the great choral treasure hunt vi - the Wisconsin Music Educators

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THE GREAT CHORAL TREASURE HUNT VI
Margaret Jenks, Randy Swiggum, & Rebecca Renee Winnie
Friday, October 31, 2008 • 8:00-9:15 AM • Lecture Hall, Monona Terrace
Music packets courtesy of J.W. Pepper Music
YOUNG VOICES
 Derek Holman: Rattlesnake Skipping Song
Poem by Dennis Lee
From Alligator Pie
SSA and piano
 Vincent Persichetti: dominic has a doll
e.e. cummings text
2-part mixed, women’s, or men’s voices
5. From Creatures Great and Small
Boosey & Hawkes OCTB6790 [Pepper #3052933]
From Four Cummings Choruses Op. 98
Elkam-Vogel/Theodore Presser 362-01222 [Pepper #698498]
Another recommendation from this group of choruses: maggie and milly and molly and may
 David Ott: Garden of Secret Thoughts
Plymouth HL-534 [Pepper #5564810]
From: Garden of Secret Thoughts
2 part and piano
Other Recommendations:

Geralad Finzi: Dead in the Cold (From Ten Children’s Songs Op. 1)
Boosey & Hawkes [Pepper #1542752]
Poems by Christina Rossetti
2 part and piano
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Elam Sprenkle: O Captain, My Captain! (From A Midge of Gold)
Walt Whitman
SA and piano
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Carolyn Jennings: Lobster Quadrille (From Join the Dance)
Lewis Carroll
SA and piano
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Victoria Ebel-Sabo: Blustery Day (The Challenge)
Boosey & Hawkes [Pepper #3050515}
unison and piano
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Paul Carey: Seal Lullaby
Roger Dean [Pepper #10028100}
Rudyard Kipling
SA and piano

Zoltán Kodály: Ladybird
(Katalinka)
SSA a cappella
This and many other Kodály works found in Choral works for Children’s and Female voices, Editio Musica Budapest Z.6724
MEN’S VOICES
 Ludwig van Beethoven: Wir haben ihn gesehen
Alliance AMP 0668 [Pepper # 10020264] Edited by Alexa Doebele
Christus am Ölberge (Franz Xavier Huber)
TTB piano (optional orchestral score)
WOMEN’S VOICES
 Princess Lil’uokalani, Arr. Hatfield: Ahe lau Makani
Boosey & Hawkes M-051-47215-4 [Pepper #3274636]
 G.F. Handel: O lovely peace
Boosey & OCTB6868 [Pepper # 3050911] Edited by Lee Kesselman
Hawaii
3 part treble, guitar, bass
from Judas Maccabeus
SA, keyboard reduction
MIXED VOICES
 Jackson Hill: In Winter’s Keeping
Hinshaw HMC2096 [Pepper #10018540]
Princess Nukata (7th century Japanese poem)
SSSAAATTTBBB (3 SATB Choirs) a cappella
 György Orbán: Daemon Irrepit Callidus
The text is anonymous medieval Goliardic text from an eight-verse hymn found in "Anonymi Hungari affectus in Jesum super omnia amabilem"
(Anonymous Hungarian expressions to the above loveliest Jesus)
Hinshaw HMC1537 [Pepper #3094182]
SATB a cappella
CANONS
 Welcome, Every Guest
 William Billings: When Jesus Wept
Knoxville Harmony and in Sacred Harp
4 part canon in handout
The New England Psalm Singer
4 part canon on www.cpdl.org
Many additional canons highlighted in The Great Choral Treasure Hunts I- V

William Billings: Shiloh
The Suffolk Harmony
SATB or other in handout: RRW Edition – free
permission to copy/perform granted
FELIX MENDELSSOHN BARTHOLDY (1809-1847)
200TH BIRTH ANNIVERSARY IN 2009!
These and many more titles are available on the Choral Public Domain Library www.cpdl.org and www.handlo.com
 Abendlied
 Die Nachtigall
 Heilig
 O Rest in the Lord
 Lift Thine Eyes
 He, Watching over Israel
Heinrich Heine
Johann Wolfgang von Goethe
Sanctus text
From Elijah
From Elijah
From Elijah
SA, piano
SATB a cappella
SATB/SATB a cappella
unison, keyboard reduction
SSA a cappella
SATB – chorus only in this edition
Edition with keyboard reduction available on cpdl or www.handlo.com ($6.50 and permission to copy)
Another Recommendation:

There shall a star from Jacob
From Christus
SATB and Organ/Piano
www.handlo.com ($15.50 and permission to copy)
RANDY’S "ELIJAH" PROJECT
REBECCA’S "ELIJAH" PROJECT
Combined HS Choirs and Orchestra, Baritone Guest Artist,
Minor Student Solos and some movements by individual choirs
About 40 minutes in length
Introduction: Recitative — Elijah
As God the Lord
Overture (Representing the three years of famine)
1. Chorus — The People
Help, Lord!
Recitative Chorus (Top SATB Choir)
The deeps afford no water!
2. Duet with Chorus — The People Lord, Bow Thine Ear to Our Prayer
10. Recitative — Elijah, Ahab and Chorus
As God the Lord
11. Chorus — Priests of Baal
Baal, We Cry to Thee
12. Recitative — Elijah
Call Him Louder
Chorus — Priests of Baal
Hear our cry, O Baal
Call him louder
Chorus — Priests of Baal
Baal! Baal!
14. Recitative and Air — Elijah
Draw near, all ye people
15. Chorale — Angels (Madrigal)
Cast Thy Burdens
O Thou, Who makest thine angel spirits
Chorus — The People
The fire descends from heaven!
26. Air — Elijah
It is enough!
Combined HS Choirs and Orchestra, Baritone Guest Artist,
Minor Student Solos and some movements by individual choirs
The same as Rebecca’s excerpts, plus these additional movements (total of 60
minutes in length):
17. Aria—Elijah
34. Chorus
35. Recitative, Quartet, & Chorus
36. Chorus
Is not his word like a fire?
Behold, God the Lord passed by
Holy is God the Lord
(beautiful use of treble choir)
Then did Elijah the Prophet
27. Recitative
See, now he sleepeth
28. Chorus — The Angels (Treble Clef Choir)
Lift thine eyes
29. Chorus — Angels (Top SATB Choir)
He, Watching Over Israel
43. Chorus
And Then Shall Your Light Break Forth
HENRY PURCELL (1659-1695)
350TH BIRTH ANNIVERSARY IN 2009!
These and many more titles are available on the Choral Public Domain Library www.cpdl.org and www.handlo.com
 Come Ye Sons of Art
From Come Ye Sons of Art
SATB keyboard reduction
Entire ode, full score, and parts are available on cpdl and handlo
 Sound the Trumpet
 Strike the Viol
Remember the Dido and Aeneas excerpt highlighted in The Great Choral Treasure Hunt V!
SA keyboard reduction
Solo or unison keyboard reduction
PURCELL DUETS
A great Purcell duet book: Henry Purcell Ten Duets: Book One. Edited by Timothy Robert. Stainer & Bell/ Galaxy Music Corporation, 1979. These
duets are found in this collection. This collection is used on the WSMA Solo & Ensemble list. Consider these in various combinations (treble voices,
men’s voices, mixed voices).
1) We the spirits of the air
2) Two daughters of this aged stream are we
3) Shepherd, shepherd, leave decoying
4) My dearest, my fairest
5) Sound the trumpet
6) Lost is my quiet for ever
• • •
SOME THOUGHTS ON QUALITY MUSIC
“Swimming Upstream” & “Swimming Upstream Part II: Hooking Singers on Great Music” – Two articles by Randal Swiggum in the NC-ACDA
newsletter Melisma (Winter 2005 and Spring/Summer 2005) available online at www.ncacda.org.
TRANSLATION RESOURCES
Translations of many of the works cited on the list of the six Great Choral Treasure Hunts can be found in these references.
 Ron Jeffers: Translation and Annotations of Choral Repertoire: Volume I Sacred Latin Texts (earthsongs)
 Ron Jeffers and Gordon Paine: Translation and Annotations of Choral Repertoire: Volume II German Texts (earthsongs)
 Gordon Paine: Translation and Annotations of Choral Repertoire: Volume III French & Italian Texts (earthsongs)
SOME SUGGESTIONS FOR YOUR TREASURE HUNT
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Visit a nearby college library. Peruse the collected works of great composers. Some are online!
♦ http://nma.redhost24-001.com/DME/nma/start.php?l=2 (Mozart)
♦ http://www.brahms-institut.de/web/bihl_notenschrank/ausgaben/noten_start.html (Brahms)
Seek out recommendations and lists from colleagues whom you trust.
Attend convention performances. Save the programs. Make notes to yourself as you listen.
Consider the suggestions students make from their summer music camp repertoire.
Listen to choral music. Attend concerts. Purchase CDs and professional recordings. (Suggestion: Use the Classical Music Advanced Search at
Amazon.com to find professional recordings – it is a remarkable search engine. Also, iTunes now has a large selection of choral music.)
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Check out the Choral Public Domain Library (www.cpdl.org) and Handlo Music (www.handlo.com).
When do U.S. works pass into public domain? Easy answer, if published before 1923 – more information here:
http://www.unc.edu/~unclng/public-d.htm
Look in choral collections. Permission to photocopy can be sought from the publisher.
www.choralnet.org
Start a personal file of single octavos.
• Buy single copies from lists of quality music offered by individuals respected in the profession.
• Throw out almost all music/CDs sent by publishers. 
PREVIOUS TREASURE HUNT LISTS
The Great Choral Treasure Hunts I, II, III, IV, & V are available at: http:// www.wmea.com/CMP/repertoire
CMP SUMMER WORKSHOP: JUNE 22-26, 2009
at the University of Wisconsin – Stevens Point
• • •
• • •
Margaret Jenks has been teaching for 16 years, most of them directing middle and high school choirs in Waukesha, and is currently a conductor
with the Madison Youth Choirs, working with Tallis (introductory boychoir), Purcell (beginning boys) and Holst (advanced boys). Margaret has been
active as a member of the CMP project and in a variety of roles with WMEA and WCDA. [email protected]
Randal Swiggum has conducted choirs around the world and loves to talk about good music of all kinds. A long-time member of the CMP project,
he has taught at Whitefish Bay H.S., Verona H.S., Lawrence University, and UW-Milwaukee. He is currently Music Director of the Elgin Youth
Symphony, Education Conductor for the Elgin Symphony, a boychoir conductor with the Madison Youth Choirs, and a PhD candidate in Musicology
at UW-Madison. [email protected]
Rebecca Renee Winnie has taught high school choral music for more than 25 years, most of it at Homestead High School in Mequon, WI. She has
served on the CMP committee since 1997 and especially enjoys the adventure of searching for diverse and powerful music to study with her students.
[email protected]
INTRODUCING THESE PIECES
WARM-UPS, STRATEGIES FOR TEACHING, & HOW TO “SELL” GREAT PIECES TO YOUR STUDENTS
 Holman: Rattlesnake Skipping Song (Ideas from Randy)
o Begin by reading the poem as a group (on a separate sheet of paper or on the board). Enjoy the sounds of the poem?
o
o
o
o
o
What’s it about? (Hard to say, really). How does it make you feel? (That’s an easier question.) It’s definitely not
really about rattlesnakes or caterpillars.
This is not a piece where solfège helps in the learning. But starting with rhythm does. Speaking the text many
times, in rhythm, with the printed dynamics (starting with a whisper, doing a dramatic crescendo) and
encouragement to speak it in the most expressive, spooky, or mysterious, or goofy, or whatever voice possible.
Observe the staccatos and tenutos carefully. These words just taste good in your mouth. After students are
comfortable with the rhythm, add the piano part (to the speaking). Make an event out of it—a suspenseful build-up.
The piano part, combined with this creepy melody, makes this the Salvador Dali painting of youth music.
Final s’s are in issue in this piece. The very final one (the punchline) is easy, but m. 15 is just going to be messy
until students begin to hold “loose” a full two eighth note taps. Use mm. 14-15 as a warm-up, beginning in D minor,
and going up by half steps, so students get lots of practice at a crisp, very short, very precisely placed “s.”
Parents are always doling out serious instructions that, to a kid, don’t always seem very logical or necessary. Is this
piece a surreal commentary on that (from a kid’s perspective)? Once the melody and text are VERY familiar (and
by the way, you can spend weeks just singing the first verse in unison, over and over, without danger of boredom),
ask students to write their own “advice” poem, using the same rhythm and tune. Perform them (or just speak them)
for the class.
The tune feels completely random to us trained music teachers, but is actually quite easy to learn. It is most
assuredly not random, though. It’s built almost exclusively on playing with thirds. Nearly every measure depends
on thirds (or their inversion), which helps hold the piece together. Once students have figured this out (and you’ve
analyzed it as a group to find all of them) ask: when does the composer first make it clear that the piece is about
thirds? (Answer: the first measure of the introduction). Don’t forget the mm. 9-10 also create thirds (D to B)
IMPORTANT: Don’t emphasize the silly aspect of the piece, but rather the creepy, surreal aspect. That will keep
kids wondering about it, and hooked on its elusive meaning. I still don’t know what to make of it. I just know it
gives me the creeps.
 Persichetti: dominic has a doll (Ideas from Randy)
o
o
o
o
o
o
This piece works with older middle-schoolers and any high school choirs, mixed, treble, or men’s.
Again, start with reading the poem (apart from the octavo). Notice the peculiarities and whimsies of e.e. cummings’
style. Ask lots of questions, especially ones that begin with “why?” How old is the speaker of the poem? How do
you know? What does “wistful” mean? Why does the poem say “buried” instead of “dumped” or “threw?” Why
“so of course?” What do those words imply? The list of possible questions is endless with this rich poem. It’s
important to help students realize that poems are not intended primarily to give information but rather to generate a
mood, a feeling, or an impression. Helping students to understand a poem’s mood and effect on them will open it up
for them—if they see it merely as a story or a series of statements, it will always be baffling to them.
Rhythm is more important than anything in this piece (and what makes it fun). Lots of speaking in rhythm before
pitches are added will ensure success. Work in very small chunks, and learn the piece over a longer period of time.
Have students discover the rhythm “dominic” in the piano part wherever it appears (mm. 2, 3, 25, etc.)
This piece is also about thirds. Help students to find them. It’s also about open fifths. Find them, too. What’s the
feel of a third vs. an open fifth? How do those intervals color the words of the poem where they appear?
Something to try: if you are singing it with mixed voices (men in the lower octave) try jumping to a completely
treble range chord on the final “dolls,” with basses singing a falsetto Gb, tenors on Bb, altos on Db, etc. The effect
is magical.
It will take many, many practices to get the basses to leap from B below middle C (on “than”) to the Gb, but once
they hear the major 7th chord and can tune it, they will love it. Create a warm-up that helps them hear major 7th
chords:
Sopranos: Sol Fa Sol La Ti
Altos: Sol Fa Mi Fa Sol
Tenors: Sol Fa Sol Fa Mi
Basses: Sol Fa Mi Re Do
All hold their last note, to hear chord. Men sing in falsetto. All start on G above middle C. After a few days of
repetition, move the starting pitch up and down. You could even add words to your warm-up: “less alive than doll.”
A tip: have students number measures. It’s impossible to rehearse this piece effectively without being able to refer
to specific measures.
 David Ott: Garden of Secret Thoughts (Ideas from Margaret)
Why do minor chords with an added 7th say “This is only a dream…”?
o
Questions and Ideas to Consider

How does the raising/lowering of Fa and Ti help create a unique musical context for this text? (A great musical
opportunity to show how “accidentals” are quite “intentional”!)

Listen to Fauré’s Pavane and explore the similarities & differences with this piece, and why the composer
might have borrowed Fauré’s musical ideas for this text.

Why do you think there so much music without any text (only piano)?
 What other ways can you think of to sonically create a place to have the freedom to dream, discover and
imagine? Are there other compositions that do this? (Try listening to Saint-Saëns “Aquarium” from The
Carnival of the Animals, Satie’s Gymnopedie, or John Lennon’s Imagine.)
o
The Poor Wayfaring Do
Students may theoretically understand that Do can be anywhere and that it can move, but this game helps them to
experience the feeling of Do moving from one place to another and the surprising/unsettling feeling that the shift can
create.
 While singing up a traditional scale, have one hand sign and another hand come in to take over with a new
“Do.”
 It is more fun if the “take-over” hand has some dramatic personality. 
o
Introducing the Piece
 The piano part plays such a major and exposed role in this piece. (A great pianist is crucial!) One could
introduce this piece by listening through the work performed only by the piano.
 I always give students some questions or things to consider before they listen. For example, “If this music was
the movie soundtrack, what would be happening in the movie?
 Students could use only abstract lines, colors and shapes to show the mood or emotions represented by the
music. What is interesting about this piece is that there will probably be disagreement on whether it is scary,
hopeful, sad, exciting, etc… Of course, the “why” follow-up is where the fun thinking really begins!
o
Messing With Modality
Students love the first time they realize that those accidentals on the page have a solfège equivalent. It gives meaning
to notes that aren’t expected, and helps them “make sense.” Plus, the hand signs are so helpful in showing the
difference between Fa and Fi and Ti and Te!

Use Do Re Mi Fa and Do Re Mi Fi, as well as La Ti Do Re and Re Do Te La as a warm-up and then have them
locate places in the score that use these patterns.

Use “sing where I point” strategy with a solfège ladder on the board, with an added Fi and Te.

Give Fi and Te a little personality. Assign students to the different solfège syllable and rather than pointing to
the board, point to them. You can give a “special costume” (like a hat, Groucho Marx disguise, scarf, pirate
patch, etc… to the Fi and Te people).
 Beethoven: Wir haben ihn gesehen (Ideas from Randy)
o
o
o
o
Why do this piece?
 Students should know Beethoven, like they should know Shakespeare, Homer, Galileo, and Martin Luther
King.
 It’s an accessible work for young men’s ranges, not long, and only in
3 parts, TTB.
 It is a narrative, highly-charged piece from a dramatic oratorio
which is a good opportunity for vivid vocal storytelling.
Do it in German. Students feel more grown-up, they invest more deeply, and
the sound-world of the piece is more authentic in German. For fun, once in a
while sing it in the English translation. Have students write in a literal
translation, so they know, for example, that “Gericht” means judgment.
Articulations really matter in 18th century style. Listen to the recording to
hear the differences between the marcato, staccato, and legato of the strings
and of the voices. Have your pianist listen to the recording, too.
Look at visual art that depicts the scene. One helpful site is www.biblicalart.com. Search for “Jesus is Arrested” under “Passion” under New
Testament.
The Arrest, by Otto Dix (1960)
 Hatfield: Ahe Lau Makani (Ideas from Rebecca)
o
Do Re Mi Fa Mi Re Do Fa Re Do
1 2 3 4 5 6 1+ 2+ 3+ 1
o
Do Mi
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
o
Choose a small section of Ahe Lau Makani where the alteration is obvious and count sing.

I used m. 17-28: m. 17 in 3/4; 18-19 in 6/8; 20-22 in 3/4; 23 in 6/8; 24-25 in 3/4; 26-27 in 6/8; and 28 in 3/4.

Don’t forget to use “I like to be in America” as an example: 123456, 1+2+3+, etc.
o
Consider asking questions about

Connections between fragrance and place; fragrance and a loved one

Hearts warmed by embrace, by memory, by voice
(sing on counts)
Sol Do↑Sol Mi Do
Sing while alternating a 6/8 and 3/4 feel (meter) with each exercise – help with the accompaniment
Have students sway with primary beats singing – two larger for 6/8, three smaller for 3/4
Have students move arms in circles while singing – two larger for 6/8, three smaller for 3/4
 Handel: O lovely Peace (Ideas from Rebecca)
o Find the pictures of peace and war within the text. Find examples of how Handel uses the music to portray the text.
o Introduce the concept of the “pastoral” in music.
o Introduce Da capo form. What is so satisfying about ABA?
o Ornamentation on return of A section (some sample possibilities below)
 Jackson Hill: In Winter’s Keeping (Ideas from Margaret)
Why is this piece so scary looking? (Even without a costume!)
You can de-fang this “monster” with the right warm-up and score reading games!
o
Questions and Ideas to Consider

What can be at the heart of a piece of music other than a text or melody?

What is the visual artistic equivalent of this musical style?

Compare the role of an individual (section) in this work vs. a more traditional Western piece (fill in the blank).

What does it mean to hear horizontally vs. vertically?

Explore the idea of development in music. Is it needed? What are different ways it can happen? How do musical
works that are more vertical “develop” differently than those that are more linear?
o
Motive Hunt
 Sing it, notate it, find it! (This is a great time to look between voices and discuss augmentation or diminution!)
 Use these 2-4 note pitch patterns in a traditional warm-ups for range and technique work.
 Intervals Mi-Ti vs. Mi-La –Find them and keep a score card.
(Which is more prevalent? Does one sound more important? Why?)
o
Inner Hearing Game
Begin this game with the entire choir (or just 2 groups). As they progress, add more groups, more solfege pitches and more
difficulty. The basic idea is to create a game out of counting and coming in on various strong and weak beats in a couple given
measures.
For example, Group 1 could sing on Mi, Group 2 on La, Group 3 on Ti, Group 4 on Do, etc…
Students count in their heads (no directing ) and sing only on their designated beats.
Group 1:
1&2 &3&4& 1&2&3&4&
Group 2:
1&2&3&
Group 3:
1
4
&
1&2&3
&
4&
&2&3&4& 1&2&3&4&
1&2&3 &4& 1&2&3&4&
Group 4:
This can get be made very simple or really hard!
o
Scale Freeze Tag

Use a Mi to Mi Scale (in canon, in patterns, in place of traditional Do to Do scale work) and get comfy with the
sound.

As students are moving up and down the scale, point or tap to “freeze” students on a pitch. When they are tapped
again, unfreeze and continue. Listen to the different clusters that are created for tuning non-traditional pitch
groupings.
 Orbán: Daemon Irrepit Callidus (Ideas from Randy)
o Knowing the text is fundamental to appreciating this piece. Not just vaguely what the text is about, but a literal
translation. Here is a line by line translation:
Daemon irrepit callidus
Allicit cor honoribus
Daemon ponit fraudes, inter laudes, cantus, saltus
Quidquid amabile Daemon dat
Cor Jesus minus aestimat.
The devil sneaks expertly
Tempting the honorable heart;
He sets forth trickery amidst praise, song and dance.
However amiably the Demon acts,
It is still worth less than the heart of Jesus.
Caro venatur sensibus;
Sensus adhaeret dapibus;
Inescatur, impinguatur dilatatur.
Quidquid amabile caro dat,
The flesh is tempted by sensuality;
Gluttony clings to our senses;
It overgrows, it encroaches, it stretches.
However appealing the flesh is,
Adde mundorum milia
mille millena gaudia;
Cordis aestum non explebunt, non arcebunt.
Quidquid amabile Totum dat
Though the universe may confer
Thousands upon thousands of praises,
The heart’s desires they neither fulfill nor put out.
However appealing the whole Universe is,
The piece is exciting, even without the text, but Orbán’s imagination is appreciated much more when singers know what
words they are singing, and have pondered the meaning of this piece. To get students more interested in the Latin text,
constantly refer to specific Latin words and English cognates or derivatives (e.g. fraudes and fraud, trickery, etc.)
o A wide variety of allegro tempos are possible, from an insistent 120 to a frantic, witches’ Sabbath 152 or even
faster. There are a dozen of good recordings on YouTube and you will hear some of the vocal pitfalls of the piece
by studying them.
o Warm-ups that actually help with the intervals in this piece:
 Minor scales with augmented second gaps (“gypsy minor”) sung on solfège: La Ti Do Ri Mi Fa Si La
 Chromatic scales sung on alternating TAH and TEH, or on solfège syllables (start by adding chromatics
slowly to a solfège ladder on the board). Do the chromatic scale both ascending and descending, and then
split the choir and do them simultaneously (as in m. 30)
 Hocket (mm. 31-40). This is essentially a medieval device. So why does it appear here? Create rhythmic
warm-ups that use hocket by splitting the choir into 2, 3, or 4 parts and sing staccato solfège scales by
alternating pitches. This is excellent ear-training. Remember: “hocket” and “hiccup” are related words.
 Diminished harmonies: show students how to build a diminished triad with two minor thirds. Point out the
tritone (diabolus in musica) that’s created between the lowest and highest note. Create chord warm-ups of
your own, which generate diminished triads, or tritones.
The Devil’s Music: http://news.bbc.co.uk/2/hi/uk_news/magazine/4952646.stm
So many difficult contemporary works are not accessible to high school singers, or they are so labor intensive that they are not worth
the time and effort. This piece is challenging, but it is also well-crafted, imaginative, and shows the composer’s genius. It’s worth it!
SOME GENERAL WARM-UP IDEAS (From Rebecca)
♦ Simple with Minor Alterations
Using any 5 or 6 tone pattern regularly will allow students to focus on various basic vocal concepts (tuning, openness, vowel, palate,
posture, breath). Vary the patterns from day to day in major and minor tonalities. In young choirs, 3-5 tone patterns such as these allow
the teacher to have “more” room to move and stay within all of the student’s registers. Enjoy making up different combinations –
perhaps even have students “compose” warm-ups using 5 or fewer tones. I sometimes often it an ear exercise by having the students
sing the solfège (after singing it a number of times on various vowels). Remember to move down as well as up. 
o
Do Re Mi Fa Sol Fa Mi Re Do
AND
La Ti Do Re Mi Re Do Ti La
o
Do Fa Mi Re Do
1 2, 3 + 4 1
AND
La Re Do Ti La
1 2,3 + 4 1
o
Do Mi Re Mi Do
AND
La Do Ti Do La
o
Do Mi Re Fa Mi Sol Fa Re Mi Do Re Ti Do
La Do Ti Re Do Mi Re Ti Do La Ti Si La
AND
♦ Extra Time for Breath and Teaching
The most dramatic change that I have made in my group vocal teaching was to give extra time for the breath. I learned this from my voice
teach, Mary Dillon Galbraith. Whoever said that all warm-up activities must be in 4/4 time? Consider a slow modulation between
exercises – it will allow students to release the breathing muscles and take a slower, deeper breath. It will allow you time for a short
reminder without speaking over their singing. The extra time will take the tension out of the voice that is often created when the halfstep modulations are quick, and students try to “keep up” and grab quick breaths. Again, remember to vocalize both up and down .
Examples:
Do Re Mi Fa Sol Fa Mi Re Do
1 + 2 + 3 + 4 + 1 +
2
La Do Mi Do Mi La
1 + 2 + 3 + 4
6
[change key]
+
3
+
4
+
[change key]
+
5
+
+
♦ Solfège Exercises
By using daily solfège exercises, students not only be come familiar with the syllables themselves, they learn scales, intervals, and
independence as different sections/groups can sing many of these in canon.
o
Do Re Mi Fa Sol La Ti Do↑ Re↑ Do↑ Ti La Sol Fa Mi Re Do Re Mi Fa Sol La Ti Do↑ Re↑ Do↑ Ti La Sol Fa Mi Re Do
A scale twice with RE at the top; sing in canon at the 3rd; vary articulation; work dissonance by singing slowly in canon at the 2nd.
o
Do
Do Re Do
Do Re Mi Re Do
1 + 2 + 3 + 4 + 5 + 6 +
Do↑
Do↑Ti Do↑
Do↑Ti La Ti Do↑
Add a clap on every Do  -- works great in canon.
Do Re Mi Fa Mi Re Do
7 + 8 + 9 + 10
Do↑Ti La Sol La Ti Do↑
etc. Then down:
etc.
o
Disappearing Scale: Do Re Mi Fa Sol La Ti Do↑ Do Re Mi Fa Sol La Ti _ Do Re Mi Fa Sol La _ _ etc. (leave space for missing
notes). Then build it back: Do _ _ _ _ _ _ _ Do Re _ _ _ _ _ _ etc. Next Day do the same coming down the scale: Do↑ Ti La Sol Fa
Mi Re Do Do↑ Ti La Sol Fa Mi Re _ etc. Works great in canon.
o
Scales: Can learn individually then connect – Major, Natural Minor, Harmonic Minor, Melodic Minor
Do Re Mi Fa Sol La Ti Do↑ Ti La Sol Fa Mi Re Do Ti↓
La↓ Ti↓ Do Re Mi Fa Sol La Sol Fa Mi Re Do Ti↓ La↓ Sol↓
La↓ Ti↓ Do Re Mi Fa Si La Si Fa Mi Re Do Ti↓ La↓ Si↓
La↓ Ti↓ Do Re Mi Fi Si La Sol Fa Mie Re Do Ti↓ La↓ Sol↓ La_
o
Intervals –I repeat the interval first with solfège, then with the interval name – up and down. This can be done in canon at the 3rd.
Do Do Perfect Unison Do Re Major 2nd
Do Mi Major 3rd
etc. to: Do Do↑ Perfect Octave
nd
Do↑ Ti Minor 2
Do↑ La Minor 3rd
Do↑ Sol Perfect 4th
etc. to: Do↑ Do Perfect Octave.
o
I also make up exercises singing the scales in 3rds, 4ths, and 5ths. I also make shortened exercises for 6ths, 7ths, and octaves.
3rds: Do Mi Re Fa Mi Sol Fa La So Ti La Do Ti Re Do↑ _ Do↑ La Ti Sol La Fa Sol Mi Fa Re Mi Do Re Ti↓ Do_
4ths: Do Fa Re Sol Mi La Fa Ti Sol Do↑ La Re↑ Ti Mi↑ Do↑_ Do↑ Sol Ti Fa La Mi Sol Re Fa Do Mi Ti↓ Re La↓ Do_
♦ Tuning, Harmony, Placement, Vowels
I have used a particular exercise for many years for various purposes. The “base” to this exercise is to sing to a “ng” ring
using various syllables (bing, ding, dong, zing). I find that this ring allows students to both hear better and place their sound
forward. I use this in a descending 5 tone pattern (major or minor): Sol Fa Mi Re Do___, holding the last note.
o In less experienced choirs we hold the final tone and have everyone listen until we all find the pitch. It happens – really!
We sometimes all make sure to hit the final note wrong and practice sliding to the right pitch.
o Gradually we move to the Tenor Section (or 1st Soprano in SSA groups) sing Sol Fa Mi Fa Sol while everyone else sings
the primary Sol Fa Mi Re Do and we practice tuning the 5th. Sometimes we tune the “Do” or the “Sol” like a violin –
slide higher, then lower, then right on (thanks to Beverly Taylor for that technique!)
o Later, we add the Sopranos (or 2nd Soprano in SSA groups) sing Sol Fa Sol Fa Mi, while the others do as explained
above. We then have a 4-part chord in mixed groups. [Bass: Do; Tenor: Sol; Alto Do; Sop Mi]
o Over time, we open the held chord ringing in the “ng” to a vowel – working to keep the breath and placement forward
– as well as working to match the vowels and keep the pitch 
o Finally, we work several vowels. I use the two sets of 4 vowels used by Robert Fountain: oh oo you aw / ah ay ee eye [o,
u, ju, “aw” / a e i aj] Sorry, I don’t have all the right IPA symbols.
♦
Breath, Consonants, and Language Practice
Of course, I do exercises that work the vocal registers high and low, and work on agility. But the one last simple exercise
that I do is to get the breath working through the consonants. I use the pitches Do Re Do – and manipulate consonants and
vowels: Fee Fah Fee; Kee Koh Kee; Glee, Gloh, Glee; Free Frah Free (with rolled r); etc. It is also a helpful exercise to
work language sounds and words that you are working on in your repertoire -- or some standard Wisconsin dialect problem
vowels like: How, Now, Not, Out, etc.
Questions? You can write to Rebecca at [email protected]
1
Soprano
6
B
˙
1. Me 5. Then
&
V
#
T
B
œ œ œ œ
œ œ œ œ
heav'n - ly Hosts, Of
Heav'n - ly Host A
1. Me 5. Then
thinks I see
sud - den - ly
an
a
heav'n - ly Hosts, Of
Heav'n - ly Host A
œ œ
œ œ œ œ
I
ing
œ
œ
-
œ œ œ œ
œ œ œ œ
their
the
Host, Of
Host A
œ œ œ œ œ
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hear
in
œ
7
œ
œ
œ
œ
œ
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cheer - ful
three - fold
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An - gels
round
the
œ
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round the
on
Shep
An - gels
round the
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round the
œ
œ
hear
in
their
the
cheer - ful
three - fold
Notes,
God
So
And
mer
thus
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hear
in
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11
w
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Notes,
God
46
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So
And
mer
thus

12
ly
dress
they
their
sing.
Song.
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w
6
4 Ó
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w
46 Ó
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w
46
ly
dress
they
their
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mer
thus
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ly
dress
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dress
they
their
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they
their
sing.
Song.
sing.
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sing.
Song.
Wing;
throng,
Me Ex -
œ
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œ
on
the
Shep - herds
˙.
œ
œ
thinks
ult
-
œ
Me Ex -
œ
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Wing;
throng,
mer - ri - ly
they
thus
ad - dress their
mer
thus
RRW Editions ©2008
˙.
Let
To

Let
To
-
œ
on
the
Shep - herds
So
And
So
And
˙.
˙.
œ
œ œ œ œ
Notes,
God
œ
Me Ex -
Me Ex -
œ
Notes,
God
œ
Wing;
throng,
œ
cheer - ful
three - fold
œ
the
herds
-
œ œ œ
8
˙.
Wing;
throng,
œ
œ
their
the
œ
5
on
the
Shep - herds
hear
in
#
& œ œ œ.
V
Of
A -
œ œ œ œ œ
I
ing
# œ
#
Host,
Host
William Billings (1746-1800)
4
thinks
ult
-
?# œ
&
heav'n - ly
Heav'n - ly
an
a
10
A
an
a
thinks I see
sud - den - ly
thinks
ult
-
thinks
ult
-
S
thinks I see
sud - den - ly
œ œ œ œ œ
heav'n - ly
Heav'n - ly
˙
œ
œ œ œ œ
an
a
˙
#
& œ
Shiloh
3
thinks I see
sud - den - ly
1. Me 5. Then
?# 2 Ó
2
Bass
T
1. Me 5. Then
#
V 22 Ó
Tenor
A
˙
#
& 22 Ó
Alto
S
#
& 22 Ó
2
9
œ
œ œ
œ
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œ. œ
˙.
œ
sing,
Song,
sing,
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ri - ly
they
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sing,
Song,
13

œ
all
God
œ
So
And
œ. œ
So
And
œ
˙.
sing,
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all
God
So
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˙.
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they
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˙
So
And
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your
the
your
the

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˙.
ri - ly
they
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œ
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Fears
Fa
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be
ther,
Fears
Fa
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be
ther,
œ
#
& Ó
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2
14
S
A
T
B
˙.
Glad
And
˙
œ
T
B
œ
˙.
˙
- ings
I
- ly Ghost
pro - claim,
a - dor'd;
ban
Christ
ish'd hence,
the Son,
Glad
And
Tid
Ho
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I
- ly Ghost
pro - claim,
a - dor'd;
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Ho
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pro - claim,
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Œ
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&
V
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œ
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˙
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19
And Je - sus is
E - ter - nal Praise
Œ Ó
Œ Ó
born
Last
œ œ œ œ œ œ œ œ œ œ
born
Last
?# ˙
born
Last
to Day,
and First,
And Je - sus
E - ter - nal
to Day,
and First,
And Je - sus is
E - ter - nal Praise
œ œ œ œ
˙
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is
Praise
œ ˙
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Ghost
œ
20
His
af -
˙
Œ
˙
œ
˙.
Name
ford,
˙.
˙.
˙ œ
And
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For
The
˙
œ
For
The
˙

17
pro - claim,
a - dor'd;
Tid
Ho
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Ghost
Glad
And
œ œ
#
˙
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ish'd hence,
the Son,
#
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&
Tid
Ho
˙.
16
ban
Christ
18
A
œ œ œ œ
˙
Glad
And
S
Shiloh
15
Œ
œ œ œ œ œ œ
there's
First
a
and
Sav Last,
iour
the
there's
First
a
and
Sav Last,
iour
the
œ œ
œ œ œ œ
œ œ œ œ
21
Je - sus
ter - nal
is
Praise
œ
˙.
˙ œ
œ œ
˙.
˙ œ œ œ œ œ œ
His
af -
Name,
ford,
His
af -
Name,
ford,
His
af -
Name,
ford,
œ
˙.
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E -
And
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˙ œ
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˙
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ter - nal
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af
œ ˙
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ter - nal Praise
is
Praise
22
-
œ
His
af
w.
Name.
ford.
w.
Name.
ford.
œ œ œ w.
œ ˙
Je - sus is
ter - nal Praise
-
His
Name.
af - ford.
œ
His
af
2
Lay down your Crooks, and quit your Flocks,
To Bethlehem repair;
And let your wand'ring Steps be squar'd
By yonder shining Star.
4
Exult ye Oxen, low for Joy,
Ye Tenants of the Stall,
Pay your Obeisance; on your Knees
Unanimously fall.
Seek not in Courts or Palaces,
Nor Royal Curtains draw;
But search the Stable, see your God
Extended on the Straw.
The Royal Guest you entertain
Is not of common Birth,
But second in the Great I Am;
The God of Heav'n and Earth.
3
Then learn from hence, ye rural Swains,
The Meekness of your God,
Who left the boundless Realms of Joy,
To Ransom you with Blood.
5
(text underlaid in music)
The Master of the Inn refus'd
A more commodius Place;
Ungnerous Soul of savage Mould,
And destitute of Grace.

w.
-
Name.
ford.
Welcome, Every Guest
Knoxville Harmony
Compiled by John B. Jackson
Madisonville, Tennessee: A.W. Elder, 1838
### 4
& 4 œ
5
&
###
œ œ œ œ
### œ
&
&
###
œ
œ œ œ ˙
œ
Wel- come, wel - come,
Mu - sic
9
13
œ
œ
Sa - cred
is
our
ev' - ry guest,
œ œ œ ˙
on - ly
cheer,
œ œ
œ œ œ
˙
Nine, teach us the mode,
œ œ œ œ
Soft - ly swell the
œ
œ œ ˙
trem - bling air,
œ
œ œ
œ œ
Wel-come to our
œ
œ œ
œ
Fills both soul
and
j
œ. œ ˙
mu - sic feast:*
œ.
rav - ish'd ear.
œ œ œ
œ œ œ œ.
œ œ œ
œ
Sweet - est notes to
To com - plete
j
œ ˙
be
œ
J
˙
ex - plored,
j
.
œ
œ
œ
˙
œ
our
con - cert fair.
When Jesus Wept
William Billings (1746-1800)
from The New England Psalm Singer (1770)
#
& 32 ˙
5
&
9
&
13
&
#
I
When
II
w
mer
# III˙
Je
# IVœ .
all
-
˙
w
Je
-
˙
cy
˙
-
sus
j
œ˙
˙
the
˙
œ . œJ ˙
˙
˙
˙
˙ ˙
sus
wept,
flowed
groaned,
be
-
-
the
˙
a
˙ ˙ ˙
guilt
˙
y
-
w
j
œ. œ ˙
fall
world
j
œ ˙
ing
w
all
tear
˙
When
˙
fear
a
In
bound.
w
˙
˙
w
˙
yond
trem - bling
œ.
-
w
˙
˙
Seized
-
w
round.
Abendlied
(Evening Song)
Heinrich Heine
Felix Mendelssohn
(1809‐1847)
& b 42
∑
∑
∑
∑
& b 42
∑
∑
∑
∑
Andante tranquillo ( e = c. 84 )
Soprano
Alto
Piano
5
2
‰ œj
&b 4 ≈ œ œ œ œ œ œ œ
nœ
p
œ œ œ nœ œ œ œ œ œ
? b 42
‰ J œ
œ
&b Œ
‰
&b Œ
‰
p
p
œ
J
Wenn
ich
œ
J
œ
Wenn
& b œœ
.
œœ
.
œ
ich
œ œ œ
œ
auf dem La ‐ ger
œ œ œ
œ
auf dem La ‐ ger
œ
lie
œ
lie
j
œœ
œ œ œ œ
œ. œ. œ. œ.
S
œœ œ n œ œ œ œ œ œ b œœ œ œ œ œ œ œ œ
œœ
‰
œ
œ
ge,
in
Nacht
œ
œ
œ
œ
‐
‐
ge,
in
œ œ œ œ œ œ œ œ œ œ œ
œ
œ nœ œ œ œ bœ œ œ
p
? œ œ nœ œ œ
b
˙
Œ
œ
œ
Engraved for the Choral Public Domain Library, 1/07 (DJS) Nacht
œ
œ
ge‐
œ
œ
ge‐
œ œ
œ
œ
œ
œ
œ œ
˙
˙
9
j
‰ œ
&b œ
hüllt,
so
‰ œj
&b œ
hüllt,
so
œ œ œœ
œ
.
œœ
œ.
?b
‰ J
œ
&b
Mendelssohn ‐ Abendlied ‐ 2
œ
œ bœ
œ
schwebt mir
œ
vor
œ
œ
vor
ein
œ
schwebt mir
ein
œœ b œœ
œ bœ
œœœ œœœ
œ bœ
œ
œ
pj
‰ œ ˙
&b œ
14
ein
& b #œ
Bild,
ein
f
œ
sü
‐
˙
sü
œ
sü
‐
sü
‐
œœœœ
œ
œ
œ
‰
sses,
j
œ
&b
∑
˙
˙
°
&b œ
∑
mu tig
sses, an
mu tig
∑
∑
‰
j
œ œœ
∑
‰
j
œœ
lie ‐ bes
œ œ
œ œ
mu ‐ tig
lie ‐ bes
dim.
˙
˙
lie
j
œ
‐
lie
‐
bes
j
œ
bes
Œ
p
‰ œJ
p
‰ œ
J
Wenn
&b
mu ‐ tig
œœœœ œœœœ œœ œ
œ
œ
œ n œ œœ
œœ
œ œ œ œ œ œ.
∑
œ œ
dim.
an
& b #œ œ œ #œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ œ ≈ œ œ œ œ œ
nœ
bœ
œ
œ
œ
œ
p
œ
œ
œœ
œœ
?b
œ
# œœ
# œœ
œ
œ
œ
19
œ œ
dim.
an
œ
sses, an
‐
‰ Jœ
sses,
œ œ œ œ œ œ.
pj
‰ œ ˙
Bild,
f˙
œ œ œœ œ
œ. œ. . œ.
Œ
Wenn
*
˙
œ
Œ
œ
Œ
Bild.
Bild.
œ
œ
œ œ nœ œ œ œ
‰ Jœ
œ
œ œ œœ œ
mir
der
stil ‐ le
œ œ œœ
œ
mir
der
stil ‐ le
œœ œ œ œ œ œ œ œ œ œ œ œ
.
œ
p
f
œ
œ
? œœ œ n œ œ œ œ œ œœ œ n œ œ œ œ œ A œœ œ œ œ œ œ œ œ œ œ n œ œ œ
b
˙
œœ
.
Die Nachtigall
(No. 4 from "Sechs Lieder, Op. 59)
pj
b
b
3
b
& b 8 Ï
Die
p
& b b b b 38 Ïj
Andante
1
Soprano
Alto
Die
Tenor
Bass
V b b b b 38 ·
? b b b b 38 ·
Nach - ti - gall,
j
& b b b b Ïj Ï ä
Lie - der.
& b b b b Ïj Ïj ä
Lie - der.
pj
b
b
ä
ä
b
b
V
Ï
Die
p
? bbbb ä ä Ï
J
Die
wie - der;
dim.
dim.
sie war ent - fernt,
Früh - ling
lockt sie
·
·
·
·
·
·
·
·
Ï f JÏ
ge - lernt, singt
ÏR Ï f JÏ
ÏJ . Ï Ï Ï
RR R
al - te lie - be
ÏJ . RÏ Ï Ïr
R
ge - lernt,
al - te lie - be
·
13
der
ÏJ
·
cresc.
·
pÏ
J Ï
wie - der;
pj
Ï Ï
ÏJ
·
cresc.
? bbbb
Felix Mendelssohn
(1809-1847)
ÏR Ïr
der
Früh - ling lockt sie
r r
JÏ ÏJ ÏJ Ï Ï
JÏ
ÏR RÏ RÏ Ï
Nach - ti - gall,
r
Ï Ïj Ïj . Ïr Ïr Ï Ï
Ï Ï
J
Ï.
b
.
Ï
Ï
b
Ï
Ï
Ï
b
J
b
&
J J R R R
was neu - es hat sie nicht
r
& b b b b Ïj JÏ . Ï Ïr RÏ JÏ .
was neu - es hat sie nicht
·
·
V bbbb
7
Ïj .
SATB a cappella
RÏ
singt
Lie - der, singt
al
-
te lie- be
·
·
·
·
·
·
·
·
ä ä Ïj JÏ . RÏ ÏR ÏR Ï Ïj
Die Nach - ti - gall, sie
war
ent ä ä Ïj Ïj . Ïr Ïr Ïr Ï Ï Ï Ï
Die Nach - ti - gall, sie
war
ent Ï Ï Ïj . Ï ÏR ÏR Ï JÏ
J
R
Nach - ti - gall, sie war ent - fernt, der
Ï Ï Ïj . Ï ÏR ÏR Ï JÏ
J
R
Nach - ti - gall,
p
ÏJ ÏJ ä ä ÏJ ÏR Ïr
Lie - der,
lie - be
p
j
j
Ïj Ï Ïj Ï . Ïr Ïr Ïr
der
Ï.
p
Å Ïr Ï Ï Ï Ï
fernt,
was neu - es
Ïj .
·
ÏJ Ï
J
Früh - ling
ÏJ Ï
J
ÏR Ïr
lockt sie
ÏR RÏ
pÏ
J
wie
pÏ
J
Früh - ling
lockt sie
wie - der;
fernt,
dim.
dim.
Copyright © 1999 by the Choral Public Domain Library (http://www.cpdl.org)
Edition may be freely distributed, duplicated, performed, or recorded.
Ï
- der;
Ï
ed. 4/5/99
2
fÏ Ï Ï Ï r Ï Ï .
r
b
r
Ï
b
Ï
Ï
Ï
Ï
b
Ï
Ï
Ï
Ï
Ï
b
Ï
Ï
Ï
&
R J
R Ï Ï
hat sie nicht
ge - lernt,
nicht
ge - lernt,
singt
al - te lie - be
f
j
r r
& b b b b Å Ïr Ï Ï Ï Ï ÏR Ïr Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï . Ï Ïr Ï
was neu - es
hat sie nicht
ge - lernt,
singt
al
te lie - be
.
f
Ï
Ï Ï
Ï J
Ï Ï Ï
ÏR Ï RÏ ÏJ .
R
V b b b b ÏJ JÏ .
R
J
R R
R
was
neu
es
hat sie nicht
ge - lernt,
singt
al
te lie - be
Ï
Ï
.
.
f
Ï
Ï
Ï Ï Ï
Ï
Ï
Ï
.
Ï
Ï
? b b b b ÏJ J
J
J
R
J
R
R
R R
R R
cresc.
19
cresc.
cresc.
cresc.
was
neu
& bbbb
-
es
·
24
p j j
b
b
b
Å
& b Ïr Ï Ï
singt lie - be
p
b
b
ÏJ Ï Ïr
ä
b
V b
R
lie
be
.
Ï
? bbbb J
ÏR Ï Ïr
R
al
-
te lie - be
& b b b b ÏJ Ï ÏJ
wie - der;
was
j
& b b b b Ï Ï b Ïj
30
wie - der;
V b b b b n ÏJ Ï
wie - der;
? bbbb Ï Ï
J
wie - der;
hat sie nicht
ge - lernt,
¹
ÏJ
ä ä Ïj Ï
Die Nach - ti jÏ Ïj ä ¹Ïj Ïj Ïj
Lie - der.
Die Nach - ti ¹
j
Ïj Ï ä Ïj ÏJ ÏJ
Lie - der.
Die Nach - ti ¹
j
Ïj Ï ä ÏJ ÏJ ÏJ
Lie - der.
.
JÏ
cresc.
Ïj Ïj
was neu - es
Lie - der, singt
Ïj . RÏ ÏR RÏ Ï ÏJ ÏJ JÏ ÏR Ïr
gall, sie war ent - fernt, der Früh - ling lockt sie
jÏ . Ïr Ïr Ïr b Ï Ïj n Ïj Ïj Ïr Ïr
sie war ent - fernt, der
hat sie nicht
rÏ Ïr Ï n Ïj
J
hat sie nicht
ÏJ . RÏ ÏR RÏ Ï ÏJ
gall, sie war ent - fernt, der
jÏ . RÏ ÏR RÏ Ï ÏJ
RÏ
ge -
ÏJ JÏ JÏ
ge
ÏJ
-
was neu - es
hat sie nicht
ge
-
cresc.
ÏJ ÏJ ä
Lie - der,
ÏJ ÏJ pÏ
J
Die Nach - ti - gall,
ÏR RÏ b ÏJ
hat sie nicht
ÏR Ïr ÏJ
was neu - es
te lie - be
Lie - der,
-
ÏJ JÏ n Ïj
-
Ïj Ï
sie war ent - fernt, der
ge
cresc.
al
Lie - der.
gall,
ÏR Ï RÏ ÏJ .
R
neu - es
cresc.
singt
JÏ Ï
JÏ
Ï pÏJ
lernt, singt
p
Ï Ïj
lernt, singt
Ï pÏ
J
lernt, singt
Ï pj
Ï
lernt,
singt
ÏJ Ï ÏR n RÏ
J
ÏJ JÏ ÏR Ï
R
ÏJ . Ï Ïr Ïr Ïj Ïj Ïj
R
al - te lie - be
Lie - der, singt
Ïj . Ïr Ïr n Ïr n Ïj Ïj
al - te lie - be Lie - der,
Ïj . RÏ RÏ ÏR ÏJ Ïj
al - te lie - be Lie - der,
Ïj . Ïr Ïr Ïr Ïj JÏ
al - te lie - be
Ïj
singt
Ïj
singt
JÏ
Lie - der, singt
Heilig
Double Choir for SATB
Felix Mendelssohn-Bartholdy
(1809-1847)
Allegro
1
Soprano
Q
E º
º
Hei - lig,
Alto
E
hei - lig,
z
z
X
hei
Q
-
º
º
Hei - lig,
CHOIR I
Tenor
cresc.
º
º
8
E
z
z
º
º
X
X
-
cresc.
lig,
hei
º
º
X
º
º
X
-
-
lig,
º
º
º
hei - lig,
z
z
hei
Q
º
cresc.
º
Hei - lig,
Bass
" E
z
z
z
z
X
-
hei - lig,
z
z
X
lig,
X
º
hei
Q cresc.
º
º
Hei - lig,
1
Soprano
E
z
Q
º
cresc.
º
Hei - lig,
Alto
E
z
z
º
hei - lig,
z
X
º
hei
Q
-
º
º
Hei - lig,
CHOIR II
Tenor
º
8
E
z
z
z
z
º
X
cresc.
-
º
X
º
hei - lig,
z
hei
Q
-
º
º
Hei - lig,
Bass
" E
z
z
z
z
z
z
º
-
lig
º
º
hei - lig,
X
X
-
º
-
-
lig,
º
º
-
X
lig,
º
X
-
cresc.
º
hei - lig,
z
hei
Q cresc.
º
º
Hei - lig,
SOURCE: Mendelssohn's Werke (1874-1877)
Breitkopf & Härtel, ed. Julius Rietz
ed. 1/29/99
29
8
" Gº
º
hei - lig,
-
hei - lig,
G
º
º
hei - lig,
hei - lig,
G
X
hei - lig,
G
º
8
º
hei - lig,
G
º
º
hei - lig,
G
º
º
G
" º
lig,
º
hei - lig,
17
º

Lan - de
º

Lan - de
8
º

Lan - de
" º

Lan - de
17
º

Lan - de
º

Lan - de
8
º

Lan - de
" º
hei - lig,
G
º
º
hei
9
º
º

Lan - de
º
º
º
-
º
-
-
º
-

-
ist
º
ist
º
º
º
º
hei
º
-
-

,

K

sind sei - ner Eh - re

X
Gott
der
Herr
voll,
º

der
º
Herr
º

X
Gott
der
Herr

-
®

,

®
al
K

al - le

K

al - le
K

º
Lan
º
Lan
º
-
-
Lan
º
K
º

al - le Lan

º
-
º
,
Ze - ba - oth!
-

Al - le

,
Al - le
G
®

G
®
®
G
®
Al - le

G
K

K

Al - le
K

Al - le
-
-
de

,
º
Lan - de

Lan - de
º

Lan - de
®

,

K

,
,
®

sind

,
K

sind
K

,
,
sei - ner Eh - re

K

sei - ner Eh - re

,
sind
®
K

sind
de
de
®
K

,
le
º
º
de
º
K
º

de
º

G
Ze - ba - oth!
®
º
al - le

Al - le
º
K
º
le Lan

®
K

,
,
,
K
K
K

al - le
voll,
voll,
K
º
º

,
Ze - ba - oth!
º
Gott
G
Ze - ba - oth!
Ze - ba - oth!
X
º
º
Herr
voll,
voll,

,
der
X
º

Gott

Ze - ba - oth!
X
al - le
voll,

K
K

,
Herr
voll,
K

der
®
al
K

Gott
º
º

X
voll,
K

º
º
º
ist

º
º

,
Herr
K
º
Ze - ba - oth!
K

º

Herr
º
lig,

,
,
,

,
,
,
K

X
der

º

der
Gott
º
º
K

º
Gott
G
®
Ze - ba - oth!
ist
lig ist
K

Herr
X
-
der
K
º

-

,
Gott

º
ist
º
X
º
º
hei - lig

º
º
lig
º
X

lig
hei - lig
º
º
hei - lig,
K

º
º
º

º
º
hei
hei - lig,
-

,
-
º
hei
lig
º
ist
º
º
hei - lig,
º
ist
hei - lig
hei
X
º
º
º
X
º
-
º
º
K

,
,
sei - ner Eh - re

K

sei - ner Eh - re
Elijah, 31. "O Rest in the Lord"
Alto Solo
Andantino
a 44 n o ks k ks ks k z
(The Angel) O rest in the
a 44 n n
kk z k kk
t
o kk k kk j k
4
b 4 jj t jk k
pp
5
a
-
k
sires;
k ks k k
t
O
rest
Lord.
s s
sk k k kt kt k z
Wait pa - tient - ly for
b j
8
ks k
a ks k
give thee
thy
in
for
Him,
the
Lord.
heart's
de
k
-
sires;
and
kk k
him
k ks
t
He
He
shall
give thee
and trust in
k
n
k
dk
him.
dkk
k
ks k z
thy
heart's
k z e e kk kk kkks k z
k
k ks ks
t
k
k
shall
o dks kk
ks
k
k dk k z dk j k k
k
dk dk k e k k
o s
k k
k k
k
dkk k e k
k
t
kz
k
k
k
kz
k
ek
k k k k k kk d kk
dk
k
k
k
and
de-
s
kks o ksk o kkk
kkk z k k
t t
kk kk k kk kk d kk dkkk
k
dk
s s s
ks k dk k
o k
o k
t
k
Com - mit thy way un - to
k
k
k
b k n
n
k
j
k k k
o ks
k kk dk k
kz
kk
n
k
a k
sires;
s
k k ok kk k kkk
t t
k
k
k k k
Wait pa - tient - ly
k
give thee thy heart's
k
a k
-
and He shall
s
ks
ek
ek
t
o ks
11
Him,
o
k
k
k
k
k
k
k
k
dk
dk
k
s
a kz k j k k
z
b k
s
k ks k k k
ks k k
k k k kk jk k k k
k
k
k k k
t
t
kk k k k kj
k k kk z k k k
fk
t
s
ksz kss k o k ks ks ksz
o k k k
k k k kkkz k k
a kk z
t
n
Felix Mendelssohn Bartholdy (1809-1847)
ks
de-
ks
k k k k
k
k ek j
o ks ks ks s ks
dk
Com - mit thy way un-
dkk k ko dkks kk k dk k
n
k k k k
k dkk kk
n k
k
k
Lift Thine Eyes
(from "Elijah")
Felix Mendelssohn-Bartholdy
(1809-1847)
SSA unaccompanied
1
Soprano I
Soprano II

Andante

,
5

,
Lift thine eyes, O
lift
K
S

K
S

K

Lift thine eyes, O
Alto
K
S

Lift thine eyes, O
6

com
K

-

,
-
K

-

cresc.

,
eth
from
the
the
eth
help.

Lord,
K

K

from the

moun - tains, whence
to the

from

the

Lord,
the

K

Thy help
com

,
Lord,
the
K

,

,
Lord,
the
-

,
K

eth,
com
K

K

Thy help
com
K

dim.

,
K

Ma - ker of

K

-

Ma
K

com - eth, whence

help.

K

Thy help
help.

K

com - eth, whence
hea
dim.

,
K

Ma - ker of

4

-
hea - ven

-
K K

ker of

K
hea - ven-
eth
K

-

4
ven and
K
K

-
S

and
dim.

,
K

z
cresc.

,
com - eth, whence
K

K

Q
K
K

,

K

,
to the

4
eth

,

thine eyes
com - eth
cresc.

com
eth, whence

from

-

S

,
com
K

K

com

eth, whence

,
eth, whence
com
11
-

com
K

lift

to the
thine eyes
5
K

Q
S

lift
K

K

Q

thine eyes
5

,
K

K

4
S

and
eth
Q

earth.
Q

earth.
ed. 1/31/99
He, Watching over Israel
From Elijah
Felix Mendelssohn
1809-1847
1
Soprano
He, watching o
-
ver
Is -
ra- el,
slum- bers not,
nor
sleeps;
Alto
Tenor
He, watching o -
ver
Bass
7
S.
He
slum- bers
not,
nor
sleeps,
A.
He,
watching
slum - bers not,
nor
sleeps;
He
cresc.
T.
Is
-
ra- el,
slum- bers not, nor
sleeps;
He
slum - bers
B.
He, watching
cresc.
12
S.
He,
watching
cresc.
o
-
ver
Is
He,
watching
cresc.
o
-
ver
Is
cresc.
-
ra- el,
slum- bers not, nor
A.
slum - bers not,
nor
sleeps;
-
ra
-
el,
slum
-
nor sleeps,
slum
-
sleeps,
slum
-
T.
not,
nor
sleeps,
He
slum
cresc.
He slum
cresc.
-
bers
not,
B.
slum - bers not,
nor
sleeps;
-
bers
Public Domain
not,
nor
  CHORUS      
  

116


Come, come, ye

Sons
 


     
 Come, come, ye Sons
      

Come, come, ye

Come, come, ye

  
  
  

Sons
Sons

   
  

5
Vocal score


 

of Art, come, come
a  way,

       
of Art, come, come a  way,

     
   


           


 
   

 


Come, come, ye
Sons
of Art,






 

come, come, ye
Sons
of Art,

   


 
Sons
of Art,


Sons
of Art,
Come, come, ye
Come, come, ye



       
   
  

 

     


tune all your
voi  ces and in  stru ments play,
to
       


tune all your
voi  ces and
in  stru  ments play,
to


 








tune all your voi ces and
in  stru ments play,
to


      
  

come, come a  way,
tune all your
voi ces and
in  stru ments play,
to
                            
  


  





 










 

122
 

come, come
a  way,

     
come, come a  way,

    
 come, come a  way,
     


 

  

139


day,



 day,

 

day,
day,
 

  

to


to

to
to




 
  
ce  le brate,
 
  
ce  le brate,
  
 
ce
  lebrate,
  
to


to

to
 le brate, to
   
  
ce






144
 [Countertenor]

 


        


f



         

 
   
 
   
trum pet!
 
148

Sound
  
 
ce  le brate
  

ce  le brate
  
 
ce  le brate
  
 
ce  le brate
  

  [High countertenor]

 

7
Vocal score
 
       



       



this

this

this

this






 


Sound
 



 um  phant

  

tri
 um  phant

   

tri
 um  phant



tri
 um phant
  

  

tri




day.


day.


day.




day.







             
 

 
p 
    
 

     

the
   
 
 

    

  
  
Sound the trumpet!
Sound,
sound,







   
          

the trum pet!
Sound the trumpet! Sound,
sound,


               

   
  
   
 




  
       
 



8
  

152
 




  

  
Vocal score
   
               
sound the trum pet, till a  round
    
   

















  

sound the trum pet, till a  round
You make the
 
    
     
 






   
    

                
  
  
 

You make the list ’ning shores re  bound,
re bound,


             
 
  

you make the list ’ningshores re  bound,

            
 
        

     
   
  
 
155

 
 
bound.

 
158

1.
bound.





         


  





  
        
 



1.
2.


bound.


bound.
2.


         
  
list ’ning shores re bound,
      


 
  
 
      

the list ’ning shores re 
    
     
  
re bound, the list ’ning shores re 

     



   
 

 
 


 

Onthe
           
    
 
Onthe
spright  ly haut boy, the

   
     


   
 
 

  
                

     


 tri  um  phant
    
 um  phant
 tri
    

 tri  um  phant

  


tri  um phant

 
     
225

 




day,
to

day,
to
day,
to


day,





to




  [Countertenor]



 
 
 




 



     
 

231

  
 
237





touch,
  

13
Vocal score

 
touch, touch,



 
 
  
ce le brate,
  
 
ce le brate,
  
 
ce
 lebrate,
  

to


to

to
 
   
  

 

 
ce le brate, to
   
Strike
 

  
   
 
ce le brate this
 
   
ce
this
 lebrate


 
   
 
   
  




 
 
   
the
vi  ol,


  
   

    
tri



 
 
tri

 phant day.
 
um phant day.
  
  







   
    
Wake
the
 


     


   
the
vi  ol,


  




  
strike

um

harp,


 

 

   
 


   
 
        
wake
the harp,
wake
the harp,
 in  spire 
 
 
 
 

 

 
   
        
  




243


 um  phant day.

    
tri  um  phant day.
     
tri

  

        

touch, touch,
the lute,

 

 
  
 

  
 the flute,




  
