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3-29-2008 Integrating Handel's Oratorios into the Middle School Repertoire: Arranging for Middle School Choirs Maya Louise Neely Longwood University
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Recommended Citation Neely, Maya Louise, "Integrating Handel's Oratorios into the Middle School Repertoire: Arranging for Middle School Choirs" (2008). Theses, Dissertations & Honors Papers. Paper 61.
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"Submitted to the Faculty of the Department of Music at Longwood University in Partial Fulfillment of the Requirements for the Master of Science in Education ."
Maya Louise Neely 804-338-4715 1849 Rockvale Road Lancaster, PA 17602
Thesis Paper Submitted on January 21 , 2007 Public Presentation on March 29, 2008
Research Committee:
I • • I 'tJ\ Abstract
As a choral teacher of middle school students, one of the most difficult tasks is finding music that suits their young voices. When a choral director wants appropriate music for young voices composed by George Frideric Handel, the challenges increase. In many situations, music arranged for two-part and three-part choirs can be used in place of the original composition. Although the vocal parts are adapted to fit the special requirements of the young vocalist, the general tone of the composition is similar.
To adapt these original compositions to the middle school choral repertoire, the previous arranger's techniques were observed and analyzed. Then, three different choruses were arranged implementing these techniques. When arranging each piece, the focuses were to keep the style true to Handel's own and to simplify the music enough for these young singers. The presentation of these techniques can be used as a resource for any middle school choir director in need of arranging music to meet the needs of their choir.
When analyzing previously arranged choruses, the specific techniques used were extracted. These techniques focus on the limited abilities and special requirements of the middle school choir. Transposing the chorus down helped the range to be more appropriate for a younger singer. Choosing other notes from the chord structure prevented extreme skips between pitches, notes out of the students' range, and poor voice leading practices. The simplification of rhythms prevents students from misunderstanding rhythms that are less familiar. Examples and clear explanations are given on implementing these techniques and others. When choosing the arranged music, the decision was based on the abilities of and the requirements for middle school vocalists. Three choruses were analyzed. Linda
Spevacek arranged "Music, Spread Thy Voice Around" for two-part treble choir.
"Hallelujah, Amen" from Judas Maccabaeus, arranged by Russell Robinson, is a three part mixed vocal selection. Sherri Porterfield arranged "Swell, the Full Chorus" for three-part choir and John Leavitt arranged this chorus for two-part treble voice. The analysis of these choruses set the foundation to arrange the other choruses.
This thesis includes arrangements of three different oratorios, so there would be variety of techniques used in the arranged choruses. The chorus from Messiah is "And
He Shall Purify." This chorus has complex melismatic phrases often used by Handel and is a good example of how to simplify music. In Saul, "May No Rash Intruder" is used to show diversity of vocal parts and texture. "Mourn, Israel" is the final arranged chorus from Solomon, which has a variety of part entrances and portrays Handel's great ability of showing emotion through music. Table of Contents
Introduction ...... 1
The Oratorio ...... 1
Handel's Choruses ...... 2
Requirements for Middle School Choirs ...... 3
Analysis of Music ...... 6
Analysis of "Music, Spread Thy Voice Around" ...... 6
Analysis of"Hallelujah, Amen" ...... 9
Analysis of "Swell the Full Chorus" ...... 12
Implementation of Techniques ...... 14
Arrangement of "And He Shall Purify" ...... 15
Arrangement of "Mourn, Israel" ...... 23
Arrangement of"May No Rash Intruder" ...... 30
Conclusion ...... 38
Appendix A: "And He Shall Purify" ...... 40
Appendix B: "Mourn, Israel" ...... 45
Appendix C: "May No Rash Intruder" ...... 49
Bibliography ...... 55 Neely 1
Introduction
As a choral teacher of middle school students, one of the most difficult tasks is finding music that suits their young voices. It is even more of a challenge to find music composed by
George Frideric Handel that is appropriate for two-part and three-part choirs. To adapt three of
Handel's choruses to the middle school choral repertoire, the previous arranger's techniques were analyzed and observed to understand the techniques used for arranging for young voices.
Then, three other Handel choruses were arranged using these techniques. When arranging each piece, the focuses were to keep the style true to Handel's own and to simplify the music enough for these young singers. By using this information, any director of a middle school choir will be able to arrange music to accommodate the special needs of their singers.
The Oratorio
In the beginning of the 1ih century, the church inadvertently urged the development of a new genre by restricting certain types of performances. Since secular music was prohibited during certain public performances, Handel started composing oratorios using librettos from the
Bible. This sacred genre made a good impression on those who desired an operatic genre, as opera was considered "an affair of the state" and was censored (Burrows 35). Due to the political and religious considerations of a theatrical production, the performances originated in the worship halls called "oratories," but Handel soon convinced these authorities that oratorios should be performed in theaters.
As described by Russell Robinson, " An oratorio is a sacred work for chorus, soloists, and orchestra." Emily Crocker stated that it is a story or drama from the Bible that is set to music, but unlike opera, it is performed without scenery, sets or costumes. As Handel developed the Neely 2
English oratorio, he gave each movement a specific dramatic job in the oratorio. The overture is
an introduction to a section of the oratorio and performed by instruments. Recitatives are usually
short solos that advance the plot and lead into the aria. Handel used the aria to showcase
particular solo voices. Finally, the choruses are used as a dramatic feature of the piece. Handel
composed for double choirs and single choirs. He created contrast by using various dynamics,
several types of textures, depicting a wide span of emotions, and using varying combinations of
voices.
Handel's Choruses
An integral part of Handel 's oratorios is the chorus. As Handel composed the choruses
for his oratorios, he was "freed from the structural constraints of the formal aria" (Hicks). By composing the chorus without structural constraints, he was able to compose the type of music
he wanted to help convey his thoughts. Thus, he gave the chorus a significant role to these larger works. By allowing the chorus greater significance, it gained a dramatic character by using formal devices such as melismatic phrases for important words and word painting for equally important ideas (Herbage 89).
While Handel was composing these oratorios, he spent part of his time in England.
During this time, Handel had access to a multitude of London's choirs making it possible to explore the capabilities of choirs (Cudworth 35). This can be seen in his choruses requiring double choirs and other choral elements. Therefore, he expanded the idea of the chorus in the oratorio. Neely 3
Requirements for the Middle School Choirs
The middle school choir director is teaching young adolescents about music; therefore, the director must have some understanding about the young singers' voices including changes and limitations of the voice including range, volume, and timbre. "The period of adolescence for the normal boy is from eleven (11) to fourteen (14 ), and with the girls from ten ( 10) to thirteen
(13) years of age" (Sunderman 43). Both males and females experience a change in the voice, however, the males usually have a more dramatic change. In a study of a boys' choir," ... boys mentioned the phenomenon of 'losing notes' in the middle of their voices, thus creating gaps in which they couldn't sing" (Ke1medy 268). This change is unique to each person.
The choir director needs to be specific in the selection of music according to the voicing available in the choir. Emily Crocker gives a clear guide on choosing one over the other for a particular group. Choirs that contain unchanged voices should sing music for treble choirs.
These include soprano and alto or it could also be represented in music written for part I and part
II. Three-part mixed voicing "is best for choirs with a limited number of male voices or a choir with most or all of the male voices in the changing mid-voice II or II-A category" (Crocker 36).
Music composed for soprano, alto, and baritone can be appropriate for a middle school choir, but the director must not assume the ranges will meet the student's requirements. A choral director can choose music containing part I, part II, and part III instead of the soprano, alto, and baritone voicing. For the purpose of this thesis, two-part and three-part music will be arranged even though there are other combinations that can be used.
As adolescent singers develop their voices, their range will increase. However, choir directors should choose music with a limited range to meet the needs of the choir. There are a variety of vocal combinations to accommodate these needs. The vast majority of music is Neely 4 written for a combination of soprano, alto, tenor, and bass. There are other names for voices, but these four are the basic. However, younger voices have not fully matured, so it can be difficult to place a singer in one of these categories. Therefore, music can be composed for part I, part II, and part III. By using these designations, the director can place the singers in an appropriate
4 5 singing range. The suggested ranges for part I spans from C to G . This range is for students capable of singing higher notes. From B-flat 4 to C5 is a suitable range for part II. Singers who have a mid-range voice are suggested for this part. Part III extends from the G3 to theE-flat 4
(Sunderman 48). This is predominately used for male voices that have not changed yet.
Example 1 shows these ranges.
Part I Part II Part III It 0
~ t) -& ~u
.
Example 1: Suggested Ranges for Middle School Singers
The changing male voice is a difficult area for many choral directors. An avid arranger and conductor, Linda Spevacek, states how she approaches the boys' voice ranges. "First of all, the range has to be appropriate, especially for the boys changing voice. I work within the range
3 4 3 3 ofF to D first.. .. with the extension down to E ... (rare E-flat and only if soft and in unison with the treble). Then the upper range ofD4 (with E-flat4 and F4 as cue notes)" (Spevacek). The extension and cue notes are not used often because they tend to be out of the normal range used for the changing male voice. Some males will be able to sing those notes, so it is acceptable to Neely 5 use in a few cases. These notes can also be given as an optional division for those male voices capable of singing those notes. In any case, an arranger is advised to use these notes infrequently. Example 2 denotes the particular range that Linda Spevacek uses for changing male voice.
u (cue notes)
(extension to E)
Example 2: Appropriate Range for the Changing Male Voice used by Spevacek
When arranging music for middle school choirs, there should be a few new concepts to challenge students. A choral director should select music "with melodic, rhythmic, and harmonic problems which challenge his choir. At the same time he should not choose music which is too difficult to be performed acceptably" (Sample, 48). When arranging music, the director should consider specific musical concepts such as wide skips, sustaining pitches or phrases for long periods of time, complex rhythms, and complex melodic phrases. Emily
Crocker suggests music should be chosen based on the guideline that it "is well crafted, with appropriate ranges, good voice-leading, well-prepared interval leaps, and interesting vocal lines"
(Crocker 36). To do this, the choir director" ... must have some knowledge of the experience of its members" (Sample, 46). Neely 6
A choral director should know the capabilities of the group. These abilities consist of the students' vocal range, knowledge of music theory, singing experience, and others. To challenge students, it is wise to choose music that is just beyond the difficulty level of their previous music and the musical concepts should build from one selection of music to the next. However, students will become overwhelmed with too many challenges possibly leading to negative and unwanted effects. The ultimate goal is a balance of ideas students comprehend with challenges of new concepts.
Analysis of Music
Three choruses are analyzed to retrieve techniques from previous arrangers. This information gives the basic standard for arranging for younger voices. Since there are many arranged selections from Handel's composition, a list was compiled. I chose three arrangements that were acceptable for middle school choir. The first analyzed arrangement comes from
Solomon, "Music, Spread Thy Voice Around." This chorus was arranged by Linda Spevacek.
Russell Robinson arranged "Hallelujah, Amen," from Judas Maccabaeus, for three-part mixed choir and two-part mixed choir. The final arranged selection is "Swell the Full Chorus" from
Solomon. Sherri Porterfield and John Leavitt arranged this chorus. The analysis of these two pieces gives insight on how the same chorus can be arranged two different ways.
Analysis of "Music, Spread Thy Voice Around"
The original form for "Music, Spread Thy Voice Around" is a binary form. The voices have imitative entrances. Handel composed this chorus for solo and chorus where the soloist introduces the melody at the beginning of the chorus, and then the chorus continues to sing the eely 7 rest of the chorus. The end of the chorus is a homophonic texture of both section A and B with the accompaniment concluding the chorus by playing one phrase of the A section. The text developed in the A section is "Music, spread thy voice around" and the B section is comprised of the text "Sweetly flow the lulling sound." Handel puts emphasis on the word "sweetly" by repeating it before or after the B section phrasing. He does not do this with any other word from the text.
In Linda Spevacek's arrangement of"Music, Spread Thy Voice Around," the piano gives an introduction before the choir sings. After the piano introduction, a soloist or small group of singers introduces the melody. Spevacek continues with the chorus in an imitative fashion between part I and part II of the A section. This is a shortened version of Handel's chorus because the B section is not developed as much as the A section. The chorus repeats the A section, sings the B section, then sings the ending. She states, "This is a shortened version of the original and was adapted so that choirs with limited rehearsal time and various levels of ability would still be able to study and experience this glorious piece of music" (Spevacek 8). The chorus ends similarly as Handel's did with the return to everyone singing the original melody and the accompaniment ending the chorus with section A.
Handel composed this chorus in the key of G. The range of soprano 1 and soprano 2 is
4 5 3 5 3 D to G . The alto's range is from the A to the C-sharp . The tenors have a range of A to the
4 2 3 G . The range for basses is A to D . Spevacek changes the key signature to F major. The range
4 5 4 5 for part I is from C to F and part II ranges from C to D . When looking through each of the melodic lines, part II is generally composed of lower notes and rarely sings the D5 in this given range. Examples 3a and 3b show the ranges for each chorus. Neely 8
Soprano 1 & 2 Alto Tenor Bass 0 0 $0 nu flu ;JI ., II Example 3a: Handel, Solomon: "Music, Spread Thy Voice Around," Soprano 1, Soprano 2, Alto, Tenor, Bass
Part I Part II 0 '~ 0 II Example 3b: Handel, Arr. Spevacek, Solomon: "Music, Spread Thy Voice Around," Part
I and Part II
Spevacek's arrangement is a good example of why the meter should be changed to suit the students' needs. "This arrangement was set in 3/4 time, as opposed to the original 3/8 time, for ease of reading" (Spevacek 8). When teaching middle school students, music should include notation that is familiar to students unless the teacher is incorporating new musical notation in the students' repertoire. Also, music should be kept in a familiar format such as the quarter note receiving the beat. Therefore, students will be more comfortable singing familiar notation. In this piece, sixteenth notes are used sparingly as pick up notes. Spevacek also includes eighth notes, quarter notes, half notes, dotted-quarter notes, and dotted-half notes.
Spevacek uses soprano I for part I, and part II combines the alto, tenor, and bass part, however, most of part II is from the bass line. The vocal lines are not changed from the Handel's composition except for the final return to the A section. Spevacek arranges a new voice line for part II. She creates good voice leading for this new vocal line from notes within the chord Neely 9 structure given by Handel; however, the rhythm is different to prevent a contrasting rhythmic section. She also changes the pitches in m. 89 to prevent part II from singing an interval over an octave. To do this, part II sings the rhythm of the dotted-quarter note followed by three eighth notes and sing a third below part I.
This arrangement of the chorus includes a few other techniques applicable to the middle school singer. For example, the interval of a fourth is the widest skip in any of the voice parts.
Also, the dynamic range is from piano to mezzo forte. "Young inexperienced singers may have a difficult time with passages that are f ortissimo. It would cause the voice too much strain"
(Wilson 18). Music containing multiple dynamics can be complex for middle school students who have less control of their voice.
Analysis of "Hallelujah, Amen"
"Hallelujah, Amen" is the last chorus from Judas Maccabaeus. Handel composed this chorus in a ternary form. The A section is imitative while the B section is homophonic. In the beginning of the A section, the basses start with the melody. The tenors and the altos repeat the melody starting on the dominant. The basses re-enter with the sopranos. There is a transition between the A section and the B section lasting less than a measure, so Handel gives the contrasting section impact by having changing the texture of the B section to homophonic. The transition between the B section and the last A section is an intertwining of melodies using a polyphonic texture. The return to the A section is short. Handel attaches an ending portion of the A section.
In Robinson's three-part mixed arrangement of this chorus, the form is structurally the same; however, Robinson changes the voice parts. Part III sings the bass line. Part II sings the Neely 10 tenor line and part I sings the alto part. Robinson does not use Handel's soprano melody line.
Robinson uses part I as the fifth of the chord in the harmony and the bass line serves as the root of the chord.
In Robinson's two-part arrangement of this chorus, he stays with in the form that Handel created. To change this arrangement into a two-part choir, Robinson arranged each voice part to cover important vocal lines from Handel's chorus. To begin the A section, part I sings the bass.
As part II enters with the tenor line, part I changes to the alto line. The entrances continue to alternate throughout the entire chorus.
4 5 3 4 3 Handel's range for soprano is A to 0 , the alto is from B to A , the tenor is from G to
4 3 4 4 G , and the bass is D to E . In Robinson's three-part arrangement, part I's range is from F to
5 3 4 3 4 F , part II is from B-flat to B-flat , and part III 's range is from F to D . Robinson's two-part
4 5 3 arrangement of this chorus allows part I to sing from D to F . Part II ranges from the B-flat to
5 the D . Part I has the interval of a fifth as the widest skip between notes. Part II has the widest skip of a fourth. These ranges are shown in examples 4a, 4b, and 4c.
Soprano Alto Tenor Bass & 0 0 ~ .. ,, flo ;ll 0 II "U
Example 4a: Handel, Judas Maccabaeus: "Hallelujah, Amen," Soprno, Alto, Tenor, Bass Neely 11
Part I Part II Part III e ..0. , .. lbu ~e ':le II
Example 4b: Handel, Arr. Robinson, Judas Maccabaeus: "Hallelujah, Amen," Part I, Part II , and Part III
Part I Part II e e 'u lbu II
Example 4c: Handel, Arr. Robinson, Judas Maccabaeus: "Hallelujah, Amen," Part I and Part II
Robinson's use of dynamic markings portrays the idea of the music. The A section is mezzo-forte and then to put great emphasis on the contrasting B section increased the dynamics to forte. Within the B section, the contrast of the "with cherubim and seraphim harmonious join," is met with the drastic change to mezzo-piano. Robinson uses dynamics with specific function throughout his arrangement. The dynamics function as an element that gives importance to a section of music or creates an atmosphere. He uses dynamics similarly in his three-part arrangement.
Handel composed this chorus in the key of D. Robinson transposes this piece up to the key ofF. By doing this, he allows each voice to stay in a comfortable range in both the two-part and the three-part arrangements. Neely 12
Analysis of "Swell the Full Chorus"
Handel composed "Swell the Full Chorus" from Solomon for soprano, alto, tenor, and bass. This chorus is in ternary form using a D. S. al Fine at the end of the B section to return to the A section. The original starts with the chorus singing on the down beat on measure one; however, this piece was gi ven an eight measure introduction using the accompaniment used later in the music. Handel composed this piece to be a homophonic choral piece for SA TB. Sherri
Porterfield, one arranger of this chorus, begins her arrangement with an introduction of four measures. Then, she follows Handel's ABA for with the D.S. al Fine form. She arranges this piece for three-part mixed voice. In John Leavitt's arrangement, the introduction is eight measures; although, he uses the original meter notated by Handel. The original meter is 6/4 time. The Kalmus edition of Handel's work as well as Porterfield's arrangement was changed to
3/4 time. Leavitt arranges his piece for SA. He omits one measure before m. 42 where the sopranos have a transition from the A section to the B section.
Handel composed this chorus for soprano, alto, tenor, and bass in the key of D. The
4 5 4 4 soprano line ranges from F-sharp to G . The alto line remains between C and B . Tenors sing
3 4 from A to F . Finally, the basses sing from A2 to E4. Both arrangers composed the music to the key of B-flat. Porterfield keeps the ranges of the parts within an octave, except for Part I
4 5 3 4 which is an octave and a fourth. Part I is from C to the F . Part II is from the B-flat to A .
3 4 Part III is from the F to theE-flat . In comparison, part I in Leavitt's arrangement ranges from
4 5 4 4 the E to F . Part II starts at C and goes to B-flat . Unlike Porterfield, Leavitt keeps the ranges for both parts less than an octave. Exan1ples 5a, 5b, and 5c show the variations of ranges used by
Handel, Porterfield, and Leavitt. Neely 13
Soprano Alto Tenor Bass -& 0 a a flo ;J=I ,, II 'ftu -&
Example Sa: Handel, Solomon: "Swell the Full Chorus," Soprano, Alto, Tenor, and Bass
Part I Part II Part III ~-& a *~ l&u ,, ~)=~a II Example 5b: Handel, Arr. Porterfield, Solomon: "Swell the Full Chorus," Part I, Part II, and Part III
Part I Part II e ~a II ~9 e.
Example 5c: Handel, Arr. Leavitt, Solomon: "Swell the Full Chorus," Soprano and Alto
Since the ranges for each part changed, the arrangers adjusted each voice part accordingly. Porterfield and Leavitt chose notes that tended to make better voice leading for the ranges they had chosen for each part and to make the part more interesting for the singer. Leavitt uses Handel's soprano line in his arrangement for soprano with some exceptions. In m. 22, he avoids a skip of a seventh by taking the note up a fifth, so the skip in only a third. He does this in m. 41 as well. By taking the soprano up a third in m. 49, he allows the altos to have the melody; however, this is only one measure out of the entire piece. The alto part is not similar to any voice that Handel used in his composition; however, it is in the same style as the other Neely 14 vo1ces . Leavitt develops the alto part from the accompaniment which is similar to the accompaniment used in the Kalmus edition. Spevacek uses the soprano line from the A and B sections as Handel composed it. The arranged alto part is not a previously written voice part of
Handel's. Porterfield uses the accompaniment as a guide to the voice leading. Her baritone line follows the line of the tenor, but some notes are changed to suit the range of the baritones.
Leavitt alters the text to allow the music to be more general. Instead of using the text "to
Solomon' s praise," Leavitt chooses "all voices we raise." This alteration makes the music usable for general performances by eliminating words that are specific to a person or place. He also uses more common words that students will know such as using "joy" compared to "rouse."
Leavitt changes the majority of the text in a same fashion. Porterfield follows the text the
Handel used.
In the original, the dynamic used in the A section is expressed as forte and then the B section is piano. There are no other dynamic markings beyond piano and forte. Porterfield uses mezzo-forte ,forte, and fortissimo. This can cause some problems in the young choir. By requiring students to sing the majority of the piece atfortissimo, their voices will be strained. In
Leavitt's arrangement,forte and mezzo-forte are used for dynamic markings. This is an appropriate expectation of students in this group because students are capable of these dynamic ranges.
Implementation of Techniques
The previous analyses have given adequate techniques used in arranging music for middle school choirs. When applying these techniques, there are many possibilities to consider.
To understand the implementation of these techniques, I will arrange three different choruses and
Neely 16 to take into consideration the difficulty of the rhythm when addressing the range of each part.
Students should be limited to a few challenges, so I felt I should choose a wider range or a more complex rhythm, but not both.
Soprano Alto Tenor Bass & & 0 (f .. fl#u ;ll ~0 II ~ u Example 6a: Handel, Messiah: "And He Shall Purify," Ranges for Soprano, Alto, Tenor, and Bass
Alto '' Cl II
Example 6: Handel, Arr. Neely, Messiah: "And He Shall Purify," Ranges for Soprano and Alto
The original chorus is in the key of g minor. This chorus is arranged in the key of e minor, so the sopranos did not have to sustain extremely high notes. It also allowed the alto part to remain in a comfortable range of the voice. In some places, the notes were changed, so the voice part would not strain for a note that was out of its range. To do this, notes were chosen from the chord or from other vocal parts that Handel had written. In doing so, I have been careful to maintain good voice leading techniques. Example 7a shows the original, while example 7b shows the change for the alto voice. Neely 17
And he shall pu - qri - fy ,
Example 7a: Handel, Messiah: "And He Shall Purify," mm. 26-27, Alto
mf ' uH p J f I fiuJ J ~ ~~ And he shall pu ri-fy , shall pu ri fy , _
Example 7b: Handel, Arr. Neely, Messiah: "And He Shall Purify," mm. 26-27, Alto
The simplification of the rhythm was necessary to make this chorus appropriate for middle school singers. The sixteenth note melismatic phrases extend to eight sets of sixteenth notes or more creating long, complex phrases. When phrases are long and complex, middle school singers will have a difficult time with clarity of the notes and sustaining the length of the phrase. Depending on the tempo, students may also have difficulty with pitch accuracy and singing at the speed of the tempo. To account for these various needs, the new rhythm used contains eighth note melismatic patterns based on the original. The first two notes of the sixteenth note pattern are the notes of the eighth note pattern. Notice that the pattern is consistent throughout the entire piece. Example 8a shows the original sixteenth pattern while example 8b shows the change to the eighth note pattern. Neely 18
,~~ r r r r fiflrrcriFFt;ffFF& rl He shall pu - ri - fy the sons_
Example 8a: Handel, Messiah: "And He Shall Purify," mm. 3-4, Soprano
' ~ r r r r Cff r 1 r [ r7D ~ He shall pu - ri - fy ------the sons_
Example 8b: Handel, Arr. Neely, Messiah: "And He Shall Purify," mm. 3-4, Soprano
Altering the rhythm in the voice part can lead to a disjointed accompaniment, especially if the piano played the previous melismatic rhythm. This problem can be alleviated by changing the piano part to fit the new rhythm or having the piano play chords. The style of the piece will dictate what type of accompaniment is appropriate. In this case, Handel used the accompaniment to play the rhythm of the voice part to bring out the importance of the section. In some measures, the piano is already playing an accompaniment that is independent from the melody.
For situations like these, there is no need to change the accompaniment. In examples 9a and 9b, the comparison between the piano parts can be made. Example 9a has a piano accompaniment that was the original, but the vocal line has been altered which causes conflict within the piece.
By changing the piano accompaniment to suit the next vocal line, this conflict can be resolved which can be seen in example 9b. Neely 19
~ I I f • ••• • ==-=-==--=
~ And He shall pu-ri fY mt> I I ~::I I l
~~ And He shall pu- ri - fy , and He shall pu- ri - fy , the
I I ~ .. .. ~ .. fffiiffi Em FFFi Fni F999 Fi=i= Fr1 - t. i ~ I I [__ I r ---- I 'LJ' ' ··-r#~ f ~ . !If- !If- !If- Ill. _f*:' 1\ • • • -· [\ f - . ~ -.·ft· ..= :; - I tt•
Example 9a: Handel, Arr. Neely, Messiah: "And He Shall Purify," mm. 15-1 7, Soprano, Alto, and unaltered piano accompaniment
f ~ fl ~ ~ ~
f.- r And He shall pu - ri - fy mf tJ .lo+ L
" IV • And He shall pu -ri-fy, and He shall pu-ri-J1', the
!"} ~ ~ I I I l I I I
..._,.. t u I i D r r r---- r H[J < f• ~ f u . r--- ~ - • • • . . f . .. ~ :;~ ~ .. Ill ~ ="ill • :; Example 9b: Handel, Arr. Neely, Messiah: "And He Shall Purify," mm. 15 -1 7, Soprano, Alto, and altered piano accompaniment Neely 20
One of the more difficult obstacles to address was how to create the same feeling as the four part harmony in a two-part treble piece. In this case, each voice part addresses multiple fugal entrances. The entrances that were in the middle of continuing parts were not as significant because they did not stand out as much. It was more important for the vocal lines to have a completed phrase, so the imitation of the fugue can be heard throughout the vocal line. Handel demonstrates his four voice fugal entrances in example 1Oa, while example 1Ob presents the fugal entrances with two voices. Neely 21
and He shall pu - ri-fy
f
and He shall pu - ri - fy f
th e son s ______
Le ___ of vi. f
and He shall pu - ri - fy and
th e sons of Lc ___ vi, th e
Le ____ lie shall pu - ri - fy ___ the son s of vi . the sons, th e
Example lOa: Handel, Messiah: "And He Shall Purify," mm. 11-19, Soprano, Alto, Tenor, Bass Neely 22
1\ ll
~ "An d He shall pu-ri -fy ------
1\ ll
·u :::-- I -I And He shn ll pu - ri -fy ------the sons of Lc vi f fl II~ --- r ---- L....I....W An d He shn ll pu - ri fy th e sons of Le _ vi , the mf fl II .. And He shall pu-ri-fy, and He shall pu-ri-fy, the sons of Le _ \'I, !he Example lOb: Handel, Arr. Neely, Messiah: "And He Shall Purify," mm. 11-19, Soprano and Alto
When deciding to use certain types of textures, one should look at the music and decide what is most appropriate. Handel uses four part harmony to contrast the imitative sections;
however, a middle school choir does not have the same abilities as a full adult choir. In sections that are louder, unison can be a useful technique to allow the choir to give an important section contrast Since all students are singing in unison in mm. 21-25 as shown in example 11 b, it gives this section more impact as well as providing a better opportunity for the choir to sing forte.
Example 11 a shows how Handel composed this contrasting section for four voice parts. Neely 23
nif 1\ I •
- I I I that they may of - fer un - to the Lord an of-fer-ing in righ t - eous - ness, m right-eous - ness, And He shall
1\ I
that they may of - fer un - to the Lord an of-fer-ing in right-eous - ness, in right - eous- ness,
1\ I
that they may of - fer un - to the Lord an of -fcr -ing in ri ght-eous - ness, m right - cous- ness, L •
~ - th at they may of - fer un - to the Lord an of-fer-ing in ri ght - eous - ness, in right - eous - ness, Example 11a: Handel, "And He Shall Purify," mm. 21-25, Soprano, Alto, Tenor, and Bass
1\ ~ f ~"""-! nif
tJ I r I that they may of - fer un -to the Lord an of-fer-ing in ri ght - eous - ness, Ill ri ghteous - ness, And He shall
1\ ~ f ~"""-!
· t) I r th at they may of - fer un - to the Lord an of-fer-ing in right - eo us - ness, 1!1 ri ght eous - ness,
Example 11b: Handel, Arr. Neely, "And He Shall Purify," mm. 21-25, Soprano and Alto
Arrangement of "Mourn, Israel"
In 1738, Handel started the oratorio Saul. It begins with David slaying Goliath and then
King Saul welcomes David into his kingdom, inviting him to marry his first daughter. Saul soon becomes jealous of David's approval in the kingdom and threatens to kill him. Saul welcomes
David back with a change of heart. Then, his jealousy occurs again and Saul tells his son,
Jonathan, to kill David. Jonathan refuses. To regain the people's recognition, Saul and Jonathan go to war, but are killed on the fields of Gilboa. Thus, David is made king. Neely 24
"Mourn, Israel" follows the "Death March" in part III of Saul. Saul and his son,
Jonathan, have both been killed at Gilboa in a war against the Amalekites. This chorus depicts the slaughtered men that lay on the fields. The people of Saul's kingdom are saddened at the lost of their king.
When deciding to choose "Mourn, Israel," there were a several features of the music that helped lend it to this type of arranging. First, the chorus was comparatively shorter than other choruses that Handel wrote. When arranging for middle school choirs, the arranger must keep in mind that an adolescent has a shorter attention span than an adult. Therefore, the music should
be kept at a reasonable length. This piece also allows voices to enter at different times in an imitative fashion in various intervals. The next feature of the original piece is that it has ranges that are relatively narrow and it was in an acceptable key signature for the students to sing.
There were several opportunities for the inner voices to be independent. Finally, this piece is a good example of Handel's ability of showing emotion through his compositions.
The arrangement of "Mourn, Israel" starts at the Largo assai section instead of the Largo e staccato. The two main reasons for doing this are to not have students wait too long for their entrance and not have students change key signatures in the beginning of the piece. Since
Handel composed this piece in the key of c minor and the ranges were suitable for middle school singers, the arrangement's key signature was not altered. In the arrangement, as shown in
4 5 4 example 12b, part I has a range from the D to theE-flat , part II maintains an octave from C up
5 3 4 to the C , and part III has a range of a fifth starting on the F to C , suitable for adolescent boys whose voices have not fully changed, while example 12a shows the original voice parts and ranges. Neely 25
Soprano Alto Tenor Bass 0 ,, 0 ;ll n 'e fl #n II Example 12a: Handel, Saul: "Mourn, Israel," Ranges for Soprano, Alto, Tenor, and Bass
Part I Part II Part Ill ~~II ., ':10 II '0 -9- Example 12b: Handel, Arr. Neely, Saul: "Mourn Israel," Ranges for Part I, Part II, and Part III
To keep part III in a range of a fifth, the part had to be changed from the original that had a range of an octave and a second. First, the notes from F3 to the D4 were established as the set limits for this part, since this range is comfortable for most changing voices. Then, any note that was outside of this set of range was either taken an octave up or changed to another note in the chord. If there was another note chosen, then it would have to follow good voice leading tendencies. Example 13a gives the original bass part from mm. 47-50, while example 13b shows the arranged part III from mm. 47-50.
1 J. EI ~ '& ~ F F F I F £ r 1£ r- D I Thy choic - est youth on Gil - boa slain.
Example 13a: Handel, Saul: "Mourn, Israel," mm. 47-50, Bass Neely 26
!J= ~&,, i f f f I f l r It r· D I r· Thy choic - est youth on Gil - boa slain.
Example 13b: Handel, Arr. Neely, Saul: "Mourn, Israel," mm. 47-50, Part III
Since it was written for three parts instead of four parts, there were some adjustments made to the voicing. The entrances of the voices were rearranged to suit the building effect of the music. The second voice entrance was given to part II and was taken down an octave. Part I has the third entrance and then part II completes the vocal introduction. Example 14a shows the original entrance pattern while example 14b shows how it was arranged.
_.,_{1_ _] ... ..
Mourn, I-s - ra-e!, Mourn thy beau - ty
Mourn, Is - ra- el,
f I
Mourn, Is - ra-e!, Mourn th y be-au - ty
Mourn, Is - ra-el,
Example 14a: Handel, Saul: "Mourn, Israel," mm. 9-13, Soprano, Alto, Tenor, and Bass Neely 27
mp I I -
- ~ .. Mourn, Is -ra-el, Mourn, thy beau- ty
I I mp
tJ u ..... Mourn, Ts - ra -e!, Mourn, Ts - ra - el, mp ~ ~b •• - -
Mourn, Is - ra- el Mourn, thy beau - ty
Example 14b: Handel, Arr. Neely, Saul: "Mourn, Israel," mm. 9-13, Part I, Part II, and Part III
Example 14a and 14b also show the change of the rhythm from a dotted eighth note and sixteenth note rhythm to straight eighth notes. This provided one way to simplify the rhythm, since the harmonies were more complex. This piece has both dotted quarter notes and dotted eighth notes; however, simplification of the rhythm will avoid confusion of rhythms for students that are still learning one rhythm from the other.
Handel composed this piece with a few instances of parallel fourths. However, this is a technique that should be avoided for middle school choirs and for choirs that do not contain all voice parts. To avoid parallel fourths in these sections, part II did not move with part I, but they maintain the first note for the duration of the beat. The original was written for soprano, alto, and tenor to sing. This is shown in m. 17 in example 15a, Handel's composition, and example
15b, the arranged. Neely 28
Thy choic-est
youth on_
Thy choic-est
Example 15a: Handel, Saul: "Mourn, Israel," m. 17, Soprano, Alto, and Tenor
Thy choic-est
youth on
Example 15b: Handel, Arr. Neely, Saul: "Mourn, Israel," m.17, Part I and Part II Neely 29
An arranger must bear in mind when parts are excluded from the original so are the
factors of the chord. Therefore, one problem was the sounding of an open fifth in the chorus
parts. In mm. 19-20, the tenor sings the third of the chord in the original, so the arranged piece
had to change to meet this requirement. Part II took on the role that the tenor played by having
two notes changed to the third of the chord. For this particular section in the music, the quality of the chord moves from major to minor within two beats, so part II has to adjust accordingly.
Example 16b shows how this technique was used to change the music from example 16a.
_, 1'1 I -
on Gil - boa slain, 1'1 I -
youth on Gil - boa slain,
Example 16a: Handel, Saul: "Mourn, Israel," mm. 19-20, Alto and Tenor
_, ,.... I .
~ I r I boa-, on Gil - boa slain, " I - ~ ~ on Gil - boa slain, _ . II' . _f)- '"' youth on Gil - boa slain,
.·- Neely 30
Example 16b: Handel, Arr. Neely, Saul: "Mourn, Israel," mm. 19-20, Part I, Part II , and Part III
The vocal dynamics were left to the discretion of the arranger, since Handel did not write dynamics for this piece. The general scheme was to start mezzo piano, build to a climax of forte, and end on piano. Since this has an imitative style for the majority of the piece, the parts were kept equal in dynamics. However, in m. 23, part I is given a phrase on its own, so that phrase was the beginning of the forte section.
For the ending, the singers on part I have an optional division form. 45. This allows them to cover the whole chord as presented in the original. Also, the original did not have any piano accompaniment for the singer's final phrase. In the arrangement, a piano reduction of the parts was given to help the singers to rehearse.
Arrangement of "May No Rash Intruder"
The final arranged piece comes from Solomon. Handel composed this oratorio in 1748.
In this oratorio, Solomon is a great king of the land and he is married to Queen Sheba. The conflict between two women over one baby brings out King Solomon's fair and just ruling.
"May No Rash Intruder" ends the Part I when King Solomon and Queen Sheba retire for the night.
In "May No Rash Intruder," a choral director has many options to be able to arrange this piece for a variety of choruses. This particular chorus allows sections that can be sung by a solo, soli, and different part combinations. There are also opportunities to change the sections within each part, so each part can have the ability to sing that section. The parts allow for voice leading opportunities beyond what is written. Neely 31
In the original, the accompaniment uses 20 measures for an introduction. To reduce thi s length to be more suitable for the middle school choir, the introduction was shmiened to the first four measures and combined into the accompaniment for m. 21, so the transition is smoother. In example 17a, Handel presents the introduction to his chorus, while in example 17b reveals the altered introduction. Neely 32
1'1 u .. ~ ~ ==
- J ~ ~ ~ oJ IW-J-J ~ ~ y - . . - . . ~ f ·r tu ,._,._,.__. I : . .
~ I
j . ======.=rl ~ ~ .- r- ~ ~
oJ ~ ~ ~ ~ ~ ~ ~ ~ ~~~~ ~~ p 'P mp
: - - - - l '---J -
II
Example 17a: Handel, Solomon: "May No Rash Intruder," mm. 1-21 , piano introduction Neely 33
Example 17b: Handel, Arr. Maya Neely, Solomon: "May No Rash Intruder," mm. 1-4, piano introduction
In general, this piece is a half step lower than the other arrangements. Since the key
4 5 signature was transposed from the key of G to the key ofF, part I stays between C and F . Part
4 5 3 4 II encompasses notes ranging from the A to the B-flat . Part III ranges from theE-flat to C .
Example 18a shows the ranges for "No Rash Intruder" as composed by Handel, while example
18b shows the arranged ranges.
Soprano I Soprano II Alto Tenor bass .ll 0 0 0 0 ;ll I u 0 II '0 u u *I
Example 18a: Handel, Solomon: "May No Rash Intruder," Ranges for Soprano 1, Soprano 2, Alto, Tenor, and Bass
Part I Part II Part Ill 0 bo ;ll " II 'e -9- Example 18b: Handel, Arr. Neely, Solomon: "May No Rash Intruder," Ranges for Part I, Part II, and Part III Neely 34
From mm. 5-13 of the arranged piece, part I is given an optional solo or soli section.
This is to provide the music with some variety. Also, this section has a few teclmically challenging sections that would be easier to have a small part of the group focused on it instead of the whole group. This option will give the choral director the ability to choose students that are more capable to sing in this section compared to some students that may not be able to sing the rhytlun correctly or sing the range in the way it is written.
There are two soprano lines in Handel's composition. These two parts mostly sing in unison. However, when they are not in tmison, the second soprano line imitates the first or harmonizes a third from the first. In the arranged piece from mm. 2 7-31, part I follows the second soprano line. The first soprano line was omitted from the arrangement.
Measures 31- 3 3 show the soprano parts are being omitted and the alto, tenor and bass parts take over. The tenor part is a monotone, rhythmic pulse while the alto and bass parts alternated between two notes. To simulate this in the arranged part from m.15 through m. 17, part I takes that alto line, part II is doubled a third lower, and part III represents the monotone, rhythmic pulse. However, in mm. 24-27 in the arranged piece, part I is omitted and part II and part III switch these parts. Then, part II becomes the monotone, rhythmic pulse while part III sings the alternating notes. Thus, part I is given ample opportunity to prepare for the imitative entrance that begins on m. 27. Examples 19a and 19b show the two different ways to use texture in the section previously mentioned. Neely 35
p
Ye ze - phyrs, soft breath - ing, their slum - bers pro-long, p p
Ye ze - phyrs, soft breath - ing, their slum - bers pro long, While p
Ye ze - phyrs, soft brea th - ing, U1eir slum - bers pro- long,
Example 19a: Handel, Arr. Neely, Solomon: "May No Rash Intruder," mm.lS-17, Part I, Part II , and Part III
p
Whi le
Ye ze - phyrs, soft breath - ing, their slum - bers pro-1~
Ye ze - phyrs, soft breath - ing, their slum - bers pro-long __
Example 19b: Handel, Arr. Neely, Solomon: "May No Rash Intruder," mm24-27, Part I, Part II, and Part III
Handel wrote dynamics for this chorus. Thy dynamic choices work well for a middle school choir. Forte and piano are among the first dynamics introduced and are the easiest for the choir to perform. To help the choir, the accompaniment follows the same dynamic markings. Neely 36
The ending was changed in several ways to accommodate the middle school choir. First,
the rhythm of the first soprano was left out, so the two eighth note rhythm was the same in each
part. Then, the harmonies were changed to fit to the voice ranges that were pre-selected before
the arrangement started. To show the variation, example 20a shows the original ending phrase for the voices, while example 20b demonstrates the applied changes.
I I
~ to _ sleep with their song.
to sleep with their song.
...... u ~ to sleep with their song.
/""' ...... 1""'-1 ~
I to _ sleep with their song.
I - I to sleep with their song.
Example 20a: Handel, Solomon: "May No Rash Intruder," mrn. 63-64, Soprano I, Soprano II, Alto, Tenor, and Bass Neely 37
l - I
to_ sleep with their song. " (...f~ ...... to sleep with their song.
~
~ to sleep with their song.
Example 20b: Handel, Arr. Neely, Solomon: "May No Rash Intruder," mm. 47-48, Part I, Part II, and Part III
As with "Mourn, Israel," the concept of a full chord should be presented in the music whenever possible. Example 20b shows how the final chord was arranged to present the tonic,
third, and fifth of the chord. Be aware that this concept should present itself throughout the piece of music. It is not limited to the final cadence of the chorus. In m. 26 of the arranged piece, part
II moves down to an A 3 instead of staying on C4 as seen in example 21 b. This allows part III to alternate between the same two notes. The reason behind this alteration is to avoid the sound of an open fifth. There are various other places where an open fifth can occur when arranging a piece. It is advisable to observe the music horizontally and vertically to locate places that may forgo these observations on first glance. Since Handel composed for more voice parts, he was able to cover more notes from the chord, shown in example 21 a. Neely 38
t) • .• • u_ slum - bers pro - long, _
1\ u
I slum - bers pro - long, _
slum - bers pro - long, _
Example 21a: Handel, Solomon: "May No Rash Intruder," m. 42, Alto, Tenor, and Bass
.,.., 1\ u
•• :;a slum - bers pro - lOn~
slum - bers pro - long, _
Example 21 b: Handel, Arr. Neely, Solomon: "May No Rash Intruder," mm. 26, Part II and Part III
Conclusion
As presented in this thesis, arranging music is a beneficial way for choral directors to add to the repertoire available for their students. The choral director who needs to arrange for their chorus can learn many new techniques by analyzing the techniques used in previously arranged music. As the choir directors continuously works with a choir, they will learn the capabilities and needs of the students. The choir director can arrange a piece of music to suit those needs to Neely 39 make it possible for those students to sing the selected piece. This allows the director to introduce students to various styles and genres of music that would otherwise be unavailable. It also makes the selected music more appropriate for the student by making changes to the range, length, number of vocal parts, dynamics, text, rhythm and other elements of the music.
Arranging music to suit the needs of the choir allows the choral director to challenge students with particular musical elements instead of the many music elements used in a given piece. Allowing students to focus on fewer musical elements, students will be able to learn the concept with a higher success rate than when there is a compilation of many new items. By giving students these opportunities, the students become better musicians because their knowledge about music has been expanded. Hopefully, this will allow students to transfer the challenge of the given music to the next selection of music and learn the new concept for that selection.
In conclusion, there are many possibilities for the choral director who arranges for their group. However, it is the director's responsibility to give the students music that is appropriate for their needs. If we want music to continue to grow in our students' lives, we need to present them with music that is meaningful, well-chosen, appropriate, and diverse. We should strive for creativity and challenges beyond what are available to us, but work toward a level that is continually rising. Our dedication and effort put into these choirs are the foundation of the next generation of music educators; therefore, we should take it seriously and with exuberant enthusiasm. Enjoy the experience of arranging music for your choir. Neely 40
Appendix A: "And He Shall Purify"
And He Shall Purify From Handel's Messiah Two-part with Composer: G.F. Handel pi ano accompaniment Arranger: Maya Neely
mp f\ " Soprano - u , , ------And He shall pu . ri ly, and lie shall pu-ri-fy tl1 e sons_
f\ Alto ou
I I I I I I f\ " - •
ou .. ll J LW ~mp ~H· r·rrr UrM' I I I ~ : ' -~- .. l T I T -:;): * .. *
s
- vi, And lie shall
A Neely 41
2 And he shall purify- arrangement
/0 II ;----.. s v I' ...... ~ pu ri - fy, And lie sh•ll pu-ri - fy
II ~ r-r-r-1 ' A v ;::--- I I And He shall pu -ri - I)' ---- the sons _ _ of I.e __ vi ' ' 10 ,., u r"""'-":i -J .L I - I J I
v :;iit111 ~ - -~ · ..,;. :J R~ . R~~~~ ~RSt r -· r .. l' ~~ Pno. r r r ..!. ~ I ]\ IT I I ~ :
I l • - ~ ... ~ I ~ .. ~- ~ ~~~~ ~- ~ -~ · ~- IJ II ~...., f ~ s ------v I' ______... - And He shall pu - ri fy th e sons o l' Le _ _
II ~ mf 1\ v : ______... - Le _ _ And He shall pu - ri - fY, and He shall pu - ri-fy, the sons of
/ J II ~ I I I I I I I I I I I I FFi9 Fi99
v .. - i ; I - f ~ l Hi .,.. L f I I ~, f c.: -.J P oo r . .---,. . ~ I L L I I l : .... ' : - " ., ~ ~ ~--- ~ ..., - I -· ~ • ~ ~ :::;! :;). •
/9 II M f. s v vi, the sons or Le vi, th at th ey may of fer
II u f 1\ v vi, tl te sons, the sons of Le vi , that th ey may of fe r
19 II u p=;::::;::; " J I - I I - ~~
0} ;,..___;_ ::::::::::::== . ~ ~ l f -1 .. ~ Pno. I
~ ~ I I :
~ u ... :;). :;). ~ .... ~ l ~- ...=! . ... . ~ ~ Neely 42
And he shall purify- arrangement 3
12 111. s
Lord an or- fer - ing of ri ght eous ness, o f right - eous ness, An d Ile shall
A
- to th e I .ord an of - fer - ing o f ri ght
u mf Pno. l
26 f\ u s t) I pu- n li'. And lie shall pu-ri-
f\ u mf .-- ___...., ' A - u y _R- ':' And he shall pu-ri-fy shall pu-ri-fy
16 1\ ...... , ;., J!. - I I -- u ;. - -..,; R* I ~ l J r [ I R* S: ~;.-.• r f r_ Poo mf J J I J:1J J I I I I J L l : ...... ~ "' .... ·~ ::I ~ - .. ~ .... ~ . - :;'*" ~ ~ g ~ ~~~ - .... ~~ ..... ~ ;;
3/ f\ -- s fy ______.... He shall pu ri fy, And He shall
A -:__..., . And He shall pu ri fy, And He shall ~ 1'1 r:J ..!
I . . I u- Pno. f ~: I J I I I I I I I 1 I I I _L J l - Neely 43
4 And he shall purify- arrangement mp 35 II m:f s -u p"""'u ri- l'y And He shull pu-ri - fy, A"nd He shall II mf ... A t) .___, . -.1 pu ri - fy, And He sha ll pu-ri - fy, And He shall pu..-i fy, And He shall pu - ri fy.
Jj fl ~ . JTTl I rn-1 rTTl I
u l.J:::j~ . . . H•• ...... H-. T Pno. F' rTT I. I I I I J J J J ~ r::::r=r:1 _0] J I : ... ., 11 .J, ., -.1 I ... . l .. r· ~ ~~ i • jtW; ·~ ~ .. ~
40 II ~ f ~ s ------"' -u pu ri fy, A nd lie shall pu - ri -fy And
II u mp A t) - -.1 A-.:d He shall pu ri fy, And He shall pu - ri - fy, And 40 fl rl - - ! "I ' u r Hj p I f r r r ulli Pno. ' m' r r rrru r [ r r j l J L JJJJ _l ~ _[ _FF9 : -•
~ .. -.1 c._; .. ·~ :;;;[ .. ii - --
44 II u m.f ~ I ~ s t) He shnll pu - ri - fy A nd
II u mf A u . .. :-:---.:_ -.1 .. • ~ He shu II pu - ri - 1)'. Shull pu - ri - ly
44 II u I I I I I I T l ..,..., n I I I I
-u I I . • -.1 .., .. ... 'ii ~ ! I r- r Hj u Pno. v "' r fFl9 Fffl j j j j I. I I I I : ' I -.1 ; :! ... r ~ .. ~ ~ ~ --- i ~ Neely 44
And he shall purify- arrangement 5
48 fJ u s --
He shall pu - · ri - fy_-=-======------th e son s
A ..____:!'" .,. He sha ll pu - ri ~IY':----_ - the
48 1\ u I I --- I r r I r r r r r .... ~-
51 f s
of Le vi, that tltey may of fe r un to the Lord an f_ A
to the Lord an
54 fl u s
of- 1er- in g in ri ght cous - ness in right - eous - ness.
1\ A t; - eous - ness in ri gh t - eous - ness. I I I I ,...... ,
mf
- .. .,. ~- Neely 45
Appendix B: "Mourn, Israel"
Mourn, Israel Three-part mixed From Handel's Saul C om poser: G.F. H andel with piano accompaniment Ar·ranger: M aya Neely Lar go assai .h = 88 II Part I u
II Part 2 u
: Part 3
r--, nr-1 I l'l - . . r-'"1 - mp ...... - '--.1 Piano IJ LJ U L.2JUU I~, • • :f!:. !'-# . - J ...... ~ t...... J'
II
u • -.T Meum, Is-ra-el l'l mp II u 0 ..... - ..- mp ~ Mo urn, Is- ru- cl Mourn, -(9- : .. ·- - lll
Mourn, Is - ra- el 7 " r--. - - r1 1'"'"'1 r-"1 .._ , -.T u ~.,.. * .• qT -. ~ ...... Pno. ur- ~ ~-- * - u rl : - • - - I .. • i..-J - 1.--.J I.-I lJ Neely 46
Mourn, Israel 2 /3 l'l mf
u ~ I r --.r Moilln, thy beau ty lost, Motml, Mom11, mf Thy choic est 1\ ,.....__, ... ll u --... Is- ra-el Motml, thy beauty lost, Thy choic-est youth on hn (9- ITT
Mourn, thy beau ty Mourn, Mourn, 13 1\ lost,.- .r-r ...., I .. r---, _,....., 1"""'-L u L....J L.-J -.._...... --~---¥ c. CJLJU J- mf P"o·l ... .,._ ~ .,._ ""-' l..---J - L..._J - 18 -' /'l L ------u I , yout11 on Gil - boa--, on Gil - boa slain, MOIU11, 1\ II u ~ Gil - boa slain, on Gil - boa ;~ Mom11, --- mfb,. .,. .. .,. ? TIT : Thy choic- est youth on Gi l boa slain, - Moo 18 1\ r----, ,...... , 11 r--1 ~ • I I n I
u 1.-....1 I L...--J -... - * ~ w T.J Pno. L _....., ~ ~ h. .,. . .,. r-1 rl : - . l22 f 1\ .. . u Mourn, Motml, How have they fair - est hopes been crossed 1\ .f II u - Momn, f what ------(9- - ~ : III Moum, Moum, what 22 l'l I 1\ ll I r--, r;]JI II b ~ . .,._
u I I . ~ w~~ Pn o. II : ,...... , h. ..,.. r r----, ~ . ~ ~ • .f! ~ .,._.,. l I...... J - ~ * r..--' Neely 47
Mourn, Israel 3 26 ,., I - u I I .-.... I what heaps of migh - ty Wat - - - nors - strew the - f\ I II u hdaps what heaps of migh - ty war - - - riors strew Lhc ,._ ,._ n 19- .,. 19- ~ ~.... : Ill heaps whal h~aps of migh - Ly war - - - riors sle\v the 26 ,., r-"lrl J ~.. J"""'"1 .. 1""'""'1. r--, 11 ...... u I r I r - ·u '-.J " L.-J u r Poo. l ,...... , ,....._ ~~ ~ ., ... 1'"--o :
l.o...J '-J ...... ~~ -· --.. l....J ..,; 3/ -' f\
u I - I ,., plain! Mourn, Is - rae I, mourn, Lhy beau-ly lost, mf II - u plain! Motml, Is - rae!, l110Ulll, tity beau-ty lost, ·nty choic-est 19- .,. .,.. ., Ill
plain! Mourn, Is - rae I, mourn, th y beau-ty lost, 31 f\ ,..., .,. r--, r1 - 1'1 r1 rJ r--. - , u • . .. w ~r . '-lU LJ . I.,.....J - . Pno. - - n .. ~ 1'1 .,.., mfh ...... : l - - -- ~ w 36 mf .,., ..---...
u ~ --.. - I ~ ,., Thy choic- est youth on Gil boa on Gi l - boa slain, II u youth on Gi l - boa slain , on Gi l - boa slain, 11'fi .. .,. .. .,. 19- III i' 1lty choic - est y o u~1 Gil - boa slain, 36 f\ - ,...--, r--, r---, • ., r--, ..___. u • LJ L.-l L..-J ,._ ,._ L Poo. l .,. h.. .,. ~ ~ ,._ ~ h. .,. .. .,. n .,. .... ~...,._ .... Neely 48
Mourn, Israel 4 40 opt. divisi 1'1 I
u I mp Mourn, Moum, Mount, 1'1 Il u ,. ,. mp Moum, MOWll,
.. ~. ? III
Mourn, 40 1'1 Mourn, r.i ~""'-. - - ~""'-. - ~""'-. -~""'-. I u .. * q• , .. , .. , .. , .. , Pno. l mp : •
""'-J ~ ~ ~ :;;;~ .
47 p 1'1
u I r choic - est youth on Gil - boa slain. 1'1 ~ y II u ...... "ll1 y choic- est youth on Gi l- boa slain. p ? ' : III
Thy choic - est youth on Gil - boa slain. 47 1'1 Opl. Rch9fsal c;>n ly I ~
u . .... 4 ' r Pno. r r qr r- rqr * r= ,.... ,.. I l 61: · Neely 49
Appendix C: "May No Rash Intruder"
May No Rash Intruder From Handel's Solomon Three-part mixed voice Composer:G.F. Handel with piano accompaniment Arranger: Maya Neely
f ll A n d an t tn o 0 pt . soI 0 I solI' Part I tV May ll Part II tV
Part Ill :
ll t\ I\ ~ ~
u ¥-** .. 1¥ ... LL.LJ V I .. ¥Ecrr lr,. ~~~- uuuu : l....l....L.J ~ ~ D
,., .,__ tV - no ra sh in-trud -er di s - turb their so ft h ou rs~ to form ffa - grant pil-lows, a - ri se 0 yc fl owers! ~e ll II tV
III :
6 ll I\ t\ rl I I\ ]) ..n=J.!m I\ ~ ~
tV V V I V I ...... c_gup v lJ r r .... I J JJl ~~~ : ~~~- n .. .. I .. I I I I r r r r I I r ·~·· ~ Neely 50
No Rash Intruder 2
/0
ze - yrs soft. breath-ing, their slum - hers pro- long, while ni ght - - in _ gales ___ lull th em to
II
I ll
13 fl tutti p
t) "----1 s l e~ p wtlh th etr song. Ye fl p II t) p Yc Ill : Ye /3 ll ffilm~ ~ J J m n r.JIJTii n rm __d d
t) ~ ~ ~ ruf6bk[6U p ~ ~ ,.. : -- v
/ 6 fl
t) zc phyrs, soft breath- - in g, th eir slu;;;------bcrs pro - long, fl p II t) .. ;;;----!" phyrs, ~ ~ brcarr;---": ing, th':ir s l u~ b <.,"t"S pro long, \\~ 1 il e
Ill : zc phyrs, soft breath - in g, th eir shun bcrs pro long,
/ 6 ll
t)
I I "I : Neely 51
No Rash Intruder 3 /8 , p f
...____.- tJ ~ • , Whil e night - in gales _ lull them to sleep _ wi th th eir song. ,de II ...____.- tJ ~ ...~ .. .. ni ght - in gales_ lull th em to sleep_ to sleep_ sleep ~~I 1 th_¥e1r song . pto ..-----.. 'jPile Ill :
\Vhilc night - in gales_ lull them, While
18 , I . . . I . . . ~ . tJ v v I I I I IJ J J J l '""l : - - * u u ~-
]/ 1\
v ...,___.. ni ght - in gales lull th-em to sleep with their song. 1\ II tJ -..____...- ..___... -- lull __ them ni ght- in gales_ to sleep with Lh eir ---. ' ':g. Ill :
night- in gales_ lull th";n to sleep \\~ th th ei r song.
]/ , .I- .I- J- ---n* _,. ....---.. - q~:FJ . n ~- ~- . - ~-~ - ~ - ~ - tJ - ~ Pno. I I I I J I I I I : l • • :;J - - - - it , p
tJ W~l c 1\ p II tJ ...... ~~ J e ze phyrs, so l1 breath in g. th eir slum b:s :., . ra~ Ill :
Ye ze phyrs, so ft breath ing. th eir slum - bers pro - long ]4 1\ r.. ~~ ...... =fil n tJ s-.s-.s-.s-.s-.s-.s-.s-. s-.s-.s-.s-.s-.s-.s-.s-. s L _ ~ ~ bddd =::::! : D - .. - .. - .. - * - .. - .. - - --- Neely 52
No Rash Intruder 4
18 l'l __,
v night - in gales lull _ them to sleep w-ith their song. While l'l p II v • -...___/ -- -~ - 41-J - While night - in gul es_ lull them lo sleep,_ lo sleep,_ lo
Ill --=·
U J J 1 ~ - ~ ~ :~:: ,. f- . (!: ,. J. J J -v-s-s- -~ ~~ ~ --- v ~ r Poo.l ~ - ~~~ ~ - _o_ - ~ ~ 0 0 J/ l'l f ,...._....,
v r ~ I _I • I ni ght - in gales_ lull tl1 ~m , _fhtle lllgh - 111 gales l ~ ll tl1em lo sleep \>Vith theu song, l'l ll ~ • • ~ .. ~ .. .. s.•lee p \~h tl~r s! g. night - in g~ lull __ th em to sleep \.Vith th ei r song, l;l ~ .r--- . Ill :
while night- in ga les_ lu ll _ them to sleep v~.ri th th eir song,
Jl II ..J ]\ J I I J "1 ~- - J J---n ,JmlJJJ --....___. v I I ~ f L l -,--.., I I I I
-.1 P# ...... -.1 -.1 ... l - ~ li 34 p II
v p While l'l II v p r - \Vhil e ni g~in gale<- lu ll th em lull • • ~ ,. Ill
While night - in gales_ lull them to sleep_ wi tll th eir song,_ Whil e
)4 l'l ,._. _,._ ,._ ,._ ,._ ,._ ,._ ,._ ,._ ,._. -,._. .. .. • •
~ t: Pno. pj) J J J J j) I j) J J J J ]\ I : l v ~ Neely 53
No Rash Intruder 5 37 II f -u . . - ...-.----- ..._,_. ntght - m gales_ lull them, Whil e ni ght - in gu les_ th em While night- in gu les_ lull __ th em to 11 .f_ II ~BWJJ I -=' ------~ ) J j _ them to __ sleep with th eir song,_ While mght- m • • - ~ ~ ~r-~_. -----.:- .f_ Ill ~~ --- ni ght - in gales lull them to sleep with their song, While night- in ga les_ lull them _ to
37 II ~ 1 J. ' - r- ~ ' ., :J ' ttl ~ f ~0 l : 0 -.J·
40- II
v sleep \\>ith th eir song. Ye ze -phyrs, soft breath-ing their slum - hers ;o-long. 1\ II v -& sleep with their song, Ye ze-phyrs, soft b~th- i;!l their slub- bers pro-long. • Ill - sleep with th eir song, Ye ze-phyrs, son hrenth - in g their slum-bers pro- long.
•o 1\ _1 __h _.1 _,.....,. ~ .. 1\
u ~....--.-:: $ • • v v t • • ttl • $ $ .. $ .. Pno. t\ J J J I ~ ~ ~ : . l ~ ~ .. .. I I I r . . .. ~
43 II -u Whi le nigh t-in ga-les_ ~luii __ Ul- --cm to II II v '--- Wh il e nigh t- in gnles_ lull them to
Ill :
While ni ght-in gal es_ lull th em to
43 II r--1
v $7$7$7$7$7$7$ • :Sw-$7:S7:S7:S7:Sw-:S7:S7 • ---- - Pno. .. : l ~ ~ ~ ~ 7li -:j ~ ~ ~ Neely 54
No Rash Intruder 6
46 1\ _,...... , =fl. . J u I i' -- to_ their sleep sleep \\ Ill : sleep to sleep with th eir song. 46 1\ __, u -G qp .. • • • • Pno. l ~ • J ~h - _ 7J____ ~ Q ___ ~ ~ ~ ~ : ~ 49 1\ v Jj_ Tl v Ill : 49 1\ u :$ ':j :j .. :j .. .. s .. :$ :$ :J s: • --.' -5 -5 j ~ PR ~ I ~ J r-; I : - , .. .. ~ ~ ~ ...... r ~- - -~---~: f Neely 55 Bibliography Apfelstadt, Hilary. "First Thing First: Selecting Repertoire." Music Educators Journal 87.1 (2000): 19-22, 46. Boardman, Susan and David Alt. "Solos and Adolescent Singers: Making the Perfect Match." MEJ 78.8 (1992): 44-49. Boyd, Jack. Rehearsal Guide for the Choral Director. New York: Parker Publishing Co. , Inc. , 1970. Brunner, David. "Choral Repertoire: A Director's Checklist." MEJ 87.1 (2000): 29-32. Burrows, Donald. The Cambridge Companion to Handel. United Kingdom: Cambridge University, 1997. Conrad, Robert. "Developing the Boy's Changing Voice." MEJ 50.5 (1964): 68-70. Cooper, Irvin. "The Junior High School Choral Problem." MEJ37.2 (1950): 20-21. Crocker, Emily. "Choosing Music For Middle School Choirs." MEJ 86.4 (2000): 33-37. Cudworth, Charles. "Handel: A Biography, with a Survey of Books, Editions and Recordings." Great Britain: Cove Bingley LTD, 1972. Dean, Winton. Handel 's Dramatic Oratorios and Masques. London: Oxford University Press, 1959. Denis, Arnold and Nicholas Temperley. "Oratorio." The Oxford Companion to Music. 6 June 2006. Encyclopaedia Britannica. "Oratorio." 2006. Encyclopaedia Britannica Online. 13 June 2006. Friar, Kendra Kay. "Changing Voices, Changing Times." MEJ86.3 (1999): 26-29. Handel, George Frideric. Israel In Egypt. New York: Dover, 1998. ---, Judas Maccabaeus. New York: Dover, 1997. ---, Saul. California: Alfred Publishing Co. n.d. ---, Solomon. California: Alfred Publishing Co. n.d. ---, Messiah. New York: G. Schirmer, Inc., 1912. Neely 56 Haausemann, Frauke and Jan1es M. Jordan. Group Vocal Technique. North Carolina: Hinshaw Music, Inc. 1991. Herbage, Julian. 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"Changing Voices: Don't Leave Out the Boys." MEJ 70.5 (1984): 47-50. Swanson, Fredrick. "The Proper Care and Feeding of Changing Voices." MEJ 48 .2 (1961): 63- 64, 66. Teeters, Donald. "Handel's Saul." The Boston Cecilia. 2004 Webb, Ralph. "Handel's Oratorios as Drama." College Music Symposium, USA XXIII.2 (1983): 122-44. Wagner, Douglas and George Frideric Handel. "Sing Joyfully: From the Oratorio Saul. " Ohio: Heritage Music Press, 2005. Neely 58 White, Christopher and Dona White. "Commonsense Training for Changing Male Voices." MEJ 87.6 (2001): 39-42, 53 . Wikipedia contributors. "Messiah (Handel)." Wikipedia, The Free Encyclopedia. 21 May 19:06 UTC 2006 6 June 2006. Wilson, Harry Robert. Choral Arranging for Schools, Glee Clubs and Publication. New York: Robbins Music Corporation, 1949. Winslow, Robert. "Male Vocal Problems in the Secondary School." MEJ 32.4 (1946): 58, 61. Wisenall, E. Jane. "Sing During Adolescence: Report of the Sub-Committee." 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