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FA ’17: MUED 376: Choral Music, Methods and Materials

Dr. van der Vat-Chromy


A-24. Concert Programming Assignment

 This assignment is the opportunity to design a major seasonal


concert program that will include three/four different ensembles of
different vocal settings.

 Each program must include 12 pieces, varying in voicing, style, and


difficulty. For example, plan to program
 3 pieces for your SATB choir,
 3 for your Men’s Ensemble,
 2 for your Children’s Choir,
 3 for your Women’s Choir and a
 combined Finale.

For example, you may choose from:

K-12 choirs: Fall/Winter/Spring/Graduation Concert


Church choirs: Advent/Easter Program, etc.
Grades 6 -12: Cabaret/MUTH/Opera Performance (“An Evening at the Opera”)

 Please give your concert a name or a theme, which will serve as the
organizing principal for your concert.

 For each selection, please enter the necessary information into the
template found on the next page, re-titling “Piece 1”, “Piece 2”, etc.
as you proceed.

 After completing your assignment, please save your document as a


.pdf, and send it to everyone in the class. In this way, we will have 17
concert programs in our files!
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MUED 376: Choral Music, Methods and Materials
Concert Programming Assignment

Conductor Name: Emily Veramessa

Date: 12/18/17

Concert Theme/Title: Year of the Eclipse

To be performed by:
**I think this program could work for a high school end-of-the-year concert, but I
originally envisioned it being performed by a community choir of sorts. I’m hoping to work
with non-profits and the like, but I acknowledge that this program is probably too weighty
(thematically and musically) to realistically work for something like SVCC.**

Concert Rationale:
- I chose the groups because they seem to be the most likely ones to have in a high school
program. The Men’s Chorus only have 2 pieces rather than 3, but they open the concert and
I’m also keeping in mind that they would likely be a smaller ensemble. I feel like it makes
sense to end the concert with the honors choir, but the pieces at the end of the first half are
some of the hardest, and I think the honors choir performing the most “intense” part of the
eclipse would be fitting.
- I chose and ordered the pieces primarily to coincide in order with the themed title, and the
pieces chronologically follow the process of a solar eclipse, while the pieces themselves
allow for endless symbolic connections to eclipses we experience in our lives. The concert
has a nice variety of moods, styles, and continuous “extra” elements (percussion and cello
accompaniment balanced with a cappella pieces, choreography, solos and chamber groups).
- I made sure that there are SSAA/TTBB arrangements of the Men’s Chorus & Treble
Choir pieces on J.W. Pepper, and the arrangers of those versions are listed in the program.

PROGRAM AT A GLANCE
(List pieces, composers, accompanists, soloists and instrumentalists as needed)

Year of the Eclipse


Eclipse (noun): 1. An obscuring of light from one celestial body by the passage of
another between it and the observer
2. between a celestial body and its source of illumination.

Foreword:
- There will be a few scripted speeches throughout the concert that will reflect
discussions we’ve had in class and inform the audience a little more and make transitions
run a little more smoothly. As we discuss throughout the semester, I’ll make a list of the
main points we reach in discussions. Using these points as a guide, I will write up the
scripts and volunteers will read them in the concert.
For now, I have written up approximations (my thoughts and predictions of discussion
results).

TITLE Composer/dates
2

((Men’s Chorus))
1. Dawn
Eric William Barnum (b. 1979)

2. Black is the Color


Traditional, Arr. Connor J. Koppin (b. 1991)

((Combined))
3. It Takes a Village
Joan Szymko (b. 1957)

 The soloist in this piece will be a member of the Men’s Chorus, and the other
choirs will enter from various places during the “patting” after the solo
introduction.
 After this piece ends, I will introduce all of the choirs.
 As all singers except the honors choir exit the auditorium, I will tell a little bit
about our theme of the Eclipse, and how our discussions informed the messages
students read.

((Honors Choir))
4. I am the great sun
Jussi Chydenius (b. 1972)

5. Come Sweet Death


J.S. Bach (1685-1750)
Arr. Rhonda Sandberg (b. 1971)
 Before Crucifixus, a student will read about the history and iconic text painting in
this piece. The student will also tell of the secular representations of the
crucifixion.

6. Crucifixus
Antonio Lotti (1667-1740)

~ Intermission ~
((Treble))
7. Amavolovolo
Traditional Zule Dowry Song
Arr. Rudolph de Beer (b. 1967)

 After this song, a student will tell about the historical significance of this song
(spreading the word about violence in pre-democratic South Africa using the
word “amavolovolo” meaning revolver, and how that can relate to the concept pf
an eclipse )
 The student will tell a little about the context of Famine Song before we sing it.

8. Famine Song
Vida
Arr. Matthew Culloton (b. 1976)
3
9. The Storm is Passing Over
Charles Albert Tindley (1851-1933)
Arr. Barbara W. Baker (b. 1947)

((Concert Choir))
10. Heaven Unfolding
Andrea Ramsey (b.

 Before the last two pieces, a student will read a little about them (given our class
discussions), probably saying a little about the poetry in the first and the
translation in the last piece.

11. i carry your heart with me


David Dickau (b. 1953)

12. Jubilate Deo, Alleluia!


Judith Herrington (b. 1962)
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PIECE #1
Title Dawn
Composer Eric William Barnum (b. 1979)
Arranger
Voicing TBB
Length 4:15
Time period/genre/style Contemporary (Whitacre-esque)
Sacred/secular Secular
Forces (a cappella, instruments?) A cappella, aleatoric section at the end
Difficulty level & age level High school, medium difficulty
Key(s) F Major
Meter(s) 4/4, changing meters occasionally
Publisher and Publisher # G. Schrimer, Inc. 50490262
Cost per octavo $1.90
Miscellaneous

Ranges:
Tenor: F3- E4
Bass: F2- Middle C4

Annotated discussion, program notes, and/or important information for consideration:


Describe this piece in detail (3 – 5 sentences) in such a way that you have written the program notes for this
work. Include thoughts about structure, genre, important teaching concepts, where it could fit into a school
calendar, what kinds of ensembles, composer notes, overall difficulty, overall effectiveness, meaning,
poetry, and why students would both like and learn from singing this work?

Dawn is a meditation on the coming light-filled day and all the possibilities it possesses.
It is written with subtle, yet purposeful phrasing, and the final moments of the piece (the
aleatoric section) are written to sound like clouds of color forming and disappearing,
ending in a tranquil silence. The Whitacre-esque style is widely popular for both singers
and audience members, and it is a tranquil, mystic opener to a concert centered on the
idea of an eclipse.

PIECE #2
Title Black is the Color
Composer Traditional Appalachian Folk Song
Arranger Arr. Connor J. Koppin (b. 1991)
Voicing TTBB
Length 4:00
Time period/genre/style Appalachian folk, legato and minor
Sacred/secular Secular
Forces (a cappella, instruments?)
Difficulty level & age level High School, Easy-med difficulty level
5
Key(s) F minor
Meter(s) 4/4, occasionally 3/4
Publisher and Publisher # Hal Leonard 10660
Cost per octavo $2.25
Miscellaneous

Ranges:
Tenor: F3-E4
Bass: F2- C4

Annotated discussion, program notes, and/or important information for consideration:


Describe this piece in detail (3 – 5 sentences) in such a way that you have written the program notes for this
work. Include thoughts about structure, genre, important teaching concepts, where it could fit into a school
calendar, what kinds of ensembles, composer notes, overall difficulty, overall effectiveness, meaning,
poetry, and why students would both like and learn from singing this work?

This tune holds roots in Scotland, and was brought to the United States when Scottish
people emigrated to the Appalachian region in the mid-1800’s. A tangible example of
folk song transmission, this song allows young singers to not only participate in folk
traditions, but to also learn about patterns of folk dissention and why they’re important.
This piece features passionate text painting and expressive melodic writing that moves
both singers and listeners.

PIECE #3
Title It Takes a Village
Composer Joan Szymko (b. 1957)

Arranger
Voicing SATB
Length 3:45
Time period/genre/style West African Style
Sacred/secular Secular
Forces (a cappella, instruments?) Solos, choir pats chest throughout, percussion (shaker)
Difficulty level & age level High School, Medium difficulty
Key(s) Bb
Meter(s) 4/4
Publisher and Publisher # Santa Barbara Music Publishing, Inc.
Cost per octavo $1.95
Miscellaneous

Ranges:
Soprano: D4- D5
Alto: D4- D5
Tenor: D3- F4
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Bass: Bb2- Bb3

Annotated discussion, program notes, and/or important information for consideration:


Describe this piece in detail (3 – 5 sentences) in such a way that you have written the program notes for this
work. Include thoughts about structure, genre, important teaching concepts, where it could fit into a school
calendar, what kinds of ensembles, composer notes, overall difficulty, overall effectiveness, meaning,
poetry, and why students would both like and learn from singing this work?

This song musically embodies the West African phrase “It takes a whole village to raise a
child,” this song features vocal ostinatos that layer together to create a lively, textured
song. Featuring multiple solos, body and instrumental percussion, and vocal tones that
are considered “unconventional” by Western standards, this piece has something for
every young singer to learn. Aside from the enculturation this piece brings, it is a load of
fun to experience!

PIECE #4
Title I am the Great Sun
Composer Jussi Chydenius (b. 1972)
Arranger
Voicing SATB
Length 5:15 (longer length! 16 pgs)
Time period/genre/style Gregorian Chant style
Sacred/secular Secular (open to interperetation)
Forces (a cappella, instruments?) A cappella, “oo” with overtones used as drone
Difficulty level & age level High school, hard difficulty
Key(s) D minor
Meter(s) 4/4, occasionally 2/4
Publisher and Publisher # Oxford University Press 10190224
Cost per octavo $3.75
Miscellaneous

Ranges:
Sop: C4- F5
Alto: A3- C5
Tenor: C3- G4
Bass: F2- C4

Annotated discussion, program notes, and/or important information for consideration:


Describe this piece in detail (3 – 5 sentences) in such a way that you have written the program notes for this
work. Include thoughts about structure, genre, important teaching concepts, where it could fit into a school
calendar, what kinds of ensembles, composer notes, overall difficulty, overall effectiveness, meaning,
poetry, and why students would both like and learn from singing this work?
This song is an exciting challenge for a high school choir; a modern text sung in the style
of medieval Gregorian chant, it features melodic and rhythmic motives, dramatic
imitative passages, and dense homophonic climaxes that send chills down the listener’s
spine. It is a great opportunity to study medieval music, the roots of solfege, and
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ambiguous tonality, and the text is open to multiple interpretations which lead to deep
discussions about musical expression.

PIECE #5
Title Come, Sweet Death
Composer J.S. Bach (1685-1750)
Arranger Arr. Rhonda Sandberg (b. 1971)
Voicing SATB
Length ~ 3:00
Time period/genre/style Legato,
Sacred/secular Secular (open to interperetation)
Forces (a cappella, instruments?) Movements/ “Choralography”, a cappella, aleatoric
section
Difficulty level & age level High School, Easy-Med
Key(s) C minor
Meter(s) 3/4
Publisher and Publisher # Colla Voce Music, Inc. 45-21064
Cost per octavo $1.75
Miscellaneous

Ranges:
Soprano: C4- G5
Alto: Bb3- Bb4
Tenor: D3- G4
Bass: F2- C4

Annotated discussion, program notes, and/or important information for consideration:


Describe this piece in detail (3 – 5 sentences) in such a way that you have written the program notes for this
work. Include thoughts about structure, genre, important teaching concepts, where it could fit into a school
calendar, what kinds of ensembles, composer notes, overall difficulty, overall effectiveness, meaning,
poetry, and why students would both like and learn from singing this work?

This piece, originally written by the influential J.S. Bach, features chorolography that
embodies the smooth, expressive text. It ends with a powerful aleatoric section, which
gives the impression of transcendence upon long-awaited death. The text allows for
individual expression, while the a cappella homophony of the first two sections
emphasize the importance of audiating vertically and relying on the voices around you
for intonation, balance, and blend.

PIECE #6
Title Crucifixus
Composer Antonio Lotti (1667-1740)
Arranger
8
Voicing SATB
Length ~3:30
Time period/genre/style Renaissance, legato
Sacred/secular Sacred
Forces (a cappella, instruments?) A cappella
Difficulty level & age level High School, hard difficulty
Key(s) Constant modulations, resolves to C Major
Meter(s) Common Time (not originally written in a meter)
Publisher and Publisher # G. Schrimer, Inc. 4969531
Cost per octavo $1.90
Miscellaneous

Ranges:
Sop: G4- F5
Alto: A3- C5
Tenor: D3- F4
Bass: F2- C4

Annotated discussion, program notes, and/or important information for consideration:


Describe this piece in detail (3 – 5 sentences) in such a way that you have written the program notes for this
work. Include thoughts about structure, genre, important teaching concepts, where it could fit into a school
calendar, what kinds of ensembles, composer notes, overall difficulty, overall effectiveness, meaning,
poetry, and why students would both like and learn from singing this work?

An epic a cappella vocal work of the late Renaissance, this piece embodies the fluid
polyphony and harmonic text painting of the era. The intensity of the Latin text and the
musical climaxes require meticulous interpretative understanding and musical
sophistication.

PIECE #7
Title Amavolovolo
Composer Traditional Zule Dowry Song
Arranger Arr. Rudolph de Beer (b. 1967)
Voicing SSAA
Length ~ 4:00
Time period/genre/style
Sacred/secular Secular
Forces (a cappella, instruments?) Movements/“Choralography,” percussion
Difficulty level & age level High school, easy difficulty
Key(s) G Major
Meter(s) 4/4
Publisher and Publisher # Hal Leonard, 08749217
Cost per octavo $1.90
9
Miscellaneous

Ranges:
Soprano: B3-B4
Alto: D3-D4

Annotated discussion, program notes, and/or important information for consideration:


Describe this piece in detail (3 – 5 sentences) in such a way that you have written the program notes for this
work. Include thoughts about structure, genre, important teaching concepts, where it could fit into a school
calendar, what kinds of ensembles, composer notes, overall difficulty, overall effectiveness, meaning,
poetry, and why students would both like and learn from singing this work?

This song is a folk song from pre-democratic South Africa about the people’s fear of a
town in the region of KwaZulu-Natal, due to the violence there. The word “amavolovolo”
is their word for “revolver,” and the choralography includes symbolic rotation. The
song’s vocal tone and voicing teaches a great deal of vocal technique, its globally-historic
relevance allows for interdisciplinary discussions, and its kinesthetic element offers
diverse approaches of internalizing and embodying music.

PIECE #8
Title Famine Song
Composer VIDA
Arranger Arr. Matthew Culloton (b. 1976)
Voicing SSAA
Length ~5:30-6:00
Time period/genre/style Contemporary
Sacred/secular Secular
Forces (a cappella, instruments?) Storm sounds (snaps) at the end
Difficulty level & age level High school, easy- med difficulty
Key(s) E minor
Meter(s) 4/4
Publisher and Publisher # Santa Barbara Music Publishing, Inc. SBMP 575
Cost per octavo $1.95
Miscellaneous

Ranges:
Soprano: D4-C5
Alto: A3- B4
Tenor: C3- E4
Bass: E2- D4

Annotated discussion, program notes, and/or important information for consideration:


Describe this piece in detail (3 – 5 sentences) in such a way that you have written the program notes for this
work. Include thoughts about structure, genre, important teaching concepts, where it could fit into a school
calendar, what kinds of ensembles, composer notes, overall difficulty, overall effectiveness, meaning,
poetry, and why students would both like and learn from singing this work?
10

This song is sung from the perspective of the people of Sudan as they endured a brutal
famine in the 1980’s, and the tonality and homophony of the piece embodies the pain,
suffering, and eventual hope they experienced. As aleatoric prayers fill the room, rain, in
the form of snaps, gradually builds and washes away their troubles. This piece
emphasizes the vocal aspects of singing with a mature, but vulnerable tone, all the while
requiring informed emotional connection to the story-telling.

PIECE #9
Title The Storm is Passing Over
Composer Charles Albert Tindley (1851-1933)
Arranger Arr. Barbara W. Baker (b. 1947)
Voicing SSA
Length 3:30
Time period/genre/style Traditional Black Gospel Song
Sacred/secular Sacred
Forces (a cappella, instruments?) Improvisation, solos
Difficulty level & age level High school, easy-med difficulty
Key(s) Ab Major
Meter(s) 4/4
Publisher and Publisher # Hal Leonard, OCTB6841
Cost per octavo $1.95
Miscellaneous

Ranges:
Sop: Ab4- F5
Sop II: Eb- Db
Alto: C4- G4

Annotated discussion, program notes, and/or important information for consideration:


Describe this piece in detail (3 – 5 sentences) in such a way that you have written the program notes for this
work. Include thoughts about structure, genre, important teaching concepts, where it could fit into a school
calendar, what kinds of ensembles, composer notes, overall difficulty, overall effectiveness, meaning,
poetry, and why students would both like and learn from singing this work?

This song tells the joy that comes from the end of hardships, and makes way for healing.
It’s emotional last chorus includes clapping, improvised solos, and an emotional climax
that empowers every audience that witnesses. It provides to young singers meaningful
experience articulating rhythms and internalizing a steady tempo, all the while
celebrating authentically together.

PIECE #10
Title Heaven Unfolding
Composer Andrea Ramsey
11
Arranger
Voicing SATB
Length 4:45
Time period/genre/style Contemporary
Sacred/secular Sacred (open to interperetation)
Forces (a cappella, instruments?) Cello Accompaniment
Difficulty level & age level High School, easy difficulty
Key(s) E Major/ C minor
Meter(s) 4/4
Publisher and Publisher # Hal Leonard 48021217
Cost per octavo $1.95
Miscellaneous

Ranges:
Sop: E4- E5
Alto: A3- C5
Tenor:
Bass:

Annotated discussion, program notes, and/or important information for consideration:


Describe this piece in detail (3 – 5 sentences) in such a way that you have written the program notes for this
work. Include thoughts about structure, genre, important teaching concepts, where it could fit into a school
calendar, what kinds of ensembles, composer notes, overall difficulty, overall effectiveness, meaning,
poetry, and why students would both like and learn from singing this work?

Heaven Unfolding is a more reflective piece, featuring subtle musical shaping and
descriptive text that celebrates the tranquility that gratefulness brings. It is full of text
painting and features a gorgeous cello accompaniment. The idea of “heaven” is not
limited to Christianity or any religion here; it represents utopia in any and all forms
(happiness, contentment, exuberance, wisdom, etc.)

PIECE #11
Title i carry your heart with me
Composer David Dickau (b. 1953)
Arranger
Voicing SATB
Length 4:07
Time period/genre/style Contemporary, tonal ballad
Sacred/secular Secular
Forces (a cappella, instruments?) Poetry by e.e. cummings
Difficulty level & age level High school, hard difficulty
Key(s) E Major
Meter(s) 4/4
Publisher and Publisher # Walton Music,
12
Cost per octavo $2.35
Miscellaneous

Ranges:
Sop: B3- G#5
Alto: G#3- B4
Tenor: B2- E4
Bass: E2- B3

Annotated discussion, program notes, and/or important information for consideration:


Describe this piece in detail (3 – 5 sentences) in such a way that you have written the program notes for this
work. Include thoughts about structure, genre, important teaching concepts, where it could fit into a school
calendar, what kinds of ensembles, composer notes, overall difficulty, overall effectiveness, meaning,
poetry, and why students would both like and learn from singing this work?

This piece focuses on companionship, and its important role in human existence. It
appeals to the human desire for transcendence, and expresses deep emotional affection.
The famous prose of e.e cummings opens up discussion about the relationship between
literary artistry and musical artistry in vocal music (especially contemporary choral
works). It requires harmonic audiation and dynamic sensitivity to perform in a genuine,
effective way.

PIECE #12
Title Jubilate Deo, Alleluia!
Composer Judith Herrington (b. 1962)
Arranger
Voicing SATB
Length ~ 2:15
Time period/genre/style Classical sound
Sacred/secular Sacred
Forces (a cappella, instruments?) Soli group featured as an echo choir
Difficulty level & age level High school, medium difficulty
Key(s) G Major
Meter(s) 4/4
Publisher and Publisher # Pavane Publishing (of Hal leonard) 10512725
Cost per octavo $2.10
Miscellaneous

Ranges:
Sop: D4- E5
Alto: C4- D5
Tenor: D3- E4
Bass: B2-B3

Annotated discussion, program notes, and/or important information for consideration:


13
Describe this piece in detail (3 – 5 sentences) in such a way that you have written the program notes for this
work. Include thoughts about structure, genre, important teaching concepts, where it could fit into a school
calendar, what kinds of ensembles, composer notes, overall difficulty, overall effectiveness, meaning,
poetry, and why students would both like and learn from singing this work?

This mini-choral masterwork highlights sophisticated musicians in the chamber solo


group that echoes the choir. The suggestions by the composer that the solo group should
stand separate from the larger group offers creative conversations about acoustics and
spacing. The joyous Latin text rings throughout the hall, carrying with it an inspirational
ring that makes it an exciting closer for the concert.