joys of singing. This anthem is perfect to program in a celebratory service or for choral evensong. Set in the key of D Flat Major, the triumphant harmonies and long phrase shapes are quite spectacular. The work closes with a repeated "Alleluia" composed in canonic counterpoint. Difficulty rating 4. $1.50
Sing Unto God (from Judas Maccabaeus), by George Frideric Handel (1685-1759), English text, Hinshaw. HMC 2103, SATB & keyboard (opt. 2 trumpets in C). Edited and arranged by David Stocker, this movement from Handel's great oratorio requires two accomplished trumpet players. A triumphant piece perfect to program on Easter Sunday or for choral evensong, it is filled with challenging melismas on masterful counterpoint so typical of this composer's style. The trumpet parts are printed on the last page of the octavo. Difficulty rating 4-5. $1.90
The Earth Is the Lord's (No. 8 from Symphony of Psalms), by Imant Raminsh, English text, Boosey (Hal Leonard), 48019353, SATB (divisi) & piano (orchestra). This fine piece was originally composed for treble voices and is available in an SSAA edition with a catalogue number of 48019351. Commissioned in 2002 by the Loundes Singers of Miami, Dr. Candace Wicke conductor, the larger work was later transcribed for SATB voices, soloists and orchestra that same year for a performance at Carnegie Hall. The entire choral symphony is seventy-five minutes in length and includes nine Psalms set in eight languages. It requires large forces to truly make the piece's harmonic and rhythmic challenges sound artistic. Orchestral parts and full score are available from the publisher as a rental. Difficulty rating 5. $2.95
Turning Point, by Stephen Hatfield, English text, Boosey (Hal Leonard), 48019622, SATB (divisi) a cappella. Set to an original text by the composer, the piece contains syncopated rhythms and folk like harmonies. The anthem is filled with changing meter signatures. The complex rhythms will take study by the most accomplished choir in order to perform the piece artistically. The text refers to philosophical concepts such as the "x box" which is not a reference to video games technology. This piece was composed for an all men and boys choir and performed in 2005 for the Alliance World Festival of Singing. Difficulty rating 5. $1.80
Viderunt omnes fines terrae (All the Ends of the Earth), by Mikolaj Zielenski (fl. 1611) Latin text, Mark Foster (Music Sales), MFA 0030, SATB a cappella. Set to lyrical counterpoint with unusual harmonic shifts, the text is taken from Psalm 98:3. This unusual anthem was composed by one of Poland's leading Baroque composers. The score, edited by William Bausano, is based on two facsimiles taken from a 1611 part book and a 1611 organ score. The anthem concludes with a joyful "alleluia." Difficulty rating 3-4. $1.75
We Praise You and Acknowledge You, O God, arr. Mark Bender, English text, Concordia, 98-3921, SATB, congregation, & organ (opt. orchestra). This is a useful anthem based on Gustav T. Holst's hymn tune entitled THAXTED. The piece opens with a joyous organ arrangement of the hymn tune, with optional orchestra. The anthem is set to a text written by Stephen P. Starke. The congregation can be included in three of the four verses. The edition includes a bulletin insert of the hymn tune with verses for the congregation. Difficulty rating 3. $1.75
TREBLE VOICES~SACRED
Ave Maria, by Gabriel Fauré (1845-1924), Latin text, Treble Clef, TC -270, unison & organ (piano). This fine setting of the famous and sensitive "Ave Maria" text was composed in 1894 for mezzo or baritone and organ. Filled with lilting melodic beauty, the piece, like much of Fauré's music, has a number of challenging intervallic turns. The anthem presents a perfect opportunity for introducing a choir to Latin diction. This anthem is part of a new series edited by Rebecca M. Thompson called "Treble Masterworks Series." It is recommended for performance at Christmas time, but could be sung throughout the church year. It is also appropriate to program in a concert environment. Difficulty rating 2-3. $1.70Benedictus, by Camille Saint-Saëns (1835-1921), Latin text, Santa Barbara, SBMP 722, SA & piano. Originally a duet for soprano and baritone accompanied by organ, strings and harp, this charming duet will be effective on treble voices. Composed when Saint-Saéns was twenty-three, it is taken from his famous Christmas work Oratorio de Noël, op. 12. It is arranged for piano and voices by Robert Sieving. Difficulty rating 3-4. $1.60
O Virgo splendens (O Virgin Resplendent), ed. Mark Winges, Latin text, Treble Clef, TC-274, SSA a cappella. This stunning chant for three a cappella voices is taken from the Lilibre Vermell for the monastery of Montserrat in Catalonia at the end of the 14th century. It is the ideal introduction to Gregorian chant, requiring an accomplished choir of older children's voices or women's chorus that can sing with purity and ease. A translation is included in the edition. Difficulty rating 3-4. $1.70
Praise, O Praise the Lord, by Robert J. Powell, English text, Paraclete Press, PPM 00727, unison & organ. Set to a text from Psalm 147:1-7, this lyrical melody is quite effective. The piece does have some simple two-part writing composed mostly in thirds, but would be equally effective in unison. The anthem opens joyously and quickly moves to a calm Lento section with some rhythmic and intervallic challenges. The piece closes by returning to the opening thematic material that is both joyous and uplifting. Difficulty rating 3. $1.60Seigneur, tu sais tout de moi (O Lord, thou hast searched me and know me) (No. 6 from Symphony of Psalms), by Imant Raminsh, French text, Boosey (Hal Leonard), 48019350, SSAA (divisi) & piano (orchestra). Commissioned in 2002 by the Loundes Singers of Miami, Dr. Candace Wicke conductor, it was later transcribed for SATB voices, soloists and orchestra in 2002 for a performance at Carnegie Hall. The entire choral symphony is seventy-five minutes in length and includes nine Psalms set in eight languages. This is the French movement set to Psalm 139. It requires large forces to truly rise to the piece's harmonic and rhythmic challenges. Changing meters and unison passages alternating with beautiful phrases of great harmonic beauty dominate this movement. Orchestral parts and full score are available from the publisher as a rental. Difficulty rating 4. $2.95
The Snow Lay on the Ground, by David Conte, English text, ECS, 6420, SSAA, harp & piano or organ. This charming carol is filled with glorious harmonies and lyrical melodic phrases. Set to an anonymous 19th century text, the piece was commissioned by the Peninsula Women's Chorus of Palo Alto, California. Using a combination of English and Latin words, the text versification is beautifully done and the instrumental writing is equally breathtaking. This piece is ideal for concert hall with an accomplished children or woman's choir. After the premiere, Conte scored the work for SATB voices (6419) and TTBB voices (6421). This piece would be wonderful paired with Britten's A Ceremony of Carols or the Chilcott Three Christmas Carols, since all use harp accompaniment. Difficulty rating 4. $2.15
Two Anthems, by Barrie Cabena, English text, ECS, 6857, unison & organ. These two lovely settings of two famous hymn tunes, O Lord of Life and Loving Shepherd of Thy Sheep, are both excellent ways of introducing children to fine hymn singing in an anthem format. The simple organ part is composed independently of the melody, training the very young choir to learn to sing with confidence and accuracy. Difficulty rating 3. $1.50
MENS VOICES ~ SACREDRegnum Mundi (Kingdom of the World), by Jacob Handl (1550-1591), Latin text, Pavane (Hal Leonard), 08301806, TTBB a cappella. This edition prepared by Allen Crowell is dedicated to the 1998 North Central ACDA Men's Honor Choir. It is a dark setting of an equally dark text. The anthem is filled with elegant counterpoint and rich harmonies that will resonate on men's voices. Although it is set in the key of d minor, the editor suggests it could be sung one step higher. Difficulty rating 3. $1.60
SAB VOICES ~ SACREDO Jesus, I Have Promised, by Barrie Cabena, English text, ECS, 6877, SAB & keyboard. This is a setting of an original hymn tune composed in 1981 for the Episcopal Hymnal. This straightforward setting for SAB voices is ideal to program on a Sunday when choral forces are diminished. It is filled with lyrical partwriting and melodic charm. Difficulty rating 3. $1.85
New Releases ~ Secular Bonjour, mon Coeur (Good Day, Sweetheart), by Orlando di Lasso (1532-1594), French/English text, Hal Leonard, 08596771, SATB a cappella. Edited by John Leavitt, this elegant chanson is a wonderful vehicle for introducing singers to this great Renaissance composer. The music is set to a poem by Pierre de Ronsard (1528-1585) with English text paraphrased by the editor. Lyrical phrase shapes and simple counterpoint are hallmarks of the di Lasso style. A pronunciation guide is included in the edition. Difficulty rating 3. $1.70
Desert Rose, by Drew Collins, English text, Kjos Music, C 9306, SATB (divisi) a cappella. Written in August of 2001, this piece is composed to a powerful text by George Mackay Brown. The composition opens with terse chords constructed on a major and minor second with the words "No one will sing." It is conceived on a repeated motive of A, B and C natural. This is a powerful but complex setting that contains homophonic clusters in contrast to more lyrical contrapuntal sections. It was created for the choral organization Tempus. Difficulty rating 4. $1.60
The Gift of Music, by John Rutter, English text, Hinshaw, HMC 2144, SATB, solo, flute & guitar or piano. Filled with melodic beauty, this fine piece set to a text by the composer is rich in charm and sentiment. Composed for Elizabeth Goody of Macroom, County Cork in honor of her 80th birthday, the text considers the merits of intangible vs. tangible pleasures in one's life. It opens with solo voice after an introduction by the flute. The performance will be more effective with guitar, but the piano will be equally effective if played with sensitivity. Throughout most of the piece the choir acts as accompaniment to the solo voice or semi-chorus. The work is filled with elegant counterpoint and graceful phrase shapes. This anthem is another winner from this fine composer. Difficulty rating 3. $1.90
Give Thanks for Music, by Alice Parker, English text, Treble Clef, TC 272, SSA & piano. Using texts by Jane Marshall and Parker herself, this anthem in celebration of music reminds the editor of a piece the Treble Chorus commissioned for its 25th anniversary called "Singing Questions" (MorningStar Music Publishes, 50-9928). In fact, these two compositions would make a great duo in a concert or as part of a celebration of music. Set in the key of D Major, this elegant composition begins as a dance for unison voices. The partwriting in the second part for two voices is quite straightforward and canonic in nature. The three-part section is composed contrapuntally and concludes with powerful phrase shapes to the words, "Keep the song ever flowing." A beautiful closing image for such an artfully crafted piece. Difficulty rating 3. $1.70
La Paloma (The Dove), arr. Cristian Grases, Spanish text, Walton (Hal Leonard), 08501642, SSA & guitar (ukulele) & opt. percussion. This charming Venezuelan folksong is brilliantly set by Grases. He explains the "La Paloma is an example of the 'drum gaita", a type of folk music from Zulia state in the western part of Venezuela, which combines elements of Liberian, African and indigenous music." This type of music has a fixed form using the question and answer response form. It is believed that this type of music was introduced to the tribesmen by Catholic missionaries and was originally religious in nature. It is rhythmically complex with syncopated rhythms and quick motivic elements that challenge the singer. This well-crafted arrangement will be great fun to sing and will add an unusual element to a concert. Difficulty rating 4. $2.25
Long Time Ago, arr. Jameson Marvin, English text, Kjos, 6333, SSA a cappella. Almost haunting in tone and gesture, this fine setting will move singers and audience alike. Originally set in unison and made famous by Aaron Copland, this a cappella arrangement is a lovely alternative for the more advanced treble ensemble. The piece contains crossing voice parts, lovely harmonies and elegant descants where the altos and seconds carry the beautiful melody. Marvin effectively uses a vocal shadow technique where one part sings the melody and the other members sing the same melody on "oo", adding to the atmospheric conditions of the lake and the maiden who perished. Difficulty rating 3. $1.60
Puisqu'ici~bas toute ame (As Each Spirit Here Below), by Gabriel Fauré (1845-1924), French text, Treble Clef, TC 269, SA & piano. Composed in 1863 and revised in 1873, this lovely duet was originally written for two sopranos. The elegant setting of a Victor Hugo text will be extremely effective on carefully trained treble voices. Rich with shifting harmonies and melodic elegance, this stunning duet will simply ring on treble voices, as well as helping to improve a choir's French diction skills. As with all of Fauré's music, this duet is rich in artistic interest and expressive capabilities. It is edited by Rebecca M. Thompson. Difficulty rating 4. $2.25
The Moon is Distant from the Sea, by David N. Childs, English text, Santa Barbara, SBMP 719, SSA (divisi) & piano. Filled with sonorous harmonies of expansive beauty, this is a brilliant piece of music. Written by a New Zealander to an expressive text by Emily Dickinson, this piece should enter the modern repertory as a permanent staple. It rings off the page much like Paul Manz's "E'en so Lord Jesus, Quickly Come." The changing meters mold the text versification into a glistening shimmer of sound and tone. The melodic elements and phrase shapes create an illusion of great beauty. Set in the key of d minor, there is no sadness here in the compositional structure. Childs knows how to create a beautiful harmonic and melodic illusion. Difficulty rating 4. $1.65
Landscape (from The Path of Light), by Ruth Watson Henderson, English text, Treble Clef, TC 264, SSAA & piano. Tonal sonority dominates this atmospheric score set to a text by Lucy Jun. Henderson has really found her harmonic and melodic voice in this first in a set of two pieces commissioned by the Oriana Women's Choir of Toronto. Henderson has been around brilliant treble-voiced singing for years as accompanist for the Toronto Children's Chorus, and she has immersed herself in the ways that harmonies and melodies should be constructed to radiate with brilliance off the treble voice. The level of interpretation adds to the difficulty rating of this piece, but will build brilliant tone in all three vocal ranges of the choir. The text versification and interpretation will resonate beautifully. Difficulty rating 4. $1.70
Night (from The Path of Light), by Ruth Watson Henderson, English text, Treble Clef, TC 265, SSAA & piano. The tonal painting in this set of two pieces is almost staggering. The second in the set, a brilliant vocal ensemble, will melt the audience with the sheer beauty of tone created in the harmonic structure. These are two of her best works. They ring off the page and will almost leave you breathless. Set to a poem by Thomas Fulton, both pieces should be programmed in a reflective moment in the program when the audience just wants to fall back and listen to the choral atmospheres residing in this shimmering vision of night. All I can say is "Wow!" Ruth Watson Henderson has found her voice, and her brilliant music reveals a full heart. Difficulty rating 4. $1.70
EXTENDED WORKS FOR TREBLE VOICES
Crossing, arr. Anonymous 4 American Angels, trans. Nym Cooke, English text, Hal Leonard, 08747064, SSAA a cappella. This is a collection of four early American hymn tunes carefully transcribed by Cooke. Blooming Vale by J.P. Storm uses as its musical source THE SOCIAL HARMONIST, the second edition from 1801. It is composed for four part trebles and set to a text by Isaac Watts based on Psalm 55. Idumea I by Ananias Davisson is transcribed from a collection entitled KENTUCKY HARMONY published in 1816. Set to words by Charles Wesley, who wrote the text in 1763, this is a unison setting. Idumea II is from the same source but set to a text by Isaac Watts. This is a four-part setting by Ananias Davisson. Sweet Prospect by William Walker is transcribed from the famous THE SOUTHERN HARMONY of 1835. It is a three-part setting. Shall We Gather at the River by Robert Lowry uses as its source HAPPY VOICES published in 1865. It is a three-part setting. Included in the edition is a large note edition of these fine melodies. Difficulty rating 3-4. $1.95
The Nightingale, by Imant Raminsh, English text, Boosey (Hal Leonard), 48019429, SSAA & piano (orchestra). This publication includes selected scenes (four movements) from Raminsh's opera for treble voices. Based on a Hans Christian Anderson fairy tale, this opera was composed for three distinguished children's choruses. This publication includes the Overture, Chorus 1, Chorus 7 and the Finale. The libretto is by James Tucker. Performance notes and details about the opera are included in the edition. This publication is part of the Choral Music Experience Opera Workshop Series edited by Doreen Rao. Orchestral parts are available from the publisher. Difficulty rating 4-5. $3.50
OLD AMERICAN SONGS
Aaron Copland's Old American Songs in two sets for unison voices with orchestra have been popular favorites for years. Two choral suites are now available for 2-part and 3-part mixed voices, arranged by Janet Klevberg Day. The piano accompaniments are original to Copland's original arrangements, while the partwriting of the two choral cycles is adapted from the Copland harmonies. This editor has mixed feelings about this type of adaptation, but these arrangements are a credible means of exposing choirs to these great American tunes
Old American Songs (Choral Suite), by Aaron Copland, English texts, includes arrangements of The Boatmen's Dance, Simple Gifts and Ching-A-Ring Chaw, Boosey & Hawkes (Hal Leonard), 48019137(SAB) or 48019138 (2-part). Difficulty rating 3-4. $2.25
Old American Songs (Choral Suite II), by Aaron Copland, English texts, includes arrangements of Zion's Walls, The Little Horses, and I Bought Me a Cat, Boosey & Hawkes (Hal Leonard), 48019369 (2-part) or 48019368 (SAB). Difficulty rating 3. $2.25Musica Russica is a fine publishing house dedicated to the re-discovery of Russian choral music. These three pieces, by two of Russia's most prominent composers, are rare glimpses into the beauty of men's Russian choral music. English translations are provided in each publication, but they must be sung in Russian. Performance notes are included in each edition. Pronunciation guides can be obtained from the publisher.
A Bacchic Song, by Nikolai Rimsky-Korsakov, Russian text, Musica Russica, PS 023(mc), TTBB a cappella. This edition is based on the Complete Collected Works, volume 46B of Rimsky-Korsakov. It is filled with brilliant harmonies and elegant counterpoint. Difficulty rating 4. $3.40
Evening, by Peter Tchaikovsky, Russian text, Musica Russica, PS 025(mc), TTB a cappella. This beautiful piece is set to an anonymous text composed in 1881. The hymn was first published in a collection for men's voices edited by K. Albrecht (date unknown). This edition is based on the Complete Collected Works, volume 43 of Tchaikovsky. Difficulty rating 3-4. $2.30
Why Has the Voice of Merry-Making Fallen Silent?, by Peter Tchaikovsky, Russian text, Musica Russica, PS 024(mc), TTBB a cappella. Tchaikovsky wrote this charming piece in 1891, for a choral class of a choral society based in St. Petersburg, Russia. The edition is also based on the Complete Collected Works, volume 43, of Tchaikovsky. Difficulty rating 3-4. $2.30
Difficulty Ratings Guide: All selections reviewed in The Choral Room are given a difficulty rating to help you select the music most appropriate for your singers. 1 - easy; 2 - accessible; 3 - medium difficulty;4 - advanced difficulty; 5 - extreme difficulty