T H OFF THE BEATEN PATH - Wisconsin Music Educators ... · TREASURE HUNTING OFF THE BEATEN PATH ......

TREASURE HUNTING OFF THE BEATEN PATHfor gems that are accessible to small choirs and those that are unbalanced or irregularly voiced.

Rebecca Renee Winnie

Saturday, January 17, 2009 • 9:30 AM Immersion SessionUW-Eau Claire Haas Fine Arts Center

WCDA State Convention: Let All the World in Every Corner Sing!

Thanks to J.W. Pepper for making music packets available

FLEXIBLE OR ADJUSTABLE VOICINGS

Walter Hawkins, Arr. Martin Sirvatka: I'm Goin' up a Yonder GospelBoosey & Hawkes OCTB6451 Four-part Treble Voices & Piano

Arr. Stephen Hatfield: Ödi ödi Tamil SongBoosey & Hawkes OCTB6850 Treble or Mixed Chorus a cappella

Other Recommendations:

R. Murray Schafer: Gamelan Vocal Imitation of Gamelan music of Bali & JavaArcana Editions, Indian River, Ontario, KOL 2B0 Canada SATB, SASA, TBTB or some other combination; a cappella

Arr. Nick Page: Niska Banja Serbian Gypsy DanceBoosey & Hawkes OCTB6517 SSAB or SSAA Chorus & Piano Four-Hands

Victor Paranjoti: Dravidian Dithyramb India (raga and tarana influences)Earthsongs SSATB (some variations possible) a cappella

Flory Jagoda, Arr. Nick Page: Hamisha Asar Ladino textBoosey & Hawkes M-051-47234-5 3-pt Treble & Piano

Concepts♦ Look for music from or arranged from various world cultures and folk music♦ Any and multiple voicings could work for your ensemble

Hamisha Asar is available in SSA and SAB – but upon analysis, you see that the piece is simply a melody, adescant, and a drone. Knowing this structure, one could make this fit any ensemble. Niska Banja has similar voicingpossibilities.

Gamelan is written in a manner that one could tailor the voice assignment to the group. Dravidian Dithyramb is primarily a SSATB piece, but there are numerous places for "helpers" to assist parts or have

other parts take over a part. Here are examples: Have all women sing alto and all men sing tenor at the opening Have tenor sing cued alto part m. 21-24 and put all altos & most sopranos on the melody Have tenor take A2 part at end of m. 35 and then B1 & 2 divide to cover tenor for final chord

MUSIC THAT WORKS (NOT-AS-IMPOSSIBLE-AS-IT-LOOKS) Tzvi Avni: Mizmorei T'hilim (Psalm Songs) Psalms 47:2-3, 6-7; 48:3-4; & 150

Transcontinental Music Publications 991377 SATB, a cappella

Arr. Alice Parker: I Know the Lord Traditional SpiritualGIA Publications G-4229 SATB and solo, a cappella


Parker spiritual arrangements from the Take Me to the Water collection: Witness; Hush!; Take Me to the Water; Come on UpGIA Publications different voicings like example above

Arr. William Dawson: Ev'ry time I feel the Spirit Traditional SpiritualTuskegee Institute/Neil A. Kjos Music T117 Mixed voices a cappella a few altos can assist tenors

Arthur Sullivan: Echoes Thomas MooreYork Series, Banks Music Publications 346 SATB a cappella tenor range limited – baritone

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Robert Schumann: Gute Nacht Friedrich RückertRRW Edition – free permission to copy/perform granted SATB a cappella tenor range limited – baritone

Arr. Ken Johnston: Air Falalalalo Traditional Gaelic tuneRoberton Publications/Goodmusic Publishing Mixed voices and piano men often singing melody

Henry Purcell: Come Ye Sons of Art From Come Ye Sons of ArtEntire ode, full score, and parts are available on cpdl and handlo SATB keyboard reduction melody in the alto line!

Carl Orff: Fortuna imperatrix mundi Mvt. 1 from Carmina BuranaEdition for 2 pianos & percussion available from Schott 4920; parts are divided chorus parts (men/women); expensive –suggest borrowing. For first movement need: timpani; cymbals; tamtam; bass drum – three players; plus 2 pianos. Vocaldivisi is diatonic (can do on solfège!), often in octaves and doubled. Dramatic and worth the effort! Perhaps combine a couplesmall choirs!

Concepts♦ Balance and voicing can be deceiving – take time to analyze and imagine with your group♦ Use "Helpers" – have other sections help in key phrases♦ Try switching parts – divide your choir differently

Music with high tenor parts can have women assist on the part (or, if too many tenors, high tenors can sing withaltos)

No tenors, but plenty of basses? Look for music with lower tenor parts and encourage baritones (and keep workingfalsetto )

Placing more women on alto usually helps the choral balance and puts less strain on the young voice. It helpssingers' ears and reading skills to sing different parts.

UNUSUAL AND ORIGINAL VOICINGS

Vaughan Williams: Orpheus with his lute Shakespeare: King Henry VIII 3:1Oxford University Press OCS52 Unison & Piano

Concepts: Remember these genres and see manyexamples in old "Treasure Hunts"

♦ Unison: Art songs can be a source of greatlearning and expression! Why perform aharmonization of an art song, when we canexperience its melodic and expressive contentwhile singing it in unison together?

♦ Chant & Early Music♦ William Billings and Shape Note singing school

traditions. Some sopranos traditionally double thetenor melody. Full Billings Creation editionavailable in Treasure Hunt V.

♦ Duets♦ Canons

SAB

Arr. Kirby Shaw: Java Jive Drake/OklandHal Leonard 08666006 SAB a cappella


Two high voices and one low voice is a very common historical combination (think trio sonata). The hunt is on!

• There are numerous three-part Renaissance choral pieces for two high voices and one low – there are even collections.Check out the present WSMA Madrigal list in classes B and C for many great examples. The Gastoldi Il ballerino is onesuch example (RRW Edition – free permission to copy/perform granted). Check out past Treasure Hunts for more examples.

• There are 18 SAB works in Claudio Monteverdi's Scherzi musicali a tre voci. Especially recommended are O rosetta cherosetta and Vaghi rai di cigli ardenti. All include instrumental ritornelli and should be accompanied by continuo. Scherzimusicali a tre voice is printed in a collection from Universal-Edition [no.9590] with the Canzonette a tre voci [Libro X].Check past Treasure Hunts for RRW Editions of the two suggested works.

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• Mozart: The six SAB Nocturnes (also sometimes listed as Serenades) are available from Peters, including score and stringparts. Individual octavos are available for Luci care, luci belle (K346), Ecco quell fiero istante (K436), and Mi lagnerotacendo (K437) from G. Schirmer. A collection of Three Nocturnes is available from Plymouth Music (pxw400). There areseveral of these available on cpdl.org -- but they are only choral parts in the score, so one would need another source forthe accompaniment.

• Finzi: I have loved flowers that fade Robert BridgesOxford University Press SAT a cappellaA very complex, wonderful setting of this poem. Consider having all the men sing in their head voice or falsetto.

Gospel – Most Gospel music is Soprano, Alto, Men – authentically three-part!

• A. Jeffrey LaValley: Holy, Holy, HolyHal Leonard 08551643 [Pepper # 3297000] listed as SATB, but really SAMen, piano

• Richard Smallwood: I Will Sing Praises Seek permission to copy from Warner Bros.Richard Smallwood Adoration: Live in Atlanta with Vision SAMen, piano (add drums, bass, etc)Piano/Vocal/Chords book, Warner Bros Publications

• Smallwood: Total Praise Seek permission to copy from Warner Bros.Same book as above: Live in Atlanta. It is a slow gospel piece. SAMen, piano (add drums, bass, etc)Suggest modulation down a Major 2nd or minor 3rd

• Smallwood: The Highest Praise Seek permission to copy from Warner Bros.Richard Smallwood with Vision: Healing-Live in Detroit SAMen, piano (add drums, bass, etc)Piano/Vocal/Chords book, Warner Bros Publications

• Moone/Washington, Arr. Cason II: Unity Psalm 133:1 and Glorriane B. MooneColla Voce Music HL-107 (Henry Leck Series) SAT(B), piano (add drums, bass, etc)

• LaValley: Revelation 19Hope Publishing Company [Pepper #3133634] SATB, piano (add drums, bass, etc)

Concepts

♦ Consider adjusting the key of SAB music to fit your group. Enclosed is an edition of the Salamon Rossi Bar'chu, inwhich I transposed the work down a minor 3rd from the original to fit the men section of a particular group (RRW Edition– free permission to copy/perform granted).

♦ Caution: Consider issues of a composition's original conception versus SAB arrangements of original works. Generally, Ithink that arrangers do good work with folk, traditional, and jazz material. When it comes to historical works, I prefer tofind pieces in the voicing that was originally intended (or that can be simply transposed).

SOMETIMES, MORE IS BETTER

William Byrd: Sing Joyfully Psalm 81:1-4 (Geneva Bible)Oxford University Press TCM 102 SSAATBAlso available on www.cpdl.org

Monteverdi: Dolcissimo uscignolo Giovanni Battista GuariniUniversal Edition Nr. 14362 SSATB & ContinuoAlso available on www.cpdl.org, but without a realized continuo


Jean-Philippe Rameau: Laboravi Clamans Psalm 69:3Edited by Vivian James SSATB, realized basso continuo (organ)Handlo Music (www.handlo.com) – there is also an Edition Peters 66276 octavo that is in print from time to time.

Josquin des Prés: Douler me batRRW Edition – free permission to copy/perform granted SAATB a cappella (transposed up M3)

Concepts♦ It helps balance to divide your larger sections. There are countless original historical compositions available in multiple

voicings. I have made great use of the editions that use three- and four-part women's voices with two part men. Findseveral examples of such works in past Treasure Hunts. There are just as many (if not more) works that have two-partwomen's voices and three or four men's parts. Enjoy your treasure hunting!

♦ Consider adding an instrument to parts that are "shy." I have found cello to be a wonderful timbre to add to men's parts.Since this is definitely in accordance with early performance practice, it works especially well in Renaissance and EarlyBaroque choral music.

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SOME THOUGHTS ON BALANCE

♦ How great a priority is balance in your overall mission? Really? Whether leading a choir in a school, community, or a faithsetting, is "perfect balance" that high on your list? Consider emphasizing the communicative and expressive content of thework and the process of learning it. For my choir, the experience of singing three movements from the Brahms Requiem faroutweighed the fact that I did not have enough tenors to balance the rest of the choir. I did everything I could to bring thetenor section forward and assure that they had an incredible experience, but in the end the experience was of the highest value– not the balance.

♦ If you are fortunate enough to have more than one choir in your school, consider how students are assigned to those choirs. Ifyou have a balance issue because of the many women who want to sing in your program, perhaps some can be addressed bymaking one of the choirs a select Treble choral group. Also, you know your singers – balance is not always equal numbers. Ifind that I always need more altos – often twice as many – to balance big soprano voices. A few healthy, resonant bassvoices can balance the choir quite nicely.

• • •

SOME THOUGHTS ON QUALITY MUSIC"Swimming Upstream" & "Swimming Upstream Part II: Hooking Singers on Great Music" – Two articles by Randal Swiggum inthe NC-ACDA newsletter Melisma (Winter 2005 and Spring/Summer 2005) available online at www.ncacda.org.

TRANSLATION RESOURCES

Translations of many of the works cited on the list of the six Great Choral Treasure Hunts can be found in these references. Ron Jeffers: Translation and Annotations of Choral Repertoire: Volume I Sacred Latin Texts (earthsongs) Ron Jeffers and Gordon Paine: Translation and Annotations of Choral Repertoire: Volume II German Texts (earthsongs) Gordon Paine: Translation and Annotations of Choral Repertoire: Volume III French & Italian Texts (earthsongs)

SOME SUGGESTIONS FOR YOUR TREASURE HUNT♦ Visit a nearby college library. Peruse the collected works of great composers. Some are online!

♦ http://nma.redhost24-001.com/DME/nma/start.php?l=2 (Mozart)♦ http://www.brahms-institut.de/web/bihl_notenschrank/ausgaben/noten_start.html (Brahms)

♦ Seek out recommendations and lists from colleagues whom you trust.♦ Attend convention performances. Save the programs. Make notes to yourself as you listen.♦ Consider the suggestions students make from their summer music camp repertoire.♦ Listen to choral music. Attend concerts. Purchase CDs and professional recordings. (Suggestion: Use the Classical Music Advanced Search

at Amazon.com to find professional recordings – it is a remarkable search engine. Also, iTunes now has a large selection of choral music.)♦ Check out the Choral Public Domain Library (www.cpdl.org) and Handlo Music (www.handlo.com).♦ When do U.S. works pass into public domain? Easy answer, if published before 1923 – more information here:

http://www.unc.edu/~unclng/public-d.htm♦ Look in choral collections. Permission to photocopy can be sought from the publisher.♦ www.choralnet.org♦ Start a personal file of single octavos.

• Buy single copies from lists of quality music offered by individuals respected in the profession.• Throw out almost all music/CDs sent by publishers.

PREVIOUS TREASURE HUNT LISTS – WITH LOTS OF TIPSThe Great Choral Treasure Hunts I, II, III, IV, V & VI from WMEA Conference sessions are available at:www.wmea.com/CMP/repertoire

• • •

Rebecca Renee Winnie has taught high school choral music for more than 25 years, most of it at Homestead High School in Mequon,WI. She has served on the CMP committee since 1997 and especially enjoys the adventure of searching for diverse and powerfulmusic to study with her students. [email protected]

CMP SUMMER WORKSHOP: JUNE 22-26, 2009 at the University of Wisconsin – Stevens Point

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Excerpt from

GamelanR. Murray Schafer

A Note by the Composer:The gamelan music of Bali and Java uses an unusual pentatonic scale (C D F G Bb)… The Balanese call these five tones dong, deng,dung, dang, ding. The words have an onomatopoeic suggestiveness, for the initial "d" reminds us of something struck while the "ng"recalls the ringing of a gong or idiophone. The changing colours of the vowels from dark to light suggest the rising notes of the scale.

I have set this little piece for four voices: these could be SATB, SASA, TBTB or some other mixed combination… It would be a goodidea for the singers to practice the scale until the words have become fixed to the notes since Gamelan requires a quick momentum forits effectiveness in performance.

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RRW Edition 2004

Gute Nacht Robert Schumann (1810-1856)Opus 59 Number 4

The good night wish, with which I greet you, Friend, may you hear: an angel, who conveys the greeting,

goes here and there.To you and back to me is bringing the wish I sent:

the songs your friend sends now are saying I bid good night.

Text by Friedrich Rückert (1788-1866)

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piafaœ œ œ œ

prenper

dofar

granmi

piafa

˙ ˙cervor

NelLa˙ ˙

cervor

NelLa

œ œ œ œ œ œcervor

NelLa

balman

œ œ œ œbal

manlo/ami

dirstrin

vi/ilge/anœ œ œ œ

balman

lo/ami

dirstrin


lo/ami

dirstrin

vi/ilge/an

wver.cor.wver.cor.

˙ Œ œver.cor.

Or

Œ œ Jœ Jœ Jœ JœOr via, che sta te/a


jœ Jœ Jœ jœ œ Jœ Jœvia, che sta te/a far? Co min- - - - - - - - - -

- - - - - -

--

--

- --

- -

- - -

- - - -

Il BallerinoGiovanni Giacomo Gastoldi (c.1550-1622)

RRW Editions 200810

&

&?

14 œ jœ jœ œ# jœ jœfar? Co min cia te/a so

œ Jœ Jœ œ Jœ Jœfar? Co min cia te/a so

œ Jœ Jœ œ œcia te/a so nar, Or

œ œ Jœ Jœ Jœ Jœnar, Or via che sta te/a


Jœ Jœ Jœ Jœ œ Jœ Jœvia che sta te/a far? Co min


œ jœ jœ œ# jœ jœfar? Co min cia te/a so

˙ œ œcia te/a so

˙ Œ œnar. Ch'io

E

˙ Œ œ#nar. Ch'io

E˙ Œ œnar. Ch'io

E- - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - -

&

&?

18 œ œ œ œprenper

dofar

granmi

piafa

œ œ# œ œprenper

dofar

granmi

piafaœ œ œ œ

prenper

dofar

granmi

piafa

˙ ˙cervor

NelLa˙ ˙

cervor

NelLa

œ œ œ œ œ œcervor

NelLa

balman

œ œ œ œbal

manlo/ami

dirstrin


balman

lo/ami

dirstrin


lo/ami

dirstrin

vi/ilge/an

wver.cor.wver.cor.

˙ Œ œver.cor.

Or



jœ Jœ Jœ jœ œ Jœ Jœvia, che sta te/a far? Co min- - - - - - - - - -

- - - - - -

- - - - - -- - -

- - -

- - - -

&

&?

23 œ jœ jœ œ# jœ jœfar? Co min cia te/a so


œ Jœ Jœ œ œcia te/a so nar, Or



Jœ Jœ Jœ Jœ œ Jœ Jœvia che sta te/a far? Co min


œ jœ jœ œ# jœ jœfar? Co min cia te/a so

˙ œ œcia te/a so

wnar.

wnar.

wwnar.- - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - - -

2 Il Ballerino

1. Play me a dance: I want to dance with my sweetheart, for I take great pleasure in the dance, to tell you the truth.

Refrain: Come on, what are you doing? Start playing!

2. My nymph is ready and wanting to dance with me, and to favour me still clasps me by the hand.

11

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####

##

c

c

c

Soprano

Alto

Baritone

.˙ œBa -

˙ ˙Ba -

.˙ œBa -

2˙ œ œ

wœ œ ˙

3 .˙ œ œ

˙ ˙.˙ œ

4

œ œ œ œ

œ œ œ œ.˙ œ œ

5˙ ˙

˙ ˙˙ ˙

6

.œ jœr' -

˙ ˙#r' -

˙ ˙r' -

7

w,

chu

w,

chu

w,

chu

&

&?

####

##

S

A

Bar.

8 .˙ œet

wet

.˙ œet

9w

wœ œ œ œ

10

˙ ˙

.˙ œ

.˙ œ

11˙ œ œ

œ œ ˙˙ œ œ

12

˙ ˙a -

wa -

˙ ˙a -

13

wdo -

˙do -w

do -

14

w ,shem

w,

shem

w ,shem

&

&?

####

##

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A

Bar.

15

˙ œ œha -

.˙ œha -.˙ œha -

16˙ ˙m' -

˙ ˙#m' -

˙ ˙m' -

17˙ œ œvo

˙ œ œvo

.˙ œvo

18œ œ ˙

˙ ˙˙ ˙

19œ œ œ œ

œ œN ˙œ œ ˙n

RRW Edition, 2003

Bar'chuSalamon Rossi (1570-c.1630)

Bless the Lord who is to be praised. Praised be the Lord who is blessed for all eternity.

12

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&?

####

##

S

A

Bar.

20

w

˙ ˙#w

21

.œ jœN ˙rach.

˙,˙#

rach. ha -

˙ , ˙rach. ha -

22Ó ˙ha -

˙me -

˙ ˙me -

23

˙me -

˙# ˙vo -

wvo -

24

wvo -

˙ ˙#w

25

w,

rach.

w,

rach.

w,

rach.

&

&?

####

##

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A

Bar.

26

wBa -

w#Ba -wBa -

27˙ œ œruch a - do -

˙ œ œruch a - do -

˙ œ œruch a - do -

28

˙ ˙shem ha -

˙N ˙shem ha -

˙ ˙shem ha -

29˙ ˙#m' - vo -

˙ ˙m' - vo -

˙ ˙m' - vo -

30˙,œ œ

rach l' - 'o -

˙,œ œ

rach l' - 'o -

˙, œ œ

rach l' - 'o -

31œ œ ˙ œ#lam va -

˙ ˙lam va -˙ ˙lam va -

&

&?

####

##

S

A

Bar.

32

˙, œ œ

'ed, l' - 'o -

˙,œN œ

'ed, l' - 'o -

˙ , œ œ'ed, l' - 'o -

33˙ ˙lam va -

œ œ ˙ œlam va -

˙ ˙lam va -

34

˙, œ œ

'ed, l' - 'o -

˙, œ œ

'ed, l' - 'o -

˙ , ˙'ed, l' -

35˙ .œ œ œlam va -

˙ ˙lam va -

˙ .œ Jœ'o - lam

36

w

˙# ˙˙ ˙

37

w

˙ ˙#wva -

38

w'ed.

w'ed.

w'ed.

39

w

ww

13

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&

&

&

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b

b

b

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b

b

b

b

b

b

b

b

b

b

b

b

b

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

Sopr. I

Sopr. II

Alto I

Alto II

Tenor

Bass

Organ

∑

(optional)

œ

.œ œ œ œ

Sing joy - ful -

∑

∑

∑

∑

œ

.œœ

œœ

∑

∑

œ.œ œ œ œ

Sing joy - ful -

˙ œ œ

ly un - to

œ

.œ œ œ œ

Sing joy - ful -

∑

∑

∑

˙ œœ

œœ œ

œœ

œ

œ

œ œœ

œœ

œ˙ œ

ly un - to

˙ .œ

J

œ

God our

œ œœ œ

ly un - to God

∑

∑

∑

˙ .œ

j

œ

œ˙

œ

˙œ

œ

.œ

J

œ ˙

God our

œ œ ˙ œn

œ

œ ˙

our

∑

Ó

œ

œ

Sing joy -

∑

.œ

j

œ˙œ

œ ˙œn

œ

œœ œ

Ó

œ

œ

&

&

&

&

V

?

&

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b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

S I

S II

A I

A II

T

B

Org.

5w

strength,

˙ .œ

j

œb

strength, un - to

w

strength,

∑

J

œ œ œ œ œ

œ

ful - ly un -

∑

5w˙

.œ

J

œA

œœ

œœ

œ

œ˙ ˙

Ó Œ œ

un -

.œ

j

œœ œ

God our

œœ

˙

un - to God

∑

œ˙ œ

to God our

∑

œ œ˙

œœ

œœ

œ

œ˙

œ

œ˙ œ œ

to God our

˙

Œ

œ

strength, un -

œ œ ˙

our strength,

∑

.œ

J

œ œ œ

strength, our

∑

œ˙

œœ

œ

œœœ

œ œ

.œ

J

œœ

œ

œ œ œ ˙

strength,

œ˙ œ

to God our

Œ

œœ

œ

un - to God

∑

œœ

˙

strength,

∑

œœ

˙œ

œ œ˙

Œœ

œœ

œœ

˙

w

our

˙ ˙

œ œ ˙ œ

our

∑

w

our

∑

˙ ˙˙

˙

œœ ˙

œ˙ ˙

Sing joyfullyWilliam Byrd (1543-1623)

Psalm 81, 1-4

Copyright © 2001 by the Choral Public Domain Library (http://www.cpdl.org)Edition may be freely distributed, duplicated, performed, or recorded.

14

&

&

&

&

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b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

S I

S II

A I

A II

T

B

Org.

10

˙ ˙

strength. Sing

œ˙

œ

strength. Sing loud,

˙

Œ

œ

strength. Sing

Ó˙

Sing

œ œ

˙

strength. Sing loud,

Ó ˙

Sing

10

œ ˙

œ

œœ

œ œ

˙ ˙

œ œ ˙

˙ ˙

loud, sing

œ˙

œ

sing loud

˙

Œ

œ

loud un -

˙ ˙n

loud, sing

˙

˙

sing loud

˙˙

loud, sing

œ˙

œ

˙˙n

˙

˙

˙˙

˙Ó

loud,

œ

œ

.œ

J

œ

un - to the

œ œ œ œ

to the God of

˙œ œ

loud un - to

Œ œ œ œ

un - to the

˙

œ

œ

loud un - to

œœœ

.œ

j

œœœ

œœ

œ

˙ œœ

˙

œ

œ

&

&

&

&

V

?

&

?

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

S I

S II

A I

A II

T

B

Org.

Ó ˙

sing

œ œ œn œ

God of Ja - - - - -

œ œ

Ó

Ja - cob,

œ

œ œ œ

the God of

.œ

J

œ ˙

God of Ja - - - - -

œ œ œ œ

the God of

œœ

˙œ

œœœ

nœœ

˙

œœ

˙œ

œœ

œ

˙œ œ

loud un - to

œ œn œ œ œ œ

cob, un -

œ

˙ œ

sing loud un -

˙ œ

j

œ

j

œ

Ja - - - cob, sing loud

˙ ˙

cob,

˙

œ

œ

Ja - - - cob, un -

˙œ

œ

œœn

œœœ

œ

œ

œœ

˙˙

˙

œ

œ

15œ œ œ œ

the God of

.œ

J

œ

j

œn

j

œ

œ

to the God of Ja - - - -

œœ œ œ

to the God of

j

œ

j

œ .

j

œ

r

œ œ

j

œ

j

œ

un - to the God of Ja - - -

Œ œ œ œ

the God of

œ œ

œ

œ

to the God of

15œ

œœ

œ.œ

J

œœn

œ œ

Œœ

œœ

œœ

œ

œ

˙ ˙

Ja - cob.

œ œn ˙

cob.

˙˙

Ja - cob.

œ œœ

˙

cob.

˙ ˙

Ja - cob.

˙

˙

Ja - cob.

˙

˙

˙˙œ

œn˙

˙˙

˙

˙

2

15

&

&

&

&

V

?

&

?

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

S I

S II

A I

A II

T

B

Org.

˙Ó

˙ Ó

œ œ

˙

Take the song,

Œ

œ œ

œ

Take the song,

Œ œ œ

œ

Take the song,

˙Ó

˙˙ ˙

œ œœ œ

œ

Œœ œ

œ

˙

œ

Œ

Ó œ œ

Take the

œ œ˙

Take the song

œ œ ˙

take the song,

j

œ

j

œ œ œœ

the song, the

œ

œ œ

œ

take the song,

œ œ

˙

Take the song,

œ œ˙

˙œ œ

œ œ

œ

œœ

œ

œ œ

˙

˙Œ œ

song and

Œ

.œ

j

œ œn

and bring

œœ ˙

the song

˙

Œ

œ

song and

J

œj

œ

œ œnœ

the song and

œ œ

˙

take the song

˙

Œ

œ

Œ

.œ

J

œœn

œ

œ

œœn

œ

œ œ

˙

20œ ˙ œ

bring forth the

œœ

œ œ œ

forth the tim -

∑

œ œ

.œ

j

œ

bring forth the

œ ˙

œ

bring forth the

∑

20œ

˙œ

œœ

œœ

œ

œœ

.œ

j

œ

œ˙

œ

˙ ˙

tim - brel,

˙Œ œ

brel, and

Œœ ˙n

and bring

œn œ œ ˙

tim - brel,

˙

˙

tim - brel,

Ó Œœ

and

˙ ˙

˙˙n

œnœ

œ˙

˙

˙

&

&

&

&

V

?

&

?

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

S I

S II

A I

A II

T

B

Org.

∑

œ ˙œ

bring forth the

.œ

j

œb œ œ œ

forth the tim - - -

œ œ

.œ

j

œ

and bring forth the

œ œ

œ

œ

and bring forth the

œ

˙ œ

bring forth the

œ˙

œœ

œœ

œbœ

œ œ

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œ

œ

œ

˙œ

Ó Œ

œ

the

˙ ˙

tim - brel,

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brel,

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œ

‰ j

œ

tim - brel, the

.œ

J

œ ˙n

tim - brel,

˙

˙

tim - brel,

˙ ˙

œœn

Œ

œœ

œœ

.œ

j

œ˙n

˙

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j

œA

J

œ œ Œ

œ

plea-sant harp and

œ

j

œ

J

œ ˙

the plea-sant harp,

Ó

œ

j

œ

j

œ

the plea-sant

œ

œ ˙

tim - - - brel,

Œ

œ

j

œ

J

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the plea-sant harp

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the

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œ

25

J

œ

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the vi - - -

∑

j

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j

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harp and the vi -

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Ó

œ

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and the vi -

.œ

J

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plea - sant harp, the

25œ

œ˙

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˙

œ

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.œ

J

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3

16

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b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

b

S I

S II

A I

A II

T

B

Org.

˙ Ó

ol, - - - - - - - - - -

Œœ

J

œ

J

œ œ

the plea - sant harp

.œ

j

œ .œ

j

œ

ol, the plea - - sant

œ

j

œ

j

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j

œ

j

œ

the plea - sant harp and the

˙ ˙

ol, the

J

œ

J

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J

œ

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plea - sant harp and the vi -

˙œ

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the plea-sant

J

œ

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J

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œ

and the vi - ol, and the

œ

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harp, the

œ

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vi - ol, the vi - - -

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plea - sant harp,

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ol, and the vi - ol,

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harp and the vi - ol,

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j

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j

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plea-sant harp and the vi -

j

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Œ Œ

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ol, and

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j

œ

j

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plea - sant harp and the

œ

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and the vi - - -

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œ

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œ

œ

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&

&

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b

b

b

b

b

b

b

b

b

b

b

b

b

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b

b

b

b

b

b

b

b

b

S I

S II

A I

A II

T

B

Org.

J

œ

J

œ ˙ œ

and the vi - - -

∑

œ

œ ˙

ol.

j

œ

j

œ ˙ œ

the vi - - - - - -

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j

œ ˙

vi - - - ol.

˙Ó

ol.

œœ

˙œ

œ

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j

œ

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˙

30˙

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ol.

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J

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trum - pet in the new

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j

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Blow the trum - pet

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moon, in the new

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j

œj

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moon, in the new

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Blow the trum - pet

œ

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moon, blow the

˙

.œ

j

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moon, blow the

.œ

j

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j

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.œ

J

œ

4

17

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b

b

b

b

b

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b

b

b

S I

S II

A I

A II

T

B

Org.

J

œ

J

œ œ˙

in the new moon,

˙ J

œ

J

œ œ

moon, in the new

˙ .œ

j

œ

moon, blow the

j

œ

j

œ œ ˙

in the new moon,

œ

œ

Ó

trum - pet

œ œ

j

œ

j

œ œ


œœ œ

œœ œ

˙

˙

˙

˙

œ œ ˙

œ œ œ œ œ

J

œ

J

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in the new moon,

˙ Ó

moon,

œ

œ

j

œ

j

œ œ


.œ

j

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j

œ

j

œ

blow the trum - pet inj

œj

œ œ ˙

in the new moon,

w

moon,

œœ œ

˙˙

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22

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Claudio Monteverdi1567-1643

16. Dolcissimo uscignoloA 5 voci, cantato a voce piena, alla francesefrom Madrigal Book VIII

Canto in tuonoSOLO

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Created 31.7.2004 by Björn Sothmann [email protected]

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tuo

di -


26

let -

to

o

fe -

-

li -

ce

o

fe -

-

li -

ce

o

fe -

-

li -

ce

fe -

li -

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ce au-

gel-

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let --to

o

fe -

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li -

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o

fe -

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li -

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fe -

li -

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gel-

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ofe -li -

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fe -

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fe -

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co-

me

nel

tuo

di-

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ti

ri-

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som-

-

pen -

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-

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sa

ben

l'al -

to

co-

me

nel

tuo

di -

let-

-

to

ti

ri -

com -

pen -

-

sa

ben

to

co -

me

nel

tuo

di -

let -

toti

ri--

com-

-

pen -

-

sa

ben

to

co -

me

nel

tuo

di -

let -

to

ti

ri -

com -

pen -

-

sa

ben

l'al -

to

co -

me

nel

tuo

di -

let -

to

ti

ri -

com -

pen -

-

sa

ben


27

-

ma

na -

-

tu -

-

-

-

ra

se

ti

ne -

-

gò

sa -

-

per

ti

l'al -

ma

na -

tu -

-

ra

se

ti

ne -

-

gò

sa -

-

per

ti

l'al -

ma

na -

tu -

ra

se

tine -

gòsa -

perti

-

ma

na -

tu -

ra

se

ti

ne -

gò

sa -

per

ti

l'al -

-

ma

na -

-tu -

ra

se

ti

ne -

-

gò

sa-

per

ti

diè

ven-

tu -

ra

se

ti

ne-

-

gò

sa -

-

per

ti

diè

ven -

tu -

ra

diè

ven-

tu -

-

ra

se

ti

ne-

-

gò

sa -

-

perti

diè

ven -

tu - -

ra

diè

ven-tu -

rase

tine -

gòsa -

per ti

diè

ven -tu -

ra

diè

ven-tu -

ra

se

ti

ne -

gò

sa -

perti

diè

ven -

tu -

-

ra

diè

ven-

tu -

ra

se

ti

ne-

-

gò

sa -

per

ti

diè

ven -

tu -

ra


28

se

ti

ne-

-

gò

sa-

per

o

fe -

-

li -

ce

o

fe -

-

li -

ce

o

fe -

-

li -

ce

fe -

se

ti

ne-

-

gò

sa-

per

o

fe -

-

li -

ce

o

fe -

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li -

ce

fe -

setine -

gò

sa-

per

ofe -li -

se

ti

ne -

gò

sa -

per

o

fe -

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se

ti

ne-

-

gò

sa-

per

o

fe -

li -

li -

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ce au-

gel-

let -

toco-

me

nel

tuo

di-

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ri-

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com-

-

pen -

li -

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ce au-

gel-

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co-

me

nel

tuo

di -

let-

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com -

pen -

ce au -

gel -

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to

co -

me

nel

tuo

di -

let -

toti

ri--

com-

-

pen -

ce au -

gel -

let -

to

co -

me

nel

tuo

di -

let -

to

ti

ri -

com -

pen -

ce au -

gel -

let -

to

co -

me

nel

tuo

di -

let -

to

ti

ri -

com -

pen -


29

-

-

-

-

sa

ben

l'al -

-

ma

na -

-

tu -

-

-

-

ra

se

ti

ne -

-

-

sa

ben

l'al -

ma

na -

tu -

-

ra

se

ti

ne -

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-

sa

ben

l'al -

ma

na -

tu -

rase

tine -

-

sa

ben

l'al -

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ma

na -

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se

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ben

l'al -

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ma

na -

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sa -

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per

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diè

ven-

tu -

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gò

sa -

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sa -

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per

ti

diè

ven-

tu -

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ra

se

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ne -

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gò

sa -

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gòsa -

perti

diè

ven-tu -

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tine -

gòsa -

gò

sa -

per

ti

diè

ven-tu -

ra

se

ti

ne -

gò

sa -

gò

sa-

per

ti

diè

ven-

tu -

ra

se

ti

ne -

-

gò

sa -


30

per

ti

diè

ven -

tu -

ra

ti

diè

ven -

tu -

ra

perti

diè

ven -

tu - -

ra

ti

diè

ven -tu -

-ra

per ti

diè

ven -tu -

ra

ti

diè

ven -tu -

ra

perti

diè

ven -

tu -

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ra

ti

diè

ven -

tu -

-

-

ra

per

ti

diè

ven -

tu -

ra

ti

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ra

ti

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ti

diè

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-

ra.

ti

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ti

diè

ven -

tu -

ra.

ti

diè

ven -

-tu -

ra.


31

&

&

&

V?

## ##

## ##

## ##

## ##

## ##

C

C

C

C

C

Soprano(Superius)

Mezzo-Soprano(Quinta Pars)

Alto(Contratenor)

Tenor(Tenor)

Bass(Bassus)

Ó ˙Dou -

˙ œ œDou leur me

˙ ˙leur me

œ œ œ ˙

.œ jœ ˙bat,

wbat,

Ó ˙Dou -

Œ œ œ œdou leur me

˙ ˙

leur me

œ œ# œ# ˙

Œ œ œ œdou- leur me

Ó ˙Dou -˙ Ó

bat,

wbat

œ œ œ ˙

˙ ˙leur me

Œ œ œ œdou leur me

ÓDou-

wbat

wbatœ œ# œ# ˙

&

&

&

V?

## ##

## ##

## ##

## ##

## ##

S

Mez.

A

T

B

8 Œ œ œ œet tris - tes -

˙ ˙leur me

Ó ˙et

Ó ˙et˙ Œ œ

bat, dou -

.œ Jœ œ œ œse

wbat

˙ ˙tris - tes -

˙ ˙tris - tes -˙ ˙leur me

œ œ ˙ œ#m'a -fol -

Ó ˙et

œ œ ˙se m'a -fol -

˙ ˙se m'a -

˙ Óbat

wle,

˙ ˙tris - tes -

œ œ œ œ œ œ œle, m'a -

wfol -

˙ œ œet tris - tes -

˙ ˙se m'a -

œ ˙ œ#fol -

wle,

œ œ ˙se m'a- fol -

Œ œ œ œA-mour me

wfol -

wle,

wle,

œ œ# œ# ˙

wle,

Œ œ œ œA - mour me

wA -

RRW Edition 2002

Douleur me batJosquin des Prés

(Transposed up a M3 from original)

32

&

&

&

V?

## ##

## ##

## ##

## ##

## ##

S

Mez.

A

T

B

15 wnuyt

œ œ œ ˙

˙ ˙mour me

Œ œ œ œA-mour me

wA -

wnuyt

wnuytœ œ# œ# ˙

Œ œ œ œet mal - heur

˙ ˙mour me

Ó ˙et

Ó ˙et˙ Œ œ

nuyt, a -

.œ Jœ œ œ œme

wnuyt

˙ ˙mal - heur

˙ ˙mal - heur˙ ˙

mour me

œ œ ˙ œ#con-sol -

Ó ˙et

œ œ ˙me con-sol -

˙ ˙me con -

˙ Ónuyt

wle,

˙ ˙mal-heur

˙ Œ œle, et

wsol -

˙ œ œet mal-heur

˙ ˙me con -

œ œ ˙mal-heur me

wle

œ œ .œ Jœme con - sol -

&

&

&

V?

## ##

## ##

## ##

## ##

## ##

S

Mez.

A

T

B

22 Ó ˙Vou -

wsol -

œ œ .œ jœ#con -sol -

œ œ ˙ œ œ

œ œ ˙loir me

wle,

wle,

Ó ˙Vou -

wle,

wsuit,

Ó ˙Vou -

œ œ ˙loir me

w

Ó ˙mais

Ó ˙Vou -

œ œ ˙loir me

˙ Œ œsuit, mais

˙ œ œai - der ne

œ œ ˙loir me

wsuit,

.˙ œai - der

Ó ˙Vou -

œ œ œ œ ˙me

˙ Œ œsuit, mais

Ómais

˙ ˙ne me

œ œ ˙loir me

wpeult,

.˙ œai - der

˙ ˙ai - der

wpeult,

˙ ˙suit, mais

2

33

&

&

&

V?

## ##

## ##

## ##

## ##

## ##

S

Mez.

A

T

B

29 Ó ˙Jou -

˙ ˙ne me

˙ .œ jœ#ne me

œ œ œ œai -der ne me

œ œ ˙yr ne

wpeult,

wpeult,

Ó ˙Jou -

wpeult,

wpuis

Ó ˙Jou -

œ œ ˙yr ne

w

Ó ˙d'ung

Ó ˙Jou -

œ œ ˙yr ne

˙ Œ œpuis d'ung

˙ œ œgrant bien qu'on

œ œ ˙yr ne

wpuis

.˙ œgrant bien

Ó ˙Jou -

œ œ œ œ ˙me

˙ Œ œpuis d'ung

Ó ˙d'ung

˙ ˙qu'on me

œ œ ˙yr ne

œ .œ Jœ œveult,

.˙ œgrant bien

˙ ˙grant bien

wveult,

˙ ˙puis d'ung

&

&

&

V?

## ##

## ##

## ##

## ##

## ##

S

Mez.

A

T

B

36 œ œ œ œ ˙

˙ ˙qu'on me

˙ .œ jœ#qu'on me

œ œ œ œgrant bien qu'on me

˙ .œ Jœ

wveult,

wveult,

Ó ˙De

˙ Œ œveult, De

œn œ ˙ œœ

.˙ œDe vi -

˙ ˙nvi - vre'ain -

œ œ ˙vi - vre'ain -

˙ Œ œDe

Ó ˙De

˙ ˙vre'ain - si

˙ ˙si,

wsi

œ œ ˙vi-vre'ain -

˙ ˙v - vre'ain -

Ó ˙pour

Œ ˙ œde vi -

œ œ œ œsi, pourdieu,qu'on

˙ ˙si

Œ œ œ œpourdieu,qu'on

.˙ œdieu, qu'on

˙ ˙vre'ain - si

œ œ ˙me dé- col -

Ó ˙pour



3

34

&

&

&

V?

## ##

## ##

## ##

## ##

## ##

S

Mez.

A

T

B

43 œ œ œ œle, pour dieu,qu'on

.˙ œdieu, qu'on

œ œ œle,

wle,

Œ œ œ œpour dieu,qu'on

œ œ ˙me dé-col -


œ œ .œ Jœme dé-col -

˙ .œ Jœle,

wle,

.˙ œde vi -

Ó ˙de

˙ Œ œle, de

œn œ ˙ œ œ

˙ ˙vre'ain - si

˙ ˙nvi - vre'ain -

œ œ ˙vi- vre'ain -

˙ Œ œde

Ó ˙de

˙ ˙si,

wsi

œ œ ˙vi-vre'ain -

˙ ˙vi - vre'ain -

Ó ˙pour

Œ ˙ œde vi -

œ œ œ œsi, pour dieu,qu'on

˙ ˙si,

Œ œ œ œpour dieu,qu'on

.˙ œdieu, qu'on

˙ ˙vre'ain - si

&

&

&

V?

## ##

## ##

## ##

## ##

## ##

S

Mez.

A

T

B

50 œ œ ˙me dé-col -

Ó ˙pour



œ œ œ œle, pourdieu,qu'on

.˙ œdieu, qu'on

œ œ œle,

wle,



œ œ ˙me dé - col -

Ó Œ œpour

œ œ .œ Jœme dé-col -

˙ Óle,

wle,

œ œ œ œdieu,qu'on me dé -


wle,

Ó Œ œpour

œ œ ˙ œ#col -


œ œ œ œdieu,qu'on me dé -


œ œ œ œle, pourdieu,qu'on

wle,


œ œ ˙ œ#col -



œ œ ˙

me dé - col -

4

35

&

&

&

V?

## ##

## ##

## ##

## ##

## ##

S

Mez.

A

T

B

57 œ œ .œ Jœle, pour dieu, qu'on

wle,

œ œ œ œle, pour dieu, qu'on

Œ œ œ œpour dieu, qu'on


œ œ œ œ œ œme dé - col -




wle.

Œ œ œ œpour dieu, qu'on

œ œ# œ œle, pour dieu, qu'on

wle.


w



w

œ œ# ˙me dé - col -

w

wle.

w#le.

wwwle.

w

w

wwww

Josquin des Prés (c.1440-1521)(also spelled Josquin Desprez)

Douleur me batChanson

Douleur me bat et tristesse m’afolle, Amour me nuyt et malheur me consolle, Vouloir me suit, mais aider ne me peult, Jouyr ne puis d’ung grant bien qu’on me veult, De vivre’ainsi, pour dieu, qu’on me décolle.

Anguish beats me and sadness drives me crazy,Love injures me and misfortune comforts me,Desire follows me but cannot help me,I cannot enjoy this great good that one demands of me,To live thus, by God, would that they would behead me.

36

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