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Christmas - SATB- Christmas - Treble
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General Sacred - Treble
Men- New Releases - Secular
SATB
Treble- Transient Glory - New Series from Boosey & Hawkes
DEALING WITH THE VOCAL BREAK IN A CHORAL ENVIRONMENT
By Marie Stultz, Contributing EditorAll voices in every register have potential breaks. Breaks usually occur in line with the vocal singing registers for both men and women. For instance, in women's voices these breaks are consistent with the three singing registers, soprano, second soprano and alto. Dealing with vocal breaks may at first seem to be a daunting problem, but they can be addressed easily with the proper knowledge and the right vocal tools. Just as breathing and vocal exercises develop healthy singing habits, techniques that address the vocal break will result in an even vocal sound through all tessituras of the voice. Most singers in every range sing with greater power and clarity in the upper part of the voice. Clear, pure, and vibrant singing in children can only occur in notes above c2. As the treble voice develops and matures, it expands in range, adding the potential for two more areas in which a break might occur. There are two exceptions, the first being the singer who has been encouraged to sing in the lower tessitura on a regular basis with a shouted tone quality, never learning to rotate the vocal cords inward towards themselves, nor allowing them to vibrate naturally in the upper tessitura. The other exception is the singer who can sing high and low with no middle. They both learned to sing without a natural rotation, thus they can't phonate clear notes much above d2 in the first instance and can't sing clearly between c1 and c2 in the second instance in all ranges. Any notes sung without this rotation sounds throaty, strained and uncomfortable; almost like fingers scratching on a chalkboard or fuzzy and unfocused. Some ideas to think about:
1] The vocal cords or folds are two muscles connected to each other that are capable of rotating. When a singer phonates lower notes, the two cords vibrate on the larger, wider part of the muscles with a more relaxed vibration that has an open feeling. As the singer rises in pitch, the muscles begins to rotate towards each other, moving inward as they vibrate on a tighter, smaller part of the cord that feels less open.
2] How the cords rotate evenly through all ranges of the voice determines whether a break can be heard and get in the way of natural, beautiful singing.
3] Good diction is one of the most straightforward and easiest methods of working on vocal breaks. Voices that enunciate the words on the front of the face glide from register to register with greater ease.
4] Vowels that are clear and pure also directly assist with the register problems. The best source for dealing with the connection of consonants to vowels is a book by Dr. Lloyd Pfautsch, "English Diction for the Singer," published by Lawson-Gould (LG 51614). When vowels are pure, swallowed singing, jaw tension or a closed throat cannot be present. These types of bad habits or ailments contribute to the vocal break. The entire body and voice need to feel free and at ease. Include stretching exercises in your regular warm-up routine.
5] Vocal freedom is critical in removing obvious vocal breaks. Some exercises to help with vocal freedom are listed below:
a] Sighing and whooping out the top of the head, and singing through all the registers of the voice will train the cord to turn over with ease.
b] The slide of the 10th will also help with breaks in the registers. Begin on g and slide on "ng" to b1 and back down again covering the entire note spectrum. Work the slide up and down on half steps that takes the voice into the upper register. Don't force the voice into the upper tessitura, let it rise into the higher spectrum. Notice when singing this exercise, it is easier to sing all of the notes while ascending rather than descending. This is a large clue in understanding the vocal break. The voice rises with ease over the two breaks of b to b flat and f1 to f sharp or g, but struggles with singing evenly during the descent. Learning to blend the registers is more easily understood in the ascending part of this exercise. That being said, all singers need to learn to sing clearly and evenly in both directions. Practicing the descent diligently will lead to a smoother passage through the break on descending lines.
c] Pick a piece in unison that works on the mid-to-upper range and sing that melody on "doo" and "ng." These two sounds pull the voice forward allowing the cords to rotate with ease.
d] Next, pick a piece that works the chest-to-mid-range and sing this melody on "doo" and "ng" working towards a warm, focused yummy sound that doesn't sound swallowed or strained.6] Serious register problems or large vocal breaks are the result of poor, inexperienced or unhealthy singing. When singers produce a tone that is natural and healthy, the large register problems, with some work, basically go away. Conductors of any type of vocal ensemble need to think about these points:
a] Everyone sings with more clarity and power in the upper tessitura, including altos and basses. With this as a reality, it is important to vocalize your singers from the mid-range up to the upper tessitura. I always vocalize everyone whether age 5 or 70 by beginning on middle c and working the voices up and down through the two ranges from c2 to g2 and beyond. The exercises should both ascend and descend. Vocal exercises that use only descending patterns, starting in the upper tessitura only reinforce the break. Tensions abound and the entire vocal apparatus gets locked.
b] The vocal cords must be trained to rotate between the high and low registers with ease. They vibrate on the thicker part in the flat position in the lower tessitura and vibrate in the upper tessitura in the rotated position on the small, thin part of the cord. The break is heard when the singer cannot rotate the cord evenly and smoothly between the upper and lower tessitura.
c] To begin to address this problem let's think about a slide whistle that glides up and down. If air is blown constant through the whistle it will have an even sound. Pretending the throat is that whistle, the voice should glide from low to high and back down again.
d] Free vocal singing between these registers occurs when the body is not in the way. Body tension only adds to the register problems. There are a number of activities that can be done while sliding up and down the three ranges.1] Use your hands up and down in a circular motion while singing from bottom to top and back down again. Gesture from front to back, making an arch over the head and downward below the waist, making a circle that surrounds the body.
2] Swing from side to side as the range is being drilled or touch the toes from side to side while singing and swinging.
3] Have the singers sit on the floor and touch their toes as you drill them in all three registers. Everyone should work to sing as low and as high as they can, expanding the range on a consistent basis.
All of these exercises will have miraculous results. It's all about the air, singing with beautiful consonants on brilliantly formed vowels with a free and relaxed body.
THE CASE FOR MIDDLE C AND THE VOCAL BREAK
Conductors have been taught and trained for years to vocalize their choir on legato descending scales. These kinds of exercises are very important as the choir advances in capability with healthy voices, but I have found through the years that vocalizing choirs beginning on middle c and ascending by half steps to be tremendously helpful. There are a number of reasons why this concept is so important:1] The cords are trained to rotate in that sticky mid-range right from the very beginning. As the exercises rise into the head voice, the tone becomes clearer. Once vocal clarity has been achieved, which will happen almost immediately, the same exercise should descend and go below middle c, allowing the singer to draw the head voice into the mid-range and later the chest range. To quote Alyssa Sullivan-Volker, my student, dear friend and colleague with a Masters in vocal performance, "Vocalizing from middle c allows the cord, that elastic band, to stretch from the center in either direction from a strong central core."
2] The singers learn relative pitch if all exercises start on middle c. All of my choirs can find middle c in a heartbeat, helping them with their sight singing and ear training.
EDITORIAL NOTE
This article is adapted from the book, Choral Excellence for Treble Voices ~Your Guide to the World's Finest Literature by Marie Stultz to be published in February 2005. It is part of a large literature project from Choral Excellence, a publishing company based in Waitsfield, Vermont. The entire resource combines the permanence of the printed page with the flexibility of a website. The book is a how-to guide to the selection of literature for treble voiced ensembles. The website includes an extensive repertoire list of great literature for treble voices currently in print and newly composed music as well as fine editions of our historic past. Included in each annotation organized in 10 pedagogical areas are publication information, key, range, voicing, period, accompaniment, nationality, season information, anthem value, editor's performance notes, teaching suggestions, and source of the edition. It will be an on-going project including some of the finest choral literature newly composed or edited for treble voices. Over the next 10 years, the goal is to expand the repertoire to other voicins and to make this project the largest literature resource for choral professionals worldwide. For enrollment information contact Piero Bonamico, creative director, at piero@choralexcellence.com. For ordering music contact Spectrum Music.
New Releases ~ Sacred All You Who Are to Mirth Inclined, by Dwight Bigler, English text, Oxford, 386775-3, SATB, brass quintet and piano (opt. percussion). This choral setting of an English carol tune collected by Ralph Vaughan Williams is spectacularly set. The partwriting is simple and straightforward. Premiered and arranged for the Brigham Young University Choirs, it is the perfect festival anthem when large forces are available. Taken from the Eight Traditional Carols first published in 1928, the tune was originally titled The Sinners' Redemption. Filled with mixed meters and simple counterpoint, the learning curve should be quite short, making it an ideal selection in what is already a busy season. Difficulty rating 2. $2.75
Three Advent Motets, by K. Lee Scott, English text, all published separately:
There Shall Come Forth a Shoot, Oxford, 386770-2, SSAATTBB a cappella. Commissioned by the Manchester Choral Society, this setting of Es ist ein Rose (1599) is quite unusual but extremely effective. Composed for double choir, the choir II part could be assigned to a solo quartet placed antiphonally in the performance space. The homophonic ending will sound even more spectacular in a cathedral acoustic, surrounding the audience with the brilliant "alleluia's" which grow in spirit and tonal color. Although set for double choir, the piece would be equally effective with a choir of small forces with a professional solo quartet or capable section leaders. Difficulty rating 4. $1.75The Poor and Needy Seek Water, Oxford, 386771-0, SSAATTBB a cappella. This motet uses as its text Isaiah 47:17-18, with a lovely melody for both parts sung in counterpoint by the women. Building in expanse and beauty, the homophonic mid-section is filled with accessible but effective harmonies. The text painting on changing meters evokes the much-needed water springing out of the wilderness. The closing "alleluia's" in thirds are quite effective and powerfully written. Difficulty rating 3-4. $1.75
Thus Says the Lord, Oxford, 386772-9, SSAATTBB a cappella. Set to Isaiah 49:8-13, this homophonic motet is filled with mysterious chords on changing meters. The key changes are quite spectacular and evoke the text. Filled with challenging triplets and harmonies in the final section, the closing tranquillo section evokes the mystery of the season. Difficulty rating 4. $1.60A Cradle Song, by Paul Carey, English text, Oxford, 386829-6, SA & piano or harp. This provocative carol is brilliantly crafted. Beautiful melodies and fine text painting on a famous poem by William Blake make this piece great for building brilliant head tone in treble voices. Changing keys and meter signatures are handled with strong understanding of rules of composition, yet sound spontaneous in gesture. This is a real winner for the young choir that enjoys beautiful melodies on simple partwriting. It will be particularly effective when a harpist is available. Difficulty rating 3-4. $1.80
Bring a Torch, arr. Clifton J. Noble, Jr., English text, Treble Clef, TC-258, SSAA & double bass. This clever jazz arrangement composed for the Mount Holyoke College Vocal Jazz Ensemble is quite effective and unique. Arranged in extremely good taste, it requires an accomplished alto section that can sing a low f with ease to be pulled off artistically. Because of the range demands of the arrangement, the piece is best performed with woman's chorus rather than children's choir. With the advanced youth ensemble, assign young men singing in falsetto to the alto part, which is composed with continuo and minimalist-like phrase shapes. This is a real winner with clever tongue-and-cheek writing. For this genre, it just doesn't get any better. Difficulty rating 4. $2.25
Christmastide, by David L. Brunner, English text, Boosey & Hawkes (dist. Hal Leonard), 48004847, SA and piano. This haunting original melody is set to a sensitive text by Janet Lewis. Set simply, the piece is excellent for working on the mid-range of the young singer. Perfect for a choir of intermediate capability, the occasional split into three-part harmonies will be a simple but appropriate challenge. Brunner knows how to write for the voice and this piece is no exception. Perfect for school, church or community children's chorus this is a wonderful new short anthem for Christmas that sounds fresh. Difficulty rating 3. $1.50
Song of the Angels, by Mark Sirett, English text, Boosey & Hawkes (dist. Hal Leonard), 48005158, SSAA, percussion & handbells. This spectacular processional is filled with challenges, but is a powerful soundscape evoking the mystery and joyful celebration of the birth of Christ. Commissioned by the Northumberland Girls' Choir, La Jeunesse, under the direction of Marie Anderson and Deirdre Morrell, it received its premiere at Trinity United Church in Cobourg, Ontario, on December 1, 2000. This is a spectacular piece using the Latin text "Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis" (Glory to God in the highest, and on earth peace to people of good will). The improvisational component is brilliantly conceived amidst the various bells and percussion instruments. The composer offers concise choreography instructions as the piece tells the story of the birth of Christ from the shepherds in the field to the joy of the angels pronouncing the birth. It takes its musical gesture from Gregorian chant. This unusual piece offers the choir a unique entrance into the performance arena. Difficulty rating 4-5. $1.75
When Christ Was Born of Mary Free, by Mark G. Sirett, English text, Hinshaw, HMC1978, SA & piano. Winner of the 2001 Amadeus Choir Carol Competition, this charming original carol is set to an anonymous 15th century English text. The off beat rhythms in 6/8 will help develop the advanced intermediate choir's musical accuracy and build a better understanding of text versification. Set in 6/8 with two changes, the piece is also the perfect vehicle for helping the choir comprehend score articulation. It is also appropriate to program with the advanced treble ensemble or women's chorus. Difficulty rating 4. $1.40
Ave Maria, by Anton Bruckner, Latin text, Alfred, 21675, SATB (divisi) a cappella. Edited by Patrick M. Liebergen, this edition includes background information and a pronunciation guide. This is one of Bruckner's first motets composed for liturgical use in the Catholic Church and reflects his conservative compositional style. Drawing on the contrapuntal style of the Renaissance while combining the rich harmonies of the Romantic period, this exquisite motet is filled with great beauty on elegant phrase shapes. Difficulty rating 4. $1.65
Jerusalem Will Be Without Walls, by Alan Bullard, English text, Oxford, 350518-5, SATB (divisi) a cappella. Set to a text from Zechariah 2:4-5, this lovely a cappella piece begins in simple imitation between the voice parts. The homophonic passages in contrast to the contrapuntal sections are filled with warm harmonies with some elements of surprise. Composed for the Eastern Synod of the United Reformed Church and the Eastern Synod Musicians' Guild in 2003, it is the perfect service music with brilliant text painting on phrases of elegant beauty. It is ideal to program during a service in search of peace. To quote the text, "Jerusalem will be without walls, so numerous will be the people." What a beautiful image in these troubled times. Difficulty rating 3. $1.60
Light's Glittering Morn, by Craig Phillips, English text, Paraclete Press, PPM00427, SATB & organ. This bright pronouncement of Christ's death and resurrection is brilliantly told here. Filled with challenging rhythms on changing meters, the homophonic a cappella structure of the choral writing is composed separately to the flamboyant organ part. The choral writing switches from pulses of three to pulses of two, therefore the choir must have a solid sense of rhythm. Most of the choral writing is a cappella which expands the meaning of the text. Difficulty rating 4. $2.80
Rest in the Lord of Life, by Alan Bullard, English text, Oxford, 350519-3, SATB & piano or organ. Set to a traditional Gaelic prayer, this lovely, quiet piece offers some wonderful meditative moments. Perfect as a closing anthem or benediction, this is ideal service music for communion. Much of the piece is written for SAB chorus. The divisi sections offer some surprising counterpoint. This is a fresh new music meditation that can be used intermittently throughout the church year. Difficulty rating 3-4. $1.60
Sing a New Song to the Lord, by Paul Manz, English text, MorningStar, 50-7065, SATB (opt. Congregation) & Organ. Manz has managed to weave a fabulous music fabric between choir and congregation in this fanfare-like anthem based on Psalm 96:1-4, 7b, and 8-9. The contrasts in music fabric between the verses sung by the choir and the refrain sung by everyone are remarkable in scope. Verse 4 is quietly set a cappella in simple homophonic partwriting with great effect. The organ part is challenging and requires a fine player. This is a winner for choir and congregation. Difficulty rating 3-4. $1.75
Te Deum Laudamus, by Imant Raminsh, Latin text, Boosey & Hawkes (dist. Hal Leonard), 48005060, SATB (divisi), soprano & tenor soli, 3 trumpets, timpani, strings & organ. This is a complex piece filled with challenging meters and rhythmic diversity. Some of the minimalist writing between the parts will help with the learning of some of the more difficult sections. Commissioned by Robert Cooper, director of Chorus Niagara, the piece was premiered in November 2000. The composer had some issues with the difficult, wordy text chosen by the conductor, but the result is a triumph. The 10-minute piece is filled with intricate enharmonics and rhythmic choral challenges requiring an accomplished choir and accompanist. Program notes and information about the composer are included in the edition. Difficulty rating 5. $5.25
Ubi Caritas, by James Biery, Latin text, MorningStar, 50-3055, SATB a cappella. Filled with chant-like phrase shapes on simple counterpoint in contrast to homophonic sections that alternate between 4/4 and 6/4, this prayerful setting is ideal in a large acoustical environment. The edition, commissioned by the St. Mary on the Hill Catholic Church in Augusta, Georgia, includes a fine translation of the traditional Latin text by Maryann Corbett. Difficulty rating 4. $1.90
When the Morning Stars Together, arr. John Ferguson, English text, MorningStar, 50-6051, SATB (opt. Congregation), Zymbelstern or handbells & organ. This is another fine anthem that can involve the congregation. This setting, written in Cologne in 1741, is perfect for the smaller choir with limited forces. Much of the anthem is composed in unison with some simple partwriting for musical interest. The edition includes a reproducible insert for the congregation. Difficulty rating 3. $1.75
Ave Maria, by Zoltán Kodály, Latin text, Musica Budapest (dist. Hal Leonard), 50511030, SSA & organ. Kodaly wrote numerous Ave Maria settings during his lifetime. This setting composed in 1898 while he was a student at Nagyszombat (today Trnava) is composed in G Major with text realized in 3/4 and 4/4 time. Like many of his settings, he takes a lead from the motet form, using simple homophonic rhythms in a conservative, effective partwriting style. Originally composed for SSA voices, 5-part strings and organ, this edition incorporates the string parts into the organ accompaniment. (The original version is available only as a rental from Musica Budapest.) This edition by Imre Sulyok and made with the permission of Mrs. Kodaly is expensive but shows fine scholarship. A portion of the MS is included. Difficulty rating 3. $4.25
Blest Are They, by Andrew Carter, English text, MorningStar, 50-9422, Unison & keyboard (opt. Handbells & orchestra). These provocative prayers are beautifully set for children. In their simplicity is always the element of surprise and great beauty. Taken from Carter's Magnificat, these pieces can stand alone as anthems or performed with orchestra as part of the larger work. Bell parts for these three settings are available separately from the publisher. These pieces are ideal to use throughout the church year and are excellent for working on the child's mid-to-head range. Information on the entire full score is included in the edition. Difficulty rating 2. $1.75
Bound unto Canaan: Three Shaped-note Hymns, arr. William Averitt, English text, all published separately:
Say, Now Ye Lovely Social Band, Treble Clef, TC-251, SSA a cappella. This anthem is based on the tune Clamanda and taken from The Sacred Harp, a publication which first appeared in America in 1844. Originally composed for SATB voices in e minor, this is an adaptation for treble voices from that hymn tune by Chapin and based on a text from Numbers 14:3. Difficulty rating 3-4. $1.70You May Tell Them, Father, Treble Clef, TC-252, SSA a cappella. This piece is based on a tune entitled Weeping Pilgrim by J.P.Reese which was composed in 1859. Composed in the key of G major on changing meters, the alto part in the original MS was composed by S.M. Denson in 1911. This arrangement is rich in score articulations, developing the musicality and expressiveness of this simple hymn tune. Difficulty rating 4. $1.70
Ye Souls Who Are Bound Unto Canaan, Treble Clef, TC-253, SSA a cappella. Originally composed in the key of a minor, this arrangement has been transposed down a major second to g minor. Based on a tune by B.F. White entitled Help Me to Sing, the hymn tune was first published in 1859. Based on Psalm 105:2, the alto in the original MS was composed by S.M. Denson in 1911. The arrangement is filled with elegant phrases that will ring on treble voices. Difficulty rating 3-4. $1.70
Seven Sabbath Songs, by Karen A. Tarlow, Hebrew text, all published separately. These simple effective pieces are composed on Hebrew texts and were commissioned by the Smith College Choir. The texts are taken from various Psalms and prayers from the Sabbath liturgy. A pronunciation guide is included in each edition with a transliteration provided by Belinda Novik and Nina Gilbert. All seven songs are a wonderful addition to the Hebrew repertoire:
Horeini Adonai (Teach Me Your Way, O Lord), No. 1, Treble Clef, TC-241, unison & piano. Difficulty rating 2. $1.70
Yism'chu (Let the Heavens Be Glad), No. 2, Treble Clef, TC-242, unison & piano. Difficulty rating 3. $1.70
Ahavat olam (With Everlasting Love), No. 3, Treble Clef, TC-243, unison or two-part chorus & piano. Difficulty rating 3-4. $1.70
Yih'yu l'ratson (Let the Words of My Mouth), No. 4, Treble Clef, TC-244, unison & piano. Difficulty rating 3. $1.70
Ush'mor tseiteinu (Guard Our Going Out), No. 5, Treble Clef, TC-245, unison & piano. Difficulty rating 3-4. $1.70
Hin'ni (Behold, I Am Prepared), No. 6, Treble Clef, TC-246, SA & piano. Difficulty rating 3-4. $1.20
Shalom rav (Grant Lasting Peace), No. 7, Treble Clef, TC-247, unison & piano. Difficulty rating 3. $1.20
Sing and Make Melody, by Alice Parker, English text, Treble Clef, TC-260, SSAA a cappella. The compositional muse is truly alive in Alice Parker. This stunning anthem set to a text from Ephesians 5:19 and Isaiah 51:3 transports singers and listeners into an ethereal world of music. Commissioned by WomanSong for a performance on April 3, 2004 in Minneapolis, MN, this piece is filled with ringing harmonies and brilliant phrase shapes of great beauty. It is clear that Parker understands the treble voice and places the voicing of the parts for the ultimate expression of the text. The changes in key signatures rise in beauty and brilliance. The anthem begins in F major and transports us to D Major, E Major and beyond. With the return to F Major at the piece's conclusion, the composition returns to peace and quiet joy while celebrating music. "Sing, make melody with all your heart." These words ring with clarity and joy. Difficulty rating 4-5. $2.25
MEN'S VOICES ~ SACRED
Libertatum, by Jim Papoulis, Latin/English text, Boosey & Hawkes (dist. Hal Leonard), 48005168, TBB a cappella. This fine piece uses minimalist phrase shapes with great effect. Papoulis combines the traditional Latin motet style with contemporary compositional techniques; it fuses his musical roots of the classics and jazz. In this plea for freedom, the rhythms and melodic writing add to the power of the text. This is an effective new work for men's voices. Background on the composer, performance suggestions, translation and pronunciation guide accompany this fine edition by Francisco J. Núnez. Difficulty rating 4. $1.95Ev'ry Time I Feel the Spirit, arr. Moses Hogan, English text, Hal Leonard, 08744443, TTBB solo a cappella. Originally written for SATB voices and solo, this adaptation for men's voices by James Rodde is a welcome addition to the men's choral repertoire. Filled with thoughtful rhythms and numerous score articulation marks all make this piece an interpretive challenge. Hogan's arrangements are always challenging and enlightening in terms of style and gesture and this piece is no exception. Difficulty rating 4-5. $1.70
New Releases ~ Secular Pura Vida, by Michael Coolen, English text, Hal Leonard, 08744496, SATB a cappella (opt. percussion~claves, cowbell, & conga drums). Composed for Bella Voce, this Costa Rican style choral dance will be great fun to sing. Set to picturesque poetry by the composer, the choral parts are composed to describe the folk dance Pura Vida. This is a wonderful original ethnic piece with off-beat rhythms and playful vocal writing that evokes and celebrates the mood of the dance from this Latin American country. Percussion parts are included in the edition. Difficulty rating 4. $1.60
River, by Lee R. Kesselman, Hebrew/English text, Boosey & Hawkes (dist. Hal Leonard), 48005116, SATB, piano, bass & percussion. Although set to a text from Psalm 46 and Ecclesiastes 1, this piece works brilliantly and could be sung in both a sacred and secular environment. The Hebrew and English sections are wonderfully merged. The piece opens in chant with a great deal of atmosphere and mystery. Kesselman is able to capture the motion of the river through brilliant and imaginative choral writing. The chanting on minimalist phrase shapes helps build the atmosphere to describe the text. The instrumental parts are included in the score. Difficulty rating 4. $3.50
Four Basho Settings, by Augusta Read Thomas, English text, G. Schirmer (dist. Hal Leonard), 50484938, SA (divisi) a cappella. Commissioned by the Friends of Farnham Youth Choir, these pieces were conceived for a youth choir of mixed voices. Set in four movements - Skylark, Cuckoo, Butterfly and Dawn Flowers- the six-minute work is set to Haiku poems by Matsuo Basho who lived in Japan from 1644-1694. The compositional writing evokes the text through choral layers. This difficult piece is filled with score articulation marks, constant harmonic changes and challenging rhythms that will require study. The work is filled with challenging counterpoint and contemporary compositional techniques to describe the flora and fauna. Difficulty rating 5. $1.95
Let Wildness Sing, by Imant Raminsh, English text, Boosey & Hawkes (dist. Hal Leonard), 48005081, unison (opt. descant) & piano. Set to a text by Becky Strube, this piece was written for the Fourth International Children's Conference on the Environment. It received its premiere in Victoria, B.C., Canada on May 21-25, 2002. The piece is filled with beautiful melodies with an alternate descant in divisi. Composed in three verses with a repeating refrain, the piece is wonderfully accessible but still holds some challenges. Raminsh writes brilliantly for treble voices and this piece is no exception. This appeal for bringing beauty into the world resonates in this difficult time in world history. Difficulty rating 3. $1.50
Lydia's Romance, by Kirke Mechem, English text, G. Schirmer (dist. Hal Leonard), 50483629, SA & piano. Extracted from the composer's opera The Newport Rivals, this piece will be appropriate with any intermediate or advanced ensemble. A love song about the skylark singing in May, this is a beautifully written composition for treble voices. There is no information about the opera in the score. Difficulty rating 3-4. $1.60
A NEW SERIES FROM BOOSEY AND HAWKES
Transient Glory edited by Francisco J. Núnez, conductor of the Young People's Chorus of New York City, is a series published by Boosey & Hawkes and distributed by Hal Leonard dedicated to advancing the art of children's choirs throughout the world." The Transient Glory choral series is designed and developed by its editor as a commitment to young voices singing glorious music during that short, transient period of childhood." As part of its goal, it introduces treble voiced ensembles to newly commissioned works by the world's major composers. This ensemble has gained major attention in New York and the music strives to develop the music capability of young singers. All pieces are of high quality and show great merit but require an accomplished treble ensemble.Four Heartfelt Anthems, by David del Tredici, all published separately:
Sabbath's Child (Proclamation), No. 1, English text, 48005104, SSA a cappella. Difficulty rating 4. $1.25
The Little Land (Barcarolle), No. 2, English text, 48005105, SSA a cappella. Difficulty rating 4. $2.50
Alphabet (Fuga), No. 3, English text, 48005106, SSA a cappella. Difficulty rating 5. $1.25
Highlands, Farewell (Aria), No. 4, English text, 48005107, SSAA a cappella. Difficulty rating 5. $4.75The Attic Which Is Desire, by Steven Mackey, English text, 48005137, SSA a cappella. Difficulty rating 4-5. $3.50
The Smiling Eyes, by Jenny Olivia Johnson, English text, 48005135, SSA, three solo voices, finger cymbals & claves. Difficulting rating 4. $2.50
Two Songs, by Nora Kroll-Rosenbaum, English text, 48005155, SA, clarinet & piano. Difficulty rating 4 and 3. $1.75
Un-Labelled, by Elena Kats-Chernin, English text, 48005136, SSAA a cappella. Difficulty rating 4. $3.25