Music Informance

Two Sample Informance Programs

A Grand Night For Singing – October 2002

Combined Choirs

The Star-Spangled Banner John Stafford Smith

Francis Scott Key

At HHS, we start every choral concert with the singing of our National Anthem. It involves the entire audience in music making at the beginning of each concert. Many students and parents have commented that the a cappella singing of the National Anthem in harmony is powerfully moving to them.

It's A Grand Night For Singing Rodgers & Hammerstein, Arranged by Mac Huff

From "State Fair" in the American musical theatre genre Hal Leonard 08733671

At the very first informance at HHS, I started the program with the Mac Huff arrangement of It's A Grand Night For Singing because it was a great concert title and theme for the evening. It was also a nice bridge from the popular music the students were used to singing to the more traditional styles we were to study. Because all of the choirs sang this piece, I only needed to include one example from this genre on the program to provide every student with the opportunity to experience music of this style. It has become our annual opening piece for this concert, still serving a similar purpose today: it is a nice arrangement of a standard in this genre, it appeals to the new students who are used to singing popular music, and the older students do not have to spend much rehearsal time to revive it the following year(s).

Ise Oluwa Arranged by Nitanju Bolade Casel

Praise song from the Yoruba people of Nigeria, West Africa Pavane Publishing P1115 or P1209, voicings arranged by Ron Kean

We feel that it is important to begin singing on the first day of school in every choir. The classroom expectations, voice placement and other necessary details of the start of the choral year are important, but students take the class to sing. We started this year with the simple melody of this Nigerian song. Over time, we added the harmony and the polyrhythms of the percussion instruments. Learning our first song "by ear" – more like the cultural tradition from which it comes – allows all students, beginners and advanced, to immediately participate in music-making.

Chorale

Musica est Dei donum optimi Rolande de Lassus (1532-1594)

16th-century canon in four parts Boosey & Hawkes OC4B6449

Teaching independence to beginning choral singers is always a challenge. Wonderful canons are available from various cultures and eras. Canons provide opportunities for students to learn a complex melody together and then work for independence as they experience polyphony! We typically begin each school year with a canon in the Chorale.

Unity Glorraine B. Moone & Rev. Freddie Washington, Arranged by Daniel M. Cason II

Gospel song based on Psalm 133:1 Colla Voce Music HL-107

This gospel piece provides contrast in style to the Chorale's Renaissance canon, and allows them to work on homophonic harmony. The style is immediately appealing and the voicing is well placed. The soprano, alto and bass parts are in a great tessitura and the tenor part can be sung by the tenors, the changing voices and a few altos. The text is based on a Psalm text and the subject of unity amidst diversity is an important one for choral students to explore. Both Chorale pieces declare the divine gifts we receive when we experience music and unity.

Highlander Choir

Vaghi rai di cigli ardenti Claudio Monteverdi (1567-1643)

17th-century strophic piece from Scherzi musicali a tre voci (1607)RRW Edition (self-published)

There are delightful strophic pieces in the Scherzi musicali a tre voci of Monteverdi in SAB voicings with instrumental ritornelli. These are great for choirs where all of the male voices are changed, but the balance would be better if the men sing the same part and the women divide. Many of these eighteen strophic pieces have dance-like rhythms and all have passionate Italian texts.

Margoton va t'a l'iau Francis Poulenc (1899-1963)

20th-century chanson from Chansons françaises (1946) Salabert Editions R.L. 12317

Poulenc with a second year choir -- I must be crazy! But it is a great piece for this level group. There are eight verses -- but each verse starts and ends with the same French text. The tunes are similar (but change enough to create challenges) and the men often sing in unison. The story is fun (and a little naughty) and easy for students to "act out" in class to make connections with the text – "Singing is acting!" What a great piece to challenge young singers to "tell the story" – even in a foreign language. Both of the Highlander pieces are connected by alluring characters described within.

Treble Clef Choir

O Pastor Animarum Hildegard von Bingen (1098-1179)

12th-century antiphon chant Hildegard Publishing Company

Medieval music can be a powerful addition to a program. The peaceful simplicity of monophony can be profoundly moving and can connect us with much of western music history. Experiments with drones as added harmony can provide a greater sense of tension and release in the music. It is also important for our students to know that women have been composing music throughout history.

Utopia Moira Smiley (b. 1976)

Modern shape-note composition from Endless Light (1997) Northern Harmony Publishing Company

Shape-note compositions were popular in 19th-century tune books and hymnals in the U.S. This tradition continues today and uses a type of notation that employs four different shapes of the note-head, which indicated the corresponding solmization syllable. The style of singing is commonly "hard-voiced" and robust. Utopia was composed by a 17-year-old woman involved with "hymn sings" in this style. The voice crossings and texture choices are also typical of this style.

Run Children Run Arranged by Stephen Hatfield (b. 1956)

Antebellum field yell Boosey & Hawkes OCTB6972

Finding powerful or lively music for women's voices is sometimes a challenge. Again and again, Stephen Hatfield has delivered commanding arrangements of folk songs and music from traditional sources for treble voices. This field yell is from the time when slaves sang as they worked, both to keep the work rolling and to send each other messages of support and solidarity. What a wonderful opportunity to explore a dynamic woman of the time: Harriet Tubman. Together with the early composer, Hildegard von Bingen, and the modern composer, Moira Smiley, these three made our study of Women of Spirit as varied as the music we performed.

Madrigal

Von dir kann ich nicht scheiden Hans Leo Hassler (1564-1612)

16th-century Lied in six parts Bourne B237644-367

Te Quiero Alberto Favero, Arranged by Liliana Cangiano

Argentinian popular song earthsongs

In our once-a-week Madrigal ensemble, I try to vary the styles of music performed throughout the year. In the first quarter, we study two contrasting styles -- usually a Renaissance piece and a folk song. This year, the Argentinian song arrangement seemed a nice partner to the Hassler. During their second quarter, the Madrigal will work on holiday music for the annual Holiday Celebration Dinner; in their third quarter, vocal jazz arrangements; and in the final quarter the Madrigal prepares music of the particular musical era that is the focus of our annual Benefit Concert.

Canzone

Come unto These Yellow Sands Amy Beach (1867-1944)

19th-century partsong with a text from Shakespeare's Tempest Treble Clef Press TC-105

Diu Diu Dang A Arranged by CHIEN Shan-Hua (b. 1954)

Taiwanese folksong earthsongs

Canzone, like the Madrigal, meets once a week and sings various styles of music throughout the year, while also featuring some music by women composers. In the first quarter, we study two contrasting styles -- sometimes a Renaissance piece, but as of late I have enjoyed performing the Shakespeare Songs of Amy Beach along with a folk song. The playfulness of these two pieces unites them, even in their strongly contrasting styles. Like the Madrigal ensemble, during second quarter the Canzone will prepare holiday music for the annual Holiday Celebration Dinner; in the third quarter, vocal jazz arrangements; and in the final quarter the Canzone prepares music of the particular musical era that is the focus of our annual Benefit Concert.

Tartan Choir

Douleur me bat Josquin des Prés (c.1440-1521)

15th-century chanson RRW Edition (self published)

This early Renaissance chanson immediately struck me for its intensity when I first studied it several years ago. It is powerfully expressive with a passionate and dramatic text that teens can connect with. The independent lines are wonderful for all to sing. Imitation is rampant and there is a hidden canon throughout between two parts.

Greensleeves Arranged by Ralph Vaughan Williams (1872-1958)

English air Oxford University Press 53.210

A familiar melody and folksong in a lush Romantic setting seemed the perfect partner to the Josquin des Prés. Expressing in a different musical and poetic manner the agony of lost or unrequited love, this arrangement contrasts its earlier partner, yet is united in its passion.

Quick! We have but a second Arranged by Charles Villers Stanford (1852-1924)

Irish air with a text by Thomas Moore Hinshaw Music HMC1248

I did not want to end the Tartan Choir set with only the agony of love expressed. This little ditty offers a bit of contrast to the pained passion of love longing. The familiar philosophy of "eat, drink and be merry" is expressed here eloquently as one is encouraged to not let a "lip or a cup ... turn untouch'd away." A fitting contrast -- yet related to the love longing subject of the set.

Combined Choirs

Awake the Harp Franz Joseph Haydn (1732-1809)

18th-century oratorio movement from The Creation (1798) Edition Peters No. 66

As explained above, we end every choral concert with a combined piece. A short oratorio movement with even a partial orchestral accompaniment makes for an exciting conclusion a first concert. For our first year students, this combined piece is always an incredible challenge! This year, Awake the Harp demands strong homophonic singing as well as the independence necessary to sing the short fugue. Dramatic melismatic flourishes at the end further challenge younger and older students alike. With the experienced singers helping to lead the newer singers, all experience a powerful miniature musical masterwork! In this first program of the year, Ise Oluwa and Haydn's Awake the Harp made wonderful bookends to our program – as they are contrasting sacred musical expressions the power of God's creative work.

Learning processes that students and teachers shared at this Informance:

• Chorale (1^st year students) demonstrated vocal warm-up activities, including soft palate lift (and not) and jaw relaxation (and not) as well as typical teen standing posture versus good singing posture. They also demonstrated some simple improvisatory exercises used in warm-up activities.

• Highlander Choir (2^nd year students) demonstrated some solfeggio work and sight-read an exercise for the audience.

• Treble Clef Choir (2^nd & 3^rd year students) researched the three Women of Spirit: Hildegard von Bingen, Harriet Tubman, and Moira Smiley. Students worked together in small groups. There was plenty of historical and anecdotal data on the first two women. The group working on the shape-note piece researched that tradition and contacted the composer via email with specific questions. They were excited to receive a response from the living, working composer! Finally the groups prepared short oral presentations on these three women for the informance.

• Tartan Choir (3^rd & 4^th year students) wrote poetry in the same contrasting styles of the poetry set in their three works. Of course, the subject of passionate "love-longing" is an especially fertile one for adolescent creativity. There were several exceptional examples of student-created poetry that were read at the informance.

A Grand Night For Singing!

To Sing! – October 2005

Combined Choirs

The Star Spangled Banner John Stafford Smith

Francis Scott Key; a nation sings

It's A Grand Night For Singing Rodgers & Hammerstein, Arranged by Mac Huff

American musical theatre; a grand night for singing

Chorale

Ich will den Herrn loben alle Zeit Georg Phillipp Telemann (1681-1767)

German Baroque canon; praise is in my mouth RRW Edition (self-published)

She Sings Amy Feldman Bernon (1998)

20^th-century American; she sings for those who cannot Heritage Choral Series 15/1362H

Highlander Choir

Durme, Durme Arranged by Y. Braun and Joshua Jacobson (1990)

Ladino folksong; lullaby HaZamir Music Publications HZ-012

Nelly Bly Arranged by Jack Halloran (1994)

19^th-century American song-writer, Stephen Foster (1826-1864); I'll sing for you Gentry Publications JG2169

Treble Clef Choir

Hor care canzonette (from Canzonette a tre voci) Claudio Monteverdi (1567-1643)

Italian Renaissance; sweet songs happy to be sung Treble Clef Music Press TC-180 (Canzonetta a tre)

Herbstlied Robert Schumann (1810-1856)

19^th-century German duet; birds have stopped singing National Music Publishers WHC-54

Koivisto Polska Arranged by Jan-Ake Hillerud (1977)

Finnish folksong; nonsense singing AB Carl Gehrmans Musikförlag, Stockholm

Madrigal

All creatures now are merry minded John Bennet (fl. 1599-1614)

English Renaissance; nymphs & shepherds sing praise to their queen Oliver Ditson 332-14405

Alma Llanera Arranged by Angel Sauce (1993)

Venezuelan popular song by Pedro Gutiérrez (1870-1954); song of passion earthsongs

Canzone

Through the House Give Glimmering Light Amy Beach (1867-1944)

19^th-century American; fairies sing and dance Treble Clef Music Press TC-106

Las Amarillas Arranged by Stephen Hatfield (1995)

Traditional Mexican; birds not singing this song Boosey & Hawkes OCTB6784

Tartan Choir

Ihr Musici frisch auf! Hans Leo Hassler (1564-1612)

German Renaissance; bring your voices together Hal Leonard 08596755

I have loved flowers that fade Gerald Finzi (1901-1956)

20^th-century English; beauty shared and gone Boosey & Hawkes M-060-03029-1

Potong Padi Arranged by Juliette Lai (b.1943)

Malay folksong; celebrate work with song and dance earthsongs

Combined Choirs

Tunggare Stephen Leek (1997)

20^th-century Australian: uses a single aboriginal word: Sing! Morton Music/Hal Leonard Australia MM 0408

Learning processes that students and teachers shared at this Informance:

• Chorale (1^st year students) demonstrated vocal warm-up activities and built a solfége scale

• Highlander Choir (2^nd year students) sight-read an exercise for the audience.

• Treble Clef Choir (2^nd & 3^rd year students) demonstrated eurhythmics (Dalcrose) – both in isolation and with the Monteverdi.

• Tartan Choir (3^rd & 4^th year students) demonstrated "count-singing" using the Finzi. They also "reenacted" in summary form the discovery and discussion regarding the Robert Bridges poem which Finzi set.

• All students did a "free response" journal writing exercise involving these two ideas: "When I sing, I feel…" "Singing is used…(to what purposes)." One student read a poem that she wrote which grew out of these journal and discussion activities.