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CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
A HANDBOOK FOR TEACHING VOCAL :tv1USIC TO CHILDREN II IN A PROTESTANT CHURCH SCHOOL A thesis project submitted in partial satisfaction of the requirements fo7 the degree of Master of Arts in Husic
by Ramona Jean Whitson
I I ! l l I January, 1974 l i' ! l Ii , ' ! L-----ft--·---~· ..... --··-··~·· ··-~--~ ... -· - ----...----~·----..... ~~---~ --·------·~-~ ~---~------~ ... ·--~-.. -~~_...-----~---~- --...... , .. -. _J The thesisnf()Ramona Jean li~on is approved:
California State Univers~ty, Northridge December, 1973 i
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ii TABLE OF CONTENTS Page
lifo
I. INTRODUCTION . 1
A Phllosophy foT Teaching Music 3 A Psychology for Music Teachers . . . 7 Ob j ec ti ;·es for Teaching Vocal Music to Cb.ildren 9 Footnotes for Chapter 1 11 II. METHODS FOR TEACHING VOCAL MUSIC TO CHILDREN . . . 12 Levels, Goals, and Materials 12 The Inaccurate Singer . . . 19 Methods of Teaching Singing 27 Footnotes ·for Chapter II 47 III. THD FUNCTION OF THE CHURCH SCHOOL CHOIR 48 The Organization and the Membership of the Church Choir ...... 51 Teaching Correct Vocal Habits 55 The Rehearsal and its Preparation 60 Footnotes for Chapter III . . .. 68 IV. VOCAL LITERl\TURE FOR CHURCH SCHOOLS 69 i Music for the Weekly Chapel :t-.·Ieeting 69 I Programs for Christmas ...... 77 v. CONCLUSIONS AND RECOMMENDATIONS 89 BIBLIOGRAPHY 93
APPENDICES . 94 l'
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iii ABSTRACT
A HANDBOOK FOR TEt\CI-U:NC.~ './OCAL MUSIC TO CHILDHE.r-J
IN A PROTESTANT CHURCH SCHOO!_,
by Ramona Jean Whitson Master of Arts in Music DecembeT: 1973
Classroom mus:ic is for :11 "!. chiJ.d.-ren and should be
taught wi~h the srune priu~icy 3Itd goals as languag~, art, or any other subject. This handbook--a guide designed
basically for the church school ~1sic instructor and choir! I director on the elementary and junior high school level-- 1 is written to supply the guidelines necessary to build a foundation which will ultimately rssult in a successful music program. A repertoire of anthems, books a.nd mate- rials available on the market today, is included in ttis work. The material covered in this handbook is an accu- mulation of the author's experiences with vocal music in Ithe classroom and in the church. I The needs of two Lutheran Schools of different . I I Lsizes have been studied and a.r f.: incorpo-rated herein. I • -~--"M""" -·-··----~-~- .. •··--··~--~--"·--•- -·---~---~---- ••• ___ ....__.., __ ~---·---·-·------""···-··-·------~-·--····~----~-·- ·~-· -- ~'-""'-""~ --~···---·~~]
iv r-·------·------~------·-----····--·1 j Motivation and inspiTation came from the awareness I . . I : of the decline ih music being offered to children in pub~ I I lie schools today on the elementary and junior high school 1 I level. Financial cuts have almost deleted the music pro- gl'am from the curriculum. This omission and neglect has l become frightening to choral teachers on the secondary I level as well as to choir directors in the churches. It i appears that it will be some time before the full music program is restored in the public school system. I Music has not been cut from the curriculum in most I Church Schools. It is still vital to the church supporting! i the school. Therefore, the classroom teacher in a church ~ school situation has a duty and obligation to teach music to every child on an every day basis. i Consciously or unconsciously, the child in a choir I I or a classroom reflects characteristics of their teacher. j It is important then that the teacher has an enthusiastic and cheerful attitude toward the children. His charm or
personality has much to do \\'i th the success of the music program. He should conduct all lessons and all rehearsals with enthusiasm. In order to teach a lesson or to direct a choir 1.vi th this kind of spirit and enthusiasm, ·one must know
what he is· doing. He must be confiden.t that he k:noNs the material he is teaching and how to present it in the most , effective way. The teacher must also inspire confidence j I •~--...... --~------~ .. ----·-····--~-~---~-~------·-·------·--····----~-~~------·--~-·-7-·&----~- ...... ~-----... t
v r·-~--·------.--·-·-----·------·-··-·-----····----·---·------~ ' ! Iin the children and thereby command their attention and ! I respect. This handbook includes the objectives and goals, ' I I the methods of teaching to achieve these goals, and a !psychology and a philosophy that will not only teach the j • I ! basic skills in a pleasa:at ~·Jay: but will also contribute I I Ito building character and the confidence of each child. l ! I Teaching children to sing is a most gratifying l 1exper1ence.I • The author trusts this handbook will assist i !the reader with the challenge he has undertaken, so he I Iwill Teap the rewards offered f_rom his ~-..rorthwhile efforts. I !
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vi CHAPTER I
INTRODUCTION
v,.--- f.Ve1T c..!;ild i:n class should be given the
! opportunity tD ci.8velop .into a person 1t•l10 likes music and I l one who knows the feeling of being thrilled and mad0 happy! I I l either by listening or by participating in the performancel
II! j of music. .t\1 thnugh some s tud'::!nts •:Till a,:.tually become ! l perfonners of m>..!Sic > the majority of the children wi11 be I consumers of mus1c. These consumers, as well as the pe·:c- I ; l for1ners should erlj oy axd be m.a.C-0 to feel comfortable I music. vThrougn an organized classroom experience, tho I child should be happier and more deeply and aesthetically I I I responsive to the beauty of music. i ~· /. r"T'!.. 1 ,.. .. j t...... 1 rhe genera.~. purpose o:t mus1c e(tUCa J.on 1s ,_o a.eve cp l aes~hetic sensitivity to music in children, that is, I to heighten the quality and impact of their musical expe:riences. In the music program, therefon;, exneriencinrr music is central and studvinQ music is su~portive.~ If music is to be a valuable~part of a studellt's general education, he must first learn to enjoy it and~recognize it as a significant factor I 1 ! j n his l i :f e . · I 1 r-·-·--·-·----·----·----·-·--···.. ------·----~·------·------1 I v""Every child is born with thr3 innate ability to j 1-r·espon.d to music. The degree of response varies with the i j individual. It is that inborn~ natural response that.th.e 1. l . . ~ I nrus:tc t\;:acher vall want to cultivate and develop, strlVJ.ng 1i ' l to offer experiences that >d.ll lead t(i musical growth. ! I j IThe, amount of :4rowth will ''"'Y with each individual. The I I amount of musical grGwth of the class will varv >dth each I i -- . I I class and with each teacher. The quality of the music I I I class should be judged by the children's. habits, their l,. l perforn•.ances, and ·their attitude toward mu:ic. l If v'.,.,The· music program on the elementary level should l 1 give all childi"CD. tfte opporttlr:.ity to becotne 110t mere lis·.. \ Iteners., but to know th~ joy of p::trtic:ipB.ting :tn a.ncl enjoy- ! J ing musical experiences. It is one thing to love music as ! a listener but quite a different experience to actually Ising or to play an instrument. The number of children l enjoying this participation will be greater on the elemen- 1 I tary level. If the oppcTtunity to sing or play an instru- ) ~1~•ent ~is ; delayed until the high school level, the numbe:r I l l 1nvo~ved and attracted to the program is far less. i Children don't improve their singing by just sitting .and listening to others; they learn by singing and by playing tunes on instruments that have accurate pitch, such as bells. It is very important that I they build up self-confidence and that good r::::~:::~::~::.e :::~::::h:~:::::u :h ::::t:: ~ :ym:: ic .l j l j1n a church school situation~ the author 1vould rate the I Iimport.::mce of teaching music in the follow·ing manner: l I L f.fusic is communication. I I 1 . Z. Hu~ic is entertainment. I ;! !~ 3. Music is educational .!~. 1 The meMory of a single hymn learned in childhood ! has often proved decisive in the spiritual crises i of late yeaTs. Sermons often fly over the people's j j heads; prayers uttered in their name often fail to / carry their hearts and even their intelligence with 1 them; but their songs sink into the memory, color l their thought, and fashion their,.,.theology much more ! I than any deliberate instruction.~ i I i I i It is the duty of every educator to develop his II own. philosophy of ~1sic education. A thorough background l t I and understanding of existing philosophies, theories and I I I I methods, should help the educator to formulate his own I . I j ~h~l:~:P~Y- This philosophy should guide, direct, and I ll.n~p;.I t:: ... he ·Hork of the music teacher. I Pragmatism, which cl~ims to be an expression of . I . l j American cul tuTe, is an American philosophy founded by 1 Charles Pierce 1 William James, George H. Mead, and John j Dewey. Its empirical character, that accepts the ordinary ,I human experience as the ultimate source and test of all I knowledge and value, is most influential in the author's selection of principles for a teaching philosophy. I l .... ______J I ------·-··--·----·------·--.. ---·--- ,,·1 Thought_is intrinsically connected with action, theories and doctrines are working hypothesjs and are to be tested by the consequences they produce in actual- life si tua_t:io•::ts; moral ideals are empty and stf;ri-le apart from a-ttention to the means that are required to achieve them~ reality is not static, i complete(l syst:em, but CJ. process of unending change and transfoYmation: man is not a mere puppet of Ij external forces, but through the use of intelli I gence can reshape the conditions rhat mold his own I experien~e; ordinary people can develop from within I the context of their own on-going activities, all necessary inst1tutions, and regulated principles I and ~tandards. I' I Methodology of experiffiental science exerts the I greatest influence in the thought of the pragmatist. IPragmatism is not a theory but a method, and it is this Iit0t~iv(~ thii~ nds influenced ech.. ;--·-·--...... ,·-·------·---··------·----·---· ---·-··--·---·-·--·---, j The principle of continuity of experience means I j that every expErience both takes up something from those 1 1 experiences which have gone bn before and modifies in some! J I ~.~. way the quality of those experiences which come after. I I . 1 Continuity is a criterion enabling us to discriminate I I hetwePP expe···i,.·ncec:1 \'i"hich are educative and those which I l, a""..·.~ ~ .1ll.·l.· s.- _ e·-ilJ.ca".·_ ~~ ~..~..: V e.. The educat.or. must decide which atti- l' l !I I i tudes are conducive to continued growth and which are ! ! I l detrimental. I I I I ·The primary responsibility of educators is that I 1 they not only be aware of the general principle 1 1 of the shaping of actual experience by the envi- 1 I roning conditions, but·that they also recognize 1 1 ln the concrete what surroundings are cond~cive 1 I to having experiences that lead to growth." I Interaction is the second chief pri~ciple for I I 1 interpreting an experience in its educational function I I and force and assigns equal rights to both factors in I I experience--objective and internal conditions. Any normo.ll I experience is an interplay of these two sets of conditions1 I It constitutes a transaction taking place between an indi- 1 vidu<:1J. and his existing environment at that time. The 1 educa.tor must be sympctthetic to what is going on in the ! mind of the learner, but expeTiences which develop, grmv, and mature should have priority over pleasurable, rnomen- l tary incidents. I The immediate and direct concern of educators per- I ! tains to the situations in which interaction takes place. ! I Objective conditions lie to some extent within the ! - ----·-·------··------·------·-·-__! 6 r------· ~---·------··--·~-·-·-·-.. ·---·~··--.------.-. ·--.. ···-·------·--·-··--~ . possibility of regulation by the educator. ·Objective con-I I . , I ditions include what is done by the educator, the way it j . I is done, the tone of voice used, the words spoken, as wellj l as equipment, such as toys, bocks, and a variety of other I materials. The prihciple of interaction makes it clear I that failure of adaptation of material to needs and capac-! ities of individuals may cause a:;-1 experience to be non- educative quite as much as failure of an individual to adapt himself to the material. I Although Dewey 1 s theory of educ:J.t ionaJ experience ' i is chiefly concerned with directed gxowth and crea~ing I conditions for futu:;::-e gro1vth, he urges that the student I get the full meaning from nis present experience. By con-Il centrating only on the future and ignoring the present, you are shutting out the only conditions by which the person can prepare for the future. Education as growth or maturity should be an even process. '/In American education, v:e prefer democra.tic and I I humane schools to autocratic, harsh schools. We believe ! a higher quality of experience of education results from l a principle of regard for individual freedom and ior decency and kindliness, This certainly must be true in Ij a church school where Christian love, patience ancl respect for one another are taught. In a classroom situation Dewey maintains that the I main source of control comes from the interest and I I i ------' , .... --.. ------·----~--"-----'-----.------·------·------~------·-·-----, I involvement of the group in the subject on which they a1·e I I working. All individuals should have an opportunity to I I contribute and should share the responsibility. This social control without the violation of freedom allows the!. -- I l teacher to exercise authority only in behalf of the inter- l est of the group project. Surely this control applies to I the music classes and the choral groups in church schools. In summary, a good philosophy for teaching rrrusi~: would include a program which permits the child to lea~n thTough meaningful experiences which inU;n1.ct and build, I and are directed toward further new experiences. The I i child chooses to learn because he is interested and l I involved in pleasant, but worthwhile musical activities that lead to continued musical growth. I I I Selecting one learning psychology for teaching I music does not seem to be possible or practical. Leonard I and House have one solution when they select the most I applicable principles of leariling from several opposing ! theories. I 8 ~i~··;;_~~~~~-- ~;~-: ····~; ~-~~~-~-~--~~1-~~:~~;~ -~1~-:~-~~~~~1-~~- n -~~~~s --~1~1-:~-on ~~~~o u; Icxpe-rioncn must he viewed as B, whole and cannot be analyzed I i ...1· 11l .- o .1· 1·, <:·' l·') "".·• ·r t .s • All factors must ·be studied together to understand their relationships. In regard to music, th~s view is modified, however, depending on the size of the unit or material, or skill to be mastered. The whole method produces superior results if the composition or the lesson is not too great. .Large scores require the part method. T~is whole and part method will be discussed in greater detail in the chapter on Methods. If there is a center or a heart of the learning theory it should be motivation. Mursell recommends that the primary purpose of the school music teacher is to 8 foster and develop "the will to be musical." The attitude -of the learner does affect the prog- ress of the learner. A student must care if he makes mis- takes or there is no incentive to correct them. A child learns through his interested effort. The student requires the assistance of the teacher to guide and further his involvement. I Thorndike, a pioneer 1n learning psychology called connectionism, is credited with the well-known fact that interest and ability tend to coincide. Favorable work is accomplished in fields of interest even if the ability level is not very high, but the greatest gains in music "--~------·------···---- 9 -c--oo 0 _ _.._:-.~-·-·--·-.,-~-~M------"' ..... ~---~.i:----·· ~-~--~-_. ______'1 i education are made in areas where the intere!:>t is high. 1 IThe greatest gains in music education are made where inter~ I est and ability level are high although favorable work can/ be accomplished if the ability level is average and the 1 interest high. The principle of individualization must be observed in a good learning situation. It would be dif- ficult to imagine teaching music any other ~ay. The teacher must recognize the difference in special apti- tudes and interests as well as differences in intelli gence. A child must be permitted to experiment in finding' his own way of learning. Exploration and discovery are part of his learning process. Although each classroom music period and each chil-l dren's choir rehearsal should have at least one specific goal or objective, there are several general, overall objectives tnat the author recommends for teaching vocal music to children in a church school: 1. To give every child the use of his singing voice through the singing of songs and the use of tune- I up drills. This singing voice should have a light! floating tone which develops in range and tone I quality. I 1------·------I 10 ~--Z~ T:;-deve~o;--~;:~;--f~bi-;_i ty ~~~ sin~-~o~gs --;i~h good-----~ I articulation~ self-expression and in the appro- 1 I l 1 j priate mood of the song. i 3. To develop musico.l knowledge and understanding I ' by acquainting the child 1'iith music notes and symbols that appear on the printed page, and the ability to sight-read and interpret these music markings. l 4. To develop a wide and varied song repertory I that increases in complexity and enriches the emotional and spiritual experiences of the I child. I 5 .. To develop ~holesome attitudes and long- I -I iasting musi~al values through the pleasure and happiness gained by expressive singing I expeTiences. 6. To develop a human being who can receive inner strength, richness, be2uty, self- expression and a fuller life through his aesthetic and spiritual responsiveness to music. l_ ---·--· ----·---·------J 11 r~-.-----~------.... ------~~------,---·---·------·----·---_._.-_. __ .... ,.., ___ _.__.~~----_,--·~, I ~!1-otcs_ior_Ghap!_er_ _l .I I I b ... " f h p. J\ • d LT Il LAl~tUSlC . ,_u~ JCOffiTil.l ttee 0 t. c ~ lne ."tTtS an u.uman- I 1 ~-ties, Music Framework (Sacramento: California D12partment I jo£Ed.uca~ion~_l971J, p. 4. - I I Beatrice Perham Krone and Kurt R. Miller._, Help l l I l YonTs elves to Mu~ic (San Francisco: Chandler Publishing I c o-:-;--I959T; p . 3-s.- 1 3 I E. E. Ryden, Teaching t~e Christians Faith (Minneapolis : Augs burfiPu b 1TS1i1i1i; Co . , 19 6 ~p.l9 . 4 1 1 John L. Childs, American Prag!liatism and Education l (Ne\•J York: Henry Hold and Co., T~T56), p. 3. j 5 l .!_~id~., p. 40. 6 I John Dewey, Experisnce and Educ. I! I I L---·--···~ ·---·--·-·-·----·------·----··------~J r,------~------>·------1 ~ I l CH.I\PTER I I I I I METHODS FOR TEACHING VOCAL I MUSIC TO CHILDREN I I I Helping the child to sing well is the basic reason I I' for teaching vocal music to children. The objective of I I every teacher should be to give each child the maximum usel 1 I ! of his singing voice and to develop his individual abilityj I l i to sing simple songs rhythmically and in tune~ The child i should find singing a pleasurable exnerience. I I I j l,eveJs_L~~~}-s_,_~nd k~~-~~I·ia.i_:;_ 1 il The new Music----- Framework for California Public I1 l. §cho~!_:;_ organizes_ expectancies for musical achievement on j I three levels of development rather than by rigid grade I I placerr.ent. These three levels of development are further I I subdivided into three domains of learning: the cognitive,, i which deals with facts, knowledge, understanding and con- I ICepts; the psychomotor which deals with skills to be I developed such as skills of listening, singing, playing, ' moving, creating, reading, and writing music; and the affecti~e, which deals with attitude, appreciations and . ~ 1 va 1 ue Juagements. l Because each tt::acher in the church school situa-c. j .bl .f 1 • 1. • i t:1on. 1s . resnons1 e -or t.ne musJ_c a.chlBVemen~: on a l l--· _,___ __ ~R------·-·~--~--·---·------·--,~--~----·-----·---·------·------·--·--~--S 12 13 r------·-··~--·------~------·-'------·---·------1 specific grade level~ and because even the church school l l fortunate enough to have a music supeTvisor finds his chil- I l dren organized into groups at spcicific grade levels, the l a.utho-.r chose to direct the expectancies of achievement i !more toward the grade level approach. These specific I grade level suggestions, however, should serve merely as I I 11 guidel:ine or a checklist for the teacher. The class may l i I I never attain all the goals recommended for a specific 1 grade level or perhaps they will advance far beyond the I expectancies listed here. If the teacher prefers to organize his materials at the ~hree more flexible levels recommended in the Ca_l ij_:_~E!~_ta }.1u_s ic_Jrame'l.\~ork handbook, he would find that these levels correspond with the author's grade level approach in the following way: 1ev~J One--The primary grades one and two and part Ior all of grade three. Le-yel Two--The overlapping grade three and the beginning intermediate grades four and five. I Level Three--Grades five and six on the intermedi- l ate level and beginning junior high school grades seven i and eight. If the teacher enters a classroom situation find- ing a group of fifth grade children with no musical back- I ground or experience, he must begin on the first level l using the recommendations made for grades one and two. He. I1 ------·---~------___! 14 r-----.-.--~····-·----···-· -·~···--·--·------·-··-----·---·---·----·-·--·-----·------, ),.,;1·1"'--·-·· h"'r_.. a..e t·o,. f'nd_l ,,JL.vrc... _,, .nat." ·n~··.... E.. •p·t~-.--L•a ,",,.la4 ·• ...1c- ;::., h owe\ei)_, -~ th..• a....+- t' 1 . . I I1 teach t.ns same skills usually learned by much younger 1 !children. I ! l ! More specifically) there are several goals that I could be achieved and certain materials and activities I j that could be included on. each grade level. 1Vhat the I !teacher accomplishes every year on each level will, how- I /ever, vary with the different groups of children with whom i l he 1\"ill be we:~: king. It ~vill also vary \d th the music text I . • 1 •t • h ' £ ., .:t - T -1 t h at b... e 1s us1.ng. 1h1at tne aut or recommenas .1.01" bl'ai..~e 1_._11 I1 !could possibly be included in the basic text for Grade II. II I The following suggestions then should merely serve I ! I as a guideline or a checklist for the teacher. 1 l 1 J I I _____Primary ., ______Grades _ j Singing, which functions as the basis for music I Iinstruction on the first level, should be done for pleasur1 I d ,._, ' , .. ' 'ld - ...... ,., . 1 an LU nekp tne cn1 to ~earn to s1ng correctly. ~1ng several songs every day to develop and strengthen the voca~ l I i I !muscles. tunc-up drills and tone-matching exercises will 1 lhelp to build confidence and to give the child a better I 1 control over his pitch accuracy. Encourage a light, float-~ ing tone anJ good pronouncintion at all times. I A feeling for the basic rhythms can be gained 1 I tlnough suc.h rhythmic activities as walking, running, j I hopping, galloping, okipping, marching, clapping, jumping, I G..-~"2' i :_~ ""':Ilg i ng and mai~: __r"_"_~~~---- .. --.. -----·------·--____ _j 15 ... ~~--·------·--· ----···-·------·~"-~---__;.--···"----·-··--·....,...~-·---, I A reading-readiness program should be introduced ! jat this early level through the use of blank notation. ' jAfter one semester or several months the child is usually jready for the change from blank notation to regular staff I -'- D 1notat.l0n. 1 I .Ma·~ei·~a·l~. - .. .- tlJ be used should include rhythm instru- 1ments, autcharps, resonator bells~ good vocal recordings I I and either a song book, charts or song sheets to introduce i the printed page. The singing goals begun on level one or grade one i !nrust continue to be reinforced on the next grade level. I I !Stress the import3nce of singing with expression and sing- ! 1 ing the song in the mood for wl1ich it was introduced. I I The blank notation used for beginning music readin~ I should have been replaced by actual notes on the staff. j IThe second grade child should hear, see and sing the more common intervals such as the octaves, fifths, fourths, 1 thirds and unisons. I l I The child should begin to feel, hear and recognize I I ! by sight the eighth, quarter, half and dotted quarter l 1 notes. Playing rhythm instruments is a splendid way to ~learn about note values. Syllables can be introduced on i I this level and the children will learn to recognize and to I .16 r--~,---~--·-----·---~----·-·------··------.., I observing any repetitions of phrases. This is helpful to I I ~sic readers and it saves time in learning new songs, I I A child advanced in the fjrst level or about the I ! I I third grade should show increased skill in the use of his 1 ! ~! voice as he sings alone or with a group. His knowledge ot · . music symbols and music markings must expand, and songs l I 1 j with more difficult tonal patterns should be included in 1 the aural-visual song drills. With the proper preparationj shbrt, very simpj_e, songs may be read at sight with con- I siderable success. A child reaching this level should I I understand many things about the staff such as the measure 1I and bar line division and the meter signature, some dynamic and tempo maTkings and note values. I The good, creative teacher will present these basic concepts to tJ1e primary child using a variety of methods and materials, but including enough drill so as to insure a solid foundation for the more challenging material to follow. The use of rhythm instruments is vital for the teaching of basic rhythms. Resonator bells will assist in teaching intervals, harmonies, and the chords. Creating actions, new words, ideas, for dramati- zation aLd composing tunes help to motivate and stimulate interest in teaching basic concepts that need much repeti- tion and drill. I I l______j 1 ...., ..,._/ r-r~:;;~-;~~-d:·i·~-t e -Grade s------·-----~1- 1, ------I ""b 1 ... ' th . 1 ] . 1 1e goa. s s~ressea on e pr1mary ~eve. are con- 1 ! I j tinued on the intermediate level, but with increa3hlg dif-j I ficulty in materials. The fourth grade level should include the introduction of the letter names of the staff) , l I I chromatic and minor scales and new note values such as the' I dotted quarter and the sixteenth notes. A simple melody l instrument such as the flutophone or the recorder enhances I the voices with descant parts and also provides an ·inter-" ·,' I I esting way to learn letter names, scales and note values. I Part singing should be introduced and prepa~ed forj Iby learning many songs with descants and by singing rouna.s·' I I and canons. Simple two-pa-rt songs can be learned aurally I and later in the year, children should attempt to sight- ' read simple two-part songs. I the children notate their own accompaniment so that others! I might be able to play it. This provides a relevant motive for learning music theory. To develop further all the new skills begun early on the second level or in about the fourth grade would ~r.:tliP.! j up very well the goals-for grade five. This is a good ------~' 18 r:::;~r::~:~ f::y m:r:a::::;;:~:::~::::t::::. ra:::: ~~:: 1 1 simole folk songs and spirituals to more complicated art 1 , I1 I::::: ::dt:::;~::.f::ml:::n:::ras:::.:h:h:r:::::::nc:h:f j being critical and selective when choosing nevl materials , which have not been tried OT tested. Use your accompany- 1 ! ing instruments as a means to introduce the more technical l aspects of music theory. Accompaniment em the autoharp l I could provide the child with an understanding of the basic I I chords and chord progressions. The percussion instruments I I stimulate and motivate the child to want to learn about Ithe theory behind the syncopated rhythms of the calypso I and the modern rock tunes of today. The flutophone can be j I replaced by the recorder or the melodica. If your budget I permits, purchase several melodicas to stimulate the more I musically advanced children. These simple instruments add variety and are great teachers of otherwise rather boring theoretical concepts. Encourage the children to bring to school other instruments that they might be learning to play privately or in band or orchestra. Use them for choral accornpani- ments as you might need an obligato or a descant part. Guitar players should be encouraged. Permit them to play for the class and to accompany the class on folk and rock tunes on special "culmination" days. _____J I 19 their mu.sica.l exposure to many different styles and forms should have developed to some extent their musical taste. selective in their musical choices. I l Hopefully a child in the upper intermediate grades, , I I can read with some success one, two, and three part songs. I l He should have a theoretical background that includes a i basic knowledge of the staff, finding key signatures, I knotriiPg note values and the letter names of the staff. I l c.ral e'" ! I Some understanding of major, minors and pentatonic -'--~,J I chords and intervals and how they apply to singing and playing accompanying inst7uments must have been included I in his musical education. He has built a repertory of I ! art, folk, and modern songs 1vhich he can sing expressivelyj I \vith a pleasing tone using clear enunciation, good posture! and correct breathing. I The Ihaccurate Singer I Extensive research has been conducted in the area of child growth and development to include the study of the speaking and the singing voice. Results of these tests indicate that the child who can learn to speak cart also learn to sing. However, the teacher nmst keep in mind that children learn to sing at many different age levels. With proper training and encouragement, most I L_::hild_!el:_ should be a_b~~_!~~~~-rry __ ~- tune"-~-~!_he end of J • 20 ·------·------~. grade one, and all children without serious physical hand~ cap should be singing in tune by the close of grade two. Numerous methods are used to aid the out"of"tune singer, but the writer's experience has proven that the most bene ficial exercise for the child to follow is simply recom mend that he sing each and every day. Good•muscle skills require daily practice for improvement. Several reasons for the existence of the non- singer are summarized below: 1. Immaturity in the early grades. Boys are often • two years slower in development than girls of the same age so the teacher must anticipate a lack of vocal muscle control. 2. Lack of experience in singing and poor musical background. 3. Lack of concentration and inattentiveness to pitch differences. 4. · Lack of coordination between what is heard and what is reproduced. We cannot sing until the muscle produces the tone. The ear then hears the pitch generated by the muscle. A mental association takes place between the feel of this tone and the actual pitch heard. 5. Defective vocal and hearing organs; speech impe tone deafness in the singing range. These, however, are very rare. 6. Shyness and extreme inhibitions. 7. Wrong vocal habits. Keep in mind that the child's I. voice is a soprano--not an alto. The inaccurate singer should be made to feel that 1 he has nothing to be ashamed of in his voice. He must i I understand that he has to work a bit harder, but that withl effort he has accomplished something and will accomplish I more. One unhappy experience with singing may cause the I I child to form a distaste for all future musical experiences.1 I Music should be approached through emotional appeal. I Before discussing any specific remedial actions to aid the I out-of-tune singer, several psychological factors should ! i I be mentioned and considered very seriously. 1. Singing must be fun so attempt to keep the expe- rience pleasant at all times. The class should be trained to recognize and appreciate individual differences in the voices of the ether singers. Eventually and hopefully, they will alJ s5ng the same pitch at the same time, but never will any l I one voice be identical with another. I~ ~~e chjldl feels comfortable producing his iones, :.~:rdle~s ·~ of pitch, with the class as well as with you, his I j experience with singing will be enjoyable and I I I progress more expeditious. I L ______..:______~------·--·---·-----·-----~----.1 r-··-~-~---~~f an~·- w~e~fu--~~;~-~~ ing~;--·;in~;-;::-at-~hes-·-~~ ton-;:1 and the right pitch is heard praise him! Repeat the exercise and praise him again, allowing him I to feel a sense of accomplishment. A successful. I experience will build confidence and assurance 11. wh1ch• is vital, so take time with this glorious I moment and praise the child. I It is the duty and the responsibility o£ the direc-~ !, t.or ...LO find out early who are the non- singers in the g-roup.' l' It seems unwise to do indivJ.dual work during the first or second rehearsal, but rather permit the child to try his voice on many and varied songs with ·v-1bich he is familiar. I If yoi.l have difficulty finding one song knmr~n to all, I teach a simple tune so that everyone has one song they can I sing. These warm-up, trial lessons are important because to get to knmv them better. The shy, inhibi tee! child~ will be unable to communic3.te in a speaking or a singing voice until he feels safe with you, the leader. Explain that you never get angry about an honest mistake; that ~ve all try hard not to make mistakes but they will occur from time-to-time, and this is how we learn. With a little Iconfide:ce, he will dare to try and dare to concentrate on . I ~---·------.....--·------··--...______23 . r-~-~ .. -~------·---_ ------.-~------, I the pitch rather than whether or not he will make a mis- I I take. The child must feel confident that he has 5upport 1 ! I I ·:lnd a,. · <:: +· ~ ., f · h " · d · h .. ! 1 <•·" ·· •.:.Sl;:, ,,.d.hCe rom tne teac er. .. mus1c 1rector S1 oulo i I ! j be something unique and special in the life of a child. j ll After two or three rehearsals, the teacher may ,. I Ihave spotted his unsure singers and they are probably ! . I I ready for some individual work. If not, take the familiar i I song which everyone has learned and explain that each per- l I I ! son will have a chance to sing one phrase. Johnny will j I I 1 sing the first line of the song, and the girl behind him 1 I I lj cont1nues• w1tn• , t1eh next l1ne,. etc. 'fh 1s. 1s . not a.f aoL-, Ij Iproof method as Johnny may be a non-singer and the girl 1 ! I l follmd.ng him has lost the tune becau.se of Johnny's inac·· i ! curateness. This method, however, is one way to get I I I started and helps to locate the insecure singer. I 1 I A very common tune-up, get acquainted type of I 1 indivi~u~J work is the name call and response. E~pec~ally I in the choir o.r school year, for it I :oo~ e:r-~y h~:ps ·:m:il-. I• ~a-~?e...... - the teacher with the names of the singers, as well 1 as their voices, The musical interval of a minor third j I (from do to la) is the first melodic interval appealing to,, I and utilized by, young children. The teacher may sing Isomething simple such as nyour name" and the child responds Iwith "Bil-ly," singing down a minor third from the first I I tone t'J the second tone. (See Appendix A.) IL,______, ______:______j 24- Do not use the same tunc-up drills every session. I I ~reate ones and permit the children to invent new calls and responses. The riext few pages shall be devoted to suggested tune-up drills. Try theml Use them! Vary them! Children are stimulated by vaTiety such as calls, chants, games and songs, Lack of concentration is one of ! the reasons the child happens to be a non-singer, so keep I ~im interested and motivated thereby improving his concen-~ LratlOll. . The concept of "high" and "lo-.,.1" must be repeated I over and over again. Be fire eng1nes. an d s1rens; . start onjl a low pitch and go higher and higher, starting with their 1 bodies in 2 squatting position and gradually moving upward Sing to the light fixture up above, or the man working in the tunnel below the city. Force the vocal muscle to stretch and to move. Teaching the concept of "high'' and 11 low" is really!I teaching the child to be a better listener and this involves getting his attention and his interest. The L_i r-·---·-;-·---·~·---·-----·-·-..:."'---'-'-"'-'--·-· -·-· -·- --·l l .. 1, . . f . ' I to .. ~ow1ng suggestions or improving the listening n~bits l I ' I and pitch awareness might be helpful to the teacher. j I 1. Ask the child to stand on tiptoe, stretch his arms I I up hish, and to sing where his fingers are. I I 2. Playing games and becoming involved in physical i activities such as beirig very tall on tiptoe 1 I (high) and very small in a squatting position I 1 I (low). The voice should correspond to the high 1 and low of the position of the b-ody. 11 li 1! 1 3. Imitations of the sound of anything that moves 1 I from a low position to a higher position or vice- j j i versa. Imitate a jacket zipper sliding up and I 1 j down; a man's voice and a woman's voice. ~ j 4. Listening for "high" and "low" tones played on ! the piano, the pitch pipe, or resonator bells. 11 lJ The response can be a physical one such as ll l reaching high to catch the high tones or stooping I low to find the low pitches or they can try to I .I I imitate the high and low tones lvi th their voices. I 5. Wc:lking up and down the stai:rs or riding up and dmvn on c~n elevator. The 11 Elevator Song" can be acted out physically or it can be sung by the children. (See Appendix A.) A non-singing exercise that really works is to force the vocal muscle higher by asking the child to shout l__a name or a call. Demonstrate how he should de it but be 26 ... ------.. ------·-----·--·-·--··-~-· ___ ;...... ;... ____. -----·--··------·-----·---...... ;--.., 1 ti-'1?) I sure. t'n£01-.,~- ~pea A·.··1·,1g p-ltr.h-- _level ~,-_.:, sl~ght~t'r~.1. ··) hl.ohe·.,.0 ...... ~-lc.L his1~ .lI l l Gradually move it up and up. Ask the child to shout to I Ithe rest of the group from a corner. After calling a namej I several times the call becomes smoother and sing-song j I chant tone emerges. The child very naturally ends up I ;i calling the name on the pitches of the minor third. This l ! I is effectiv0. Here are several other procedures that 1vill help I j to introduce the high and low concept and that \1Ii11 estab- i 1 ish more ca.reful listening. I • Together sing a familiar song such as 11 America. 11 Ask the children to watch the teacher closely because when he puts his finger to his lips anJ. says "sh11 they must stop singing aloud but continue singing the tune in their heads. When the teacher removes his fingers from his lips, the class should continue singing aloud. Hopefully they will be in the same place and on the same pitch. To help the inaccurate singer, here are some other to remembe:r: Repetiti6n is important, but keep it brief. Do not prolong or belabor the child's efforts. Usa materials that are familiar, short and simple.! Two or three notes for tone matching are suffi- cient. You may find it necessary to begin with only one note. L..-----·--·~--·------·------~------· ~--·-----,------·---·-'------~----·-·-···-----·--·----1 1 3. Transpose the song or tonal pattern to the key or I 1 l range of the inaccurate singer. Join him on his l pitches so that the tones are matched. Raise the I key a half step and he may follow you. Continue 1 Try - to do this until he no longer can reach you. l again during the next rehearsal. I l to involve all the children in singing activities and to l I help the non-singer become a better singer. Singing then 1 forms the basis for music instruction in the elementary . grades. _ivtuch singing should take place on this level anc1 I numerous songs should be learned. I There are two ways to teach a song on any level-- I aurally and vi~ually The aural song, which is taught I J throu:h i:itat:ons, ~an be sung phrase-by-phrase, or the '.' :::1: 1~:::g1 :e::::n c::e b:p;::~::::~ t:nv::: :~:u::i::::od, 1 page and without hearing the song, first tries to deter- mine what the music sounds like. Both methods are neces- sary for a complete musical education on the elementary level. ! 1 Before any music reading begins, or before any I visual songs are attempted, the child must learn many i l______,______--··--·------·J 28 rs~;,;~-;-y '--;;:-:ur a~ -~xpe r i e~~ e-~us t-pre cede ~;:;---··l ! visual. He must be able to hear pitches before he either I j produces or attempts to read them~ I I I I Let us first consider the most common method of I I I teaching an aural song--the phrase method. The teacher I sings a phTase; the child listens and t1;en with his sing- I I ing voice, repeats the phrase. All music instructors havej taught songs in this manner. There are, however, several j ways in which this imitation method can be more effective I I and songs may be learned more rapidly. I Consider an AABA son,g \ihich simply means that I lines or phrases 1, 2 and 4 are alike, and phrase 3 is different and therefore given a new letter. It is 1dse to call attention to or permit the children to discover I that three phrases are alike. Now the sona can be learned!• I • 0 ~ . I quickly. In any song form, find the like phrases and teach the children short-cuts. To avoid drudgery and boredom, vary the aural song techniques. Before the children begin to sing the song, let them clap the rhythm while the.teacher sings. This focuses the attention on the rhythmic element while still hearing the tune. If there are difficult melodic skips in a phrase, isolate them and repeat them several times. Actually conducting a song as you would a choir is not necessary, nor is it wise on this level. It would be 29 ~~;;d-f~Ii of the pi_t~h i~ the~yo-;;-~r;;t;;;-chi~;;:-Th~~ l child can visually perceive where the tune is going and / / anticipate the pitch. This type of direction is usually II referred to as "making a nicture" of the melodic sounds. The whole-method is successful if it is taught correctly. Whereas the phrase-method involves the chil- I ren's voices early in the learning of the sone +~e1 whole- I . . - . ~· 0' I.- ~-•t h~ - . ~~~ method requiTes many more repeats on the part •:; teacher, and many more listenings on the part of the 1 singers. For this reason, it is necessary to find ways I / of holding the attention and concentration of the child , 1 1 until he is ready tu actually sing the whole song. This 1 I attention can be secured if the teacher will challenge thel student to do or look for something diff~rent each time I the song is repeated by the instructor. At first the I child may listen for the story told by the words of the I song. They may listen for like phrases. Permit the chil-l dren to "make a picture" of the tune. They will listen I as you sing and show the rise and fall of the melodic tunel \'Vi th their hands. Clapping, or instruments, may be added I l to provide variety while the song is repeated. The stu- l dents may be encouraged to discover the number of "stories"! or phrases in the song. They may try to determine whether the song swings rhythmically in twos, threes or fours. Discuss the thought or mood of the song~ and later work 1 for tone quality w~ic~~l-~-:xpr:s the spirit. of the_:_ngj 30 r------·-·------·------·-·-· ------~·-·--·----·-· --·------, I By using this variation of activity in your presentation., l I the song may be repeated several times by the teacher and ! I eventually learned by th~ children without becoming boringj 1 I or repetitious. j ,I Before any actual music reading is attempted, much I I ·.· time must have been given to reading-readiness. Reading- I I I i readiness can be, and should be, a part of almost every I 1. - • 1 r • ' Il lfl''~L< ., .L c le-~o-1::; ~ l ln t·e1 . ··-Tlrs~l. bora•::te ·- • Several music concepts j j J!lust have been learned before any teaching from the ! ! printed page can be introduced. A child must recognize fast and slow tempos, high and lmv pitches, heavy and light sounds, and skips and steps. Point these out often I while singing new and favnTite songs. Every child should I I be able to distinguish the differences in these basic ! concepts early in the first grade. I ¥J'nen a child does recognize aurally the difference I l between high and low pitches, he is ready to begin seeing I them. The blackboard is an easy, quick way to begin the process and blank notation is quick and easy for the chil- , dren to understand. Blank notation uses a straight line for a pitch instead of an actual note. Start with the do, re, mi syllable pitches but use the numbers 1, 2 and 3J Your blank notation would look like this. 3 3 2 2 ! 1 1 I 1 -· -- I L------·--·------·------' 31 r~·-·----~--.--~-----. -----·-·--~-· ------.--~--···-----·-·· j The stairway approach can be used by connecting l I l I the pitches to make steps. This visual aid is sometimes I I helpful: lz3 l __ l I I' IDon't miss the opportunity to point out how the pitch .. I i remains the same on number 3. The opening phrase f~om 1:ne I It1 am1 ·1· lar "Th ree Bl1n· d Mice" can be sung an d. a picture of I the tune be drawn by the children. Mi, ·re, do (3 :> 2, I 1) l I should look like this. 3 2 i I . 1 I They may also draw a picture of the tune in the air by the!I j ! use of hand movements going down in stepwise fashion. I Every week the blank notation becomes more diffi- I . cult. When the step movement seems quite secure, begin 1 skipping. Sing 1, 2, 3 many times and then ask the chil l dren to sing 1 and 3, but to only think the pitch on f : number 2 or to sing it in the iT head. After several I I attempts, they can omit thinking the second pitch and simply skip from 1 to 3 and 3 to 1. Selecting intervals from familiar songs can be helpful. "Twinkle, T>linkle, Little Star" skips from 1 to I 5 on the second "Twinkle." This is a good song for blank I notation as the rest of the phrase goes dotvn t}le scale in , ______J I 32 Blank notation may also be used to indicate dif- blank notation, note heads may be substituted for the lines. Then they are ready for note heads l.-.ri th stems and. flags. The next step would be to place the notes on the staff. The beginning reading experiences method just dis-! cussed may be done from the blackb~ard or from charts. The children need not have books. However, books are .-~---··-·------·-----· ------·------~---:~ I copj.es could be prepared for the children. The blackboard I 1is very satisfactory because it does leave the children ~~ 1 1 free and ready to respond with band pictures of the rise 1 Iand fall of the melody or for clapping the note values. ! I Charts can be prepared in advance and save time in the I 1 c:lassroom. Ideas can be preserved from year to year when I Inota ted on charts. I I With a good foundation in this reading-readiness ,. Iprogram, and daily singing of aural songs, the young child I I will be ready to move to the printed page and begin to I I : I read the music of easy, especially designed songs, which li 1 usually ap~ear in the second grade book. . 1' A system of teaching music to children, which is I• 1 I ' j having an impact on American music, is the Zoltan Kodaly ~ I method. This method is based on a sound rhythmic founda- · tion which is taught with rhythm syllables and physical I! I movement is emphasized. The movable 1'do" is used and the I I pentatonic scale is taught through the use of syllables. I This pentatonic scale includes the five tones do, re, mi ~ • I 1 I sol and la. The half tone skips to fa and ti are elimi- l I nated. Professor Kodaly maintains that young children lj cannot hear or sing half tones in tune and for this reason bases his teaching on the pentatonic scale. The process should begin early in the grades-- preferably in nursery school and should proceed gradually I Ij through the grades using tone syllables, hand singing, andl L___ _ ----·------r----~------·------··------·-· I :r11yth:n syllables as tools. The voice is -~~~-basi ~~-~~~t r~l i lment for learning music in this method also. I The method stresses the beat and the rhythmic pattern. After an awareriess of the beat has been heard I 1 and felt the written riotation can be viewed. In summary, I I I the method is a step-by-step process of hearing, feeling, 1 i ! j and reading music. I Mary Helen Richards, who bases her teaching on the I l ! IKodaly method, divides her book called "Threshold to i j Music" into three parts. One part is covered in each of I I i As the first three years of teaching music to children. I I' in the Kodaly method she uses large charts in her teaching.! In the first year the charts carry the class I through only four tones of the pentatonic scales. The second year includes the fifth to~e of the pentatonic I scale and octave d~ubling. The third year completes the I I diatonic scale and the groundwork has been laid. 2 I The preceding paragraphs have been dire~ted mostly to children on the primary level, and quite appropriately to the first grade child where it should all begin. Per- haps the child is on the intermediate or junior high schcol! ' level. Where does he begin'? Blank notation would work well on any level. It is simple and quick. The older students readily get the idea and are able to move on to note heads and the staff much, much sooner. A wise teacher would want to change ______,__ J 3 -·r: r-·--·· ------·----·--·---··------;., l his demonstration tunes froni nursery rhymes to a familia-r 1 l 1 I folk song, a spiritual or some popular tune. Practice and~' Idrill on the irttervals in several keys. This can be done I 1 before key sisnatures ~nd much theory has been studied. I 1 1 Place the do, mi, sol (1, 3, 5) interval on the staff in ! several keys. Give them the starting key tone and they will sing the pattern from the notation on the blackboard. ! Do this with several scale or skipping patterns. Keep 1 I note-reading period short, but do it every day. The main points to consider in teaching the staff arc: 1. That the staff has five lines and four spaces. 2. That we count the lines beginning with the bottom line. Additional lines added above and below the staff are called ledger lines. Very high and I low pitches in each clef can be notated by this extension of the staff. 4. That a straight line drawn through the staff is a bar, a:n.d the music between two bars is a measure. The story comparing the staff to a house is an oldj one, bt~t a good one< Just as a house has several rooms I I dd ~vv ~ddeeddbb)y' w aar11 s ~n:.os.the staff has several measures j . _ _ A key will open the door of the I 1 1 11 1 1 I L~_o_u_s.e __ whi ~ e a. key signa tu re._i_s_n_e_c_e_~s_s_a_r_y_t._o_u--'-·n_l_o_c_k_t_h_e ___ l 36 r---·------·--:-·-----··-----. ------·-----··------'--·----·--~~--···--. I mystery of the printed music page or the location of the 1 I home tcne .. The next step in teaching music reading would be I I I the aural-visual song. The song is first taught as an I I aural song (by listening and repeating) and then parts of I I it--the tonal patterns are learned with numbers and sylla- I I bles. The song selected must contain a tonal pattern I which is repeated often throughout the song. The pattern 1 could be the simple 1- 3- 5 (do, mi, sol) pattern. I The children should have a mttsic book or a I printed copy of the music in front of them. If books are not available, use an overhead projector or have the entire song notated in advance on a chart. In the church school, the hymnal or a simple choir anthem might serve the purpose. The teacher points out the tonal pattern on the page and then sings it with numbers and then with sylla- b1es. The class sings the tonal pattern with numbers and 1 I :::::b::::xm::~::r:.pi;::r:l:::m:sa:::::r:::dp::t:::dw::: I tonal pattern elsewhere in the song and the same procedure! takes place. Now ask the class to sing the tune which they have already learned aurally and to sing the entire 11 11 song on the neutral syllable loo · except for the tonal patterns which they may sing with numbers or syllables. I Sing the song with words for fun. ______! L------.------·---·----- 3'7 r---" ___ ...;. ___ "--·----~------·"-·-··------~-"-·"------1 The Avproach from Aural ~~o Vi.?U~}_ 1 Children desire success! Note reading can be, and I I should be n successful, exciting ven~ure for the child. I .Just as he has learned to re:;:;.d words, he can also learn to I read notes. The success of learning a song by note reading depends mostly on the preparation that has taken place. I We will assume he has had the reading-readiness background i I 'suggested for the early grade levels. Here are the steps I I for teaching a song visually to a child who has been pre- j ! I pared by a good reading readiness program. 1. Permit the children to J.ook at the words and I notes and discuss briefly anything they might I observe. Usually the stor; of the words will cause some comment. I 2. It might be well to clap the words in rhythm. Any difficult rhythm pattern should be isolated I and practiced first before a complete reading I takes place. 3. Draw a staff on the blackboard with the notes they will use in the song. Early note songs should contain no more than five notes. Permit the chil~ren to practice singing the notes with number names until the child kncws very quickly which note is number 1, 2, etc. This same IL. ______, ______38 . '-·---·------·---l. preparation must be given to syllables befoTe you ,------I can proceed with the next step. 4. Isolate skips or tonal patterns such as 1 - 3 - 5. 1 Usually the songs are constructed to emphasize a specific tonal or rhythmic pattern. The teacher should have these problem areas isolated in advance. Drill the children on the sound of the pattern and then see where it occurs in the sorg. .,' I They should recognize the pattern very quickly. i 5. Scan to find like measures and like lines. I I I 6. If you feel reasonably sure the children can read I through the song with few problems, you are ready to begin. The success of this depends entirely lI upon the success of your readiness preparation. 7. Early in the primary grades, the numbers can be replaced by syllable names. Be sure to isolate skips and practice tonal patterns with syllable names before you read through the song. Ask the children to frame the tonal patterns with their index firigers. This forces every child to find it in the song and the teacher krruws-h-e-h-&s---f.'"m"...... 1-t------it. 8. After several times with syllables, the song is ready to be sung with a neutral syllable such as "loo." I L___ _ ------···· ------·------·-- ,·--~-r-~A-f be quite well i i established and they can sing the song with words. l Be sure to praise th~ children for their efforts. I I They have taught themselves a song. They no longer need 1 - ! a singing teacher or a piano with them everywhere. Tht:'Y j I I can now figure basic things out on their own, just as they! I I i no longer need mother to read words to them, now they arc 1 I I. beginning to read music for themselves. I I I The visually taught songs must be short. I I I staff lines or two phrases are ideal. Do not spend the I I I entire period reading one song but rather permit the chil- I I dren to sing favorite songs at the beginqina and ~Jose o£ 1 I the period. If the children sho~ signs :: :at:gu: a~~ • I l i discontent, leave it and pick up the next day. Keep the idea exciting because it really is! Older students may find the key and meter signa- ture before they begin to read a song. Unless they have had a great deal of experience, the procedure just described is necessary for the success of older students, as the material to be read is usually more difficult. Do not omit the drill for older students. It is vital that they are successful and have this same feeling of accom- plishment. Tonal patterns must be continued on the older levels as it is important that the student see groups of I notes as a musical concept at a glance as we do in the ___j 40 ~--·------=------....:...--··-----"---·------, 1 reading of words. Songs are made up of tuneful and rhyth- mic patterns rather than individual notes or pitches. Increase the length and di.fficul ty of these patterr1s as the student progresses in his ability to reaa.. ' Although the drill patterns here are referred to as tonal patterns, the student must also recognize them l as intervals. It may be sufficient for the primary child l I to remember the syllable names and the numbers but the I intermediate and J·unior high._, school .Jc•udPn~ l.,.. - L- rruct.,11 .;J rncorrniz~'tv S.J... . c; Ij I the interval names that "don moving up to !'sol'1 is a fifth I and that "do" moving up to "mi" is a third. AJ though the ! I sofeggio system is being emphasized in this handbook, the i exposure to the intervallic approach (sight singing by I intervals) must not be overlooked. A child who has he:. d. trouble with the syllables may do well using the inter- vallic approach. Prepare a drill sheet or flash cards I with exercises giving practice in the singing of intervals until all common skips have been introduced. It would seem to be more relevant to select intervals that are being used most frequently in the songs to be learned or sung that day. In this way you are not simply drilling for the sake of drill, but you have an immediate purpose and goal in mind. j Select also the difficult ~hythm patterns that occur in the songs on the rehearsal schedule and h the patterns aurally and then visually. Use the E------J 41 r-····-·---~------·----·-·---·-.-.-· -· -.-----·----·--..C------1 1 echo clapping proceduTe where the teac}1eT claps a pattern i I and. the children repeat it as an echo. ! ! Much of the procedure just described can be done I ! ~.r"th.. ... a small. amount o f mus 1c· t h eory b ac k groun d . .c\.S" we 1.1 ! Iprogress to reading longer, more difficult songs from the Ifirst note to the last, some music theory should have been I I 1 learned in the development. The, theory facts include 'finding the 11 do 11 --the key, and the meteT signatures; the syllable and the letter names of the notes; the rhythmic note values; and many marks of expression and tempo. I Visual aids such as scale charts, flash cards~ and staff papers are valuable. Flash cards can be prepared by the teacher for naming no·t.es, note values and expression !marks. Flash cards can also call for a response in the form of singing a tonal pattexn, clapping a rhythm pattern or both. The writing of a creative song either as a class or individually, is one of the best ways to motivate a child to learn and use theory. For students on the intermediate or junior high school level who have had a rich background of meaningful musical experiences both in singing and in theoryt the following procedure for reading a song may be used: 1. Preparation a. Determine the meter and the key signature. Find the "do. 11 Older students can name the I key. ·-J 42 .--.-.. .-.-·--~ .... ---·__..,.,""""'.~--· l --.-··------·1 b. Teacher must isolate the difficult tonal and Il ! i rhythmic pattei·ns and place on the blackboard. I I c. I ! in the rhythm of the song. I ....' .Song Scanning I a. Discover parts, measures or phrases that are alike or almost alike. Discuss the form of the song. b. Discover the scalewise passages and call attention to them as being easy spots where they will have no difficulty. c. Determine beginning syllable pitch. Blow :'do" on the pitch pipe and the students find the beginning tone. Sing the syllables in the first phrase. d. Continue to read each phrase or section of the song with syllable, number, or letter names. Repeat this until the tune and rhythm are quite secure. 3. Polishing a. Sing the song with words. b. Continue to work on accuracy of pitch, a good blend of tone, and artistic phrasing. c. Sing the song in the correct tempo using ! I_.i proper and.expressive dynamics. 43 ~part-S~;: :~~;- ~,~-~~ade s:-~:~ ug n ~.~oul d-b e in-~ison l 0 I only. Introductory steps to part singing may be~in on the l I fourth grade level. If fourth graders are singing well in! unison) part singing may be introduced through the use of rounds~ canons, descants and partneT tunes. Harmonizing in intervals of thirds and sixths is the easiest for the beginning harmonization. I The necessary requirement for singing good harmony! is good listening. There are several preliminary steps I which make students aware of harmony and introduce them I 1 to :~te::~:i:: ::r::::,::~ni.ment adds ~herds to the vocal I line, the students are hearing harmony. This ! could be the addition of the piano, autoharp, bells 1 etc. I 2. A teacher is wise to add her voice on an alto or I a descant part before any harmonizing by the stu- ,I dents is attempted. This gives students the practice to stay on the melody part while hearing a part or counter melody. 3. Students must have heard vocal choral harmonies. Encourage them to listen to the adult choir on Sunday morning, the choral groups on the radio and television, and invite the junior or senior I high school choral groups to come and sing for l ·--·------· 44 r-·-·--· ---·-----·---- I your classes. Nothirig inspires students more to want to learn to sing harmony than hearing and experiencing the sound of harmony. Until the student has been exposed to part singing,! both as a listener and as a participant, he should. not attempt to read part music voc.ally. The ability to read a single, melody line does not insure the reading of part music, but it does give the needed background for the reading of part music. Before reading vocal part music, then a student must have the aural experience of part music and he must have had.the unison experience of note reading. Steps to consider in Teading part music are: 1. Divide the cla5s in two sectidns with a good hal- ance of strong and weak sing8rs in each group. 2. Use waTm-up drills of singing in thirds and sixths. Change parts often, permitting the har- many part to be experienced by both groups. Do not ask students to learn more than one part in any one song. 3. Preparation for part reading should be the same as for one-part music. a. Establish meter and key signature and place of "do." b. Establish starting note for each part. 45 r-·-"----'-··------~------·-·----~------~-·-- ._ ~ I c. Prior to class meeting, the teacher should . have anticipated and selected difficult rhythmic, melodic and hannonic spots fox lI advance practice. Place these on the black- board, but also point them out or ask students to find where they occur in the song. d. Analyze the song together. .Ask all the stu- dents to find parts that are alike or almost alike. Examine like phrases. Look for easy passages such as those that move scalewise in thirds or in octaves. e. Assign the students their parts. Find the starting note and then read through the first phrase silently. f. Continue with each line or phrase until the song has been learned. If difficulty arises isolate the problem and teach these sections _separately. g. When the parts are quite secure, drop the syllable names and sing with the neutral syllable "loo." h. Sing both parts with words for enjoyment. i. Take the time to commend them for their efforts and to praise them for the progress and success that they have made. L_, __ ' 46 ,-~- There should be no perman:~-t ~~-~-i-g~~1e~-t-·--;;·~~...,.-~-·t-s---.~ I 1 on the elementary level. Those ltlho sing soprano on one song should learn the alto on the next song .. ·Singing the alto does help to develop a musical ear and this is vital to singing the harmony. An ear that hears the part well is really more important than his ability to read the part. 47 ----·----~-·--"---··------.--.--..---- Footnotes for Chapter II 1Music Subcommittee of the Fine Arts and Human i ties, Music Fra1n:ework (Sacramento: California Department of Education, 1971), p. 9. 2Mary-He1en Richards, Threshold to Music (San Francisco: Fearon Publishers,-r964)) p. 9. L_ ___,_j ,...._,...... -·------~-·---.-~-·------.... -- ! I I CHAPTER III - THE FUNCTION OF.THE CHURCH SCHOOL CHOIR I I To spiritually inspire its audience through song I ! is the primary function of any church choir, 1.'lhether it be! .1 a youth or an adult group. The church choir directly I 1 I l Ireaching out and touching the heart of each person is I j truly serving the Lord as well as the congregation. The ! I . motive of the choir should-be to supplement the liturgy I I and the spoken word, stirring each listener as it relates I 1 I Any I I the message of God's word through 1il'J.sic. choir not I accomplishing this communication is wasting the time of I those who came to be uplifted and inspired. The anthems l or hymns should contribute 1.o the total worship service I in such a manneT that a greater Christian awa1·eness is experienced through the ministry of music. At this point you may be asking yourselves, nHow can a youth choir possibly communicate to an adult 1ivorld about things the child peThaps doesn't understand?" If the composition is so perplexing that the chil- 1 l dren do not understand its meaning, you should re-examine your choice of text. A great variety of music on the child's level is available today, so there is little l J 48 49 r::::n ~:;·;-;;sing rna t erial--above--and beyond their compre. l Take time during a rehears~l to first explain the text and stress the purpose and importance of its communicable message. A thorough understanding of all word meanings, together with a desire to communicate and I project, will add vitality and significance to your rendition. I The church choir is required to perform publicly, so select an easy anthem or hymn for your first chapel or I worship service. It is desirable that this performance bel an exciting and successful venture for your new group. Do not stifle enthusiasm in the group by being too critical l of every aspect of the music, but rather emphasize the I strongest area, minimizing the weaker, less critical seg- ments, which can be handled in later rehearsals. Before I appearing publicly, the choir director should evaluate I the ability of the group and also the expectancy of the I audience should be considered. I I Try to maintain a balance between simple and chal- 1 i lenging music. Selecting only music which constantly pro- I vides a challenge may possibly prove detrimental with loss l of members through exhaustion or boredom. Simple numbers I should be sung on a regular basis, and as they arc per- I fected, can be most effective. Hymns can be executed l _j 50 .------· ------. -·-~-~--l fbeautifully, but.strive to make your hymn-anthem a flaw~ I less and meaningful piece of music. The musical interpretation, of course, falls upon the director. A children's choir director must inspire the singers so that they in turn will inspire the audience. The children may miss the real purpose for their becoming I choir members if they see the director's unemotional fa~e seeming only concerned with attacks, releases and dynanncs.1 1 The first communication must be between the director and the choir, and then the extiting, uplifting, message of the music will be transferred to the audience. The direc- tor's effect is almost charismatic, based on his ability to communicate with the inner moods and responses of the choir to the congregation. A choir director must overcome any progress- impeding inhibitions. Rely on your own uniqueness and versatility in conducting and leading. If leadership is a difficult aspect for you, practice to develop'this necessary quality. Dare to make decisions! Be vital, alive and unique in your direction! The personal inten- sit:y and showmanlike quality is essential, and it must be maintained. The choir will respond to what they see. Use of such showmanlike communication lends flexi bility to the conductor's efforts and excitement to his performances. It imparts an air of inspired improvisation to his conducting which cloaks the structural bones of technique with the living flesh of artistic meaning. The best choral performance J at any level reflects the inner personalities of · l ·------51 ,~------,.______------~---·. ----~-·- 1 the. ~ingers ~hemselves, a~d is a l~ving, fresh 1 real1ty at tne moment of 1ts creat1on. 1he con- I ductor' s communicative skill must reach out for I this im1er response from each singer, exhorting . it to come forth, and channelling it into a com I posite, meaningful group expression.! The Organization and the :Membership of the Church Choir - I Facts to consider in the organization of one or ll I II l more choirs are numerous, but one significant point to I I thint about is the size of the church or the church schoolJ .,1 - - - I The size of the church usually parallels the size of the _, 111! school and its staff which is important to the director ! I insofar as financial capability to support several choirs is concerned. If you have been asked to start one choir or several, discover the age group that has the greatest strength, both in number and talent. Your own personal strength~ talents and interests are vital factors to weigh. If you communicate well with children in the intermediate grades, but have a difficult time with younger children, you may be wise to organize a choir including children in grades four through six or even two choirs in this age group. Attempt to interest a mother, college student or another staff member to work with the primary grades. Your lack of interest, enthusiasm and perhaps experience with children on the primary level would probably discourage these children from pursu1ng 1 IL______j 52 r------=--"·--·------·------...C-----· ------, 1 any further· choir experiences and shortly you would lose I ~ . prospects for your intermediate choir. After you have determined the age group of the choir~, get on the phone or into the homes to solicit a commitment from the children and parents. Convince them that singing in the choir has great spiritual as well as musical value, explaining your goals to them at the same time keeping aims realistic and allowing room for expan- sion and gro·wth. The parent should be informed that choir partici- pation often leads and involves the child in the total worship program, acquainting and connecting him to otheT I areas 1n. t h e c h urc h . 1-I e b ecomes a m1Ss1onary. . as h,e b"r1ngs I1 other children to rehearsal or to hear a performance. I Children from the community often bring families into the 1 l church through involvement in choir. Strong bonds of I fellowship frequently develop and grow among the children in the choir, and perhaps most importantly, the-child may become more expressive as he commences to live as he I learns from the text of the music. _I Although the author believes that competition is beneficial, and that auditions are almost mandatory for professional organizations, she has never found it neces- sary to audition for the purpose of eliminating voices in a church choir. If such auditions are held, they should be conducted for the purpose of determining the singers' ~---~------··------· 53 r-:~r:~~~~-s--an.~ wea~~:~~-;es ~--w:--ha~re no ;ight as cho-:~--.. -·-1 directors to decide who can learn to sing and who cannot. We do have every right to decide who has a fine voice and a hopeless non-singer. It has been the author's experi- ence that the majority of non-singers on audition, often become singers by the end of the season. Auditions are j helpful, however, for seating arrangements or part- 11 selection purposes. Auditions should be conducted before the first I rehearsal of the season. Each child should be given a five minute ~ession. Schedule the auditions on a Saturday, I I I' I ! or some other appropriate time apart from actual rehearsal~ Keep in mi:ad that auditions will most likely require two I I I hours total time. A suggested audition schedule may be set up thusly: NAMES A - G 1:00 to 1:30 P.M. H - N 1:30 to 2:00 P.M. 0 - u 2~00 to 2:30 v - z 2:30 to 3:00 P.M. It is extremely important that the child be com- fortable during the audition, explaining to him that the purpose is to find out how high and how low he can sing. I::::s::: :::tt::: ~::ta:: :::wl:::::gh::rs:::n::::n:::e:~d L¥/~en the -~~~1~-se~~ns to be at ease, ask him to sing a J 54 ·---·------, Most children can sing one stanza! of "America," "Silent Night," or the chorus +o tho "Battle I 1 .... "' ljt Hymn.'' · Perhaps the child would like to sing it a -second . I Itime without xou. If he carries the tune well, sing it again, and you might try harmonizing with him. If he is extremely confident and seems to hear l·lell, ask him to harmonize with the piano in thirds or to pick the bottom or middle tone in a major or minor chord. Select and pl.:;.y l I intervals of increasing difficulty and ask him to listen 1 and then tc sing them back to you. Check his vocal range llll and check for his best tones on several major scales. Nowl you have information to record regarding this child's toneJ I l his retention of intervals, his range and'his ability to I hold a part against a harmony. I Keep a personal file on each member, which is nre·-. I pared in advance so that on the day of the tryout the I i I individual data is simply filled in on the prepared card. I Include on the card the following: I Name, Address e Phone No. Birthdate Height Robe No. I Range--·------ Chords & Intervals Voice Placement Instrument Played J 55 r--,··-~-----~------·------·------.---- ... _, 1 . Teaching Correct Vocal Habits The five fundamentals for training of the voice are explained below. Go"od tone production is accomplished!I by constant practice of these five basic points: I Posture i Correct posture is required to bring the bone and I muscle structure of the body into proper alignment and j balance so that it may function normally. Both feet I 1 should remain flat on the floor. Some vocal teachers I recommend that one foot be placed slightly ahead of. the II I I I::h::r:o:o:::::r o:a:::c:~do:::::r:u::l::~ t~::l i:h:e::::: ~~ I that this will help bring about a nice figure in years to come. Strong abdominal muscles will develop through exer-l cise by pulling in on the abdominal muscles and by pulling! in and down on the buttock simultaneously. The a~ea from j toes to waistline become the foundation or the basement for the tone. I The chest and shoulder area should be high, but never in motion. The shoulders are dropped straight for relaxation. This posture is maintained for sitting as I well as for standing. It is wise. to demonstrate and teach!I the correct posture in a standing position and then ask I ~children to sit with~ut~ending from the waist up. J 56 ~~---·-~·-·--~·~-----· ------~ I l Breath Control During the process of inhalation, the front wall . of the upper abdomen expands outward, and the back muscles 1 cause the ribs to expand slightly. The upper chest and I shoulders should not rise during inhBarle~attihoncbonevt.ron.ct- ht::.·,·ns 1 l level established by good posture. 0 1 -~:.::- 1 ' the instant the vocal tone is started and continues until [ it ceases. I / I. Learning to breathe correctly and insisting on ! : good posture should be taught and practiced with the very I1 I young. If a youngster stands and sits correctly, he is developing a basis for good breathing habits. I On the junior high school level, however, the I singers must be taught about the muscle called the dia- I phragm. The expansion of this stomach or I called the diaphragm permits room for air to enter the lungs and keeps air from being forced out abruptly. I strength of the diaphragm muscle will assist the in sustaining notes without gasping for breath. (See Exercises I and II in Appendix B.) Release or Relaxation Before the vocal mechanism can function normally, the singer must be freed from any habitual muscle tension. Considerable time should be spent on relaxation principlesJ lExercises or words from songs calling for a dropped ~ 57 r-·------·-···- ···--···---···----··-·-- ··-·------··--·------·-··--·------·-·----, I and open mouth are used constantly. Illustrate keeping a I tone out of the throat on all high pitches by gesturing i with the tips of the fingers pointing at the lips, and I with the palm and fingers, follow the tone up to the fore- I head and then out and over into the space in front of the face. The child will gradually become accustomed to I I I thinking in teTms of the pitch being in front of the face I I area and never in the throat. Here again, on the elemen- j tary level, you may want to practice on words in the songs I in which they encounter high pitches rather than vocal I I exercises. Do not, however, practice for lengthy periods l of time on very high or very low pitches. Transpose and I I rehearse in a more comfortable key. On the seventh and I eighth grade level, vccal exercises can be started and Ii i 11 ! this age level usually finds them fun and very '!adult. ! (See Exercises III & IV in Appendix B.) I IVowel and Consonant Formation Good articulation and good diction pave the way I I i for good intonation and good placement. On the elementary. l ' level, perhaps it is wise to concentrate on the pronounci- I ation aspect. Occasio~ally, when the need arises, point I out the covering of a vowel or the hopelessness of trying to get tone by sustaining a pitchless consonant sound. I Therefore, we must find the vowel on which to sustain the I I tone and dec ide on the correct promm·cia tion so all sing I I1 it alike alleviating any tension which often follows '----~~·--·------·------·------~·~------~--·---·--·------' 58 r-·~·----·------· ...... ·------···------~----··--·-··------·------~·-·- 1 faulty articulation. Most consonants req~ire precise I I articulation. I 1 There are exceptions to the pitchless consonants I discussed in the preceding paragraph. The ccnsonants 1, I I m, n, r-on-er, y, and z or zh can be sustained. The consonant sounds of 1, m, nand ng can be very beautiful. I 11 I The consonant sound of er must be covered to make an "uh I ! sound. Generally the r is scarcely articulated in words I . lI such as In words such ·l c; "onD ' a._ !:-~~- i I and SWORI~, the r is not articulated. The letter r should j ; be enunciated when it introduces a word such as RIGHTEOUS i or when it occurs in words such as BRAVE, BROKEN and DREAM.; ------·- ·------I l Diphthongs are a form of pronunciation acquired i I .from the placement of two djfferent vowel sounds, but not i .i ! necessarily two different printed vowel letters, side by I side in the production of a tone. The word 'MIGHT' should I be sung mah-it. The word 'ALLOlvED' should sound alloh-ood., The first vowel sound in the diphthong is sustained and I the articulation of the second portion is delayed until I just before the completion of the final consonant. -a ay - ee pale I ..,... 'T" r ah - :t - l bright u 0 oh .. 00 01' ah love oi, oy, oi boy I ou, ow oh - oo hour I u i -· oo (or u) use L ______...... -.. ------... ------· --.....,_j f"''""''·---·-···--·---·------·---~---~-~-----~-·-·--··-----...:.·----·--·------, . ! --,! 'i·Vhiie your first emphftsis in any rehearsal will be I ! I I on pitch, do not neglect the consonant sounds. Insist en I I a lively lip movement and demand to hear all the canso- 1 I nants. Demonstrate the proper mouth formation ~icb will . j produce a pleasing quality, and words that can be under- .stood, Il In an effort to encourage forward singing and I voice placement, vary the exercises by placing an M 1n I front of the vowel. The M is a lip consonant which begins I the tone in the front of the mouth. Gradually substitute I I I other consonants, but point out that the M position must I be maintained. I I Head and throat tones may need explanation. I This ,I l will be determined by the vocal caliber of your group. I I I Tilting the head slightly forward and down helps to keep i I I I the tones o·ut o:f the throa.t and in the head. (See Exer- I l cises V & VI in Appendix B.) I I Tone A~ the elementary level it may be sufficient to say that good tone quality depends to some extent upon Igood diction. Demonstrate the correct and incorrect die- tion so the students hear the difference. Good tone qual- I ity depends upon a concept of beautiful sound and upon a l sensitive and educated ear. The students must receive l this education. Vowel .sounds are for·med by thought, and I I l ' then the correct formation takes place, so mental concepts J L__ r__ ,.._ ...... r--·--~-•·----·-----~·-----·--·~-.,...-·--·------·--·-·------~------·--~--·--- 60 r-----~------~-.--.--... ______,___----~-_....---~---..... ~.. -·~~--- ·-~--.... _,. __ ...... ----~-.. ~--"-... ~-~-...... -~--~ ...... :.- _____~~,.~-:1 I of the voKols which produce beautiful tones are necessa1·y. j l ; ! (.See Exercise VII in Appendix B.) i . I I The_ Rehearsal arid its 1'rep.a.r~tion ·I I An effective rehearsal is not a chance event but I :1 is preceded by diligent planning, including preparation Df 'll .1 a written lesson plan for each meeting. The competent 1 ! director has learned that depending wholly on his memory ! I may often bring haphazard results. Place a written plan I j on the music stand adjacent to any other announcements you I j may have to give. Write the song title and page number on I 1 the blackboard and make certain the music is placed in the ii, .!.! I choir folders before the rehearsal is underway. ! I Anticipate p r c 1: c;;;;;t ic an as when pr epa. ring ''ho I I j music and be ready to assist the singer ivith suggestions I for improvem 1 I Analyze the words and decide upon the correct breathing j places before the rehearsal. Have the children mark the i I I L---·-·--·------~---·--···------·------·---·-----.1 61 ·r----·--·------:------~-~--·---·------·,-· - ....------·.-,-·---, I phrases or special emphasis given to phrasing during the - ! j first exposure to the song. I ;There is no general set of rules by -which intelli~ l gent phr~sing may be taught; however, three basic suggestions will help: (1) Encourage singers to I take deep.breaths; (2) Don 1 t permit a breath break if there is no punctuation in the words; I (3) Study the text carefully before starting to teach the song.2 I I If you are not well-satisfied with the suggested li tempo or dynamic markings for the choir, do some experi- I menting. It is customary to try a composed piece of musicj us~ng the markings of the composer, but do not hesitate tol mike changes that will enhance the choir. Try it your ! way! Dare to be creative! I Formulate rehearsal goals, keeping them flexible I and realistic. Balancing each session with light and i heavy, easy and difficult numbers adds diversion to the rehearsal, especially for the novice vocalist. During the first rehearsal, a tentative seating I chart should be used. Explain to the choir that seating ' arrangements will vary throughout the year and may pos- I sibly change for different songs, but that considerable time has been spent preparing the chart and this particu lar order seems to be best as a start. The first consid- eration in a seating chart for a new group would be to place unsure or faulty singers closer to the better, stronger voices. Never isolate a weak singer in the corner of the back ro-w for rehearsals. During a 62 r-···----·----··-----·--.· -·~---. ·-...... ,..--·· ··--·------·-- I' performance however, the stronger singers should form I i nucleus with the weaker singers in the outer areas. I Taking roll should be done verbally by the direc- l tor at the first rehearsal. Take time to learn names and I - I make it important that they know one another's names. You i ! might take five minutes from the fiist few rehearsals just I I to drill on names. Ask a child to name all the singers in I his row. If you have several non-singers who need tone I I m~tching drills, roll call is one place where YolJl Can Prac 1 1 tJ.ce the call and response tune-up drills. Vary the pro- 1 l I cedure. Creative, spur-of-the-moment responses are fun j and put the child at ease. Sing the child a question and I l he will respond imitating your pitches but creating his I I own words. lNhen time is short permit a student secretary to take roll silently from the seating chart. With choir seated and the roll taken, you are ready to proceed with the rehearsal. Open with warm-ups on songs familiar to everyone, saving at least one good I one for the final selection. Singing several songs or j hymns which are familiar to all the children will help I them relax and to feel comfortable in a new situation. l Try to make comments and observations positive. You are pleased with what you have, and it will be a pleasure for you to help them develop and grow vocally into a musically mature, artistic choir. 63 Spend a few minutes playing the echo clapping game. The director then will clap a simple, short, rhythm pat- tern such as four quarter notes. After each measure or pattern clapped by the teacher the children imitate or echo her. As the children become more proficient the pat- terns should become more difficult. Keep a good, moving tempo, the children will have to listen and be alert to respond correctly. I TEACHER: (fJJ J cJ CHILDREN: ~ J d r-1lJj I TEACHER: t:Jqj ,; ~ CHILDREN: nnJJ TEACHER: J.J J n CHILDREN: ~.J.J n Select difficult rhythm patterns from a song you plan to learn later in the rehearsal. Practice echo clap- ping the i)attern. When the children discover it in the new songJ they will be more successful. A few minutes of echo singing should be included in each rehearsal. The director may select tonal patterns, drill on intervals at random, or they may be especially selected intexvals from a song ~o be rehearsed. Two-part echo singing is also very valuable and an interesting way to rehearse difficult harmony parts that will appear in an anthem to be learned. Divide the class in two sections and teach separately one part to each section. Practice each part separately and then sing it together. Again the pat- terns you choose to work on can be taken from a two-part song which you.intend to practice during the rehearsal. 64 r··-·----;~-:--e ch-:~- in~ in;-:~;-b e·-~~~~~-~--~~-·~~~~-~~~~-:~-~~~-----1 I " I singing octaves or fifths. If these intervals practiced j! j occur frequently in a song you plan to rehearse, you have 1 I Savea• yourself cons1· d era b"Le1 t1me• 1n• t11e'~- re hLearsa1 ~ o~f t h e !." I song. I I Some attention should be given to music re~ding I in each session. Perhaps you have isolated a tonal pat- I I tern from a new song that you are about to teach and have l , discovered it in one of the old songs used for the opener. 1. I Sing the pattern with words from the old song. Prepare i I I I charts in advance or put the notes on the blackboard if I the song is being sung from memory. Now look for this I l j tonal pattern in the new song. Jf you considered it I important enough for isolation, it most likely occurs sev;eral times in the new song. Sing the tonal pattern I wi t:h syllables, numbers or 1et ters and then with words l I whe,rever it occurs. The next step for the teacher could ! be to fill in the remaining phrases while the students I come in only where the tonal pattern occurs. Perhaps you will want to do the procedure just discussed with only one song during each rehearsal. It I should be done! Every rehearsal should include a few minutes of music reading. Gradually the students will become more independent and this time spent in drill will prove to save time in learning new music. L._ 65 r------no-::-~~::;~~he -~~~ i r-:-reh~~r s:l -on-·::-:ong ·I I - I j Conceritrate early in the session on the song which will first be performed for an audience. Begin several other songs. Learn sections of different types of songs and then put them aside for another session. A good conductor 1 knows when his choir has lost interest. in a number and when no real pleasure or substantial learning is taking place. If- your c h o1r. 1s . prepar1.ng. to Sl_ng . 1n . parts, d r1."111 1 I the singers in rounds, songs involving contrary motion I I counterpoint and thirds. Place a short chord practice ! drill on the blackboard--using the intervals and harmonies! that will be sung in the song they will learn. Permit thelI I children to sing each part and then drill them on just one!I part while another group sings another part. l Rehearsal time can be saved by omitting certain sections of songs the choir already knows. Begin a song with the problem area and isolate and work on these prob- lems before going back to the beginning and singing it through. Correct mistakes as they happen and take only ... . one aspect or correction at a ~.-lme. Do not sing through an entire piece and then go back and point out the areas which need improvement. No child or adult could possibly remember the instructions. Stop them when the mistake occurs and be specific about what you want to accomplish on a repeated measure or phrase. L------·------__ _j 66 ~---·~·--;~-~::--~~ve--::--~m:~:·~l~y ~~ct~v~-~~~·oup, insis~~~~tl I they rehearse cq"il..... the parts or hum their parts softly Iwhile another section is singing. ~rk with individual I sections only on very short fragments of the piece. In 1 that way, no section is left without direction for a long i I period of time. With an older, more experienced group, I encourage them to mentally sing their parts while another I j section is rehearsing. If a great deal of time must be spent on a part, call a section rehearsal. This will ~elp I ::s:::::n:n:.:::::::•ness or boredom which can result •n If you are working with a very young choir 11 (PriJnary grades) include an action song or two during the I rehearsal. This could be something as simple as marching I to "Onward Christian Soldiers" or the "Battle Hymn" or clapping to 11 He's Got the Whole World in His Hands." Numerous songs are attainable and the children enjoy learning them. The quickest and best way to get a point across is to demonstrate vocally rather than trying to explain it. I Your voice need not be beautiful to make this method I effective. Demonstrate the right and wrong way vocally I so the children can hear the difference. If you have l I problems with class demonstrations·, prepare them in advance on the tape recorder, taping and erasing until you yourself have achieved the desired effect. The '---·------· 67 r ...... ,r...... -·~~-_;;..,__._.._..__ ...... ,._. __ • ______,_,...... ~ ___ _...... -...... - ..... _..~__.,.~-·---. ·~-._... ___,_...... __ ,...._.._ ... _.-- 1 I ' . .I tape-reccTded rehearsal is a valuable tool to the director I and will reveal many errors not heard, or forgotten after I• the rehearsal. As a special treat~ you may want the chil-I I I I dren to hear portions of a recorded rehearsal. Although you may not have achieved all that you I might have hoped for, it is impoTtant to stop the rehearsa~ on time. No primary level rehearsal should exceed fifty I minutes. An hou:. re:ears~l is.a~e~uate. for older childrenj Close ea~n r~hearsal w1ta at least one song the 1 I I children know and like. This could be a fun song or it l I could be a quiet song with great spiritual meaning.· I I L__ . 68 I l--~- __ _j CHAPTER IV I VOCAL LJTEHATURE FOR CHURCH SCHOOLS I I Before a child enrolls in a Church School he is i told that regardless of his faith or church affiliation I he must attend the weekly chapel service. All grade I I levels are required to attend the service which is usually~ held in the sanctuary of the church, and all grade levels I i participate in presenting the service on a rotating basis.j Singing together is one of the joys of attending I I the service. Finding songs that are appropriate and that ! I appeal to such a wide age span (grades 1 to 8) is diffi- 1 cult. In this chapter the autho:- will recommend several I ways to add interest rutd variation to your chapel singing I and will list with suggested activities easily attained I songs that could be sung and enjoyed by the combined I grades one through eight. These ideas can be taken and applied to numerous newer song m3terials to make your chapel service more exciting and more enriching for the I I I children. I The author is assuming that the songs have been I1 taught previously in the church school classroom or prior I I L______.. _ ·----~·-··-·------·-·"···------_j 69 70 r-·-- -·-·--·-·- --- ·------.. :------·- ___ .. _.. _--: ______.. _____ .---·------··------, i I, to the chapel service according. to the methods suggested ! 1 in the third chapter of this handbook. ! ! l There are several ways to vary and to make the tl' chapal songs more interesting and more appealing to the I I children. You must decide which of the following sugges~ 1 tions would be most appropriate for the song you will ,1! I select. I Some songs require or could use several added I activities at one time. Consider one or more of these suggestions to make chapel singing something the children II I look forward to and will long remember. 1. Creating actions or movements appropriate to the words and the mood of the song. I I 2. Creating an accom~animent to be played by the l' l I children. This could be chording on the autoharp or guitar; a melodic descant on the flutophone or the recorder; a melodic or chordal accompaniment I on the tone bells or the xylophone; clapping the rhythm together or assigning different groups to I I diffel"ent rhythms. A rhythmic accompaniment on selected percussion instruments. 3. A dramatization of the story of the song. 4. Singing songs and hymns as rounds, or partner tunes. (Putting two hymns that go well together to be sung at the same time.) L-~-·--~;:~:g c::::l:o:::m::i:: :::: :: :::i::::p o:h::: I ~ N-·---·-----·---·-·-·----·------1 71 r- ----~~ -----·-··------·-··---.. -·-"·------·-~-c------:-----~-----··--·--.--·----~-----. ' f I another group sings the melody of the hymn. J l ! Find a hymn that can be easily harmonized in lI thirds and sixths by the older children while l i l the younger children sing the melody. Descants l can be learned in advance by one or two classes. 6. a chant to serve as an introduction and a coda, Ii 7. If you usually use the piano for the accompani- ment, try singing acapella. 8. In a song with several stanzas ask only selected groups to sing certain stanzas. The boys might sing one stanza and the girls another. Select one class, a small grcrup, or a solo for one verse. One section of the sanctuary could be assigned a stanza while the others listen, clap or hum. 1. "Loni I want to he a Christian"- -Negro Spiritual Primary children especially love this spiritual, but it is also quite suitable for a chapel service with primary and upper grades I combine(~. The younger children could be asked I to sing and to provide the actions while the l older children merely sing. l I i I I L------~·------·-----·------.. ----J ------·------·------··· ---- ·------·------·--·"1 i r "Lord I want to be a Christian'' ·l ! I Verse 1 Actions ! \ I ! I Lord, I want to be a Christian Arms in "out reach position with palms I I turned up. I In my heart, in my heart, Place right hand over heart. i I Repeat phrase 1, with same actions Repeat I I 1 Chorus 1 I - l j In my heart, in my heart Place right hand over heart. .\ I Lord I want to be a Christian Anus in· "out reach" position with palms i Ii ' turned up. l I In my_heart Right hand over heart. I I ' I Verse 2 ! I Lord I want to be more loving Clasp arms in crossed position over chest. I . I I In my heart, in my heart Right hand over heart. 1 I I ! ~er~_2 ! I . j Lord, I want to be like Jesus Place palms together with finger tips I pointing upward. Heads also tilt back i I In my heart. and look up. t L______, ______-----· ------______j -.....) ['..} 73 -~-·--·-·-----·-1 ~------·---·-.. ----~- r~ythmical I accompaniment could also be I I I provided. Ask one section to clap quarter notes I I I I while another group claps the downbeat of each I I measure. The autoharp should play quarter notes I I while a drum or some other percussion instrument I supplies the first·beat of each measure. 2. "That Easter Day With Joy Was Bright"-·-a hymn by I I Praetor ius I This is a delightful song for the Easter I season and it is found on page ninety-four in I I l the Lutheran Hymnal. This hymn becomes more I festive with rhythm band instruments added to I the accompaniment. I I Verse 1--Triangles play on beat 1 of each l measure while voices sing forte'. r Ver~--Finger cymbals play downbeat of every other measure while voices sing pianissimo. I Verse 3--Maracas play the rhythm of the melody while voices sing the melody with a moderately loud dynamic. Verse 4--All instruments play rhythm played in previous stanza. Voices' sing forte' and with spirit. 3. "The Friendly Beasts"--Twelfth Century Carol 74 t---~·------::-~~---~--~-~------·---·:--~~-~:---·------...,·------.. ~-~---·---~~~-·--.~~·----~-... -~_-·~ I · I I text for this lovely Christmas Carol. As the I I ! I different animals speak you might ask the children ! ! I I to suggest a different instrument to accompany · I ! each animal's voice. I I Instruments that seem appropriate are listed belm-.r: Donkey--accelerate speed--wood blocks play on each beat Cow--retarded tempo--cymbals play on beat one of each measure Sheep--a tempo--sandblocks play on beat one of each measure. Dove--finger c~mbals on beat one of each measure. The older children can add vocal chording to the melody as this song requires only I' IV, v (do, fa, sol) chords. I v I Jesus our brother, kind and good. I IV V I was hum-bly born in a stable rude. I IV V I The friendly beasts around him stood, I V I Jesus our brother, kind and good. 4. "Rejoice, Ye Pure in Heart 11 --by Arthur Messiter This is a festive hymn. It should be sung I with great strength and exhuberance. On the refrain the boys or older children should sing I ------·--~------______J 75 'r~-~----~~,._--·--·~-···~~·--~~-----.------~---.,.---.------~--· . -~k·--··-~--~··· ... --·---~--,. j ! the bass part an octave higher. This is a simple, I l easy addition but is very exciting to sing and to hear. 5. lf~1ary, Mary, What You Gonna' Name That Baby?''-- a Christmas Carol This song is interesting for large groups but it also offers an opportunity to feature small ensembles or solo singers on the verse. This is a three-chord song in the minor mode so that vocal chording can be done by the low voices below the melody. The high voices are effective singing on the neutral syllable "loo" in harmony above the melody. Anthems for Chanel ServJce ---·------·-----:!:....---~---- Easy anthems that can be taught aurally and i 'j enjoyed by all age groups in the weekly chapel service l I · are listed belm·v. For more complete information regarding 1 I I' l I these selections check the repertoire lists found in ltppendix C. I A CAROL FOR JOY: Clap or play instruments on the I I knocking parts. I Al\1EN: Verses can be assigned to certain classes I I I or groups of children while all the children sing on the ! I ch01'US. I I ______j 76 - r----.,--··-:-·------~·------~-----.. ,-----·---.-·-·----~-- .. -·-:------·~----.., J I 1 AWAKE, ARISE, GO FORTH AND REJOICE: Sections one ! and three can .be sung by all children while the middle I l j ! section could be assigned to an older or a more sel~ct 1 i . I 1 group. I I CLAP YOUR HANDS, ALL YE CHILDREN: Verses one and I I I 1 two can be assigned to select groups of children while all . I j children sing the opening and the repeated choruses. i COME ON DOWN, ZACCHAEUS: Children of all ages I I I love to sing this in unison. I! l I I • ! i IN THE CROSS OF CHRIST I GLORY: Use rhythm 1nstru-! l ! jments suggested. Permit the older children to sing the ! l verses while all children sing the repeated chorus. I Sing the two ( THE LORD OUR GOD IS KING OF KINGS: I l Istanzas in unison. Sing stanza three as a canon dividing I I the singers into two balanced groups. ! LOVE, LOVE, LOVE: Children of all ages like to sing this one. MORNING HAS BROKEN: A beautiful melody which will I appeal to all age groups. Sing in unison and permit the I Iyounger children to hum along where the words become too I difficult t·o remember. OPEN UP YOUR HEARTS: Select groups or classes can I! sing the verses while all children join in on the chorus. SING GLORIA: All children will learn and enjoy the repeated chorus. The verses could be assigned to I 1 I older children. L____ _ ·-·-·-·______I] 77 r·--·--...... _-~---..,_---.-----·-----·""-_ -----:------·-~---....-... --_... .__. 1 1 THEY'LL KNOW WE ARE CHRISTIANS BY OUR LOVE: A I1 ------1 catchy tune which will appeal to all age groups. I TAKE MY LIFE AND LET IT BE: Add the calypso I instruments or allow the child~en to clap the calypso I • ! rhythm. Harmonize 1n thirds. Programs for_Christma~ A very simple way to present a program to parents I and friends at Christmastime is to build it around the I Nativity Story. All Christian children should h.ave the I I experience of participating in a presentation of this age- Il old story at some time. By creating an original version, I ..1 it can be kept simple for a very small group of children, or it can be enlarged a.nd elc-.hoT::J.ted 1.l.!.JOD to iPclvd8 many ! I l choirs of varying abilities. Select the songs best fitted ! I I for the group that wiil portray this beautiful story in I I the most effective and inspiring way. I Two examples are present in this handbook. The first example is a very traditional presentation while the second illustration includes modern lyrics and tunes with syncopated rhythms. Traditional Christmas Program This is a simple narration of the Nativity Story with the addition of familiar carols and easy choir anthems. It can be presented by either a very small or I I La large gr:~p --~~ ch~~~ren of v_ary~n~ age:._· __Al_l_c_l_la_r_a_ctersj 78 -··--·-~-----·~·o·-·----~---·.----,.-··-·--···-----· -····---·-·--·----. ---···---l 1f (except angels) should enter frqm the rear of t:ho church 1 I I l or auditorium. I I TIME: 25 to 30 minutes j ! COSTUMES: Costumes for the principal characters are I I necessary for dramatization. Select· chil- I I I 1 dren who can fit into costumes you have on I ! I i hand. No scenery is required, but a small 1 raised platform and a chair for Mary should I be used. I I Although the words and music are not included in I this handbook, the sources are listed and are highly l I recommended by the author as materials that every church I school choir should have in their music library. I CHARl\CTERS : MARY 3 WISEMEN JOSEPH NARRATOR I 4 OR 5 SHEPHERDS CHOIR 3 ANGELS ALL CHILDREN PROCESSIONAL: 0, COME ALL YE _FAIT!i£UL by audience and I processing choir. (Choir singing and I playing various instruments proceeds to I designated area on the stage or in front of the church.) Instrumental suggestions: Verses 1, 2, 3 and 4: Beat ONE of each measure is played by the drums and tambourines. 79 r·'------'-·----·--·-··--·------.------··c··------·-·------·----..---·-: I Chorus: Phrase one~-finger cymbals play on 1 i each beat of measure and continue on each succeeding phrase of the chorus. Children should sing Pianissimo. Phrase two--triangles join the finger cymbals playing on each beat of the ! measure. Children should sing Mezzo I Forte. Phrase three--Bells join the finger I I I ! cymbals and triangles playing on each I ! beat of the measure. Children should I I sing Forte. I I Phrase four--All instruments join to I I I play the melodic rhythm of CHRIST THE 1 I I I ! LORD in Double Fortissimo in both vocal) and instrumental sections. ALL CHILDREN: (Face audience and shout together) HIS NAME SHALL BE CALLED: I I each name)[ First Child: -----WONDERFUL! (Cymbal crash follovls Second Child: COUNSELOR! Third Child: fo.HGHTY GOD! I Fourth Child: EVERLASTING FATHER! I All: PRINCE OF PEACE! I (All instruments play) NARRATOR: Luke 2: 1, 2 and 3 ! l ALL CHILDREN: 0, LITTLE TOWN OF BETHLEHEM L ·-----.---·------·-- 80 church processing slowly to assigned position. Mary sits while Joseph stands or kneels by her side.) 1 SONG BY CHOIR: ARE YOU WEARY? (Use instrument.s suggested by composer on music score.) 1,1 NARRATOR: Luke 2:6 and 7 (Manger bed is quietly 11 I brought in and placed in front of Mary.j YOUNGER CHILDREN: (Approach manger or ~tand facing aurli- ence) AWAY IN A MANGER or some other Lullaby Carol. I ALL CHILDREN: Sing ZUMBA, ZUMBA I (Younger children can place gifts by manger while I older children play appropriate instruments.) l NARRATOR: Luke 2: 8, 9 (Shepherds enter from l ! I I rear. As they approach the manger the 1 i angels appear from the front of the I I church and the shepherds fali on their I I knees.) ANGEL Luke 2:10, 11, 12 ALL CHILDREN: Sing ANGELS WE HAVE HEARD ON HIGH NARRATOR: Luke 2: 13 SUNG BY CHOIR: GLORY TO GOD NARRATOR: Luke 2: 15, 16 (Shepherd go to manger and kneel.) SUNG BY CHOIR: IN THE DARK OF THE NIGHT L ____ ------·--·------.-----C«o-·•-·-····----· ---·~~--····------·-·-··-··-·---~·-···------·-.------·---.. ------~- _____ ...... ··-··~ l! i. l NARRATOR; Luke 2: 17, 18 i 11 l! AIr. ~..... c.'"'r-fiLDRP . . .Cl ~ SING: CHILD OF GOD ! NARRATOR: Matthew 2; 1-5, 7-10 l I (Wisemen enter and slowly approach manger.) ISUNG .BY CHOIR: Refrain of WE THREE KINGS j NARRATOR: Matthew 2: 10, 11, 12 (Wisemen fall down on knees and present gifts to I Christ Child.) I ICHOIR AND Verse 1: .JOY TO THE ·WO~l!_:!}_ by choir l i ALL CHILDREN: (All children join them on verses 2 I 1 I and 3.) . IALL CHILDREN: Sing SEVEN JOYS OF CHRISTMAS I ! (Selected children may dr~aatize the words for each one of the seven joys of Christmas.) I .ASK AUDIENCE TO .JOIN THE CHILDREN ON EACH REFR.A.IN ~~RECESSIONAl~ HYMN: HAR~ T~:IE___ HER~LD ~.J.'IGELS ~SING_ 1 (All instruments should he played on beats ONE and I I THREE of all verses. Instruments .such as maracas, I l I tambourines and bells should be shaken and jingled l on the last seven measures of each verse.) MARY AND JOSEPH SHOULD LEAD WITE OTHER CHARACTERS I I CLOSE BEHIND. CHOIR AND CHILDREN SHOULD FOLLOW. I I I i ! I ,I l----~·-·---···---·----·-·------·------·------~' 82 r'" ~;);~~·----~~~-;--~:~·~~-;~r~~~;;~~OS E~;~ O;;~{l?J\N G~ RS ~---··----,-·---··----·---·-~ Seven Traditional Carols I Are You Weary? by Artman i Zumba., Zumba Spanish Folk Song I l Iu the Dark of the Night by Halter I l Child o·f God Traditional Spiritual ~ I ! ~)everJ. Joys of Christmas American Folk Tune l Ir ! This is a simple narration of the Nativity Story r· with the addition of contemporary carols and choir anthemsJI I I i Rhythm instruments and the guitar, autoharp, piano or 1 I I I organ may serve as the accompaniment. All directions for , i' l 1· _prcsoiltat.lor.s su;::h as :...i11w, cus tu;nes ai"td char.:.cte:r s are ! I the same as in tht• traditional program I I PROCESSIONAL: HERE WE GO A CAROLING by the I processing choir. ! ins tTVT~'cf.El. t s and proceed to designated area on the I stage or in front of the church.) INSTRUMENTAL SUGGESTIONS: I I I Verse 1 and 4: Beat ONE and TWO of each I measure is played by the drums,rI ! l 1 tambourine and woodblock. I Verse 2 and 3: Beat ONE of each measure is 1 played by the finger cymbals !_----·-"-·------·----"'·------·-··----~~~-- t ~e_!:_t~~-~:gg ~:.E!.:..~ ~------~--·--·-_1 r~·· _...... -...... --.-·--·---·-----.. -.,~···-·-····---·· ______.. ______------·-~--~ -·------...... ! I Verse 2 and 3 shou1d be sung moTe softly while Verse 4 i j ! I is sung Fortissimo. By the close of stanza 4 the ! I choihr slf1ould be standing in their singing positions ~~ at t e ront. !_~ s·L-Jl'.rG . ~ BY ALL CHILDREN; HEY! HEY! ANYBODY LISTENING? I,_ i I 1 (Use appropriate instruments as they! ! ! i ! I are sung about in the story. Auto- i i I harp or guitar should substitute ' for strum of harp and mandolin. INARRATOR: In those days Emperor Augustus ordered a census taken of the whole world. This was the first census taken while Quirinius was ruling Syria. Ev~rybody went up to regis- 'ter, each to his ovm town. Joseph I also went up from the town of 1 Naza:reth in Galile~ to David's town,! j called Bethlehem, in Jud~a, because I l he was one of the descendants of l David, to register with Mary his I I i bride, who was going to have a child~ I (Enter Mary and Joseph. Joseph approaches desk to I register and Mary sits on designated chair. Joseph 1 Ij I returns to stand beside her.) !cHOIR: ART THOU WEARY? I I I l_ .. ______·------·-·----·---··----·-----···------·------' 84 ~-.,.,u.-,-.n.....,-. w_..,,.._,~--...-- ...... ,~--'""'--·~--<,>"'<"•-- ...... -~---·•,.._._,_,_ __~ . .------'~"-·----·-~------"''..._ __• ____, i i ! NA.RRA.TOR: (Manger :l.s brought in) And while they l ! ! were there, the time came for her to I i have her child. She had her first Son~ l and she wrapped him and lide him in a I manger because there was no room for l them in the inn. I I CHOIR: (Use soloists on the four I ! i stanzas) ! I I NARRATOR: '"fhere were shepherds not far away, I I living in the field and taking turns I watching their flock during the night. I I Then the Lord's angel stood by them. I They were terrified. "Don't be afnd.d," the angel said to them, "I have good news for you. A great joy will come to all people. The Savior> I who is Christ the Lord, was born for I you today in David's tDlm. And this I I is how you will know Him: You will I J I find a bRby all wrapped and lying in I a manger." (Angels appear) I Suddenly there was with the angel a I ~ 85 r·-·~---·--· -···~-.. ------~-----· ·----- a:~~-·::~e ~-; t;:-p~a::::·~: g ~-eo_p_~ e wh~----- 1 i I have his good will' I CHOIR: Stand and sing STNG GLORIA (Sheperds NARRATOR: to heaven~ the shepherds said to one I I another, "The Lord has told us what J has happened, Let's go to Bethlehem J i an.d see it." They :iwrried over there , l : i and searched until they found Mary and! I l I Joseph, and the Baby lying in the I I manger. When they had seen Him, they 1 I I I ! told others what they had been told l about this child. And everybody was 1 I surprised to hear the story the shep- 1 I herds told. But Mary treasured all 1· ! 1 these things in her heart and kept I ! I1 thinking about them. The shepherds I 1 went back. It was just as they had i ·,' ,I I been told. (Shepherds go out) I CHOIR OH WH~A NONDE~ I 1l •••.NtRn ru"'- ·~TQ'Of\.. ~ r···.~nsemen en ...... er ) J esus was b orn 1n . I' I Bethlehem in Judea when Herod was kingj Il Then Wise Men came from the East to l. ! ! 1 .Jerusalem, 11 Where is the Child who was ! L.----·------.,------~- ______1 86 r__,~---· .. ~·,--,--...... ~ ...... _... ______Vk ______~-~----~-.~~~- ...------..----·--·------...-- ....~, I born King of the Jews ?n they asked. i I I I "We s a.w his star rise and have come to I I worship Him! 11 When King Herod heard about this, he became alarmed and all Jerusalem with him. He called I together all of the people's ruling i i priests and men trained in the Bible I l and tried to find out from them where i I I the promised Savior was to be born. 1 I urn Bethlehem, in Judea," they told ! him, "because the prophet has written: And you, Bethlehem, land of Judah, are not at all the least among the leading to1vns of My peopie Israel, 11 Then Herod secretly called the Wise Men and i found out from them the exact time thel I star appeared. Then he sent them to ! Bethlehem. "Go and search carefully I l for the little Child," he said. when you find Him, report to me, so I that I, too, may go and bow down I before Him. 11 I CHOIR: TAKE TIME (Instrumental suggestions as suggested by Avery and Marsh, the I l I I composers, are very effective and I should be played.) l ----~------·------·------~·-·---.. 87 r----~-----~-~-----····------·--·--«-···-~---.. ---.------·---~--··-·-·------··-·------i l ! l NARRATOR: (Wise Men go to Manger Scene) ! After hearing the king 1 they started out. And there was the star they had seen when it rose! I It led them on 'til it came to a 1 stop tY.rer the place where the Child I was. l SUNG BY CHOIR: LITTLE BABY EO'Y. (Use calypso instrt:Lments such as the maraca and bongo d-rums llsing the rhythm pat- tern suggested by Avery and Marsh I or create your own.) ! I I NARRATOR: They .,,vere extremely happy to see ! !I I i I star. They went into the housej I !.l.nd saw the little Child with His · I motheT, Ma.Ty. Kn.eeling, they v-:orshipped Him .. Then they opened I I I I I road. SUNG BY ALL CHILDREN: Indian instruments on Calypso rhythms.) I L .. ·--·-----~·-----~------·----·-·-··--.. -"______88 ~-~~-.. --.. ~-~---.-.. ------.. -·---~·------·------·------l I SUNG J3Y ALL CHILDREN: ~:fEN,_-SO BE· ~I (Children clap or I ! I l snap the accented beats or play 1 I l 1! them on all instruments 1n the I I ,1 ! final chorus.) ·I 1 ! 1' RECESSIONAL HY1•1N: All children and choir should sing I; the spiritual, GO_TEl:UI ON TH~ I MOUNTAIN playing their instruments ------I j as the·y leave the church. Marv andl I ' i' ! Joseph should lead with other char- I J I j I acters close behind. All other I !' l children should follow with the I choir recessing last. Il I SONGS AND THEIR COMPOSERS OR ARitA.NGERS: l I Hc~e We Go A Caroling The first five are all from Hey! Hey! Anybody Listening? Little Baby Boy by Richard Avery and Donald I:Mary, Mary Marsh Take Time What Strangers are These? Arr. by Richard Purvis Sing Gloria by .Judy Hunnicutt Oh, What A Wonder by Joyce Eilers Calypso Noel by Gordon Krunnfusz I Go, Tell It On The Mountain Traditional Spiritual I I . I I . I -----·----~------~---·--·--·--·-··-·--·------·------·-'-.. --' '1"~''''""--·-·-····-- "--·--· .. ------.··-· ----c-·------··-·------·-·------·--···~------~--·· -·----·---, Il ;, i CHAPTER V CONCLUSIONS AND RECOMMENDATIONS Singing for pleasure ~nd for a better musical understanding .should be a part of the daily curric'..llum on each grade level in the Protestant Church Schools. No child should be deprived the opportunity to experience enjoyment that comes from making music with his own voice. i I I Through singing, the child. can be exposed to the musical 1 elements and a background of music theory to further his I understanding. Singing correctly with the head voice, I I precise articulation, good posture and proper breathing I will fosler the vocal skills necessary for a pleasing I sound. An appreciation of many types of music liteT.ature, I ! including hymns and the sacred gems of the church should l I be an outcome of vocal participation of the children in I our church schools. i Vocal music plays a significant role in the life I I of the Protestant Church. From the earliest days, vocal 1 music--language and music in conjunction--has been charac- 1' teristic of Christianity. In accordance with the idea i that the individual worshipper can approach God directly, lI I 1 congregational music--Christian song in the vernacular-- I participated in directly by the congregation, has been • L·------·--·-·-·-----.. ------·------.. ·--···-----~------.. ------' 89 90 ------~--·------~------1 recognized as an important part of the attitude in Protes~ . tant religion. Music is more extensively employed in the church service today than ever before. As much as one-third of the church service may consist of music. This la-rger use of music in public worship calls for the expenditure of much time and directed effort in the church toward devel- oping the musical talents of its members. Church music depends much upon the spirit of per- formance. This is directly dependent upon the individual church musicians. Music education then is necessary so that the church might secure effective musicians. Congregational music has always been in favor, at 1 i I 1 least, in theory with Protestants. It is the basic form of 1 ! Protestant Church music. Hymn singing, of which congrega- 1 tiona! singing in the church is composed, is one of the 111 1 most powerful influences in the field of church music. I 1I I The hymn singing by the children done at the weekly chapel 1 I, exercises will play a significant role in determining the ,1 1 , significance of music in the future of the church. 1 Music in the life of the community, and even in the life of the nation, has long been recognized as a I significant factor. Even Con.fuc.ious, so ·long ago. believed! . ' ' that the most admirable ~hing about a nation was the art I I its people produce. 11 Painting, literature, and TII.usic," ! ! ' i he stated~ "make life good and show the real diffe,rence I 1----···--··-·-··-··~······--C~----"---·-·---·-·-..·-·----- .. ------.-·---· .---·--·-··----..···-·-·-····--···- .. -~ a~-- J. r-<"----~--~------~---·--.. ---···· .. -- .. -··-----:-·--·------·------:c-~·------·-----1 i between one nation and the ot.her. The 1 Golden Age t of any 1 i l ! nation is richly endowed with music and art." The role then that music plays in the life of the individual, the church, the community, and the nation should support its appeaTance in the curriculum on an 1 everyday basis. With good teaching, leadership, and guid- I ance the results should show ~piri~ual emotional and I II .. -- - . ' ' ll aesthetic growth, and a clear, organized program that I I 1· I leads to continued musical growth. !,. It is recommended that each teacher in every II \ I I I 1 church school become aware of the responsibility and the I obliga ticm he has to the children, his church and his I community. If he is serious about his responsibility and i I is concerned that does the best job of teaching possi- I ble in a most vital field, then he should evaluate his objectives, his methods and his philosophy of teaching I vocal music in the classroom and in the church choir. This handbook is intended primarily for the in- service elementary classroom teacher who has the responsi- bility fo:r teaching music. It is Tecommended that he try some of the suggestions offered here. The teaching techniques and materials are drawn from the author's experiences as a public school music I I supervisor in the classroom on the· e]Pw~~ta~y and junior high school level, and frc..-~" .... e.~ E::xperiences as a choir Ii I j l ___., ______j I 1.-..------·I G ') .,,} J~ ,_,-~ ...... ---·--··-.-, _...... ,_,..,..,...... ,..,...... -._, ...... ~---_,---....---·---. ..·-.-· ____ --- __ - 1 ! I I:::·:::rp::: :::l::::d::~ adults in the Lutheran Church l I I I l I I I I l I I i I I l I I i l JI I I I . I .! L---·------·------·-···-·------·---_j ~~------____ .. . -·----~----. ------'-·-- __ ----"-~------1 ! I i BIBLIOGRAPHY I ! Childs_. John -L. America:n Pragmatism and Education. 1 Ne vl York : H . Ho 1 t , 19 56 . 3/3 p p • Coleman, Henry. The Church Choir Trai11er. London: Oxford Press ,1964-~-nT pp .----- CoopeT, Irvin, and Kuersteiner, Kurt C. Teaching Junior High School Music. Boston: AllynandBaco11;-- 1956. 440-pp:-- Krone, Beatrice Perham, and Miller, Kurt R. Help Yourself! to Music. San Francisco: Chandler co-.,~-yg· s g . ----~ l IIfs- pp. t ! Leonard, Charles, and Hous~, Robert W. The Foundations and Pr incip 1 es of Education. Ne~i-YorE ___ McGi,.-3:\i l Hi 11 , 19 s 9. 3 7 s pp. I Murscll, J:n:ws, :::nd Clccu1, MaLclle. Tht.7 Psychology of I School Music Teaching' New York :·-:sil ver"11irdett' l 11r:rr:--s-n PP. -----·------ 1 Music Subcommittee of the Fine Arts and Humanities. Music; Frametvork. Sacramento~ California Departmen~t oC- i I ECfi:.caflon, 1971. 62 pp. i Parish Education Board. Standards and Requirements for Lutheran E1~!fie~_!ary Sc:h~o"ls~-1968 .------I Richards, MaryHelen. Threshold to Music. San F:rancisco: I· F~-c:aron Pub 1 i she-:i:s--;---19 64-:--:Drz-·}Jp. Ryden, E. E. Teaching the Christian Faith. Minneapolis: I~, Augs burg,-·]_ 9 68 . ------· I St<:mton, Royal. The Dynan~ic Choral CDnductor. Delaware: ~ha•·rne-"'' u ~ n _.a. l.::-., .t''"'re"' , .. ~ ;::--l·"Lvr,--?T)y---n·:::):> ' .;; , J. ,. ... '"' .. J ...... : y . I I , I ! j I L------·-----··----·--·----·------·----~------·---_j 93 APPENDICES APPENDIX Page A. VOCAL ILLUSTRATIONS 95 I B. VOCAL EXERCISES . . 98 C. REPERTOIRE FOR CHILDREN' CHOIRS 102 I I I I I I I L~---~-·~----~---·------·------~...______._____ .___ ~·------·------·---·-----_j 94 I APPENDIX A I VOCAL ILLUSTRATIONS I Call and R~spons_!! l I~ c • • c TEACHER: 1---...._ CHILD< ~----... 1 =r tJ rli!J3 .o J:in = J ~ Ll K E TO PLAY • CALL-ING Bl L- LY. ! AM HERE • I ~·~EAC~HE··· R I ~-.-_1'CHE!<'I :j ~ . .1 ~· .·- ±-_;;;;-~y---f"'r"---·-=-~-cfJ ---+-1--i""'-~--:...~d-- ~ =1JI II I SING ME, SING ME , SING ME YOUR NP,ME. I 1 lg'i •\. . -e~~l·:_=-:=iilt:=---4--..'!l&le"---jf---t--..l!til£-----, -~II I ~ I M A-- RY , MA- RY , MA-RY's MY NAMt. I I -f)-+- --~ =t= TEAcHER ~ ::t:- ,~~24 llj 1 r= I l I . , L_. ______.· ____- ______.. ______j 95 96 ,--·- 1 I Elevator s_ong =B IJ:+±=Ig l I~FJri.·. 4 J= ±:=l I v ~=:;£ ~ h~ ;J J=d · Qr ~ l UP THE EL-E-VA-TOR YOU WILL FLY WHIZ-ZING, Z OOM-\NG i~:-~=u m :£J:=P~ I TDi I1 ey_$L__..;_;2_~J~=o ~ i<.:-~-G--.ATL--±$fi~-ey-§.§,1 if . ~ I I I I C:OW~ Al.,ti) DOWN AND O-PEN THE OOOR NGW YOU,VE: REACHED FIRST I 1 I ! L.-=--=r--==i:·=-lf : :=(~ :~----=-~ -~ 1:. I ·-$- • 1 l FLOOR • • I l II I i i I J--c.:= ~- · --·---~- ·-~·- I I t.:- ====------. ---=-~-- I I... ,_.,,_ _ _,_ .... _._.. __ ,. ____ .,, _____ ,. ______~------~-. .... -.....-- .. ~ .. ---·---~-·-----...---.,_...... ,------··---·""JI 97 Keeping the Line LOH ____ MOH --~--- LEE ____ I L___ ,______.:_ ____:------98 {~,·---~-•-·~·~"' __ ,...._.,.. __,,.,_._;.,, .. ~___.•-·-----·-·-·~----~Y----·------·.-.;-w•••~·---·-•-""""'""'"-__..__._.. ...,.,..,.._. ___...,~,---~·....,_._.---~ I j l I . !i l l 1 I I APPRENDIX B I ~ I I Exercise I I Actual breathing exercises must be repeated for I a few minutes every day to insure correct and automatic l response. At first these exercises will tire the muscles I l easily, but daily use will strengthen them. Encourage the: I l i singer to practice good posture and correct breathing at i all times and not only during chorus rehearsal. Begin with a simple inhale, exhale, exercise on a 1 count of One and Two. On the cnunt of One, expand the l i' ribs and inhale. On the second count, exhale with an audi~ l ble sigh. Be careful not to allow the shoulder or the ! chest to move up and down. Exercise II I This exercise will increase the singer's ability ! ! to sing longer phrases without sneaking a breath. Ask I singer to inhale very slowly and quietly on a count of I Five; hold the breath steady for Five counts, and then I1 exhale very slowly on the count of Five, making a light I hissing sound. As the muscles become stronger, increase I the count gradually. Warn the singe~ not to allow the j L------~----·------·------J 99 r·-·------.. ----··---··--·----~--- ·---·-·----.. -···-----·--,------~---~---·-·---· i air to gush out on ~he hissing e~ale, but rather to con- I I trol from the diaphragm the release of air. I il When the process of inhaling and exhaling has !; I I ~ become quite automatic, substitute o. vocal tone for the j ! hissing sound. This may be done with a neutral syllable I t I l such as lao or ooh or a hum can be used. Keep the ribs 1 l l i and chest expanded to avoid too much vibrato or a flatting! l l I of the pitch near the end of the count. Think of the tonel " l ! as·moving in a straight line so that the group will sing I in tune and blend well. This need not always be done on \ ! I unison pitches. Parts may be sung. ! the sl,tger G:'o;;thiilg IExercisew:~: ~crractly he mast now , I l learn to sing 1-\rith as littl~ tension as possible. One Of "_;''·'. I the chief causes for tension is caused by carrying the I ~eavy quality of tone found in the low voice into the I upper range of the voice. Harsh, pushed, throaty tones I can be avoided by singing a lighter tone as the voice moves upward to the higher range. Going from the heavy che~t voice to the lighter head voice should be done with- ~ "" 1 out a break in the flow of the tone. This blending of the ! two vocal qualities requires rc.uch practice. A good exer- , '. cise to blend the lower and. higher voice ranges is to singjI 1 I the first six tones of any major scale on various neutral : I ! ) syllables. Lighten the quality as the voice moves upward. I J . I l_ ____ ., ______---"------·--·---·----·----·------~---J 100 r··· .. -·-·· ----- .. -~-----·--·---~-- -~-- ...... -...;.-~-----~---·~~ .... --.... ~-~~-~·-~------.,.------~,_,, ___ .....__..... ___~--'::~-~~~~1 1 This simple exercise will also serve to expand the range I ! ' of the voice. Gradually begin the exercise on higher j I J If the students ara having difficulty with throatv. Ii sounds, pnlctice daily on exercises beginning with an "M" or an "N" placed in front of the vowel. Sing up and do~'l:il I the first five notes of the major scale on Me, Ma, Mah, l IvftJh or Mo ·::5'. Begin by using only one vowel sound for the I ! I five tones up and down, but later sing a different vowel I1 on each of the tones in this order: Me, Ma, Mah, Moh, Moo,! I ; Igoing up and the reverse order down the scale. I 1 The :1.! s ancl the N' s bTi11g the voice Ionvard ar1d l I' they serve to develop a resonant quality. It is easy for I I1 the student to feel and to understand resonance when he I sings on these consonants. Bumming these pitches also l I serves to bring the voice forward and to develop a resonant tone. Exercise V 1 On every vowel sound, the tip of the tongue should Ibe touching the lower front teeth. The tongue must be· I 1 loose and relaxed. The tongue must be exerc1sed so that 1 I it can assist in rapid articulation and good pronunciation ..! 1 The tongued consonants include the letters D, G, J, L, N, . f 1 I . I , S, T and Z. 1 ' I L ______.. ______...,.... ______,-·------· ------·-·-----·----~ 101 can be 5ung on any combination of notes from staying on one pitch to singing scales or arpeggios. l i Exercise VI l I Lip consonants include the letter:.; E, F, M, P and I I V. Practice these consonants by placing them in front of any vowel t~ombinatlon such as :Sah, Bee, Bah: Boh, and Boo. The important thing to remember is I nant very distinctly, but to go immediately to the vowel. 11 I Child1 e11 respond. readily ttJ the commanJ. to spit ou L the I consonant." I l .l Exe:cc:ise VII I------· I To avoid scooping for tones much practice must I l take place to insure singing on a line. This is really a 1 I I mental exercise. As the students sing these vocal exer- 11 I 1 cises Tecommended for "keeping the line, the teacher can 1 I I gesture with his hand going across rather than up and down I with the vocal pitches. To develop the technique of I singing on a line mentally, practice scales and arpeggios I j on one vowel sound and then on a combination of vowel I sounds. (See Keep Line in Appendix A.) I'· I l--·----.. --·------·------·------··------~ '· 102 APPENDIX C ·• . REPERTOIRE FOR CHILDREN'S CHOIRS I i! -~····----J '' I l ' I ; . ' '. M 0 ...-I r-·------·---·-·-----·------~---···--··--···------··-·------·------,-----'-· ...... ·-----~ t - ! i ~~~. ..f-e.st:,!.Y.!'~.!.n.d Thanksgiving_ Publisher and/ "!"'.; 4·1 e v . . ..'!'~ C~os~r/Arranger _2}-c.~ng J2;ic~ ~"(Cq~l.ent) All Things Bright Burke Unison .15 (Hy..nn text) and Beautiful A 11 Praise to Thee Tallis-:Pooler 2,3 ,4 part. .30 {Easy. ") ""'·h'll ·1 .f. d Alleluia Mozart-Lorenz Unison or .30 ( t' ...... J.! r· _l. l.e SA version) ·Alleluia, Alleluia Fred Bock SSA, .35 Somerset Handbells All Things Praise Kathryn Hill Rawls Unison or .20 Choristers Ttlee SA Guild Amen Cramer SSA .2.5 Marks Choral (Spiritual) Ai1HHi., So Be It Natalie Sleeth 2-part .35 Fischer As Candles Glow Jan. Bender Unison .18 (German Folk ~une) Ar,mke, Arise, Go Robet:t Leaf Unison .2'1 - Augsbu:rg ~., ....- ... ~... "'n-~ 'i?""'" ,._.;c., ,5; t,.l,.,. ... e.,..:,.;) ~ a.. t 4-"'-"4.... ,J u ....'\.. ~ I Be Joyful hl the Jones Unison .25 (Psalm 100) i i Lord · Boys voices I f,a Thou l Childreri~s Voices Robert Leaf SA .25 Augsburg Joy:Cully Sing Clap Your Hands All Judy Hunnicutt Unison .25 Augsburg Ye Children (Psalm 47) 1 CV;:.p Your Hands, Ronald Nelson Unison .30 Augsburg I Stamp Your E'eet (Contemporary) ! l Corne On Down arr. Robert Leaf Unison .25 Augsburg . I ! Zacchaeus opt. (French-Canadian) j ! instruments I l i i I At• g ... 'h,..,..g i Com.:: t~ith Rejoicing Robert Leaf Unison .30 .&1. ,t.. ;:..:o. a...:· rw1... I ( 1'hank sg l v i.ng) l l' l I' ....,., (Thanksgiving) 1 ,..,""''-"''J.ht...;:' .. Ye Faithful Graham Gaorge SA .20 I I t Mise th'~ Strain I i i l I • I i I ~·-··--·-·-·~------·... ------~~·-·--~·--·-···-···------~------~------·---·---·---J 1.1"1 0 ...... ~---·------·-----~ ! Publisher and/ , j I~tl~ f.!omposer I Ar:ra:r,:g~. y.£;bcing Price or (f~~nent) _ ! i I ! Creation l?oxdro Unison and .25 (Thanksgiving l l I SA Genesis) l Dec la.x·e , 0 Heavens Butler Unison. ~lith Broadman descant I David and Goliath Dale l-lood Unison, .35 Art Masters Studio 1 2 voices or SATB Dear Lord and David H. Williams Unison .30 H. \·1. Gray Father of Msnkind (Calypso) Dear Lord and Handel-Davis SA .30 (Text by Savior arranger) Doin~ His Task Jan Harrell Unison .25 W:ord Doxology Robert Wetzler Unison .35 Augsburg (H,Jrrah to God) i i I I Earth and All Stars David Johnson Unison .25 Augsburg I I Earth Is th~ Lord~s> John Mitcheltree,Jr. Unison or .10 (Easy with guitar I 'The s~ accomp. I Father ldmighty W. Glen Darts st~ .30 H.~ t""w. Gray I I Follow ~Ie 'I' a lmage Dean Unison and .25 Carl l!"ischer SA (Festival) Il ! I ~ ~-..- ...... ______.._,._,..__, --,..·-·-·---... --·-·-··------·--~-~-·-·------···-~-·--· ... ------·_...,.' ~...... ------··-----·--·------·-·--·------·-----·--·, ,- I 1 Publisher and/ .' 1 I --T ~c~e Cc~po~cr/Arr~~~ !T-1£!. 2.r (Co_;:~ent.)__ _ 1 For the Blessings an. Krones Unison .25 (Thanksgiving) I I of Our Davs I I ~ I i For the Beauty of Kocbez-Davis Unison with .30 (Thanksgiving) I j Earth df::scant l ! Four Anthems for Ronald Nelson Unison, SA .40 (Scripture texts) Il l Young Choirs or 3 .. part I j I! .Four canons ed. Riedel SA, SSA or .20 Augsburg ! i SSM ! l : ! Gentle Jesus Ever Faure-Kjelson Unison .25 (Frau the Requiem) I I Blest ; I I I I Gift of Love arr. Hopson Unison or .30 (Second voice can l l S.A be by flute) ! I l I Glory of our King Dale Wood Unison .25 Augsburg I ! I God Calling Yet Ekkehart Nickel Unison ~~i.th .35 Augsburg i·nstruments I1 I I i ! God Cares For Me G. S. Firestone Unison .30 H. W. Gray I ~ I God Is l ..ove arr. Grah~~ George s.~ .25 Augsburg l God Is At Work Fred B()ck SA .35 Theodore Presser l l·lithin You ! 1 ______! t,,._.._ ..... ,______., __, ____ .. " ...... ~.. -·... ·----·--··...... -----··--·--·----... ------~-·--... ·-·--·.. ---·-· r-. 0 ~ ------·-··------, r I Publisher and/ I II T .... , .l.L ..... e Price ! ' .Y2~-~uz. or .J C9p:z.11ent) • . I i ! God Is My Shepherd Dvorak-Vree SSA .25 (opt. Oboe or flute}~ God Is Wa tt~hing Shirley Whitecotton Unison or · .30 Hope I 2-part I 1. I God of Youth Glen Darst Unison • 2 j (Youth choir) God Make My Life A Mathilda Edwards Unison .25 :F'la.mmer I Ij Shining Light arr. Love lace · I I I God of Earth and Robert Leaf SA and .30 Augsburg ! Planets Flute I Go Forth \ Hands of G·od ~ 1"he .Jeanne Shaffer Unison and .25 Broadman I 2~·part ; ; Harvest Song Gm:don Young SA (Thanksg-Lving) I Heart and Mind Hilty Unison .25 Concordia Ht1 Hath J?illed Vivaldi SA .30 Lawson-Gould HU'"l.;;.r:'"'' I i 'l'h...:.""' .. v ~-~ l. .. e> ~,} t.----... -----~.,-·-·------··-···--..·-·-·-···-·-·------·-·---·-·---·------..···-·------·-·---· ·------..!I 00 0 .-I r·----·--·--·----·-·-----·--···-··------·-·--··--- ·-·--~·-~------.I 1 ~k f~rr~~~~r/Arrange~ .Y£!.s.i~ Price ~b~~~n~)d/ I Help Us Lord Butler Unison .25 Broadman Holy, Holy, Holy Faure Unison and .30 (From the Requiem) SA I Hotv Excellent Thy Roberta Bitgood SA .25 F lBli..'U.ler Na..:ne I How t~vely Are The Mendelssohn-Moss Unison and .25 (From St. Paul) l-lessengers SA Ho11~ l.ove ly Is The Philip M. Young Unison, .35 Broadm.an II House of God opt. Oboe and flutG I l Hy"Fm of Youth Dale \-lood 2-part .25 Augsburg l I I A'11 the Good Dale Wood Unison .20 Augsburg I ShePherd.... I i If I Here A I~th~=·ino Davis SA .30 (Lullaby style) <:'ha.T'h""·i""d I t... $1.~.~ r-i.J.t-'1...... I In Tht:: NrJJ..ue of the Ronald Nelson ss .25 Augsb\Irg lr~:t:ct1. I ,4'! ·r Si.TI-[4. tl sc~ng -0 ... J'ane Marshall Unison and .25 (H~n text with a 1 the S;:!.:i.nts of God descant sw~ng) i 1 1~1(:tll~ t:R1e ar:r . Kj e lson SA .30 ('rhanksgiving) I ~ {inr"""t"·:HJ'"'f'!tt"'d.,. '"""'.t. ~""'.10. ~ .. .,. "W' ·' ....Roarl. ,"'" ~ ,_____ :.______,, ____....J I ,.,..,,....~,,.,,,., -··-' _,... ,,,.w••••• .. ,.._~l·----.. •·~ .... ---.. ---...... ,,,,_ __ ,__ .. ------·-·'·-·-·-·----... -,.,,__,_-~•··--'"------;------· 0'\ 0 .-1 r------··· ---·-----·------·--, I Publisher and/ I I 'ritle Qom~g~/Arranger V?icip_g_ Pri~ or (C~~11t.)__ I \'lill Wake Up t.he Judy Hunnicutt Unison .35 Augsburg I. Sun I JE-SUS Robert t•Tetzler Unison or .30 Carl Fischer ' 2-part Jesus Walked This arr. Kjelson SA .25 (opt. solo or Lonesome Valley 3-part: Spiritual) Jesus, Name All Names Schop-i•f. Foo ler SA .20 Aug aburg Above Jonah Dale t? Let All Things New :Ka-therine Davi.s Unison and .20 G ~ Schirrter l .. iv:tng descant (Thanksglving) I .25 Broadman J..(;t 'th~ Song Go Red Unison with I Round th,a Earth descant i i~--·--··~---..-.-.w, -·--~-----·------..... ---•·--·-·-•--·------·~-~--- __..._ _,_,..------~~ -·------····--·--·------j 0 """ """ ~...,_---·-·------., r---· ----·------·-----·---·----· i I I i Publisher and/ v . .:: l Title Comp9-~~!J.l'!.rrar~ --22::C.~..n,g_ Price .?..F.(~ornm.e:;;.;;n;;.;t;;..· ).__ __ ~--- 1 Lord He Are Glad for Robert t'l"etz ler Unison .25 Augsburg I I Those w"'ho Laugh I I j Lord, Ue Fraise You Robert Wetzler 2-part .35 Augsburg 1 for the Rhythm I l,ove ~ Love , Love. Lois Brokering Unison .10 Augsburg I I Love, Divine All Bach Unison .25 G • Sc hi:rrJe(i" 1 Love Excelling ~lake a Joyful Noise Jane Itfarshall ss .25 (Psalm 100) to the I.ord Make a Joyful Noise Maureen Sindlir~er Unison .20 Choristers Guild to the I..ord Recorder or flute I I Morning Has Bl.-oken Cat Stevens·~ SA .35 Shawnee I Simeone l My Constant Joy liary Ca ldwe 11 Unison with .30 Broadma.n I descant (16th Century I' Chorale) Ny Faith Should Be arr· • Bu-rroughs Unison and .25 (American tune) ! a Happy Thing ss \ l My :r·a t:he:.~: i s HoutH~ I..e\otis 2-part, SA .30 Plymouth j i -···--·-··-·-···--·------·-·-··------'·-···--·----.--··--·-···-··------·--·--·--··------~------··-·~------·----·-·J ~ ~ ~ ------·--·--·-·--"-·------· ------1 I Publisher and/ £_gm E,O s_~]:}_A_r.~n.gei~ :Voicing Price or (Comment)_ Mary Caldwell Unison .35 Broadman I Philip Your.g Uni.son .25 Augsburg I Robert Leaf SA .30 Augsburg II Prichard-Pooler Unison .20 Augsburg I I Little Lamb Artman Unison or SA • 30 (Treble instruments) Little Lamb Mary Caldwell Unison .25 Broadman I Flute I LookAround the Joe Ridenour Unison .15 Choristers Guild \-.lorld Lord God, We 1-~orshi.p Fritseh-Poolex Unison or SA .20 Augsburg Tr,ee Lord Is My Strer~th Hal Hopson Unison .20 Choristers Guild and !·fy Song · Rhythm i.nstruments Lord Ou-r God Is Robert Leaf SA ·-?S Augsburg King of Kings ! I ! ~---~ ..... ~.--,,R0 _____ ,, .... - ... ·-----~-----··••-----.·--·--·-·~-----··---0- -· ----·--~------·------J N 1"""1 1"""1 r--- I I Publisher and/ lj 1 _!_itl~ f_ompos~Arranger Voicing Price ~m ~C~ff!!_ent) .. '! ! 1 I My Faith Robert Leaf Unison .25 Augsburg My Heart Is Full Richard Proulx 2-part ~35 Augsburg Today r.hythm instruments Hy Jesus Is ~iy Buxtchude-Bitgood Unison and • 20 (Accomp. for solo Lasting Joy 2 violins cantata) ~!W-,., ~\,,-ph.c..,-,..1. ':.'H 11 &M) ~:t..ne A.., ...... +. u '!!~ .s-.. .. arr. Marie Pooler Unison or .30 Augsburg. Supply I>iy Need ~ Now Let Us Sing a.rr. Rogers SA .30 (Praise anthem for Jr. H. S.) NovJ Thank We ..~11 Bach·· Holler Unison and .25 (Thanksgiving) Our God SA with SATB vn c·... om.e, Ho_.y 1 ....~ p1.r1.• •t Telemann ... Nelson Unison and . 30 AugsbLTg violin 0 Daniel Mary Caldwell Unison .30 Word Ode For Children~- s Johann Geisler 2-part .40 Carl Fischer ...... r May l I Oh~ the Joy of It Red 2-part Broadman ! i instruments I I I l C'1.1 .lordan' s Banks Willing-George SA .20 Augsburg 1 L______------·------.. -----·------____.; ______J ...... (\") ...... -·------·------·----· ,---- ,_____ ---·--- .. ---··-·----~--1 ! Pub U.sher and ! ,..,...... ,...cl':""~~ fA· ..,...... n.,.e..,.. .__..,...... _,.. or (Ccrzm:nent) ! Title -~:.:J::n_C ~C., ....;:~ I_ ";.,=-~·:;;t:&..:...~ __Voicimt Price I ~ ----~-"' -- !"f --~-----· -- l I O;?·'~n Up Your HF~art:s Ha..'Tib len· Simeone SA .30 Shmv-rtee 1 I I I 0 Sing fc}r ,Joy M.:;.ry Caldwell Unison • .35 Broadma.n I ! i p~aisa and Glo~y Katherir~e Davis &.'\ .25 (Thanksgiving) I -~ .-~· h~ - l P.ra1.se t:he Lord so W'illiams-Vree Unison I 1 His Glories Show ! ! :!?raise tlv~ Lord Katheri.ne Davis Unison and .25 Br\>adman iiJho Reigns Ahove trumpet I ::" I P.;:ayer of St. Richard WhitE?: SA. .2 ..) l of Chichester I "' I i . ! rcesent Tense~ The Ronald Nelson 2-part .30 Augsburg ! - . Canon I ! Psalm 23 arr. Vree Unison and .25 (St. Columba tune) I Elute 1 Psalm 150 Franck-1Ihret SS..J\ .30 Alfred Husic Rejoic4S 'lila.lter Watson Unison .25 Choristers Guild Rejoic:?. Greatly Johannes Petzold Unison .20 Augsburg Sanctus Schuhe:t't. -·ro lm.age SA or SSA .20 ! i The Shepherd George McKay SSA .25 Shawnee (Jr. H. S.) 1 ~"'.._ .... .,__.... __ ,...__~-----...-....-.-...- .... ------.. ---·---,_....--~---·-·------w·-·------..... -.----··--·-.~~·--.. --·------·-l.. _" _ _j ~ """ .r-··!---·--·----·-·~--·--·------·---.. ---· I 1 ·-.-- Publi~er and/ ~ I Titlf-;, £~. 'I-ak!ii; My Life and David Williams Unison and .25 H. W. Gray Let It :Se Sot\ 1-...-·--·------·------.,-·-·--·------·----·-·-·---·-·------I J Lrt,...., ,...., ·~ rI Publisher and/ i Titl~ f~~poser/Arrange£ Voicing Price or (Comment:_) I I Teach Us Good Lord Hopson Unison .25 (Jr. H. S.) I Thanks We Give Dale Wood Unison or • 30 Choristers Guild I 2 voices and Percussion I I They Blazed A Burke Unison .25 (Good text) I Fathway to the Moon l I i ·'rhree Anthem~ for Cooper SA and .30 .Junior Choir unison ! I Three PsaL~ Hymns M~4fee Unison .25 Canyon ! foei:t' Juniors (Psalm 8, 121 and 101+) I "!'hey~ 11 }(now vle Are Scholtes/Bock 2-part .35 Theodore Presser I Ch:ristiar.:s by cur Love l Three Anther.1s for Robert Leaf Unison .60 Augsburg ;,..~ o-~: ,.~-:r . C1 ,~~ .... I .!JC0 .r.nu)..ng ~1C; ... ;. s I I .30 E•ischer l 1:hree S:i!nple Melodies Zimmerman Unison ' '~"h·~-~··-J L•+-r1l.-..... e• v.l.--.:.:r•, ""'"" Schulz-'f?etzler Unison .2.5 Augsburg Dea:t: Lord A.re v?e I l l l'Y:m Song;;; of P:'caise Blackl:m.rn Unison .20 Choristers Guild ! ~ I l ··:rwo Songs of f'raise Marion Vree Un:i.son w·ith .25 L~wson-Gould I ' desc.c.nt ______j I..-··----·------·------··--··-----~-···----··--·-·-··-·--·----.. --.. ---··------·------·-----~--···----· \0 ..... ---·--·--·-·---·---1 I Pub lisher and/ I I!!~Je Cs!!E.E.O s er_/Arranger !t?.icing -·-Price £_r (Corr.t.~e~) Word I Walk ~lith Me Paul Sjolurid Unison .25 ! I We Thank Thee Myles Unison and .25 (Antiphonal i SA choruses) I I We Walk vtith God Mary Caldw£d1 Unison .20 H. \-1. Gray I • I \ ·r.:n,-,!'-'l." u.,"' 1 "~t .. ,<;,;,',.,t..~ u~"'od J.. u.;.:.\t:) David Wehr Unison .30 Beh-.Tin l ?!:cr.nis.e.d (Speech choir) I ! i l ! Vthen Jest)S Left His David Johnson SSA .22 Augsburg 9 ! i Fa.... - t-h.o._,,~;.. --L ..- s 'T'1-·,·o·"~...-.. i£.~ :I. A""-""" I I ' ~·Ill- "' ...... ~ •·•. 't ~ I 't-th1;.:Le c~ngeJ.s S::i.ng J?aul Chrlst:iansen Unison .25 Augsburg I ! (Mexican Fo lki Tune) I i r ' ~?i):~d.)':'OUS l.O<:Je arr. Marie Pooler Unison .25 Augsburg !I 'j ! \tlondr<.m~3 Love~ arr~ Thiman Unison with .22 Broadman ! desca11t I I \ I l j ! I t ! L--·~··--·----~-.. --...... ,.... _____ ·--·-·----·--··-.-·--·-----·--·------.. ···------.. ------·--·--·----·--··-.. - ..... ---·-.. ------·-·---j ".-I .-I r- ~nt, Palm Su~ay an~ Easter I 1 Pub lisher and/. I I Title pomEoser/Arranger Voicin,g, Price or ( Comm~nt) l Ah, Holy Jesus Cruger-Jennings SA and .25 Augsburg Cello i I Allelujah., Christ Dressler 2-part .25 Flammer 1 Is Risen I I Alleluyaf Sing To Ronald Perrin Unison .35 Fischer j. Jesus I Alleluist Alleluia! Littleton Unison .25 (Traditional text) l j All Glory, Laud and Teschner-Couper SA .30 Schmitt, Hall & I Honor McCreary l All Glory, Laud, and arr. Peek Choristers Guild 1 Honor i I I An Easter Carol Richard Monaco SA .35 Fischer I I Angels, Roll the Healy Willan SSA .16 Concordia i Rock Away i I At God's Right Hand Bach-Best SA .25 (From cantata) I He Doth Stand ! 1 1 Before the Break of Fraser SA, Unison .25 Flammer Day handbells I lL_ __ _j 00 """' r Publisher and/ Title ComE.cser /Arranger Voicin~ Price or {Corm.11ent~ Behold ·the Lamb Paul Bowman Unison or .25 Concordia of God SA Behold the Lamb of Paul Bauman SA .18 Concordia God Bells on Easter Morn Rogers SA .25 (Handbells opt.) Caro 1 for Lent :uary Ca ldwe 11 Unison and .25 Broadman flute obligato Chime of Easter Time Burke Unison 1•. Choristers Guild Christ :i.s Risen Rohlig Unison Hope Christ the Lord is Katherine Davis SA .25 14th Century Risen Today Clap Your Hands All Judy Hunnicutt Unison and .25 Augsburg Ye Children 2-part Come Ye Faithful, Jan Bender 2-part .25 Concordia R;,;tise the Strain Cry Hosanna St:anton 2-part .25 Augshurg Ea s t~1r. Be 11 C.aro 1 Davies Unison .30 Flammer j ' l Easter Hymn Lester 2-pa.rt .30 Flammer I ' j E~ster Song Davies 2-part . 25 Flammer _____j --.-- ... ------~---...... ______, __ ,.,...,._... -.~.~-"--·~----- .... -·--...... ------__ _ ------·-.. ------··-- 0'\ r-1 r-1 ! Publisher and/ I !!Fle f~poser/Arranger Voicing Price or (Comment) Garden Mary Caldwell Unison .25 Broadman Glory of Our King, Dale Wood Unison .25 Augsburg The Hark! l'he Glad Sound ?owell 2-part .30 Flammer Hosanna, Lord. Clokey 2-part .25 Flammer Hosanna to the Son Healy 'Vlillan SA and .16 Concordia of David SSA If You Ask Anything Jan Bender 2-part ··· Concordia of the Father In the Cross of Christ Elwood Coggin SA .30 Kjos I Glory (Calypso style) It Is the Joyful Burke 2-part .25 Flammer Eastertime Jesus Christ Is Young Unison .2.5 (Original hymn Risen 'foday · tune) Jesus, Our Savior Ford Unison .30 Flammer handbells. Joy Dawns Again Garry Cornell 2-voices .25 AMSI 1 Lenten Caro 1 Rich.ar·:,r-Purvis Unison, • .30 (Harp, piano or i opt. descant harpsichord opt.) !..------·· 0 N,..., r- Publisher and/ 1 'ritle Campose~/Arrang~r Voicing I>rice or (Comment) Let Us Rise With Jenkins 2-part .25 Flammer Jesus Lord Our God Is King Robert Leaf Unison .30 Augsburg of Kings, The 0 Come and 1-iourn Emig SSA .30 Flammer Wi.th Me Awhile On Calvary's Hill Robert w·etzler Unison .25 Augsburg Passiontide Carol Richard Purvis 2-part .30 Flammer Prayer for Lent, A Gardn~'=l:r Unison Choristers Guild Ride on, Eternal King Robert Leaf Unison and .25 Augsburg SA Shout thE Glad Tidings David H. Williams SS or s.A .30 Augsburg Sing We ~~ith Merry Robert Wetzler Unison or .30 Art Hasters Heart 2-part Son of God Arisen Fraser Unison .25 Flammer Today handbells I Stone Is Rolled Davis SSA .30 Flammer l Awa.y, Thf! I ! I lbat Blessed Easter Mary Caldwell SA .20 I l Morn I L_~ ------·------·-·----·--· __ j ...-1 (N ...-1 Publisher and/ l.litle ---C:::-er ;Arrangt:!r Voicing Price or (Comment) I That Easter Day arr. Dale Wood Unison .25 Augsburg ! There is a Green Hill Healey Willan Unison .20 Concordia Far Away The World Itself arr. ~~rie Pooler Unison .25 Augsburg Keeps Easter Day Three Lenten and ar1.·. Gehrke SSA. .20 Concordia Easter Hymns Under th•;! Eastern Sky Ronald Nelson Unison .25 Augsburg· ! ''~e Will Carol Joyfully Young 2-part .25 Flammer I I Were You There? Webb SSA .25 ~"lammer l l Were You There Hhen Ringwald SSA .30 Flammer 1 They Crucified Hy Lord (acapella) l I I With Joy Was Bright German Carol .25 Shawnee I I ! j Hon.drous Day Sidney Johnson Unison or .30 K'osJ I I I 2-part i l I ! Ye Sons and Daughters Fau 1 Sj o land 2-part .30 l-1ord I of the King ! i I 2-part .25 Concordia l l Ye Sons ,::tnd Daughters Dru:.mnond Wolff l , of the Kin.g descant ! I Ye Hatchers and German - Davies Unison .25 (17th Century j Ye Holy On.es descant Melody) .... ·----·------·------·~·-··---· J N N..... r--····------······-·------·---·------~------·--- 'l ! E=piphany...... !,nd ~i~J:mas Anth~ I I I Publisher and/ I !J.~lg_ Crnnposer/Arranger Voicing Price or (Comments) . i - - ! Ch:i..ld is Born. in Marie Pooler SA .25 Augsburg I Bethlehem., A ... ·-h -...c ... ,.· 1:. I ,fiAd-at·~ or .~ot. o:r t: ,e J.•u=. 6 ~ Wilson-Rozsa SSA .3 ;:) Robbins Music I Adora.t:ion Gunnar-Halmin SA. .18 Augsburg l Alfred Burt Carols Burt, Hutson, Bm::'t SSA .30 fiha~.:rnee ! (H.ehrew Melody) l I 1 F '" ·-::> ,-.. r> I! ~A....,'). 1 4'>-),.~ ..? -_, .,... iL,,_t. "-~~· :w 'l'h.;...... ~ Ebc~ling- Bender Unison with e25 Augsburg l · Night Rc.-j {Yices descant "-~· ..... {' A 11..... i.~'1\,~T' ../ ~;;1_~ :.:..-r'l~t ._'I,. 'f/1·{... ~ . ..-:.~ ·~ Williams Unison Choristers Guild t.J; o-t--. "" !:1•:. -~ ,-)-! ,.... "" l'~.J...t:?i.t'- ~.:~.~J \. ..:."1...-te~ A 11 My H,..., ...... 'X"t·,.; "-' .Jet.... J. l~·~-'1... t... J .. "-k~;, T1:adi. t iotm 1-Rogers 2-part .2.5 Lilleanas All~luia Alleluia A 1-.li. " 'T'h... J.ngs· · · '"x.~rl.g • ht ana.. , Cr3.;ham. George Unison or .20 Augsbut.·g Be.autiful SA I Angels, Frcm the S&:nart-Rogers 2-part .25 Lilleanas Reahu; of Glory I Are You Heary? Artman Uniscn with .25 Ha 11 & McCreary descant i I I As It Fell Upon A EI'l.glish-Davis CYJrt~als, . 25 (Chimes in accomp.) I tr~anxle Il 'N~g.ht·.. "'"' . ,_ 2 1 L .... _,_.,..·~--.. __,------______W.Q_p_d_!?_lo_s:_~--- ·----·--·--__] M N "'"' r-··------·-·---·-.. ------·-··------·--- - . . I i Publisher and/ 1 i~ .,.._.,.-Gomno...... £::. sef}.!_;:rang~ Y..9J:.£in& .fsic-2, or (~~ents) __ I .r1USA f.:!:'1.£!1. • ~ 3 Shepherd Dale Wood · Unison .30 Augsburg I Garc::l . . I I Av1ay in a Manger Medley~ Long SA .25 Lilleanas Away in a Manger !f..i.lpa trick-Poole Unison with .22 Augsburg descant Baby, What You Goi:;:·,.~ Sleeth Unison (Jr. H.S. and to Be? or SA guitar) Bell Carol Russell G. Vichmann Jr. choir .40 Oxford and SATB University Press Blessed Mary, Lindstrom Unison .30 i Faithful Joseph or SA j ! Boy vla s :Bo-rn Verkcute~:en Uni.son .30 H. W. Gray (Jr. H. S.) l Bright Star arr. Ehr~t SA .25 (Polish melody) i Sha!imee I Calypso Noe~ Gordon Krunnfusz SA .25 I! Rhythm (Calypso rhythm) I I l instruments i I Carol of the Drwa Katherine Davi.s SA or SSA .25 B. F. Wood I ! I Cat:o 1 for Epiphany J'udy Honnicutt SA .25 Augsburg I ! I L------... ~--·------·------·--.. -...... ::t N .-1 -··------· "'------·-·---"---· -·-··------· I Publisher and/ I ,--l Title ~poser /Ag&.,!!.~r. Y.Q.ic ing Pric~ 2! ~Comme~s) -· \ ! Carc•l of the Littlest Taylor SA .2s 1 i Angel Descant opt. I l Car o 1 of lA..a.ry Jack C. Goode SA .30 H. tv. Gray I I I Carol of the Sheep Kountz SA .15 Galaxy Music l Bells I ! Carol of the Star Harry Simeone SSA or SA .30 Shawnee I (Latin American iI I carol) I l Child is Born in Marie Pooler SA .25 Augsburg I Bethlehem, A l' I Child Was Born~ A Dietr:i.ch Buxtehude Unison .30 Red-Stone Choral i Series lI I Children Ct:m:e ) The Mary Caldwell Unison .30 (J}rass accomp.) ! ! Christians, At.takE:1 arr. Hell~r Purvis Unison .30 ar,d SA t! j Chr:tst:l:-aas Bell Carol Belkan-Kolyada SA .20 Schmitt, Ha 11 I l & M=Creary I 1: ! Christmas Calypso Jones, ·yalanis & SA .30 Shawnee I I I Lorim.er j l I i (''hr.{-'""" .. ~.... .,t.,na·' ,:;, """ ~~ \.,.f;!,.""'rol a:rr ~. l)iivies SA .25 (Medley of Hymns) I Fantasy I k _, __j ~--·---~-·-...·------..-- .....------.. --.-~ .. ----·----..._..,~----·-~~···---...·---"·--. ·------·--.·------~-- ... ,...... -.---~·-· tn N r-1 ·------·----·-· ·- l r Publisher and/ I TtJ::l~ r;omposer /Arr_anger Voicing .f.!ice S!_r (Comments) I Christmas Comes in Austin C. Lovelace Unison .30 FlSllllner the Norning Christmas Dance of Kodaly SA .25 ( Picca lo opt) the Shepherds I Christmas Gloria Davies SA .30 (Fantasy on 4 carols) Chri.stma8 Lullaby Robert Graham 2 melodies .30 Sacred Music Press from China Chr:isW.i:l.as Roundelay Young & Young SSA .25 Shawnee Christmao Priase Healey Willar, Unison m: .16 Augsburg combined choir "t T'" -• t,;o...... La, -• DE:~c(~fl.OI.:~r 'tO... nos arr. Ehret: SSA .35 Fischer t?e:t·e Still Come, All Ye Shepherds arr. Truck SA .25 (Tyroleon Carol) i I I &\and .35 lI Come.,• Little Children Sc u lt:.:-Fargo i descant I I 1 Come and Se~ the Wetzler Unison or .35 (Elementary of Jr. ! I Chr:i.st Ch:tld SA H.S., flute accomp.) I I Ct.,me l-lorship the Ch:i.ld Tucker 2-part .25 Lilleanas I I I l '" ____J l "'------~,--_.. ... __..__. ---..------·-.-.·--·----~·------~-·------·-·------·------· \0 N .-I r------·------··--Pr.xblisher and/ l 1 Title 9 om PO...§e:t: I A.q,.?!!ift:.!. Y.9J.cing, Price .9L..{9 om!'i!e_!l_t.s} _ l I I Cover.t:t·y Carel ar1.~. Arnatt SSA .30 H. W. Gray I (Conte-mporary I b.annonization) ! I I """'"'-..,.U~.u0 ·n,vnb ... ·~ M:..-. .. e ...... _ ...; ,YJ. Barthelson SA .25 (French~:'Carol) I! '1 Do••• · Yo. - U P""~•.;;;.,.. "'r l:'l'l-Wa1.Gi.t~···... "'"'1. arr . Harry Simeone SSA .30 Shawnee l Hear l ~ I I :Ooest Thou In a Held Unison .25 Augsburg j · Manger L:te I i Five Carols for Now arr. Nelson Unison .40 (C~rols ~rom Brazil, 1 Ch1.na, V1.et Nam ~ I I Cuba and Russia; I I Friendly Beasts, The Charles Black Unison and .25 (English Carol) j l 2-part ! I Gentle Carol, A Gordon Von Wonne1: SA .30 Kjos i I ! Gentle 1-iary Fernstermaker SSS and .30 (Canon) I unison ! G:i.ft of l.ove l?osegate SSA .25 Shawnee ! ! ,.,...... 1 Hark! Angel Carols Austtn Lovelace Unison .20 \_.easy) I i I Ha.s .Anybody Seen Jane Marshall SSA, Piano .30 (Unusual text) i Chr~stmas or guitar ! ! He Is Born Bisbee SSA .25 Concordia '-·---·------··-··' ·------N"" .-f l ------·----· I·-· ;1blishe~ and/ J i' ...., . r 1~ I ... l.... ·=- Vq_}_ging Price £~ (Comments) 1 1 He Is Born Higdon SSA with .25 Willis i alto solo I I He Is Born Wetzler Augsburg I How Many ·Miles to Ingram Unison and . 30 l.Ailleanas I I Bethlehem 2-part I I How Small Art Thou, arr. Ehret SA .30 Fine Arts Music. i Hotr1 Weak and Helpless Flute Press I obligato I 1 If I Were a Shepherd Katherine Davis 2-part .30 Boston Music I1 Infant So Gentle Jack Boyd SSA, Flute .35 Warner Bros. I? the Dark of the Carl Halter SA .25 Concordia I fih.gb.t I I It Will Soon Be Gerhard Track SA .25 Schmitt, Hall & 1 Evening McCreary l I \ Little Shepherds Carol Roy Ringwalk SSA .35 Shawnee l Long Time Ago Natalie Sleeth 2-part .35 Sacrec Music Press SSA I Lord This Night is arr. Ehret .35 Belwin Mills Ii. Come to Earth (Ge:rman Carol) . I Lullaby Caro 1 arr. Mary Caldwell Unison .35 Broadman I with des.:ant l i I Mary's Carol Tyro le.on-Lopo Unison with .30 (Good for pageant I I organ, flute US¢:!) i or cello I l Noel Paul Fetle:z:• Unison and .::Jr·o Augsburg ! I flute l I ! 1 Noel Beatrice I<:rone SA .30 Kjos: i ~ I ~------~------·------.. ---·-··------·------······------·--~-----·--. ______.,:. ___ .. ____ ..~ ~ (',( t-1 r ·-~l Publisher and/ I I Title f_om_2oser I Arrang~ Voicip& E;:ice .Q..;,. (Co!~entsL._ •. l I &'"~ Now Tell Us, Gentle Judy Hunnicutt Unison • 2 .J Augsburg l Nary I ' 0' er Bethlehem A Polish-Follett SA, flute .30 (!mag ina tl'>~·e ! Star is Shining and triangle setting of a ! .f-''!:1····~1." 14 a- ·f"'*""'ol\ ...... h. "-. •• '"'"'""' ·l 0, How Beautiful the arr . liar ie Pooler Uni.son r-Jr .zs Augsburg Sky SA 1 Oh, What a Wonder Joyce Eilers SA .30 Sd&ti.t:t Musie; Cent£-;.r i 0 Joyous Ch~istmas M. H. Hegge SSA .20 .Augs'burg ! ! 0 Leave Your Sheep French - Eric West SSA .25 Schmttt, Hall & McCrearv. .; Ii Pat-A-Pan arr, K. Davis SSA .25 (Accomp. opt.) ·I Praise Ye the Lord Camille SA .25 Hills :Husic I of Hosts Saint-Saens ! I Quempas Carol •rr.aditicma 1 Unison .25 Concordia l Quiet Christmas arr. Grundman SA .25 (3 carols) ' I i l Shine Lovely :t-1ary Caldwell Unison and .30 (From "Gift of l Christmas Star descant Song") I Silent Night arr. McGlohon Unison snd SA .35 Choristers Guild I --·-.. ··--"'·~--~~ ...---·- ...... ------.. -·------·•N--•M--• -----·--·-~---~--·----·---- .. -·------.-·.. ·---··-·--- ·--~--··~-·...-.-..... _____,,...,_. ____j 0 M .-1 Publisher and/ r Title Com2oser/Arrange~ Voici.ng_ PJ:ice or fCorrrme_nts} I Sing Gloria Judy Hunnicutt SA .25 Augsburg i Sleep, Little Tiny Besig SA and .30 (Calypso) King solo I I Snow Lay on the Russell Gillam Unison and .30 Plymouth Ground, The 2-part I So Small a Boy Robert Powell Unison .30 Choristers Guild I Shepherd, The Mary Caldwell 2-part .. 35 Gentry I Still to Us.Is Born Austin Lovelace Unison .35 (Picttrr-e of This Night Christmas Eve I rto~¥ and then) 1 Sweet Mary, Guard ar:r. Ehret SA .30 Flamrner . Thy Precious Child Ii . I I 1 I Still, Still, Still Wetzler Unison .25 ,iW;"':!.·u~•"'bl'"""~ ~0 \ ..,:;.&.~ l 1 'I11.ey All Lived Long Natalie Sleeth Unison .25 Broadm.an Ago I Thousand Stars A A. Cavalieri SSA .30 Pro Art This First Christmas Polish-Assenmacher 2-part .25 Lilleanas Night Wake, 0 Shepherds R.ameau-Nelson Unison • 25• n''uo t;,Q- ""hura('.:) I violin \,.._.__ ,___ ·-----··-,·--·---"'---~----··-~-·-·----·--·----.. ---··-·- ·-----·---··---·-···-···--··----··---_j 1""'4 C""l ~ ·----·--···--, I r Publisher and/ 1 £gmpqse£/Arranger Pt'ics l Title Y?ic5.. ng £~2!.!il_ l I - : Welcome arr • Krumt".ach SA ?c; Hall & HcCr,;:ary ·-.J i ; What Is That Strange arr. Ehret SA .30 Somerset Ner,r Star? What Strangers are Scottish-Purvis Unison with .20 Summy- J~irchard These descant Who Would Be a Garry Cornell Unison .35 .AMSI Shepherd Boy Winds Thru the Robert Wetzler Unison .2- Augsburg Olive Trees ! I 'l I i I I I I I! ' I l l ! I I L------·---·-·---·-----·-·--·------·-·.. -----·-----··------·--· __j N C""') .-4 r-·------·····--·---· ·----- ·------··------~~' -·~l i ~- Sug~st~_Lew Anthems For_,.:f}!~ .Oth~r Spe~ia~..£.I:tu:r_ph. ..Pays I ! I ~4V~Jl£ I i Publisher and/ I T • "·l~:~t or(Ccrnment) ~~~ C~P.oser/Arra£ger Voic.i_l!,& Price I' I! Come, Jesus, Holy Healey \>lillan Unison with .20 Concordia 1.., ! c·.. n . .1•. a descant I Corw2: Ti:·~cn.:, Long R~•meau-Nelson Unison with .25 Augsburg ! E::.~~:r:-ected Jesus violin I ~ ' I ·:'.!''"" ~.;.;lJF'·,.,~4~~-.... ~~-' ~~"-'n,..• ...... 4 •~.11 ~ ., ·"- ~:..~,...,.,t:··~. .... ~ David N. Johnson Unison .2'" ~ Augsburg 2.-part .25 Concordia F'-~ ~1>."'"~'' ... u...... ,~r' '1 ~rL ...-u,-~~i '*'""l IW'ie'""''"" O""""g' Paul Manz ql~i.ckly Co:m.e ·"''c.·"""1~.;>;:.h.t ...... e ..,f_.s:us'f ~ . ~ U,o;~·.. ~ei( .,' li'leyel-Roff 2'·part: .25 F laJ.'m"J.er and Hild ?~' 0 Come » 0 Comt:~ , Good~dn SSA .... :> Flamr11er Emmanuel 0 Mo!;'ning Sta:r , So Ludwig l,ene!. Unison .25 Con.c•:rrdia nn,-,. ~ ... , B·... ic1h+ &: wJ.. 1:'...., ' ~...;..., v ~ .a.. , (,!IlL.." l.> G Savior c• f the World Pears 2-part .30 Flamrner· Savi..:n: of the Nations, James H~::llby · Unison .35 Augsburg !;orne I 'l . ~...... ,-...-~----- ... - --..-·-··- .. - .. -·.-·-·-·--.. --.~----.,·--·-·~·---·-·"______.. ___ .. ______• _____.. ______~·------.. ...J. ("f') ("f') .-1 ..--·---· ! I t!.scen.sion .:-.Jenj:ec2.§! I I ' Publisher and/ I ·~ ~r.; ~ ., ""' Ao...C...\\.:.1 ..~~ ~o_s,er /lirran~ .Y,_oiciz:!& Price or( Comment) ~-'""'" !lido.!IOR I l .... ~---· - 'I And the Best is Richard Proulx Unison .25 Augsburg ! Love.. !' l Carol for Pentecost Judy Htnmicutt Unison .30 Augsburg I t l H<)ly Spirit Hear Us Healy ~'iillan 2-part . 20 Concordia If A }!an Lcsl1es Me Jan Bender Unison .20 Concord:i.a 0 Corae, Holy Spirit Telemann~Nelson Unison with .30 Augsh,.1rg violin O· u..r •. o 1··y tip:u.·~<" ·' "t .....~n ··t"er Dani~:::l Moe SSA .30 Augsburg In I I Praise to God, William.s 2-part o30 Flammer i Im.. '1.1o:t·t:a 1 Il).~aise I Communion I -· ·=!- I 1'ake Bel:teve Robert Wetzler Unison or .25 A~1SI ~ I 2-par't ('gu.ita.r) ! ttJelcome 'CO the Table Robert Wetzler Unison c1r .25 ANSI i 2-part (gu.itq;r) i ' I' l ! . I '-··"-·-···----·---···------"--·------·---·---·------·------·-----·------_j ('t') "'"r-1 r~----·---·-----·------·-----·----··--·---.. ------·--- ····------··--·--·--·---·-~ ~.) n·::·· ~ t: .::lo ~· -~:~..;;~C Publisher and/ I 1.:\:tJ~ · f.9l~.E£~ ~E./~-!E~.1.1E. er Voicin•" Price or(Comm.ent) -----....,.-~ - . ·-· -· I .· ! All That Jazz Tracey Lloyd Unison for 1.25 Clarabella Mus'lc, 1 (Serit~s) Herbert Chappe 11 youth Ltd j voices (About 20 minutes) ! The Goliath Jaz:t: Il The Noah Jaz~~ I I I The Jericho ..Jazz I i The Red Sea Jazz I I' The Chr:i.struas Ja.zz I i The f-rodige.n S(.m, Jazz I 'rhe Daniel Jazz Litldsay··Chappell .r~•• o·o (1.0 minutes) Jonah-Han Jazz Michael Hurd 1.00 Animals of Cl-.tristnla:s ~ Wi.lson 2-part· .75 (2.0 minutes ,easy) The Ih:;atitudtH3 .Jan Bender 2-part ~85 Concordia }Jlessed Is He Verna ·,~r.:i.ght Unison .50 (Songs and drama for kindergarten thru Jr . H. S. ) t l ~--·· --~_...... ~-..-·- ~---~---·------·"'---·--~~---·· --~ --~---- ·-·---~.,._ .- '"-·-----~---- .... -...-...... - ...... -_.. ______------·I II'\ ('t') .-I r------·· .. ------·--·----·------Pub lis:e;· and/ ---1 I ! I t· .l.. 0 ·r.: V·o~c;~.1. ·~U Price 2!._ ··- t .._,:~=.~ --· {Conn!H~n~~- Ballad for Am.ericans Unison or 1.25 Robbins i-.fusic Mixed Corpo:rati.on chorus 'Boy l'llho t'H::" Captain Noah $-nd His Michael Flanders 2-part 2-. ~J Belwin Mills Floating Zoo Joseph Horowitz Chrlstmas for the Claire Upshur Unison .l•G (6 tableaux) 'lery Young Christmas Story, The Harriet No~dhobn Unison .50 Hills (:P·cima.ry grades) Come Good Shepherd J. Adrian Voices from l.. 50 H. VI. Gray Verkouteren ages 10-14 (Christmas) Come, Hasten Ye ,.....~r:Lt:::o.r~c - "'I .. h· z·1.pp Treble 1. 50 (Christmas) Sheph.erds voices So:! ore Recorder, triangle, 1.30 bells Choral nay to Rejoice, The Ethel Rogers 1. {13 songs 'lutes} \0 ('t') r-1 .-·------.------·--·----~---·--·------~.-- Publisher and/ 1:\:itle Ca:!!pose:!;/Arrar~ ~dna ---Price or( Ctl!lunend;.;;,;;;.;., __ I Drt:m, The Katherine Da.vis Unison 1.50 Behlin Mills I and SA (Tableaux) l Easter/Folk Style Rosemary Hadler Unison or 1.95 Lorenz 2 melody (opt. Guitar, I choi.r bass, drums) i Festival of Ni.ne SA or SSA -~ . l Lessons and Carols, ! The I Follow After H~ Ethe 1 Rogers Unison 1.00 {Simple accamp.) l I I 1 From the Stable Graham 2-part 1.25 ( 1!1- minutes, easy) 1 I God So Loveci Winifred Winans Unison 1.25 (12 songs, i l 2-part 35-40 minutes) I I opt. 3-part I Holy Child, The Kay Hall Unis<:tn (10 songs 2-part 35 minut:e~l) I I Holy Hoses . Chris Hazell Unison 1.25 (Pop cantata, l 22 minutes) It~s Cool in the Red-Hawthorne Unison 1.95 (Recording ! Fu:.{'nace and opt. riar:s:.st:or part) i SS..o\ ! l Ka.zoo I l L .... ---··------·------.--·-·------·-·------··-·--·------·------.--- ...... ("") ...-1 r -----· ------·------·--·--·--·-·--.. ------·-, Publisher and/ I I l 'fi.t le Voicin.~ fr!£~ £?1ponmlen~) ,_.._ I ~-- -~· 1 Joseph and the Wf~bber & Rice Unison 1.50 Bel•win Mills Amazing Technicolor and SA l Dl::·e.'3lllcoa t ' I! : Me Bring Love Philip Green Youth choir 1.50 (Based on St. ! I Lei Baritone Fr·ancis Prayer and alto or for Peace) I tenor soloist l l l ~LU:tle .' Christmas Theodore Beck 2 or 3-part .25 (Based on "~"rom I Concert, A . Recorder opt. Heaven Above") l' I ~ l l Flutf~S, cellos~ I Little Christmas F:t·itz Dietrich Treble choi:r (2. l ' Cantata accol"ding and violins) l I to St. Luke I ! ' \ I !. 0 Come Let Us Adore Marie Pcoler Unison Ol.* .75 Atlgsburg i ! ; Him SA I ' (Ki:1dergarten l Reason for Chr::tstro.as 1 Lois Blanchard Unison .50 I ! I The tlu:u Jr. H. S.) l ! I l Savior of tlfe Nat:tons, Hichae 1 Attenbm:g Unison and L25 (Advent or Come ins tr um.ents Christmas I 35 minutes, easy) ) Shepherd Bc:>y, The .Jon!C!s z.. part • 95 Flarmner ~ opt. snd I handbells. !' and flute 1 -~- .. --"------.------···------·-·-··--·-·------.. ------···-·-·------·------·-----·---·-·------·----_j 00 ('I')...... r--· ---, I Publisher' and/ I 1 Title .£9!!!E.~!3 er /t;.:r.E. a n_,t;.;,e7f.. yo_ic :i.ng Price 2.!.( Comgt"~nt) ! I j Shepherds Found HUn Hinnie Schmidt Unison 1.00 (Primary grades, 15 minutes) I I So Far to Bethlehem Marie Pooler Unison or 1.10 Flammer I I SA (opt. Flute) I Sing Caxols Gay Eug~ne Butler Unison 1.50 BroadT.an opt. ( Na:rra. te.d) ! instra.wents I J j Story of Bethleh~.m Healey Willan 'U n.~son• .o'0 (Luke 2:1-14 Final chorus Soprano soloS .fn ~L"'>A { !<.) I .._ y,,~ ,n. Story of Jesus Doris Graf Un:tson~ 1.00 (Narration 20 Violin or minutes) flute 2 trumpets i Te 11 the Good Ner.-7s Bill Ingram Unison and 1.00 (Narration, 6 I 2-parts songs, 20 minutes); l Wonder of Easter :Lois &nig SA 1.10 Flammer i (Narrated) j i' I ! I i l l ..__,.__, .. _...... ,. __., ___" ______~_,_ __~..-----·-----·--u- ...... ---.~------•"'·--·~------·------·-·--) 0'\ ('/") f""' ______, ______I Sacred Collections For _Young Voices Publisher and/ or (Comment~.;,.;;;;;-.;;:;;.::.;;;;;;_.. ];itl_~ ~crn£ose~/Arranger Voicing Price __ Alfred Burt Carols for Alfred Burt Unison .40 Shm.;nee Children, The arr. Hawley Ades SA, SSA (8 carols) Alleluia Choi.r Book Nargrethe Hokanson Unison and 1..00 Kjos No. I and No. II & Thelma Michelson SA (Book I - 23 songs Book II - 18 songs) Avery and Harsh Richard Avery and Unison 1.00 A very & Marsh Collect i.ons: Donald M.'lrsh (6 collections \'lith guitar chords) ' 1 A live f~ Singing H6oray for God Hymns Hot and Carols Cool More More Hore Son.gs for the Easter Feople Songs for the. Search But Let's Sing a New comp. Martin Varied 1.75 (Youth choir Song voicing Guitar chords) Carols & Hymns 15th thru 18th Unison 1.25 Flammer . Century Chelsea Unison Francis Wi.llia'lls Unison· J ~95 Fl-er Choir Book, The Cherub Hymns Jeana Graham Unison .60 Flammer I Kather.ine Guess !______, ___ _ .__ _j I ' I 0 ~ Publisher and/ Title G_omposeF/Arranger yo icing Price or (~Q!lll!!_~Dt) Children's Choir Mari.e Pooler Unison 1.00 Augsburg Book (9 seasonal songs) Choral Airs arr. Florence Martin SSA (Advanced and changing voices) Choruses for SSAB Glarum, Kirk, SSAB 1.50 Schmitt Shroth, Hansen (Changing voices) Church School Hym11al ed. Harold Terry Unison 2.75 Lutheran Church ·for Children Press (Grades 3 to 6) Church Year for James Gillette Unison 1.25 Flammer Children's Choir, The Comin' an' Gcin' Robert Thygerson Changin' 1. 75 Heritage voices Dove of Peace John Di~rcka Unison .90 Flammer handbells Festival H~ns Fran~es Williams Unison t-lith 1.10 Flarrmer descants Festival Hymns with ~.J.U"" i e Poo le:r Unison 1.00 Augsbur.g Descants God Be With You Virgil Ford Unison .75 (Collection of gui.tar- and cont~~porary l piano L._____ ,___ ..,. ______h_ym_tl tunes) _j --... --··--·--&--·--- ·--· """' ~ 'l Publisher and/ I ITitle C~tposer /Arran&er yoici;.~ Price or (Comment) I Great Sor~s of Faith 1\rones Restricted Kjos ranges for I various combinations or unison, descant, SSA Il Here.. a Song, arr. Donald Marsh 2 unchanged 1.50 Ed Christiansen I There a Song voices and Pitts I I Here We Go Again arr. 'I.'hygerson 1. 75 I His ?raises Sing Graham & Guess Unison or SA .85 F latrllller l I I Sing to Rejoice God Dale Wood Unison and .60 AMSI i 2-part (Book I and ! I Book II) l l Junior Choir Anthems Graham George Unison and 1.10 Augsburg I for the Year opt. (Canon. style I second part organ accomp.) I Let Love Live Tewson Unison, SA 1.95 (Ideas for and SAB dramatic sketches) I Lift Your Voices Katherine Obenshein 2-part, S.i.\ 1.00 Flaunner I Lively Ones, The arr. David Baker Unison, SB 1.95 (Contemporary guitar rock rhytlun) _l------·-... ------.. ------~ ... --- I ---1 ('I ..:t .-1 ! ----·------·--- ··------·------' Publisher and/ -~,1!) l _}.J::.:.::::.T Ca,n_p_ose~lf.rrange:t:_ yoic:h_n..& _!>rice ~ {Carm~nt} I Husic for the 8 composers Unison and 1.50 (Rehearsal Conterrtporary Choir 2-part suggestions and I Book I biographies 1 information) Music for the i composers Unison and 1. 50 Augsburg Contemporary Choir 2-part Book II I Music Resource Book Ed R. Harold Terry Unison 2.10 Lutheran Press children (Ga~es, folk songs, 3-8 creative rhythms) I New Songs for the Kent Newbury Unison, Flammer 1 Church Year I guitar and I string bass I O, For a Thousand Charles Webb Hymns with 1.00 Sha~11nee ! Tongues to Sing descants (Combined Jr. adult choirs and I congr.ega tion) I ! One Hundred Hvmns and Meg Peterson Unison 1.50 Oscar Schmidt l Spirituals · · autoharp International I• Volume III accomp. i l Open Thou My Lips Betty A.nn Ramseth Rhythmic .85 Augsburg ! speech choir l?eggy Hoffman Unison or SA 1.25 Flammer I I Praise for the Year ! ! I L------·------·------..,J ('I') ;:!; Publisher and Title Composer/At~ V~icin& Pric~ gr {Comments) Reflections Sonny Salisbury Soprano 1.95 Word and tenor (Jr. H. s.) Ring and Sing Sara Dunn Sistrunk Unison 1.00 Belwin Mills resonator bells Sacred Music for I.ee ·Kjelson- SSA 1.25 Belwin Mills Treble Voices Margaret Vance Se lee t Anthems for Various compose:rs Unison Flammer I Junior Choir a.nd SA Sing &d R.· Harold Unison 2. 95 Lutheran Press I Terry (162 hymns au.d I songs) I Singing Catechism .John Yluisaker- Unison • 50 Augsburg 1 John Schultz (Musical trans- I lation of Luther's Catechism) 1 ! ! Spngs and Hymns Dorothy and Gunnar 2 and 3 1.00 Augsburg 1 ! for Treble Voices Halmin part (19 acapella, 17 I with piano) I I Songs for the Jesus White Unison, 1.95 I Generation guitar and I ! piano ! ! L __, ------·.. ------· ··-I ...:t ;$ Publisher and/ Title Cam2oser/Arranger Voicin_g Price or . {_(;coi1!111e'£lli Songs of Gladness Louise Grant SA 1.00. Kjos (S~ple folksongs and canons) Step Into the Louise Grant Unison or 1.95 Lexicon Sunshine 2-part (Jr. choir) I Ten Folksongs and arr. David Johnson Unison, 1.15 Augsburg 1 Spirituals flute and guitar 1· That I May Speak Betty Ann Ramseth Speech choir .85 Augsburg 1 Thy Praises Sing Gunnar Ma lmin s~~ 1.00 Augsburg ! ~ Ttvelve F1;)lksongs arr. David Johnson Unison or 1.00 Augsburg i and Spirituals SATB, flute I and guitar i '~ I Tt-ren:ty-e:i.ght Sacred 1-loore-Parks SSA Chor:.2ses for ~rreble Voices . Unison and 'Iwo Parf:t Marie Pooler Unison ~1ith 1.35 Augsburg Ant:he..'TI descant Unison Anthems from Clair~'"! Upshur Unison with 1. 10 Flann:ner Many Lands descants Unison Anthem.s with Claire Upshur Unison with 1. 00 Flammer I 1 Descants descants ! !...•• ·----·-····-----·-·----···--·------· ------·-----·--» ·-·- . . - U'\ ..::t '""' Publisher and/ Title ComEoser/Arranger Voicing Price or (Connnent) Unison Hymns with arr. Marie Pooler Unison 1.00 Augsburg Descants with descants Wake Up and Sing Beatrice Landeck Unison and (Folk songs from and Elizabeth guitar America Crook Teaching suggestions) We Sing to Goc Katherine J. Wells Unison .75 (Seasonal hymns Volumes I, II & III with stories of hymns) With Happy Voices Elinor Davies :.'?"'.i.son .60 Flammer (Seasonal song) Worship in Song Ronald Thompson SA 1.00 Belwin Book I (Seasonal Songs) Your SSi: Choir Charles Perry SSA 1.25 Flammer ...... (Difficult) Youth H)~n Anthems Compiled-Martin Unison 1.75 .(Jr. choir) Number II SA ~ \0 ..;:t .-I r--·--- Se~u lar Co 11.::£_tio~l!! l 1 .• Publisher and/ Tltle f:c..'IllP£§.~_1: /A_P..range:r: ...£.!-Cl.DcS,V Price or (Comment) -~· ~-- Bacharadt and Dav:id arr. John Edmondson H/!-1/L Charles Hanson Fun:··V.Iay Book (Jr. H. S. Pop) Bells an.d Beaus L. Ge,a:r hart SA and 1.50 Shawnee Boys Concert Time for arr" Ha:rie .Pool.er SSA 1.25 Schmitt Treble Voices (Folk, art, patriotic and carols) Descan.ts and. Rounds The l!xones, 2-part and 1.00 Kjos and Special Days Beatrice and Ma:;: descants 1."' 'I ~A.-a1 '. JenkL:1:s Song llll.a J enki.ns Unison 1.95 Oak Book for ChiLdren.. (Call and response) F·o llc So11_gs ;.~itt). The Rineharts Melody and 1.00 Kjos Descants descant F~ed Waring Song c~rr. H<:iwley Ades SSA, SATB, 1.50 (Varie;:y Bock 1"!BB collection of 87 tunes i i ! F'rom Descants to The l .----·------·------·-·-···-----~·-··------· I --·-~------1 Pub~isher and/ l I Title Composer /An:all&."..!. Price p~ __ _tgomm.ent) I ! . =~ ---~~-. . ' 1 Have Song Will Sing Harr'y Simeone SSA 1.50 Shat.."!lee I (Jr. H. S. Pop) I Here We Go Aga.i.u. Robert Thygerson SSA, SAT, l. 75 Heritage I SAB (Changing voices) In This World Lena McLin SAB or SA TB 1. 25 Kjos (Contemporary rock for J. H. S.} I Leslie Bell Choral arr. Leslie Bell 3 and 4-part .85 Remick Company ! Series, The:: (Changing voices) I More Partrte:r Songs arr. Fred Beckman 2 voices Ginn (2 tlmes sung together) I l Once Upon a Song I .. i vings ton and SSA, SS..'" 1.50 Shalf..rnee Gearhart Descants (Jr. H. S.) I Our F:trst Songs The R'..rones Unison with .60 Kjos f.Vi.t:h. Descants descants I . I :Pf;;lrtner Songs a.rr. Fred Beckman 2 voices GLnn l (2 tunes together) 1 I ! Popula1c Choral SA, SSL\ 1.25 Hanson Concert l! P::r.esse:t' Choral arr. Healy and SA, SSA Presser ! Collection Hartshorn (Sacred and secular) "'-·- .... -.. ~ .. ·-·~------r- -~----_._., .. ___ ------~----·----~~··--- --... .._ .... _, ______~ __.....,_.,. ______,. __j ;:s00 ~.., ______.., ___ , ____ ~------·-···--~------····-~------·-·--·----·---·------· _____ , ! l !~ I Publisher and/ l I ,.,.,, ·' ~~ I ' ., ,~ c> ~r~n0~~r/A1:·Pa~-~• Price .2!,__ (Co:mnent) ! ~· ... "'·-"" ~~~-~ .Y~9.ing /!'-~ -· ~---- ' R.! :'"'1··::. .,.. <:?'lod c.~ ..: .,~. ! ... ·'·'"""'' l.;!.t,. ~n ... r.~ arr. Ha·rry Simeone SA 1.50 Shawnee I i I i Rodgers 5, arr. Walter Ehret Unison and L50 (Jr. H. S. or I Hamruerst:ein voice II upper elementary) Singtiine opt. I: l Rounds and Canons Harry Robert vlilson Rounds 1.00 Schmitt, Hall ! & ! l T.t:'easur~~d Ten arr .. Augustus Zai'lzig Unisrm .60 (Secular folk songs ! with descant Jr. H. S.) I Treble Ensenble, The 2-pcn:t 1.00 Sch.:mitt, Hall & ~1cCreary I I I -r;· •..,~··v- ne~·"::l.,..,t!l;! I ''1·""-·,..w\.!" .c.; ,...... }..!., Kios ~..c:.~ J .c~u ,,:, J ~- ~ ~ ~ arr . Y..rones Un:l.son 1.00 I with descants Flscho;:!r I ! i "1 ~ l \'i'e Learn tc} Sing Jane t1a.:r-sha11 Unison and • if J {Tunes t.!.) aid I 2-part vocal problems) When Good Men Sing Walt:er' ...... - '!'odbv.I.\. ~.. ~ 5 unison 1.95 Somerset I Together & Joseph Roff 4 2-part: (Changit~ voices) 4 3-part ! 4 4-pai:t I Youth Sings arr. Harry Simeone SAB 1.25 Shatmee I I (Jr. H. S. Sacred ! I and secular) i I Ii l ! l ' ______j ! L. __ ----·------·--·------·------