Galop

3
for the 2006 Alabama ACDA Young Voices Boys Choir

3. Galop
(from Solfege Suite for Unison /2-Part Choir and Piano)
Ken Berg
  
     2     3    4       
Allegro q = 140
 
1 5
               

   
Piano mf playfully
           

    
mf playfully, 2nd time p

        
6 7 8 9 10 11
      

so so so do do do mi mi mi
        
             
  

         
   
        
        
    
 12    17 f both times
 
     
13 14 15 16
           
so so so fa mi fa mi re do re do ti la ti la so so so so
            

                   
 
    
       
    
P1307
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4
 18       
  
19 20 21 22
       
do do do mi mi mi so so so fa mi fa mi re do re do
          

               
 

    
     
1. 2. f con forza
 23  
            
24 25 26 27
     



ti so la ti do do do ti so la ti do do do Re re
  
            
         

          
f con forza
   

            
  
mp subito f con forza

 28 
  
29 30 31 32
  

    







re re re la ti do ti la so re re re re
  
                       

     
f con forza

mp subito
   
        
 
mp subito
 33    
    
34 35 36 37
        
   
re ri mi fi so so so re re re re re la ti do
   
         
             

          
mp subito f con forza mp subito
  
       
  
5
f con forza mp subito
 38      
         
 
39 40 41 42 43
    






  

ti la so re re re re re ri mi fi so fi so fi
   
 
                     
    


             
f con forza mp subito
     
   
       
    
 

mp con poco giocoso
 44     45   46   
       
47 48 49
       
   
so fi so fi so (whee!) so so so do do do mi mi mi so so so
 
                

           
mp
    
      
mp con poco giocoso
            
 50   54 f con forza

   
51 52 53 55
               
fa mi fa mi re do re do ti la ti la so so so so do do do
                

   
    
    
         
   

f con forza
        
       
 56    
    
        
57 58 59 60 61
     
mi mi mi so so so fa mi fa mi re do re do ti so la ti do do do
     
                         
         

   
         
             
6 f espr., with a sense

of worried urgency
 62
       
63 64 65 66 67
   
  
mi la mi do re
          with a sense of worried
         
             
urgency
  
       

  
f espr.
    
      
   
 73 
      
 68
     
69 70 71 72
      
       
mi re do ti la la la MI LA MI do re mi re do ti la!
      
           
  
             
 

     
 
       
     
mp sempre urgento
 74  
              
75 76 77 78 79
   
  
mi la mi do re mi re do ti la la la MI LA MI do re
                       


                  
 

mp sempre urgent












f
più f
 80  
      
   
81 82 83 84 85
   
   
mi re mi fi so so so re fa re do so do
   
      

   

  

   
      

          

   

  
f
            
 
7
Meno mosso q = 90

ff p

     
G.P.
 86
  

87 88 89 90
      
   
 
ti LA so fa mi re do ti la so!
 
     

G.P.
     

   


f 
 
    
         
  

Presto q = 155
p delicatissimo
 91       
  
92 93 94 95 96
          
so so so do do do mi mi mi so so so fa mi fa mi re do re do
               

                  
 

p delicatissimo
     
     
mf dolce
 97
           
98 99 100 101
      
ti la ti la so so so so do do do mi mi mi
               

              
   
mf dolce
    
      
   
 102
   
       
103 104 105 106
        
so so so fa mi fa mi re do re do ti so la ti do do do
                   

               
 
       
   
8
f con forza mp subito f con forza
 107
  

  
108 109 110 111
        
    
re re re re re la ti do ti la so re re
    
                     

        
  f con forza
           
  
112 
       
113 114 115 116
  
  







re re re ri mi fi so so so re re re re
    
                     
 

        
  
          
mp subito f con forza mp subito e cresc


             
117 118 119 120 121
   
   
re la ti do ti la so re re re re re ri mi fi
    
                      


               
mp subito f con forza mp subito e cresc

    
       
 
f
         
               
122 123 124 125 126
       
         
so fi so fi so fi so fi so fi so fi so fi
  
 
    

              

     

    

 
f
   
                 
       
9
ff
  
shouted expressively
 127          130
    
 
128 129 131
     
   
     
so si LA KEY! CHANGE! (Whee!) so so so do do do
        
            
 
  
 


  

ff
              
  
      
 132 133
   134
   
135 136
           
mi mi mi so so so fa mi fa mi re do re do ti la ti la

          
 
  
 
  
 


         

    
    
  137      
  
138 139 140 141
       

so

so so so do do do mi mi mi so so so
  
                  
            

 
   
           
  142   
                 
143 144 145 146

fa mi fa mi re do ti so fa so fa mi re do la so la so
            
   
     
 
 
  

        
  

 
     
      
10
   
f con fiero
     
poco accel. al fine
    
147 148 149 150 151
     


fa mi fa mi re do re do ti so la ti do SO SO
               
        

   
     


     
f con fiero
   
 152      

  
153 154 155 156

SO SO so fi so la so fi
                      
     


   

   

   

   
mp subito e molto cresc.

 157  158     159     160     161    

       
so la so fi so la so fi so la so fi so la so fi so la
    
                   
    
 
  

mp subito e molto cresc.
   
 
   
 
   
 
   
 
  
f ff
           
     
162 163 164 165
 

so fi so la so fi so la so so la ti DO DO DO!
          

         
      
     

f
 
 
   
 
    
 
ff

 

 

Performance Notes
A galop is a lively round dance, not to be confused with a horse’s run
at full speed. As with the other two pieces in this suite, the "Galop" has
easily identifiable sections- the rondo form is both easy and fun!
Be careful not to start too quickly, or the ending will have nowhere to
go. After the cadenza, the recapitulation of the "A" and "B" sections
should be significantly faster than the beginning while leaving room for
the final accelerando.
In the "C" section (mm 66-90), you can discuss the momentary
incursion of a minor tonality complete with scale degree "fi" (B>).
A slide whistle provides an excellent example of the vocal requirements

of the "whee" singers in measure 129; it’s remarkable what you learn
about your choristers’ voices by hearing different ones sing the "whee"
each rehearsal!
As always, however your choir performs this piece best is both correct
and desirable. Have fun and smile!
Ken Berg graduated from Samford University
with a BME and an MME in 1977 & 1981
respectively. Ken and Susan, married in the
summer of 1977 are the proud parents of
Michael and David, both fine musicians in their
own right. From 1977 - 2005, Ken served as
Choral Director and Fine Arts Chairman at
John Carroll Catholic High School. In 1978,
Ken and Susan took over as music directors
and accompanists for the Birmingham Boys
Choir, a group that has toured extensively
through western Europe and most of North
America. (www.birminghamboyschoir.com)
Currently, Ken is the Music Minister and Resident Composer at Mountain
Brook Baptist Church in Birmingham, Alabama. In addition to being a
clinician and adjudicator, Ken is also serving currently as an officer in the
Alabama ACDA. He is published by Carl Fischer, Chorister’s Guild, Colla
Voce, Hal Leonard, Morning Star, National Music Publishers, Pavane
Publishing, Santa Barbara Music Publishing, Inc., and Walton Music.
08301802 Galop 2 Part P1307 $1.80
8 84088 13609 3 www.PavanePublishing.com

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3

for the 2006 Alabama ACDA Young Voices Boys Choir

mf playfully, 2nd time p

mp subito f con forza

 50   54 f con forza

                       

mp subito f con forza mp subito e cresc

 152      

mp subito e molto cresc.

          

A slide whistle provides an excellent example of the vocal requirements

08301802 Galop 2 Part P1307 $1.80

8 84088 13609 3 www.PavanePublishing.com

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