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One from the Folder: Repertoire Thoughts for Women’s/Treble Choirs

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#59: Friday, March 6, 2020

“The Bike Let Loose” by Edie Hill
Poetry by Serena Fusek
SSAA, piano

The composer’s website calls this song a “bright, athletic piece,” which “uses rapid notes and soaring melodic lines to create a fantastical ride for both singer and listener.” I couldn’t agree more! For choirs hailing from the Midwest, or anyone who wants to conjure up that small town atmosphere, this is definitely a selection to review.

The work is always in motion, imitating the bike mentioned in the title. The poem depicts small-town American Midwest – full of endless cornfields and few stoplights. You can feel the wind in your hair, and the cadence of the bike’s wheel beneath your feet.

I’m originally from flat-land Illinois cornfields, so this song absolutely paints a picture I know well. Between Serena’s poetry and Edie’s energetic composition, this is an enthusiastic, humorous addition to any program – especially for an ensemble that can relate to, or is trying to conjure up, the Midwestern small-town setting.

Vocal lines are generally rhythmically similar and homophonic, with only occasional imitative or polyphonic measures. Often, the voicing is S1/S2 vs A1/A2. There may be some harmony involved, but the rhythmic complexity is usually limited to two ideas. Instances of four separate entrances are few and far between. Ranges are limited – no more than a 10th, so most everything falls into a comfortable tessiture.

In terms of teaching the tonality of the piece, there are a number of altered chords and non-diatonic progressions, with occasional chromaticism. It would not be a forgiving selection to solfege! But, many phrases share similar harmonic motives, so the unfamiliar patterns can soon become familiar to the ensemble. Some vocal lines flow freely in stepwise or close motion, while other lines are somewhat disjunct in places. Again though, the similar motivic patterns can ease the difficulty of learning.

Regarding rhythm, there are frequent meter changes – 3/4, 4/4, 5/4, 6/4 – and numerous tempo changes. Quarter note stays constant, but the shift between beats-per-measure keeps you on your toes. The piece slowly accelerates from beginning to end, but also has some abruptly slower tempi to accentuate certain portions of the text. Syncopations are common, along with other negation of strong beats by use of tied notes and purposefully placed accents.

Between meter and tempo changes, and syncopations, performers must have exceptional rhythmic accuracy. Diction itself is not an issue, as the text is set very clearly and syllabically—but accuracy of rhythms is especially foundational for clarity of text in performance.

Dynamics, accents, and other expression changes occur nearly every few measures. Performers need to be adept at quick contrasts and always on top of upcoming changes. Your accompanist needs to be equally, if not more, skilled with respect to rhythm, meter, and negation of strong beats. Good dexterity needed for the constant eighth-note patterns, especially as the tempo increases near the end.

I recently presented an interest session at OMEA conference in Ohio, focusing on Fierce/Fast/Feisty repertoire for women’s and treble choirs. This piece fits the bill for that theme, as it is constantly in motion, with a side of humor too! It’s a challenging piece but also a “fun” piece – a project your singers will enjoy tackling. Long live the cornfields! 🙂

Title:The Bike Let Loose
Composer:Edie Hill
ediehill.com
Date of Composition:2004
Author:Serena Fusek
Subject(s), Genre:Small-town life, Midwest, bikes, corn, nature, humor
Language:English
Listed Voicing:SSAA
Ranges:S1: D4-F♯5
S2: D4-F5
A1: C4-C5
A2: A3-C5
Accompaniment:Piano
Duration:~3:45
Tempo:QN=120, Exuberantly
Commission:This work was co-commissioned as a special project in the year 2004 by the American Choral Directors Association of Minnesota and the Minnesota Music Educators Association.
Publisher:Hummingbird Press ediehill.com
Further descriptions and details, including program notes, audio, perusal score, and purchasing: https://www.ediehill.com/works/bike-let-loose  

Until next time!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

Some source material for this week’s blog post was taken from my doctoral dissertation, “By Women, For Women: Choral Works for Women’s Voices Composed and Texted by Women.” https://tinyurl.com/ydeyuyk8

One from the Folder: Repertoire Thoughts for Women’s/Treble Choirs

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#58: Friday, February 7, 2020
“Fierce, Feisty, and Fast: Engaging and Energetic Repertoire for Women’s Treble Choirs”
(OMEA Conference Materials)

At the end of January, I was a guest presenter at the Ohio Music Educators Association conference, in Cincinnati. In this blog post, you’ll find the links to my presentation handouts and notes. Enjoy!

The handout for my session included a number of resources:

• Notes on the process of searching for repertoire
• Repertoire List I – Feisty, Fierce, Fast – 53 titles, with brief notes on each
• Repertoire List II – 27 additional selections to consider – with brief notes on each
• Repertoire List III – 57 more selections to consider – with only titles, no notes
• Current list of ACDA ChoralNet Repertoire blogs, by the presenter
• Detailed Notes on 3 Reading Session selections

Rep List II and III are primarily material from my ACDA conference presentation in 2019 (which was also posted here), while Rep List I was put together newly for this session.

The three reading sessions selections were:
–The Road Not Taken (Michael Bussewitz-Quarm, MBQ Studios)
–She Tore A Map (Timothy Takach, Graphite Publishing)
–The Bike Let Loose (Edie Hill, Hummingbird Press)

The first two selections, by Michael and Tim, have already been the subject of past blog posts. Edie’s work will be the focus of March’s blog. Additionally, the OMEA handout includes a cover page for each of the three, with checklists about included skills, terms, rhythms, solfege, compositional styles, and other pedagogical notes. For copyright purposes, I am not posting the sheet music here from the three reading sessions selections, but I encourage you to visit each composer’s online presence for scores and recordings.

Session Handout:
https://1drv.ms/b/s!AvuXALZxsMj793ToOESFkOb1He_U?e=hQMYg3

Blank “Checklist” Cover page (Word)
https://1drv.ms/w/s!AvuXALZxsMj790S1x_DIqqss245X?e=hebFOd

————

Until next time!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio: https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

One from the Folder: Repertoire Thoughts for Women’s/Treble Choirs

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#57: Friday, December 6, 2019

Christmas and Holiday concert and caroling ideas, for SA, SSA, and easier SSAA

We all have our Christmas and holiday rep solidified for this year already, as our concerts are likely in the next week or two. But, while its fresh in my mind, this seemed the perfect time to put a few titles together, for when holiday concert planning is upon us next year. Generally speaking, these are possibilities for SA, SSA, and easier SSAA – selections well-suited to a larger intermediate ensemble, or a smaller advanced ensemble. This is by no means a comprehensive list of options! But I hope this gives you a place to start from, when thinking about next year’s Christmastime performances.

Some of the selections I have mentioned in full blog posts previously, and have linked below.
Best wishes in this busy concert season!

Alleluia
Donald Kendrick
Santa Barbara Music Publishing
SSA, a cappella

Not Christmas- or holiday-specific, but could be a good multi-use piece. Homophonic three-part. Comfortable ranges. All diatonic, can be taught/learned on solfege. Rhythms primarily quarter/eighth, with some borrowed triplets. Ample opportunity for shaping.

Alleluia Rejoice!
Arr. J. E. Hughes
Santa Barbara Music Publishing
SA, a cappella, with some handbells

Quick read. An excellent last minute addition, as it is fast to put together. Two parts – one singing Hodie Christus Natus est and one singing O Come O Come Emmanuel. Big presentational possibilities. One choir in front, one in back; or processional; or surrounding the audience. Great opportunity to explore your space. Handbells are used sparingly for pitch support and effect – not a separate line of music. Can be played by members of the choir.

https://choralnet.org/2018/07/one-from-the-folder-weekly-repertoire-thoughts-for-womens-treble-choirs-18/

Come Adore the Infant Holy
Arr. Nancy Grundahl
Alliance
SSA, a cappella

This carol arrangement has a relatively simple harmonic structure, but is a beautiful and warm. A lovely addition to a candlelight concert or service.

Gaudete!
Michael Engelhardt
Walton
SSA, percussion

This one is definitely not quiet! High energy. Driving. Needs strong percussionists, clean rhythm, and crisp diction. Perfect up-tempo option to shake up a concert!

Hodie Christus Natus Est
Agneta Skold
Walton
SSAA, a cappella

This one is SSAA, but infinitely solfege-able. And you can lean heavily on a soloist for the opening. 4 parts, but homophonic. Can likely be put together quickly depending on singers’ reading level. Some chant sections, which provide a great opportunity to work on text-focused stress and phrasing, instead of beat-focused.

https://choralnet.org/2018/08/one-from-the-folder-weekly-repertoire-thoughts-for-womens-treble-choirs-24/

In dulci Jubilo
arr. Vicki Courtney
Carl Fisher
SSA (also as SA)

Text setting interweaves Latin and English text. 6/8, homophonic 3-part, plus triangle. Nearly all diatonic, can be learned on solfege. Motivic melodic and rhythmic patterns. Great option for a larger intermediate ensemble that wants to branch out into 3-parts, but isn’t ready yet for polyphony.

Le Sommeil de l’Enfant Jésus
Ron Jeffers
earthsongs
SSA, a cappella

French carol. Beautiful light setting in minor – good opportunity for introducing or reinforcing minor-key solfege. Easy rhythms. Strophic, so it is quick to learn. Solo option in the middle makes it even quicker to learn. Could be a lovely trio or small group option.

https://choralnet.org/2018/07/one-from-the-folder-weekly-repertoire-thoughts-for-womens-treble-choirs-19/

“Magnificat” from The Nativity According to St Luke
Thompson, arr Seitz
ECS
SSA, organ

The organ part is harmonically supportive, but not overbearing to a smaller ensemble. The middle section is a solo, which cuts down on material to learn in rehearsal. Lovely chance to feature a strong soprano soloist.

Riu Riu Chiu
Arr. Erica Phare-Bergh
Cypress
SA, recorder, hand drum

Light, easy version of the familiar tune. Only 2-part voice, so a nice option for a less-experienced group. Recorder (or flute or oboe) and hand drum add variety and energy.

https://choralnet.org/2018/04/one-from-the-folder-weekly-repertoire-thoughts-for-womens-treble-choirs-6/

 

The Snow
Elgar
SSA, piano and 2 violins

Not specifically sacred or Christmas, but definitely winter. Long beautiful lush lines. Need two violinists with good intonation and rhythm skills, but could definitely be possible with strong student performers.

The next four are from Paul Carey’s “Carols for Women’s Choirs” book – if you aren’t familiar with this book, grab a copy!  It is a veritable fount of Christmas repertoire for SSA, as well as more challenging SSAA. Plenty more options in his book besides these four, but these are some quality options that are less difficult:

Personent Hodie
SSA, with 2 flutes

Quelle cette est odeur agréable?
SSA, a cappella

Es ist ein Ros entsprungen
SSA, w cello

The angel Gabriel from Heaven came
SA (with some div), 2 flutes

Holiday Caroling Sets – all a cappella – SSA and SSAA

A Caroling We Go – SSA, arr. Linda Spevacek. Heritage Music Press.

10 Carols, all with added endings and/or beginnings. Super-quick to learn, almost sight-readable, for advanced groups. Or a good first foray into a cappella caroling, for an intermediate ensemble.

Joy! A Carol Collection – SSA, arr. Jay Althouse. Alfred.

20 Christmas carols. Fairly traditional voicings, with some chromatics or added harmonies. Good option for your group that wants to try something more difficult than the Spevacek above, but isn’t yet ready for the Rouse or Weir below.

 

Three Jazzy Bell Carols – SSAA, arr. Jay Rouse. Shawnee.

As advertised, all are jazzy settings of familiar tunes. Ding Dong Merrily on High – multiple key changes. Jingle Bells – slow and stylized. Jazzy Bells – scat version of Carol of the Bells. All tricky, but loved by singers and audience alike.

A Holiday Jazz Trio – SSAA, arr. Michelle Weir. Alfred.

Let It Snow, I’ll Be Home for Christmas, and Jingle Bell Rock. Not a quick read. 4 part tight jazz harmonies, with some tricky spots, especially for S2 and A1 internal chromatics. But well worth the effort. Perfect for your advanced group, or really excellent quartets/octets.

 

A Christmas Jazz Trio – SSAA, arr. Michelle Weir. Alfred.

Santa Claus is Comin’ to Town, O Christmas Tree, and Winter Wonderland. Not a quick read. 4 part tight jazz harmonies, with some tricky spots, especially for S2 and A1 internal chromatics. But well worth the effort. Perfect for your advanced group, or really excellent quartets/octets.

————

Until next time!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio: https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

One from the Folder: Repertoire Thoughts for Women’s/Treble Choirs

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by Guest Contributor Dr. Brandon Williams

#56: Friday, November 1, 2019
“Imagination” by Colin Britt
Text by Phillis Wheatley
SSAA, violin, piano

My position as a professor of choral music education includes conducting the Rutgers Voorhees Choir. This is an auditioned women’s ensemble that primarily consists of non-music majors. The choir is also an official student organization with a mission to champion the work of female composers and poets. In preparation for our April 2019 Carnegie Hall debut that shared a program featuring the United States premiere of a modern choral/orchestral work with text by Emily Brontë, I decided that our set would highlight text written by female poets. The whole program was titled “In Her Words.” Colin Britt is a well-established composer, conductor-teacher, Rutgers alumnus, and friend who I commissioned to choose a text and write a piece that we would premiere on that program.

Phillis Wheatley (c.1753-1784) was a slave owned by John Wheatley, a wealthy Boston businessman. The family fostered her education, a practice that was extremely rare for that time, and encouraged her writing pursuits. Wheatley’s book, Poems on Subjects Religious and Moral, was printed in 1773 making her the first African American woman (while still a slave) to have a book published in America. She was emancipated shortly thereafter. Phillis Wheatley’s legacy lives on in many ways, most notably in the names of buildings and organizations such as Phillis Wheatley High School in Houston, Texas and the Phyllis Wheatley YWCA in Washington, D.C and St. Louis, MO (note the alternate spelling of her name). “On Imagination” is a seven-stanza poem from Wheatley’s book, and the following stanza was extracted for the commission:

Imagination! who can sing thy force?
Or who describe the swiftness of thy course?
Soaring through air to find the bright abode,
Th’ empyreal palace of the thund’ring God,
We on thy pinions can surpass the wind,
And leave the rolling universe behind:
From star to star the mental optics rove,
Measure the skies, and range the realms above.
There in one view we grasp the mighty whole,
Or with new worlds amaze th’ unbounded soul.

Melody and harmony are the salient elements that make this piece stand out. Britt brilliantly employs the melodic figure B-F#-E-A#-G# in all of the performing forces. The tuneful essence of this figure permeates the primarily conjunct and soaring vocal lines and leads to dissonant harmonies which are approached in a very accessible manner. The vocal lines mainly function in pairs (SS and AA) providing for easy sectional rehearsal if necessary.

It is important to note a few potentially difficult elements. 1) The piano 1accompaniment has some challenging passages that may require special attention. 2) While the alto parts in many popular pieces for women’s choirs sit below or at the bottom of the staff, the writing in “Imagination” requires altos to access their upper register. The alto tessitura is not high, but it covers a wide range. 3) There are brief moments when the soprano two part is lower than one or both of the alto parts. That voice crossing may be confusing for some sopranos who rely heavily on their ears and are used to only singing the higher pitches.

“Imagination” is an accessible work that is excellent for ensembles of varying sizes and for regular concerts or honor choir festivals. Consider programming this piece with your ensemble because it is well crafted, expressive, and adds a historically marginalized poet to the vast body of women’s choir repertoire.

Title:Imagination
Composer:Colin Britt
https://colinbritt.com
Date of Composition:March 3, 2019
Text Source:On Imagination
https://www.bartleby.com/150/19.html
Author:Phillis Wheatley
Date of Text:1773
Subject(s), Genre:Imagination, Freedom, Bondage, Universe
Language:English
Listed Voicing:SSAA
Voicing Details:Nineteen measures of SA and nine measures of SSA
Ranges:S1: B3-G#5
S2: B3-F#5
A1: B3-E5
A2: G3-D#5
Accompaniment:Violin, Piano
Duration:~ 4:30
Tempo:DQN=56
Commissioning Ensemble:Rutgers Voorhees Choir
Publisher:Colin Britt Publications
For further descriptions and details, including program notes, audio, perusal score, and purchasing: https://colinbritt.com

-Brandon Williams

Dr. Brandon Williams is an Associate Professor of Choral Music and Choral Music Education at Rutgers, The State University of New Jersey.
Email:
Bio:     https://www.masongross.rutgers.edu/music/faculty/brandon-williams         

For a spreadsheet of One from the Folder blog posts and their repertoire, click here.

One from the Folder: Repertoire Thoughts for Women’s/Treble Choirs

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#55: Friday, October 4, 2019

“KidSong” by Stephen Caldwell
SSA, piano

You may possibly look at the title for this piece, and assume it’s an elementary or children’s choir song – too childish for your adult women’s chorus, or your high school/college treble choir. Incorrect! My college students are absolutely in love with the piece, and cannot wait to rehearse it each and every time. The energy and drive of the mixed meter, along with the nostalgia of the children’s rhymes, make this an exciting, engaging piece for any women’s/treble choir, no matter their age.

Originally premiered by University of Arkansas Women’s Chorus, “KidSong” is a joyous cacophony of familiar nursery rhymes. In the composer’s comments, inside front cover of the piece, he mentions that “the inspiration came after watching my young son play simultaneously with multiple toys, all of which made sounds and played music, creating a little electronic symphony of kid’s songs.” I can picture that exact scenario – in fact I can imagine exactly which of my own son’s toys would be part of the musical celebration.

The first thing you’ll notice, when you open the octavo, is the tempo marking: “As Fast As Possible.” (Ha!) And next, you’ll notice the meter signatures, all 964 of them. (I exaggerate, but not by much.) The song is a 2 minute and 45 second tour through 7/8, 3/4, 9/8, 4/4, 2/4, 12/8, and 10/8. (And just to be pesky , 7/8 is both 2+2+3 and 3+2+2. There’s even a 9/8 in 3+2+2+2.) If you want a great selection with which to teach asymmetrical and mixed meter, look no further.

Rhythm & meter (and tempo) are definitely a primary focus for this song. At the end of the piece, there are even a few claps, and stomp-claps. So not only is it fast and meter driven, it’s also physical.

The medley includes six songs: BINGO, London Bridge, Twinkle Twinkle, Wheels on the Bus, Itsy Bitsy Spider, and Ring Around the Rosy. The opening rendition of Bingo, while metrically unique, is straightforward unison or homophony. It may be crazy asymmetrical mixed meter, but everyone sings the same words at the same time. Not for long though!

Unlike a typical arrangement or medley, with nice neat tonal and stylistic transitions from song to song, Caldwell moves things around a bit. After Bingo, London Bridge comes next, still in nice clean homophony. Once an entire phrase of London Bridge is finished, the material shifts to Twinkle Twinkle in S1/S2. But the altos refuse to give up London Bridge! The two songs exist simultaneously for a moment – with the sections facing off like two unruly toys vying for attention.

Next comes Are You Sleeping. All sections are singing the same song, but this time as a round in 7/8 & 12/8. Once again though, the altos can’t give up London Bridge. Eight measures into an already busy round-version of asymmetrical Are You Sleeping, altos switch back to London Bridge and the two songs are superimposed on one another. Then S1/S2 switch to Twinkle for 2 measures, then back to Sleeping. It is as if a toddler pressed all the toys’ “on” buttons at once, and everything is playing/singing at the same time.

Up to this point, all the songs have been initially presented in full phrases, even if more than one song at a time. With Itsy Bitsy Spider, even that changes. After the multi-layered approach to Sleeping/Bridge/Twinkle, Spider comes in with unison and homophony. Just as you get a nice sense of cohesion though, London Bridge comes back! This time, instead of one section overlapping another section, the entire choir shifts from one song to the next, in the middle of a phrase.

We get one complete line of London Bridge, and then the whole group shifts again, this time to a new song: The Wheels on the Bus. The piano, which has been serving as harmonic and metric support up to this point, stops playing, leaving the choir to a lovely four measure a cappella imitative sequence on the descending motive for “round and a round.” As the motive repeats higher to lower, higher to lower, through multiple entrances and choir sections, you get the sense that you are creating an aural circle, which is in motion, turning. So…the wheels go round, in a round, while creating something (aurally) round. It’s a nerdy multi-layered pun, it’s perfect. (And when an eagle-eyed student first realizes that’s what’s happening here, and shares with the class, everyone will have a really cool ‘meta’ moment, and it’s awesome!)

Ring around the Rosy makes its brief appearance at this point, only to be outdone by the swift return of Bingo. Here, true to the rhyme, the choir leaves out letters of the dog’s name, replacing them with stomp-claps. The asymmetrical nature of Caldwell’s version makes for a positively hilarious first rehearsal of this spot. My students went from “ooh fun claps” to “wait huh? what?” to raucous laughter in the span of 2 measures. It was a priceless moment in rehearsal, and a much-needed point of levity in a stressful week. Then everyone banded together, determined to figure it out on their own. They put their counting and rhythm skills to work and figured it out, making a genuine educational moment of it as well.

This selection by Stephen Caldwell was an unexpected find, and it has become an absolute favorite. Put aside any preconceived notions of singing “childish” songs with your women’s/treble choir, and go for it. you will not regret it!

Title:KidSong
Music Source:Children’s nursery rhymes
Composer:Stephen Caldwell https://fulbright.uark.edu/departments/music/faculty-and-staff/index/uid/stephenc/name/Stephen-Caldwell/
Date of Composition:2018
Text Source:Children’s nursery rhymes
Subject(s), Genre:Children, play, life, energy, joy
Language:English
Listed Voicing:SSA
Voicing Details:Three measures of harmonic divisi in the alto line, otherwise strict SSA
Ranges:S1: Bb3-F4
S2: Bb3-D4
A: A3-D4
Accompaniment:Piano
Duration:~3:00
Tempo:“As fast as possible”
Dedication:For the University of Arkansas Women’s Chorus
Publisher:Santa Barbara Music Publishing
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
https://sbmp.com/SR2.php?CatalogNumber=1542  

Until next time!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio: https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

One from the Folder: Repertoire Thoughts for Women’s/Treble Choirs

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#54: Friday, September 6, 2019

“A Pavane for the Nursery” by Steven Sametz
Text by William Jay Smith
SSAA, a cappella

I have a 16-month-old son. I will fully admit that my brain has been drawn to “children’s music” this summer, be that music for children, to children, about children, or meant to be enjoyed by children. Given that, the title of Steven Sametz’ piece, based on the title of Smith’s poem, caught my attention as I was on the lookout for repertoire.

The text for this piece is a beautiful 1954 poem by U.S. poet Laureate William Jay Smith, which speaks of unending, undying, unceasing love. While the text is frequently used at weddings, the author’s alternate title “A Pavane for the Nursery” reminds us that it is equally appropriate as a love poem from parent to child. I could absolutely see myself saying the words to my sleeping child at he lays in my arms, and, in fact, did just that this evening as I was working on this blog.

Smith’s text has been set by a host of composers and performers – from Ned Rorem to folk artist Peter Mayer, plus numerous choral settings as well. Of these, Steven Sametz’ setting really stood out to me. It has a simple tuneful melodic structure, which fits with the strophic nature of the poem. The a cappella writing is unadorned and yet still intricate enough to command interest from the singers and audience.

The song opens in a flowing G major, and stays there for the first 16 bars. If your ensemble is reading on solfege, there is one si and one te – otherwise all diatonic pitches. And the rhythms are quarter notes/eighth notes – well within the grasp of an intermediate or stronger group of readers. Ranges are compact as well – no larger than an octave and a third.

After the initial 16 measures, the key moves from G to E major, where there are some small imitative moments and a few more accidentals. Then G major returns, along with the initial harmonic and melodic material, to form a nice ABA’.

This work is a perfect selection for when you need an easily readable-learnable song, that still captivates with beauty and nuance. It is something I know my singers can read without a lot of extra rehearsal time, but I also know they will enjoy the flowing phrasing and the lyrical structure.

Beyond the wonderful harmony, the dynamics are another excellent feature of the song. Never louder than mp, your ensemble will have ample opportunity explore the nuances of pp, p, and mp.

As I sit here watching my sleeping son, I am reminded of the beauty and the joy that comes from unconditional love. Sametz’ music and Smith’s text together put that feeling into existence as a song, and I couldn’t be more pleased for my singers to start working on it this fall.

Title:A Pavane for the Nursery (Now Touch the Air Softly)
Composer:Steven Sametz (http://stevensametz.com/composer)
Date of Composition:2013
Text title:Now Touch the Air Softly
Author:William Jay Smith (1918-2015)
Date of Text:1954
Subject(s), Genre:  Love, children, families, significant others
Language:English
Listed Voicing:SSAA
Voicing Details:SSAA, no divisi
Ranges:S1: E4-G5
S2: C#4-E5
A1: B3-D5
A2: G3-B4
Accompaniment:A cappella
Duration:~2:30
Tempo:58, Moderato
Commissioning Ensemble:Texas Lutheran University Women’s Choir; Dr. Douglas R. Boyer, conductor
Publisher:Steven Sametz Publications, distributed by NoteNova
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
– http://notenova.com/catalog/work/a-pavane-for-the-nursery/
– http://stevensametz.com/composer/works/info/pavane-for-the-nursery/

Until next month!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

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