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Creating a Warm-Up Regimen
The Blending of Ascending
and Descending Warm-ups to Build Individual Singing and Greater
Choral Tone
By Marie Stultz, Contributing Editor
Effective warm-ups are critical to the life of every musician. The key to selecting successful vocal exercises is organizing a proper regimen. Singers' bodies - their instruments -- come in all shapes and sizes. A proper warm-up sequence, sung routinely, helps singers put their instrument together.
Most music schools in the 20th century trained vocalists to warm up their voices with a descending or ascending scale on the AH vowel. This type of warm-up, when used on a regular basis, often "locks up the voice." Singers who regularly use AH warm-up patterns will develop their chest voice, while neglecting their head voice. The lower voice eventually sounds tense, almost shout-like in nature. Singers who move into chest, shout tone singing often find it difficult to expand into their upper range. The voice lacks the luster and radiance that rings with beautiful, vibrant color. The improperly vocalized singer finds it difficult to sing with ease, with notes that are "sung on the air" in all vocal ranges. When developing a series of warm-ups for your singers, it is important to think of the concept of being "a curator of the voice rather than a teacher of the voice." This concept implies observation rather than vocal instruction. The warm-up routine suggested below works for singers of all ages and in all stages of development.
In creating your warm-up routine, keep the following points in
mind:
1. Develop a set of vocal patterns and
vocal activities that ascend and descend on stepwise scales.
2. Create exercises that start on middle C. Singers need to be
trained to find middle C, building the singers' understanding
of relative pitch on changing keys.
3. The exercises should be shaped around the intervals 1-3-5
and the octave to build the singers' key orientation. Years ago
I made the personal decision to train my singers using moveable
DOH.
4. Many of the exercises should ascend or descend by half steps
on changing vowels, working the singer's intonation skills.
5. Exercises with leaps are also important to develop.
6. Variety is critical in the exercise routine, but it must become
a routine.
7. Vocal development should be at the core of the warm-up experience
as you build the singer's vocal range.
FLEXIBILITY EXERCISES
Whooping Exercise
This exercise is designed to discover the range of the voice.
Everyone should WHOOP starting from the floor and moving upward,
singing out the top of the head. Everyone's arms and bodies should
shape the WHOOP as the pitch ascends. Once the WHOOP is completed
stand on tiptoe with hands reaching into the air while rotating
from side to side. The exercise should always begin with a clear
WH, followed by a pure OO and finish with a well-articulated
P. This exercise is all about the air and vocal range. Be playful
as you rock from side to side. The singer should try to WHOOP
higher each time!
The Sighing Exercise
Sighing helps the singer relax while learning to sing with ease
and resonance. Think about a lovely yawn on AH, allowing the
voice to sound unforced. Put your hands above your head and gradually
lower your arms as you start at a higher pitch and descend to
a lower pitch that feels natural and calm while you SIGH. Once
you reach the lower note, let the arms touch the floor. Droop
without bending your knees and swing from side to side, bobbing
from the waist. Think about a SIGH and HIGH that is relaxed and
resonant.
The Yigh-Yoh Exercise
The YIGH-YOH exercise helps open up the back of the throat. It
is done the same as the sighing exercise. Again, it is critical
that you use your body and articulate the Y with a relaxed tongue.
The body should be in motion as before.
BREATHING EXERCISES
Good breath support begins with a deep, relaxed breath. Most
singers, whether experienced or inexperienced, take a shallow,
upper chest breath that often involves the shoulders and head.
Breathing this way contributes to vocal tension.
The Stand-Up Exercise: Take a proper standing position with shoulders relaxed and back straight. The right foot should be slightly in front of the other. Make sure the shoulders are balanced over the hips, with hands comfortably dangling at the side of the body.
1. Practice taking natural deep breaths
through the nose and mouth. Exhale by blowing a steady, even
stream of air slowly across the palm of your hand.
2. Keep the shoulders in a relaxed position while breathing.
Think "out" not "up" while doing this exercise.
Gasped, shallow breaths are inappropriate and cause vocal tension.
Practice taking deep breaths a number of times, exhaling slowly.
3. Think "fat is best!" Work with a partner, using
the fist to help work the diaphragm muscles and the muscles below
the diaphragm.
The Hissing Snake Exercise: Take a deep breath through the nose and the mouth.
Gently and slowly expire the air, making a long SSSSS sound,
without any holes in the white tone. When the air has been expired,
put both hands in the air to indicate that the exercise has been
completed.
The Counting Exercise: Count from one to ten as many times as possible without pausing or appearing to be short of breath. The value of this exercise is to learn to enunciate evenly, while maximizing the use of air.
1. Count as many times as you can. Enunciate
the numbers quickly and clearly while speaking as evenly as possible.
2. Take the air with a deep supported breath through the nose
and mouth. Avoid any chest tension or use of the upper shoulders.
3. Count the number of times you count from one to ten. Expand
the number of times you do the exercise without taking a breath.
Seals in a Pool Exercise: This exercise is wonderful for developing awareness
of the diaphragm muscle and how it works in tandem with the lower
muscles in the area of the abdomen and buttocks.
1. Begin by understanding that the diaphragm has two parts, an
inner layer and an outer layer. The outer diaphragm expands outward
as you take a deep breath, while the inner diaphragm comes up
to tap the lungs. The diaphragm can kick the air in the lungs
just as the muscles in the foot and leg can kick a ball. This
kick uses the abdomen and buttocks muscles, supporting the diaphragm
by rotating and moving in a circle.
2. Take a deep breath and expire an OO that is repeated over
and over again making the sound of seals. The sound is begun
by the diaphragm tapping the lungs, sending the air through the
windpipe, and up into the face. The sound should make a circular
phrase shape that is continually connected as you bark five times
as seals do.
WARM-UPS
The Zee-Zee-Ah Exercise:
This exercise will assist with vocal focus, encouraging the singer
to phonate on the front of the face. The EE vowel is a forward
sung vowel that will place the AH in a more front vocal position.
The AH should never be swallowed, but yawned, towards the front
of the face. Begin the exercise on middle C and vocalize the
singers to at least a2 and beyond.
The Noo-Noh-Noo - Onion
Exercise
This exercise works on tongue flexibility. It should be sung
as quickly as possible. Begin the descending scale on the fifth
above middle C and ascend upwards by half steps. The voice should
be trained to do these exercises into the upper tessitura to
at least c2. Flexibility in the upper tessitura is critical in
a singer's vocal development. Every note must be carefully articulated.
The Tee-Tah Exercise
This invaluable exercise should be used with singers of all ages.
In the lower tessitura, tall T's are critical. Well-enunciated
hard consonants are critical in developing good vocal technique.
The Doo Exercise
The concept of bouncing the ball off the diagram will help the
singer with breath support and fine intonation. Encourage the
singers to use their fingers.
The E-Ay-Ah Exercise
This exercise using 1-3-5 and 1-4-6 is ideal for building an
elegant vocal line that is connected to the air. Have the singers
use their arms and move in tandem over the head as they frame
their face.
Me-Yoh-Me Exercise
The soft consonant Y is wonderful for building a focused tone.
The ME will help bring the OH sound forward. This exercise is
also fabulous for building pure vowels and a free and ringing
vocal power.
The Use of Marchesi op.
15
The Marchesi op. 15 exercises have been the most invaluable extension
of my warm-up and training repertoire. The music is well written,
with a joyous English translation from the Italian by George
L.Osgood and edited by Dr. Theodore Baker. The exercises can
be sung in either English or Italian to great effect, but each
should be introduced on DOO to work a singer's vocal focus. Brief
descriptions of my personal favorites are listed below in the
order I prefer to introduce them. The book is published by Hal
Leonard, and is available in medium voice (50255600)
or low voice (50255610)
edition,
Messe di Voce - Number one works on legato singing
and a long line in the mid-to-upper range of the voice. It also
advances a singer's breath control.
Portamento - Number two trains the singer to connect
large leaps on the air with ascending and descending patterns,
to build pitch accuracy.
Salti - Number sixteen develops intonation and
musical accuracy. It is challenging; therefore it will require
drill, to train the student to sing the exercise with ease.
Scala diatonica - Number four uses challenging
melismatic phrase shapes, also working vocal flexibility and
pitch accuracy.
Scala puntata - Number six builds a singer's rhythmic
accuracy on step-wise phrase shapes. This one requires refined
breath control.
Terzine - Number 10 trains the singer to sing triplets
accurately, while the long legato lines advance breath control.
New
Releases ~ Sacred
Amazing Grace, arr. Mark Wilberg, English text, Oxford, 3375178, SATB (divisi) & organ. Difficulty rating 3. $2.50
" Key: E Flat Major
" Meter: 3/4
" Text Source: John Newton (1725-1807)
" Period and Nationality: New Britain-Melody originally
found in The Southern Harmony collection of 1846 by William Walker.
" Style: Sacred Folk Music
" Special Music Characteristics: Simple anthem setting with
organ part composed by David J. Hughes. This anthem was first
composed for orchestra, with parts and full score available from
the publisher as a rental.
Aus meiner Sünden Tiefe (How Deep Has Been My Sinning), by Orlando di Lasso (1522-1594), German/English text, GIA, G-6891, SATB a cappella. Difficulty rating 3. $1.60
" Key: b minor
" Meter: 4/4
" Text Source: Composer, English translation by editor Austin
C. Lovelace
" Period and Nationality: German Renaissance
" Style: Motet
" Special Music Characteristics: This modern edition has
been transposed a whole step above the original key of g minor.
It is a dark setting using elegant counterpoint typical of di
Lasso.
Consecration, by Bruce Saylor, English text, Paraclete Press, PPM0114, SATB, opt. children's choir, & organ. Difficulty rating 3-4. $2.80
" Key: D Major, D# Major,
and C Major
" Meter: 4/4
" Text Source: Frances Ridley Havergal (1836-1879) and Anna
Bartlett Warner (1827-1915)
" Period and Nationality: 21st C. American
" Style: Sacred Anthem
" Special Music Characteristics: This anthem is based on
two tunes, Hollingside and Jesus Loves Me. The children's choir
part uses the Jesus Loves Me melody, which can easily be sung
by a soprano soloist. It is filled with many key changes that
always return to D Major. The anthem is mostly homophonic in
structure.
Daniel, arr. Rollo Dilworth, English text, Hal Leonard, 08752946, SATB (divisi) a cappella with electric guitar, djembe and congo drums. Difficulty rating 4. $1.80
" Key: A Major and B
Flat Major
" Meter: 4/4
" Text Source: Traditional lyrics with additional words
by the composer
" Period and Nationality: 21st C.American
" Style: American Spiritual
" Special Music Characteristics: This arrangement is based
on two African-American spirituals, Daniel, Daniel, Servant of
the Lord and Didn't My Lord Deliver Daniel. It uses the question
and answer technique on spirited sixteenth note rhythms. Performance
notes are included in the edition.
Down to the River to Pray, by Mack Wilberg, English text, Oxford, 3375185, SATB (divisi) & piano four hands. Difficulty rating 3-4. $2.75
" Key: D Major, G Major,
and C Major
" Meter: Alternates between 3/2 and 2/2
" Text Source: Traditional
" Period and Nationality: 21st C. American
" Style: Spiritual
" Special Music Characteristics: This spiritual was composed
specifically for middle school chorus. It uses unisons and simple
homophonic writing, making it an accessible anthem for the young,
accomplished SATB chorus. The piano parts require accomplished
players. The piece was originally composed for orchestra with
full score and parts available on rental from the publisher.
This anthem would work best with larger forces. It is the perfect
selection for a festival or honors chorus.
The Gift of Charity, by John Rutter, English text, Oxford, 337645-8, SATB & organ. Difficulty rating 4. $2.50
" Key: G Major
" Meter: Alternating 3/4 and 2/4 with close in 4/4
" Text Source: Selwyn Image with additional words from Corinthians
1: 13
" Period and Nationality: 21st C. English
" Style: Sacred Anthem
" Special Music Characteristics: This beautiful anthem is
classic Rutter. Filled with lilting phrase shapes and effective
harmonies, choirs will fall in love with this addition to this
great composer's catalogue. The anthem opens and closes with
a beautifully constructed soprano solo.
Luther's Morning Prayer/Luther's Evening Prayer, by Carl Schalk, English text, MorningStar, 50-8610, SATB a cappella & keyboard. Difficulty rating 3. $1.85
" Key: G Major/Morning
Prayer-E Flat Major/Evening Prayer
" Meter: Both in 4/4
" Text Source: Martin Luther with paraphrase by Carl Schalk
" Period and Nationality: 21st C.American
" Style: Two Prayer Anthems
" Special Music Characteristics: Both the Morning and Evening
Prayer texts are simply set on homophonic harmonies. The first
prayer is composed for a cappella choir. The second prayer has
a broadly constructed organ part that supports the voices.
The Prayer: Laudamus Te (from Gloria), by Karl Jenkins, Latin text, Boosey (Hal Leonard) 48021040, SATB & piano. Difficulty rating 4. $1.95
" Key: E Flat Major
" Meter: 4/4 and 2/4
" Text Source: Traditional Latin
" Period and Nationality: 21st C. American
" Style: Sacred Anthem from a larger work
" Special Music Characteristics: This movement begins simply
on unison women's voices. The four-part writing increases in
difficulty with interesting and more challenging counterpoint.
The intervals and rhythms increase in difficulty as the choir
must sing double piano. The complete Gloria is available from
the publisher: catalog number 48020943.
Kodesh Heim (They Are Holy), by Nick Page, Hebrew text, Transcontinental (Hal Leonard), HL00191656, SATB & solo a cappella. Difficulty rating 4. $2.75
" Key: D Major
" Meter: 4/4
" Text Source: Chanukah Liturgy, Psalms 8 & 148, Spirituals,
additional text by the composer
" Period and Nationality: 21st C. American
" Style: Chanukah Song
" Special Music Characteristics: A spirited setting that
celebrates light, the counterpoint is vividly composed with effective
tempo changes. The singers are asked to create vocal drums, and
both Hebrew and English are used in the text. As with most Transcontinental
publications, program notes and pronunciation guide are included.
Psalm 150, by Craig Phillips, English text, Paraclete, PPM01047, SATB (divisi) & organ. Difficulty rating 4. $2.80
" Key: C Major
" Meter: 9/8, 12/8 and 6/8
" Text Source: Psalm 150 and Book of Common Prayer (Episcopal
Church)
" Period and Nationality: 21st C. American
" Style: Anthem
" Special Music Characteristics: This ambitious piece was
composed for a church anniversary celebration. The composer has
used both exuberant harmonies and celebratory-sounding rhythms.
The brilliant organ part will require an accomplished organist.
The Spacious Firmament, by Alan Bullard, English text, Oxford, 3369467, SSAATTBB a cappella. Difficulty rating 5. $4.95
" Key: C Major/Multiple
key implications
" Meter: 2/2, 3/4, 3/2, 6/8, and 5/4
" Text Source: Joseph Addison (1672-1719)
" Period and Nationality: 20th C. - Revision 21st C. English
" Style: Celebratory Sacred Anthem
" Special Music Characteristics: The constant meter changes,
counterpoint, and rhythmic challenges required on large and expansive
divisi harmonies are well worth the work. This anthem is simply
spectacular, but requires an accomplished chorus. The mood and
tempo changes in the score display brilliant text versification.
This Is the Day the Lord Has Made, by Elliot Z. Levine, English text, Transcontinental (Hal Leonard), 00191665, SSATTBB a cappella. Difficulty rating 4. $2.50
" Key: E Flat Major
" Meter: 4/4, 6/8, 3/4, and 7/8
" Text Source: Psalm 118
" Period and Nationality: 21st C. American
" Style: Anthem
" Special Music Characteristics: Composed with English text,
this anthem would be appropriate for a synagogue, church, or
concert environment. It is a joyous, uplifting setting with accessible
rhythms. This powerful work requires a choir of large forces.
The composition uses rich counterpoint on both short and long
phrase shapes.
TREBLE
VOICES~SACRED
Miriam, Dancing With the Women, by
Elliot Z. Levine, English and Hebrew text, Transcontinental (Hal
Leonard), HL00191661, SA (2 groups), piano or guitar. Difficulty
rating 3. $2.50
" Key: e minor
" Meter: 8/8 and 2/4
" Text Source: Original to the composer
" Period and Nationality: 21st C. American
" Style: Vocal Dance
" Special Music Characteristics: This clever piece is choreographed
with specific physical movements for the choir to perform. It
is a spirited piece, with the tempo marking of 105 to the dotted
quarter note. The repeated Hebrew words "Shiru l'Adonai"
translate to "Sing to God." This dance-like piece will
be great fun to sing and can be used in many choral environments.
Psalm 8 (Adonai, Adonenu), by Dan Forrest, Hebrew & English text, Hal Leonard, 08752512, SSA & piano, opt. violin & djembe. Difficulty rating 3-4. $2.25
" Key: D Major
" Meter: 4/4
" Text Source: Psalm 8:1,3-4
" Period and Nationality: 21st C. American
" Style: Anthem
" Special Music Characteristics: This is a richly-set text,
with long phrase shapes in the soprano part, as the altos sing
the melody. The soaring violin part requires an accomplished
player with fine control, able to play the upper register notes
with sustained beauty. The use of Hebrew and English texts adds
to the piece's poetic interest.
Remember Lord (Gedenke, Herr), by Samuel Scheidt (1587-1654), English & German text, GIA, G-6852, SSA a cappella, opt. organ & cello. Difficulty rating 3-4. $1.30
" Key: d minor
" Meter: 4/4
" Text Source: Anonymous/English Tr. Herman G. Stuempfle,
Jr. (1923-2007)
" Period and Nationality: Early Baroque/German
" Style: Canon with Chorale Tune
" Special Music Characteristics: The alto part, doubled
by the cello, offers a lovely counterpoint for the canonic layers
assigned to the two upper parts. This simple anthem can be sung
by either treble or SAB voices. It is a great introduction to
the sacred music of the German Early Baroque and to one of Halle,
Germany's most distinguished composers.
Songs Eternity, by Howard Skempton, English text, Oxford, 3371811, SS a cappella. Difficulty rating 3. $1.95
" Key: C Major
" Meter: 2/4 and 3/4 often alternating measure by measure
" Text Source: John Clare (1793-1864)
" Period and Nationality: 21st C. English
" Style: Anthem
" Special Music Characteristics: This anthem uses constantly
changing meters. The range of the voice parts is excellent for
developing pure head tone singing. It is a joyous statement on
the love of song and the importance of singing in our lives.
SACRED ~ SAB VOICES
My Song is Love Unknown, by Robert J. Powell, English text, Paraclete, PPM01102, SAB (divisi) & organ. Difficulty rating 2-3. $1.60
" Key: D Major
" Meter: 3/4
" Text Source: Samuel Crossman (1624-1683)/alt. RJP
" Period and Nationality: 21st C. American
" Style: Anthem
" Special Music Characteristics: This simple anthem has
many unison passages, with the anthem closing in two parts on
female voices. A perfect anthem to choose on a Sunday when male
forces are limited, the organ part supports the voice parts and
is quite accessible. The entire choir could sing the final closing
section composed for female voices.
Standin' in the Need of Prayer, by David M. Cherwien, English text, MorningStar, 50-3075, SAB & piano. Difficulty rating 3. $1.70
" Key: G Major
" Meter: 4/4
" Text Source: Traditional Spiritual
" Period and Nationality: 21st C. American
" Style: African-American Spiritual
" Special Music Characteristics: This setting is evenly
divided between unison and three-part writing. Composed homophonically,
it is quite accessible and will be easy to learn and great fun
to sing. The ending repetitions employ effective dynamic contrasts
on repeated harmonies. It is the perfect choice for the middle
school chorus.
New Releases ~ Secular
Ashrei HaGafrur (Blessed Is the Match), by Elliott Z. Levine, Hebrew text, Transcontinental (Hal Leonard), 00191653, SSATTB & violin or flute. Difficulty rating 4. $2.50
" Key: b minor
" Meter: 3/4
" Text Source: Hannah Senesh
" Period and Nationality: 21st C. American
" Style: Hebrew Anthem
" Special Music Characteristics: The young poet of this
piece was a hero of the Holocaust who was executed at the age
of 23. Her poem speaks to courage and honor and is sensitively
set. The melody and harmonies have a Bohemian quality, suggesting
the Hungarian background of the poet. It is composed homophonically,
in sharp contrast to a spiraling violin part.
Beau Soir (Beautiful Evening), by Claude Debussy (1862-1918), French/English text, ECS, 7689, SATB & piano. Difficulty rating 3-4. $1.55
" Key: E Major
" Meter: 3/4
" Text Source: Paul Bourget (1852-1935)/English translation
by Ruth and Stanley Hoffman
" Period and Nationality: Impressionist French
" Style: Choral Art Song
" Special Music Characteristics: This fine arrangement of
Debussy's solo song is by Stanley M. Hoffman. The vocal parts
are carefully developed from the piano part, which Debussy filled
with exotic arpeggios. The English translation is beautifully
conceived, but to be true to the composition it should be sung
in French.
Roses on a Brier, by Stephen Chatman, English text, ECS, 7.0570, SSATB (divisi) a cappella. Difficulty rating 3-4. $1.55
" Key: a minor
" Meter: 3/2
" Text Source: Christina Rossetti (1830-1894)
" Period and Nationality: 21st C. American
" Style: Choral Art Song
" Special Music Characteristics: Composed for the First
Unitarian Church in Portland, Oregon, this short, beautiful song
can be sung in a sacred or secular setting. The rich harmonies
support a soaring soprano part. The piece will require a large
men's section, with the divisi in the bass part carefully sorted
out.
Like a Singing Bird, by
Bob Chilcott, English text, Oxford, 3372320, SATB, upper voices,
& piano. Difficulty rating 3-4. $2.75
" Key: B Flat Major
" Meter: 3/8 and 4/4
" Text Source: Christina Rossetti (1830-1894)/Robert Burns
(1759-1796)
" Period and Nationality: 21st C. English
" Style: Choral Art Song
" Special Music Characteristics: Originally written for
treble voices, this SATB adaptation incorporates two lovely melodies.
The opening melody is sung by unison treble voices. The second,
a traditional Scottish melody, is sung by upper voices -- with
the mixed voices singing elegant homophonic harmonies. Twenty
treble-voiced ensembles commissioned this fine work that requires
the use of two dancers.
My Papa's Waltz, by John David Earnest, English text, ECS, 7552, SATB & piano. Difficulty rating 4-5. $2.80
" Key: Numerous key attributes
" Meter: 6/8, 9/8, 4/4, 2/4, and 3/4
" Text Source: Theodore Roethke (1908-1963)
" Period and Nationality: 21st C. American
" Style: Choral Art Song/Humor
" Special Music Characteristics: This humorous piece uses
changing meters and many accidentals set on constantly changing
dynamics. The wonderful glides or portamentos will be great fun
to sing as the choir depicts the father swirling in drunken dizziness.
Filled with rhythmic challenges, the text painting will have
everyone laughing.
The Ship Starting, by Carlyle Sharpe, English text, ECS, 7129, SATB & piano. Difficulty rating 4-5. $1.95
" Key: Numerous key attributes
" Meter: 4/4, 2/4, and 3/4
" Text Source: Walt Whitman (1865)
" Period and Nationality: 21st C. American
" Style: Choral Tone Poem
" Special Music Characteristics: Composed for the Boston
University Choral Society, this piece requires an accomplished
pianist. The vocal part writing is mostly in thirds, with numerous
accidentals on constantly changing key implications. Constructed
homophonically with some divergence into simple counterpoint,
the text painting is quite beautiful as it conjures up images
of the sea.
Weep You No More, by Michael Gilbertson, English text, Boosey (Hal Leonard), 48020953, SATB a cappella. Difficulty rating 4. $1.90
" Key: Numerous Key Attributes
" Meter: 4/4, 3/4, 5/8, and 5/4
" Text Source: Anonymous, 16th Century
" Period and Nationality: 21st C. American
" Style: Madrigal-like
" Special Music Characteristics: This piece employs graceful,
elegant phrase shapes on constantly changing meters. Even though
the text refers to weeping fountains, the phrase compositional
direction is more ascending rather than descending. The alto
and tenor parts are aligned with each other, as the basses and
sopranos weave in and out on sensitive phrase shapes. The composer
has captured the peaceful images of the poem brilliantly.
Your Heart Goes With Me, by Francisco J. Núnez, English text, Boosey (Hal Leonard), 48020981, SATB & piano, opt. guitar, cello, bass, cabasa, claves, & drum. Difficulty rating 4. $2.25
" Key: A Flat Major
" Meter: 4/4
" Text Source: Francisco J/ Núnez --with poetic suggestions
from the girls of the Forest Ridge School's Sacred Heart Chorus,
in Seattle.
" Period and Nationality: 21st C. Latin American
" Style: Latin Accents Choral Music
" Special Music Characteristics: This piece was composed
for large forces -over 700 singers. The harmonies and melodic
fabric create a contemporary Salsa feeling, with Latin rhythms
in both the piano and voice parts. Many of the harmonies are
composed in thirds between the four voice parts. The text makes
it the perfect choice for graduation or a special occasion during
the year. Although written for large forces, a small choir can
easily handle this clever Latin piece.
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TREBLE
VOICES ~ SECULAR
The Song of the Stars, by Bob Chilcott, English text, Oxford, 3369450, SA & SSAA (divisi) a cappella. Difficulty rating 4-5. $2.75
" Key: E Major
" Meter: 4/4 and 2/2
" Text Source: Algonquin text, from Charles G. Leland (1824-1903),
The Algonquin Legends of New England (1884)
" Period and Nationality: 21st C. English
" Style: Choral Song
" Special Music Characteristics: The tone painting between
the two choirs is quite lovely in this piece. The concept of
singing stars has interested composers for many centuries. Using
repeated C#'s1 in the soprano part makes for a mesmerizing vocal
accompaniment. The altos get a chance to shine in this piece,
where they sing the melody. The harmonies evoke the Native American
Indians who peopled the New England landscape early in our history.
The text versification of this historic text is brilliantly done.
The anthem requires an accomplished choir able to sing with ease
in the lower tessitura.
Tread Softly, by Alan Bullard, English text, Oxford, 3375055, SA (divisi) & piano. Difficulty rating 4. $2.50
" Key: D Major
" Meter: 2/2 and 3/2
" Text Source: W. B. Yeats (1865-1939)
" Period and Nationality: 21st C. English
" Style: Choral Song
" Special Music Characteristics: This piece opens with the
sopranos and altos singing in unison on long phrase shapes in
the mid-range of the voice. Next the altos take the melody with
the sopranos singing a ringing descant. The short four-part harmonies
are composed on simple rhythms, often doubled between the various
voice parts. The piece closes simply, on a surprising but elegant
D Major two-part chord, sung double piano.
With the Earth, I Am One, by Judith Herrington, English text, Hal Leonard, 08752511, SA, piano, & cello. Difficulty rating 3. $1.80
" Key: e minor
" Meter: 7/8, 8/8, and 6/8
" Text Source: Amy Lowell (1874-1974) from the poem A Winter
Ride
" Period and Nationality: 21st C. American
" Style: Choral Song
" Special Music Characteristics: This joyous setting uses
striking text painting on simple homophonic harmonies. An accomplished
student can play the cello part. Lovely images are evoked in
this accessible anthem for two-part trebles.
MEN'S VOICES ~ SECULAR
Vocalise, by Robert Kyr, syllable text, ECS, 7691, TTBB a cappella or opt. 4 violoncelli. Difficulty rating 4. $1.95
" Key: a minor/Numerous
key attributes
" Meter: 3/4
" Text Source: Robert Kyr
" Period and Nationality: 21st C. American
" Style: Carol
" Special Music Characteristics: The piece opens in three
parts, with the tenors singing the AH syllable, with the basses
singing an "auo" nonsense vowel. Using complex counterpoint
on constantly changing dynamics, this vocalise is based on "Balulalow"
from Carols Ancient and New by Robert Kyr. The voice parts create
the sense of a gently rocking cradle. This is a challenging piece
of music, brilliantly conceived for men's voices.
SAB VOICES ~ SECULAR
A Madrigal, by Sally K. Albrecht, English text, Alfred, 35645, SAB (divisi) a cappella. Difficulty rating 3. $1.80
" Key: C Major
" Meter: Cut time
" Text Source: Sally K. Albrecht
" Period and Nationality: 21st C. American
" Style: Contemporary madrigal
" Special Music Characteristics: This is a great choice
for the accomplished middle school chorus. Set to an original
text that is both playful and lyrical, the counterpoint is simple
but well constructed. This is a great piece for teaching young
changing voices to sing independently of each other - and a fine
introduction to the madrigal style and form.
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
1844B Massachusetts Avenue
Lexington, MA 02420
Phone: 781 862-0088
Fax: 781 861-1335
info@spectrum-music.com