Skip to toolbar

ChoralNet

The professional networking site for the global online choral community.

SSA

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

by 1 Comment

#63: Friday, September 4, 2020

Four Rounds to Start this Brave New Year
——Back to the Heart (Timothy Takach / Julia Klatt Singer)
——A Path To Each Other (Jocelyn Hagen, Timothy Takach / Julia Klatt Singer)
——When I Rise Up (J. David Moore / Wendell Berry)
——Build The Sky (Jocelyn Hagen, Timothy Takach / Julia Klatt Singer)

As I sat down to write September’s blog, I was panicked, anxious, and overwhelmed—in the midst of preparing for a fall semester full of unknowns. Like many of you, I had no concrete idea of what the day-to-day of my teaching would look like, or the logistics of how to keep a program alive during this pandemic. And even if I had answers, they kept changing.

Are we online or in person? If in person, how long will that last? Who will be in my groups? How do I recruit new singers, if all the normal ways are temporarily disallowed? How far apart to stand? Where can we rehearse? For how long? What’s the air exchange rate and filter rating in whatever room I can fit in? What about zoom/remote rehearsals, and latency, and connectivity? How about SoundJack or JackTrip or Acapella…or Loom or Padlet or FlipGrid? Or virtual choirs? Will my students’ technology and mine allow me to consider any of that? Will anyone even come back to my program? What will the long term impact be on my program, with losing current students and missing out on new recruits? Will singers agree to sing in a mask, or just quit over the adjustment? Are concerts even a thing this semester? WIthout concerts, will students stick around? And absolutely most importantly, is it even safe to sing at all?

As we all were, I was impatiently awaiting the results from the ACDA & NAfME summer research endeavors, not knowing what to expect. Tying to plan for multiple scenarios, all of which could change with one new administrative edict.

You know what wasn’t on my list of questions? Repertoire. My specialty and passion is repertoire, and yet I had (and have!) so many unknowns related to everything else that choosing repertoire wasn’t anywhere on my radar yet.

Now that school is in session (face to face, for now), the questions continue. How do I teach students to sing healthily in a mask? Can I teach without losing my voice? Is Zoom going to crash today? Do the online students feel like they are part of the group, even though they are not physically in the classroom with the rest of us and have to be muted most of the time? Did I charge my mic pack? (see the question about losing my voice) Are there enough wipes available? Did everyone remember to use them? Are all my 12-feet-distanced Xs still taped on the floor? Are the students engaged and enjoying rehearsal? Can I even really judge mood when I can’t see their faces? Will we all be sent home for remote learning, or will we make it to end of term? Do I space in my capacity-cap for an accompanist?

You know what still wasn’t on my list of questions? Repertoire. The idea of finitely choosing appropriate music for three different choirs, whose moving-target size, voicing, and experience level may change at the drop of a hat (or an internet connection or a test swab) seemed an insurmountable hurdle.

Enter these four rounds. All available from Graphite Press, these four pieces of music are timely, relevant, flexible, engaging, and just what I needed to start the semester. [Plus, budget-friendly and immediately-available for download…even better!] Additionally, Abbie Betinis’ “Be Like the Bird” is another wonderful option – see my blog post from June 2018 for more info on that piece.

Back to the Heart
Composer: Timothy Takach
Poetry: Julia Klatt Singer

-D mixolydian (do re mi fa so la te do – F#, C natural, with one C#)
-compound meter, 12/8
-3 part round, with optional piano; descant/semi-chorus closing to unison ending
-connectivity, passion, belonging, music, song
–https://graphitepublishing.com/product/back-to-the-heart/

A Path to Each Other
Composers: Timothy Takach and Jocelyn Hagen
Poetry: Julia Klatt Singer

-3 part round, a cappella
-F Major/d minor
-simple meter, 4/4
-empathy, connectivity, walls vs. bridges, compassion
–https://graphitepublishing.com/product/a-path-to-each-other/

When I Rise Up
Composer: J. David Moore
Poetry: Wendell Berry

-bright, joyful, uplifting
-compound meter, 9/8
-G major
-3 part round, a cappella
-arguably, this one may be the easiest to learn, but it also has the most opportunity for solo voices and small group exploration of individual style
–https://graphitepublishing.com/product/when-i-rise-up/
-See also: https://jdavidmoore.net/works/flexible/a-little-book-of-rounds/

Build The Sky
Composer: Jocelyn Hagen and Timothy Takach
Poetry: Julia Klatt Singer

-C Major
-simple meter, 3/4
-2 then 3pt round, a cappella
-music, singing, community, connection
https://graphitepublishing.com/product/build-the-sky/

Grab one or more of these rounds for your start-of-year repertoire. You won’t be sorry. Be ready for whatever this fall throws your way, by relying on flexible but beautiful repertoire, with texts that speak brilliantly to the situations we find ourselves in right now. My choirs have each just begun the year, and each have started to tackle one of these rounds. I look forward to following the evolution of the music, and my students, as we navigate this uncertain semester together. 

Until next month!
-Shelbie

Dr. Shelbie Wahl-Fouts is Director of Choral Activities and associate professor of music 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

by Leave a Comment

#61: June 5, 2020

I had another piece set aside for this blog entry, but as I sat down this week to review that repertoire, the whole endeavor came across as hollow. I couldn’t write just another blog about just another song this week. It didn’t feel right. How do I, as a white woman, best contribute to the conversation right now? How can I use my voice to support my colleagues, students, and singers of color?


My first inclination was to write a blog about a piece of repertoire by a composer of color. However, I usually write about pieces I’ve already conducted, and the songs I’ve done with my choirs are perennial favorites that everyone here already knows. Or, I write about less-known pieces I want to program in the future. In looking at my stack of future-blog-pieces-to-review, I realized there weren’t any composers of color in that stack, let alone women composers of color. Not good.

Next, I took stock of the 60 blog entries I’ve made since 2018. I was appalled. Barely a handful of my selections reference a person of color – as composer, arranger, or poet/lyricist. I looked back at my dissertation research, and found the same result.

Since grad school, I have prided myself on championing compelling works for women’s/treble choirs, especially works by women composers and authors. And post-grad school, after noting that the category of women was too exclusionary, I made an effort to include transgender and queer composers and those of marginalized gender identities in my future work. I felt like I was doing the right thing for my choirs and my research. Maybe I was, but that’s not enough.

Today, I look at my rep lists and conference presentations through a different lens and I am horrified, realizing I have left out entire populations of composers, arrangers, and poets: the voices of black and brown and indigenous artists. There is a great big hole, a lacuna, in my work, where the works by BBIPOC composers should be.

After that realization, my next thought was to go into research mode and see if I could make a list. I like lists. I’m good at lists. Could I make a list of repertoire for women’s/treble choirs, by composers of color, that I could post today, and then review each piece in future blogs? I started on that, and then realized very quickly that I’m out of my depth. This is a project for the long haul, not one to undertake quickly in a few days’ time.

But more importantly, there are scholars who have done this work already, and they deserve our attention. Specifically, Dr. Marques L. A. Garrett’s study of the non-idiomatic choral music of black composers is incredible. If you don’t know his work, go there immediately. His research has inspired me and I can’t wait to begin locating repertoire he lists and learning more about it.
https://www.mlagmusic.com
https://www.mlagmusic.com/research/beyond-elijah-rock


When I started this blog, the purpose was to share my experience with repertoire for women’s and treble choirs, especially giving voice to lesser-known works or composers. Over the last two years, I had been proud of my contribution. Right now though, I’m not the expert in the room. Read Dr. Garrett’s work.

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.

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/

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

by 1 Comment

#60: Friday, May 1, 2020

“Moon Goddess” by Jocelyn Hagen
Text by Enheduanna
SSA, piano 4-hand, large frame drum, finger cymbals, suspended cymbal

If you are looking for a Fierce and Feisty selection for your women’s choir, this is the one! Written in 2011 for the ACDA Women’s Chorus Commissioning Consortium, this work by composer Jocelyn Hagen has brilliant drive and musical energy. And it has text to match, sourced from Sumerian poet Enheduanna. This is a can’t-miss selection for your women’s or adult-treble ensemble.

The promotional tag-line for this piece on Graphite Publishing’s site says “A tenacious, ferocious and distinctly feminine anthem of praise to the ancient goddess Inanna.” When I first introduced this selection to my choirs this term, they were floored. They immediately took to the work, and were visibly excited, from the first rehearsal onward. There is a forward motion to the piece that is inescapable.

Another draw to the students, besides the musical energy, was the text and its author. We in Western choral music so often sing songs written in praise for the (male, Christian) God, or texts about male figures in history, or general texts written by men or for a male audience. And while those may be beautiful pieces of music, there are entire segments of the population left out of that narrative. This text is an intense statement in praise of the Goddess Inanna, from writings by Sumerian poet Enheduanna. Enheduanna was a High Priestess of Inanna, and the first writer in history, male or female, whose name and work has been preserved across the centuries.

Imagine telling your women’s or adult-treble choir that they were (finally!) going to get to sing a piece about a feminine deity, with text by a priestess of that deity (and the first recorded author, nonetheless), and composed by a present-day female composer. My singers were thrilled.

As with most all choral performances this spring, our anticipated performance was cancelled due to the Coronavirus pandemic. When I had my singers reflect on what they were most missing about that concert, Moon Goddess was hands-down their top response. I anticipate re-programming it as the closer on our next concert…whenever that may be.

Written for SSA, there are only a few measures of internal divisi. Additionally, the three-part voice writing is almost entirely homophonic, which makes this piece infinitely more accessible than polyphonic SSAA or SSAA divisi selections. There is definitely challenge in the work (in meter and range), but not from polyphony. You will however need two quality pianists and two quality percussionists, and they provide the polyphonic aspects of the work. Unison phrases abound as well, so the piece presents many opportunities to strengthen cross-part blend and balance.

As noted previously, range and meter are the two main challenges of this piece. Regarding range, most of the voice parts remain in a comfortable tessitura for most of the piece. Notice I said “most” a few times! When the voice lines venture outside the primarily comfort zone, you might have a few S1s giving you dirty looks, or Altos feeling hesitant.

In the case of the Altos, most if not all of their high notes are in unison across all voice parts. So, these might be most easily approached with the full choir, not in sectionals. Let the altos feel strength in numbers, and supported by S1/S2.

For the measures where S1s are at A5 or B5, I would present those measures first in sectionals. Let the sopranos find the notes in their voice, and talk about how to modify the vowels and adjust (or drop) the consonants. In my rehearsals, we worked on the rhythms and text first, then sung the measures in a slow legato, and then changed the tempo and style…all in sectionals, so they could explore that portion of their range without an audience.

The other primary challenge in this piece is the meter. The changing meter is part of what gives the piece its forward motion and drive, but it can also be a challenge for less experienced choirs, especially when you see so many meter changes, so frequently. However, while this is changing meter, it is mostly variation of simple meter: 3/4, 4/4, 5/4, 6/4. The quarter note stays constant throughout much of the work. In our first rehearsal, I had my accompanist play through the entire piece (slowly!), and had my students count-sing. Once they realized that it was mainly a matter of counting to 3, 4, 5, or 6 – but with the counting staying a steady speed, they were much more comfortable.

There are three 9/8 measures to reckon with – I would recommend starting with those measures first, before you even introduce the rest of the piece. I wrote the rhythms out on the board, without the music in their hands, and we worked through each, then added text. Each of the three measures technically has the same rhythm and beat division pattern, but because the text syllabification is different in each, they can feel like three separate entities. Not an insurmountable challenge, but one more easily tackled before diving into the full piece.

Outside of the meter, the rhythms themselves are quarter notes, eighth notes, and half or dotted half notes. So, once the overarching metrical structure is understood, the rhythms and text should easily fall into place.

So much of what makes this piece a favorite of both performers and audience (and conductors!) is not contained in only one aspect of the work. It isn’t just the driving piano rhythms, or the well-set text, or historical nature of the words, or the insistent motivic patterns, or the beauty of the strong choral harmony. All those facets, and more, blend together form an amazing, intense, and powerful musical experience. I cannot recommend this piece highly enough – and I look forward to the safe return of choral music to our world, so my singers can have the chance they so desperately missed this spring.

Title:Moon Goddess
Composer:Jocelyn Hagen
https://www.jocelynhagen.com/
https://graphitepublishing.com/composer/jocelyn-hagen/
Date of Composition:2011
Author:Enheduanna (b. ca. 2300 B.C.), adapted by Jocelyn Hagen
Subject(s), Genre:Goddess Inanna, Women’s history, Strength of women
Language:English
Listed Voicing:SSA
Voicing Details:SSA, with a few measures of harmonic divisi
Ranges:S1: B3-B5
S2: B3-G5
A: F#3-G5
Accompaniment:4-hand piano, large frame drum, finger cymbals, suspended cymbal
Duration:~5:00
Tempo:QN=112, 132 Vigorous, 110 Calmly
Commissioning Ensemble:2011 ACDA Women’s Choir R&S Commissioning Consortium, Iris S. Levine, National Chair
Publisher:JH Music, distributed by Graphite Publishing
Further descriptions and details, including program notes, audio, perusal score, and purchasing: https://graphitepublishing.com/product/moon-goddess/  (perusal score, and audio recording by Cantala Women’s Choirs, Phillip A. Swan, conductor)
https://www.facebook.com/JocelynHagenMus/videos/10154257795610535/ (video of Wenzhou Female Choir from China, who won a gold medal “Moon Goddess” at the 2016 World Choir Games in Sochi, Russia)

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.

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

by Leave a Comment

#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

by Leave a Comment

#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

by Leave a Comment

#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.

© 2020 American Choral Directors Association. All rights reserved.
Terms of Use | Privacy Policy