Vocal skills and concepts The Sally Gardens Children Elementary Unison Benjamin Britten Phrasings Open vowels Ending consonants Yesu Ni Wangu Children Elementary SAB Ruth Morris Gray Swahili text Call and response Listen to My Song Middle school SAB Andy Beck Call and response Homophony Ending consonants Open vowels Domine Deus Middle school Three parts SAB Sally K. Albrecht Latin text Phrasings Homophony Complex meter Will There Really Be a Morning? Middle school Two parts SSA Mary Donnelly George L. O. Strid Meaningful text Homophony Leaps Ending consonants Diphthongs Phrasings Drink to Me Only with Thine Eyes Middle school Junior high Three parts SAB TTB Lon Beery Ending consonants Homophony Open vowels There Is No Rose of Such Virtue Junior high High school SATB Stephen Carraciolo Polyphony Phrasings Suspensions To Everything There Is a Reason High school SATB Stephen Carraciolo Complex meter Mixed meter Suspension People Look East High school SATB Stephen Carraciolo Ending consonants Phrasings Homophony Diphthongs Let My Prayer Rise Before You as Incense High school SATB Stephen Carraciolo Hemiolas Octave leaps Mixed meter Some Additional Pieces of Value: Titles Level Voices Composers/Arrangers Vocal skills and concepts A Mozart Canon Children Elementary Three parts SAB Donald Moore Latin text Phrasings Canon Riversong Children Elementary Two parts Andy Beck Syncopations Homophony Ending consonants Star Dance Elementary Middle school Three parts SAB Janet Gardner Ending consonants Homophony Under Winter Moon Middle school Three parts SAB Andy Beck Entrances Homophony Sans Day Carol Middle school Junior high SATB Stephen Carraciolo Phrasings Homophony Celebrate and Sing! Junior high High school Three parts SAB Laura Farnell Mixed meter Ending consonants Call and response Homophony Hush! My Dear, Lie Still and Slumber High school SATB Stephen Carraciolo Texture Phrasings Ubi Caritas High school SATB Stephen Carraciolo Homophony Latin text Flipped r Phrasings Christ, Victorious; Christ, Now Reigning High school SATB Stephen Carraciolo Phrasings Polyphony Leaps Vocal Skills and Concepts: 1. The Sally Gardens: Phrasings: conducted, taught by demonstration, and by speaking the text with hyper- inflection Open vowels: taught by demonstration, by warm-up descending scale exercise on pure vowels, and by singing while imagining having hot potatoes Ending consonants: conducted, taught warm-up consonant exercise with [sh], [f], [ts], [k] 2. Yesu Ni Wangu: Swahili text: taught by demonstration, by speaking the text with hyper-inflection, by explaining the meaning of the text Call and response: taught by demonstration 3. Listen to My Song: Call and response: taught by demonstration Homophony: taught by explaining the role of each voice and by emphasizing moving notes Ending consonants: conducted, taught warm-up consonant exercise with [sh], [f], [ts], [k] Open vowels: taught by demonstration, by warm-up descending scale exercise on pure vowels, and by singing while imagining having hot potatoes 4. Domine Deus: Latin text: taught by demonstration, by speaking the text with hyper-inflection, by explaining the meaning of the text Phrasings: conducted, taught by demonstration, and by speaking the text with hyper- inflection Homophony: taught by explaining the role of each voice and by emphasizing moving notes Complex meter: conducted, taught by explaining beat and meter, and by counting subdivisions 5. Will There Really Be a Morning? Meaningful text: taught by demonstration, by speaking the text with hyper-inflection, by explaining the meaning of the poem Homophony: taught by explaining the role of each voice and by emphasizing moving notes Leaps: taught by thinking ahead/audiate, by yawning into the note, by holding a note and ascend/descend when conducted, and by warm-up octave descending/ascending exercise on [u] and [a] vowels Ending consonants: conducted, taught warm-up consonant exercise with [sh], [f], [ts], [k] Diphthongs: taught by explaining vowels, by demonstration, and by holding a note and change the text when conducted Phrasings: conducted, taught by demonstration, and by speaking the text with hyper- inflection 6. Drink to Me Only with Thine Eyes: Ending consonants: conducted, taught warm-up consonant exercise with [sh], [f], [ts], [k] Homophony: taught by explaining the role of each voice and by emphasizing moving notes Open vowels: taught by demonstration, by warm-up descending scale exercise on pure vowels, and by singing while imagining having hot potatoes 7. There Is No Rose of Such Virtue: Polyphony: taught by explaining the role of each voice, by emphasizing moving notes, entrances of voices, and by listening to other voices (using mixed formation) Phrasings: conducted, taught by demonstration, and by speaking the text with hyper- inflection Suspensions: taught by leaning on the dissonance and release on the resolution of suspensions, and by explaining the concept of suspensions 8. To Everything There Is a Reason Complex meter: conducted, taught by explaining beat and meter, and by counting subdivisions Mixed meter: taught by demonstration, and by counting subdivisions Suspensions: taught by leaning on the dissonance and release on the resolution of suspensions, and by explaining the concept of suspensions 9. People Look East Ending consonants: conducted, taught warm-up consonant exercise with [sh], [f], [ts], [k] Phrasings: conducted, taught by demonstration, and by speaking the text with hyper- inflection Homophony: taught by explaining the role of each voice and by emphasizing moving notes Diphthongs: taught by explaining vowels, by demonstration, and by holding a note and change the text when conducted 10. Let My Prayer Rise Before You As Incense Hemiolas: taught by explaining beat and meter, by demonstration, and by rhythmic- warm-up exercises (having a voice on duple meter and another on triple meter) Octave leaps: taught by thinking ahead/audiate, by yawning into the note, by holding a note and ascend/descend when conducted, and by warm-up octave descending/ascending exercise on [u] and [a] vowels Mixed meter: taught by demonstration, and by counting subdivisions
Interview Question Job Interviewer: Can you name for me two or three pieces that you think are particularly well suited for middle school/jr. high school choirs, and tell me why they are good for this age group? Me: These pieces are Will There Really Be a Morning (WTRBAM) composed by Mary Donnelly and George L. O. Strid and Drink to Me Only with Thine Eyes (DTMOWTE) arranged by Lon Beery. WTRBAMs and DTMWTEs range spans roughly more than an octave (suitable for changing voices), do not have high vocal demands and stays predominantly in the medium tessitura(suitable for first semester composition). They also allow for switching of parts and can be applied to multiple types of choirs (SA or TB for WTRBAM, SSA or TTB for DTMOWTE); DTMOWTEs low part also has an ossia for singers who can sing the notes. They have meaningful and beautiful texts; WTRBAM is based on the text of Emily Dickinson which talks about the yearning for hope and DTMOWTE is based on a poem Song to Celia which talks about marriage. They can also be used to teach different essential vocal skills, including homophonic singing, leaps, ending consonants, diphthong formations, open vowel formations, and ending consonants.