Volume 42 No. 3

Choral Cues The official publication of the

New York Chapter of the

American Choral Directors Association

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September, 2014

President’s Message Penelope Cruz

Choosing repertoire is the most important task that we undertake. The repertoire will determine what skills and understandings our singers will master, musical cultures to which our students will be exposed, and how their musical tastes develop. The two most important encounters in a choir that the singer has are with that the conductor and the repertoire.

While a student may sing for approximately one hundred and twenty hours in a school year’s worth of rehearsals, a student may only perform about three hours of music. The student spends a lot of time engaged with, comparatively, only a few minutes of music. Is it time that is spent of value, in terms of the actual repertoire learned?

Visit the NY-ACDA website at www.nyacda.org

Inside Cues….

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Music and Worship Repertoire

Page 3

Women’s and Male Choir Repertoire

Pages 4-5

Vocal Jazz Repertoire

Pages 6-7

Multi-cultural and Ethnic Perspectives

Repertoire Page 7-8

Children’s Choir Repertoire

Page 9

Middle School/Jr High Repertoire

Page 10

High School Repertoire

Page 11

Fall Conference @ Vassar

Page 12

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President’s Message Continued from Page 1

And in this environment of ‘common core’ discussions where student are asked to delve deeper and more comprehensively into texts, the choral music they sing IS that text and should be of a high musical quality and satisfaction. While textbooks and literature used in a classroom often undergo the scrutiny of an entire department of teachers, a department chair, administration, and even a school board, the choice of repertoire is one that is usually made by the choral conductor/teacher alone. The choice of repertoire is based on that conductor’s taste, personal musical abilities, understanding of the students’ educational and musical needs, and exposure to the repertoire. A conductor will choose and effectively lead the choir in the music that he or she understands fully, connects to personally, and can execute faithfully.

We have all had that feeling of ‘what are we going to sing?’ Or that hollow feeling of being mid-rehearsal process and realizing that the piece isn’t really worth the effort and time. Being able to answer the first question and avoiding that hollow scenario is one of the primary reasons I (and I suspect many of you) are part of ACDA and go to conferences, concerts, meet with colleagues, as part of the treasure hunt that is finding the right repertoire for your singers in your ensembles in your particular situation. To that end, this issue of Choral Cues is meant to provide you with some ideas or reminders of repertoire. Your NY Repertoire and Standards Board Members have combed through literature, rehearsed and performed these pieces, and put together information and commentary for these lists of pieces for your consideration—many thanks to them! As we move into the beginning of the academic year, I hope you’ll find these annotate lists helpful, and I wish you all the best. I hope to see you at our Fall Conference at Vassar October 31-Nov.1.

NY-ACDA Officers

Penelope Cruz President White Plains HS Norman Zogaib President-Elect Hamburg HS Brandon Johnson Immediate Past-President Houghton College Edward Reisert Secretary Fox Lane HS

Ann Murphy Treasurer Spencerport HS Michelle Emeric Membership Chair Jared Berry

Webmaster St. John the Baptist Diocesan High School

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NY-ACDA Repertoire & Standards

Chairs

Elizabeth Woodhouse Children’s Choirs Brooklyn Youth Chorus

Christine Howlett College & University Choirs Vassar College

John Warren Community Choirs Syracuse University

Derrick Fox Ethnic & Multi-cul-tural Perspectives Ithaca College

Norman Zogaib High School Choirs Hamburg High School

James Ludwig Jazz Choirs

Don Schuessler Middle School Choirs Camillus MS

Jared Berry Male Choirs St. John the Baptist Diocesan High School

Malcolm Merriweather Music & Worship Concordia College

Rollo Fisher 2-Year College Choirs Monroe Community College

Philip Silvey Women’s Choirs Eastman School of Music, URochester

Worship and Music Repertoire Malcolm J. Merriweather malcolmjmerriweather@gmail.com malcolmjmerriweather.com Seven Stanzas at Easter (2000) Gregg Smith (b. 1933) EC Schirmer5451 SATB (divisi); Organ text: John Updike (1932-2009) Commissioned by the Choir of Saint Peter’s Lutheran Church, New York City, in honor of Thomas Schmidt to mark his fifth Easter among them as Cantor, April 16, 1995. The text by John Updike is evocative and it is reflected in Smith’s setting. This anthem is rhythmically and texturally active and requires an adept choir. The anthem is accessible for the fact that many sections are in unison. There in minimal divisi and the rangers are conservative for all voice parts. The organ accompaniment is independent but also shadows the vocal parts in some of the more difficult harmonic sections. Magnificat and Nunc Dimittis in D Roland Martin (b. 1955) St. James Press, Sewanee Composer's Project MMVI - Vol. 13 SATB; Organ Written for St. Paul’s Cathedral, Buffalo, NY These evening canticles represent a fresh yet sophisticated setting by an American composer. A medium difficulty piece, the organ part is independent and the choral parts are diatonic and mostly homophonic. There are instances of canon and imitation throughout the Magnificat. Christ our Passover Alec Wyton (1921-2007) Paraclete Press, PL.8702FS SATB; Organ, Brass, Tympani Written by former organist and choirmaster of the Cathedral of St. John the Divine, this Easter anthem utilizes a new metrical version of the Easter Canticle "Pascha Nostrum" by Carl Daw. This arrangement, using "Sine Nomine," successfully sets the familiar tune most commonly associated with All Saints. The arrangement can be used by the choir in conjunction with congregation. There are parts for brass and tympani. Bible Songs for Young Voices (1964) Gregg Smith (b. 1933) G. Schirmer Ed. 2577 Unison, two and three part, Piano text: Alicia Smith

1. Praise to the Lord 2. The Lord is My Shepherd (Two-Part Canon - octavo) 3. See the Ant 4. The Man with the Froward Mouth 5. In My Spirit 6. Fear Not, Good Shepherds (Three-Part Canon - octavo) 7. The Lord’s Prayer 8. Chorale 9 .Children, Children

This collection of nine songs represents collaboration between Gregg Smith and his first wife, Alicia Smith. Alicia Smith selected and paraphrased all of the texts. “Our approach begins with the belief that the ideas in the Bible can be expressed in many ways: a lesson can be lively, a moral can be interesting, an invocation joyful; the feelings expressed range from profound reverence to spirited exuberance. Melodic lines are simple and diatonic. Numbers 2,3,5 and 7 have simple accompaniment. Numbers 1 and 6 are of medium difficulty for the pianist and number 4,8 and 9 are difficult. Jesu the very thought of thee (1997) Paul Halley (b. 1952) Pelagos Music, PEL2007 SATB, divisi, Organ Paul Halley’s festival setting of this familiar text utilizes Gordon Slater’s melody in an evocative way. The piece is a gradual crescendo of with the first verse sung by the tenors and basses and the second verse sung by the sopranos and altos. A middle a cappella verse captivates the listener with very poignant harmony. This verse is alluded to by the many modulations that precede it. The organ accompaniment is virtuosic and provides an incredible degree of texture and color. The soprano line is quite high at the end of the piece and can be strenuous on the section. It’s a terrific piece and your singers will enjoy it thoroughly.

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NY-ACDA Regional

Representatives Vicky Furby Region 1 (Western) SUNY-Buffalo Jason Holmes Region 2 (Central) Brighton City Schools

Jeff Francom Region 3 (Northland) Crane School of Music SUNY-Potsdam

Michael Lister Region 4 (Albany) College of St. Rose

Jason Thoms Region 5 (South-Westchester) Concordia College Mary Clementi Region 6 (Metropolitan) Highbridge Voices

Craig Knapp Region 7 (Long Island) Joseph Edgar School

Women’s Choir Repertoire, Philip Silvey Breakthrough (2013) Stephen Hatfield Boosey HL 48022958 SSAA a cappella https://soundcloud.com/cantabile-youth-singers-1/breakthrough-stephen-hatfield Hatfield describes this as a “chant towards maintaining a sense of identity as music-makers.” The swung, bluesy, upbeat, layered approach captures the ideals of contemporary folk music (music of the people and for the people) in Hatfield’s characteristic style. Sista (2014) Rory Magill Boosey & Hawkes, 48023061 Four-part Treble Voices http://www.halleonard.com/viewcloserlook.do?refer=item_detail.jsp%3Fitemid%3D48023061&id=48023061& This piece emulates traditional Ghanaian music through polyrhythms and the use of simple major pentatonic scale unfolding as call and response. The text, in both English and Ewe (one of numerous languages in Ghana), portrays the experience of a family losing a child. Realm of Possibility (2014) Philip E. Silvey Carl Fischer, CM9334 SSA Voices & Piano (Optional horn) http://www.carlfischer.com/partbypart/treble2014.htm Inspired by Emily Dickinson’s poem “I dwell in possibility,” the forward-driving 12/8 meter and bold harmonies help produce a stirring anthem for young women who aspire to something more than what has been historically expected of them. I Shall Keep Singing (2014) Philip E. Silvey Carl Fischer, CM9340 SSA Voices A Cappella http://www.carlfischer.com/partbypart/treble2014.htm This Emily Dickinson poem serves as a declaration of her commitment to continue to compose poetry. In an effort to capture the essence of Dickinson’s poetic voice and persona, the musical setting is simple, transparent and steady. El Rio (2012) Peruvian folk song arranged by Diana V. Sáez Roger Dean Publishing Co., 15/2837R SA and piano El Monigote, (2007) Venezuelan folk song arranged by Diana V. Sáez Roger Dean Publishing Co., 15/2317R SSAA a cappella Two South American folk songs, both accessible arrangements that preserve the unique attributes of the original tunes (Dr. Sáez points out that what is often broadly labeled as Latin American music is really drawn from a diverse array of styles, depending on the country and region of origin). Ad Amore (2011) Lee R. Kesselman Boosey 979-0-051-48114-9 SSAA a cappella and bells The shimmering sonorities at the outset of this work make it a good choice to open a concert. With an Italian text taken from Dante’s Divine Comedy, the music poses some close harmony challenges, but is short enough to allow the time for singers to clarify and master these, ideally through the use of solfège.

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Bel Canto (2013) Gary Fry Santa Barbara Music Publishing, SBMP 1125 SSA with piano or bell choir http://www.sbmp.com/SR2.php?CatalogNumber=1125 Joyous and buoyant, this work is a tribute to the transformative powers of choral singing with text compiled from comments made by young singers themselves. The meter shifts between 5/8 and 6/8, but the sung figures are text-based and intuitive. 3 Nightsongs (2005) Joshua Shank Santa Barbara Music Publishing, SBMP 598 SSAA piano http://www.sbmp.com/SR2.php?CatalogNumber=598 Three short mood pieces make use of colorful tone clusters that are set up to be accessible. The fact that he poet was between the ages of 5-7 when she wrote these poems will be of interest to the singers and to the audience.

Male Choir Repertoire, Jared Berry berry.jared@gmail.com Joshua Fit de Battle of Jericho arr. Howard Helvey TTBB medium

• Repetitive theme with added harmonies for each reprise of the chorus • Four hand piano • Light syncopated rhythms in the verses • Great dynamic contrast with each entrance of the choir

Der Herr Segne Euch from Wedding Cantata BWV 196 – “May God Smile Upon You” J. S. Bach / arr. Talley TB medium

• Basic imitation between two parts • Little German text • Both parts sit in the middle voice register

Bonse Aba arr. Andrew Fischer TTBB easy

• A cappella piece featuring a soloist • Repetitive text and harmonies • Step-wise vocal lines in choral parts

Regnum Mundi Jacob Handl / ed. Crowell TTBB medium-difficult

• Great piece to build intonation in opening homophonic section • Polyphonic middle section • Straight forward rhythms • Sensible vocal lines for singers

Brothers, Sing On! Edvard Grieg / ed. McKinney TTBB medium

• Three verses with new text, repeated harmonies • Unison arpeggio at the start of each verse, leading to step wise motion

Small chromatic passages for most voice parts

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Vocal Jazz Repertoire James Ludwig, jamesludwig32@gmail.com Carol of the Bells Leontovych/Wilhousky, arr. Rich Manners UNC Jazz Press – VJ745 SATB a cappella Difficulty: Medium Chosen because: 1. Performing a recognizable melody with a swung rhythm helps reveal to inexperienced musicians the

difference between straight and swung eighth notes. 2. Creative arrangement of two popular carols (arrangement also includes a verse of Silver Bells) allows for

more unfamiliar repertoire to fill out the program. 3. Opportunities for each voice part to sing melodic lines. 4. An ideal piece to introduce at the beginning of the year: some sections can be learned in only one

rehearsal and others require repeated practice to perfect tuning of harmonies.

Musical/vocal content highlights 1. Variety of dynamics and articulations. 2. Natural use of changing time signature in the introduction. 3. Manageable ranges for all voice parts. 4. Satisfying re-harmonization of familiar melodies.

Skylark Mercer/Carmichael, arr. Teena Chinn Alfred Archive Edition 00-WBCH9313 SATB a cappella Difficulty: Medium Chosen because: 1. Excellent introduction to jazz choral singing in a ballad style. 2. Text is full of romantic imagery without being contrived or dated. 3. Piece allows for many different phrasing possibilities, requiring singers to make artistic choices to create a

communicative performance.

Musical/vocal content highlights 1. Opportunity to practice subtle dynamic changes. 2. Background voices supporting a melody line. 3. Quarter note triplets at a slow tempo. 4. Rich harmonies arrived at through excellent voice leading (often from unison or octaves). 5. Returning to unison and octaves from thicker textures.

All of Me Simons & Marks, arr. Steve Zegree Shawnee Press – 35027116 SATB+ piano Difficulty: Medium/Easy Chosen because: 1. This is a classic standard that has been recorded countless times, giving students a chance to study jazz

the traditional way, through repeated listening to classic recordings. 2. Rather than “dumbing” down the music for newer jazz vocalists, Zegree creates a simple arrangement

solidly based in the Kansas City tradition. 3. Accompaniment easily adaptable to adding bass, drums, or other instruments. 4. The composed scat section is excellent and a helpful first step for new improvisers.

Musical/vocal content highlights 1. Evocative of a Count Basie-style big band arrangement. 2. All parts sing melody, background “horn” lines, and a composed scat solo. 3. Call and response between upper and lower parts. 4. Includes unison, octave, two-part, and four-part textures.

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Steppin’ Out With My Baby Irving Berlin, arr. Mac Huff Hal Leonard Corporation – 08552000 3-part mixed with piano Difficulty: Easy Chosen because: 1. All voice parts have at least one phrase of the melody. 2. Text about romantic love without being too “mushy” for middle school singers. 3. Accompaniment easily adaptable to adding bass, drums, or other instruments. 4. Vocal improvisation can be easily added to a performance during piano interludes and the simple,

recognizable chord progression in the “A” section is excellent for teaching beginning improvisers. Musical/vocal content highlights 1. Standard minor chord progression with modulation to parallel major in the bridge. 2. Men’s part easily adaptable for basses with octave displacement. 3. Includes both unison octave, two-part, and three-part singing. 4. Part-singing arrived at in a variety of ways (from true unison, octave unison, and directly from accompanied

interlude).

Softly, As In a Morning Sunrise Hammerstein/Romberg, arr. Paris Rutherford Hal Leonard – 08748044 SATB with some divisi, piano accompaniment; parts available online for guitar, bass, and drums. Difficulty: Hard Chosen because: 1. Contemporary arrangement of a classic standard that has been recorded by countless jazz masters,

providing opportunities for outside listening. 2. Excellent composed scat solo for vocal improvisers to study. 3. High quality parts available for backing instruments. 4. Rutherford’s arrangements of standards are always a reliable choice for advanced jazz choirs. His music is

always fresh and challenging and provides ample opportunities for improvisation. Musical/vocal content highlights 1. A wide variety of voicing-types including tertian and quartal harmonies all written with excellent voice-

leading. 2. Divisi for upper and lower voices. 3. Full chorus delivers the main lyric in unison and harmony, provides background for a soloist, and sings a

vocalise with new lyrics.

Multi-cultural and Ethnic Perspectives Repertoire for various choirs

Derrick Fox, Ithaca College Five Hebrew Love Songs, Eric Whitacre Walton Music (Hal Leonard) HL8501466/ WJMS1038 Voicings: SATB chorus and string quartet; SATB, violin, and piano; SA and string quartet; SA, violin, and piano Duration: ca. 12’ http://ericwhitacre.com/music-catalog/satb-choral/five-hebrew-love-songs Whitacre received his M.M. in composition from Juilliard, studying with John Corigliano and David Diamond and has received awards from ASCAP, the Barlow International Foundation, and the American Composers Forum Movements I and III, Temuná (A Picture) and Lárov (Mostly), respectively, are the slowest in the cycle. The second movement, Kalá kallá (Light Bride), alternates a lyrical slow section with a fast, rhythmic section. Movements IV and V, Éyze shéleg (What Snow!) and Rakút (Tenderness), respectively, display a moderate tempo.

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El V ito arranged by Joni Jensen Walton Music (Hal Leonard) HL 08501798 SSAA, accompanied by piano, handclaps, and sung in Spanish, with English translation written in the music. Duration: ca 3:57”, http://www.waltonmusic.com/Sound16/ElVito/ Dr. Joni Jensen is the Coordinator of Choral Activities and Associate Professor of Voice at Texas Woman’s University (Denton, TX) where she conducts three choirs and teaches voice, conducting, vocal pedagogy and graduate art song literature. The vito is a song and dance (St. Vitus is the patron saint of dance) from Andalusia. Its character is fierce and flashy...the piano takes on the role of the guitar accompaniment and the singers participate in the percussion by clapping (although this is quite simplified from true flamenco clapping) – Joni Jenson Pedagogical features: Opportunity to feature a soloist; duple versus triple, enhancing tone; improve execution of rhythm at various tempi Luk Luk Lumbu arranged by Budi Susanto Yohanes Earthsongs S-230 SSAATTBB, a cappella and sung in the Osing language Duration: ca 3:07”, http://earthsongschoralmusic.com/media/pdf/sb.luk.pdf https://www.youtube.com/watch?v=5qlJ76kJfBM Budi’s time is primarily spent teaching voice and composing choral music for Indonesian choirs. Luk Luk Lumbu is typically sung at celebrations and parties in the Banyuwangi region of southeastern Java. Listeners dance as a singer and "kendang kempul" perform the music. A "kendang kempul" is an ensemble that plays a unique fusion of Banyuwangi gamelan music on Western musical instruments. Pedagogical features: Feature a soprano soloist; exploration of various vocal colors and tone; possible incorporation of dance. Bawo Thixo Somandla arranged by Sidumo Nyamezele Earthsongs, Catalog ID: S-312 TTBB, a cappella and sung in the Xhosa language. Duration: ca 2:35” http://earthsongschoralmusic.com/media/pdf/ns.pdf YouTube clip: https://www.youtube.com/watch?v=8WNxttKd0dc (arranger)

Nyamazele directed Gracioso Sonora Choir from 1999, which he founded. Between 2004 and 2007 he was chosen as one of the members of Asian Youth Choir, which was held in Japan and Indonesia. He was appointed to St John’s College four years ago and has developed a wide repertoire of African music for the College and Preparatory School choirs, as well as for the entire school. He has conducted the World Youth Choir in 2007 with a program of traditional African music whilst touring in South Africa.

This piece was a popular song of protest during the apartheid years in South Africa. Because music of this culture is rarely performed without movement, it is recommended that a slow sway with chest high and arms swinging lightly at the sides be employed in performance.

Pedagogical features: Opportunity for students to create the dance movements for this piece; extended ranges, particularly for the Bass II and Tenor I vocal lines; intonation may be an issue. Total Praise Richard Smallwood Boosey/HL 48020979 Duration: ca 2:40”, Voicing:. SATB or SSA; Instruments can be added i.e. drum set, electric bass and tambourine. http://www.halleonard.com/viewcloserlook.do?id=48020979&lid=0&keywords=total%20Praise&searchcategory=00&subsiteid=5& YouTube clip: https://www.youtube.com/watch?v=0J8esY7SPPM Richard graduated cum laude from renowned Howard University with degrees in both vocal performance and piano. He was a member of the first gospel group on Howard's campus, The Celestials. They were also the first gospel group to appear at Switzerland's Montreux Jazz Festival. In addition, Richard was one of the founding members of Howard's first gospel choir, and The Richard Smallwood Singers were the first black gospel group to go to the Soviet Union. This uplifting anthem is rooted in the black gospel tradition championed by Thomas Dorsey in the 1930s. Pedagogical features: Exploration of various vocal tones and colors appropriate for singing the black gospel style; opportunities for phrasing and improve (particularly by the instrumentalist) This piece could be used to open discussions about African American music traditions and allow students to share their experiences.

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Children’s Choir Repertoire, Elizabeth Woodhouse

Beginner A Trumpet Song, Henry Purcell Oxford University Press, No. 54 2-part or unison This buoyant and sprightly melody is great for beginner singers. The dotted rhythms and interesting melodic shape are two reasons why this piece is a classic for younger choristers. El Pequeno Nino, Columbian Carol, arr. Ruth Dwyer Plymouth Music, HL-512 SA This piece is great for introducing 2-part singing: in one section a lovely descant and in the next, parallel 3rds. The sections alternate between legato fluid phrases and sprightly “fa la la’s”. Christmas Lullaby, Malcolm Dalglish Colla Voce Music, MD-500 2-pt The simple, yet heartbreakingly beautiful melody of Dalglish’s piece for treble voices and hammer dulcimer brings me back to this piece time and time again. This piece is accessible for advanced beginners while providing a number of teachable moments including compound meter, legato phrasing, and independent melodic lines. Intermediate Mi Ze Hidlik, arr. Valerie Shields Mark Foster, YS 504 SSA The setting of the Jewish Folk Song “Mi Ze Hidlik” is a challenging, though accessible introduction to 3-part singing for intermediate singers. The sections range from unison melodies to 2-part imitative “la’s” to rich 3-part harmonies that will strengthen the choristers’ vocal independence. Calypso Carol, Kirby Shaw Hal Leonard 08742021 SSA Syncopated rhythms and tonal 3-part singing are two great reasons to introduce this piece to your intermediate chorus this fall. The singers will enjoy the upbeat groove and the challenging 3-part sections are repeated throughout the piece. Lullaby from the Cantata ‘This Day’ (Hodie), Ralph Vaughan Williams SSA, Oxford University Press, No. 44.603 “Lullaby” is a beautiful piece for young singers that can be performed as SA with soloist or SSA. Lyrical and moving, the piece remains a “go to” for intermediate treble voices.

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Middle School/Junior High School Repertoire, Don Schuessler And This Shall Be For Music Mary Lynn Lightfoot Heritage Music Press Three-Part Mixed/ Two-Part A beautiful flowing setting of Robert Lewis Stevenson’s text, there are rich choral harmonies matched by a beautiful accompaniment. Awaken the Music Greg Gilpin Shawnee Press S ATB/SAB This tune is great for a choral finale or graduation ceremony! The rhythmic 6/8 music drives powerful lyrics "go tell the world who you are!" Black Bird arr. Mark Brymer Hal Leonard Corporation SATB/SAB A great "Pop/Oldies" arrangement that highlights The Beatles classic. There are some great harmonies that will give your students a taste of very approachable vocal jazz. Christmas on Broadway (Medley) arr. John Higgins Hal Leonard SATB/SAB/SAA This medley is chalk full of wonderful holiday tunes from famous Broadway shows. The harmonies are more challenging, but this piece is worth the effort! Come in from the Firefly Darkness Amy Feldman Bernon Heritage Music Press SATB/SAB Another great piece with a nice flowing melody line that is reminiscent of a folk tune. This would be a perfect spring concert selection with lovely voice pairings that will highlight your ensemble! I Am the River Amy Feldman Bernon Heritage Music Press SATB/ 3-part Mixed This original text setting wonderfully depicts the river as a metaphor for life. There is a great use of vocal layering and a flute and cello accompaniment compliments the gorgeous musical lines. A Joyful Song Mary Lynn Lightfoot SAB/ Two-Part A great opportunity to bring in some Latin phrases coupled with English text. The pulsing eighth note rhythm makes this tune perfect for a concert closer or opener! Non Nobis Domine Victor C. Johnson Heritage Music Press 3-Part Mixed/Two-Part This was a great piece to start off the year with a great Male vocal line that falls in the meat of their range! This is another example of introducing Latin to your singers. This is a MUST! Riversong Andy Beck Alfred Music Publishing SATB/SAB/Two-Part A wonderful original folk tune that highlights a flowing melody line. The piano accompaniment adds to the text painting created, "run to the ocean, river run me to the sea...set my spirit free!" Sing for Joy! G.F. Handel/ arr. Linda Spevacek Heritage Music Press SATB/ Three-Part Mixed/ Two-Part A great arrangement for approaching the classical choral style. There is a lovely duet that pairs well with Handel's accompaniment. A perfect concert opener! Solfege Suite Ken Berg Pavane Publishing SAB/ Two-Part This trilogy is perfect for introducing your singers to Solfege in a creative way! You can incorporate the Orff Hand Signs for an added element/challenge! Check these out!

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High School Repertoire, Norman Zogaib Evening Prayer Ola Gjeilo Walton Music SATB, Piano and Soprano Sax https://soundcloud.com/olagjeilo/evening-prayer Beautiful SATB setting that includes soprano sax solo (which is a written out improvisation). Chord changes included for those who would like to experiment with jazz improvisation. Soprano sax part is also written out for other wind instruments if there is no soprano sax available. Balleilakka A.R. Rahman/Ethan Sperry Earthsongs SATB-Acapella/Percussion http://earthsongschoralmusic.com/index.php?main_page=product_sheet_music_info&products_id=2772 With a rhythmic and challenging Hindi text, Ethan Sperry has arranged this work by Rahman (Jai Ho) for mixed chorus and percussion. Solos for tenor or soprano voice add to the excitement of the arrangement. I See the Heaven's Glories Shine Andrea Ramsey Santa Barbara Music Publishing SATB and also for TTBB/SSA http://www.sbmp.com/SR2.php?CatalogNumber=1040 Dramatic, difficult piano accompaniment paired with beautifully voice led choral parts make the mixed choir version of this work (also SSA) an excellent choice for more advanced HS choirs. Wonderful concert opener. Ballade to the Moon Daniel Elder GIA Publishing SATB/Piano http://www.giamusic.com/search_details.cfm?title_id=19538 Emerging composer Daniel Elder has set an original text of his own to beautifully evocative choral writing. The harmonic language is mostly diatonic with a wonderful harmonic pallet that will instantly gain the approval of singers of all ages. Gaudate Michael Englehardt GIA Publishing SATB (also for TTBB and SSAA) a capella/Percussion http://www.giamusic.com/search_details.cfm?title_id=23890 Now available for mixed voices, Englehardt’s setting of plainchant quickly deviates in to an exciting modern, rhythmic composition that still clings to its medieval roots. Addition of percussion is a must for this highly charged composition. Bloom Philip Silvey Santa Barbara Music Publishing SATB (also for SSA)/Piano http://www.sbmp.com/SR2.php?CatalogNumber=634 Philip Silvey has set an original text with lyrical vocal writing, full bodied harmonies and a challenging yet very pianistic accompaniment, suitable for moderately advanced to advanced ensembles. Laetatus Sum Michael Haydn Theodore Presser Pub. SATB/Piano

This old favorite is wonderful introduction to early classical articulation and style. The accompaniment is challenging and is also available for small string ensemble with continuo.

 

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NY-­‐ACDA    FALL  CONFERENCE  

Voices of New York At  VASSAR  COLLEGE  

October  31-­‐November-­‐1,  2014    

Jeffrey  Douma  of  Yale  University  

David  Fryling  and  eVoco,  voice  collective  

Christine  Howlett,  Vassar  College  Choirs  Highbridge  Voices  Chamber  Choir  

Mary  Clementi,  conductor  

St.  John  the  Baptist  Diocesan  High  School  Bel  Canto  Chorale  Jared  Berry,  conductor  

Information  and  Reading  sessions  by  Jason  Thoms,  Craig  Knapp,  Elizabeth  Woodhouse,  

Christine  Howlett  and  Penelope  Cruz  

 

Conducting  master  classes  for  collegiate  members/early-­‐in  career  colleagues  and  sessions  on  vocal  and  rehearsal  

techniques  from  our  headliners.  

 

Come  spend  some  time  making  music  with  and  getting  to  know  your  NY  colleagues!  

Registration  available  online  at  nyacda.org  after  September  1st.