Reproducible Singer Pages The Vocalize! Canon …...William Boyce (1711-1779) Alleluia CD: X SP: X &...

Compiled and Arranged by Andy Beck

55 Rounds for Choral and Classroom Singing

The Vocalize!

Canon Collection

Reproducible Singer Pages

William Boyce (1711-1779)

Alleluia CD: X SP: X

22&Al

It's all about the vowels. Tall vowels encourage an open space, which improves tone quality. Vowels that are uniform across the choir help with blend and intonation. The word "Alleluia" includes just three pure vowels (the first and last syllables are the same). Concentrate on each as you perform. Also, note that the first four pitches step down a major scale. Be certain to sing descending intervals in tune. Optional: Gesture with index fingers that float upward throughout the first phrase.

Pair with the following Vocalize! exercises:Come Now, Let Our Voices Ring • Drop Your Jaw • Flying, Sighing • Take Time to Breathe

1

le- lu- ia,-

&al le- lu- ia,- al le- lu- ia.-

&2

Al le- lu- ia,- al le- lu- ia,- al le- lu- ia,- al -

&- le lu- ia,- al le- lu- ia.-

&Al

3

le- lu- ia,- al le- lu- ia,- al -

&le lu- ia,- al le- lu- ia.-

w w w ˙. Œ

˙. œ œ œ œ œ œ ˙ ˙ ˙. Œ

Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ˙

œ œ ˙ œ Œ ˙ œ œ ˙ ˙. Œ

˙. œe ˙ œ œ œ œ ˙# ˙ Œ œ

˙ ˙ ˙ Œ œ ˙ ˙ E .. Œ

6

{{{

Ah, Poor Bird CD: X SP: X

Deuteromelia, 1609

Accompaniment

Melancholy (q = ca. 84)

..

..

..

..

24

24

24

&bAh,

Experiment with phrase lengths. Start with two-bar phrases, then try four, and eventuallychallenge yourself to sing the entire melody in one breath. Don't allow the air to escape toosoon. Instead, resist caving in to improve breath capacity. Hint: Sing softly to conserve air. Pair with the following Vocalize! exercises:Breath Support • Resist Caving In • Never Louder Than Lovely

1

poor bird,

,

take

2

your flight

,

&bfar

3

a bove- the sor rows- of this

4

sad night.

&b

?b

&bSINGERS BEGIN repeat as needed

?b

&bfinal ending

?brit.

œ œ ˙ œ œ ˙

œ œ œ œ# œ œ œ œ œ ˙

œ œ œœ œ œœœ œœ œœ œœ œœ œ#œœ œœ ˙ œœ œœ

˙ œœœ œœ ˙œ œ#˙

œ œ ˙

œœœ œœ œœ œœ œ ˙œ œ#˙ œœ œœ ˙#

3

{{{


Deuteromelia, 1609

Accompaniment


..

..

..

..

24

24

24

&bAh,


1

poor bird,

,

take

2

your flight

,

&bfar

3


4

sad night.

&b

?b


?b

&bfinal ending

?brit.

œ œ ˙ œ œ ˙




œ œ ˙


3

{{{


Deuteromelia, 1609

Accompaniment


..

..

..

..

24

24

24

&bAh,


1

poor bird,

,

take

2

your flight

,

&bfar

3


4

sad night.

&b

?b


?b

&bfinal ending

?brit.

œ œ ˙ œ œ ˙




œ œ ˙


3

Traditional KoreanWords by Andy Beck

Ahrirang CD: X SP: X

34&#

Ah

This gorgeous Korean folk song is an effective exercise to develop true legato. In order toachieve this most desirable technique, allow your voice to ride the breath, uninterrupted by momentary lapses in support or overdone consonants. Imagine the vowels as a long clothesline extending from your mouth, with consonants as the pins that gently grip the line.

Pair with the following Vocalize! exercises:Flying, Sighing • Take Time to Breathe • Sing Legato, Sing Staccato

1

ri- rang,- Ah ri- rang,- Ah ra- ri- -

&#

o.

,

Come

2

with me, let’s climb the love ly- moun tain-

&#

Ah ri- rang.- If

3

you love me, then

&#

walk with me to the moun tain- top.-

,

There,

4

we’ll hear our

&#

voic es- ech o- o ver- Ah ri- rang.-

œ. œj œ œ. œj œ œ œ œ œ œ

œ. œj œ œ. œj œ œ œ œ œ œ œ œ

œ. œj œ ˙ Œ ˙ œ œ œ œ

œ œ œ œ œ œ. œj œ œ. œj œ œ

œ œ œ œ œ œ œ. œj œ ˙ Œ

4



34&#

Ah



1


&#

o.

,

Come

2


&#

Ah ri- rang.- If

3

you love me, then

&#


,

There,

4

we’ll hear our

&#







4



34&#

Ah



1


&#

o.

,

Come

2


&#

Ah ri- rang.- If

3

you love me, then

&#


,

There,

4

we’ll hear our

&#







4



34&#

Ah



1


&#

o.

,

Come

2


&#

Ah ri- rang.- If

3

you love me, then

&#


,

There,

4

we’ll hear our

&#







4



34&#

Ah



1


&#

o.

,

Come

2


&#

Ah ri- rang.- If

3

you love me, then

&#


,

There,

4

we’ll hear our

&#







4



34&#

Ah



1


&#

o.

,

Come

2


&#

Ah ri- rang.- If

3

you love me, then

&#


,

There,

4

we’ll hear our

&#







4

Experiment with phrase lengths. Start with two-bar phrases, then try four, and eventually challenge yourself to sing the entire melody in one breath. Don’t allow the air to escape too soon. Instead, resist caving in to improve breath capacity.

Hint: Sing softly to conserve air.

Ah, Poor Bird

This gorgeous Korean folk song is an effective exercise to develop true legato. In order to achieve this most desirable technique, allow your voice to ride the breath, uninterrupted by momentary lapses in support or overdone consonants. Imagine the vowels as a long clothesline extending from your mouth, with consonants as the pins that gently grip the line.

Ahrirang

THE VOCALIZE! CANON COLLECTION – Singer

45274© 2017 Alfred Music

Right to photocopy with purchase.

William Boyce (1711-1779)

Alleluia CD: X SP: X

22&Al

It's all about the vowels. Tall vowels encourage an open space, which improves tone quality. Vowels that are uniform across the choir help with blend and intonation. The word "Alleluia" includes just three pure vowels (the first and last syllables are the same). Concentrate on each as you perform. Also, note that the first four pitches step down a major scale. Be certain to sing descending intervals in tune. Optional: Gesture with index fingers that float upward throughout the first phrase.

Pair with the following Vocalize! exercises:Come Now, Let Our Voices Ring • Drop Your Jaw • Flying, Sighing • Take Time to Breathe

1

le- lu- ia,-

&al le- lu- ia,- al le- lu- ia.-

&2

Al le- lu- ia,- al le- lu- ia,- al le- lu- ia,- al -

&- le lu- ia,- al le- lu- ia.-

&Al

3

le- lu- ia,- al le- lu- ia,- al -

&le lu- ia,- al le- lu- ia.-

w w w ˙. Œ

˙. œ œ œ œ œ œ ˙ ˙ ˙. Œ

Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ˙

œ œ ˙ œ Œ ˙ œ œ ˙ ˙. Œ

˙. œe ˙ œ œ œ œ ˙# ˙ Œ œ

˙ ˙ ˙ Œ œ ˙ ˙ E .. Œ

6

It’s all about the vowels. Tall vowels encourage an open space, which improves tone quality. Vowels that are uniform across the choir help with blend and intonation. The word “Alleluia” includes just three pure vowels (the first and last syllables are the same). Concentrate on each as you perform. Also, note that the first four pitches step down a major scale. Be certain to sing descending intervals in tune.

Optional: Gesture with index fingers that float upward throughout the first phrase.

Alleluia




{{{

Traditional German

All Things Shall Perish CD: X SP: X

AccompanimentGently (q = ca. 104)

..

..

..

..

34

34

34

&bAll

This tuneful German canon should be sung with a well-supported but rather soft dynamic. Strive for consistent tone quality throughout, especially on the two phrases that includedescending sevenths.

Pair with the following Vocalize! exercises: Just One Voice • Never Louder Than Lovely • Octaves and Sevenths

1

things shall per ish- from un der- the sky.

,

&bMu

2

sic- a lone- shall live, mu sic- a lone- shall live,

,

&bmu

3

sic- a lone- shall live, nev er- to die.

&b

?b

&bSINGERS BEGIN

?b

&brepeat as needed final ending

?brit.

&

œ œ œ œ. œj œ œ œ œ ˙.

œ œ œ œ. œJ œ œ œ œ œ. œJ œ

œ œ œ œ. œj œ œ œ œ ˙.

œœ œœ œœ œœ.. œœJœœ Œ

œœ œœ

˙.‰ œj œ œ œ ˙.‰ œj œ œ œ ˙.‰ œj œ œ

˙.œ ˙ œœ œœ œœ œœ.. œœJœœ œ œ œœ

˙œ ˙.‰ œj œ œ œ ˙.‰ œj œ œ œ ˙ œœ

˙.œ. œJ œ œœ.. œœJœœ œœ ˙..

˙.‰ œj œ œ ˙.‰ œj œ œ˙..

8

{{

Traditional Canon

The Bell Doth Toll CD: X SP: X

Moderately (h = ca. 69)

Accompaniment

..

..

..

..

22

22

22

&bThe

Initiate the letter "b" at the front of the lips, then close (and lightly hum through) the "m" in the word "bim-bom." This approach will build resonance, while imitating the sound of a bell.

Pair with the following Vocalize! exercises:My, Oh Me, Oh My • With a Joyful Tone • The Lips, the Tongue, the Tip of the Teeth

1

bell doth toll, its ech oes- roll, I

&bknow the sound so well. I

2

love its ring ing,- for it

&bcalls to sing ing- with its bim bom,- bim bom- bell.

&bBim

3

bom,- bim bom- bell.

&bSINGERS BEGIN

?b


?b

œ œ. œJ œ œ œ. œJ œ œ

œ œ œ œ ˙ Œ œ œ. œj œ œ œ œ

œ. œj œ œ œ œ œ œ œ œ ˙ Ó

˙ Ó ˙ Ó ˙ ˙ ˙ Ó

œœ œœ œœ œœ œœ œœ ˙..œœ œœ.. œœj ˙

Œ ˙ ˙ wwww

œœ.. œœJœœ œœ œœ œœ œœ œœ ˙.. œœ wwU

ww ˙ ˙ ww wwU

11

{{

Traditional Canon



Accompaniment

..

..

..

..

22

22

22

&bThe



1



2



&bBim

3


&bSINGERS BEGIN

?b


?b




˙ Ó ˙ Ó ˙ ˙ ˙ Ó


Œ ˙ ˙ wwww


ww ˙ ˙ ww wwU

11

{{

Traditional Italian

Bella Donna CD: X SP: X

Lyrically (q = ca. 92)

Accompaniment

..

..

..

..

44

44

44

&bBel

This charming canon requires a relatively large vocal range. Note the optional pitch (for singers whomay not be comfortable with the higher one) at the end of the third phrase. How can you approacha high note with ease? Check your posture, drop your jaw, and engage your breath support.

Pair with the following Vocalize! exercises:Feet Are Firmly Planted • Drop Your Jaw • Breath Support

1

la- don na,- bel la- don na,- bel la- don na.- Bel

2

la-

&bdon na,- bel la- don na,- bel la- don na.- Bel

3

la- don na,- bel la- don na,- bel la-

&bdon na.- Bel

4

la- don na,- bel la- don na,- bel la- don na.-

&bSINGERS BEGIN

?b


?b

œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ

œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ

œ œe œJ ‰ œ œ œ œ œ œ œ œ œ œ œ œ Ó

œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙.œ ˙Œ œ œ œ

œ œ œ œœ œ. ˙

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ˙ œœ ˙.œ ˙

œ œ œœ œ œ œ œ ˙ œ œœ œ. ˙

10

{{

Traditional Italian



Accompaniment

..

..

..

..

44

44

44

&bBel



1


2

la-


3


&bdon na.- Bel

4


&bSINGERS BEGIN

?b


?b








10

{{

Traditional Italian



Accompaniment

..

..

..

..

44

44

44

&bBel



1


2

la-


3


&bdon na.- Bel

4


&bSINGERS BEGIN

?b


?b








10

{{

Traditional Italian



Accompaniment

..

..

..

..

44

44

44

&bBel



1


2

la-


3


&bdon na.- Bel

4


&bSINGERS BEGIN

?b


?b








10

{{

Are You Sleeping? CD: X SP: X

Traditional French

Accompaniment

Moderately (q = ca. 100)

..

..

..

..

44

44

44

&bAreFrè

The familiarity of this popular French canon presents a perfect opportunity to check in onsome basic techniques. How is your posture? Are you forming vowels carefully? How are thechoral balance and blend?

Pair with the following Vocalize! exercises:Come Now, Let Our Voices Ring • Feet Are Firmly Planted • Listen and Blend

1

youre-

sleepJac

ing,ques,

--

areFrè

youre-

sleepJac

ing,ques,

--

,

Brothdor

2

ermez

--

John,vous,

&bBrothdor

ermez

--

John?vous?

,

MornSon

3

ingnez

--

bellsles

arema

ringtin-

ing,es,

--

&bmornson

ingnez

--

bellsles

arema

ringtin-

ing:es:

--

,

Ding,Ding,

4

ding,dang,

dong,dong,

ding,ding,

ding,dang,

dong.dong.


?b

&b

?bPronunciation: FREH-ruh ZAH-kuh, DAWR-meh voo? SAW-neh leh mah-TEE-nuh. ("Z" as in "azure")

rit.

œ œ œ œ œ œ œ œ œ œ ˙

œ œ ˙ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ ˙ œ œ ˙

œ œ. œ œ œ œœ œ œ œ ˙œœ œ œœ œ ˙

Œ œ œ œ œ œ œ œ ˙œ œ ˙

œœ œ œœ œ œ œ œ. œ œ œ œœ œ œ œ ˙

œ œ ˙œ œ œ œ œ œ œ ˙

9

{{

Are You Sleeping? CD: X SP: X

Traditional French

Accompaniment


..

..

..

..

44

44

44

&bAreFrè

The familiarity of this popular French canon presents a perfect opportunity to check in onsome basic techniques. How is your posture? Are you forming vowels carefully? How are thechoral balance and blend?

Pair with the following Vocalize! exercises:Come Now, Let Our Voices Ring • Feet Are Firmly Planted • Listen and Blend

1

youre-

sleepJac

ing,ques,

--

areFrè

youre-

sleepJac

ing,ques,

--

,

Brothdor

2

ermez

--

John,vous,

&bBrothdor

ermez

--

John?vous?

,

MornSon

3

ingnez

--

bellsles

arema

ringtin-

ing,es,

--

&bmornson

ingnez

--

bellsles

arema

ringtin-

ing:es:

--

,

Ding,Ding,

4

ding,dang,

dong,dong,

ding,ding,

ding,dang,

dong.dong.


?b

&b

?bPronunciation: FREH-ruh ZAH-kuh, DAWR-meh voo? SAW-neh leh mah-TEE-nuh. ("Z" as in "azure")

rit.


œ œ ˙ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ ˙ œ œ ˙

œ œ. œ œ œ œœ œ œ œ ˙œœ œ œœ œ ˙

Œ œ œ œ œ œ œ œ ˙œ œ ˙

œœ œ œœ œ œ œ œ. œ œ œ œœ œ œ œ ˙

œ œ ˙œ œ œ œ œ œ œ ˙

9

This tuneful German canon should be sung with a well-supported but rather soft dynamic. Strive for consistent tone quality throughout, especially on the two phrases that include descending sevenths.

All Things Shall Perish

The familiarity of this popular French canon presents a perfect opportunity to check in on some basic techniques. How is your posture? Are you forming vowels carefully? How are the choral balance and blend?

Are You Sleeping?

Pronunciation: FREH-ruh ZAH-kuh, DAWR-meh voo? SAW-neh leh mah-TEE-nuh. (“Z” as in “azure”)




{{

Traditional Canon



Accompaniment

..

..

..

..

22

22

22

&bThe



1



2



&bBim

3


&bSINGERS BEGIN

?b


?b




˙ Ó ˙ Ó ˙ ˙ ˙ Ó


Œ ˙ ˙ wwww


ww ˙ ˙ ww wwU

11

{{

Traditional Canon



Accompaniment

..

..

..

..

22

22

22

&bThe



1



2



&bBim

3


&bSINGERS BEGIN

?b


?b




˙ Ó ˙ Ó ˙ ˙ ˙ Ó


Œ ˙ ˙ wwww


ww ˙ ˙ ww wwU

11

{{

Traditional Italian



Accompaniment

..

..

..

..

44

44

44

&bBel



1


2

la-


3


&bdon na.- Bel

4


&bSINGERS BEGIN

?b


?b








10

{{

Traditional Italian



Accompaniment

..

..

..

..

44

44

44

&bBel



1


2

la-


3


&bdon na.- Bel

4


&bSINGERS BEGIN

?b


?b








10

{{

Traditional Italian



Accompaniment

..

..

..

..

44

44

44

&bBel



1


2

la-


3


&bdon na.- Bel

4


&bSINGERS BEGIN

?b


?b








10

{{

Traditional Italian



Accompaniment

..

..

..

..

44

44

44

&bBel



1


2

la-


3


&bdon na.- Bel

4


&bSINGERS BEGIN

?b


?b








10

This charming canon requires a relatively large vocal range. Note the optional pitch (for singers who may not be comfortable with the higher one) at the end of the third phrase. How can you approach a high note with ease? Check your posture, drop your jaw, and engage your breath support.

Bella Donna

Initiate the letter “b” at the front of the lips, then close (and lightly hum through) the “m” in the word “bim-bom.” This approach will build resonance, while imitating the sound of a bell.

The Bell Doth Toll

Pronunciation: BEH-lah DAW-nahTranslation: Beautiful lady.




Franz Schubert (1797-1828)

Be Welcome CD: X SP: X

68&##Be

Will

Franz Schubert is known for his lyrical melodies, and this lovely tune is no exception. As you sing,work for expressive phrases that gently crescendo toward the middle and decrescendo toward theend. Tapering to each of the final eighth notes will demonstrate musicality and enhance artistry. Taketime to breathe at each rest, inhaling completely, without constricting the throat or making a sound.To emphasize vowels, place interior consonants at the start of the syllables that they follow.

Pair with the following Vocalize! exercises:Take Time to Breathe • We Are Crescendoing • Drink to Me Only with Thine Eyes

1

komwel

- men,come,

-- gen

lietle

ber--

monthschön

ofer-

May,Mai, dir

with

&##wrentönt der

and robVö gel

in’s-- Lob

roungede

--

sang.lay.

-- Be

Will

2

-

&##

komwel

men,come,

-- gen

lietle

ber--

monthschön

ofer-

May,Mai, dir

with

&##wrentönt der

and robVö gel

in’s--

rounLob

dege

--

lay.sang.

--

BeWill

3

-

&##

komwel

men,come,

-- gen

lietleber

monthschön

--

ofer-

May,Mai, dir

with

&##wrentönt

Pronunciation: veel-KAW-mehn, LEE-buhr SHO-nuhr mahee, deer tont dehr VO-guhl LOHP-guh-zahng.(say "eh" through rounded lips for "o").

derand rob

Vö gelin’s-

- Lobroun

gede

--

sang.lay.

--

œj œ œ œ œ œ œ œ œ œ œj ‰ œJ

œ œ œ œ œ œ œ œ œ œ œj ‰ œj

œ œ œ œ œ œ œ œ œ œj ‰ œj

œ œ œ œ œ œ œ œ œ œ œj ‰ œj

œ œJ œ œj œ œJ œJ ‰ œj

œ œ œ œ œ œ œe œej

œ ‰

13

Andy Beck

Candelight Canon CD: X SP: X

34&#

In

Inhale completely before each of these long phrases. Resist caving in to spend (and save) breathwisely. Place a soft "t" on the quarter rest that follows the first two phrases, and a light puff of airon the letter "p" at the start of the word "peace." Like a good apple ... be crisp and tasteful.

Pair with the following Vocalize! exercises:Take Time to Breathe • Resist Caving In • Consonants Are Planned • Listen and Blend

1

the glow of can dle- light,-

&#

all

2

of the world comes to geth- er- to night.-

&#

And

3

in the glow of the can dles- we see

&#

peace

4

for you and peace for me.

˙ œ ˙ œ ˙ œ ˙ Œ


œ œ œ œ œ œ œ œ œ ˙ Œ

˙ œ ˙ œ ˙ œ ˙ Œ

14

Andy Beck


34&#

In



1


&#

all

2


&#

And

3


&#

peace

4


˙ œ ˙ œ ˙ œ ˙ Œ



˙ œ ˙ œ ˙ œ ˙ Œ

14

Franz Schubert is known for his lyrical melodies, and this lovely tune is no exception. As you sing, work for expressive phrases that gently crescendo toward the middle and decrescendo toward the end. Tapering to each of the final eighth notes will demonstrate musicality and enhance artistry. Take time to breathe at each rest, inhaling completely, without constricting the throat or making a sound. To emphasize vowels, place interior consonants at the start of the syllables that they follow.

Be Welcome

Pronunciation: vihl-KAW-mehn, LEE-buhr SHO-nuhr mahee, deer tont dehr VO-guhl LOHP-guh-zahng. (Say “eh” through rounded lips for “o”)




Andy Beck


34&#

In



1


&#

all

2


&#

And

3


&#

peace

4


˙ œ ˙ œ ˙ œ ˙ Œ



˙ œ ˙ œ ˙ œ ˙ Œ

14

Andy Beck


34&#

In



1


&#

all

2


&#

And

3


&#

peace

4


˙ œ ˙ œ ˙ œ ˙ Œ



˙ œ ˙ œ ˙ œ ˙ Œ

14

Inhale completely before each of these long phrases. Resist caving in to spend (and save) breath wisely. Place a soft “t” on the quarter rest that follows the first two phrases, and a light puff of air on the letter “p” at the start of the word “peace.” Like a good apple … be crisp and tasteful.

Candlelight Canon




Christmas Is Coming CD: X SP: X

Traditional English

22&Christ

Sing this happy holiday song with a full voice, explosive consonants, and abundant joy. Joyfulsounds require a smile in the eyes without spreading the vowels, so drop the jaw to create vertical space and avoid pulling the corners of your mouth back. Carefully tune the octave jumps.Optional: Hold the palm of your hand in front of your mouth as you sing. Feel a light puff ofair as each consonant is produced.

Pair with the following Vocalize! exercises:Sing a Joyful Song • With a Joyful Tone • Octaves and Sevenths

1

mas- is com ing,- the goose is get ting- fat.

&Please

2

to put a pen ny- in the old man’s hat.

&Please

3

to put a pen ny- in the old man’s hat. If you

&have n’t- got a pen ny,- a ha’ pen ny- will do. If you

&have n’t- got a ha’ pen ny,- then God bless you. If you

&have n’t- got a ha’ pen ny,- then God bless you.

˙ œ œ œ ˙ œ œ œ œ œ ˙ Ó

œ. œj œ œ œ œ œ œ ˙ œ œ ˙ Ó

œ. œj œ œ œ œ œ œ ˙ ˙ œ Œ œ œ

œ œ œ œ œ ˙ œ œ œ œ œ œ Œ œ œ

œ. œj œ œ œ œ œ œ ˙ œ œ œ Œ œ œ

œ. œj œ œ œ œ œ œ ˙ ˙ ˙ Ó

18

{{

Derryl Herring and Andy Beck

A Child of Song CD: X SP: X

Accompaniment

Swing, like a jazz waltz (q = ca. 160)

..

..

..

..

54

54

54

&#

Sing

This jazzy canon was inspired by "Take Five" by the American pianist and composer Dave Brubeck. Its uplifting message and attention-grabbing rhythms offer a great way to begina rehearsal. When you establish good singing habits at the start, those habits will continuefor the remainder of your rehearsal. Posture, vowels, and vocal freedom are always important!

Pair with the following Vocalize! exercises:Feet Are Firmly Planted • With a Joyful Tone • Project

1

me a song

2

when I wake

3

in the morn

4

ing.-

&#

Play me a tune in the cool of the night.

&#

?#

&# SINGERS BEGIN repeat as needed

?#

˙. œ œ ˙. œ œ ˙. œ œ ˙. œ Œ

˙. œ œ ˙. œ œ ˙. œ œ ˙. Œ Œ

‰œœœ œ œœ ‰

œœœ œœœ‰ œœœ œ œœ ‰ œœœ œœœ ‰ œœœ œ œœ ‰ œœœ œœœ

˙.. ˙ ˙.. ˙ ˙.. ˙

‰œœœ œ œœ ‰

˙‰

œœœ œ œœ ‰œœœ œœœ

‰œœœ œj œœœ. œœœ-

Œ

˙.. œœ œ ˙. ˙ ˙ œ. œ- œ.>

17

{{

William Hayes (1708-1777)

Chairs to Mend CD: X SP: X


Accompaniment

..

..

..

..

44

44

44

&bChairs

Imagine old-time street merchants selling their wares in a crowded marketplace. Crisp diction(with enunciated consonants) and healthy projection (with solid support) were required in orderto attract as many customers as possible. As you develop these same vocal attributes, be sure toanchor the sound with breath.

Pair with the following Vocalize! exercises:Breath Support • Project • The Lips, the Tongue, the Tip of the Teeth

1

to mend, old chairs to mend! Mack

2

er- el,- fresh

&bmack er- el!- An

,

y- straw

3

ber- ries,- an y- straw ber- ries?-

&bSINGERS BEGIN

?b


?b

œ. œJ œ œ œ. œJ œ Œ œ. œj œ œ

œ. œj œ œ œ œ œ œ œ œ œ œ œ Œ

œ œ œœœ œœœ œœœ œ œ œœœ œœœ œœœ Œ œœ.. œœj œœ œœ

Œ œ œ œ œ œ œ œ œ œ œ œ œ

œœ.. œœj ˙ œœ.. œœj œœ œœ ww ˙ Ó

œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ.Œ

16

This jazzy canon was inspired by “Take Five” by the American pianist and composer Dave Brubeck. Its uplifting message and attention-grabbing rhythms offer a great way to begin a rehearsal. When you establish good singing habits at the start, those habits will continue for the remainder of your rehearsal. Posture, vowels, and vocal freedom are always important!

A Child of Song

Imagine old-time street merchants selling their wares in a crowded marketplace. Crisp diction (with enunciated consonants) and healthy projection (with solid support) were required in order to attract as many customers as possible. As you develop these same vocal attributes, be sure to anchor the sound with breath.

Chairs to Mend




Christmas Is Coming CD: X SP: X

Traditional English

22&Christ

Sing this happy holiday song with a full voice, explosive consonants, and abundant joy. Joyfulsounds require a smile in the eyes without spreading the vowels, so drop the jaw to create vertical space and avoid pulling the corners of your mouth back. Carefully tune the octave jumps.Optional: Hold the palm of your hand in front of your mouth as you sing. Feel a light puff ofair as each consonant is produced.

Pair with the following Vocalize! exercises:Sing a Joyful Song • With a Joyful Tone • Octaves and Sevenths

1

mas- is com ing,- the goose is get ting- fat.

&Please

2

to put a pen ny- in the old man’s hat.

&Please

3

to put a pen ny- in the old man’s hat. If you

&have n’t- got a pen ny,- a ha’ pen ny- will do. If you

&have n’t- got a ha’ pen ny,- then God bless you. If you

&have n’t- got a ha’ pen ny,- then God bless you.

˙ œ œ œ ˙ œ œ œ œ œ ˙ Ó

œ. œj œ œ œ œ œ œ ˙ œ œ ˙ Ó

œ. œj œ œ œ œ œ œ ˙ ˙ œ Œ œ œ

œ œ œ œ œ ˙ œ œ œ œ œ œ Œ œ œ

œ. œj œ œ œ œ œ œ ˙ œ œ œ Œ œ œ

œ. œj œ œ œ œ œ œ ˙ ˙ ˙ Ó

18

Sing this happy holiday song with a full voice, explosive consonants, and abundant joy. Joyful sounds require a smile in the eyes without spreading the vowels, so drop the jaw to create vertical space and avoid pulling the corners of your mouth back. Carefully tune the octave jumps.

Optional: Hold the palm of your hand in front of your mouth as you sing. Feel a light puff of air as each consonant is produced.

Christmas Is Coming




{{

Come, Follow CD: X SP: X

John Hilton (1599-1657)

Accompaniment

Lightly (h = ca. 72)

..

..

..

..

22

22

22

&Come,

This variation of John Hilton's famous round descends a major scale, walks halfway back up,outlines some diatonic thirds, then continues all the way up before introducing only one largeinterval (a 6th) just before the final cadence. It all adds up to an effective sight-singing exercise.

Pair with the following Vocalize! exercises:Warming Up Our Voices • Do Is Like a Rock • One, Five, Four, Five

1

fol low,- fol low,- fol low,- fol low,- fol low,-

&fol low- me. Whith

2

er- shall I fol low,- fol low,- fol low?-

&Whith er- shall I fol low,- fol low- thee? To

3

the green wood,-

&to the green wood,- to the green wood,- green wood- tree.

&SINGERS BEGIN

?

&repeat as needed final ending

?

˙ œ œ œ œ œ œ œ œ œ œ

œ œ œ Œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ Œ œ. œJ œ œ

œ. œJ œ œ œ. œj œ œ œ œ œ Œ

œœ œœ œœ œœ œœœ œœœ œœœ œœœ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ œ œ ˙œ œ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

21

{{{

Traditional AustrianWords by Andy Beck

Day Is Ending CD: X SP: X

AccompanimentPeacefully (q = ca. 92)

..

..

..

..

44

4444

2424

4444

&bbDay

Sing softly, with a warm and expressive tone. Always listen to and blend with others.

Pair with the following Vocalize! exercises:Never Louder Than Lovely • Listen and Blend

1

is end ing;- eve ning,- now de scend- ing.-

&bbMoon

2

is light ing;- stars, ig nit- ing;- dreams, in vit- ing,- all on this night.

&bbMoon

3


&bbSINGERS BEGIN

?bb

&bbrepeat as needed

?bb

&bbfinal ending

?bbrit.

˙ ˙ ˙ ˙ œ. œj œ œ ˙ œ Œ

œ. œj œ œ œ œ. œj œ œ œ œ. œj œ œ œ œ œ œ œ Œ

œ. œJ œ œ œ œ. œj œ œ œ œ. œJ œ œ œ œ œ œ œ Œ

œœ.. œœjœœ œœ œœ œœ œœ œœ ˙ ‰

œj œ œ ‰

œj œ œ

œ œ œœ œ œ œ œ œ œ œ œ ˙ ˙

‰œj œ œ ‰

œj œ œ ‰

œj œ œ ‰

œj œ œ ‰œj œ œ ‰ œj œ œ

˙ ˙ ˙ ˙ ˙ ˙

‰œj œ œ ‰ œj œ œ œ œ œ œ www

˙ ˙ ˙ ˙˙

22

{{{

Carl Gottlieb Hering (1766-1853)

Coffee CD: X SP: X

AccompanimentWaltz (q = ca. 138)

..

..

..

..

34

3434

&bC

Wake up! It's time to sing! Bright eyes and expressive faces are required. Performing with emotionadds so much. For fun, experiment with different moods each time you sing this playful round.

Pair with the following Vocalize! exercises:Warming Up Our Voices • Music in the Morning • Zing-a Zing-a Zah

1

O- F- F- E- E.-

,

Pour me a cup, or two, or three,

,

&bear

2

ly- in the morn ing- when I want to wake,

,

and then lat er- when I need a cof fee- break.

,

&bC

3

O- F- F- E- E.-

,

Oh, how I love cof fee!-

&b

?b


?b

&b

?b

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ ˙.œ œ œœ œœ œœ œ

œœ œœ œ œœ œœ ˙.œ œ œ

Œœœœ. œœœ.

Œ œœœ. œœœ.Œ œœœ. œœœ.

Œœœœ. œœœ.

œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ

œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ

œ œœ œœ œœœ œœ œ œœ œœ œœ œ-

Œ

20

{{



Accompaniment


..

..

..

..

22

22

22

&Come,



1


&fol low- me. Whith

2



3

the green wood,-


&SINGERS BEGIN

?


?






˙ ˙ ˙ ˙ œ œ ˙œ œ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

21

{{



Accompaniment


..

..

..

..

22

22

22

&Come,



1


&fol low- me. Whith

2



3

the green wood,-


&SINGERS BEGIN

?


?






˙ ˙ ˙ ˙ œ œ ˙œ œ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

21

{{



Accompaniment


..

..

..

..

22

22

22

&Come,



1


&fol low- me. Whith

2



3

the green wood,-


&SINGERS BEGIN

?


?






˙ ˙ ˙ ˙ œ œ ˙œ œ ˙

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

21

{{

Traditional Canon

Ding-a-Ding Dong CD: X SP: X

Accompaniment

Joyfully (q = ca. 84)

..

..

..

..

44

44

44

&Ding

Perfect for beginners, this simple canon is in just two parts. When sung in a round, the voices move in contrary motion and with unique melodic rhythms, ensuring success. Once you havemastered the part singing, experiment with different dynamics and articulations.

Pair with the following Vocalize! exercises:Dynamics Are Fancy and Fine • Sing Legato, Sing Staccato • I Can Sing My Part

1

dong, ding a- ding- dong. Stee

2

ple- bells ring out the song.

&Ding dong, ding a- ding- dong. Ding a- ding- dong, ding dong.

&

?

&SINGERS BEGIN repeat as needed

?

œ œ œ œ œ œ œ œ œ œ œ œ œj ‰

œ œ œ œ œ œ œ œ œ œ œ œ Œ

œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœœ œ œ œ œ œ œœ œœ œœ œœ

œœ Óœœ œœ œœœ.

œœœ.

œœœ œœ œœ œœ œœ œ.>œœ œœ œœ. œœ. œ œœ œœ œœ œœ.>

23

This variation of John Hilton’s famous round descends a major scale, walks halfway back up, outlines some diatonic thirds, then continues all the way up before introducing only one large interval (a 6th) just before the final cadence. It all adds up to an effective sight-singing exercise.

Come, Follow

Wake up! It’s time to sing! Bright eyes and expressive faces are required. Performing with emotion adds so much. For fun, experiment with different moods each time you sing this playful round.

Coffee




{{{

Traditional AustrianWords by Andy Beck

Day Is Ending CD: X SP: X

AccompanimentPeacefully (q = ca. 92)

..

..

..

..

44

4444

2424

4444

&bbDay


Pair with the following Vocalize! exercises:Never Louder Than Lovely • Listen and Blend

1

is end ing;- eve ning,- now de scend- ing.-

&bbMoon

2


&bbMoon

3


&bbSINGERS BEGIN

?bb

&bbrepeat as needed

?bb

&bbfinal ending

?bbrit.

˙ ˙ ˙ ˙ œ. œj œ œ ˙ œ Œ

œ. œj œ œ œ œ. œj œ œ œ œ. œj œ œ œ œ œ œ œ Œ

œ. œJ œ œ œ œ. œj œ œ œ œ. œJ œ œ œ œ œ œ œ Œ

œœ.. œœjœœ œœ œœ œœ œœ œœ ˙ ‰

œj œ œ ‰

œj œ œ

œ œ œœ œ œ œ œ œ œ œ œ ˙ ˙

‰œj œ œ ‰

œj œ œ ‰

œj œ œ ‰

œj œ œ ‰œj œ œ ‰ œj œ œ

˙ ˙ ˙ ˙ ˙ ˙

‰œj œ œ ‰ œj œ œ œ œ œ œ www

˙ ˙ ˙ ˙˙

22

{{

Traditional Canon

Ding-a-Ding Dong CD: X SP: X

Accompaniment

Joyfully (q = ca. 84)

..

..

..

..

44

44

44

&Ding

Perfect for beginners, this simple canon is in just two parts. When sung in a round, the voices move in contrary motion and with unique melodic rhythms, ensuring success. Once you havemastered the part singing, experiment with different dynamics and articulations.

Pair with the following Vocalize! exercises:Dynamics Are Fancy and Fine • Sing Legato, Sing Staccato • I Can Sing My Part

1

dong, ding a- ding- dong. Stee

2

ple- bells ring out the song.

&Ding dong, ding a- ding- dong. Ding a- ding- dong, ding dong.

&

?


?

œ œ œ œ œ œ œ œ œ œ œ œ œj ‰

œ œ œ œ œ œ œ œ œ œ œ œ Œ

œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœœ œ œ œ œ œ œœ œœ œœ œœ

œœ Óœœ œœ œœœ.

œœœ.

œœœ œœ œœ œœ œœ œ.>œœ œœ œœ. œœ. œ œœ œœ œœ œœ.>

23


Day Is Ending

Perfect for beginners, this simple canon is in just two parts. When sung in a round, the voices move in contrary motion and with unique melodic rhythms, ensuring success. Once you have mastered the part singing, experiment with different dynamics and articulations.

Ding-a-Ding Dong




{{

Donkeys and Carrots CD: X SP: X

Traditional Belgian

Accompaniment

Happily (q = ca. 96)

..

..

..

..

24

24

24

&bbbDon

This whimsical Belgian folk tune isn't just for fun, it's also a great way to work on crispconsonants and rounded vowels. The highest note is sung on an "ee" vowel, which can easily become strident if allowed to spread. Be sure to round the lips and create plentyof space inside. Pair with the following Vocalize! exercises:Drop Your Jaw • With a Joyful Tone • The Lips, the Tongue, the Tip of the Teeth

1

keys- are in love with car rots.-

&bbbCar

2

rots- aren’t in love at all.

,

“Hee

3

haw.-

&bbbHee haw.”- Lis

4

ten- to that lov ing- call.

&bbbSINGERS BEGIN repeat as needed

?bbb

&bbbfinal ending

?bbb

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ


œ œ ≈ œ œn œ œ.J ‰ œœ>

œœœ œœœ‰

œœœj

œœœ œœ œœœœœœ.J ‰

œœœn# œœœ. œ œ œ œj ‰œj

‰ œj ‰œ œ

œœœ œœ œœœ œœœ œ ≈ œ œ œ œœ.J ‰fiœj œœ>J ‰

œj ‰ œ œ œœ.J ‰

œœœ œœœ.J ‰ œœ>j ‰

26

Traditional Canon

Dona Nobis Pacem CD: X SP: X

34&bDo

Anticipate large melodic leaps by aurally internalizing the pitches prior to singing them. Approach ascending intervals as if coming from above and landing on top. Treat descending intervals with a lightness on the lower notes. Intonation will be improved, vocal tone will beconsistent throughout the range, and a legato line will be evident.

Pair with the following Vocalize! exercises:Just One Voice • Octaves and Sevenths • One, Five, Four, Five

1

na- no bis- pa cem,- pa cem.-

&bDo na- no bis- pa cem.-

&bDo

2

na- no bis- pa cem.-

&bDo na- no bis- pa cem.-

&bDo

3


&bDo

Pronunciation: DAW-nah NAW-bees PAH-chehm.Translation: Grant us peace.


œ œ ˙ œ œ ˙ œ œ œ œ œ Œ

œ œ œ œ œ œ. œJ œ œ œ œ œ ˙ Œ

˙. ˙. œ œ œ œ œ Œ

œ ˙ œ ˙ œ œ œ œ ˙ Œ

˙. ˙. œ. œj œ œ œ œ Œ

œ ˙ œ ˙ œ œ œ œ ˙ Œ

24

{{

Early to Bed CD: X SP: X

The School Round Book, 1852Words attributed to Benjamin Franklin

With a lilt (q. = ca. 54)

Accompaniment

..

..

..

..

68

68

68

&bbbEar

Let's think about phrasing. If you observe the breath marks between each phrase, it will be important to place the final consonants together—and "s" can be tricky. Perform a light, short"s" on the sixth beat of the measure, followed by a swift but quiet breath. Taking time to breathe ensures that the sibilant "s" will not linger (or hiss) too long. Pair with the following Vocalize! exercises:Take Time to Breathe • Consonants Are Planned • Seashells

1

ly- to bed and ear ly- to rise

,

makes

2

a man health y,- and

&bbbwealth y,- and wise.

,

Wise,

3

health y,- and wealth y.-

&bbbSINGERS BEGIN

?bbb

&bbbrepeat as needed

?bbbrit.

œ. œ œ œ œJ œ œ œ œ. œ. œ œ œ œ œ

œ œ œ œ. œ. œ œ œ œ. œ.

œœ.. œœ œœ œ.œ œ œ œœ œœ œœ œ. œœ.. œœ œœœ œ œ œœ œ œœ

œ œ œ œ œ œ œ œJ œ œ œ œ. œ œ œ

œœ œœj

œœ..œœ.. œœ œœ œ.œ œ œ œœ œœ œœ œœ..

œ œj œ œ œ œ œ œ œ œ œ œ œj œ.

27

Anticipate large melodic leaps by aurally internalizing the pitches prior to singing them. Approach ascending intervals as if coming from above and landing on top. Treat descending intervals with a lightness on the lower notes. Intonation will be improved, vocal tone will be consistent throughout the range, and a legato line will be evident.

Dona Nobis Pacem

Pronunciation: DAW-nah NAW-bees PAH-chehm.Translation: Grant us peace.




{{

Donkeys and Carrots CD: X SP: X

Traditional Belgian

Accompaniment

Happily (q = ca. 96)

..

..

..

..

24

24

24

&bbbDon

This whimsical Belgian folk tune isn't just for fun, it's also a great way to work on crispconsonants and rounded vowels. The highest note is sung on an "ee" vowel, which can easily become strident if allowed to spread. Be sure to round the lips and create plentyof space inside. Pair with the following Vocalize! exercises:Drop Your Jaw • With a Joyful Tone • The Lips, the Tongue, the Tip of the Teeth

1

keys- are in love with car rots.-

&bbbCar

2

rots- aren’t in love at all.

,

“Hee

3

haw.-

&bbbHee haw.”- Lis

4

ten- to that lov ing- call.

&bbbSINGERS BEGIN repeat as needed

?bbb

&bbbfinal ending

?bbb




œ œ ≈ œ œn œ œ.J ‰ œœ>

œœœ œœœ‰

œœœj

œœœ œœ œœœœœœ.J ‰

œœœn# œœœ. œ œ œ œj ‰œj

‰ œj ‰œ œ

œœœ œœ œœœ œœœ œ ≈ œ œ œ œœ.J ‰fiœj œœ>J ‰

œj ‰ œ œ œœ.J ‰

œœœ œœœ.J ‰ œœ>j ‰

26

{{

Early to Bed CD: X SP: X

The School Round Book, 1852Words attributed to Benjamin Franklin

With a lilt (q. = ca. 54)

Accompaniment

..

..

..

..

68

68

68

&bbbEar

Let's think about phrasing. If you observe the breath marks between each phrase, it will be important to place the final consonants together—and "s" can be tricky. Perform a light, short"s" on the sixth beat of the measure, followed by a swift but quiet breath. Taking time to breathe ensures that the sibilant "s" will not linger (or hiss) too long. Pair with the following Vocalize! exercises:Take Time to Breathe • Consonants Are Planned • Seashells

1

ly- to bed and ear ly- to rise

,

makes

2

a man health y,- and

&bbbwealth y,- and wise.

,

Wise,

3

health y,- and wealth y.-

&bbbSINGERS BEGIN

?bbb


?bbbrit.

œ. œ œ œ œJ œ œ œ œ. œ. œ œ œ œ œ

œ œ œ œ. œ. œ œ œ œ. œ.

œœ.. œœ œœ œ.œ œ œ œœ œœ œœ œ. œœ.. œœ œœœ œ œ œœ œ œœ

œ œ œ œ œ œ œ œJ œ œ œ œ. œ œ œ

œœ œœj

œœ..œœ.. œœ œœ œ.œ œ œ œœ œœ œœ œœ..

œ œj œ œ œ œ œ œ œ œ œ œ œj œ.

27

This whimsical Belgian folk tune isn’t just for fun, it’s also a great way to work on crisp consonants and rounded vowels. The highest note is sung on an “ee” vowel, which can easily become strident if allowed to spread. Be sure to round the lips and create plenty of space inside.

Donkeys and Carrots

Let’s think about phrasing. If you observe the breath marks between each phrase, it will be important to place the final consonants together—and “s” can be tricky. Perform a light, short “s” on the sixth beat of the measure, followed by a swift but quiet breath. Taking time to breathe ensures that the sibilant “s” will not linger (or hiss) too long.

Early to Bed




{{

The Ghost of John CD: X SP: X

Traditional Canon

Spooky (q = ca. 104)

Accompaniment

..

..

..

..

44

44

44

&bbbbHave

The third phrase of this familiar round can be sung on any vowel of your choice. Choose a different one each time.

Pair with the following Vocalize! exercises:Nee, Neh, Nah, Noh, Noo • My, Oh Me, Oh My • Zing-a Zing-a Zah

1

you seen the ghost of John?

&bbbbLong

2

white bones with the flesh all gone?

&bbbbOo.

3

&bbbbWould

4

n’t- it be chil ly- with no skin on?

&bbbbSINGERS BEGIN

?bbbb

&bbbbrepeat as needed

?bbbbrit.

œ œ œ œ œ œ œ Œ

œ œ œ œ œ œ œ œ œ œ œ

œ œ œE œ œ œ œ œ Œ

œ œ œ œ œ œ œ œ œ œ Œ

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœŒ

œœœ œœœ ˙˙ ˙ œ œ œ Œ ˙ ˙

œœœœ œœœœ ˙ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœŒ

œ œ ˙ ˙ ˙ œ œ œ Œ

28

{{{

Traditional Canon

Goodnight to You All CD: X SP: X

Gently (q = ca. 100)

Accompaniment

..

..

..

..

34

34

34

&####Good

Complete each phrase with a light consonant followed by a full but quiet breath.

Pair with the following Vocalize! exercises:Take Time to Breathe • Never Louder Than Lovely • Consonants Are Planned

1

night- to you all and sweet be your

&####sleep. May

2

an gels- a round- you, their si lent- watch

&####keep. Good

3

night,- good night,- good night,- good night.-

&####SINGERS BEGIN

?####

&####

?####

&####repeat as needed

?####rit.

œ œ œ œ ˙ œ œ œ œ

œ Œ œ œ œ œ œ œ œ œ œ œ

œ Œ œ ˙ œ ˙ œ ˙ œ ˙ Œ

œœ œœ œ œœ œ œœ œ ˙ œ

Œ ˙ œ œ ˙

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ. œ œ œ. œ œ œ. œ œ

œ œ œ œ œ œ œœ œ œœ œ œœ œ ˙..

˙.œ œ œ ˙ œ œ ˙

29

{{

Hashivenu CD: X SP: X

Traditional Israeli

Accompaniment

Largo (e = ca. 108-112)..

..

..

..

68

68

68

&bbbHa

Focus on pure "ah," "ee," "eh," and "oo" for this traditional Hebrew round. Sing musicallythroughout, builiding and tapering every phrase. Additional breaths may be added as desired.

Pair with the following Vocalize! exercises:Drop Your Jaw • Nee, Neh, Nah, Noh, Noo • Breath Support • The Turtle Dove

1

shi- ve- nu,- ha shi- ve- nu-

&bbbA do- nai- e le- cha,-

,

ve

2

na- -

&bbbshu va,- ve na- shu- va.-

,

Cha

3

desh,-

&bbbcha desh- ya mei- nu- ke ke- dem.-

&bbb nSINGERS BEGIN

?bbbpoco rit. a tempo

&bbbrepeat as needed final ending

?bbbPronunciation: Hah-shee-VEH-noo Ah-doh-NAHEE eh-LEH-chah, veh-nah-SHOO-vah.Chah-DEHSH yah-MEH-noo keh-KEH-dehm. ("ch" as in "Bach")Translation: Return us, O Lord, to you, and we shall return. Renew our days as of old.

rit.


œ œ œ œ œ œ œ œ œ œ. œ. œ.

œ œJ œ. œ œJ œ. œ œ ˙. œ. œ œ œ.

œ. œ œ œ œJ œ œ œ œ. ˙.

œ œ œ œ œ œ œ œj œ. œœ.. œœ.. œœ.. œœ..œ œ œ

œ.‰ œœ œ.‰ œœ œ.‰ œœ œ.œ œn œn ‰ œœ œ.

‰ œœ œ.‰ œœ œ.‰ œœ

œœ.. œœ.. œœ.. œœœ... œ œ œ œ œ œ œ. œœœœ....

œ.‰ œœ œ.‰ œœ œ.‰ œœ œ‰ œœ œJ œ.‰ œœ œ.

‰ œœ œ‰ œœœ.œJ

30

{{{

Here’s a Merry Jest CD: X SP: X

Traditional Canon

Accompaniment

Lightly (q = ca. 108)

..

..

..

..

24

24

24

&#

Laugh,

Articulation adds another important layer to musicianship. The first notes of this canon aremarked with three distinct articulations. Discuss, define, rehearse, and refine your marcato,staccato, and tenuto. Optional: Add articulations (or dynamics) of your choice throughout. Pair with the following Vocalize! exercises:Dynamics Are Fancy and Fine • Sing Legato, Sing Staccato • Sing We Sforzando

1

ha, ha! Here’s

2

a mer ry- jest.

&#

But

3

if you will laugh last, you

4

will laugh the best.

&#

?#

&# SINGERS BEGIN repeat as needed final ending

?#

&#

?#

œ>j ‰ œ.

j ‰ œ- Œ œ œ œ œ œ Œ

œ œ œ œ œ œ œ œ œ œ œ Œ

œœœ. œœœ. œœœ. œœœ. œœœ- œœœ- œœ. œœ. œœ. œœ.œ. œ. œ. œ. œ- œ- œ œœ

œœ Œ ‰œœœj ‰

œœœj ‰ œœj œœ œœ

‰ œj œ œœœ œ>

j ‰ œj ‰ œj ‰ œj ‰ œj ‰ œ Œ

œœœ. œœœ. œœœ. œœœ. œœœ- œœœ- œœ. œœ. œœ. œœ. œœfiœj œ>J ‰

œ. œ. œ. œ. œ- œ- œ œœ œœ œ>j ‰

31

The third phrase of this familiar round can be sung on any vowel of your choice. Choose a different one each time.

The Ghost of John

Complete each phrase with a light consonant followed by a full but quiet breath.

Goodnight to You All




{{

Hashivenu CD: X SP: X

Traditional Israeli

Accompaniment

Largo (e = ca. 108-112)..

..

..

..

68

68

68

&bbbHa

Focus on pure "ah," "ee," "eh," and "oo" for this traditional Hebrew round. Sing musicallythroughout, builiding and tapering every phrase. Additional breaths may be added as desired.

Pair with the following Vocalize! exercises:Drop Your Jaw • Nee, Neh, Nah, Noh, Noo • Breath Support • The Turtle Dove

1

shi- ve- nu,- ha shi- ve- nu-

&bbbA do- nai- e le- cha,-

,

ve

2

na- -

&bbbshu va,- ve na- shu- va.-

,

Cha

3

desh,-

&bbbcha desh- ya mei- nu- ke ke- dem.-

&bbb nSINGERS BEGIN

?bbbpoco rit. a tempo

&bbbrepeat as needed final ending

?bbbPronunciation: Hah-shee-VEH-noo Ah-doh-NAHEE eh-LEH-chah, veh-nah-SHOO-vah.Chah-DEHSH yah-MEH-noo keh-KEH-dehm. ("ch" as in "Bach")Translation: Return us, O Lord, to you, and we shall return. Renew our days as of old.

rit.


œ œ œ œ œ œ œ œ œ œ. œ. œ.

œ œJ œ. œ œJ œ. œ œ ˙. œ. œ œ œ.

œ. œ œ œ œJ œ œ œ œ. ˙.

œ œ œ œ œ œ œ œj œ. œœ.. œœ.. œœ.. œœ..œ œ œ

œ.‰ œœ œ.‰ œœ œ.‰ œœ œ.œ œn œn ‰ œœ œ.

‰ œœ œ.‰ œœ œ.‰ œœ

œœ.. œœ.. œœ.. œœœ... œ œ œ œ œ œ œ. œœœœ....

œ.‰ œœ œ.‰ œœ œ.‰ œœ œ‰ œœ œJ œ.‰ œœ œ.

‰ œœ œ‰ œœœ.œJ

30

{{{

Here’s a Merry Jest CD: X SP: X

Traditional Canon

Accompaniment


..

..

..

..

24

24

24

&#

Laugh,

Articulation adds another important layer to musicianship. The first notes of this canon aremarked with three distinct articulations. Discuss, define, rehearse, and refine your marcato,staccato, and tenuto. Optional: Add articulations (or dynamics) of your choice throughout. Pair with the following Vocalize! exercises:Dynamics Are Fancy and Fine • Sing Legato, Sing Staccato • Sing We Sforzando

1

ha, ha! Here’s

2

a mer ry- jest.

&#

But

3

if you will laugh last, you

4

will laugh the best.

&#

?#

&# SINGERS BEGIN repeat as needed final ending

?#

&#

?#

œ>j ‰ œ.

j ‰ œ- Œ œ œ œ œ œ Œ


œœœ. œœœ. œœœ. œœœ. œœœ- œœœ- œœ. œœ. œœ. œœ.œ. œ. œ. œ. œ- œ- œ œœ

œœ Œ ‰œœœj ‰

œœœj ‰ œœj œœ œœ

‰ œj œ œœœ œ>

j ‰ œj ‰ œj ‰ œj ‰ œj ‰ œ Œ

œœœ. œœœ. œœœ. œœœ. œœœ- œœœ- œœ. œœ. œœ. œœ. œœfiœj œ>J ‰

œ. œ. œ. œ. œ- œ- œ œœ œœ œ>j ‰

31

Focus on pure “ah,” “ee,” “eh,” “oo,” and “oh” for this traditional Hebrew round. Sing musically throughout, building and tapering every phrase. Additional breaths may be added as desired.

Hashivenu

Articulation adds another important layer to musicianship. The first notes of this canon are marked with three distinct articulations. Discuss, define, rehearse, and refine your marcato, staccato, and tenuto.

Optional: Add articulations (or dynamics) of your choice throughout.

Here’s a Merry Jest

Pronunciation: Hah-shee-VEH-noo Ah-doh-NAHEE eh-LEH-chah, veh-nah-SHOO-vah. Chah-DEHSH yah-MEH-noo keh-KEH-dehm. (“ch” as in “Bach”)

Translation: Return us, O Lord, to you, and we shall return. Renew our days as of old.




{{{

Hey Ho, Nobody Home CD: X SP: X

Pammelia, 1609

AccompanimentAndante (q = ca. 92)

..

..

..

..

44

44

44

&bbbbHey

Connect note to note for an uninterrupted line. Consistent use of breath ensures legato.

Pair with the following Vocalize! exercises:Breath Support • Flying, Sighing • Sing Legato, Sing Staccato

1

ho, no bod- y- home.

,

Meat

2

nor drink nor

&bbbbmon ey- have I none.

,

Still

3

I will be

&bbbbver y- mer ry.-

,

Hey

4

ho, no bod- y- home.

&bbbb

?bbbb

&bbbbSINGERS BEGIN repeat as needed

?bbbb

&bbbbrit.

?bbbb

˙ ˙ œ œ œ ˙ œ œ œ œ

œ œ œ œ ˙ œ. œJ œ. œJ

œ. œJ œ œ œ œ ˙ ˙ œ œ œ ˙

œ. œJ œ. œJ œ œ œ œ ˙n

Œ œœ Œ œœ ˙Œ œœ ˙

Œ œœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

˙ œ œ ˙ œ œ

œ. œJ œ. œJ œ œ œ œ œn œ wwŒ œœ Œ œœ ˙

Œ œœ ˙Œ œœ ww

32

{{{

Traditional Israeli

Hine Ma Tov CD: X SP: X

..

.. ..

Accompaniment

Spirited (q. = ca. 60)

..

..

..

..

68

68

68

&bHi

Perform this spirited Israeli folk song with great enthusiasm, incorporating healthy technique.

Pair with the following Vocalize! exercises:Don't Want to Be Throaty • Never Louder Than Lovely • We Are Crescendoing • Listen and Blend

1

ne- ma tov u ma- na yim- she vet- a chim- gam ya chad.-

&bHi

2

ne- ma tov she vet- a chim- gam ya chad.-

&b

?b


?b

&bfinal ending

?b

Pronunciation: HEE-neh mah tohv OO-mah NAH-eem SHEH-veht ah-CHEEM gahm YAH-chahd.("ch" as in "Bach")Translation: How good and pleasant it is for all of us to live together in peace.

œ œ œ œ œ œ œ. œ. œ œ œ œ œj œ. œ ‰

œ. œ. œ œJ œ. œ œ œ œ œj œ. œ ‰

œœœ œœœ œœœ œœœ œœœ œœœ œœœœn ....

œœœœb .... œœ œœ œœ œœ œœj

œœœ... œœœ# ...

œœ..

œœ.. œœnn ..

œœbb .. œ. œ. œ œ œ œ.

‰œœœ œœœ

‰œœœ œœœ

‰œœœ œœœ

‰œœœ œœœ

‰œœœ œœœ

‰œœœ œœœ#

‰œœœ œœœ

‰œœœ œœœ

œ. œ. œ. œ. œ. œ. œ œj œ œ œ

œœœ œœœ œœœ œœœ œœœ œœœ œœœœn ....

œœœœb .... œœ œœ œœ œœ œœj

œœœ œ œ œœœœ>j ‰ ‰

œœ..

œœ.. œœnn ..

œœbb .. œ. œ. œ œ œ œ>

j ‰ ‰

33

{{

Traditional CanonWords by Andy Beck

How to Join the Choir CD: X SP: X

Accompaniment


..

..

..

..

44

44

44

&May

Try this round as a sight-singing exercise. The second half perfectly outlines a major scale, whilethe beginning includes some commonly used intervals. Practice with solfège syllables (or numbers) to drill diatonic 2nds, 3rds, 4ths, and 5ths. Note the contrary motion when sung in canon.

Pair with the following Vocalize! exercises:Do Is Like a Rock • One, Five, Four, Five • Zing-a Zing-a Zah

1

I in quire- how to join the choir?

&If

2

you de sire,- you’ll have to sing much high er.-

&SINGERS BEGIN

?


?

˙ œ œ ˙ ˙ œ œ œ œ ˙ œ Œ

˙ œ œ ˙ œ œ œ œ œ œ ˙ œ Œ

œ œ œœ œ œœœ œœœ ˙ ˙ œœ œœ

œ œ œ ˙ ˙ ˙ œ œ œ ˙

˙ ˙œ œ œ œ œœ œ œ œ ˙ œœœ œœœ œœœ Œ

œ œ œ ˙ œ œ œ ˙ œ œ ˙ ˙ œ œ.

34

{{

Camp Song

I Love the Mountains CD: X SP: X

Accompaniment

With an easy lilt (q. = ca. 116)..

..

68

68

68

&bI

Develop musicianship by adding new dynamics each time. Perhaps the phrases will alternate fromloud to soft, soft to loud, gradually crescendo, decrescendo, or terrace. No matter what you decide,be sure to require a free vocal tone. As a sight-singing extension, note that each phrase begins onestep higher than the last.

Pair with the following Vocalize! exercises:Don't Want to Be Throaty • Dynamics Are Fancy and Fine • We Are Crescendoing • Do Is Like a Rock

1

love the moun tains,- I love the roll ing- hills.

,

&bI

2

love the flow ers,- I love the daf fo- dils.-

,

&bI

3

love the fire side- when all the lights are low.

,

&bBoom

4

de- ah- da,- boom de- ah- da,- boom de- ah- da,- boom boom!

&b3rd time - SINGERS BEGIN

repeat as needed

?b

&b

?b

œ. œ œj œ. œ. œ. œ œj œ œj œ.


œ. œ œJ œ œj œ. œ. œ œJ œ œj œ.

œ œj œ œj œ œj œ œj œ œj œ œj œ. œ.

Œ.œœœ œœœ

j Œ.œœœ œœœ

j Œ.œœœ œœœ

j Œ.œœœ œœœ

j

œ œJ Œ. œ œJ Œ. œ œj Œ. œ œj Œ.

œ œj œ# œ œ œJ ‰ ‰ œœœj ‰ ‰ ˙...

. œœœœ.... Œ.

œ œJ œ# œ œ œJ ‰ ‰ Œ. Œ œJ œ ‰ œ œ. Œ.

35

Connect note to note for an uninterrupted line. Consistent use of breath ensures legato.

Hey Ho, Nobody Home

Perform this spirited Israeli folk song with great enthusiasm, incorporating healthy technique.

Hine Ma Tov

Pronunciation: HEE-neh mah tohv OO-mah NAH-eem SHEH-veht ah-CHEEM gahm YAH-chahd. (“ch” as in “Bach”)

Translation: How good and pleasant it is for all of us to live together in peace.




{{

Traditional CanonWords by Andy Beck

How to Join the Choir CD: X SP: X

Accompaniment


..

..

..

..

44

44

44

&May

Try this round as a sight-singing exercise. The second half perfectly outlines a major scale, whilethe beginning includes some commonly used intervals. Practice with solfège syllables (or numbers) to drill diatonic 2nds, 3rds, 4ths, and 5ths. Note the contrary motion when sung in canon.

Pair with the following Vocalize! exercises:Do Is Like a Rock • One, Five, Four, Five • Zing-a Zing-a Zah

1

I in quire- how to join the choir?

&If

2

you de sire,- you’ll have to sing much high er.-

&SINGERS BEGIN

?


?

˙ œ œ ˙ ˙ œ œ œ œ ˙ œ Œ

˙ œ œ ˙ œ œ œ œ œ œ ˙ œ Œ

œ œ œœ œ œœœ œœœ ˙ ˙ œœ œœ

œ œ œ ˙ ˙ ˙ œ œ œ ˙

˙ ˙œ œ œ œ œœ œ œ œ ˙ œœœ œœœ œœœ Œ

œ œ œ ˙ œ œ œ ˙ œ œ ˙ ˙ œ œ.

34

{{

Camp Song

I Love the Mountains CD: X SP: X

Accompaniment

With an easy lilt (q. = ca. 116)..

..

68

68

68

&bI

Develop musicianship by adding new dynamics each time. Perhaps the phrases will alternate fromloud to soft, soft to loud, gradually crescendo, decrescendo, or terrace. No matter what you decide,be sure to require a free vocal tone. As a sight-singing extension, note that each phrase begins onestep higher than the last.

Pair with the following Vocalize! exercises:Don't Want to Be Throaty • Dynamics Are Fancy and Fine • We Are Crescendoing • Do Is Like a Rock

1

love the moun tains,- I love the roll ing- hills.

,

&bI

2

love the flow ers,- I love the daf fo- dils.-

,

&bI

3

love the fire side- when all the lights are low.

,

&bBoom

4

de- ah- da,- boom de- ah- da,- boom de- ah- da,- boom boom!

&b3rd time - SINGERS BEGIN

repeat as needed

?b

&b

?b



œ. œ œJ œ œj œ. œ. œ œJ œ œj œ.

œ œj œ œj œ œj œ œj œ œj œ œj œ. œ.

Œ.œœœ œœœ

j Œ.œœœ œœœ

j Œ.œœœ œœœ

j Œ.œœœ œœœ

j

œ œJ Œ. œ œJ Œ. œ œj Œ. œ œj Œ.

œ œj œ# œ œ œJ ‰ ‰ œœœj ‰ ‰ ˙...

. œœœœ.... Œ.

œ œJ œ# œ œ œJ ‰ ‰ Œ. Œ œJ œ ‰ œ œ. Œ.

35

Try this round as a sight-singing exercise. The second half perfectly outlines a major scale, while the beginning includes some commonly used intervals. Practice with solfège syllables (or numbers) to drill diatonic 2nds, 3rds, 4ths, and 5ths. Note the contrary motion when sung in canon.

How to Join the Choir

Develop musicianship by adding new dynamics each time. Perhaps the phrases will alternate from loud to soft, soft to loud, gradually crescendo, decrescendo, or terrace. No matter what you decide, be sure to require a free vocal tone. As a sight-singing extension, note that each phrase begins one step higher than the last.

I Love the Mountains




{{

Michael Praetorius (1571-1621)

Jubilate Deo CD: X SP: X

Andante (q = ca. 100)

Accompaniment

..

..

..

..

44

44

44

&Ju

Sing expressively by giving direction to the musical line, as if stretching elastic or pulling taffy on every phrase. Enjoy the suspensions that are created when performing in canon. The briefLatin text requires pure vowels. Implode the letter "t" throughout.

Pair with the following Vocalize! exercises:Come Now, Let Our Voices Ring • With a Joyful Tone • Sing Alleluia, Allelu

1

bi- la

2

- te- De o.-

,

Ju

3

bi- la- te-

&De

4

o.-

,

Al

5

le- lu- ia.

6

-


?

&

?

Pronunciation: Yoo-bee-LAH-teh DEH-aw.Translation: Praise God.

rit.

˙ ˙ œ œ œ œ œ œ œ. œj

œ œ ˙ ˙ œ œ ˙ Ó

˙ ˙œœœ œœœ œœœ.. œ ˙ ˙œJ

œ œ œ œ œ œ œ œ œ ˙ ˙

˙ ˙œœœ œœœ œœœ.. œ wwwœJ

œ œ œ œ œ œ œ œ œ ww

36

{{

Traditional Australian

Kookaburra CD: X SP: X

Accompaniment

Happily (h = ca. 76)

..

..

..

..

C

C

C

&##Koo

Repetitive notes have a tendency to lose energy, resulting in flat intonation. Use consistent breath support and sing lightly. This approach will not only keep the voice bouyant and in tune, but it will also ensure vocal flexibility. The octave jump halfway through this melody can be a challenge. Words of wisdom: Lighten up on the bottom to float up to the top.

Pair with the following Vocalize! exercises:I Just Want to Sing • Flexibility • Octaves and Sevenths

1

ka- bur- ra- sits on the old gum tree,

&##mer

2

ry,- mer ry- king of the bush is he.

,

Laugh,

3

koo ka- bur- ra,-

&##laugh, koo ka- bur- ra,- gay

4

your life must be.

&##

?##

&##SINGERS BEGIN repeat as needed final ending

?##

œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ

˙ œ œ œ œ œ œ œ œ ˙ Ó

˙ œ œ œ œ ˙ œ œ œ œ œ œ œœ. œœ.œ œœ. œ

œœ. œ œœ. œœœ. ˙ œ. œ.

˙ ˙ Œœœœ.

Œ œœœ.Œ

œœœ.Œ

œœœ.Œ œœœ. œœœ-

Œ

˙˙ œ Œ œ Œ œ Œ œ Œ Œ œ. œ- œ.

37

Andy Beck

Kyrie Canon CD: X SP: X

44&bbb

Our voices are greatly affected by how we carry and hold our bodies. Get set for singing with well-aligned posture that is strong but not rigid. Avoid any kind of tightness in the body or throat.Additionally, never raise or lower the chin for high or low notes. Instead, allow the breath support(from below) and the space (up above) to work in tandem. Pair with the following Vocalize! exercises:Relax, Release • Roll Your Shoulders • Though the Notes May Rise • Breath Support

1

Ky ri- e- e le- i- son,- Ky ri- e- e -

&bbble i- son,- Ky ri- e- e le- i- son,- e le- i- -

&bbbson. Ky

2

ri- e- e le- i- son,-

&bbbKy ri- e- e le- i- son.- Ky ri- -

&bbbe

3

e le- i- son,- Ky ri- e- e le- i- son,- Ky ri- -

&bbbe

Pronunciation: KEE-ree-eh eh-LEH-ee-sohn.Translation: Lord, have mercy.

e le- i- son,- e le- i- son.-

Œ œ œ œ œ œ œ ˙. Œ œ œ œ œ

œ œ ˙. Œ œ œ œ œ œ œ ˙. Œ œ œ œ œ œ

˙ Ó ˙ ˙ ˙. œ ˙. œ ˙. Œ

˙ ˙ ˙. œ ˙. œ ˙ Œ œ œ

œ. œj œ œ ˙ Œ œ œ œ. œj œ œ ˙ Œ œ œ

œ. œj œ œ ˙ Œ œ ˙ ˙ ˙. Œ

38

Sing expressively by giving direction to the musical line, as if stretching elastic or pulling taffy on every phrase. Enjoy the suspensions that are created when performing in canon. The brief Latin text requires pure vowels. Implode the letter “t” throughout.

Jubilate Deo

Repetitive notes have a tendency to lose energy, resulting in flat intonation. Use consistent breath support and sing lightly. This approach will not only keep the voice buoyant and in tune, but it will also ensure vocal flexibility. The octave jump halfway through this melody can be a challenge. Words of wisdom: Lighten up on the bottom to float up to the top.

Kookaburra

Pronunciation: Yoo-bee-LAH-teh DEH-aw.Translation: Rejoice in God.




Andy Beck

Kyrie Canon CD: X SP: X

44&bbb

Our voices are greatly affected by how we carry and hold our bodies. Get set for singing with well-aligned posture that is strong but not rigid. Avoid any kind of tightness in the body or throat.Additionally, never raise or lower the chin for high or low notes. Instead, allow the breath support(from below) and the space (up above) to work in tandem. Pair with the following Vocalize! exercises:Relax, Release • Roll Your Shoulders • Though the Notes May Rise • Breath Support

1

Ky ri- e- e le- i- son,- Ky ri- e- e -

&bbble i- son,- Ky ri- e- e le- i- son,- e le- i- -

&bbbson. Ky

2

ri- e- e le- i- son,-

&bbbKy ri- e- e le- i- son.- Ky ri- -

&bbbe

3

e le- i- son,- Ky ri- e- e le- i- son,- Ky ri- -

&bbbe

Pronunciation: KEE-ree-eh eh-LEH-ee-sohn.Translation: Lord, have mercy.

e le- i- son,- e le- i- son.-

Œ œ œ œ œ œ œ ˙. Œ œ œ œ œ

œ œ ˙. Œ œ œ œ œ œ œ ˙. Œ œ œ œ œ œ

˙ Ó ˙ ˙ ˙. œ ˙. œ ˙. Œ

˙ ˙ ˙. œ ˙. œ ˙ Œ œ œ

œ. œj œ œ ˙ Œ œ œ œ. œj œ œ ˙ Œ œ œ

œ. œj œ œ ˙ Œ œ ˙ ˙ ˙. Œ

38

Our voices are greatly affected by how we carry and hold our bodies. Get set for singing with well-aligned posture that is strong but not rigid. Avoid any kind of tightness in the body or throat. Additionally, never raise or lower the chin for high or low notes. Instead, allow the breath support (from below) and the space (up above) to work in tandem.

Kyrie Canon

Pronunciation: KEE-ree-eh eh-LEH-ee-sohn. Translation: Lord, have mercy.




Traditional Canon

The Lark and the Magpie CD: X SP: X

68&In

What sets vocal music apart from instrumental music? The words! And with those wordscomes the responsibility to make them understood. A lot depends on the lips and the tongue,their placement and movement, and the amount of air used to enunciate. Sing this story payingclose attention to diction. It's a clever fable about the importance of listening to teachers.

Pair with the following Vocalize! exercises:I Just Want to Sing • The Lips, the Tongue, the Tip of the Teeth • Seashells • Woodchuck

1

a snug lit tle- field at the edge of the park on a

&beau ti- ful- morn ing- in spring, a bold lit tle- mag pie- once

&asked of a lark if he thought he could teach him to sing.

2

“Oh

&no,” said the lark with a con fi- dent- look, as he war bled- and wag gled- his

&tail, “’twould be too much trou ble- and sor row,- I fear, and I

&know that I sure ly- would fail.

3

For he who won’t

&lis ten,- the art of the teach er- de fies,- and

&birds who chat ter- can nev er- ex pect- to be wise.”


œ œ œ œ œ œ œ. œj ‰ œj œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ. œj ‰ œj

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ. œj ‰ œj œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ. Œ œj œ. œe œeJ

œeJ œ Œ œj œ œ œ œ œ œ œ. Œ œj

œ. œe .. œeJ œ Œ œj œ œ œ œ œ œ œ. Œ.

40

Traditional Czech

Let Us Sing Together CD: X SP: X

44&bLet

This cheerful Czech folk song celebrates the sense of community that is felt when we sing withothers. Though it may sound simple, this togetherness and commonality goes a long way towardenriching the quality of our choral ensembles. When we can collaborate with, trust in, and relyupon fellow singers and instructors, we are able to open our hearts, minds, and voices.

Pair with the following Vocalize! exercises:Come Now, Let Our Voices Ring • I Just Want to Sing • Listen and Blend

1

us sing to geth- er,- let us sing to geth- er,-

,

&bone and all to geth- er- in song. Let

2

us sing to -

&bgeth er,- one and all to geth- er- in song.

&bLet

3

us sing a gain- and a gain.- Let us sing a -

&bgain and a gain.- Let

4

us sing a gain- and a gain,-

&bone and all to geth- er- in song.


œ œ œ œ œj œ œj œ Œ œ. œj œ œ

œ. œj œ Œ œ œ œ œ œj œ œj œ Œ

œ œ œ œ œJ œ œj œ Œ œ œ œ œ

œJ œ œj œ Œ œ œ œ œ œj œ œ# j œ Œ

œ œ œ œ œj œ œj œ Œ

42

What sets vocal music apart from instrumental music? The words! And with those words comes the responsibility to make them understood. A lot depends on the lips and the tongue, their placement and movement, and the amount of air used to enunciate. Sing this story paying close attention to diction. It’s a clever fable about the importance of listening to teachers.

The Lark and the Magpie




Traditional Czech

Let Us Sing Together CD: X SP: X

44&bLet

This cheerful Czech folk song celebrates the sense of community that is felt when we sing withothers. Though it may sound simple, this togetherness and commonality goes a long way towardenriching the quality of our choral ensembles. When we can collaborate with, trust in, and relyupon fellow singers and instructors, we are able to open our hearts, minds, and voices.

Pair with the following Vocalize! exercises:Come Now, Let Our Voices Ring • I Just Want to Sing • Listen and Blend

1

us sing to geth- er,- let us sing to geth- er,-

,

&bone and all to geth- er- in song. Let

2

us sing to -

&bgeth er,- one and all to geth- er- in song.

&bLet

3

us sing a gain- and a gain.- Let us sing a -

&bgain and a gain.- Let

4

us sing a gain- and a gain,-

&bone and all to geth- er- in song.


œ œ œ œ œj œ œj œ Œ œ. œj œ œ

œ. œj œ Œ œ œ œ œ œj œ œj œ Œ

œ œ œ œ œJ œ œj œ Œ œ œ œ œ

œJ œ œj œ Œ œ œ œ œ œj œ œ# j œ Œ

œ œ œ œ œj œ œj œ Œ

42

This cheerful Czech folk song celebrates the sense of community that is felt when we sing with others. Though it may sound simple, this togetherness and commonality goes a long way toward enriching the quality of our choral ensembles. When we can collaborate with, trust in, and rely upon fellow singers and instructors, we are able to open our hearts, minds, and voices.

Let Us Sing Together




{{

Traditional Spanish

Mi Gallo CD: X SP: X

Latin feel (q = ca. 120)

Accompaniment

..

..

..

..

44

44

44

24

24

44

44

&bMi

Choirs who breathe together will sing together! And this playful Spanish round offers logical placesto breathe (on the quarter rests at the end of each sentence). Breaths should be full, but withoutany noise or tension. The intake of air happens quite naturally just by opening the thoracic cavityand mouth. Optional: Develop a breathing exercise by performing the rhythm of this song on astrong "s" (instead of the text). Relax to inhale. Breath as one with the ensemble.

Pair with the following Vocalize! exercises:Warming Up Our Voices • Relax, Release • Take Time to Breathe

1

gal lose mu rió- a yer.- Mi

2

gal lose mu -

&brió a yer.- Ya

3

no can ta- rá- “co co- ri- co co- ra.”-

&bYa

4

no can ta- rá- “co co- ri- co co- ra.”-

&bSINGERS BEGIN

?b


?b

Pronunciation: Mee GAHEE-yoh seh moo-reeOH ah-YEHR. Yah noh kahn-tah-RAH "koh-koh-REE koh-koh-RAH."Translation: My rooster died yesterday. He'll no longer sing "cock-a-doodle-doo."

‘“

œ œ œ œ œ œ œ œ Œ œ œ œ œ œ

œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ Œ


œ œ œ œ œ œœjœœ œœ

jœœ œœ œœ œœ

‰œœœœ œœœœ

j ‰œœœœ

‰œœœœ

œ œ œ œ œ œj œ œJ œ œ œ œ ˙ œ œ


j ‰œœœœ

‰œœœœ


j œ œ œ œ œœb ˙ fiœj œœ.

Œ

˙ œ œ ˙œ œ œ œ œœ ˙

œœ.Œ

44

{{{

Margaret Embers McGee (1889-1975)

My Paddle CD: X SP: X

..

Rhythmically (q = ca. 96)Accompaniment

..

..

..

..

24

24

24

&#MyDip,

As important as consonants are, there are a few that can be problematic. The word "silver" includes two challenges. Both the "l" and the "r" should be minimized to avoid interruptingthe vowels. Modify toward "ah" for higher notes.

Pair with the following Vocalize! exercises:I Just Want to Sing • Drop Your Jaw • Nee, Neh, Nah, Noh, Noo

1

paddip,

dle’sand

- keenswing

andher

bright,back,

flashflash

2

inging

--

likelike

silsil

ver.ver.

--

,

&#Fol

Swift

3

lowas

- thethe

wildwild

goosegoose

flight,flight,

dip,dip,

4

dip,dip,

andand

swing.swing.

&#

?#

&# SINGERS BEGINrepeat as needed

?#

&#

?#‘“

œJ œ œj œ œ œ œj œ œj œ œe

œJ œ œj œ œ œ œj œ œj œ Œ

œœœ- œœœ. œœœ. œœœ- œœœ. œœœ. œœœ- œœœ. œœœ.œœ- œœ. œœ. œœ- œœ. œœ. œœ- œœ. œœ.

œœœ.>Œ œœœ

jœœœ œœœ

j˙

œœœ- œœœ. œœœ.

œœ.>Œ œ œ œ œ œœ- œœ. œœ.

œœœ- œœœ. œœœ. œœœ- œœœ. œœœ.œœœ- œ.>

œœ- œœ. œœ. œœ- œœ. œœ. œœ- œœ.>

45

{{

Traditional German

Oh, How Lovely CD: X SP: X

Accompaniment

Expressively (q = ca. 116)

..

..

..

..

34

34

34

&bOh,

In an effort to unify vowels and develop legato, try singing this German round on vowels only, completely excluding the consonants. Suggested phrasing: Four bars, then two.

Pair with the following Vocalize! exercises:Nee, Neh, Nah, Noh, Noo • Never Louder Than Lovely • All Through the Night

1

how love ly- is the eve ning,-

,

&bis the eve ning,-

,

when

2

the bells are

&bsweet ly- sing ing,-

,

sweet ly- sing ing.-

,

&bDing

3

dong, ding dong,

,

ding dong.

&bSINGERS BEGIN

?b

&b repeat as needed

?brit.

˙ œ ˙ œ ˙ œ œ œ œ

˙ œ œ œ œ ˙ œ ˙ œ

˙ œ œ œ œ ˙ œ œ œ œ

˙. ˙. ˙. ˙. ˙. ˙.

˙ œœ ˙ œœ ˙.. ˙.. ˙ œœ ˙ œœ

˙.. ˙.. ˙.. ˙.. ˙.. ˙..

˙ œœ œœ œœ œœ ˙ œœ œœ œœ œœ ˙ œœ ˙ œœ ˙U..

˙.. ˙.. ˙.. ˙.. ˙.. ˙.. ˙U..

46

{{

Traditional German


Accompaniment


..

..

..

..

34

34

34

&bOh,



1


,

&bis the eve ning,-

,

when

2

the bells are


,


,

&bDing

3

dong, ding dong,

,

ding dong.

&bSINGERS BEGIN

?b

&b repeat as needed

?brit.

˙ œ ˙ œ ˙ œ œ œ œ

˙ œ œ œ œ ˙ œ ˙ œ


˙. ˙. ˙. ˙. ˙. ˙.

˙ œœ ˙ œœ ˙.. ˙.. ˙ œœ ˙ œœ

˙.. ˙.. ˙.. ˙.. ˙.. ˙..


˙.. ˙.. ˙.. ˙.. ˙.. ˙.. ˙U..

46

{{

Traditional German


Accompaniment


..

..

..

..

34

34

34

&bOh,



1


,

&bis the eve ning,-

,

when

2

the bells are


,


,

&bDing

3

dong, ding dong,

,

ding dong.

&bSINGERS BEGIN

?b

&b repeat as needed

?brit.

˙ œ ˙ œ ˙ œ œ œ œ

˙ œ œ œ œ ˙ œ ˙ œ


˙. ˙. ˙. ˙. ˙. ˙.

˙ œœ ˙ œœ ˙.. ˙.. ˙ œœ ˙ œœ

˙.. ˙.. ˙.. ˙.. ˙.. ˙..


˙.. ˙.. ˙.. ˙.. ˙.. ˙.. ˙U..

46

{{

Traditional German


Accompaniment


..

..

..

..

34

34

34

&bOh,



1


,

&bis the eve ning,-

,

when

2

the bells are


,


,

&bDing

3

dong, ding dong,

,

ding dong.

&bSINGERS BEGIN

?b

&b repeat as needed

?brit.

˙ œ ˙ œ ˙ œ œ œ œ

˙ œ œ œ œ ˙ œ ˙ œ


˙. ˙. ˙. ˙. ˙. ˙.

˙ œœ ˙ œœ ˙.. ˙.. ˙ œœ ˙ œœ

˙.. ˙.. ˙.. ˙.. ˙.. ˙..


˙.. ˙.. ˙.. ˙.. ˙.. ˙.. ˙U..

46

{{

Lowell Mason (1792-1872)

Oh, Music CD: X SP: X


Accompaniment

..

..

..

..

44

44

44

&#

Oh,

This beautiful Lowell Mason canon requires a fairly large vocal range. Whether you are hoping to free the top notes or extend the bottom, it is desirable to develop a consistencyof tone from high to low. Use plenty of breath and space at the top, and allow lower notesto resonate without pressure.

Pair with the following Vocalize! exercises:Relax, Release • Though the Notes May Rise • Just One Voice

1

mu sic,- sweet mu sic,- thy prais es- we will

&#

sing. We will

2

tell of the pleas ures- and hap pi- ness- you

&#

bring.

3

Mu sic,- mu sic,- let the cho rus- sing.

&#SINGERS BEGIN

?#

&# repeat as needed final ending

?#rit.

œ œ ˙ œ œ œ ˙ œ œ œ œ œ œ œ

œ Œ œ œ œ œ ˙ œ œ œ ˙ œ œ œ œ œ œ œ œ

˙. Œ ˙ œ Œ ˙ œ Œ œ œ œ œ ˙. Œ

œœ œœ œœœ œœœ œœœ œœ ˙.œ œ œ œ œ œ œœ œœ ˙ œœœ œœ œœ

Œ œ œ œ œ œw œ œ ˙ w‰ œj œ œ œ œ

˙ œœœ œœ œœ œœœ œœœ œœœ œœ ˙... œœ œœ wœ œ œ œ œ ˙

w‰ œj œ œ œ œ œ œ œ œ œ œ ˙ œw œ œ ˙

47

{{




Accompaniment

..

..

..

..

44

44

44

&#

Oh,



1


&#

sing. We will

2


&#

bring.

3


&#SINGERS BEGIN

?#


?#rit.



˙. Œ ˙ œ Œ ˙ œ Œ œ œ œ œ ˙. Œ





47

{{




Accompaniment

..

..

..

..

44

44

44

&#

Oh,



1


&#

sing. We will

2


&#

bring.

3


&#SINGERS BEGIN

?#


?#rit.



˙. Œ ˙ œ Œ ˙ œ Œ œ œ œ œ ˙. Œ





47

{{




Accompaniment

..

..

..

..

44

44

44

&#

Oh,



1


&#

sing. We will

2


&#

bring.

3


&#SINGERS BEGIN

?#


?#rit.



˙. Œ ˙ œ Œ ˙ œ Œ œ œ œ œ ˙. Œ





47

Choirs who breathe together will sing together! And this playful Spanish round offers logical places to breathe (on the quarter rests at the end of each sentence). Breaths should be full, but without any noise or tension. The intake of air happens quite naturally just by opening the thoracic cavity and mouth.

Optional: Develop a breathing exercise by performing the rhythm of this song on a strong “s” (instead of the text). Relax to inhale. Breathe as one with the ensemble.

Mi Gallo

As important as consonants are, there are a few that can be problematic. The word “silver” includes two challenges. Both the “l” and the “r” should be minimized to avoid interrupting the vowels. Modify toward “ah” for higher notes.

My Paddle

Pronunciation: Mee GAHEE-yoh seh moo-reeOH ah-YEHR. Yah noh kahn-tah-RAH “koh-koh-REE koh-koh-RAH.” Translation: My rooster died yesterday. He’ll no longer sing “cock-a-doodle-doo.”




{{

Traditional German


Accompaniment


..

..

..

..

34

34

34

&bOh,



1


,

&bis the eve ning,-

,

when

2

the bells are


,


,

&bDing

3

dong, ding dong,

,

ding dong.

&bSINGERS BEGIN

?b

&b repeat as needed

?brit.

˙ œ ˙ œ ˙ œ œ œ œ

˙ œ œ œ œ ˙ œ ˙ œ


˙. ˙. ˙. ˙. ˙. ˙.

˙ œœ ˙ œœ ˙.. ˙.. ˙ œœ ˙ œœ

˙.. ˙.. ˙.. ˙.. ˙.. ˙..


˙.. ˙.. ˙.. ˙.. ˙.. ˙.. ˙U..

46

{{

Traditional German


Accompaniment


..

..

..

..

34

34

34

&bOh,



1


,

&bis the eve ning,-

,

when

2

the bells are


,


,

&bDing

3

dong, ding dong,

,

ding dong.

&bSINGERS BEGIN

?b

&b repeat as needed

?brit.

˙ œ ˙ œ ˙ œ œ œ œ

˙ œ œ œ œ ˙ œ ˙ œ


˙. ˙. ˙. ˙. ˙. ˙.

˙ œœ ˙ œœ ˙.. ˙.. ˙ œœ ˙ œœ

˙.. ˙.. ˙.. ˙.. ˙.. ˙..


˙.. ˙.. ˙.. ˙.. ˙.. ˙.. ˙U..

46

{{

Traditional German


Accompaniment


..

..

..

..

34

34

34

&bOh,



1


,

&bis the eve ning,-

,

when

2

the bells are


,


,

&bDing

3

dong, ding dong,

,

ding dong.

&bSINGERS BEGIN

?b

&b repeat as needed

?brit.

˙ œ ˙ œ ˙ œ œ œ œ

˙ œ œ œ œ ˙ œ ˙ œ


˙. ˙. ˙. ˙. ˙. ˙.

˙ œœ ˙ œœ ˙.. ˙.. ˙ œœ ˙ œœ

˙.. ˙.. ˙.. ˙.. ˙.. ˙..


˙.. ˙.. ˙.. ˙.. ˙.. ˙.. ˙U..

46

{{

Traditional German


Accompaniment


..

..

..

..

34

34

34

&bOh,



1


,

&bis the eve ning,-

,

when

2

the bells are


,


,

&bDing

3

dong, ding dong,

,

ding dong.

&bSINGERS BEGIN

?b

&b repeat as needed

?brit.

˙ œ ˙ œ ˙ œ œ œ œ

˙ œ œ œ œ ˙ œ ˙ œ


˙. ˙. ˙. ˙. ˙. ˙.

˙ œœ ˙ œœ ˙.. ˙.. ˙ œœ ˙ œœ

˙.. ˙.. ˙.. ˙.. ˙.. ˙..


˙.. ˙.. ˙.. ˙.. ˙.. ˙.. ˙U..

46

{{




Accompaniment

..

..

..

..

44

44

44

&#

Oh,



1


&#

sing. We will

2


&#

bring.

3


&#SINGERS BEGIN

?#


?#rit.



˙. Œ ˙ œ Œ ˙ œ Œ œ œ œ œ ˙. Œ





47

{{




Accompaniment

..

..

..

..

44

44

44

&#

Oh,



1


&#

sing. We will

2


&#

bring.

3


&#SINGERS BEGIN

?#


?#rit.



˙. Œ ˙ œ Œ ˙ œ Œ œ œ œ œ ˙. Œ





47

{{




Accompaniment

..

..

..

..

44

44

44

&#

Oh,



1


&#

sing. We will

2


&#

bring.

3


&#SINGERS BEGIN

?#


?#rit.



˙. Œ ˙ œ Œ ˙ œ Œ œ œ œ œ ˙. Œ





47

{{




Accompaniment

..

..

..

..

44

44

44

&#

Oh,



1


&#

sing. We will

2


&#

bring.

3


&#SINGERS BEGIN

?#


?#rit.



˙. Œ ˙ œ Œ ˙ œ Œ œ œ œ œ ˙. Œ





47


Oh, How Lovely

This beautiful Lowell Mason canon requires a fairly large vocal range. Whether you are hoping to free the top notes or extend the bottom, it is desirable to develop a consistency of tone from high to low. Use plenty of breath and space at the top, and allow lower notes to resonate without pressure.

Oh, Music




Camp Song

One Bottle of Pop CD: X SP: X

34&bOne

This playful tune works best with a light and bouyant tone. Avoid the temptation to oversing.Allow the lilting phrases to dance on the breath and the consonants to speak clearly.

Pair with the following Vocalize! exercises:The Lips, the Tongue, the Tip of the Teeth • Never Louder Than Lovely • Flexibility

1

bot tle- of pop, two bot tles- of pop,

3 3

&bthree bot tles- of pop, four bot tles- of pop,

,

five bot tles- of pop,

3 3 3

&bsix bot tles- of pop, sev en- bot tles- of pop, pop!

3 3

&bDon’t

2

throw your junk in my back yard,- my back yard,- my back yard.-

,

&bDon’t throw your junk in my back yard,- my back yard’s- full.

&bFish

3

and chips and vin e- gar,- vin e- gar,- vin e- gar.-

&bFish and chips and vin e- gar,- vin e- gar,- pop!

œ œ œ œ œ. œ œ œ œ œ.

œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ.

œ œ œ œ œ. œ œ œ œ œ œ. œ. Œ Œ


œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ

œ. œj œ œ œ œ ˙ œ œ ˙ œ œ œ Œ

œ. œj œ œ œ œ ˙ œ œ ˙ œ. Œ Œ

48

Traditional Austrian

The Orchestra Song CD: X SP: X

34&The

Even as you imitate sounds from all four families of orchestral instruments, be sure to singwith a free and well-supported tone. Your vocal health is of greatest importance!

Pair with the following Vocalize! exercises:Don't Want to Be Throaty • Never Louder Than Lovely • Flexibility

1

vi o- lin’s- ring ing- like love ly-

&sing ing.- The vi o- lin’s- ring ing- like

&love ly- song. The

2

clar i- net,- the

&clar i- net- plays doo dle,- doo dle,- doo dle,- doo dle- det. The

&clar i- net,- the clar i- net- plays doo dle,- doo dle,- doo dle-

&det. The

3

trum pet- is sound ing- ta ran- ta- -

&ra, ta de- da,- ta ran- ta- ra,- ta de- da.- The trum pet- is

&sound ing- ta ran- ta- ra,- ta de- da,- ta ran- ta- ra!- The

4


œ œ œJ ‰ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ Œ œ œ œ œj ‰ œ

œ œ œj ‰ œ œ œ œ œ œ œ œ œ œj ‰ œ

œ œ œj ‰ œ œ œ œj ‰ œ œ œ œ œ œ œ

œ Œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œj ‰ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ

50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50

This playful tune works best with a light and buoyant tone. Avoid the temptation to oversing. Allow the lilting phrases to dance on the breath and the consonants to speak clearly.

One Bottle of Pop






34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50

Even as you imitate sounds from all four families of orchestral instruments, be sure to sing with a free and well-supported tone. Your vocal health is of greatest importance!

The Orchestra Song




{{{


..

..

..

..

34

34

&horn, the horn a wakes- me at morn. The


5

&tim pa- ni- play two notes, just this one and that. The

&tim pa- ni- play two notes, a rat- a- tat- tat- tat.-

&

?

&SINGERS BEGIN

?


?

˙ œ ˙ œ œ œ œ œ Œ œ


œ œ œ œ œ œ œ œ œ œ œ Œ œ

œ œ œ œ œ œ œ œ œ œ. œ. œ.Œ Œ


œ œ œ œ œ œ œ Œ œœœ œœ

Œ . ˙ Œœœœœ. œœœœ.

Œ œœœœ. œœœœ.Œ œœœœ. œœœœ.

˙.Œ ˙œœ

Œœœ œœ

Œ Œœœ

Œœœ

Œœœœœ. œœœœ. œœœ œœœ> œœœ> œœœœ>

Œ Œ

œœŒ Œ

œœ œœ> œœ> œœ>

Œ Œ

51



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50



34&The



1



&love ly- song. The

2

clar i- net,- the



&det. The

3




4









50

{{{


..

..

..

..

34

34



5



&

?

&SINGERS BEGIN

?


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˙.Œ ˙œœ

Œœœ œœ

Œ Œœœ

Œœœ


Œ Œ

œœŒ Œ


Œ Œ

51

{{{


..

..

..

..

34

34



5



&

?

&SINGERS BEGIN

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?









˙.Œ ˙œœ

Œœœ œœ

Œ Œœœ

Œœœ


Œ Œ

œœŒ Œ


Œ Œ

51

{{{


..

..

..

..

34

34



5



&

?

&SINGERS BEGIN

?


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˙.Œ ˙œœ

Œœœ œœ

Œ Œœœ

Œœœ


Œ Œ

œœŒ Œ


Œ Œ

51

Traditional Moroccan

A Ram Sam Sam CD: X SP: X

C&#

A

A favorite for singers of any age, this bouncy canon hails from Morocco. Despite its nonsensical text(comprised of syllables that don't mean anything), the silly sounds are excellent for working on diction.With a full octave melody, concentrate on consistency of tone throughout the entire range.

Pair with the following Vocalize! exercises:Though the Notes May Rise • Just One Voice • The Lips, the Tongue, the Tip of the Teeth

1

ram sam sam, a ram sam sam, gu li-

&#

gu li- gu li- gu li- gu li- ram sam sam. A

,

ram sam sam, a

&#

ram sam sam, gu li- gu li- gu li- gu li- gu li- ram sam sam.

,

A

2

-

&#

ra fi,- a ra- fi- gu li,- gu li- gu li- gu li- gu li-

&#

ram sam sam.

,

A ra- fi,- a ra- fi- gu li,-

&#

gu li- gu li- gu li- gu li- ram sam sam.

œ œ œ œ œ œ œ œ œ œ


œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ ˙ œ œ ˙ œ œ œ


52THE VOCALIZE! CANON COLLECTION – Singer



Traditional Moroccan

A Ram Sam Sam CD: X SP: X

C&#

A

A favorite for singers of any age, this bouncy canon hails from Morocco. Despite its nonsensical text(comprised of syllables that don't mean anything), the silly sounds are excellent for working on diction.With a full octave melody, concentrate on consistency of tone throughout the entire range.

Pair with the following Vocalize! exercises:Though the Notes May Rise • Just One Voice • The Lips, the Tongue, the Tip of the Teeth

1

ram sam sam, a ram sam sam, gu li-

&#

gu li- gu li- gu li- gu li- ram sam sam. A

,

ram sam sam, a

&#

ram sam sam, gu li- gu li- gu li- gu li- gu li- ram sam sam.

,

A

2

-

&#

ra fi,- a ra- fi- gu li,- gu li- gu li- gu li- gu li-

&#

ram sam sam.

,

A ra- fi,- a ra- fi- gu li,-

&#

gu li- gu li- gu li- gu li- ram sam sam.

œ œ œ œ œ œ œ œ œ œ


œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ ˙ œ œ ˙ œ œ œ


52

A favorite for singers of any age, this bouncy canon hails from Morocco. Despite its nonsensical text (comprised of syllables that don’t mean anything), the silly sounds are excellent for working on diction. With a full octave melody, concentrate on consistency of tone throughout the entire range.

A Ram Sam Sam




{{

Christoph Praetorius (1535-1609)

Rise Up, O Flame CD: X SP: X

Accompaniment

Reverently (q = ca. 92)

..

..

..

..

34

34

34

&bbbRise

Slurs indicate that one syllable of text will be sung on multiple notes. Sing slurred passagesextremely legato, allowing the vowels to ride on a steady stream of breath.

Pair with the following Vocalize! exercises:Flying, Sighing • Sing Legato, Sing Staccato • Drink to Me Only with Thine Eyes

1

up, O flame,

&bbbby

2

thy light glow ing.-

,

Show

3

to us

&bbbbeau ty,- vi

4

sion,- and joy.

&bbb

&bbb

&bbbSINGERS BEGIN

repeat as needed

&bbb ?rit.

œ œ œ œ. œj œ œ

œ œ œ œ œ œ. œj œ œ œ œ

œ. œj œ œ œ œ œ œ œ ˙ Œ

œ œ œ œ. œJ œ œ œ œ œ œ œœn

˙.Œ ˙ ˙.Œ ˙ ˙Œ œœ œœœ

˙.. œœ.. œœj œœ œœ œœ.. œœj

œœ œœn ˙..

˙.. œ œ œ œ œ œ œ ˙

54

{{{

Andy Beck

A Round CD: X SP: X


Accompaniment

..

..

..

..

44

44

44

24

24

44

44

&bA

1

Sing lightly, with an agile and flexible voice. Tall, rounded vowels ensure quality.

Pair with the following Vocalize! exercises:Drop Your Jaw • With a Joyful Tone • Woodchuck • Flexibility

round- and a round- and a round- and a round,- how we love sing ing- a round. A

2

-

&bround and a round- and a round- and a round,- how we love sing ing- a round. A

3

&bround, a round, oh, how we love sing ing- a round.

&bSINGERS BEGIN

?b

&brepeat as needed

?b

&bfinal ending

?b

œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œJ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œj

œ ‰ œj œ ‰ œj œ œ œ œ œ œ œ Œ

œj œ œ œ œ œ œ œ œ œ œ œœœ ≈ œ œ œ ˙

‰ œœœ œœœ œœœ œœœb œœJ ‰ Œ œ. œ œ œ

œœœ œœœ œœœ œœœ œœœ œœ œ œ œœœŒ

˙. œ œ œ œ œ. œ œ œ

œœœ œœ œ œ œ œ œ œ œ œ œ œ œ œœœ ≈ œ œ œ œœœ- Œ

œ œ œœœ œœœ œœœ œœœb œœJ ‰ Œ œ- œ.>

55

Traditional Samba

Samba de Brazil CD: X SP: X

44&Sam

1

Adding simple movements to this energetic samba will relax the body and free the voice.Try the following, or create your own! 1. Roll fists low, R then L (2x) 2. Shimmy R-L (2x) 3. Roll fists high, R then L (2x) 4. Float both arms from high to low (4x)

Pair with the following Vocalize! exercises:Roll Your Shoulders • I Just Want to Sing • Syncopation

ba- chill, sam ba- Bra zil.-

&Sam ba- chill, sam ba- Bra zil.- Ri

2

o- de Ja nei- ro,- danc -

&ing- through the night. Ri o- de Ja nei- ro,- ’til the morn ing- light.

&Sam

3

ba- de Bra zil,- sam ba- de Bra zil.-

&Sam

4

ba- de Bra zil,- sam ba.-

&Sam ba- de Bra zil,- sam ba.- Sam

5


&Sam ba- de Bra zil,- sam ba.-

œ œ œ. œj œj œ œj œ Œ

œ œ œ. œj œj œ œj œ Œ œ œ œ œ œj œ œj

œ œ œ œ œ Œ œ œ œ œ œj œ œj œ œ œ œ œ Œ

œ. œJ œ œ œ ˙. Œ œ. œj œ œ œ

˙. Œ œ œ œ œ œj œ œj ˙. Œ

œ œ œ œ œj œ œj ˙. Œ œ œ œ œ œj œ œj


56

Slurs indicate that one syllable of text will be sung on multiple notes. Sing slurred passages extremely legato, allowing the vowels to ride on a steady stream of breath.

Rise Up, O Flame

Sing lightly, with an agile and flexible voice. Tall, rounded vowels ensure quality.

A Round




Traditional Samba

Samba de Brazil CD: X SP: X

44&Sam

1

Adding simple movements to this energetic samba will relax the body and free the voice.Try the following, or create your own! 1. Roll fists low, R then L (2x) 2. Shimmy R-L (2x) 3. Roll fists high, R then L (2x) 4. Float both arms from high to low (4x)

Pair with the following Vocalize! exercises:Roll Your Shoulders • I Just Want to Sing • Syncopation

ba- chill, sam ba- Bra zil.-

&Sam ba- chill, sam ba- Bra zil.- Ri

2

o- de Ja nei- ro,- danc -

&ing- through the night. Ri o- de Ja nei- ro,- ’til the morn ing- light.

&Sam

3

ba- de Bra zil,- sam ba- de Bra zil.-

&Sam

4


&Sam ba- de Bra zil,- sam ba.- Sam

5


&Sam ba- de Bra zil,- sam ba.-

œ œ œ. œj œj œ œj œ Œ

œ œ œ. œj œj œ œj œ Œ œ œ œ œ œj œ œj

œ œ œ œ œ Œ œ œ œ œ œj œ œj œ œ œ œ œ Œ

œ. œJ œ œ œ ˙. Œ œ. œj œ œ œ


œ œ œ œ œj œ œj ˙. Œ œ œ œ œ œj œ œj


56

Adding simple movements to this energetic samba will relax the body and free the voice. Try the following, or create your own!

1. Roll fists low, R then L (2x)2. Shimmy R-L (2x)3. Roll fists high, R then L (2x)4. Float both arms from high to low (4x)

Samba de Brazil




{{

Traditional Canon

Scotland’s Burning CD: X SP: X

Stately (q = ca. 88)

Accompaniment

..

..

..

..

24

24

24

&#

Scot

At the upper end of this stately round, drop the jaw to make space for a tall “ah” vowel. Becareful not to let the urgency of the words create tension. Project with a well-supported tone.

Pair with the following Vocalize! exercises:Relax, Release • Drop Your Jaw • Project

1

land’s- burn ing,- Scot land’s- burn ing!- Look

2

&#out, look out!

,

Fi

3

re,- fire, fi re,-

&#fire! Bring

4

some wa ter,- bring some wa ter!-

&#SINGERS BEGIN

?#


?#



œ œ œ œ œ œ œ œ œ Œ

œ œ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ

Œ fiœ# j ˙ fiœ# j ˙ fiœ# j ˙ œœ œœ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ.>

œœ œœ œœ œœ œœ Œ fiœ# j ˙ œœ œœ.>

58

{{

Shalom Chaverim CD: X SP: X

Traditional Israeli

Solemnly (q = ca. 84)

Accompaniment

..

..

..

..

44

44

44

&bSha

This familiar Hebrew canon deserves the very best technique. Work for warmth by singingthrough an open, oval-shaped space in the mouth. Additionally, concentrate on maintainingconsistent tone throughout the entire vocal range and smooth legato lines.

Pair with the following Vocalize! exercises:Drop Your Jaw • Just One Voice • Listen and Blend • The Turtle Dove

1

lom- cha ve- rim,- sha

2

lom- cha ve- rim.-

,

Sha

3

-

&blom, sha

4

lom.- Le hit- ra- ot,- le -

&bhit ra- ot.- Sha

,

lom,- sha lom.-

&bSINGERS BEGIN

?b

&b repeat as needed

#

?b

Pronunciation: Sha-LOHM CHAH-veh-reem. Leh-HEET-rah-oht. ("ch" as in "Bach")Translation: Goodbye friend. Until we meet again.

rit.

œe œ œ œ œ œ œ œ œ œ œ

˙ ˙ ˙ Œ œ œ œ œ œ œ

œ œ œ œ œe ˙. œ œ ˙. Œ

œœ œœ œœ œœ œ œ œœ wœ œ œ ˙#

œ œ ˙ œ. œ œ ˙ œ

wœ. œœJ ˙ œœ œœ œœ œœ œ œœ œœ œ. ˙U

œœJ ˙u

œ œ ˙ œ œ ˙ œ œ ˙U

59

{{

Traditional Canon



Accompaniment

..

..

..

..

24

24

24

&#

Scot



1


2

&#out, look out!

,

Fi

3

re,- fire, fi re,-

&#fire! Bring

4


&#SINGERS BEGIN

?#


?#








58

{{

Traditional Canon



Accompaniment

..

..

..

..

24

24

24

&#

Scot



1


2

&#out, look out!

,

Fi

3

re,- fire, fi re,-

&#fire! Bring

4


&#SINGERS BEGIN

?#


?#








58

{{{

William Bradbury (1816-1868)

Sing and Rejoice CD: X SP: X

Accompaniment

With joy (q = ca. 126)

..

..

..

..

34

34

34

&bSing

This joyful canon is appropriate for the start of rehearsal. The one-octave range and manageablephrase lengths are just right as a beginning warm-up. Combine with some physical movements(such as head rolls or back rubs) to relax the body. Set the tone for a productive rehearsal.

Pair with the following Vocalize! exercises:Warming Up Our Voices • Sing a Joyful Song • Roll Your Shoulders

1

and re joice.- Sing

2

and re joice.-

&bLet

3

all things liv ing- now sing

4

and re joice.-

&b

?b


?b

&b

?brit.

œ œ œ ˙ Œ œ œ œ ˙ Œ

œ œ œ œ œ œ œ œ œ œ œ ˙ Œ

œ œ œœ œ œ œ œœ œ œœœ œœœ œœœ˙ œœ ˙ œœ ˙ œ

˙... œœœ œœœ œœœ ˙...œ œ œœ

˙ œ ˙ œ ˙ œ ˙ œœ

œ œ œ œœ œ œœœ œœœ œœœ ˙...˙ œœ ˙ œ ˙..

60

{{

Sing We Merrily CD: X SP: X

Antonio Caldara (1670-1736)

Accompaniment


..

..

..

..

22

22

22

&Sing

Sing lightly, with a feeling of buoyancy to ensure vocal flexibility. Experiment with staccato versus legato. The cue size notes offer options for range constraints and create additional harmony.

Pair with the following Vocalize! exercises:Sing a Joyful Song • Sing Legato, Sing Staccato • Flexibility

1

we mer ri- ly,- dance as well, ’til we hear the

&morn ing- bell. Fa

2

la la. Fa la la la.

&Fa la la la la la la la.

3

Fa la la.

&Fa la la. Fa la la la la la.

&SINGERS BEGIN

?


?


œ œ œ Œ œ œ ˙ œ œ œ œ Œ

œ œ œ œ œ œ œ œ Œ Ó œe œe eœ

Ó œe œe eœ Ó œe œe eœ eœ eœ eœ Œ

œ œ œœ œœ œœ œ œ ˙ ˙ ˙

œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ

˙ ˙ ˙ ˙ œ œ ˙ œ œ œœ Œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

61

At the upper end of this stately round, drop the jaw to make space for a tall “ah” vowel. Be careful not to let the urgency of the words create tension. Project with a well-supported tone.

Scotland’s Burning

This familiar Hebrew canon deserves the very best technique. Work for warmth by singing through an open, oval-shaped space in the mouth. Additionally, concentrate on maintaining consistent tone throughout the entire vocal range and smooth legato lines.

Shalom Chaverim

Pronunciation: Sha-LOHM CHAH-veh-reem. Leh-HEET-rah-oht. (“ch” as in “Bach”)

Translation: Goodbye friend. Until we meet again.




{{{

William Bradbury (1816-1868)

Sing and Rejoice CD: X SP: X

Accompaniment

With joy (q = ca. 126)

..

..

..

..

34

34

34

&bSing

This joyful canon is appropriate for the start of rehearsal. The one-octave range and manageablephrase lengths are just right as a beginning warm-up. Combine with some physical movements(such as head rolls or back rubs) to relax the body. Set the tone for a productive rehearsal.

Pair with the following Vocalize! exercises:Warming Up Our Voices • Sing a Joyful Song • Roll Your Shoulders

1

and re joice.- Sing

2

and re joice.-

&bLet

3

all things liv ing- now sing

4

and re joice.-

&b

?b


?b

&b

?brit.

œ œ œ ˙ Œ œ œ œ ˙ Œ

œ œ œ œ œ œ œ œ œ œ œ ˙ Œ

œ œ œœ œ œ œ œœ œ œœœ œœœ œœœ˙ œœ ˙ œœ ˙ œ

˙... œœœ œœœ œœœ ˙...œ œ œœ

˙ œ ˙ œ ˙ œ ˙ œœ

œ œ œ œœ œ œœœ œœœ œœœ ˙...˙ œœ ˙ œ ˙..

60

{{

Sing We Merrily CD: X SP: X

Antonio Caldara (1670-1736)

Accompaniment


..

..

..

..

22

22

22

&Sing


Pair with the following Vocalize! exercises:Sing a Joyful Song • Sing Legato, Sing Staccato • Flexibility

1

we mer ri- ly,- dance as well, ’til we hear the

&morn ing- bell. Fa

2

la la. Fa la la la.

&Fa la la la la la la la.

3

Fa la la.

&Fa la la. Fa la la la la la.

&SINGERS BEGIN

?


?


œ œ œ Œ œ œ ˙ œ œ œ œ Œ

œ œ œ œ œ œ œ œ Œ Ó œe œe eœ

Ó œe œe eœ Ó œe œe eœ eœ eœ eœ Œ

œ œ œœ œœ œœ œ œ ˙ ˙ ˙

œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ

˙ ˙ ˙ ˙ œ œ ˙ œ œ œœ Œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

61

This joyful canon is appropriate for the start of rehearsal. The one-octave range and manageable phrase lengths are just right as a beginning warm-up. Combine with some physical movements (such as head rolls or back rubs) to relax the body. Set the tone for a productive rehearsal.

Sing and Rejoice


Sing We Merrily




Traditional LesothoWith new material by Andy Beck

Thula, Thula, Ngoana CD: X SP: X

C&bThu

Here's a wonderful folk song from the African country of Lesotho. Accent the syncopations to energize the rhythm throughout. Keep in mind that this is a lullaby, so perform the melody softly, staying within a dynamic range of pianissimo to mezzo piano.

Pair with the following Vocalize! exercises:Never Louder Than Lovely • We Are Crescendoing • Syncopation

1

la,- thu la,- ngoa na.- Thu la,- thu la,- ngoa na.-

&bThu

2


&bThu

3


&bHush,

Pronunciation: TOO-lah, TOO-lah, nGWAH-nah.Translation: Hush, hush, child.

4

lit tle- ba by.- Sleep, lit tle- child.

œ œ œ œ œ. œJ ˙ œ œ œ œ œ. œj œ Œ

œ œ œ œ œ. œj ˙ œ œ œ œ œ. œj œ Œ

œ œ œ œ œ. œj ˙ œ œ œ œ œ. œj œ Œ

˙ œ œ œ. œj ˙ ˙ œ œ ˙ Ó

62

{{{

To Make a Round CD: X SP: X

Moritz Hauptmann (1792-1868)

Accompaniment


..

..

..

..

22

22

22

&bOne

A great way to introduce canon singing for the very first time, this beginning round explains the concept and keeps count of entrances with its lyrics. Optional: Add simple gestures to highlight entrances. Display numbers with your fingers, then shake hands with a neighbor on the final notes.

Pair with the following Vocalize! exercises:Sing a Joyful Song • I Can Sing My Part

1

may be gin.- Then num ber- two

2

makes a

&bsound. Num ber- three

3

joins in to make a round.

&b

?b

&bSINGERS BEGIN repeat as needed final ending

?b

&b

?brit.

˙ œ œ œ œ œ œ ˙ œ œ

œ Œ œ œ ˙ ˙ ˙. œ ˙ ˙ ˙ Ó

˙ ˙ ˙.˙ ˙ œ œ œ ˙œ œ˙ ˙ w ˙ œ œ ˙

www ˙ ˙ ˙... œœœ ˙ œ œ

w ˙ ˙ ˙. œ w

˙ ˙ ˙.˙ ˙ œ œ œ ˙œ œ ˙Ó

˙ ˙ w ˙ œ œ ˙ ˙ œ.Œ

64

{{{



Accompaniment


..

..

..

..

22

22

22

&bOne



1


2

makes a


3


&b

?b


?b

&b

?brit.


œ Œ œ œ ˙ ˙ ˙. œ ˙ ˙ ˙ Ó

˙ ˙ ˙.˙ ˙ œ œ œ ˙œ œ˙ ˙ w ˙ œ œ ˙

www ˙ ˙ ˙... œœœ ˙ œ œ

w ˙ ˙ ˙. œ w

˙ ˙ ˙.˙ ˙ œ œ œ ˙œ œ ˙Ó

˙ ˙ w ˙ œ œ ˙ ˙ œ.Œ

64

{{{



Accompaniment


..

..

..

..

22

22

22

&bOne



1


2

makes a


3


&b

?b


?b

&b

?brit.


œ Œ œ œ ˙ ˙ ˙. œ ˙ ˙ ˙ Ó

˙ ˙ ˙.˙ ˙ œ œ œ ˙œ œ˙ ˙ w ˙ œ œ ˙

www ˙ ˙ ˙... œœœ ˙ œ œ

w ˙ ˙ ˙. œ w

˙ ˙ ˙.˙ ˙ œ œ œ ˙œ œ ˙Ó

˙ ˙ w ˙ œ œ ˙ ˙ œ.Œ

64

{{

Philip Hayes (1738-1797)

Ubi Sunt Gaudia CD: X SP: X

Reverently (h = ca. 69)Accompaniment

..

..

..

..

44

44

44

&U

This lovely melody clearly outlines the key of C major. Note the descending scale in the fourthphrase, and the fact that every entrance point begins on a pitch from the tonic chord. Optional: Sight-sing on solfège syllables or numbers.


1

bi- sunt gau di- a,- the an

2

gels- up in

&heav en- sing no

3

va- can ti- ca.- Sweet

&al

4

le- lu- ias- ring. In re

5

gis-

&cu ri- a,- gau

6

di- um- est.

&SINGERS BEGIN

? ∑


?

Pronunciation: OO-bee soont GAHOO-dee-ah, NOH-vah KAHN-tee-kah.Een REH-jees KOO-ree-ah, GAHOO-dee-oom ehst.Translation: Where there is joy, angels sing new songs. In the courts of the king, there is joy.

rit.

œ œ ˙ œ. œj œ œ œ œ œ œ

œ. œj œ Œ ˙ ˙ œ. œJ œ œ

œ œ œ œ œ œ œ ˙ Œ œ ˙ ˙

œ. œj ˙ E œ. œj w

Œ œ œ œ ˙ œœ.. œj ww ˙ ˙˙ ˙ ˙ ˙ ˙ ˙

www œœœ œ œ œ ˙ œœ.. œj ww

˙. œ w ˙ ˙ ˙ ˙

65

Here’s a wonderful folk song from the African country of Lesotho. Accent the syncopations to energize the rhythm throughout. Keep in mind that this is a lullaby, so perform the melody softly, staying within a dynamic range of pianissimo to mezzo piano.

Thula, Thula, Ngoana

Pronunciation: TOO-lah, TOO-lah, nGWAH-nah.Translation: Hush, hush, child.




{{{



Accompaniment


..

..

..

..

22

22

22

&bOne



1


2

makes a


3


&b

?b


?b

&b

?brit.


œ Œ œ œ ˙ ˙ ˙. œ ˙ ˙ ˙ Ó

˙ ˙ ˙.˙ ˙ œ œ œ ˙œ œ˙ ˙ w ˙ œ œ ˙

www ˙ ˙ ˙... œœœ ˙ œ œ

w ˙ ˙ ˙. œ w

˙ ˙ ˙.˙ ˙ œ œ œ ˙œ œ ˙Ó

˙ ˙ w ˙ œ œ ˙ ˙ œ.Œ

64

{{{



Accompaniment


..

..

..

..

22

22

22

&bOne



1


2

makes a


3


&b

?b


?b

&b

?brit.


œ Œ œ œ ˙ ˙ ˙. œ ˙ ˙ ˙ Ó

˙ ˙ ˙.˙ ˙ œ œ œ ˙œ œ˙ ˙ w ˙ œ œ ˙

www ˙ ˙ ˙... œœœ ˙ œ œ

w ˙ ˙ ˙. œ w

˙ ˙ ˙.˙ ˙ œ œ œ ˙œ œ ˙Ó

˙ ˙ w ˙ œ œ ˙ ˙ œ.Œ

64

{{{



Accompaniment


..

..

..

..

22

22

22

&bOne



1


2

makes a


3


&b

?b


?b

&b

?brit.


œ Œ œ œ ˙ ˙ ˙. œ ˙ ˙ ˙ Ó

˙ ˙ ˙.˙ ˙ œ œ œ ˙œ œ˙ ˙ w ˙ œ œ ˙

www ˙ ˙ ˙... œœœ ˙ œ œ

w ˙ ˙ ˙. œ w

˙ ˙ ˙.˙ ˙ œ œ œ ˙œ œ ˙Ó

˙ ˙ w ˙ œ œ ˙ ˙ œ.Œ

64

{{

Philip Hayes (1738-1797)

Ubi Sunt Gaudia CD: X SP: X

Reverently (h = ca. 69)Accompaniment

..

..

..

..

44

44

44

&U

This lovely melody clearly outlines the key of C major. Note the descending scale in the fourthphrase, and the fact that every entrance point begins on a pitch from the tonic chord. Optional: Sight-sing on solfège syllables or numbers.


1

bi- sunt gau di- a,- the an

2

gels- up in

&heav en- sing no

3

va- can ti- ca.- Sweet

&al

4

le- lu- ias- ring. In re

5

gis-

&cu ri- a,- gau

6

di- um- est.

&SINGERS BEGIN

? ∑


?

Pronunciation: OO-bee soont GAHOO-dee-ah, NOH-vah KAHN-tee-kah.Een REH-jees KOO-ree-ah, GAHOO-dee-oom ehst.Translation: Where there is joy, angels sing new songs. In the courts of the king, there is joy.

rit.

œ œ ˙ œ. œj œ œ œ œ œ œ

œ. œj œ Œ ˙ ˙ œ. œJ œ œ

œ œ œ œ œ œ œ ˙ Œ œ ˙ ˙

œ. œj ˙ E œ. œj w

Œ œ œ œ ˙ œœ.. œj ww ˙ ˙˙ ˙ ˙ ˙ ˙ ˙

www œœœ œ œ œ ˙ œœ.. œj ww

˙. œ w ˙ ˙ ˙ ˙

65

A great way to introduce canon singing for the very first time, this beginning round explains the concept and keeps count of entrances with its lyrics.

Optional: Add simple gestures to highlight entrances. Display numbers with your fingers, then shake hands with a neighbor on the final notes.

To Make a Round

This lovely melody clearly outlines the key of C major. Note the descending scale in the fourth phrase, and the fact that every entrance point begins on a pitch from the tonic chord.

Optional: Sight-sing on solfège syllables or numbers.

Ubi Sunt Gaudia

Pronunciation: OO-bee soont GAHOO-dee-ah, NOH-vah KAHN-tee-kah. Een REH-jees KOO-ree-ah, GAHOO-dee-oom ehst.

Translation: Where there is joy, angels sing new songs. In the courts of the king, there is joy.




Henry Purcell (1659-1695)

We Merry Minstrels CD: X SP: X

68&bbWe

If you breathe only where rests are shown, you may find the phrases quite long and the rests rather brief. Be sure to conserve air as you sing, not deflating too soon after inhaling.Remember not to gasp for air, even though the time to breathe is short. As always, approachthe Baroque style with lightness. Optional: Try two-bar phrases at first, then work up to four.

Pair with the following Vocalize! exercises:Resist Caving In • Never Louder Than Lovely • Do Is Like a Rock • Sing Alleluia, Allelu

1

mer ry- min strels- soft mu sic- en joy,- for

&bb

mu sic- doth ha tred- and mal ice- de stroy.-

&bbWe

2

sing so blithe ly,- we drive a way- care, and

&bbwith tune ful- har mo- ny,- ban ish- de spair.-

&bb

Then

3

hail sweet si lence,- hail heav en- ly- sound. No

&bb

pleas ure- like mu sic- on earth can be found.

œ œ œ œ œ œ œ œ œ œ œj

œ œ œ œ œ œ œ œ œ œ ‰

œ œ œ œ œ œ œ œ œ œ œj

œ œ œ œ œ œ œ œ œ œ ‰

œ œ œ œ œ œ œ œ œ œ œ œ œj

œ œ œ œ œ œ œ œ œ œ œ œ ‰

66

{{

Wenceslas Canon CD: X SP: X

Pammelia, 1609Words from a Traditional English Carol

Accompaniment

Festively (h = ca. 72)

..

..

..

..

22

22

22

&bbGood“Hith“Sire,

Approach this festive canon like a storyteller, singing each new verse with a unique attitude.There are three characters to portray: the narrator, the king, and the page. As you perform, bean actor by incorporating precise enunciation, healthy projection, and dramatic facial expressions.Optional: Sing the first verse again for a fourth stanza.

Pair with the following Vocalize! exercises:Project • The Lips, the Tongue, the Tip of the Teeth • Hey Ho

1

Kinger,he

-Wenpage,lives

cescome

a

- lasstandgood

- lookedby

league

outme,

hence,

&bbonifun

2

thethouder-

Feastknow’stneath-

ofit

the

Stetell

moun

phen,ing.tain,

---

whenYonright

3

thedera

-snowpeas

gainst-

layant,the

-

&bbroundwhofor

aisest- fence,

bout,he?

- deepWhere

by

4

andand

Saint

crispwhatAg

andhisnes’-

edwellfoun

ven.ing?”tain.”

---

&bbSINGERS BEGIN

?bb

&bb repeat as needed

?bb

œ œ œ œ œ œ ˙

œ œ œ œ ˙ œ Œ œ. œJ œ. œJ

œ. œJ œ œ œ œ œ œ œ œ ˙ ˙

œœ. œœ œœ œœ œœ œœ w ˙# ˙ ˙nww www ˙ ˙

www œœ. œœ œœ œœ œœ œœ ˙ Ó

˙. œ ˙ ˙ ˙ œ. Œ

68

{{

Where Is John? CD: X SP: X

Traditional Czech

Urgently (q = ca. 104)

Accompaniment

..

..

..

..

24

24

24

&bbbWhere

Emphasize this articulation: short, short, long, then legato to conclude the first two phrases.Optional: Add a sforzando attack on the final "John" followed by a crescendo to the release. Pair with the following Vocalize! exercises:Sing Legato, Sing Staccato • Sing We Sforzando • We Are Crescendoing

1

is John? The old grey hen has left her pen!

&bbbWhere

2

is John? The cows are in the corn a gain!-

&bbbJohn!

3

&bbbSINGERS BEGIN

?bbb


?bbb

œj ‰ œj ‰ œ. œj œ œ œ œ œ œ œj ‰

œj ‰ œj ‰ œ. œJ œ œ œ œ œ œ œj ‰

E E E eœ Œ

œœJœœ œœ œœ œœ œœ œœ œœJ ‰

œœœj ‰

œœœj ‰ œœœ... œœ

j

‰ œ œ œ. ‰ œj ‰ œj ‰ ˙

œœ œœ œœ œœ œœ œœ œœj ‰ œœœJ ‰ œœœJ ‰ œœœ Œ

œ œ œ. ‰ œj ‰ œj ‰ œ œ>j ‰

69

{{


Traditional Czech


Accompaniment

..

..

..

..

24

24

24

&bbbWhere


1


&bbbWhere

2


&bbbJohn!

3

&bbbSINGERS BEGIN

?bbb


?bbb



E E E eœ Œ


œœœj ‰


j

‰ œ œ œ. ‰ œj ‰ œj ‰ ˙


œ œ œ. ‰ œj ‰ œj ‰ œ œ>j ‰

69

{{


Traditional Czech


Accompaniment

..

..

..

..

24

24

24

&bbbWhere


1


&bbbWhere

2


&bbbJohn!

3

&bbbSINGERS BEGIN

?bbb


?bbb



E E E eœ Œ


œœœj ‰


j

‰ œ œ œ. ‰ œj ‰ œj ‰ ˙


œ œ œ. ‰ œj ‰ œj ‰ œ œ>j ‰

69

{{


Traditional Czech


Accompaniment

..

..

..

..

24

24

24

&bbbWhere


1


&bbbWhere

2


&bbbJohn!

3

&bbbSINGERS BEGIN

?bbb


?bbb



E E E eœ Œ


œœœj ‰


j

‰ œ œ œ. ‰ œj ‰ œj ‰ ˙


œ œ œ. ‰ œj ‰ œj ‰ œ œ>j ‰

69

If you breathe only where rests are shown, you may find the phrases quite long and the rests rather brief. Be sure to conserve air as you sing, not deflating too soon after inhaling. Remember not to gasp for air, even though the time to breathe is short. As always, approach the Baroque style with lightness.

Optional: Try two-bar phrases at first, then work up to four.

We Merry Minstrels




{{

Wenceslas Canon CD: X SP: X

Pammelia, 1609Words from a Traditional English Carol

Accompaniment

Festively (h = ca. 72)

..

..

..

..

22

22

22

&bbGood“Hith“Sire,

Approach this festive canon like a storyteller, singing each new verse with a unique attitude.There are three characters to portray: the narrator, the king, and the page. As you perform, bean actor by incorporating precise enunciation, healthy projection, and dramatic facial expressions.Optional: Sing the first verse again for a fourth stanza.

Pair with the following Vocalize! exercises:Project • The Lips, the Tongue, the Tip of the Teeth • Hey Ho

1

Kinger,he

-Wenpage,lives

cescome

a

- lasstandgood

- lookedby

league

outme,

hence,

&bbonifun

2

thethouder-

Feastknow’stneath-

ofit

the

Stetell

moun

phen,ing.tain,

---

whenYonright

3

thedera

-snowpeas

gainst-

layant,the

-

&bbroundwhofor

aisest- fence,

bout,he?

- deepWhere

by

4

andand

Saint

crispwhatAg

andhisnes’-

edwellfoun

ven.ing?”tain.”

---

&bbSINGERS BEGIN

?bb

&bb repeat as needed

?bb

œ œ œ œ œ œ ˙

œ œ œ œ ˙ œ Œ œ. œJ œ. œJ

œ. œJ œ œ œ œ œ œ œ œ ˙ ˙

œœ. œœ œœ œœ œœ œœ w ˙# ˙ ˙nww www ˙ ˙

www œœ. œœ œœ œœ œœ œœ ˙ Ó

˙. œ ˙ ˙ ˙ œ. Œ

68

{{


Traditional Czech


Accompaniment

..

..

..

..

24

24

24

&bbbWhere


1


&bbbWhere

2


&bbbJohn!

3

&bbbSINGERS BEGIN

?bbb


?bbb



E E E eœ Œ


œœœj ‰


j

‰ œ œ œ. ‰ œj ‰ œj ‰ ˙


œ œ œ. ‰ œj ‰ œj ‰ œ œ>j ‰

69

{{


Traditional Czech


Accompaniment

..

..

..

..

24

24

24

&bbbWhere


1


&bbbWhere

2


&bbbJohn!

3

&bbbSINGERS BEGIN

?bbb


?bbb



E E E eœ Œ


œœœj ‰


j

‰ œ œ œ. ‰ œj ‰ œj ‰ ˙


œ œ œ. ‰ œj ‰ œj ‰ œ œ>j ‰

69

{{


Traditional Czech


Accompaniment

..

..

..

..

24

24

24

&bbbWhere


1


&bbbWhere

2


&bbbJohn!

3

&bbbSINGERS BEGIN

?bbb


?bbb



E E E eœ Œ


œœœj ‰


j

‰ œ œ œ. ‰ œj ‰ œj ‰ ˙


œ œ œ. ‰ œj ‰ œj ‰ œ œ>j ‰

69

{{


Traditional Czech


Accompaniment

..

..

..

..

24

24

24

&bbbWhere


1


&bbbWhere

2


&bbbJohn!

3

&bbbSINGERS BEGIN

?bbb


?bbb



E E E eœ Œ


œœœj ‰


j

‰ œ œ œ. ‰ œj ‰ œj ‰ ˙


œ œ œ. ‰ œj ‰ œj ‰ œ œ>j ‰

69

Approach this festive canon like a storyteller, singing each new verse with a unique attitude. There are three characters to portray: the narrator, the king, and the page. As you perform, be an actor by incorporating precise enunciation, healthy projection, and dramatic facial expressions.

Optional: Sing the first verse again for a fourth stanza.

Wenceslas Canon

Emphasize this articulation: short, short, long, then legato to conclude the first two phrases.

Optional: Add a sforzando attack on the final “John” followed by a crescendo to the release.

Where Is John?




{{

Whether the Weather CD: X SP: X

Andy BeckWords from a Traditional English Rhyme

Accompaniment

Not too fast (q. = ca. 76)

..

..

..

..

68

68

68

&bWheth

This English tongue twister requires your very best diction. In addition to clear consonants, try to maintain top-quality vowels. Initiate the letter "w" with an "oo" vowel, then keep your lips forward and round for the subsequent syllables. Optional: Go faster each time. Pair with the following Vocalize! exercises:The Lips, the Tongue, the Tip of the Teeth • Woodchuck • Seashells

1

er- the weath er- is cold or

&bwheth

2

er- the weath er- is hot, we’ll

&bweath

3

er- the weath er,- what ev- er- the weath er,-

&bwheth

4

er- we like it or not.

&b

?b


?b

œ œ œ œ œ œ# œ. Œ œj

œ œ œ œ œ œ œ. Œ œj

œ œ œ œ œ œ œ œ œ œj œ

œ œ œ œ œ œ œ. Œ.

œœ œœ œœ œœ œœ œœ# œœ œj œ œœœ#j

œœ.. œœ.. œœ.. œœ œj

œœœ... œœœ# ... œœœ œj œ œœœ#j

œœœ... œœœœ>j ‰ ‰

œ. œ. œ. œ œj œ œ œ œ>j ‰ ‰

70

{{

Traditional English

White Coral Bells CD: X SP: X

..

Accompaniment


..

..

..

..

44

44

44

&White

Oh,

Practice this charming English round with solfège syllables (or numbers) to emphasize the followingsight-singing concepts: descending major scale, melodic thirds, and notes of the tonic triad. Pair with the following Vocalize! exercises:Warming Up Our Voices • Do Is Like a Rock • One, Five, Four, Five

1

cordon’t

alyou

- bells,wish

upthat

onyou

- thecould

slenhear

derthem

- stalk,ring.

&lil

That

2

ieswill

- ofhap

thepen-

valon

leyly

--

deckwhen

mythe

garan

dengels

--

walk.sing.

&

?

&SINGERS BEGIN repeat as needed final ending

?rit.

œ œ œ œ. œj œ œ œ œ œ Œ

œ œ œ œ œ œ œ eœ œ œ œ Œ

œ œ œ ˙ œ œ œ ˙ ‰œœœJ

œœœ œœœ œœœ œœœ œœœ œœœ

Ó œ œ œ ˙ œ œ œ ˙ ˙

œœ œœ œœ ˙ œ œœ œ œ œ ˙ œœœ œ ˙œ œ

œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ

71

{{

Traditional English


..

Accompaniment


..

..

..

..

44

44

44

&White

Oh,


1

cordon’t

alyou

- bells,wish

upthat

onyou

- thecould

slenhear

derthem

- stalk,ring.

&lil

That

2

ieswill

- ofhap

thepen-

valon

leyly

--

deckwhen

mythe

garan

dengels

--

walk.sing.

&

?


?rit.





Ó œ œ œ ˙ œ œ œ ˙ ˙



71

{{

Traditional English


..

Accompaniment


..

..

..

..

44

44

44

&White

Oh,


1

cordon’t

alyou

- bells,wish

upthat

onyou

- thecould

slenhear

derthem

- stalk,ring.

&lil

That

2

ieswill

- ofhap

thepen-

valon

leyly

--

deckwhen

mythe

garan

dengels

--

walk.sing.

&

?


?rit.





Ó œ œ œ ˙ œ œ œ ˙ ˙



71

{{

Thomas Tallis (1505-1585)Words by Andy Beck

Winter Canon CD: X SP: X

Accompaniment

With wonder (q = ca. 84)

..

..

..

..

44

44

44

&b’Twas

This stunning Thomas Tallis canon has been set with many different words throughout itslong history. This particular text requires an understanding of diphthongs. Here's the keywhen singing: Sustain the primary vowel (the first one) for the greatest amount of timebefore lightly turning (gliding) to the secondary sound.

Pair with the following Vocalize! exercises:My, Oh Me, Oh My • The Diphthong Song

1

on a si lent- win ter- night,

,

the

2

&bstars a glow- with ra diant- light,

,

when

3

from the sky to

&bearth be low,-

,

there

4

came a gen tle- fall ing- snow.

&bSINGERS BEGIN

?b


?brit.




œ œœœ œœœ œœœ œœœ œœœ œœœ ˙ œœœ œœœ œœœ œœœ

Œ œ œ œ œ œ œ ˙ œ œ œ œ

œœœ œœœ ˙ œœœ œœœ œœœ œ œœœ œœœ œœœ œœœ œœœ œœœ ˙

œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙

72

This English tongue twister requires your very best diction. In addition to clear consonants, try to maintain top-quality vowels. Initiate the letter “w” with an “oo” vowel, then keep your lips forward and round for the subsequent syllables.

Optional: Go faster each time.

Whether the Weather

Practice this charming English round with solfège syllables (or numbers) to emphasize the following sight-singing concepts: descending major scale, melodic thirds, and notes of the tonic triad.

White Coral Bells




{{

Thomas Tallis (1505-1585)Words by Andy Beck

Winter Canon CD: X SP: X

Accompaniment

With wonder (q = ca. 84)

..

..

..

..

44

44

44

&b’Twas

This stunning Thomas Tallis canon has been set with many different words throughout itslong history. This particular text requires an understanding of diphthongs. Here's the keywhen singing: Sustain the primary vowel (the first one) for the greatest amount of timebefore lightly turning (gliding) to the secondary sound.

Pair with the following Vocalize! exercises:My, Oh Me, Oh My • The Diphthong Song

1

on a si lent- win ter- night,

,

the

2

&bstars a glow- with ra diant- light,

,

when

3

from the sky to

&bearth be low,-

,

there

4

came a gen tle- fall ing- snow.

&bSINGERS BEGIN

?b


?brit.




œ œœœ œœœ œœœ œœœ œœœ œœœ ˙ œœœ œœœ œœœ œœœ

Œ œ œ œ œ œ œ ˙ œ œ œ œ

œœœ œœœ ˙ œœœ œœœ œœœ œ œœœ œœœ œœœ œœœ œœœ œœœ ˙

œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙

72

This stunning Thomas Tallis canon has been set with many different words throughout its long history. This particular text requires an understanding of diphthongs. Here’s the key when singing: Sustain the primary vowel (the first one) for the greatest amount of time before lightly turning (gliding) to the secondary sound.

Winter Canon




Reproducible Singer Pages The Vocalize! Canon …...William Boyce (1711-1779) Alleluia CD: X SP: X &...

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Transcript of Reproducible Singer Pages The Vocalize! Canon …...William Boyce (1711-1779) Alleluia CD: X SP: X &...