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
15 Choruses from ‘Messiah’
HL01215963
SAM
G. F. Händel, arr. Morten Schult-Jensen
Hal Leonard Climbin’ Up the Mountain
ECS13719
SATB
Stacey V. Gibbs
ECS Music Little Tree
HL00869975
SATB
Eric Whitacre
Shadow Water
Taylor Swift: Eras (Choral Medley)
HL01422503
SATB
Aaron Dessner, arr. Mark Brymer
Hal Leonard
The Road
WW2000
SATB, Piano and Ensemble
Ola Gjeilo
Walton Music
Coronation Kyrie
MUSNOV297544
Solo bass baritone, SATB & Organ
Paul Mealor Novello ‘Modimo’ from Indodana: Traditional South African Choral Music
WW2006
SATB and Percussion
ed. Michael Barrett
Walton Music
Songs from the Musical & Juliet
HL01358767
SATB
arr. Mac Huff
Hal Leonard The Cradle
CH88340
SATB & Organ
Cheryl Frances-Hoad
Chester Music Wish (Choral Highlights)
HL01329344
2-Part Choir
Benjamin Rice, arr. Audrey Snyder
Hal Leonard
Georg Friedrich Händel Messiah
15 Choruses SAM Arr.
Morten Schuldt-Jensen
SAMP
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:
ationen
Editor and project manager: Jonathan Wikeley Arranger and editor: Morten Schuldt-Jensen
ISBN 978-1-70519-525-3
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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Hal Leonard 7777 West Bluemound Road Milwaukee, WI 53213 Email: info@halleonard.com
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In Australia, contact: Hal Leonard Australia Pty. Ltd. 4 Lentara Court Cheltenham, Victoria, 3192 Australia Email: info@halleonard.com.au
SAM-Klang
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.
SAMPL
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.
gen en r alle s Leben Leb -Chorarbeit. horarbeit. er horsätze rbereitung. SAMa. den . ische Chorliteratur und ischten Chören mit kleiner en etzung eiterhin ährten ätzten
•Neuerscheinungen und das bereits vorliegende Repertoire,
Neuerscheinungen das euerscheinungen bere iegende Repertoire
•Erläuterungen zu Struktur und Satztechnik,
• Erläuterungen uterungen un chnik
•Übersetzungen, Aussprachehilfen und Klangbeispiele
• Übersetzungen, Aussprache tzungen, ngbeis
•Anregungen für die methodische und stimmtechnische Arbeit
• Anregungen met en für Arb
finden Sie unter www
finden Sie unter www.sam-klang.com
he e ents nts mbines man n ortmanteau word ‘sound ‘sou mony’. The -Klang reperto part. w ents, esse Scandinavi arts Scandinav car ca SAM arrangem mov features of almost the same richnes th in works which soun w Pian movements fac fa The arran opportun portun new li SA
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.
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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
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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 wide-ranging – 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.
Georg Friedrich Händel Messiah
G. F. Händel: Choruses from ‘Messiah’
15 Choruses
Seit mehr als 250 Jahren ist der „Messias“ geradezu ein Synonym für Chormusik als Kunstform. Heute, mit jährlich hunderten von Aufführungen weltweit, ist dieses vielseitige Oratorium bei einem kleinen, professionellen Kammerchor, der das ganze Werk in Angriff nimmt, ebenso zu Hause wie bei einer festlichen Schar Tausender, die Teil 1 mit einem abschließenden „Halleluja“-Choral zur Aufführung bringt.
Dieser Band enthält 15 Chöre, die das Rückgrat der drei Teile, 16 Szenen und 53 Sätze bilden. Händel komponierte sein berühmtestes Oratorium im Jahr 1741 auf Texte der Heiligen Schrift, ausgewählt von Charles Jennens, einem englischen Gutsbesitzer und Kunstmäzen, mit dem Händel häufig zusammenarbeitete.
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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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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.
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Im 18. Jahrhundert erfuhr Händels ursprüngliche Orchestrierung mehrere Umarbeitungen, einschließlich einer Fassung von Mozart, bevor das 19. Jahrhundert eine Zeit zunehmend pompöser Interpretationen einläutete, insbesondere in Großbritannien und den USA. Das 20. Jahrhundert, mit den Fassungen von Ebenezer Prout (1902) und Watkins Shaw (1965), erlebte eine Verschiebung hin zu einer authentischen, aber auch pragmatischen Aufführungspraxis. Es war die Raison d’Être mancher Händel-Gelehrter, die letztgültige „Messias“-Fassung zu kreieren, doch angesichts der Veränderungen und Vieldeutigkeiten in Händels eigenen noch erhaltenen Handschriften gilt es inzwischen als allgemein akzeptiert, dass es eine solche nicht gibt.
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,
Naturgemäß hält diese SAM-Klang-Edition zuweilen Herausforderungen mit einem etwas höheren Aktivitätslevel als die originale SATB-Version bereit und an einigen Stellen waren auch leicht veränderte Einsätze der Stimmen in den mehrstimmigen Abschnitten notwendig. Dennoch kann die originale Orchesterbegleitung ohne Einschränkungen zusammen mit dieser Version verwendet werden, und das Werk kann auch mühelos mit dem Klavierauszug aufgeführt werden.
Georg Friedrich Händel Messiah
G. F. Händel: Choruses from ‘Messiah’
15 Choruses
For over 250 years, Messiah has been synonymous with choral performance. Now, with hundreds of performances worldwide every year, this versatile oratorio feels equally at home in the hands of a small, professional chamber group tackling the whole as it does with a festive throng of thousands performing Part 1 with a concluding Hallelujah chorus.
This collection features 15 choruses that form the backbone of the three parts, 16 scenes and 53 movements. Handel’s most celebrated oratorio, composed in 1741, takes texts from the Holy Scriptures as chosen by Charles Jennens, an English landowner, patron of the arts and Handel’s frequent collaborator.
After the many re-workings of Handel’s orchestration in the 18th century, including an edition by Mozart, the 19th century heralded increasingly ostentatious interpretations, most notably in Great Britain and the United States. The 20th century, with the editions of Ebenezer Prout (1902) and Watkins Shaw (1965), saw a shift towards authentic but pragmatic performance practice. It has been the raison d’être of some Handel scholars to create the definitive Messiah, but given the variances and ambiguities of Handel’s own surviving manuscripts, it has generally been accepted that there is no such thing.
Editorial note
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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.
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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.
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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.
By its nature, this SAM-Klang edition offers the occasional challenge with a somewhat higher level of activity than in the original SATB version, and in some places a slight redistribution of entries in the polyphonic sections was necessary. Despite this, the original orchestral accompaniment can be used together with this version without restraint, and the work can also be easily performed with the piano reduction.
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SONGS FROM THE MUSICAL
& JULIET
Larger Than Life • I Want It That Way • ...Baby One More Time That’s the Way It Is • Since U Been Gone • Can’t Stop the Feeling!
Arranged by Mac Huff
Available for SATB, SAB and 2-Part
SONGS FROM THE MUSICAL & JULIET
Larger Than Life • I Want It That Way …Baby One More Time • That’s the Way It Is • Since U Been Gone • Can’t Stop the Feeling!
For SATB* and Piano with Optional Instrumental Accompaniment
Duration: ca. 10:00
LARGER THAN LIFE
Performed by the BACKSTREET BOYS
Words and Music by BRIAN LITTRELL, KRISTIAN LUNDIN and MAX MARTIN
With strength (q = 120)
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Arranged by MAC HUFF
With strength (q = 120)
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*Available separately: SATB (01358767), SAB (01358768), 2-Part (01358769) Rhythm Parts available as a digital download (01358770) (syn, gtr, b, dm) halleonard.com/choral Visit sheetmusicdirect.com to purchase and download digital choral scores and audio (MP3s).
This arrangement is for concert use only. The use of costumes, choreography or other elements that evoke the story or characters of this stage musical work is prohibited in the absence of a performance license.
Rhythm Parts available as a digital download (01422506) (syn, gtr, b, dm) halleonard.com/choral Visit sheetmusicdirect.com to purchase and download digital choral scores and audio (MP3s).
Commissioned on behalf of The King by the Dean and Chapter of Westminster for the Coronation of King Charles III and Queen Camilla.
First performed on Saturday 6th May 2023 at Westminster Abbey by Sir Bryn Terfel CBE with the combined forces of the Choirs of Westminster Abbey and His Majesty’s Chapel Royal, St James’s Palace, choristers from Methodist College Belfast and Truro Cathedral Choir, and an octet from the Monteverdi Choir, conducted by Andrew Nethsingha with organist Peter Holder.
Anon. Austrian, 1649. Translated by Robert Graves.
Duration: c. 4minutes
Order Number: CH88340
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THE ROAD
SATB divisi with Piano, Harp, and Strings
Music by Ola Gjeilo
Lyrics by Charles Anthony Silvestri
The Road
Commissioned by Keith & Sue Ferguson for Kantorei Denver
The Road is a heartfelt tribute to one of Norway’s most stunning stretches of road. We set out from below Hallingskarvet, the regal mountain near my family’s hometown of Geilo, continuing over the Hardangervidda mountain plateau (also the inspiration behind another piece of mine called Tundra).
From there we travel steeply downward, all the way to the beautiful Hardangerfjorden, before ending the journey by walking upwards again from Kinsarvik, passing by the mighty waterfalls of Husedalen.
The premiere recording of The Road is featured on Ola’s Dreamweaver album (Decca Classics, 2023), performed by the Choir of Royal Holloway, the Royal Philharmonic Orchestra, and Rupert Gough.
Dreamweaver is available on all major platforms, including Apple Music, Spotify & Amazon Music.
1. Hallingskarvet I (instrumental)
2. Hallingskarvet II
Rising under brooding sky
Unmoved by wind or rain
A sentinel
3. Hardangervidda I
Wandering through this barren realm
To stand in utter solitude Here, among the lichened stones Ice-hewn and gale-graven, The waiting soul is opened wide. For here there is a broader force, Shoulders of the earth.
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4. Hardangervidda II
Trembles in the whistling wind.
5. Hardangerfjorden
A narrow valley winding to the sea, A steeply downward pathway falling, Revealing there a sacred genesis.
My heart, descending once again to ground, A deep tranquility desiring, Emerging there to behold a new dawn.
The labored way is opened to the view Of waters wide and light unceasing. The road becomes a path to unknown realms.
6. Husedalen
The labored he labo Of waters waters The road oa 6
Water from the highland falling, Dancing to the sea below, Passing through this hallowed land.
(Lyrics by Charles Anthony Silvestri)
About the Composer
Ola Gjeilo was born in Norway in 1978 and moved to the United States in 2001 to begin his composition studies at the Juilliard School in New York City. He currently lives in Laguna Beach, California.
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Ola is an exclusive Decca Classics artist, and his Decca choral albums include “Ola Gjeilo”, “Winter Songs” & “Dreamweaver”, featuring Tenebrae, Voces8 and the Choir of Royal Holloway, as well as the solo piano albums “Night” & “Dawn”. His global streams have surpassed 230 million.
Approximate duration: 16:30
Ola Gjeilo
Lyrics
Ola
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ROAD
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Full Score: WW2000A
Instrumental Parts: WW2000B (Piano, Harp, Violin I, Violin II, Viola, Cello, Double Bass)
Recommended Recommend Recomm omm
Recommended string ensemble: 24 (8 Violin I, 6 Violin II, 4 Viola, 4 Cello, 2 Bass)
Recommended minimum: 12 (4 Violin I, 3 Violin II, 2 Viola, 2 Cello, 1 Bass)
The Road
1. Hallingskarvet I
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THE ROAD
Ola Gjeilo
SATB divisi with Piano, Harp, and Strings
1. Hallingskarvet I
2. Hallingskarvet II
3. Hardangervidda I
4. Hardangervidda II
5. Hardangerfjorden
6. Husedalen
TRADITIONAL SOUTH AFRICAN CHORAL MUSIC
ARRANGEMENTS BY:
Michael Barrett
Mbuso Ndlovu
Ralf Schmitt
INDODANA
TABLE OF CONTENTS
About Modimo
Modimo is a celebratory song of praise to God in two languages: Sesotho and isiZulu.
Text and Translation
(Sesotho and isiZulu)
Sesotho
Modimo God re boka wena we praise you
Tsothle di entswe ke wena Everything is created by you
isiZulu
Wanyamalala umthwalo wezono zami He took away my burden [sins]
Pronunciation Guide
• • • good listen to this on the recorded pronunciation guide.)
•
• a = mock
u = put
o = oh
e = bed i = seen
•
[sins]
For a Youtube video and recorded pronunciation guide visit waltonmusic.com; search WW1733.
SATBwithDjembe*
drum(s) play in the rests, mm. 1-8
TraditionalSesotho/isiZulu Arranged by MICHAELBARRETT(b.1983)
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little tree
Text by e.e. cummings
SATB and piano
TEXT
little tree little tree little silent Christmas tree you are so little you are more like a flower
SAMPLE
who found you in the green forest and were you very sorry to come away? see i will comfort you because you smell so sweetly
i will kiss your cool bark and hug you safe and right just as your mother would, only don’t be afraid
ark rk nd t her would, t be afraid k sp p shin ing al he thr ns fl p t pl e you y ou’ll stand in the and oh and
look the spangles that sleep all the year in a dark box dreaming of being taken out and allowed to shine, the balls the chains red and gold the fluffy threads,
put up your little arms and i’ll give them all to you to hold every finger shall have its ring and there won’t be a single place dark or unhappy then when you’re quite dressed you’ll stand in the window for everyone to see and how they’ll stare! oh but you’ll be very proud and my little sister and I will take hands and looking up at our beautiful tree we’ll dance and sing “Noel Noel”
e. e. cummings, 1894–1962
ABOUT THE WORK
While in my second year at Juilliard (1996) I received a phone call from Vance George, the legendary conductor of the San Francisco Symphony Chorus. He wanted to know if I might be interested in a commission for their big Christmas concert, something that would feature their amazing accompanist Marc Shapiro and the ‘smaller’ choir of 80 singers. The only catch was that it was now the middle of October, and could I please finish the piece by the first of November.
fOct Oc
I took the commission, of course (how could you say no to Vance George?). I started writing as fast as I could and noticed something very strange happening on the page: I was writing with a completely different voice. Part of it was the nature of the poem, but most of it was residue from my first year at Juilliard. During that time I had studied composition with David Diamond, a notoriously old-school composer whose style is closest to early works of Barber and Bernstein, and I had become obsessed with intricate counterpoint and that very American sound from the 1940’s. It all ended up in the music somehow; so strange how these things work themselves out…
Anyway, I pushed myself finishing the piece on time and then all of the musicians went on strike. The work didn’t receive it’s premiere for another year (1997), and Vance surprised me an hour before the performance and asked me if I would like to conduct. The San Francisco Symphony Chorus. In Davies Hall. With 3,000 people in the audience. Oh yes… little tree is dedicated with joy to my little sister, Kari.
rge?). ge?). ning e ure ing me I had ser who , and I had become obsessed and I had become obsessed sound from the 1940’s. It all nd w out ce on time and then all of the musician e he wou phony 3 Davie th joy minu
~Eric Whitacre
Duration: 5 minutes
OTHER WORKS AVAILABLE:
“A Boy and a Girl” for SATB Chorus (HL08744627)
WOR WO Gir
“Child of Wonder” for SATB Chorus and Piano (HL00324745)
“Child of Wonder ld
“Goodn Good
“Goodnight Moon” for SATB Chorus (HL00283875)
“Home” fo me”
“Home” for SATB Chorus, Piano and Optional Cello (HL00324738)
“Th
“The Seal Lullaby” for SATB Chorus and Piano (HL00276434)
“Sing Gently” for SATB Chorus (HL00354707)
“Sleep My Child” for SATB Chorus (HL08751020)
ABOUT THE COMPOSER
Grammy Award-winning composer and conductor Eric Whitacre is among today’s most popular musicians. His works are programmed worldwide and his groundbreaking Virtual Choirs have united singers from more than 145 countries over the last decade. A graduate of Juilliard School of Music, Eric is currently Visiting Composer at Pembroke College, Cambridge, and recently completed his second term as Artist in Residence with the Los Angeles Master Chorale. Eric is proud to be a Yamaha Artist.
d te o be a , life and loss, life an d rail-blazing vocal sam osers the world-over. In ver. urse,
His long-form work The Sacred Veil, a profound meditation on love, life and loss, was premiered by the Los Angeles Master Chorale, and released on Signum Records in 2020. His collaboration with Spitfire Audio resulted in a trail-blazing vocal sample library, became an instant best-seller and is used by composers the world-over. In 2021, Eric launched the Virtual School with its first course, “The Beautiful Mess: Masterclass in Composition and Creativity.”
ericwhitacre.com
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E.E. CUMMINGS
Commissioned by the San Francisco Symphony Chorus Vance George,
Mark
LITTLE TREE
for SATB Chorus and Piano
5 for my sister Kari
ERIC WHITACRE
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SA S SAM SAMPLE MPPL
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(Ó = 56) Quasi bells
RANGES
SAMPLE
PERFORMANCE NOTES
A medley is a song that includes parts of several pieces sung one after the other. This arrangement from Disney’s animated picture, “Wish,” features these three songs from the movie:
• Welcome to Rosas
• I’m a Star
• This Wish
one after aft re, “Wish,” “W
Since medleys usually incorporate only a part of each original song, singers and audiences hear a variety of songs in the same time it takes for a single song to be sung.
CHORAL PREPARATION
The first two songs in the medley (“Welcome to Rosas” and “I’m a Star”) each have a lot of text and move at quick tempos. Sing the songs with good diction, so that audiences can easily understand the words.
ARRANGER
Audrey Snyder, a choral composer and arranger, is widely recognized as one of the top educational choral writers today. During her many successful years as a public school music teacher she began to write choral music for her own students, publishing her first choral piece in 1978. Since that time Audrey has published numerous original choral compositions and arrangements spanning the entire spectrum of choral music. Her music reflects a rare beauty, simplicity and charm.
Digital audio includes a full performance track, an instrumental only version, and individual part predominant tracks.
to Rosas • I’m a Star • This Wish
Available separately: 3-Part Mixed (01329343), 2-Part (01329344) halleonard.com/choral Visit sheetmusicdirect.com to purchase and download digital choral
