Honors Option Part Two

As part of my honors option for Choral Methods at Michigan State University, I have gone through the Junior/Middle High School Reading Session repertoire packet and reviewed 5 of the pieces that stood out to me as particularly suitable for middle school choir. I have reviewed them based on the following criterion:

Suitability of Range and Vocal Material

Harmonic Interest

Appropriateness of Text

Accompaniment 

Rapsodia Española No.2, Spanish Tongue Twister

Music by Judith Herrington

Unison/Two Part, accompanied

Colla Voce 20-95800

The text, taken from the Spanish Trabalegunas, or tongue-twister, is a challenge for any singer to sing. The bulk of the piece is unison, splitting into two parts for the second verse. Initially, part II sits lower in the register for treble voices, but sings the melody under a descant, allowing each part to have time in the spotlight. The accompaniment is a very rhythmic and percussive mood-setter, taking from traditional Spanish rhythms and harmonics, making the piece authentic and exciting. Written into the octavo are many parts of the musical vocabulary that are always great to teach. Expressive markings, as well as diacritical markings, are abundant and provide great moments for discussion in class.

Music, Lead the Way!

Music by Laura Darnell

S(S)ATB and Optional Descant, accompanied

Carl Fischer CM9294

A gospel style and challenging setting is best used when combining range specific choirs, Music, Lead the way is a piece that is built to teach singing four-part harmony. With repeating material throughout the piece, the sections of material that may be tricky to teach the first time will be translate throughout the work as guide points. The bass part can be a bit rangy, but there are plenty of opportunities to cover their upper notes with tenors (stepwise motion towards them) or to write a different note in the chord. All large chords are covered by the keyboard so adjustments are easy to make. Harmonic interest is in abundance and are mostly in the tenor and bass voices to cover for the lack of mobility. The soprano and alto part splits into three parts often, highlighting the advanced nature of the girls, with optional notes to add even more complexity. A small group is added towards the end, featuring some of your better singers that have high notes.

Annabel Lee

Music by Leeann Ashby, Text by Edgar Allan Poe

Unison/Two-Part, accompanied

Colla Voce 24-96250

Accompaniments are often overlooked in terms of suitability for singers, but this accompaniment adds greatly to the interpretation of the piece. Leanne Ashby uses the piano as an interpretive guide, taking the text and painting the colors and structure in her piano writing. The voices, as well, are set up wonderfully for students to be successful. The melody covers all parts of the range, getting the singers into head voice. Their is an optional descant which allows Part II to have the spotlight for a verse. When it splits (optionally) into two parts, the harmonies are structured stepwise and conjunct, veering away from the traditional thirds based harmony. The text, one of Poe’s simpler, is easy to understand and is assisted by Ashby’s setting. A great first introduction to two part music.

Okro Mch’edelo, Georgian Folk Song

arr. Carl Linich and Clayton Parr

Three part (I, II, Bani), acapella

earthsongs 

Very simple arrangement of a traditional folk song that is a great quick learn. Language will be the most difficult part of learning, but a CD of the spoken language is available for purchase, with IPA available online upon request. The Bani (baritone) part is on two notes. Though not the most interesting part in the world, in gives a great opportunity for a choir who has a few boys with changes/changing voices and gives them something to sing. The upper two parts contain the melody, in thirds. Simple enough to learn, and something acapella to challenge your singers to rely on their own voices. The whole piece sits low for most young soprano’s and altos, and can either be shifted up a few keys with the bass displaced an octave. Could also be sung by a young tenor-bass choir.

Shady Grove, Appalachian Folk Song

arr. Robert I. Hugh

SSA divisi, Optional Mandolin, drum, and washboard, accompanied

Hal Leonard 00124456

For your advanced women, splits into five parts for a short while. An authentic take on a traditional folk song with added quotes of other folk and game songs. Lots of conjunct harmony when homophonic. Every part gets the melody, making every part integral. A large portion of the none homophonic section are basic ostinatos or canons. This piece looks very complex at first glace, but after digging through, it becomes clearer and easier. A fun way to get all of your trebles singing in multiple parts, but very accessible. Accompaniment fits well with the style and all ranges are covered in all of the parts.