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

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#37: Friday, December 14, 2018

“Ardaigh Cuain,” arr. David Mooney
Traditional Irish words and melody
SSAA, harp (or piano)

In “Ardaigh Cuain,” David Mooney has arranged a traditional Irish text and melody into a lovely, lilting selection for women’s/treble choir and harp.

There are four verses to the Irish text, with a four-measure refrain. Set in compound time, most of the song is in 6/8, with one measure of each refrain in 9/8. I love the flowing nature of Mooney’s arrangement. It is slow and deliberate, but never sluggish. The melody gently tumbles from one measure to the next, cascading as if a waterfall.

Verses 1 and 4 are both in unison, with arpeggiated chords from the harp underneath. These verses bookend the song, giving it a rounded form. If looking for solo opportunities, one or both verses could be a solo or small group, with the full ensemble entering for the refrain. This can also cut down on the amount of text to learn as a full choir, if you are pressed for time. However, tutti unison with treble voices can have such a haunting quality when done well; I would encourage full-choir unison on both verses. Unison singing provides the opportunity to refine the tone and blend of an ensemble, no matter the level.

The main section of Verse 2 is a 3-part canon on the melody. Soprano 1 enters first, with Soprano 2 and Alto each half a measure behind. Because this section is a direct presentation of the melody from Verses 1 & 4, there is no new material to learn. The octavo here is marked as S1/S2/A1, as if the Alto 2s do not sing here. Despite the marking, an even 3-part SSA split would likely be best, as the voices need to be balanced. Another option would be to assign students from each voice part to each canon entrance, so that the timbre is as consistent as possible across each line.

For the four-measure refrain after Verse 2, the setting becomes SSAA. Texture is now homophonic, as opposed to the imitation of the preceding verse. The moment where the music coalesces from overlapping entrances to a strong chordal presence is entrancing. This is also the first place in the song where the alto voices sing in a lower tessitura than the general melody. Adding those few pitches below the staff expands the vertical stability of the harmonies. It feels weightier and more settled for those measures – a lovely contrast to the earlier unison and canon. 

Verse 3 is melody plus harmonic “oohs.” There is a small amount of divisi within each ooh line, usually one additional chord tone here or there. In the score, the melody is written in the S1 line, while the harmony is written to be sung S2/A1/A2. For practical purposes though, the top harmony line is likely best suited to your lighter, more floaty S1 voices. One option is to read the score as S2/S1/A1/A2, which puts your S2s on the melody, and brings your S1s down to read the higher harmony. Another possibility is to make the melody line a solo or small group and distribute your ensemble as standard SSA. No matter how you conquer this verse, it is a lush harmonic framework that is designed to stand alone a cappella without the harp.

Because of the strophic nature of the verse and chorus, the learning of the pitches and rhythms for this piece can come together rather quickly. On one hand, the material can be taught by rote on a neutral syllable. Or, the repetition can be an excellent way to reinforce the reading of minor-key solfege and of subdivided rhythms in compound meter.

The harp accompaniment consists mainly of repeated patterns or block chords, with brief interludes of more complexity between the verses. It is likely accessible by a strong intermediate student. I previously programmed the work with the Ball State Women’s Chorus using a grand (pedal) harp, and now am hoping to introduce the selection to Hollins students next year and utilize our folk (lever) harp. If a harpist is not available, the part can be played on keyboard or piano.

The most difficult aspect of teaching or learning this piece will be the language. Once it is learned, it flows beautifully. However, for English-speaking singers, even those who have studied Italian, French, or Spanish, reading the Irish text can be a challenge. Especially with the vowels, what you see is not necessarily what you get.

I will be honest – I initially came across this piece as a first-semester master’s student, leafing through boxes of repertoire at a conference booth. It sat in my “to program” stack for a bit, because I wasn’t confident I could teach the Irish text correctly. Once I had more experience under my belt teaching languages though, I jumped at the chance to program it. Thankfully, this edition has an IPA transcription at the front of the music, as well as a phonetic transliteration in the score. With these two tools, and frequent reference to recordings made by the composer and native Irish performers, accurate pronunciation can be easily within reach.

This arrangement is an elegant setting of a traditional Irish melody and text. Along with other selections in Mooney’s Irish Choral Series, this piece provides a beautiful glimpse into Irish musical heritage and tradition. It is a quality addition to any program and a beautiful lyrical selection for your ensemble.

Title: Ardaigh Cuain
Music Source: Traditional Irish
Arranger: David Mooney
Date of Arrangement: 2000/2002
Text Source: Traditional Irish
Subject(s), Genre: Longing, home
Language: Irish
Listed Voicing: SSAA
Voicing Details: Unison, SSA, SSA div, SSAA
Ranges: (assuming solo/small group, with SSA oohs, on Verse 3)
S1: D4-G5
S2: D4-F5
A1: Bb3-F5
A2: G3-F5
Accompaniment: Harp (or piano/keyboard)
Duration: ~4:30
Tempo: MM=40 (Dotted half)
Series: David Mooney Irish Choral Series
https://www.canticledistributing.com/choral.html?choral_series=16475
Publisher: ECS Publishing / Canticle Distributing
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
https://www.canticledistributing.com/ardaigh-cuain.html

Until next week!
-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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#36: Friday, December 07, 2018

“Hail, Christmas Day” by Abbie Burt Betinis
Text by John Harris Burt
SSAA, a cappella

“Hail, Christmas Day!” from Abbie Betinis is an earworm in the best sense of the word. More than once I found myself, and my singers, bouncing down the hallway to the opening melody. The tune is hummable and catchy, and sticks with you quickly. It is a spry combination of mixed asymmetrical meters, and certain to keep your singers on their toes. If you are looking for an uptempo, cheerful addition to your holiday concert, you’ve found it!

Abbie Betinis composes a new Christmas carol every year, following in the long-standing tradition begun by her great-grandfather, Rev. Bates Burt. For more information on the family history of carols and Christmas cards, please visit: http://www.abbiebetinis.com/writings_burtcarols.html. This joyful carol features music by Abbie, with text by her grandfather John Harris Burt from 1953.

In Abbie’s musical setting, the mixed meters feature strongly, alternating between a measure of 7/8 and 9/8. The 9/8 is always divided up into 2+2+2+3, while the 7/8 comes up as 2+2+3 or 3+2+2, depending on its position in the phrase. We started the rehearsal process by dissecting each of these, learning how to count them and how to conduct them, and how to discern between the variants of 7/8. There were many rehearsal moments spent writing-in and chanting 1-2-3-1-2-1-2; 1-2-1-2-1-2-1-2-3, etc.

During the initial learning phrase of rehearsals, the constantly-changing meter signatures presented an obstacle for my singers but, after repetition, it became second nature. Encouraging singers to physicalize the meter through conducting helped as well, as it emphasized the asymmetrical aspect. My singers were always asked to conduct through the piece as they were rehearsing it.

The work is straightforward in form – four verses, each beginning in English and finishing in Latin. The first and second verses are in unison, with added octaves at the end of the second verse. While you may feel that singing in unison might not present enough of a challenge for your singers, or enough interest for your audience, I encourage you to set aside that notion here. The unison melody line is full of mixed and asymmetrical meters, phrasing over the barline, accents, and large jumps, all of which creates a lovely sense of urgency and energy.

Verse three begins with the melody in the Soprano 2 (or a solo), and harmonic Oohs/Aahs in the outer voices. There is some divisi in the outer voices, but not much; it reads like SSA with a bit of divisi. The meter can be a little tricky here for the voice parts with the longer harmony notes – it is more difficult to feel the pulse when you have half-notes, as opposed to quarter notes and eighth notes.

Having the melody line do the chant-counting while the harmony parts rehearsed was helpful, as was reminding singers to always keep the pulse physically connected in their body (tap, patsch, clap, step, snap, conduct, etc.). The second half of verse three engages all voice parts in the text, now with contrary motion and added harmonies. This is the first time that the dynamic forte has appeared thus far in the piece, and the build up to it is a great moment.

The fourth verse is a round in three parts. While the earlier unison verses solidify the metric and tonal patterns for the choir, this verse is all about part independence. I loved the first time rehearsing this verse, watching singers concentrate so strongly to keep the asymmetrical meters lined up together. After completing the fourth verse, there is a final coda to wrap-up the work.

The energy and drive in this piece is palpable. If you need a fast and buoyant selection to compliment the rest of your holiday program, look no further. Just know – you will find yourself humming it for weeks to come!

Title: Hail, Christmas Day!
Composer: Abbie Burt Betinis
Date of Composition: 2003 (rev 2010)
Author: Rev. John Harris Burt
Date of Text: 1953
Subject(s), Genre: Christmas, sacred, holiday, winter, joy
Language: English and Latin
Listed Voicing: SSAA
Voicing Details: SSAA (unison, 2-part, SSA, and SSAA)
Ranges: S1: D4-F#5
S2: D4-F5
A1: G3-F5
A2: G3-F5
Accompaniment: a cappella
Duration: ~2:00
Tempo: 144-160, Joyfully!
Premiering Ensemble: Pike Kor, Luther College, Sandra Peter, conductor
Series: The Burt Family Christmas Carols
Publisher: Abbie Betinis Music www.abbiebetinis.com   
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
http://www.abbiebetinis.com/works/hail_christmas_day.html

Until next week!
-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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#35: Friday, November 30, 2018

“Ad Amore” by Lee R. Kesselman
Text by Dante Alighieri
SSAA, unpitched bells

This piece clocks in under 2 minutes, but it hits the ground running and keeps your attention the whole way. Festive fanfare rhythms, close harmonies, and lively unpitched bells, coupled with Dante’s spirited text, make “Ad Amore” an excellent choice for the opening of your next concert sequence.

The song begins with a roll of bells. In the score’s notes, the composer mentions that these should be unpitched bells, such as triangles and other metal objects of varying sizes, as opposed to orchestra bells or handbells. The goal is to create a cacophonous sound like pealing church bells or a call to attention.

When I first programmed this piece for an honor choir, we raided the band room of the school where we were rehearsing (with permission!), and grabbed just about every cymbal, triangle, cowbell, crotale,and metal object that we could get our hands on. The sound needs to be stopped and started on cue, so windchimes and the like are not a great choice. Singers loved the chance to add an extra layer to their own music making.

Once the bells have demanded the audience’s attention, the energy immediately continues with forte, marcato, and accented seconds and fourths from the voices. The intensity is palpable, and remains so for the next 1min 40sec.

Because it does not require piano accompaniment, the selection can be performed from a variety of locations or configurations within your concert space. In addition to an on-the-risers traditional start, I’ve also had success performing this piece as a flash-mob-style opener, where singers enter unassumingly from all different areas of the performing space and then ring their bells with abandon, usually startling the audience! Performing in the round can work well, provided you have enough singers to surround the space without feeling spread too thin.

Kesselman chose to use text from the early 14th century, by Italian poet Dante Alighieri:

Quello infinito
e ineffabil bene
chè là suè, così
corre ad amore
com’ a lucido corpo
raggio vene
    —Purgatorio,Canto XV, lines 67-69
 
That Goodness, infinite and ineffable,
Which is above, runs to Love,
As light comes to polished bodies. [translation by the composer]

My singers definitely enjoyed working with an Italian text in choir. Often, they sing Italian in their solo voice work, but less frequently in a choral setting. There are some specific Italianate sounds that occasionally stymie a large choir – double Ls, double Gs, the [e] vowel, dental Ts vs hard Ts, etc. – but the IPA transcription included in the score can help significantly with those questions.

Kesselman’s musical setting is active and animated, and accessible to choirs of all sizes. I’ve performed this with both a curricular choir of twelve and a festival choir of 85. Ranges are limited, and the majority of the selection is homophonic. There are a few measures of divisi, but these are limited to an added second or third within the chord cluster.

One technical point to prepare for is the octave drop used in the Alto 2 line. Their part often jumps from A4 to A3 on the same vowel. The tendency will be to fall into this drop with added weight and volume. This can be a great place to reinforce good vocal technique for all singers, with vocalises and warmups that focus on descending an octave without adding heft.

Some rhythms may be challenging on first read (borrowed triplets, sixteenths with ties), but as all voice parts perform these rhythms, they will come together quickly. The composer’s use of tight intervals between voices adds energy and drive through the dissonance. Much movement is stepwise though, so the intervals are not difficult to find.

The aspect that interested my singers the most, I think, was the wide range of dynamics used in the 28 measures of music – including a drop from ff to pp in just one measure’s time. There are also opportunities for rubato shifts to the tempo, and moments to savor the diction.

As much of the piece is accented and marcato, the few legato measures provide a dramatic contrast. In particular, there is a four-bar sequence of staggered entrances in 5/8, which is the first legato, the first non-homophonic phrase, and the first asymmetrical meter. It culminates in all four voices being only major seconds apart from each other.

Frequently, up-tempo, energetic selections can be difficult to find for women’s/treble chorus (they do exist!…just fewer and farther between than TTBB or SATB ensembles.) And those that are out there are often meatier closers, or pieces more suited for the middle of a set. This crunchy, driving work by Lee Kesselman can serve as a wonderful opening focus-point, giving your concert just the right start.

Title: Ad Amore
Composer: Lee R. Kesselman
http://kesselmanpress.com/
Date of Composition: 2011
Text Source: Purgatorio, Canta XV, lines 67-69
Author: Dante Alighieri
Date of Text: 14th Century
Subject(s), Genre: Life, journeys, love
Language: Italian
Listed Voicing: SSAA
Voicing Details: SSAA w minimal divisi
Ranges: S1: E4-A5
S2: E4-E5
A1: E4-D5
A2: A3-C#5
Accompaniment: Unpitched bells (triangles, crotales, metal-on-metal)
Duration: ~1:40
Tempo:Maestoso, =66
Commissioning Ensemble: Allegro Community Children’s Choir for Allegro Con Brio, Christy Elsner, director
Series: CME in High Voice by Doreen Rao, edited by Sandra Snow
Publisher: Boosey & Hawkes
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
https://www.youtube.com/watch?v=btwR25Gjcoc (Georgia GMEA All-State 2012 SSAA)

Until next week!
-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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#33: Friday, November 2, 2018

“And Miriam Sang (Shiru L’Adonai)”
by Zebulon M. Highben
Exodus 15:21
SSAA, percussion

I was introduced to Zebulon M. Highben’s “And Miriam Sang” at the 2013 Women’s Chorus Reading Session at the ACDA National Conference in Dallas. You know the drill during rep sessions – you often make quick “yes/no/maybe” decisions based on what you see and hear. Then you furiously scribble notes in the margins of the booklet or on the front covers of pieces to remember for later. My notes for this selection include: “Yes!” “Great Energy” “Layered Ostinato” “(limited) Hebrew” “Two contrasting styles” “Rhythms” “Start of Year” and “Good Ranges.”

Fast forward to 2016 and I was looking for one more selection for my small upper-level ensemble. It was the first concert of the year and there were 15 singers in the group that semester – some returning, some new. I knew I needed to keep the repertoire at a level of divisi and difficulty that was achievable, especially at the start of the year when I didn’t know all the students’ skills yet. Lots of potential in the singers that year, but I knew I couldn’t split them up into too many parts too soon.

Enter Highben’s “And Miriam Sang.” I saw it in my ever-present stack of “music I like and want to program someday,” and decided it was the perfect time. I played bits of the recording at our first class, and my singers were hooked. Similar to my notes from the ACDA reading session, they liked the energy, the drive, the contrasting styles, and the chance to sing in Hebrew.

For an ensemble who is comfortable in 2-part, but wants to branch out to 3-part, this can be a great option as your “challenge piece.” The layered-ostinato style is exceptionally supportive of developing part independence. Conversely, if your group is already solidly reading 3- or 4-part, this can be a “quick learn” – one that allows you to jump to musicality right from the start.

Because of the motivic nature of the composition, this is an excellent opportunity to utilize singer-led sectionals to teach the piece. There are plenty of challenges to singer-led sectionals, depending on the size, skill level, age, educational/community setting, and physical rehearsal space of your ensemble. But, since the motive is only four measures long, this piece is an excellent way to support sectional and section leadership. The motivic nature also helps with text learning too, as each voice part only has a few brief phrases to learn in Hebrew.

The composer’s website shares the following information about the text and background of the piece:

In Exodus 15, Miriam and the women of Israel sing and dance following Israel’s deliverance from Egypt through the Red Sea; this piece is inspired by what such a celebration might have sounded like. Melodies are original, but incorporate the augmented second interval (lowered second, raised third scale degrees) and melodic formulas common to Hasidic and some Middle-Eastern music.

http://www.zebulonhighben.com/miriam/

A note about the voicing:
It is labeled SSAA, but reads more like SSA or SSA w/ Alto divisi. In the first half of the piece, that are three ideas present: S1, S2, and unison Alto. In the second half, there are still three (different) musical ideas present, but the altos divide into homophonic harmony. So, in voicing your ensemble, this presents a conundrum. You could go SSAA as marked the whole way through, which might end up alto-heavy at the top, but somewhat even later on. Or, you could approach it as SSA, which would be balanced in the beginning, but might come out with a weaker alto line later. Or, you could do SSA at the beginning and then re-voice to SSAA at the section break. Your choice will depend on the number and confidence of your singers, and the end-goal sound-pyramid you are wanting to create.

The piece opens with percussion setting the tone for the steady, chant-like style. Soprano 2s enter first, with a four-measure phrase that includes articulations, dynamics, and a slide, and which spans a sixth in range. This phrase is sung a total of seven times in a row, with the dynamics modifying slightly in terraces throughout. After two full repetitions of S2, the Alto line enters with their own four-measure pattern, sung five times total. Once the Altos have established their motive, the Soprano 1s enter on their four-measure pattern, sung a total of 3 times.

The bands of tonal sonority that are created as the layers interweave and the dynamics grow are fantastic. Drum 1 and Drum 2 enter with Alto and Soprano1 respectively, so this continues to add to the building energy.

At the section break, the style shifts from 4/4, Chant-like, mm=60 to 2/4, Exuberantly, mm=100. All the percussion begin together in the new tempo, driving the feeling with accents and syncopation. (Just like the voice lines, the percussion parts are also comprised primarily of ostinato motives, so they could definitely be played by members of the ensemble.)

Here, the four-measure layers build from the bottom, with divisi Alto in homophonic harmony, then Sop2, then Sop1. Each addition adds more excitement and dynamics.

For the final page of the work, all voice parts come together in homophonic fashion for the first time: same rhythms, same text, different pitches. It seems a small change, but the effect is strong and striking. The song then closes with a slightly slower homophonic phrase, emphatically restating a key phrase of text.

From start to finish, my singers thoroughly enjoyed working on this piece. They could feel successful early and often, individually and as an ensemble. And they were proud of being able to learn this piece primarily in student-led sectionals. It gave them a sense of leadership, responsibility, and camaraderie that continued the entire term.

Title: And Miriam Sang
Composer: Zebulon M. Highben
http://www.zebulonhighben.com
Date of Composition: 2011
Text Source: Exodus 15:21
Subject(s),
Genre:		Celebration, Women’s History, Judaism
Language: Hebrew
Listed Voicing: SSAA
Voicing Details: Labeled SSAA, but reads like SSA with Alto divisi.
Ranges: S1: E4-G#5
S2: D4-E5
A1: B3-C5
A2: A3-C5
Accompaniment: Percussion (Tambourine, Drum I, Drum II)
Duration: ~3:00
Tempo: “Chant-like” MM=60, then “Exuberantly” MM=100
Dedication: Dr. Sandra Snow and the Michigan State University Women’s Chamber Ensemble
Series: CME In High Voice
(Doreen Rao’s Choral Music Experience)
Publisher: Boosey & Hawkes
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
http://www.zebulonhighben.com/miriam/

Until next week!
-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: Weekly Repertoire Thoughts for Women’s/Treble Choirs

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Week 31: Friday, October 19, 2018

“I Lift My Eyes” by Joan Szymko
Text: Psalm 121 & Thich Nhat Hanh
SSAA, piano

Our school motto at Hollins University is Levavi Oculos. This comes from Psalm 121:1 – “I will lift up mine eyes unto the hills.” We are located in the beautiful Roanoke valley, in southwest Virginia, in the shadow of Tinker Mountain, so the imagery is quite apt. You can literally lift your eyes from campus and see the Blue Ridge mountains.

This also means that I am constantly on the look-out for good settings of that Psalm 121 text! School tradition had always been connected to Mendelssohn’s “Lift Thine Eyes,” but when I started in my current position, I wanted to pursue additional options. In my searching, I was introduced to Joan Szymko’s “I Lift My Eyes,” and my singers (and colleagues) have requested it ever since.

Szymko’s setting weaves together two distinct texts – the first verse of Psalm 121 and a quote by Vietnamese Bhuddist monk Thich Nhat Hanh. The psalm verse speaks of outside strength and support – seeking and receiving help from outside of yourself. By contrast, the Nhat Hanh text is focused on inner strength and self-realization. They pair so beautifully together – two sides of the same philosophical coin.

The choral selection opens with a solo (or unison choir) on the melody, outlining the psalm verse and its related melodic material. For my ensemble, this was a great place to learn via solfege, to unify their vowels, and to work on phrasing. There were also larger skips and intervals (5ths, 6ths) to contend with. For my rehearsals, everyone learned this opening material together, in unison. Once the singers felt comfortable, we were able to transfer the knowledge of phrasing and dynamics to later in the song, when this material reappeared with harmony.

After presenting the psalm text and its melody, the song switches gears to the other poetic material. “I am solid as a mountain; I am firm as the earth…I am free.” Here the setting breaks into SSAA, with small repeated motives used in all four voices. In contrast to the opening, these chant-like motivic entrances are brief, imitative, and overlapping, and utilize primarily stepwise motion. It is as if you can hear the mountain being built, one layered voice at a time. The imagery at this point has shifted from a person seeking outside guidance (Psalm) to a person who is shoring up their own inner strength (Nhat Hanh).

Szymko’s setting then returns to the lyrical opening Psalm material, this time in four-part harmony. There are some tasty dissonances and resolutions here, especially on chords where a 5th divisi pitch has been added. The tempo picks up a bit and there are a handful of key changes – great for practicing modulations with diatonic solfege. My singers greatly enjoyed the expressive energy at this point in the piece – it builds on the established material from the opening, while expanding it tonally and harmonically.

Next, Szymko overlays the text and melodic materials from both sections, with “I lift my eyes to the mountains” occurring at the same time as “I am solid as a mountain.” This musical and textual juxtaposition truly resonated with my students.

As part of a contemplative pedagogy project that semester, they were completing choir journals, with writing prompts I would give them as homework. One day for a prompt, I asked them to discuss how they personally felt solid or free in their own lives. Then the next day, I asked them where or to whom they turned to for help or strength, when they needed support or encouragement. Together, those two journal entries were some of the best that term.

The closing section of Szymko’s composition takes the beginning “I lift my eyes” motive, and treats it imitatively across a variety of voices. The cascading entrances go from bottom to top [A2 to A1 to S2 to S1], creating a lovely lifting gesture, and then start over again. This pattern builds to the end of the work, where “I lift my eyes” goes directly into “I am free” for the final chord.

Overall, rhythmic material is limited to quarter, eighth, half, dotted half, and tie. Tonal structure is primarily diatonic, in related keys. The accompaniment is engaging and supportive. For choirs working to connect sight-reading skills to real repertoire, this can be a great selection in which to put their skills into action and be successful.

I already have this selection on the program for an upcoming university event this spring, and I cannot wait to start rehearsing it with my students next term. For groups wanting accessible repertoire with beautiful musical settings, contemplative texts, and possibility for strong emotional connections, this work by Joan Szymko is absolutely a perfect choice.

Title: I Lift My Eyes
Composer: Joan Szymko
Date of Composition: 2006
Text Source:Psalm 121:1, and a quote by Thich Naht Hanh;
lyrics constructed by Joan Szymko
Subject(s), Genre:Wisdom, community, inner strength, purpose, self-determination
Language: English
Listed Voicing: SSAA
Voicing Details:SSAA with an occasional added note – total of 5 pitches at once
Ranges:S1: Bb3-Gb5
S2: Bb3-F5
A1: Bb3-F5
A2: Ab3-F5
Accompaniment: Piano
Duration: ~4:30
Tempo: 74, 80
Dedication: For Aurora Chorus
Publisher: Santa Barbara Music Publishing – SBMP 658
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
https://sbmp.com/SR2.php?CatalogNumber=658
https://www.joanszymko.com/works/ind/i-lift-my-eyes

Until next week!
-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: Weekly Repertoire Thoughts for Women’s/Treble Choirs

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Week 28: Friday, September 28, 2018

“Where Can I Turn For Peace?” by Joleen G. Meredith, arr. Dwight Bigler
Text by Emma Lou Thayne
SSAA div, a cappella

Virginia Tech is just down the road from where I teach at Hollins. Dwight Bigler is an associate professor of music at Tech, and their Director of Choral Activities. In addition to his conducting responsibilities, he compositions are published with Walton Music, Hinshaw Music, Oxford University Press, Alliance Music, and EC Schirmer. For a more detailed bio, see www.dwightbigler.com.

Given our proximity, Dwight and I run into each other frequently at adjudications, conferences, and meetings. In 2015, an ensemble I was accompanying was working on his SATB div version of “The First Noel.” I loved his take on the familiar carol and asked him what he had in terms of rep for women’s chorus. This arrangement of Meredith & Thayne’s hymn came up, and I immediately jumped at it. It is primarily strophic, with three verses. [As you are reading further, be sure to listen to the elegant performance by BYU Women’s Chorus of this arrangement.]

The original hymn was penned in 1971 by Joleen G. Meredith (music) and Emma Lou Thayne (text). The two women, members of the Church of Jesus Christ of Latter-Day Saints, were tasked with creating a hymn for the LDS Young Women’s Conference that year. Working over the telephone, Thayne would create a line of text, and then Meredith would rough out a musical setting. Together, they wrote the hymn, phrase by phrase.

Thayne is quoted as saying the text of the work came to her in a turbulent time, when she and her family were struggling with health issues and overwhelming obstacles. Meredith mentioned that they both saw this hymn as a solace and succor for mental illness, having faced challenges personally and within their own families. The beauty and the strength with which these two women met life’s tests is evident in their poignant song. For more background and history on the creation of the original hymn, click here for the LDS Radio History of Hymns broadcast.

My choir performed it at our campus holiday event that year, in the thematic “Peace” section of the program. They loved it so much that it also made a subsequent concert appearance in the spring of that same year. The text is poignant, and relevant to many of the emotional journeys my students found themselves facing in their young lives. Dwight’s setting is wonderful, with sweeping lines, beautiful dissonances, and enormous emotive potential.

At that time, my advanced ensemble had 14 students. I liked to think of it as a “small but mighty” ensemble. A handful of the first-year singers that semester were also in my sight-singing class as potential music majors/minors, so I was determined to choose music through which I could reinforce their literacy-in-progress from the very beginning. Pedagogically, this setting of “Where Can I Turn For Peace?” was a perfect choice. It begins in F# major, and all pitches exist within the diatonic framework. That meant every single note could be learned on solfege, which was excellent for my teaching goals that concert cycle.

After two verses, his arrangement modulates to G major, which gave me the added chance to emphasize the functionality and transferability of movable-do, and to teach them how to handle modulations in solfege/analysis. Rhythms are primarily quarter and half notes, which meant students could focus their literacy efforts on the pitches without feeling overwhelmed. There was enough divisi in certain areas to create lush dissonance and resolution, but not so much that my singers were spread too thin. Additionally, many phrases include step-wise motion, which was another key to success with in-progress solfege skills.

Outside of the pedagogical literacy connections and the relatable text, Dwight’s setting was also perfect for my group in another way too: it gave the group numerous opportunities to grow together musically. Solfege and takadimi are excellent tools for teaching pitches and rhythms, and we utilized both in learning the piece. As an ensemble though, it was the dynamics and phrasing that really allowed the piece to take shape.

There are numerous breaths marked in the music, all at purposeful places. Working to feel those breaths together, along with any related tempo changes, was a quality exercise in group communication. I remember a particular rehearsal moment, in which we switched off the room lights and only had ambient early-evening light from the shaded windows. I asked the students to sing through the song in that near-darkness, focusing on what they could hear, not what they could see. Pushing forward with energy, pulling back with reverence, savoring a harmony, or honoring the silence of a breath – so many of these small moments came alive at that point.

Whether you are looking for an addition to a peace-themed school concert, a song to showcase your church choir’s women/treble singers, or a chance to grow together as an ensemble, Dwight Bigler’s arrangement provides many beautiful opportunities for these amazing moments to occur.

Title: Where Can I Turn For Peace?
Source:LDS Hymn – music by Joleen G. Meredith;
text by Emma Lou Thayne
Arranger:Dwight Bigler
http://www.dwightbigler.com/
Date of Publication: 2008
Subject(s), Genre: Peace, comfort, hope, solace. Sacred hymn.
Language: English
Listed Voicing: SSAA
Voicing Details: SSAA, with some divisi; max 6 pitches at a time
Ranges:S1:D#4-G5/B5
S2:D#4-D5
A1:G#3-A4
A2:F#3-F#4
Accompaniment: A cappella
Duration: ~3:40
Tempo: Reverently (~70)
Publisher: Hinshaw Music, Inc.
Audio, perusal score, and purchasing:
http://media.hinshawmusic.com/details.php?details=HMC2177&pdf=1&image=0
History:
http://broadcast.lds.org/ldsradio/pdf/history-of-hymns/history-of-hymns-ep-18.pdf
https://www.lds.org/music/library/hymns/where-can-i-turn-for-peace?lang=eng&_r=1
https://www.lds.org/music/text/hymns/where-can-i-turn-for-peace?lang=eng&_r=1
https://www.ldsdaily.com/personal-lds-blog/inspiring-true-story-behind-lds-hymn-can-turn-peace/

Until next week!
-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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