Welcome to Choral Insights, your monthly digital brochure showcasing the latest and greatest in choral music. Each month, in partnership with the greatest choral publishers in the world, we present a curated selection of new choral titles, complete with watermarked scores for your preview.
About Hal Leonard
Hal Leonard, which joined Muse Group in 2023, are the world leader in sheet music publishing andmusic education, enjoying a storied history of providing music learners with the very best arrangements of popular music for over 70 years. Hal Leonard also supplies books, instruments, gear, and software to millions of educators worldwide. To learn more, please visit www.halleonardeurope.com
A Celtic Collection: A Cappella Songs for Tenor Bass Chorus
HL00648168
TTB
arr. Emily Crocker
Hal Leonard
Au Pas, Camarades (Song of the Onion): Discovery Level 2
HL01277101
2-Part Choir
arr. Emily Crocker
Hal Leonard
Colorful: Voices in Harmony
HL00391398
SSA
Philip Silvey
Hal Leonard
Music Changes the World HL00274090
SA
Jim Papoulis
Hal Leonard
The Circle Game
HL01152925
SSA
Joni Mitchell, arr. Audrey Snyder
Hal Leonard
Arirang
WW1878
SSAA, Piano and Percussion
arr. Hyo-Won Woo
Walton Music
Ave Maria I: SAM-Klang
HL01235547
SAM a cappella
arr. Morten Schuldt-Jensen
Hal Leonard Five Sea Songs
WWWJMS1201
SSA and Piano
Daniel Brinsmead
Walton Music
Teach Your Children
HL01340695
SSA
arr. Philip Lawson
Hal Leonard Winter Eve
ECS13722
SSA
Emily Crocker
ECS Publishing
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I’ll Tell Me Ma
NOTES ON THE ARRANGEMENTS
This tune has its origin in a children’s skipping game. The song dates to the 19th century and appears in both English and Irish collections. It usually refers to “Belfast City,” but is also adapted to Dublin, London, and other locations. The lyrics have a teasing quality to them often heard in children’s songs and the performance should reflect this tone. The body percussion is recommended, although the optional drum can be added ad lib, or the song can be sung completely a cappella. The song has been frequently
recorded by Celtic artists, including The Chieftains, Sham Rock, Gaelic Storm, and others.
Kelvingrove
Kelvingrove is a beautiful wooded dell through which the river Kelvin flows and is near the city of Glasgow in Scotland. It was a favorite place for young people to meet on summer afternoons. The Corries, Maureen McMullan & Atlantic Seaway, and Peter Morrison are among the Celtic artists to have recorded the song. This arrangement opens with open fifth drones which yields to a sweet lyric
setting of the tune.
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Loch Lomond
This is among the most famous of Scottish songs. One theory of this ballad’s origin is that a condemned prisoner wrote this song for his sweetheart. Another theory is that a Jacobite Highlander who was captured in the rebellion of 1745 was sentenced to die. The verse is his song to another rebel who will be set free. He sings that he will follow the “low road” via the spirit path and arrive in Scotland before his freed comrade. This song and variations of it have been recorded by a wide variety artists including The King's Singers, Judy Collins, The Chieftains, and the Irish Tenors. The song should be sung with a wee bit of
Star of the County Down
Thought by some scholars to date back to the Middle Ages, this folk tune has been set to a variety of texts in England and Ireland, and even found its way into a hymn setting by Ralph Vaughan Williams. It has been recorded by many artists, including The Chieftains with Van Morrison, The Irish Rovers, The High Kings, The King’s Singers and Yo-Yo Ma. The modal setting imparts a haunting quality to
Celtic lilt. the music.
Wild Mountain Thyme
The old custom of young women wearing a sprig of thyme, mint or lavender to attract a suitor may have led to the lyrics of this Scottish song. Recorded by dozens of artists: Bob Dylan, Joan Baez, Judy Collins, The Chieftains, Celtic Woman and many more, this plaintive song has become a consistent favorite. This arrangement opens in a lilting 6/8 and then moves to a fuller and
more stately 3/4.
Ye Banks and Braes
The lyric for this song was written by the famous poet Robert Burns and first published in 1792 when Burns was 33 years old. The rose with its thorn is a metaphor for the pain of love betrayed. Burns thought that the tune was composed by an amateur working over the black keys of the keyboard. While this story is one possibility, it’s a fun theory that you can try out by playing the tune in G flat or F sharp major which works on the black keys of the keyboard. Be sure to bring out the melody, as
everyone in this arrangement has the opportunity to sing a part of it.
Arranged by EMILY CROCKER
I’LL TELL ME MA
For TTB* a cappella with optional percussion** Duration: ca. 1:45
Traditional Irish Folk Song
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**Opt. body percussion or other percussion ad lib, such as cajón or bodhrán. ***Roll r and close to m.
*www.halleonard.com/choral
Visit sheetmusicdirect.com to purchase and download digital choral scores and audio (MP3s).
ã V V ?
V V ?
sheisthebelleofBelfastCity.
sheisthebelleofBelfastCity.
sheisthebelleofBelfastCity.
Pleasewon'tyoutellmewhoisshe?
Pleasewon'tyoutellmewhoisshe?
Sheishandsome,sheispretty,
Pleasewon'tyoutellmewhoisshe?
Sheishandsome,sheispretty,
Sheishandsome,sheispretty,
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Sheiscourting,one,two,three.
Sheiscourting,one,two,three.
Sheiscourting,one,two,three. stomp pat thighs stomp pat clap
V V ?
alltheboysarefightingforher.
Knockingonthedoorandringingonthebell,saying,
Knockingonthedoorandringingonthebell,saying,
V V ?
Knockingonthedoorandringingonthebell,saying,
“Ohmytruelove,areyouwell?”
Downshecomesandfairshegoeswith
“Ohmytruelove,areyouwell?”
Downshecomesandfairshegoeswith
“Ohmytruelove,areyouwell?”
Downshecomesandfairshegoeswith
ringsonherfingersandbellsonhertoes,
ringsonherfingersandbellsonhertoes,
ringsonherfingersandbellsonhertoes,
doesn’tgetthefellowwiththerovingeye.
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She'sasniceasapplepie.
snowcometumblingfromthesky. brrm, brrm,
Getherownladbyandby!
Whenshegetsaladofherown,
brrm,brrm,
She'llgetherownladbyandby! brrm, brrm.
Letthemallcomeastheywill,butit's
Letthemallcomeastheywill,butit's
Letthemallcomeastheywill,butit's
ã V V ?
pullherhair,theystolehercomb,but
that’sallrightwhenIgohome.
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Sheishandsome,sheispretty,
pullherhair,theystolehercomb,but
Sheishandsome,sheispretty,
Sheishandsome,sheispretty,
sheisthebelleofBelfastCity.
Sheiscourting,one,two,three.
Pleasewon’tyoutellmewhoisshe?
sheisthebelleofBelfastCity.
Sheiscourting,one,two,three.
Pleasewon’tyoutellmewhoisshe?
sheisthebelleofBelfastCity.
Sheiscourting,one,two,three.
Pleasewon’tyoutellmewhoisshe?
Arranged by JOHN LEAVITT
KELVINGROVE
wandermill,
wanderbythemill,bonnie
rill,
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covebesidetherill,bonnie
Kelvinbanksarefair,Whenin
LOCH LOMOND
secondspringagain,Andthe
STAR OF THE COUNTY DOWN
Expressive, feel in two (Π= ca. 104)
V ? ?
V ? ?
sheenofhernutbrown
sheenofhernutbrown
sheenofhernutbrown
V ? ?
V ? ?
BantryBaydownto
DerryQuay,
GalwaytoDublin
town,No
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BantryBaydownto
DerryQuay,
GalwaytoDublin
BantryBay,
V ? ?
maidI'veseenlikethe
DerryQuay,from
GalwaytoDublin
town,No town,
maidI'veseenlikethe
metintheCounty
CountyDown.
Dmdmdm dim. dim. *Sing cues for range or balance dim.
Emily Holt Crocker taught public school music at all levels for 15 years in Texas. In 1989, she joined Hal Leonard, the largest publisher of choral and classroom publications in the world, becoming Vice President of Choral Publications in 2000, and retiring in 2017 after 29 years. In 1994 she founded the Milwaukee Children’s Choir and was artistic director of the group until 2009 and was named Director Emeritus in 2019. In 2009 she founded the Vocal Arts Academy of Milwaukee, leading that group until 2015.
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Ms. Crocker’s works have been performed around the world and she is well known for her work in developing choral instructional materials. She received the Distinguished Citizen Award – Professional in the Arts in 2009 from the Civic Music Association of Milwaukee and was named Honored Alumna for 2009 by the University of North Texas College of Music. In 2017 she received the Outstanding Service Award from the Texas Choral Directors Association and in 2019 she was inducted into the Fort Worth Independent School District Wall of Fame.
John Leavitt is a teacher, composer, conductor, and clinician who lives in the Kansas City area. Dr. Leavitt has received awards for teaching excellence at Friends University in Wichita, KS as well as MidAmerica Nazarene University in Olathe, KS. He has received numerous awards for composition including grants from the National Endowment for the Arts’ “American Masterpieces,” the Kansas Arts Commission and the American Society of Composers, Authors and Publishers. He has been recognized as alumnus of the year from his alma mater, The Conservatory of Music at the University of Missouri-Kansas City. A prolific composer and conductor, Dr. Leavitt has premiered many new works in New York’s Carnegie Hall and Washington D.C.’s Kennedy Center. He has also co-authored the widely used textbook series, Essential Elements for Choir.
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Au Pas, Camarades
(Song of the Onion)
French Marching Song
Arranged with English Lyrics by Emily Crocker
Available for TB and 2-Part
RANGES
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PERFORMANCE NOTES
Do you like fried onion rings? The French love their onions as you can hear in this song. The legend originated around 1800, when before the Battle of Marengo, Napoleon discovered some grenadiers rubbing an onion on their bread. “Very good,” he said, “there is nothing better than an onion for marching on the road to glory.”
CHORAL PREPARATION
Perform this arrangement with English verses and French refrain. If nonFrench choirs choose to sing the French verses, find an online source for the pronunciation or a French speaker to help you learn the lyrics.
VERSE ONE
J‘aime l‘oignon frit à l‘huile, I love the onion fried in oil, J‘aime l‘oignon quand il est bon. I love the onion when it’s good, J‘aime l‘oignon frit à l‘huile, I love the onion fried in oil, J‘aime l‘oignon quand il est bon. I love the onion when it’s good.
REFRAIN
Au pas, camarades, au pas, camarades, au pas, au pas, au pas. (repeat) Oh pah, cah-mah-rahd, oh pah, cah-mah-rahd, oh pah, oh pah, oh pah. In step, comrades, in step, comrades, in step, in step, in step.
VERSE TWO
Un seul oignon frit à l’huile, Just one onion fried in oil, Un seul oignon nous change en Lion, Just one onion turns us into lions. Un seul oignon frit à l’huile, Just one onion fried in oil, nous change en Lion (repeat). Just one onion turns us into lions.
VERSE THREE
Aimons l’oignon frit à l’huile, We love the onion fried in oil, Aimons l’oignon car il est bon, We love the onion, it’s so tasty. Aimons l’oignon frit à l’huile, We love the onion fried in oil, Aimons l’oignon, aimons l’oignon. We love the onion. (repeat)
ARRANGER
Emily Holt Crocker is recognized nationally as one of the leading experts in young choir, with experience in public schools, community children’s and youth choirs, and in composing, editing and publishing. She was Founder and Artistic Director of the Milwaukee Children’s Choir from 1994-2009 and the Vocal Arts Academy of Milwaukee from 2010-2015. In 2017, she retired as Vice President of Choral Publications at Hal Leonard Corporation and now resides in Fort Worth, Texas, where she composes and is an active supporter of the arts. Visit www. emilycrockermusic.com for more information.
Digital audio includes a full performance track, an instrumental only version, and individual part predominant tracks.
Arranged with English lyrics by EMILY CROCKER
Au Pas, Camarades
(Song of the Onion)
For 2-Part* and Piano
Duration: ca. 2:00
French Marching Song Chanson de l’oignon**
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* Available separately: TB (01277087), 2-Part (01277101) halleonard.com/choral Visit sheetmusicdirect.com to purchase and download digital choral scores and audio (MP3s).
** Chanson de l’oignon: Song of the Onion
l’hui-
road, le,J’aiwe’re me a l’oipla-
J
l’huiroad, le,J’aiwe’re me a l’oipla-
gnon
toon quand that’s il proud est and
bon. true, J’aiEach me of l’oius
gnon toon quand that’s il proud est and
bon. true, J’aiEach me of l’oius
pas,aupas,au
aupas,au
pas,aupas.
Lion,
on-ion frit fried à in
gnon
gnon on-ion frit fried à in
little slower (q = ca. 96)
A little slower (q = ca. 96) ( f
left gnon andenfrit e-mies à
right, l’huile, they Aiwill mons all l’oi-
left gnon andenfrit e-mies à
right, l’huile, they Aiwill mons all l’oi-
pas,ca-ma-rades,au
pas,ca-ma-rades,au
pas,aupas,au
pas,ca-ma-rades,au
pas,ca-ma-rades,au
pas,aupas,au
& & & ?
pas,ca-ma-rades,au
pas,ca-ma-rades,au
pas,aupas,au
pas,ca-ma-rades,au
pas,ca-ma-rades,au
pas,aupas,au
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NOTES FROM THE COMPOSER
“Well-behaved women seldom make history”
—Laurel Thatcher Ulrich
This quote inspired the lyrics for Colorful, written with input from members of the Gates Chili High School Advanced Treble Choir who described how they envisioned themselves in comparison to the messages they often hear from adults.
I have heard others use the word “colorful” in a veiled attempt to avoid disparaging someone with an unusual personal style. Here, I use it to inspire those who dare to diverge from the expected. Just as the changing leaves make each unique tree more conspicuous every fall, those with the courage to embrace their idiosyncrasies stand out with brilliance.
Scan this QR code to be taken to teaching resources for the Voices in Harmony Choral Series, and SEL learning Experiences relating to this octavo.
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TEXT
Be colorful, Be brave, Once in a while misbehave (a little) Be colorful, please do be colorfully you.
Everything you see is not what you need to be, Is not necessarily you.
Be curious, Be flawed. Come as you are, be odd! And shock and let them talk!
Why would you stay out of the way, Quiet and small, not yourself at all?
When others set the status quo for how that you can go, All those people didn’t know you!
Be powerful, Be bold!
Once in a while don’t do as you’re told! Be colorful, please do, please do be colorfully unapologetically you!
Philip E. Silvey is Associate Professor of Music Teaching and Learning at the Eastman School of Music where he directs the Treble Chorus and teaches undergraduate and graduate courses in music education. He has served as guest conductor, clinician, and adjudicator in numerous states. His original choral compositions and arrangements have been performed by all-state and national honors choruses.
Colorful
& & & ? ?
& & & & ?
& & & ? ?
& & & ?
& & & ? ?
& & & ? ?
& & & ?
setthesta-tusquo
& & & ? ?
setthesta-tusquo
setthesta-tusquo
farthatyoucango,
farthatyoucango,
farthatyoucango,
J œ . ‰‰ J œ . ‰ all those ‰ j œ . ‰‰ j œ . ‰ all those
j œ . ‰‰ j œ . ‰ all those
peo-pledid-n'tknowyou!
peo-pledid-n'tknowyou!
peo-pledid-n'tknowyou!
& & & & ? ?
please
& & & & ?
do, please
do,
& & & ?
Colorful
Words and Music by PHILIP E. SILVEY
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Jim Papoulis
Notes from the Composer
Music is often praised for helping a child in many ways, such as offering cross-curricular support, improving test-taking skills and performance, and even boosting attendance in school. Beyond all of this, I deeply believe that music promotes discipline, working together, listening, sensitivity, and a sense of humanity that lies within all of us. The importance of music in a young person’s life is unquantifiable. I have always believed in the power of music to change a person, which in turn can change a society... and eventually, the world.
The Foundation for Small Voices (FSV) created the Music Changes the World project, evolving as a response to so many music programs being cut, in part or in full, from schools across the country, and through an ever-present FSV vision committed to raising money for youth all over the world who do not readily have the opportunity for music in their lives.
Music Changes the World is a call for choirs to connect across the international choral community to lift up those with little or no access to music by pledging $100 on a one-time or annual basis. It is only through a large number of participants that we will be able to make a difference; and it is our hope that by choosing an attainable amount of $100, many choirs will be able to be a part of this global community.
100% of the proceeds from sheet music sales of this piece will go directly to the Music Changes the World project through the Foundation for Small Voices. We invite you to join us, and help change the world through music.
Learn more, and join us: www.foundationforsmallvoices.org/music-changes-the-world/
About the Composer
Jim Papoulis has a distinctive musical style that combines contemporary sounds with musical traditions from around the globe. Traveling worldwide, Papoulis works with international artists and ensembles in order to explore and create a sound for a global community. This multicultural sound has become the cornerstone of his works for choirs, orchestras, and ensembles.
Everywhere Papoulis travels, he actively immerses himself in the local music, instruments, and culture, constantly learning and growing his ability to incorporate these diverse elements gracefully into his work. His choral compositions often reflect the personal, inner perspectives of those who sing them, enabling his music to create a bridge of honest feeling and inspiration between singer and listener.
DURATION
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ca. 3 minutes, 30 seconds
Music Changes the World is available in three voicings: Unison/2-part - 00274090
SSA - 00274091
SATB - 00232822
The Small Voices Publishing music series is edited by Sophia Papoulis.
MUSIC CHANGES THE WORLD
Unison/Optional 2-Part and Piano with Optional Percussion*
Words and Music by Jim Papoulis
q = ca. 104
Spoken : In order to make a true change in the world.... I will pledge to myself....
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to have acceptance of others... to be more tolerant...
q = ca. 104
to be a kind, considerate person.. I will look within myself....
And only then can I make a real change in the world....
enters * Percussion part (Djembe and Shaker) is found on page 12.
ooh
Djembe
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be a way that we can sing and show the world what must Part II (optional) be a way that we can sing and show the world what Shaker enters, Djembe continues
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There
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must be a way to f
change the world to join our hearts and find the hope; there
change the world to join our hearts and find the hope; there
If we want to
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mu sic - chang es - the world. There
sic - chang es - the world. There
and stand as one
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stand as one; there must be a way that we can see the
stand as one; there must be a way that we can see the
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mu sic - chang es - the
world mu sic - chang es - there p must be a way
and Djembe tacet mu sic - chang es - the world
Shaker
Djembe
Performed by JONI MITCHELL
The Circle Game
Words and Music by JONI MITCHELL
Arranged by AUDREY SNYDER
Available for SATB, SAB, SSA, and 2-Part
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Guitar/Bass Parts
01152927
Performed by JONI MITCHELL
The Circle Game
Arranged
by
AUDREY SNYDER
MITCHELL
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*Available separately: SATB (01152923), SAB (01152924), SSA (01152925), 2-Part (01152926) Guitar/Bass Parts available as a digital download (01152927) (gtr, b) halleonard.com/choral Visit sheetmusicdirect.com to purchase and download digital choral scores and audio (MP3s).
& & & ?
roundandround,andthe
& & & ?
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carousel oftime.
carousel
& & & &
?
onlylook be
hindfromwherewe
cameandgo
onlylook be
hindfromwherewe
came,andgo
onlylook be
hindfromwherewe
came,
roundandroundand
roundinthecircle
roundandroundand
roundinthecircle
roundand
roundinthecircle
w game, w game. w game.
& & & ?
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ARIRANG arr. Woo
아 리 랑
Arirang
HYO-WON WOO, ARRANGER
Arirang ( 아 리 랑 ) IPA Pronunciation Guide and Translation
아 리 랑 아 리 랑 아 라 리 요 Arirang, arirang, arariyo Arirang, arirang, arariyo
아 리 랑 고 개 로 넘 어 간 다 arirang gogaero neomuhganda
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나 를 버 리 고 가 시 는 님 은 Nareul beorigo gasi neun nimeun My love, you are leaving me
십 리 도 못 가 서 발 병 난 다 Simridoh motgaseo balbbyong nanda Your feet will be sore before you go ten
아 리 아 리 랑 쓰 리 쓰 리 랑 아
Ari arirang sseuri sseurirang ari arariyo
아
Ari arirang sseuri sseurirang ari arariyo ari arari arari nanae
One of Korea’s most prominent composers, Hyo-Won Woo has emerged as a formidable voice in choral music. Her groundbreaking works blend traditional Korean musical elements and Western technique, and include settings of the Latin text, playful spatial music, and arrangements examining wordless human encounters.
Ms. Woo is currently composer-in-residence with the National Chorus in South Korea. She was composer-in-residence with the Seoul Ladies’ Singers since 1996, and with the Incheon City Chorale, led by Hak-Won Yoon, from 1999-2014. For over twenty years, the collaboration between Ms. Woo and Mr. Yoon has forged a new path for choral music in Korea.
Ms. Woo’s works are highly sought after worldwide and have been critically acclaimed at the 2009 ACDA National Conference, Polyfolia in France, and the IFCM choral symposium. Ms. Woo is on faculty at the Chorus Center Academy in Seoul and has taught choral compositions at various universities in Korea and was most recently a visiting fellow at the University of Michigan. Her works are published by Walton Inc. and Hal Leonard in the United States and Seoul Chorus Center in South Korea.
Duration: Approx. 4:45
Arirang
SSAAwithPianoandKoreanPercussion* * Percussion used: Buk (Korean drum) & Ggoenggwari (Small gong). Separate percussion parts are found on page 20.
TraditionalKorean
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아 Ari 리 rang
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ri
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A
rirang
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Perc.
아 ara 라 ri 리
요 아 Ah
요 yo yo
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1161.
아 ari 리 rang 랑
아 ari 리 rang 랑 go 고 gae 개 ro 로 go 고 gae 개 ro 로
넘 neomuh 어 gan 간
넘 neomuh 어 gan 간 neo 넘 muh 어 gan 간 da 다 da 다 da 다
아 ari 리 neo 넘어 muh 간 gan 넘 neo 어 muh 간 gan rang 랑 da 다 da 다 ---
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Andantino
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Ave Maria I
SAM a cappella
Arr. Morten Schuldt-Jensen
For further information on the SAM-Klang series, use the QR code below: Zusätzliche Informationen über die SAM-Klang Serie finden Sie unter folgendem Link:
Editor and project manager: Jonathan Wikeley Arranger and editor: Morten Schuldt-Jensen
ISBN 978-1-70519-764-6
For all works contained herein:
Unauthorized copying, arranging, adapting, recording, internet posting, public performance, or other distribution of the music in this publication is an infringement of copyright. Infringers are liable under the law.
Visit Hal Leonard Online at www.halleonard.com
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World headquarters, contact: Hal Leonard 7777 West Bluemound Road Milwaukee, WI 53213 Email: info@halleonard.com
In Europe, contact: Hal Leonard Europe Limited Dettingen Way Bury St Edmunds, Suffolk, IP33 3YB Email: info@halleonardeurope.com
In Australia, contact: Hal Leonard Australia Pty. Ltd. 4 Lentara Court Cheltenham, Victoria, 3192 Australia Email: info@halleonard.com.au
SAM-Klang
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Die SAM-Klang Serie bietet ein Basisrepertoire für Chöre in der Besetzung Sopran, Alt und einer Männerstimme. Neben neuem Repertoire und neuen Arrangements finden Sie hier auch wesentliche Teile des klassischen deutschen, skandinavischen, französischen und englischen SATB-Repertoires, sorgfältig und rücksichtsvoll für SAM umgearbeitet.
Die Arrangements bewahren die charakteristischen Züge der Originalsätze und haben beinahe dieselbe Klangfülle, sodass die Werke für das Publikum fast wie gewohnt klingen. Die Bearbeitungen bieten Entwicklungsmöglichkeiten für alle Stimmgruppen und bringen neues Leben und neue Qualität in die SAM-Chorarbeit. Klavierreduktionen sämtlicher Chorsätze erleichtern die Probenvorbereitung. SAMKlang ermöglicht so u.a. Jugendchören den Einstieg in die klassische Chorliteratur und sichert auch gemischten Chören mit kleiner werdender Besetzung weiterhin den Zugang zum altbewährten und geschätzten Repertoire.
• Neuerscheinungen und das bereits vorliegende Repertoire,
• Erläuterungen zu Struktur und Satztechnik,
• Übersetzungen, Aussprachehilfen und Klangbeispiele
• Anregungen für die methodische und stimmtechnische Arbeit
finden Sie unter www.sam-klang.com
The name SAM-Klang takes the three voice parts from the arrangements – Soprano, Alto and Men – and combines it with the Scandinavian and German words for ‘sound’ to create the portmanteau word ‘sound together’ or ‘harmony’. The SAM-Klang series offers basic and advanced choral repertoire arranged for soprano, alto and one male voice-part. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM.
The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire.
For further information and to discover more about SAM-Klang, including recordings, translations, pronunciation guides, videos, existing and new volumes in the series, please visit www.sam-klang.com
Morten Schuldt-Jensen war 1999–2007 Chordirektor am Gewandhaus zu Leipzig und ist seit 2006 Professor für Chor- und Orchesterdirigieren an der Musikhochschule Freiburg.
Neben seiner Lehrtätigkeit hat er in Skandinavien und Deutschland mit Chören und Orchestern aller Art und auf jedem Niveau bis hin zu namhaften europäischen Ensembles gearbeitet (u.a. SWR Vokalensemble, RIASKammerchor, Gewandhausorchester und Akademie für Alte Musik). Er konzertiert regelmäßig mit seinem dänischen Chor Sokkelund Sangkor, mit Immortal-BachEnsemble und Leipziger Kammerorchester, deren Chefdirigent und künstlerischer Leiter er ist. Sein breit gefächertes Repertoire von Alter Musik bis zu Jazz- und Popularmusik ist durch zahlreiche Preise und hochgelobte CDs dokumentiert. Darüber hinaus schreibt und arrangiert er Chormusik für mehrere Verlage, publiziert wissenschaftliche Artikel und hält Vorträge in Europa und den USA über Interpretation, Aufführungspraxis und Funktionalität des Dirigierens.
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Morten Schuldt-Jensen was choral director of the Gewandhaus in Leipzig from 1999–2007 and has been professor of choral and orchestral conducting at the Freiburg University of Music since 2006
In addition to his teaching activities, he has worked in Scandinavia and Germany with choirs and orchestras of all kinds and at every level including well-known European ensembles such as SWR Vocal Ensemble, RIAS Chamber Choir, the Gewandhaus Orchestra and the Akademie für Alte Musik. He performs regularly with his Danish choir Sokkelund Sangkor, with the Immortal Bach Ensemble and the Leipzig Chamber Orchestra, of which he is chief conductor and artistic director. His repertoire is wideranging – from early music to jazz and popular music – and he has won numerous prizes and recorded many highly acclaimed CDs. In addition, he writes and arranges choral music for several publishers, publishes scientific articles and gives lectures in Europe and the USA on interpretation, performance practice and conducting technique.
Ave Maria I
Dieser Band vereint fünf Bearbeitungen marianischer Werke, die zusammen mehr als 400 Jahre europäischer Chormusikgeschichte überspannen.
Das früheste dieser Werke, „Ave vera virginitas“, übernimmt homophone Abschnitte aus Josquins „Ave Maria“. Die zweite Strophe verwendet einen Text, der im Original polyphon gesetzt ist. Hier wird sie gefolgt von einer abschließenden Kommemoration und dem Amen.
„Dixit Maria“, aus Hasslers erster veröffentlichter Sammlung „Cantiones sacrae“ (1591), vertont einen Vers aus der Verkündigungserzählung des Lukasevangeliums. Das in einer ABB-Form geschriebene Werk ist durchweg im polyphonen Stil gehalten, der nur an einer Stelle, beim Ausruf „Ecce...“, zur Scheinhomophonie reduziert wird.
Rheinbergers Vertonung des „Ave Maria“ ist die letzte der 1893 komponierten „Advent-Motetten“ Op. 176, einer Sammlung von neun geistlichen Gesängen zu den vier Adventssonntagen. Dies war der letzte Zyklus geistlicher A-cappellaWerke des Komponisten bevor sein schlechter Gesundheitszustand ihn 1894 zwang, seine Stelle als Hofkapellmeister aufzugeben.
Griegs 1898 geschriebene Vertonung des Marienhymnus‘ „Ave maris stella“ aus dem achten Jahrhundert ist eine Bearbeitung für gemischten Chor eines fünf Jahre zuvor komponierten Liedes für Solostimme. In diesem neuen Arrangement sind die Sopranund Altstimmen durchgehend geteilt mit gelegentlichen optionalen Stimmteilungen der tieferen Stimme.
A-cappella-Vertonungen an, die Reger zuvor geschrieben hatte. Das Original sieht bis zu sechs Stimmen (SSATBB) vor, hier umfasst die Partitur jedoch, abgesehen von der Schlussnote der tieferen Stimme, durchweg lediglich drei Stimmen.
Anmerkung des Herausgebers Einige Stücke in dieser Ausgabe enthalten Klammern, die unterschiedliche lange „ternäre Zellen“ – Zellen aus drei Schlagzeiten – umfassen. Vor der Mitte des 17. Jahrhunderts, im Stile antico, war es üblich, dass jede Gesangsstimme ein unabhängiges Metrum erhielt: eine Abfolge binärer oder ternärer Akzentuierungen, die sich an der Deklamation des Textes orientierten. Dies geschah, um jeder Stimme Lebendigkeit zu verleihen. Trotz der natürlichen Synkopierung innerhalb dieser individuellen Ebenen kreiert die ständige Verschiebung der Betonungen insgesamt den Eindruck eines bis zur Kadenz durchlaufenden Legatos, wo diese Zellen zusammenkommen.
Gewisse Eigenheiten dieses Stils, wie zum Beispiel Hemiolen und die damals gebräuchlichen Kadenzen setzten sich in den darauffolgenden Jahrhunderten fort. Man kann sie in der Musik von Haydn, Schubert und Brahms entdecken und sogar bei späteren Komponisten mit einem Faible für vokale Polyphonie.
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„Unser lieben Frauen Traum“ ist der vierte von Regers „Acht geistlichen Gesängen“ Op. 138 Diese wurden zu Beginn des Ersten Weltkrieges komponiert und kündigten eine Abweichung vom Stil der ausgedehnten von Bach inspirierten
Diese SAM-Klang-Arrangements spiegeln die Kontraste und Lebendigkeit der originalen Phrasierung wider; die Weglassung einer Stimme hat keinerlei Auswirkungen, wie man vielleicht vermuten könnte. Obwohl sich diese Edition durch die die Klammern und kleinen Taktstriche deutlich von gewohnten Ausgaben abhebt, sollten anfängliche Schwierigkeiten doch schnell überwunden sein und die resultierende Aufführung wird sowohl für die Sänger als auch für das Publikum wesentlich befriedigender ausfallen.
Ave Maria I
This volume brings together five arrangements of Marian works spanning over 400 years of European choral music.
The earliest of these works, Ave vera virginitas, takes homophonic segments from Josquin’s Ave Maria. The second verse uses text that is set polyphonically in the original. Here it is followed by a concluding plea for remembrance and the Amen.
Dixit Maria, from Hassler’s first published collection Cantiones sacrae (1591), sets a verse from Luke’s narration of the Annunciation. The style of the work, written with an ABB structure, is polyphonic throughout, merely reduced once to quasi-homophonic at the exclamation “Ecce...”
Rheinberger’s setting of the Ave Maria is the final work from the Advent-Motetten Op. 176, a collection of nine hymns proper to the four Sundays of Advent, composed in 1893. This was the composer’s final set of a cappella sacred works before ill health forced him to relinquish his role as a court conductor in 1894 Grieg’s 1898 setting of the eighth-century Marian hymn Ave maris stella is a mixed-choir arrangement of a solo song written five years earlier. In this new arrangement, the sopranos and altos are divisi throughout with occasional, optional splits in the lower voice part.
Editorial note
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Unser lieben Frauen Traum is the fourth of Reger’s Acht geistliche Gesänge Op. 138 These eight sacred songs were composed at the beginning of World War I and heralded a diversion away from the extended Bachinspired a cappella settings Reger had written previously. The original is scored for up to six voices (SSATBB), but here, bar the final lower-voice note, the score is in three parts throughout.
Some pieces in this volume feature brackets that comprise ‘ternary cells’ – cells of three beats – of differing lengths. Before the mid 17th century in the stile antico, it was common for each vocal line to have an independent stress pattern: a sequence of binary or ternary accentuations guided by the declamation of the text in order to give life to each voice.
Despite the non-legato of the individual single layer – created by elements including the musical articulation, the (hairpin) phrasing of the ternary cells and a natural text declamation – the constant displacement of stresses between the voices provides an overall feeling of flow right through to the next cadence, at which point the ‘cells’ come together.
Certain characteristics of this style, such as hemiolas and cadential conventions, continued in the following centuries and can be found in the music of Haydn, Mozart, Schubert and Brahms, and even later composers with an affinity for vocal polyphony. The voices in these SAM arrangements take on more than just their own polyphonic role, occasionally switching between parts to maintain the integrity of the original music.
Despite the initial challenges a removal of part would suggest, choirs will reap the benefits of replicating the contrast and vitality of the original inner textural phrasing, and although the brackets and absence of normal bar lines may seem very different from a conventional edition, we are confident that any initial difficulties should be quickly overcome, and that the resulting quality and transparency of performance will be considerably more satisfying for both singer and listener.
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E. Grieg Ave maris stella
M. Reger Unser lieben Frauen Traum
Josquin Ave vera virginitas.
H. L. Hassler Dixit Maria ad angelum
J. Rheinberger Ave Maria.
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SSA, accompanied FIVE SEA SONGS Brinsmead
FIVE SEA SONGS
SSA with Piano
Music by Daniel Brinsmead
JO-MICHAEL SCHEIBE Choral Series Committed to Musical & Educational Excellence
About the Work
In Five Sea Songs
Sea Fever, seemed the ideal opener closely followed by the poignant Sailing Tonight. The rousing sea-shanty Little Fishes, Don’t Cry! is then contrasted with Shakespeare’s eerie and mystical Full Fathom Five from The Tempest. Finally, I Wish You a Kinder Sea, is a translation taken from an epigram attributed to Plato. My sincere thanks to poet Michael R. Burch for his kind permission to use his translation. Five Sea Songs may be performed as a song cycle or as standalone songs. I hope choirs and encompassing much of our planet.
1. Sea Fever (p. 3)
I must go down to the seas again, to the lonely sea and the sky, And all I ask is a tall ship and a star to steer her by, And the wheel’s kick and the wind’s song and the white sail’s shaking, And a grey mist on the sea’s face, and a grey dawn breaking.
I must down to the seas again, for the call of the running tide Is a wild call and a clear call that may not be denied; And all I ask is a windy day
and the sea-gulls crying.
Down, down to the sea.
*changed from “spume” in original poem -Adapted from Sea Fever
2. Sailing Tonight (p. 13)
There’s a ship on the sea. It is sailing to-night, sailing to-night; And father’s aboard, and the moon is all bright, shining and bright. Dear Moon, he’ll be sailing for many a night, Sailing from mother and me; Oh, follow the ship with your silvery light, As father sails over the sea! (Anonymous)
3. Little Fishes, Don’t Cry! (p. 17)
There’s a song I sing to the one I love best, As I journey ‘cross the ocean, sailing ever west,
Climb the rigging, trim the sails, as we’re cutting through the brine.
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-Daniel Brinsmead
Yes, I’ve heard it from the captain and her ginger cat,
Ever thrashing in the water with his mighty tail.
There’s a wind on our tail and a storm ahead!
Sailors, batten down the hatches, ev’ry hand on deck!
She’s a mighty swell, in a violent squall, If we want to tell the tale, better heave and haul!
Look far below where sirens call, Cold waters deep, where none must go.
The crew are asleep and the ocean’s at rest, And I’m singing this song to the one I love best.
-Anonymous with additional lyrics by Daniel Brinsmead
4. Full Fathom Five (p. 29)
Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: Ding-dong.
Hark! now I hear them,—ding-dong, bell.
5. I Wish You a Kinder Sea (p. 35)
I wish you a kinder sea.
-Sourced from an epigram attributed to Plato; trans. Michael R. Burch
Full epigram:
Mariner, do not ask whose tomb this may be, But go with good fortune: I wish you a kinder sea.
About the Composer
completed a Master of Music majoring in Choral Conducting at the Royal Welsh College of Music and Drama, Cardiff, UK. His choral compositions and arrangements have been performed worldwide.
Daniel resides and works in Melbourne, Australia, and is currently the Artistic Director of several choirs including The Australian Children’s Choir and Choristry. He is also a singing and piano tutor, accompanist, composer, arranger, and orchestrator. Visit www.danbrinsmead.com for more information.
Selected text from "Sea-Fever" by JOHNMASEFIELD
Soprano Alto
Piano
SSAandPiano
Music and additional lyrics by DANIELBRINSMEAD(b.1988)
tallship
tallship
andthewhitesail's
andthewhitesail's
onthesea'sface,
onthesea'sface,
ungsprayandthe
crying.
windydaywiththe
windydaywiththe
ying,
andthe
Anonymous text
SSA and Piano
DANIEL BRINSMEAD (b. 1988)
There'sashiponthe
sea.Itis
Sailingtonight;And
Sailingfrommotherand
Sailingtonight;And
SSA,Opt.DescantandPiano Also available as a separate octavo (WJMS1208).
Soprano
Alto Piano
nonemustgo,
nonemustgo,
lookfarbelowwhere
lookfarbelow
sirenscall,
wheresirenscall,
coldwatersdeep,where
coldwatersdeep,
lookfarbelowwhere
lookfarbelow
(ca.60)
crewareasleepandtheocean'satrest,
Hey,ho,don'tcry!
Hey,ho,littleshes,don'tcry!Don't
Hey,ho,littleshes,don't
Soprano Alto
SSAandPiano
(ca.66-68)
Dingdong,bell,
ding,dingdong,
bell.
Dingdong,bell,
dingdong,
Piano
Nothingofhimthatdoth
Nothingofhimthatdoth
seachangea
Intosomethingrichand
Intosomethingrichand
Seanymphshourlyringhis
knell:
Seanymphshourlyringhis
knell:
Seanymphshourlyringhis
knell:
Dingdong,bell,dingdong,bell,
Dingdong,bell,dingdong,bell,
Hark!nowIhearthem,
Dingdong,bell,
Hark!nowIhearthem,
Dingdong,bell,
dingdong,bell.
dingdong,bell.
SSAandPiano
Unison Voices Piano
Iwish,
Iwish,
Iwishyou,
Iwishyou,
wishyou,
poco rit.
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A tempo, more broadly and steadily building
wish,I
Iwish,
Iwishyou,
wish,I
Recorded by CROSBY, STILLS, NASH & YOUNG
Teach Your Children
Words and Music by Graham
Arranged
by
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Nash
Philip Lawson
Recorded
by
CROSBY, STILLS, NASH & YOUNG
Teach Your Children
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Teach yourchildren
& & & ?
Teach yourchildren
Teach yourchildren
theirfather’s
& & & ?
why;iftheytoldyou,youwould
& & & ?
why;iftheytoldyou,youwould
cry,sojustlookatthemand
why;iftheytoldyou,youwould
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pick’s
pick’s
& &
pick’s
cry, sojustlookatthemand
sigh,
cry, sojustlookatthemand
cry,
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Performance Notes
Winter Eve takes its text from the poem “Good Hours” by Robert Frost (1874-1963), published in the 1915 collection North of Boston. The phrase “winter eve” comes from the last stanza of the poem for use as the title of this musical setting.
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In the poem, Frost describes a solitary evening walk through a small village in winter. There is a clear contrast between the narrator’s isolation and the company of those within the cottages along the way. When the narrator reaches the edge of the village, they turn to come back, but the cottages are dark, and the village is sleeping.
texture. Choirs should strive for expressive legato singing throughout, with clear diction and natural word stress.
This is the second setting for treble voices I have composed using a Robert Frost poem, the other being “Fire and Ice” (2022, Hal Leonard). The two might be paired in performance, or with a setting from another composer to create a mini-Frost suite. Or, perform this piece alone, to set a particular mood in a winter concert.
—Emily
Crocker www.ecspublishing.com
Good Hours
I had for my winter evening walk— No one at all with whom to talk, But I had the cottages in a row Up to their shining eyes in snow.
And I thought I had the folk within: I had the sound of a violin; I had a glimpse through curtain laces Of youthful forms and youthful faces.
I had such company outward bound. I went till there were no cottages found. I turned and repented, but coming back I saw no window but that was black.
Over the snow my creaking feet Disturbed the slumbering village street Like profanation, by your leave, At ten o’clock of a winter eve.
