High School Lit Annotations

HIGH SCHOOL: SATB

TWENTIETH CENTURY

Hush! Somebody’s Calling My Name

Arranged by Brazeal W. Dennard, SATB a capella, Shawnee Press 35009892
Traditional African American Spiritual arranged for SATB. Key of Bb major, 4/4 time,
relaxed, moderate tempo, ABAB1AB2A form/chorus-verse-chorus, 2-4 measure phrases,
Treble voice range C4 to D5, Bass voice range G2 to D4. Dennard is an African
American composer born in 1929.

Pedagogical Goals
 Swung notes
 Singing complex rhythms
 Dynamic changes

Challenges
 Voiced “sh”
 Difficult entrances in middle section

Difficulty Level for Choir: Moderate

Let Us Walk In Peace

Patsy Ford Simms, for SATB voices and piano with optional instrumental packet and cassette,
Alfred Choral 11573.
The piece begins in Eb major, then modulates to F major halfway through. The time
signature is 4/4 time. The tempo is marked as With Movement and sets the quarter note
equal to 92 beats per minute. The form is ABA’ and has 8 measure macro-phrases. Each
micro-phrase is 2 measures long. The soprano range is Bb3-F5 with a tessitura of F4-C5.
The alto range is Bb3-Bb4 with a tessitura of D4-A4. The tenor range is C3-F4 with a
tessitura of Eb3-D4. The bass range is G2-C4 with a tessitura of Bb2-Bb3.

Pedagogical Goals
 Beginning phrases on off beats.
 Creating warm tones with vocal timbre.
 Audiating key changes.

Challenges
 Intonation between the sopranos and tenors, and altos and basses during parallel octaves.
 Phrasing variance because the song is repetitive. Giving each phrase a sense of direction.

Difficulty Level for Choir: moderate

That Lonesome Road
James Taylor and Don Grolnick, arr. Deen E. Entsminger, for SATB, a cappella, Plymouth
Music Co, INC, PCS-195
Music and Lyrics are by James Taylor and Don Grolnick, ABCA form, A Major, 4/4
Time at 60 bpm. Range is C#4 to B4 for soprano part, A3 to B4 for alto part, E3 to F#4
for tenor part, and A2 to A3 for the bass part. Piece has a tenor solo from m9 to m13. C
Section (Starts m20) has a more flowy feel compared to rest of piece.

Pedagogical Goals
● Using precise consonant cutoffs through the piece, especially on words that end with an f,
d, or t.
● Other parts should be dynamically quieter when the tenors have the melody in the A
sections

Challenges
● Watching conductor for cutoffs and eighth note rests so the choir has uniform cutoffs
● Alto line may have difficulty reaching the A3 on m16, sound should try to be supported
without lowering chin

Difficulty Level for Choir: Moderate

What Sweeter Music

John Rutter, for SATB with organ accompaniment. Oxford University Press, X319
Lyrics are by Robert Herrick. ABACA form. Gb major,3/4 time signature with 66 bpm.
Range is Db4 to Gb5 for soprano, Bb3 to C5 for Alto, Db3 to Gb4 for Tenor, and Bb2 to
Eb5 for Bass. There is a divisi for soprano at m45.

Pedagogical Goals
● Dynamic Variation through each section and when it shifts from treble voices to bass
voices.
● Clear consonant cutoffs as there are many words that end with and begin with C, Th, T,
D, Sh.

Challenges
● A lot of accidentals on M53, makes it feel like it’s in a different key
● Gb4 can be difficult to hit for tenors without proper preparation.

Difficulty Level for Choir: Moderate

 CONTEMPORARY

Come to the Music

Joseph Martin, for SATB with piano accompaniment with optional piccolo and percussion parts.
Shawnee Press, A2138
Lyrics are by Joseph Martin. ABACAA’ form. G major, modulates to Ab major at m87.
6/8 +2/4 time signature with 76 bpm for the dotted quarter note. Range is B3 to Ab5 for
soprano, B3 to Eb5 for Alto, B2 to F4 for Tenor, and B2 to Eb4 for Bass. There are
divisis for soprano and tenor at m101-102.

Pedagogical Goals
● Accented first syllable of “celebrate” for stronger rhythm on strong beat for better feel of
6/8+2/4
● Differentiated sections from A to B to A to C back to A with more legato B and C
sections

Challenges
● B2 may be too low for some tenors to sing
● Stepwise accidentals on m61 to m69 may be difficult to perform

Difficulty Level for Choir: Difficult.

Set Me As A Seal from A New Creation

Rene Clauson, SATB A cappella, Mark Foster Music Company. 2047A
A cappella four parts. Key is in D major. ABA form, each part splits in two in the B
section. 4/4 meter moderately slow tempo. Range in Sopranos is from Treble clef middle
C to second to top line D. Range in Altos is from Treble clef A below the staff to second
to bottom line G. Range in tenors is written an octave higher, from Treble clef D below
the staff to second to top line D (sung an octave lower). Range in Bass is from Bass clef
E below the staff to D above the staff. Stepwise melody with a few leaps.

Pedagogical Goals
● A cappella
● Phrasing

Challenges
● Range in Bass line
● A few difficult leaps

Difficulty Level for Choir: Moderate

 BAROQUE

If Ye Love Me
Thomas Tallis, for SATB with optional keyboard accompaniment. E.C. Schirmer Music
Company, 2992
Lyrics are from a passage by John in the bible. ABC form. F major, 4/4 time signature
with moderate tempo. Range is Bb3 to C5 for soprano, Bb3 to C5 for Alto, F3 to G4 for
Tenor, and C3 to C4 for Bass.

Pedagogical Goals
● Long legato phrases
● Lake of dynamic change can allow it to become boring, so word emphasis is key

Challenges
● Repeated notes can tend to be flat
● Tenors will have to use falsetto for phrases that reach up to G4

Difficulty Level for Choir: Moderate

Now let every tongue adore Thee! (Sleepers, Wake!)

Attributed to Phillipp Nicolai. Harmonization Johann Sebastian Bach. S.A.T.B. Piano
accompaniment, possibly optional. E.C. Schirmer Music Co. E.C.S. No. 1 (269)
This piece is in common time. Performed maestoso. Rhythms are mostly straight
forward. Quarter, half, and whole note. Piece is written in Eb major. Bb is tonicized
initially, maybe a good time to mention secondary dominants as a concept, and maybe
teaching the Lydian mode. Soprano is bottom line Eb to G. Alto is Bb below staff to C on
staff. Tenor is G on staff to top space Eb. Bass touches bottom line Ab to Eb above staff.
Form AAB. Plenty of fermatas so, ensemble needs to maintain breath support and
attention to conductor.

Pedagogical Goals
 Lydian Mode
 Secondary dominants

Challenges
 Emphasizing “Fi” in solfege
 Breath support through fermatas

Difficulty Level for choir: Moderate

 WORLD MUSIC

Baba Yetu [Civilization]

Christopher Tin, for SATB voices and piano with optional instrumental accompaniment, Hal
Leonard Corporation 11203539.
https://www.jwpepper.com/Baba-Yetu/11000945.item#.YjQKg3pKhPY
Baba Yetu is based on The Lords Prayer and is translated into Swahili. The key signature
is G major, and the time signature is 4/4. The tempo is con brio with the quarter note = 92
beats per minute. The phrases should be 4 measures long. The form of the song is
ABA’B’CA”B with a coda. During the bridge (Section C) the piece modulates to E
major, then returns to G major for the A” section. The soprano range is D4-E5 with a
tessitura of G4-C5. The alto range is A3-B4 with a tessitura of D4-G4. The tenor range is
F3-G4 with a tessitura of B3-E4, and the bass range is G2-B3 with a tessitura of C3-G3.
There are several options for solo’s throughout the piece.

Pedagogical Goals
 Syncopation, tied sixteenth notes.
 Breath support through long phrases.

Challenges
 Diction and language
 Chromatic modulation section/intonation

Difficulty Level for Choir: difficult

Bayasibiza
Arr. Michael Barret & Mbuso Ndlovu. Djembe and hand claps accompaniment. SATB. Tenor
duo. Walton WW1864.
Song is notated in 4/2 time. Longer syncopated phrases. “Very freely, ad lib, with
scoops”. Time to explain scoops. Written in key of Gb, could maybe perform in G, and
switch would be very easy. Text is traditional isiZulu. Focus on proper pronunciation.
Translate “Here are the people calling us. Come and listen to Tukkies. What did they
say? Come and listen to Tukkies.” Form is simple and repetitive. AABCB. Soprano and
Alto range is very small. No concerns about performing them. Bass range is a little higher
in the register but not undoable. Choir chords are very tight. Tenors get as high as Eb and
as low G.

Pedagogical Goals
 Syncopation
 Diction
 Scoop technique

Challenges
 Clear pitches on scoops
 Longer syncopated phrases
 Conducting freely without losing the feel

Difficulty level for Choir: Difficult

Ranpono
Sydney Guillaume. SATB with divisi, a cappella. 2015 Sydney Guillaume.
Text by Gabriel T. Guillaume. Text inspired by laborers working together as a
community during the Haitian Ranpono. Sydney Guillaume is a Haitian American
composer, conductor, clinician, singer, and pianist. Through composed. Key of b minor.
4/4, strong (quarter note=160). Range G2 to G5. Some repeated notes/ostinato patterns,
leaps, and some stepwise motion.

Pedagogical Goals
 Part independence
 IPA (to read text)
 Dynamic contrast

Challenges
 Part independence – every voice part has different rhythms, pitches, text, and sometimes
divisions within each section
 Precise entrances
 Learning Haitian text (vowel unification, pronunciation)

Difficulty Level for Choir: Difficult

 RENNIASSANCE

Ein Hennlein Weiss (A Small White Hen)

Antonio Scandello/arr. John Leavitt - Hal Leonard Corporation. SATB
A rather comical madrigal about a chicken laying an egg. Strophic form. Key of C major.
2/2 meter but there are several changes to 3/2 and 3/4. Pretty brisk tempo, since it is in
cut time and is described as “Spirited” (half note=76-80). Range is Ab2 to Eb5. Parts are
pretty stepwise but with lots of chromaticism, except for the bass which leaps around a
bit more. There are quick meter changes in the B section. This is generally performed
acapella with a piano part for rehearsal purposes only but could be added if necessary.
English lyrics are provided as well so you can choose to use one or both of the languages
when performing.

Pedagogical Goals
 History and background on madrigals
 Dynamic contrast
 Jumping in and out of homophony and polyphony

Challenges
 Counting on sustained notes
 Meter changes
 Again, fast and in German

Difficulty Level for Choir: Medium-Hard depending on how you choose to perform it

Sicut cervus
Giovanni Pierluigi da Palestrina. SATB, a cappella. Public Domain.
Text from Psalm 42:1 in the Bible. Latin text. Palestrina was one of the most influential
composers of sacred music during the Renaissance. Through composed. Key of Ab
Major. Common time (4/4). Range A2 to E5. Some repeated notes, several melismas,
leaps, and some stepwise motion.

Pedagogical Goals
 Intonation/Vowel Unification
 Long, flowing phrases (especially the melisma on “aquarum” and “desiderat”)

Challenges
 Part independence – every voice part has different rhythms, pitches, and text
 Precise entrances
 Breath support during long phrases

Difficulty Level for Choir: Moderate

 JAZZ

I’ll Be Seeing You

Irving Kahal and Sammy Fain. Arr. Phil Mattson. SATB a cappella. Williamson Music Co.
7399903316
An SATB a cappella arrangement of a standard from the great American songbook. Ideal
for vocal jazz ensembles. English text. Bb major with frequent modal mixture and
chromatically driven jazz harmonization. 4/4 meter for entirety of piece. Choir is
instructed to sing “freely” and no specific tempo is specified. The piece could be sung
almost entirely in a rubato feel. Range B2 to D5. This piece is chromatically difficult but
is short at only 32 bars.

Pedagogical Goals
 Introducing jazz harmonies to an advanced group
 Introducing rubato
 Jazz standard forms (AABA, etc)

Challenges
 Following the director to achieve unity through rubato (or self-conducting)
 Managing chromatic modal mixture without the assistance of an accompaniment
 Maintaining part independence- especially among middle voices (AT)

Difficulty Level for Choir: Difficult

Jazz Alleluia
Craig Curry, SATB with piano, Alfred Music
This piece is a vocal jazz SATB arrangement for an alleluia prayer (meaning “Praise Jah,
you people”) in Hebrew. Written in D major, the song has multiple areas for dissonance
and nontraditional chords. This song can present issues of part independent and pitch
security because of its abstract chord changes. The time signature is in 4/4, and the
rhythm is simple for a High School Level. The tempo is slow, with a quarter note=64.

Pedagogical Goals:
 Breath control in long phrases
 Variation with repeated lyrics

Challenges
 Keeping sense of tonic with nontraditional chord changes
 Vowel modification to avoid moving off center

Difficulty: Difficult
 CLASSICAL

Ave Verum Corpus

Wolfgang Amadeus Mozart. SATB with piano accompaniment. Public Domain.
A lyrical and legato choral setting of a sacred text. Latin Text. D major with some modal
mixture. Cut time for entirety of piece. Choir is instructed to sing with an “Adagio”
tempo. Range A2 to E5. This piece is a well-known choral arrangement from the classical
era. Harmonies are mostly consonant. This piece should be possible for any high school
SATB group with the help of practice tracks and rehearsal.

Pedagogical Goals
 Introducing characteristics of the classical era
 Latin pronunciation
 Polyphony vs. Homophony

Challenges
 Matching Latin vowels
 Managing dynamic shifts
 Paying attention to the important lines and shifting accordingly

Difficulty Level for Choir: medium

Lacrimosa
W.A. Mozart/ed. Cameron LaBarr - Walton Music. SATB
A sacred text from Mozart’s Requiem in D minor. ABA’B’ form. Key of D minor. 12/8
meter. Very slow tempo (Larghetto, dotted quarter=44-48). Range is G2 to A5. There are
lots of leaps in the main motif of the A section. The B section is much more stepwise.
The range of individual sections is rather large so there may need to be options for
students who cannot sing quite low or high enough within their section. There is a piano
accompaniment which mimics the orchestra part in the original Requiem.

Pedagogical Goals
 Teaching about the classical era, Mozart specifically, and the text.
 Long, connected line in legato sections.
 Latin diction.

Challenges
 Reading in a slow 12/8
 Staccato and short notes
 Breath support through longer legato phrases in the B section

Difficulty Level for Choir: Medium

 ROMANTIC

Kyrie from Mass in G

Franz Schubert, Arranged by John Leavitt, SATB with piano accompaniment, Shawnee Press
35012156
Romantic style piece with repetitive lyrical lines. SATB arrangement of the traditional
sacred piece by Schubert. Latin. Starts in G major, modulates to E minor at m. 30,
modulates back to G major at m. 60, ¾ time, moderate/fast tempo, AA1BAA form, 3 to 5
measure phrases, Soprano range G4 to G5, Alto range C4 to B4, Tenor range F3 to G4,
Bass range G2 to D4.

Pedagogical Goals
 Vowel unification
 Singing long, connected phrases
 Dynamic contrasts

Challenges
 Syncopated rhythms
 Repetitive text

Difficulty Level for Choir: Moderate

Locus Iste
Anton Bruckner, SATB acapella, G Schirmer, Inc., Octavo no.12052
Locus Iste is a Romantic era piece based on the styles of the Renaissance era. The text is
Latin, and comes from a Mass dedicated to celebrating the birth of a new church, loosely
translating to “This place was made by God, a priceless mystery, it is beyond reproach.”
The rhythm in this song is relatively easy, consisting of mostly quarter and half notes
with the occasional 8th and 16th combination. The melody seems simple at first glance, but
it contains many parts that seem like modulations. Page 5 may be difficult with retaining
a sense of tonality.

Pedagogical Goals:
 Latin diction
 Security with staggered entrances

Challenges:
 Keeping a sense of tonality with unidentified modulations
 Security with staggered entrances
 Staying in tune while singing acapella

Difficulty: Easy/Moderate
Os Justi
Anton Bruckner. SATB a cappella. Public Domain.
An SATB, through composed piece. Ideal for advanced chamber ensembles. Latin text. C
major with modal mixture. Cut Time for entirety of piece. Choir is instructed to sing
“Nicht Schnell” or not too fast and no specific tempo is specified. Range D2 to A5.

Pedagogical Goals
 Identifying modes
 Latin Text
 Identifying polyphony and monophony

Challenges
 Maintaining part independence through polyphony
 Precise entrances and cutoffs
 Managing inter-part divisi/balance

Difficulty Level for Choir: Difficult

POP

Pure Imagination from Willy Wonka and the Chocolate Factory

Leslie Bricusse and Anthony Newley, Arranged by Matthew D. Nielson, SATB (with divisi)
with piano accompaniment, Santa Barbara Music Publishing SBMP 1214
Originally written for the movie, Willy Wonka and the Chocolate Factory. Arranged for
SATB choir. Key of D major, primarily written in 4/4 time with measures of ¾, 5/4, and
6/4, the B section starts in 2/2 time to create a bounce-like feel, moderate/slow tempo, 2/2
time starts a faster tempo, through to the end of the piece to tempo gradually slows,
ABCB1C1 form, 4 measure phrases, Soprano range B3 to E5, Alto range B3 to C5,
Tenor range A2 to, Bass range A2 to D4.

Pedagogical Goals
 Singer longer, legato phrases
 Vowel unification

Challenges
 Larger leaps
 Mixed meter/tempo changes

Difficulty Level for Choir: Easy

 GOSPEL

All That Thrills My Soul

Thoro Harris, arr. Mark Hayes, SATB with piano, Nazarene Publishing House and Lorenz
Publishing Company
This piece is an arrangement of the old hymn “All That Thrills My Soul.” The piece is a
slow ballad, with quarter note=72, and the key is Bb. The chorus contains multiple
accidentals in the alto line, making the song sound like it is temporarily modulating to G
minor. This song is simple for choirs, but may be difficult for the inside voices to
maintain their sense of tonality. There is also a small split into SSA in measure 35,
creating a stronger need for part independence.

Pedagogical Goals:
 Part independence between 2-3 part split transitions
 Intonation within inside voices

Challenges:
 Maintaining sense of tonic during temporary modulations
 Consonant placement

Difficulty: Moderate

SACRED

Jubilate Deo
Peter Angela, SATB with piano, Hinshaw Music, Inc.
“Jubilate Deo omnis terrra” translates to “make a joyful noise unto the Lord.” The song is
in 10/8 and in the key of A major. The time signature switches to 6/8 in measure 8. It
switches back to 10/8, and then switches to 4/4 in measure 39. The tempo is quarter=84
and marked as “joyfully”. There is a lot of dynamic variation throughout the piece, with
crescendos and decrescendos throughout the text. There is also a modulation in measure
55.

Pedagogical Goals:
 Latin diction
 Time signature changes

Challenges:
 Energetic legato
 Singing acapella (beginning)
 Singing in different rhythms than other parts in the ensemble

Difficulty: Moderate
 HIGH SCHOOL: SATBB

WORLD MUSIC

Duond Akuru
Rollo Dilworth, SAT(Ba)B with piano accompaniment with optional flute and percussion. Hal
Leonard, 08711381
Music and lyrics are by Rollo Dilworth. ABCDE form. F major modulates to Ab major
on m36. 4/4 time at 96 bpm. Range is Eb4 to F5 for soprano, C4 to C5 for alto, Ab3 to F4
for tenor, C3 to D4 for Baritone and Ab2 to D4 for the bass part. The piece splits into five
part SATBB at measure 36 with the tenor being split at the bottom of the treble staff.

Pedagogical Goals
● Precise bass/tenor ostinato pattern while trying to not be flat on the repetitive notes
● Separated syllables in African text for better consonants.

Challenges
● African text may be difficult for some individuals who may have not sung in a foreign
language before
● Baritone part may be difficult for split as there may not be enough bass clef singers who
can sing the range

Difficulty Level for Choir: difficult

 HIGH SCHOOL: SA

WORLD MUSIC

Vidalita
Diana Saez, SA with piano, Boosey & Hawkes, Inc. an Imagem Company. 979-0-051-48396-9
Traditional Folk song from Argentina. Partner song. Key is in E minor. ¾ meter, slow
tempo (quarter note equals 80). Range is from treble clef bottom line E to top space E.
Stepwise melody with a few leaps and accidentals.

Pedagogical Goals
● Sung in Spanish
● Dotted eighth to sixteenth note rhythmic ostinato
● Phrasing, long beautiful phrases

Challenges
● Accidentals
● Pronunciation of the lyrics

Difficulty Level for choir: moderate

 HIGH SCHOOL: SSA

POP
Blackbird
Deke Sharon, SSA A Cappella, Hal Leonard Corporation. 00114541
Choral A Cappella arrangement of Blackbird by the Beatles. Verse and Refrain form.
Key is in E major. ¾ meter moderately fast tempo (quarter note equals 96). Range in
Soprano parts (1 and 2) is from Treble clef A below the staff to top space E. Range for
the Alto part is sung in the tenor range and is the same range for sopranos but an octave
lower. Stepwise melody with a few leaps. Parts that don’t have melody are imitating a
guitar.

Pedagogical Goals
● A Cappella
● Imitation of instruments
● Rhythmic ostinatos

Challenges
● Altos sing in the tenor range, may be low for them
● Syncopated rhythm
● Repeats and Delsigno

Difficulty Level for choir: moderate

 HIGH SCHOOL: SSAA

CONTEMPORARY

Old Abram Brown

Benjamin Britten, SSAA with piano, Boosey & Hawkes. 1787
Text is from “Tom Tiddlers Ground” by Walter de la Mare. Cannon (round) form. Key is
in G major. 4/4 meter moderate tempo. Range in all parts is from Treble clef bottom line
E to top space E. Stepwise melody with octave jumps at the end of each phrase.

Pedagogical Goals
● Part Independence
● Cannon in four parts
● Learning italian music theory terms

Challenges
● Octave Leaps
● Transition from unison to cannon

Difficulty Level for Choir: Easy

BAROQUE

Music for a while

Henry Purcell, arr. Gunnar Eriksson, adaptation for SSAA by Maria Gamborg Helbekkmo.
SSAA + soprano solo, a cappella. Bo Ejeby Forlag.
Text by John Dryden and Nathaniel Lee. Text inspired by the importance of music.
Purcell wrote the song in 1678 for the tragedy of Oedipus. ABCA’. Key of a minor.
Common time, andante. Range E2 to F5. Some repeated notes, several melismas, leaps,
several accidentals, and some stepwise motion.

Pedagogical Goals
 Part independence
 Intonation/Vowel Unification
 Long, flowing phrases (especially the melisma on “eternal” and “pains”)

Challenges
 Make sure that the choir does not overpower the soloist
 Part independence – every voice part has different rhythms, pitches, and text
 Precise entrances
 Breath support during long phrases

Difficulty Level for Choir: Moderate

 WORLD MUSIC

Sigue
Ivette Herryman Rodriguez & Nicolás Guillén. Arr. Phil Mattson. SSA with piano
accompaniment. Walton Music. WLG150
An SSAA accompanied arrangement of poem by the Cuban poet, Nicolás Guillén. I deal
for more advanced treble ensembles. Spanish text. G major for the entirety of the piece.
2/4 meter for entirety of piece. Choir is instructed to sing “with joy” and at a moderately
fast tempo (quarter note equals 85). Frequent syncopation. Range G3 to E5. May require
a larger group of singers to manage splits within each of the 4 parts.

Pedagogical Goals
 Mastering syncopated rhythms
 Incorporating Spanish text
 Inter-part splits

Challenges
 Maintaining part independence when each of the four parts split into eight
 Eliding Spanish words to combine two syllables into one note
 Lining up syncopated parts among eight parts

Difficulty Level for Choir: difficult

CLASSICAL

Gloria
Antonio Vivaldi, arranged by William Chin and Javier Jose Mendoza, for SSAA voices with
keyboard accompaniment, Colla Voce Music LLC 10291520.
https://www.jwpepper.com/Gloria/10291520.item#.YjQO5HrMJPY
The key signature of the piece is in D major, and the time signature is common time. The
tempo is allegro, and the form is through-composed. The phrases range anywhere from 2
measures long to 12 measures long. The soprano 1 range is G#4-E5 with a tessitura of
A4-D5. The soprano 2 range is D4-D5 with a tessitura of F4-C5. The alto 1 range is B3-
G4 with a tessitura of D4-F4. The alto 2 range is A3-A4 with a tessitura of A3-E4.

Pedagogical Goals
 Breath support and raising soft palate over long phrases.
 Stagger breathing in passages without breaks.
 Altering diction (consonants) to have more accurate note onset (G’s become K’s, R’s are
flipped).

Challenges
 Intonation over long, chromatic phrases.
 Breath support

Difficulty Level for Choir: difficult

 TWENTIETH CENTURY

Three Selections from Winter Cantata (So Deep, Gentlest Fall of Snow, Fallen Leaves)
Vincent Persichetti. Piano accompaniment. SSAA. Elkan-Vogel, inc. 362-03126.
First piece written in 2/2. Half note equals 42. 2nd piece is 2/4 quarter note equals 88. A
and B section. 3rd piece is written in 2/4 but with mixed meter sections. Quarter note at
168. Entire piece is written in key of C but accidentals are consistently written in defining
a different key. Piece one appears to have a center of Bb. Switches between modes of
Major and minor. 2nd piece harmony is very crunchy. Ends on a F with a flat 5th. 3rd piece
ends on a suspended C# chord. Middle piece is 4 part SSAA, and 1st and 2nd pieces are 2
part.

Pedagogical Goals
 Shifting unclear tonality and modality
 Reading 2/2 time.
 Mixed Meter

Challenges
 Reading strictly accidentals without a set key.
 Piano is playing a different set of accidentals even when on enharmonically equal pitches.
 Dissonance.

Difficulty Level for Choir: Very difficult

 HIGH SCHOOL SAB DIV.

POP

Rise Up
Andra Day (artist), Cassandra Batie (known professionally as Andra Day) and Jennifer Decilveo
(composers), arr. Mac Huff. SAB with divisi, a cappella. Hal Leonard (#HL 00260525).
Text by Cassandra Batie and Jennifer Decilveo. Text inspired by the importance of
supporting your friends during good and bad times. Cassandra Batie/Andra Day is a
Grammy nominated singer and songwriter. ABABCB. Key of C Major. 4/4, Gospel
Ballad (quarter note=60). Range C3 to G5. Some repeated notes, several melismas, leaps,
and some stepwise motion. Accompaniment plays diatonic harmonies and does not
outline the melody.

Pedagogical Goals
 Intonation/Vowel Unification
 Long, flowing phrases (especially the melisma on “move”)

Challenges
 Performing pitches and rhythms as written (not the way it stylistically done in the original
pop song)
 Breath support during long phrases

Difficulty Level for Choir: Moderate

 HIGH SCHOOL: TTB

TWENTIETH CENTURY

Danny Boy
Traditional Irish folk melody. Arr. Thomas Juneau. TTB. Hal Leonard (#HL 00210335).
Text by Frederick Edward Weatherly. Text inspired by a message from a parent to their
child before going off to war. ABA’B’. Key of Eb Major. 4/4, gently (quarter note=60).
Range C3 to G5. Some unison phrases, repeated notes, leaps, and stepwise motion.
Accompaniment plays diatonic harmonies and sometimes outlines the melody.

Pedagogical Goals
 Expressiveness through phrasing
 Intonation/Vowel Unification
 Dynamic contrast

Challenges
 Breath support during long phrases
 Independence from accompanist

Difficulty Level for Choir: Easy

 HIGH SCHOOL: TB

POP

Take Me Home, Country Roads

John Denver & Roger Emerson. TB with piano accompaniment and optional guitar. Hal
Leonard 00295220
A two-part bass arrangement of John Denver’s Take Me Home, Country Roads. Ideal for
a beginning bass ensemble. English text. G major for the entirety of piece with simple
harmonization. 4/4 meter for entirety of piece. Choir is instructed to sing “freely” at a
moderate tempo (quarter note equals 96) and with swung eighths. Range C3 to D4. This
piece could easily be thrown together in a few rehearsals and still be concert ready.

Pedagogical Goals
 Introducing harmonies
 Introducing swung eighths
 Coordinating with guitar accompaniment

Challenges
 Following the director to achieve unity throughout piece
 Unity on swung rhythms
 Maintaining part independence through harmony

Difficulty Level for Choir: easy

 HIGH SCHOOL: SAB

POP

We Don’t Talk About Bruno [Encanto]

Lin-Manuel Miranda, arranged by Mark Brymer, for SAB voices and piano with optional
instrumental accompaniment, Hal Leonard Corporation 11388495.
https://www.jwpepper.com/We-Don%27t-Talk-About-Bruno/11388494.item#.YjQOvHrMJPY
The form of the piece is ABACAD with a coda. The key is c minor, and the piece has a
4/4 time signature. The tempo is indicated as Mid-Tempo Latin, with the quarter note set
to equal 103 beats per minute. The phrases should be thought of as 4 measures long,
though singers will breathe during rests in the middle of the phrase. The soprano range is
G3-D5, with a tessitura of Eb4-C5. The alto range is F3-Ab4 with a tessitura of C4-G4.
The baritone range is B3-Eb4 with a tessitura of G3-C4.

Pedagogical Goals
 Accenting the correct syllables, either marked in the score or interpreted.
 Different types of articulations: Accent, staccato, legato.
 Breath support maintained through spoken lines.

Challenges
 Intonation during chromaticism’s and passages with large intervallic jumps.
 Part independence, especially during the coda.

Difficulty Level for Choir: difficult

 VOCAL JAZZ

Everything But You

Duke Ellington, Harry James, and Don George. Arr. Kirby Shaw. SAB. Piano accompaniment.
Opportunity to have full rhythm section. Hal Leonard. 00328970
Song is written in 4/4. Swing feel. Medium swing quarter note 120. Some syncopation
and bebop rhythms with phrases ending on the off-beat. Key of F but with changing key
centers because of jazz harmony. Plenty of accidentals and voice clusters. At most 4
voices at a time. Sometimes 3 voices in treble voice. AABA-chorus-A. The chorus
(repeat of the form) has a scat section. Maybe a good time to introduce improvisation.

Pedagogical Goals
 Jazz harmony (ii-V-I)
 Improvisation
 Scat syllables

Challenges
 Clusters providing lack of traditional harmony
 Time feel and syncopation

Difficulty Level for Choir: Moderate

 HIGH SCHOOL: SSATB

RENNIASSANCE

My Bonnie Lass She Smileth

Thomas Morley, arranged by John Leavitt, for SSATB voices A Capella, Hal Leonard
Corporation 10760350.
https://www.jwpepper.com/My-Bonny-Lass-She-Smileth/10760350.item#.YjNopHrMJPY
Each part can stand alone as its own melody. The form of the piece is AABB with a
repeat. The key signature is G major with a time signature that begins with 2/2, then
switches to ¾. The phrases of the piece are 4 measures long. The tempo is Allegretto with
the quarter note equaling 92 beats per minutes. The soprano 1 range is F4-G5 with a
tessitura of B4-G5. The soprano 2 range is B4-C5 with a range of E4-C5. The alto range
is A3-G4 with a tessitura of D4-G4. The tenor range is D3-E4 with a tessitura of G3-D4.
The bass range is G2-A3 with a tessitura of C3-G3.

Pedagogical Goals
 Terrace dynamics
 Breath support and raised soft palate for long, sustained phrases.

Challenges
 Staying in time and not rushing.
 Part independence.
 Intonation as an A Capella piece.

Difficulty Level for Choir: difficult

 CONTEMPORARY

‘Round the Glory Manger

Arr. K. Lee Scott. S.S.A.T.B a cappella. Piano is in score for rehearsals. Hinshaw Music. HMC-
866.
This piece is typically in 4/4 and listed as “Fast and bright” with quarter note at 104.
Chorus sections are mixed meter that switch quickly between measures of 4/4, 3/4, and
2/4. Text is listed as a Spiritual. Key is in G major through out with no modulations.
Form is repetitive. Verse-Chorus-Verse-Chorus-Verse-Last Chorus. Because of this, the
sections have plenty of dynamic a textural contrast. Quieter sections are followed by
louder sections. 3rd Verse has a solo for either soprano or tenor. Range for voices: soprano
is second line G to high G. Alto is middle C to 4th line D. Tenor is low D is top space E.
Bass is bottom line G to C above staff.

Pedagogical Goals
 Mixed Meter sections.
 Louder dynamics when adding more voice parts.

Challenges
 Conducting mixed meter sections clearly.
 Emphasizing dynamic contrast from verse to verse.

Difficulty Level for Choir: Moderate

 HIGH SCHOOL: SSAATB

WORLD MUSIC

Dziediet, Meitas!
arr. Laura Jekabsone - Walton Music. SSAATB
Latvian Folksong adapted for choir. ABA form. Key of D major but the melody is in
mixolydian so there is a lot of C naturals. 4/4 meter. Medium tempo (quarter note equals
94) described as “bravely”. Range is C3 to F#5. A lot of the lines are stepwise with small
leaps. The solo parts jump around a bit more. The B section changes the style and feel
pretty drastically. The song is meant to be performed with simple body percussion (stomps
and claps). Lots of opportunities for soloists if that fits your group, easy to give solos to a
section or small group.

Pedagogical Goals
 Call and response
 Sustained notes and cutoffs
 Dynamics (specifically quick crescendos and decrescendos)

Challenges
 Moving between unison and call and response
 Singing in a foreign language which is not sung often with American choirs
 Repetitive parts could be easy to get lost

Difficulty Level for Choir: Medium

 JAZZ
Minecraft
Arr. Kerry Marsh - Kerry Marsh Publishing. SSAATB
Video game music adapted for a choral setting. Just repeats a similar section over and
over with slight variations on the melody. Key of Gb major. Cut time. Medium slow
tempo (Half note equals 60) even for cut time because of the slow rhythms. Range is Bb2
to Gb5 (optional Bb5). The main melody includes some awkward leaps. Stays entirely
diatonic. There is a simple piano accompaniment that mimics the voice parts and is
basically the original piano part from the game.

Pedagogical Goals
 Emphasized weak beats
 Dynamic control
 Matching vowels since there are no words.

Challenges
 All nonsense syllables
 Keeping the same tempo and not rushing anticipated notes.
 Nonconventional harmonies and extensions on chords.

Difficulty Level for Choir: Hard

 HIGH SCHOOL: TTBB

ROMANTIC

Die Minnesanger (Op. 33, No. 2)

Robert Schumann/ed. Matthew D. Oltman - Hinshaw Music, Inc. TTBB
A part-song for a male chorus written by Schumann. ABACAD form. Key of C major.
2/4 meter. Very quick tempo not exactly specified, just described as light and quick.
Range is F2 to G4. The melody is pretty stepwise, larger leaps in the bass. Each voice
part stays in a small range. Lots of grace notes and chromaticism for quick tonality
changes. This is generally performed acapella with a piano part for rehearsal purposes
only but could be added if necessary.

Pedagogical Goals
 German diction
 Dynamic contrast
 Balance

Challenges
 Chromaticism
 Tuning
 Really fast AND in German will be tough.

Difficulty Level for Choir: Hard

 HIGH SCHOOL: SAATB

RENNIASSANCE

The Blackbird from Songs and Psalmes

John Mundy, SAATB a cappella, Public Domain
Through-composed madrigal from Mundy’s larger work, Songs and Psalmes. Key of C
major, single chords at ends of phrases that modulate the key, cut time, moderate tempo,
madrigal form, 4 to 6 measure phrases, Soprano range G4 to A5, Alto range A3 to D5,
Tenor range C3 to E5, Bass range C3 to D4. John Mundy lived during the Renaissance
period in England. He was one of the earliest madrigalists.

Pedagogical Goals
 Part independence
 Listening to each other
 Following the conductor

Challenges
 Many contrasting lines
 Larger leaps

Difficulty Level for Choir: Difficult

 HIGH SCHOOL: SSATBB

WORLD MUSIC

Baba Yetu
Christopher Tin (from Sid Meier’s Civilization IV) SSATBB with piano and optional
instrumental accompaniment, Hal Leonard Corporation
Baba Yetu is a Swahili translation of the Lord’s Prayer. The tempo is marked at quarter
note=92, making it fast but not rushed. The piece begins in G major and transitions to D
major. This piece contains multiple small modulations throughout the bridge and
choruses. It returns to G major at the end. Difficulties in this piece include multiple
modulations, fast rhythms with 16th notes, pronunciation of a different language and
multiple part splits.

Pedagogical Goals:
 Learning Swahili diction
 Fast rhythms
 Multiple modulations

Challenges:
 3-part divisi between single parts
 Diction with 16th notes

Difficulty: Difficult