Copland's Four Choral Motets
New Releases - Sacred
SATB
Treble
New Releases - Secular
SATB
Treble & Men
Copland's Four Choral Motets - An Early Career Phenomenon
By Marie Stultz, Contributing EditorAaron Copland (1900-1990) composed the four choral motets as a student exercise in 1921, while he was studying with the renowned Parisian teacher and composer Nadia Boulanger. One of the most influential composition teachers of the 20th century, Boulanger's influence on Copland and other American composers soon became an historic phenomenon. All four motets are composed for SATB chorus a cappella. The texts appear to be an adaptation by Copland from Biblical texts. These were his first choral pieces, and all four express a freshness of style and an understanding of melody and harmony appropriate to the voice. Each successive motet becomes more adventurous in spirit and freer in expression. On completion, they were performed in France under Boulanger and in America under the batons of various conductors. Boulanger admired these early works and encouraged a number of performances of them. These early motets are an intriguing early example of his emerging compositional style. They remained in manuscript until Boosey & Hawkes published them in 1979. They are still available via Hal Leonard, and can be purchased individually (see catalog numbers and prices below), or as a complete set (48021108). Difficulty rating 4. $4.95
#1 Help Us, O Lord, 48003874, $1.90
" Key: e minor
" Meter: 3/4, 4/4, and 2/4
" Text Source: Biblical Adaptation
" Period and Nationality: 20th C. American
" Special Music Characteristics: A mesmerizing arpeggio pattern dominates and drives this slow, eloquent motet. The musical structure begins quite simply, with tonic chords always present in root or first inversion. The arpeggio descending pattern 5-3-2-7-1 is introduced by the altos. The sopranos enter with a quiet plea for help on 1-2-1-2-1-5-5 that is equally mesmerizing in its simplicity. E minor continues to dominate as the basses and tenors enter, singing a simple counterpoint. At the change to 4/4 meter, the motet becomes more harmonically complex, with accidentals creating fresh harmonies with a raised 6th and lowered tonic. The sopranos pick up the arpeggio pattern on changing intervals, and the men continue to create their counterpoint, now in 3/4. In the next section, augmentation occurs in the bass line as the other three parts sing in strict harmony. The motet returns to the key of e minor and remains there to the end, with the same structural elements in the same voice parts. Composed in A-B-A form, one is struck by the continual return of simple elements which contrast with the dramatic middle section. Hints of Copland's recognizable "American" musical voice are already emerging.#2 Thou, O Jehovah, Abideth Forever, 48003875, $1.80
" Key: B Flat Major and g minor
" Meter: Cut time
" Text Source: Biblical Adaptation
" Period and Nationality: 20th C. American
" Special Music Characteristics: This powerful motet in a quick tempo, opens with the sopranos and tenors singing the simple melody, with elements borrowed from the first motet. The singers are in unison as one arpeggio appears in a melodic fabric that is spelled 1-4-1-3-2, and then moves into a quarter note triplet new to the formula. The sopranos and tenors sustain a fourth as the altos and basses answer similarly. Copland uses imitation constantly here. At the conclusion of the second statement on the word "forever," the intervals 2-1-6-6 are imitated in counterpoint between the various voice parts. The next section is composed homophonically, using elegant suspensions on constantly changing keys that build in power. Copland now moves into a through-composed section with truly surprising harmonic relationships. In this section, the arpeggio and triplet appear in all the voice parts. At Tempo One, the motet returns to the opening theme, but in all four parts. The word "forever" is repeated over and over again on changing intervals, using a repetitive rhythmic motive. The movement concludes triple piano on an open G Major fifth.#3 Have Mercy On Us, O My Lord, 48003876, $1.90
" Key: F Major and implications of E Flat Major
" Meter: 4/4
" Text Source: Biblical Adaptation
" Period and Nationality: 20th C. American
" Special Music Characteristics: Copland uses three contrapuntal elements in this slow, third motet. The arpeggio element of four eighths appears again in all voice parts in modified intervals. The three lower parts enter on the downbeat, while the sopranos sing the heart-wrenching melody, entering on the second half of the first beat as a pickup. This pickup continues throughout the first melodic statement. Augmentation appears in both the alto and tenor part as half notes; and a rising counterpoint in the tenor part beautifully supports the melody. These three elements are all connected melodically. The first section lasts 26 measures and diverges into more complex rhythms and harmonies. The sopranos and tenors sing counter melodic materials, while the altos sing an augmented counterpoint. In this section, the basses sing the melody a third lower than the original. At Tempo One all four parts are in canon, with the sopranos and tenors singing the melody beginning on D. The altos and basses sing the same melodic elements beginning on G, a fifth below. After the brief canonic statement, the basses take up the melody while the three upper parts sing in elegant counterpoint. The motet concludes on beautiful homophonic lines that ascend or descend, depending on the voice parts. The motet concludes on a G Major chord.#4 Sing Ye Praises to Our King, 48003877, $1.95
" Key: G Major
" Meter: Cut time
" Text Source: Biblical Adaptation
" Period and Nationality: 20th C. American
" Special Music Characteristics: The most dense and complex of the four, this setting begins to display Copland's mastery of shifting harmonies in a key-structured environment. The shifts are exquisite in tone and style, presaging what is to come from this youthful composer. This lively motet begins with straightforward unaltered chords in G Major. Composed homophonically, the florid soprano part displays lovely melismatic passages. The sopranos are joined by the altos, adding to the ornamental flavor of the melody. The first part concludes with counterpoint reminiscent of the Baroque. The second part, sung double forte, suggests Copland's future ride into harmonic freedom. Bright harmonies with surprising accidentals demonstrate the start of Copland's exploration into harmonic contrasts and colors. The text determines the musical fabric the composer chooses, ranging from tense moments to more lyrical sections. The solo trio for soprano, alto, and bass has the soprano singing the melody, as the altos and basses sing melodic elements in augmentation. After this lyrical section, the motet returns to the opening melody with some modifications in the harmony. The motet closes with elements borrowed from parts of the first motet, using augmentation effectively. The motet ends on a simple G Major chord that spreads from GG to g in first position. After so much power and complexity, this last motet ends in utter simplicity.
New Releases ~ Sacred
A Bell, by David Conte, English text, ECS, 7730, SATB & organ. Difficulty rating 4. $1.95
" Key: Accidentals dominate the key relationships
" Meter: 4/4, 3/4, 2/4, & 5/4
" Text Source: Clifton Scollard (1860-1932)
" Period and Nationality: 21st C. American
" Style: Carol
" Special Music Characteristics: Brilliant text painting supported by shifting chromatic chords makes this an extraordinary composition. The carol anthem displays a mature style with sharp musical contrasts. The organ part sets the tone for the entire piece, with chromatic descending passages that evoke the sound of tolling bells. Effective intervals abound in this carol that concludes with the choir singing a ringing D Major sixth chord with a raised seventh, as the organ plays bell-like passages.Bereft, O God, I Stand Forsaken (Ach Gott, wie lästu mich verstarren), by Johann Kuhnau (1660-1722), English/German text, Concordia, 98-4089, SATTB, continuo & cello. Difficulty rating 3. $2:00
" Key: c minor
" Meter: 2/2
" Text Source: Unknown with tr. by Madeleine Forell Marshall
" Period and Nationality: Baroque German
" Style: Sacred Aria
" Special Music Characteristics: Dark harmonies dominate this choral aria composed as part of a larger work conceived for the funeral of Erhard Titus. Kuhnau was Bach's predecessor at St. Thomas in Leipziig, Germany. Many of the long phrase shapes conclude with major shifts in the harmony. The aria uses strophic elements, as was common for this period . A cello part is included with the edition.
Gloria from (Missa Pax), by Tim Corlis, Latin text, Cypress, CP 1176, SSATBB & piano. Difficulty rating 4. $2.75
" Key: Accidentals dominate the key relationships of B flat Major
" Meter: 4/4, 6/8, & chant
" Text Source: Traditional Latin
" Period and Nationality: 21st C. American
" Style: Mass (Final Movement)
" Special Music Characteristics: This fine Gloria opens triple forte on beautiful expansive chords. The mood quickly shifts to one of quiet mystery. The unusual short solo chant on "Et in terra pax" is replicated a second time at mid point in the anthem. The A section is a dramatic change from the introduction, with the organ playing arpeggios under a quiet homophonic voice part. The B section is composed in English and begins with a lovely soprano and alto duet. The piece continues with alternating homophonic and contrapuntal phrases that create large contrasts. When the Gloria returns, the voice and organ parts are set in canon, with divisi in the soprano and alto parts. An ascending solo chant phrase introduces a short, quiet homophonic section that concludes the anthem on unison B naturals sung a cappella.God Be in My Head, by Austin C. Lovelace, English text, Paraclete, PPM01118, SATB a cappella. Difficulty rating 3. $1.20
" Key: C Major
" Meter: 5/4 & 4/4
" Text Source: Sarum Primer, 1558
" Period and Nationality: 21st C. American
" Style: Contemporary Motet
" Special Music Characteristics: A quiet, elegant prayer, this anthem uses simple counterpoint with beautiful suspensions. The shifting meters contribute to the graceful text versification of the work, a posthumous publication by the great church musician Austin Lovelace.In Thee Is Gladness, by Giovanni Giacomo Gastoldi (1556-1622), English text, Concordia, 98-4068, SATB & organ. Difficulty rating 2-3. $1.60
" Key: E Flat Major
" Meter: 3/4
" Text Source: Johann Lindemann (1549-1631) with tr. by Catherine Winkworth (1827-78), alt.
" Period and Nationality: Late Renaissance and Early Baroque Italian
" Style: Chorale
" Special Music Characteristics: The setting of this famous chorale, IN DIR IST FREUDE, begins with a simple harmonized statement by Gastoldi. The choir makes a second statement of the chorale over a florid organ part. The tune is organized in A-B form. Both the A and B sections are repeated, a common practice of the Early Baroque.Nunc Dimittis of the Short Service, by Orlando Gibbons (1583-1625), English text, Concordia, 98-4077, SATB a cappella. Difficulty rating 3. $1.60
" Key: A Major
" Meter: Half Note at 60
" Text Source: Luke 2:29-32
" Period and Nationality: Late Renaissance and Early Baroque English
" Style: Motet
" Special Music Characteristics: Careful structure and relationship between the voice parts is a hallmark of Gibbon's style. This departing motet has moments of quiet, reverent joy. The florid amen is filled with elaborate imitation on long, elegant phrase shapes.In illo tempore: loquente Jesu (At that Time, When Jesus Was Speaking), by Nicolas Gombert (c.1495-c.1560), Latin text, Oxford, X 743278, SATTBB a cappella. Difficulty rating 3-4. $3.75
" Key: B Flat Major (modal)
" Meter: 4/4
" Text Source: Traditional Latin
" Period and Nationality: Renaissance Italian
" Style: Motet
" Special Music Characteristics: This motet is the prime example of a composer in transition from the Renaissance to the Baroque. Rather than the melody appearing in the bass, the tenor takes that role, a practice that would eventually move music toward the use of modern key signatures. Elegant counterpoint on long phrase shapes abounds in this rich composition that made even Monteverdi turn his head and fully endorse this great piece. Gombert masterfully uses the question and answer technique between the voice parts. When long questions are asked, short imitative answers appear almost improvisational. The tenors introduce the melody, with other voice parts picking it up - often with augmentation. This great motet closes on a brilliantly spaced B Flat Major chord.
Laboravi in gemitu meo (I am Spent with My Sighing), by Philippe Rogier (c.1561-96), Latin text, Oxford X 375109, SSAATB a cappella. Difficulty rating 3-4. $3.50
" Key: g minor (modal)
" Meter: 4/4
" Text Source: Psalm 6, v. 6 with English tr. by Jeremy White
" Period and Nationality: Renaissance Flanders (German)
" Style: Motet
" Special Music Characteristics: This Psalm is sung during Matins for the Office of the Dead. First attributed to Morley, musicologists now place this Renaissance motet firmly in the Flemish School of composition. The motet is one of a few rare surviving pieces by Rogier; those that have survived are of impeccable quality. This brilliant setting is rich in complex polyphony. The motet begins as an effective treble duet, as the composer explores the richness of the text. A six-part texture created by phrase shapes alternating between the higher and lower voices creates the effect of a flow of tears. This motet's exquisite expressivity is due to the juxtaposition of contrasting music materials throughout the piece.Now Thank We All Our God (Nun Danket Alle Gott), by Johann Pachelbel (1653-1706), English/German text, GIA, G-7476, SATB a cappella. Difficulty rating 3-4. $1.95
" Key: G Major
" Meter: 4/4
" Text Source: Martin Rinkart (1586-1649) and English tr. Catherine Winkworth (1827-1878)
" Period and Nationality: Baroque German
" Style: Hymn Tune
" Special Music Characteristics: This famous chorale setting uses fragments of the hymn tune as part of the musical fabric. Augmentation and diminution of the chorale tune is prominent in all voice parts, adding to the elegance of the realization. Melismatic passages sung over sustained phrase shapes create a powerful effect. Edited by the late American composer and church musician, Austin C. Lovelace.Veni Creator Spiritus (Come, O Creator Spirit), by Stephen Harrap, Latin text, Oxford, X 375079, SSATB a cappella. Difficulty rating 3-4. $2.50
" Key: C Major
" Meter: 2/2, 1/2, 3/2, 4/2, and 4/4
" Text Source: Latin text: 9th Century Vespers hymn with English text: John Donne (1572-1631)
" Period and Nationality: 21st C. English
" Style: Hymn Anthem
" Special Music Characteristics: Historic compositional practices together with contemporary musical thought shape this fine anthem. It begins with the chorus singing the "Veni Creator Spiritus" chant. As the anthem motet continues, the tenors are assigned the melody, while the other parts are assigned a homophonic counterpoint complementing the elegant phrases of the chant. The use of accidentals causes surprising shifts in the harmonies, making the key signature void. The combination of English and Latin on changing meters is used to great effect.
EXTENDED WORK
Three Mystical Choruses, by Stephen Sametz, Spanish, Hebrew & Hindi texts. Winner of 2011 Raymond W. Brock Competition, this trio of songs represents three major faiths, Christian, Jewish, and Hindu-Islamic-Sikh traditions. The three pieces, each sold separately, musically bridge the world's major religions through diverging texts.#1 Nino de Rosas (A Child of Roses), ECS, 7711, SATB (divisi) m. soprano solo a cappella. Difficulty rating 4-5. $2.80
" Key: c # minor
" Meter: 12/8, 9/8, 6/8, and 4/4
" Text Source: Jacinto Evia (1629-?), tr. Steven Sametz
" Period and Nationality: 21st C. American
" Style: Carol Anthem
" Special Music Characteristics: This first piece is filled with mysterious harmonies representing the remarkable aura of Christ's birth through the eyes of a gypsy maiden. A combination of three concepts is used: rhythms that represent the gypsy, chords that represent the mystery of Christ's birth, and chant-like passages opening into chords of surprising beauty. The text is brilliantly set, as the young girl speaks of the reading of palms and the innocence of those whose palms are read. Though the sentiment is simple, the artistic demands are challenging.#2 En Kelohenu (There Is None Like Our God), ECS, 7712, SATB & SATB Semi-Chorus (7713 SSAA Semi-Chorus, 7714 TTBB Semi-Chorus) a cappella. Difficulty rating 5. $2.25
" Key: F# Major
" Meter: 4/4 and 3/4
" Text Source: Blessings from the morning Shabbat service (9th century. CE), tr. Steven Sametz.
" Period and Nationality: 21st C. American
" Style: Anthem
" Special Music Characteristics: This setting for double chorus uses a text traditionally sung at the end of a Jewish Sabbath morning service. Unlike the traditional tune, however, each verse is different. Sametz used as his model Franz Biebl's Ave Maria, representing a plea for spiritual harmony. The tonal voicing and vocal textures are constantly changing, with forces shifting from women to men to full chorus. The movement ends in poignant beauty on imitative ostinati phrases between all the voices. It concludes on an F# Major seventh chord.#3 Me To Tere Paas Me (I Am Within You), ECS, 7715, SATB (divisi) & SAB Semi-Chorus a cappella. Difficulty rating 5. $3.40
" Key: D Flat Major
" Meter: 4/4, 6/8, 7/8, 2/4, 9/8, 3/4, 5/8, and 3/2
" Text Source: Hindi words by Kabir (1440-1518) and tr. by Steven Sametz
" Period and Nationality: 21st C. American
" Style: Anthem
" Special Music Characteristics: The third movement represents Eastern thought, with the use of a Hindu poem. Repetitive motives in the women's parts imitate the voices of mankind, while the men sing augmented themes under a female chant to suggest mystical qualities. As the anthem progresses, the singers actually create the sound of the weaver's loom, the working trade of the poor. The anthem employs what the composer calls "Indian raga-like motives and colorful timbral effects". The "nahi svaso" section of the piece is extraordinary and represents "not the breathing of the breaths." The style must be carefully thought out in a piece that is vocally literal in nature. Dissonance and seconds prevail throughout the entire movement. A piano reduction is not available, so an experienced rehearsal accompanist is required.
Back to Top of PageTREBLE VOICES ~ SACRED
All Through the Night, arr. Patricia Sandler, English text, ECS, 7517, SSA, Glockenspiel (or handbells) & piano. Difficulty rating 3. $1.95
" Key: G and E Flat Major
" Meter: 4/4
" Text Source: Sir Harold Boulton (1884)
" Period and Nationality: 21st C. American
" Style: Lullaby
" Special Music Characteristics: This lullaby opens with a glockenspiel-like ascending motive on 1-5-1 in the piano. The motive continues as the trebles sing the simple melody in unison. The anthem changes in tone as the choir sings simple thirds over a changing piano part. Much of this anthem is composed in unison with the alto singing a lovely counterpoint. The piano concludes as it began, ending on a beautiful E Flat Major chord.God Who Touches Earth With Beauty, by Austin C. Lovelace (1919-2010), English text, Paraclete, PPM01133, unison & organ. Difficulty rating 1-2. $1.70
" Key: G Major
" Meter: 4/4
" Text Source: Mary Susan Edgar (1889-1925)
" Period and Nationality: 21st C. American
" Style: Anthem
" Special Music Characteristics: Set to a simple text, this anthem about the earth lying in beauty is perfect for the young singer, for a spring service. The melody ranges from D to e2, making it ideal for building a young child's head voice. Composed in quarter and half notes on repeated pitches combined with stepwise motion, this sweet anthem is a perfect choice for teaching the young singer theory and music reading.Hush! Somebody's Callin' My Name, arr. Rollo Dilworth, English text, Hal Leonard, 08552358, SA & piano. Difficulty rating 3. $1.80
" Key: G Major
" Meter: 4/4
" Text Source: Traditional text with additional lyrics by the composer
" Period and Nationality: 21st C. Afro-American
" Style: Spiritual
" Special Music Characteristics: This is another new, accessible spiritual from this prolific composer/arranger. What is unusual about this piece is the way the word "hush" is realized, with a "sh" spoken as white noise. Young singers will have great fun executing this musical, spoken gesture. Unisons and simple harmonies are prevalent, along with some simple syncopated rhythms and imitative passages -- making this a very accessible and enjoyable arrangement.The Lord is My Shepherd, by Michael Sitton, English text, Paraclete, PPM01148, SA & organ. Difficulty rating 3. $2.90
" Key: F Major
" Meter: 3/4
" Text Source: Psalter of the book of Common Prayer 1979
" Period and Nationality: 21st C. American
" Style: Anthem
" Special Music Characteristics: Set to a well-loved text, this original melody features poignant harmonies creating a lovely atmosphere. Simple two-part harmonies, long phrase shapes, and imitative and canonic passages create the musical fabric. The anthem would also make a lovely duet for adult voices.Rejoice and Be Merry, by Austin C. Lovelace (1919-2010), English text, Paraclete, PPM01142, unison or SA & organ a cappella. Difficulty rating 2-3. $1.70
" Key: E Flat and D Flat Major
" Meter: 6/8
" Text Source: Old English Church Gallery Book
" Period and Nationality: 21st C. American
" Style: Carol
" Special Music Characteristics: Unusual turns in the harmonies dominate this simple work composed on eighth notes that are easy to read. The change of key to D Flat Major makes an effective color change. Excellent for teaching part-singing and reading skills, the carol concludes on an F Major chord with quarter notes augmenting the melody.
SNew Releases ~ Secular My Beloved Spake, by Patrick Hadley, English text, Novello (Hal Leonard), 14041461, SATB, & organ or keyboard. Difficulty rating 4. $2.50
" Key: B Flat Major
" Meter: 4/4
" Text Source: Song of Solomon 2:10-13
" Period and Nationality: 20th C. English
" Style: Anthem
" Special Music Characteristics: Although the text is taken from the Bible, this anthem can also be considered a secular work. The anthem begins in unison and quickly moves to spectacular chords of great beauty. B Flat Major prevails, with harmonies inserted into the melodic texture reminiscent of Hadley's teacher, Ralph Vaughan Williams. The anthem's mood alternates from the powerful to the mystical, in order to describe the miracle of love blossoming upon the earth. The text painting is skillfully executed, with the anthem closing on a third inversion sung triple piano.EXTENDED WORK
The City and the Sea by Eric Whitacre, English texts. This cycle of songs on poems by e.e. cummings is outstanding and displays Whitacre's advanced compositional style. Each sold separately.# 1 I walked the boulevard, Hal Leonard, 08753347, SATB (divisi) & piano. Difficulty rating 4. $2.25
" Key: a minor
" Meter: 5/4, 6/4, 12/8, 9/8, and 4/4
" Period and Nationality: 21st C. American
" Style: Choral Art Song
" Special Music Characteristics: "Chillingly beautiful" is the only way to describe the harmonic vocal writing of this first movement. The harmonies seem to fall effortlessly onto the page. The walking pattern in the piano uses clusters which support the harmony of the voices. More complex rhythms contrast with simple gestures. The text versification is inspired, as the music unfolds about a silly girl with "piggish hands, touting reckless, teasing eyes and mouth."#2 the moon is hiding in her hair, Hal Leonard, 08753348, SATB & piano. Difficulty rating 4. $2.25
" Key: a minor
" Meter: 6/8, 9/8, 3/8, and 2/4
" Period and Nationality: 21st C. American
" Style: Choral Art Song
" Special Music Characteristics: The opening clusters in the piano part suggest the mystery of love and the senses. The men sing the opening motive in unison as they describe dreams and the moon. The women follow in unison, representing the fleeting, fickle moon. Imitation prevails throughout this movement, with extraordinary counterpoint between the voice parts. The clusters remain in the right hand of the piano part with a homophonic counterpoint in the left hand. The movement closes on the word "singing," a word prevalent throughout all voice parts.#3 maggie and milly and molly and may, Hal Leonard, 08753349, SATB & piano. Difficulty rating 4. $2.25
" Key: C Major
" Meter: 3/4 and 4/4,
" Period and Nationality: 21st C. American
" Style: Choral Art Song
" Special Music Characteristics: This movement is more playful in style, with many unisons or two-part writing doubled between the men and women. As the choir continues to tell the story, the middle section is scored in unison as a changing choral solo between the voice parts. This section takes the role of a contemporary recitative. The four-part section finds the men and women doubling each other, creating an effective two-part fabric.# 4, as is the sea marvelous, Hal Leonard, 08753350, SATB & piano. Difficulty rating 3-4. $2.25
" Key: a minor
" Meter: 4/4
" Text Source: ee cummings
" Period and Nationality: 21st C. American
" Style: Choral Art Song
" Special Music Characteristics: The intervals of a fourth and fifth dominate this movement, with unisons and thirds also responsible for the harmonic texture. Using both the tone clusters in the piano part, and the contrapuntal and homophonic writing in the voice parts, Whitacre effectively creates the sounds of the sea. References to the moon and love reappear in this movement, as the choir creates vocal wave shapes that describe the ebbing tide of love. The movement ends sparely, in quiet.#5 little man in a hurry, Hal Leonard, 08753351, SATB & piano. Difficulty rating 4. $2.95
" Key: C Major (accidentals suggest shifting keys)
" Period and Nationality: 21st C. American
" Style: Choral Art Song
" Special Music Characteristics: Commissioned by a Consortium of 24 choruses across America and Canada, this movement ends this great, extended work with humor and flamboyant part writing. Challenging rhythms on many unison passages, repetition, and imitative passages between the parts all add to the humor. As the piece builds in power and style, one almost gets the impression that the music is simply rushing out the door.Furusato, arr. by Bob Chilcott, Oxford, X 378049. Difficulty rating 3-4. $6.95
This is an unusual collection of traditional and original Japanese melodies arranged with both Eastern and Western attributes. Two are accompanied by piano and the remaining three are a cappella. The Pana Musica in Kyoto recommended these traditional tunes to the composer and Charles Bennett (b. 1954) translated the five poems into a working English alternative. The collection shows both the original Japanese (not transliterated) and English texts.Sunayama (Sand Mountain), SATB (sop. Divisi).
" Key: G Major
" Meter: 4/4 and 6/4
" Text Source: Hakushu Kitahara (1885-1942)
" Period and Nationality: 21st C. British
" Style: Popular Original Tune
" Special Music Characteristics: Chilcott has put much thought into this setting of a simple tune. The basses and altos dominate the musical fabric with the soprano and tenors adding colorful counterpoint. The basses introduce the melody, with the tenors singing an obligato. Next the altos pick it up, with the sopranos singing a two-part descant. With the third melodic statement, the descant and obligato are combined, while the basses and altos sing the melody in canon. The arrangement ends quietly in four-part harmony.
Mura Matsuri (Village Festival), SATB (S Divisi) & piano.
" Key: F Major
" Meter: 2/4
" Text Source: Traditional Japanese
" Period and Nationality: 21st C. British
" Style: Folksong
" Special Music Characteristics: This arrangement is strophic in form, composed in three verses on a supportive, changing accompaniment. The sopranos and altos first sing this lovely harvest melody. They quickly break into parts, as the tenors and basses enter with simple Japanese-style harmonies. The second verse is sung in four-part harmony with the tenors and basses dominating. The third verse uses full harmony in the Japanese tradition. The arrangement is dominated by thirds and fourths in all three verses.Oborozukiyo (Hazy Moonlight), SATB & piano.
" Key: D Major
" Meter: 3/4
" Text Source: Tatsuyuki Takano (1876-1947)
" Period and Nationality: 21st C. British
" Style: Popular Original Tune
" Special Music Characteristics: Set over a florid piano part, with hymn-like harmonies in the voice parts, this arrangement is in sharp contrast to the other songs. The sopranos begin with a statement of the melody with some harmonic writing. Next the tenor and basses sing the statement as the sopranos and altos sing an Ah descant. The hymn-like homophonic harmonies continue with some unison writing. The arrangement ends simply.Furusato (Home Town), SATB (divisi).
" Key: G Major
" Meter: 3/4
" Text Source: Tatsuyuki Takano (1876-1947)
" Period and Nationality: 21st C. British
" Style: Choral Art Song
" Special Music Characteristics: British musical style influences the setting of this Japanese melody. There is no attempt to even suggest Eastern harmonies. The elegant phrase shapes and beautiful Western harmonies create atmospheres appropriate to the text about nature and home. Both contrapuntal and part writing contribute to this elegant setting that could stand alone in any concert.Momiji (Autumn Leaves), SATB.
" Key: G Major
" Meter: 4/4, 64, and 3/2
" Text Source: Tatsuyuki Takano (1876-1947)
" Period and Nationality: Twenty-First British
" Style: Popular Original Tune
" Special Music Characteristics: The final arrangement in this set is the most simple and direct in expression. Composed homophonically, the structure of this arrangement seems to be purely Chilcott in gesture. While some hints of oriental harmonies appear between the voice parts, of the entire collection, this is the most Western arrangement.
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TREBLE VOICES ~ SECULARShenandoah, arr. Mack Wilberg, English text, Oxford, X 372832, SA (divisi) . Difficulty rating 3. $2.75
" Key: E Major
" Meter: 4/4
" Text Source: Traditional Appalachian
" Period and Nationality: Twenty-First American
" Style: Folksong
" Special Music Characteristics: This simple arrangement requires a wide vocal range and a choir's ability to control the long vocal line. The Secondo piano part is the more florid of the two parts, requiring a more accomplished pianist. The Primo part, homophonic in nature and composed on half notes, could be played by an accomplished student. The arrangement begins in unison with the melody requiring a warm sound of restrained beauty. Imitation and canonic writing dominate the compositional landscape. The range extends from B Flat to a Flat 2, with a focused, effortless sound required from both voice parts.EXTENDED WORKS
A Midsummer Night's Dream (Choral Suite in Four Movements), by Benjamin Britten (1913-1976), English text, Boosey (Hal Leonard), 48021105, Difficulty rating 3-4. $4.50
This Choral Suite for treble voices is taken from the great opera A Midsummer Night's Dream, completed by Britten in 1960, and based on the Shakespeare play. This edition by Lee R. Kesselman includes all the movements of the opera assigned to a charming ensemble of fairies. These pieces could easily be performed with full costume and simple blocking, adding a dramatic dynamic to a concert.Over hill, over dale, SA & piano.
" Key: G and D Major
" Meter: 3/2, 2/2, 6/4, 3/4, and 5/4
" Text Source: William Shakespeare
" Period and Nationality: 20th C. English
" Style: Opera
" Special Music Characteristics: This opening movement is a clever scene where the fairies work their initial musical spell. The descending and ascending scale framing f#2 to A and back to f#2 is a wonderful opportunity for teaching sight singing. The raised sixth (c#) only adds to the challenge. The motive is repeated a second time, then closes with a variation to finish the first musical thought of the first three phrases. Fairies I make the first vocal statement of the theme, with Fairies II repeating the statement in response. This type of repetition makes for a quick learning curve. The two-part writing uses effective major seconds which challenge the singer's harmonic understanding. The first section is composed in A-B-A form (modified). The second section is more of a recitative, moving the story and action forward. The entire movement is filled with fanciful piano (orchestral) interludes.You spotted snakes, unison & piano.
" Key: A Major and f minor
" Meter: 3/4, 2/4,3/8, 3/2, and 2/2/
" Text Source: Shakespeare
" Period and Nationality: 20th C. English
" Style: Opera
" Special Music Characteristics: This is a brilliantly constructed movement using an inverted scale taken from the first movement. Starting on A and rising to f#2 and descending back to A, the use of this scale occurs in the B section of the movement. The A section is filled with small motivic ideas and surprising intervals, using accidentals on changing meters. Constructed as an A-B-A-B form, the warding off of evil snakes combined with a lullaby for the Queen makes a movement filled with challenging contrasts.On the ground, Sleep sound, SA & piano.
" Key: D Flat Major
" Meter: 6/4 and 3/4
" Text Source: Shakespeare
" Period and Nationality: 20th C. English
" Style: Opera
" Special Music Characteristics: A gentle two-part sleeping song, the part writing is composed in major and minor thirds with some major seconds. Most of the melodic and harmonic material is composed stepwise. The rhythmic materials using quarters and half notes are easily mastered. The harmonies are the real challenge, with surprising turns and twists in the fabric. This gentle lullaby must be executed with perfect intonation and crisp diction, to create the gentle phrase shapes. A sense of vocal magic must be created in this memorable movement.Now until the break of day, SSA & piano.
" Key: F# Major
" Meter: 5/4 and 4/4
" Text Source: Shakespeare
" Period and Nationality: 20th C. English
" Style: Opera
" Special Music Characteristics: This movement is cleverly adapted from the full score. Like the original, the movement is composed in three parts on off beat rhythms. This movement is the most challenging of the Suite, though the canon and imitation used will help with the learning curve. The role of Titania can be assigned to a gifted soloist or a small group of singers. The role of Puck, which is spoken, requires good rhythmic skills. This is the most difficult of the four movements, but the challenges are rewarding.
Three English Madrigals, by Philip Lawson, English text, Boosey (Hal Leonard), 48021029, SA & piano. Difficulty rating 3-4. $1.90
Sing Cuckoo!
" Key: C Major
" Meter: 7/8,6/8, and 4/4
" Text Source: Anonymous 13th Century
" Period and Nationality: 21st C. American
" Style: Madrigal
" Special Music Characteristics: A playful setting of this famous text, this piece exhibits the contemporary heart of the madrigal style. The changing meters add to the fun of singing this charming setting. Philip Lawson is principal composer for the King's Singers and knows how to spoof a traditional English text. Unison singing, imitative counterpoint, and effective harmonies all add to the charm of this original setting.Lullaby
" Key: D Major and A Major
" Meter: 3/4 and 2/4
" Text Source: William Shakespeare
" Period and Nationality: 21st C. American
" Style: Madrigal
" Special Music Characteristics: In this newsletter we have two original conceptions of the same Shakespearean text, the lullaby for Titania. This setting is in sharp contrast with Britten's -- though equally effective. Filled with simple charm, Lawson employs many unisons merging into thirds, as well as imitative counterpoint, to great success. The text versification is brilliantly conceived as the parts sing back and forth, weaving a spell. The good night section leaves the listener breathless as the fairies depart their Queen.Now Is the Month of Maying
" Key: C Major
" Meter: 7/8, 6/8, and 3/8
" Text Source: Anonymous 15th Century
" Period and Nationality: 21st C. American
" Style: Madrigal
" Special Music Characteristics: Off beat rhythms are integral to the gesture of this spirited setting. The first two statements of the theme are set playfully, in unison. The third statement is composed harmonically with surprising unisons and crossing voice parts. The fa-la-la sections are set canonically, returning to diverging earlier themes. The two-part writing grows a bit more complex, but once the challenge is met, the performance will sound like a contemporary madrigal. The final fa-la-la section uses augmentation on ringing harmonies.MEN'S VOICES ~ SECULAR
Brothers of the Singing Void, by David L. Brunner, English text, Boosey (Hal Leonard), 48021117, TTBB & piano. Difficulty rating 4. $2.25
" Key: A Major
" Meter: 4/4 and 3/2
" Text Source: James Broughton
" Period and Nationality: 21st C. American
" Style: Choral Art Song
" Special Music Characteristics: The anthem begins with short motives which include minor seconds. These short motives on the word "Brothers" are thrown from part to part. Slightly modal hints, with a raised fourth, surround the concept of "Brother, brother". Effective unisons in two voice parts are often supported by long contrapuntal counterpoint in the other two parts. The middle section uses four-part unison to great effect, as it merges quickly into spectacular harmonies. This anthem championing the brotherhood of men makes effective use of imitation in contrast with brilliant homophonic passages.For all Voices:
Irving Berlin: From Rags to Ritz, by Irving Berlin arr. Paul Murtha, English text, Hal Leonard, 08752976 for SATB version, 08752977 for SAB version, & 08752978 for SA version. This medley celebrating 100 years of "Alexander's Ragtime Band" includes the famous tunes Alexander's Ragtime Band, Play a Simple Melody, Blue Shoes, and Puttin' on the Ritz. Difficulty rating 3. $2.95
" Key: E Flat and F Major and f minor
" Meter: Cut time and 4/4
" Text Source: Irving Berlin
" Period and Nationality: 20th C.
" Style: Broadway Show Tunes
" Special Music Characteristics: These three arrangements are identical with the exception of the voice writing. Question and answer techniques contain off beat rhythms, and accessible harmonies dominate. The arranger blends melodic material true to the original into a working medley, in celebration of this anniversary. The piano connecting material effectively moves the medley from tune to tune.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
To order any of the music in this newsletter contact:
Spectrum Music
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Lexington, MA 02420
Phone: 781 862-0088
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info@spectrum-music.com