Search Results for: e. c. schirmer
“I tell the story of love, the story of hate, the story that saves, and damns.
I am the incense upon which prayers float to heaven.
I am the smoke which palls over the field of battle where men lie dying with me on their lips.
I am close to the marriage altar, and when the graves open, I stand nearby.
I call the wanderer home, I rescue the soul from the depths.
I open the lips of lovers and through me the dead whisper to the living.
I speak through the birds of the air, the insects of the field,
the crash of the waters on rock-ribbed shores, the sighing of wind in the trees, and I am even heard
by the soul that knows me in the clatter of wheels on city streets.
Through me spirits immortal speak the message that makes the world weep, and laugh, and wonder, and worship.
I know my brother, yet all men are my brothers;
I am of them and they are of me, for I am the instrument of God.
I am music.”
—Anonymous, ca. 1919
Dr. Ronald Arnatt passed away on August 23, 2018. Born in 1930, he had an exceptional professional career spanning both sides of the Atlantic. After receiving his music education at Trinity College, London, and Durham University in England, he emigrated to the United States.
In the United States, Dr. Arnatt held professorial or Director of Music positions at Trinity Church in Boston, Westminster Choir College in Princeton, American University, Christ Church Cathedral in St. Louis, the University of Missouri, and with the St. Louis Chamber Orchestra and Chorus.
He is known internationally for his choral, organ, and brass compositions, many of which are published by ECS Publishing Group. Dr. Arnatt was past President of the American Guild of Organists. His final post was Director of Music and Organist at St. John’s Church in Beverly Farms, Massachusetts.
May both his memory and his musical legacy be blessings.
Stanley M. Hoffman, Ph.D.
Senior Editor, E. C. Schirmer and Galaxy Music
ECS Publishing Group | MorningStar Music | Canticle Distributing
Office: 615 Concord St, Framingham, MA 01702
Headquarters: 1727 Larkin Williams Rd, Fenton, MO 63026
Direct: (508) 620-7400 | Headquarters: (636) 305-0100
The March 2015 issue of Choral Journal features a cover article written by coauthors David Rayl and Zebulon Highben titled “Masters in Miniature: Repertoire by Great Composers for Smaller Choirs.” In this article, the authors suggest that “almost every great composer has written at least one piece that is achievable by choirs with fewer singers and limited resources but is still well crafted, worthy of performance, and typical of its genre and style period.”
This article highlights some of these little-known works by well-known composers, which are categorized into the following subheadings: Renaissance, Baroque, and Classical and Romantic. There is also a section on adapting repertoire for solo voice and comments on performance and programming. A full list of repertoire discussed appears below, and you can read the full article or download and print the PDF here. (Note: You must be an ACDA member logged into acda.org to view the Choral Journal online.)
Can you think of any pieces missing from this list that are little-known works by well-known composers?
Feel free to share your thoughts here on ChoralNet in the comment section or even send in a “Letter to the Editor” for publication in an upcoming issue of Choral Journal. I would love to hear from you! Better still, perhaps you should write an article or column in the Choral Journal. You can contact me at .
Choral Journal writing guidelines can be viewed by clicking here.
|Composer||Title||Scoring||Recommended Edition (see article endnotes for complete citation)|
|Billings, William||Wake Every Breath||canon||CPDL|
|Billings, William||When Jesus Wept||canon||CPDL|
|Blow, John||Sing, Sing, Ye Muses||SATB, 2 violins, continuo||Walton Music|
|Buxtehude, Dietrich||Lord, Keep Us Steadfast in Thy Word (Erhalt uns, Herr)||SATB, 2 violins, continuo||Concordia Publishing|
|Buxtehude, Dietrich||In dulci jubilo||SAB, 2 violins, continuo||IMSLP|
|Crüger, Johann||Awake, My Heart with Gladness (Auf, Auf, mein Herz)||SATB, 2 C insts, continuo||Augsburg Fortress|
|De Sermisy, Claudin||Tant que vivray||SATB||National Music Publishers|
|Dowland, John||Come again, sweet love|
doth now invite
|Dufay, Guillaume||Conditor alme siderum||ATB||CPDL|
|Dufay, Guillaume||Kyrie Orbis Factor||ATB||GIA Publications|
|Farrant, Richard||Call to Remembrance||SATB||Oxford Univ. Press|
|Hassler, Hans Leo||Dixit Maria||SATB||CPDL|
|Hassler, Hans Leo||Missa super Dixit Maria||SATB||IMSLP|
|Haydn, Joseph||Missa brevis Sancti Joannis de Deo||SATB, 2 violins, cello/bass, organ||Various (see endnote 25)|
|Haydn, Joseph||Six Psalm Settings||3-part, keyboard (opt)||Various (see endnote 27)|
|Isaac, Heinrich||Innsbruck, ich muss dich lassen||SATB||CPDL|
|Leisring, Volckmar||O Filii et Filiae||SATB double choir||Alliance Music|
|Mendelssohn, Felix||Die Nachtigall||SATB||Hinshaw Music|
|Mendelssohn, Felix||Verleih’ uns Frieden||SATB, organ||E. C. Schirmer|
|Morley, Thomas||Sound Forth the Trumpet in Zion||SAB||GIA Publications|
|Mozart, Wolfgang A.||Kyrie, K. 33||SATB, continuo||Bärenreiter Verlag|
|Mozart, Wolfgang A.||God Is Our Refuge||SATB||Augsburg Fortress|
|Obrecht, Jacob||Parce, Domine||SAB||GIA Publications|
|Praetorius, Michael||En natus est Emanuel||SATB||Augsburg Fortress|
|Praetorius, Michael||Psallite||SATB||Augsburg Fortress|
|Puccini, Giacomo||Requiem||STB, viola, organ||CPDL|
|Scheidt, Samuel||Remember, Lord (Gedenke, Herr)||SAB, continuo||GIA Publications|
|Schein, Johann Hermann||Christ lag in Todesbanden||SAB, continuo||Tetra/Continuo|
|Schein, Johann Hermann||Eight Chorale Settings from Opella Nova (Part I)||2-part treble, continuo||Concordia Publishing|
|Schubert, Franz||Mass in C Major||SATB, orchestra||Carus Verlag|
|Schubert, Franz||Mass in G Major||SATB, orchestra||Carus Verlag|
|Schubert, Franz||Antiphonen zum Palmsonntag||SATB||Augsburg Fortress|
|Schütz, Heinrich||Becker Psalter||SATB, continuo (opt)||Augsburg Fortress (see endnote 19)|
|Tallis, Thomas||If Ye Love Me||SATB||Oxford Univ. Press|
|Vulpius, Melchior||Arisen Is Our Blessed Lord (Erstanden ist der heilig Christ)||SATB double choir||Augsburg Fortress|
Dear composers and friends of ECS:
I am writing to share the sad news of the passing of our friend, Robert Schuneman. Bob passed away today, December 4th, after his long battle with cancer. It is still hard to believe that he was playing soccer on a weekly basis until just this summer.
Bob has meant so much to us and it is hard to express the grief that we all feel at his passing. It is difficult to speak about Bob without also thinking about the impact that both he and Cynthia had on many of us. Together they embraced the tradition of E. C. Schirmer and then put their own stamp on it as they moved the company on into current times.
Our thoughts and prayers also go out to Christa and Tim and their families. Christa has given so much of herself and her business acumen to keep things working at ECS. I know she has a good relationship with many of you.
A memorial service is being planned for some time in January. We will give you an update about the time and place of the memorial service when we have further information.
Peace to you all,
Mark W. Lawson, President
“The Passenger” (No. 2 from “Five Love Songs,” baritone solo
and piano) by Randall Thompson was published by E. C. Schirmer
Music Company in 1961 as Catalog No. 119. In 2012, David A. Seitz
created a new arrangement of this title for baritone solo, TTBB
chorus and piano. This worthy addition to the repertoire for male
choral ensembles is now available in-print from ECS Publishing
through its distributor, Canticle Distributing as Catalog No. 7963.
Stanley M. Hoffman, Ph.D.
ECS Publishing Corporation
www.ecspublishing.com (publisher’s Website)
www.morningstarmusic.com (distributor’s Website)
Week 28: Friday, September 28, 2018
“Where Can I Turn For Peace?” by Joleen G. Meredith, arr. Dwight Bigler
Text by Emma Lou Thayne
SSAA div, a cappella
Virginia Tech is just down the road from where I teach at Hollins. Dwight Bigler is an associate professor of music at Tech, and their Director of Choral Activities. In addition to his conducting responsibilities, he compositions are published with Walton Music, Hinshaw Music, Oxford University Press, Alliance Music, and EC Schirmer. For a more detailed bio, see www.dwightbigler.com.
Given our proximity, Dwight and I run into each other frequently at adjudications, conferences, and meetings. In 2015, an ensemble I was accompanying was working on his SATB div version of “The First Noel.” I loved his take on the familiar carol and asked him what he had in terms of rep for women’s chorus. This arrangement of Meredith & Thayne’s hymn came up, and I immediately jumped at it. It is primarily strophic, with three verses. [As you are reading further, be sure to listen to the elegant performance by BYU Women’s Chorus of this arrangement.]
The original hymn was penned in 1971 by Joleen G. Meredith (music) and Emma Lou Thayne (text). The two women, members of the Church of Jesus Christ of Latter-Day Saints, were tasked with creating a hymn for the LDS Young Women’s Conference that year. Working over the telephone, Thayne would create a line of text, and then Meredith would rough out a musical setting. Together, they wrote the hymn, phrase by phrase.
Thayne is quoted as saying the text of the work came to her in a turbulent time, when she and her family were struggling with health issues and overwhelming obstacles. Meredith mentioned that they both saw this hymn as a solace and succor for mental illness, having faced challenges personally and within their own families. The beauty and the strength with which these two women met life’s tests is evident in their poignant song. For more background and history on the creation of the original hymn, click here for the LDS Radio History of Hymns broadcast.
My choir performed it at our campus holiday event that year, in the thematic “Peace” section of the program. They loved it so much that it also made a subsequent concert appearance in the spring of that same year. The text is poignant, and relevant to many of the emotional journeys my students found themselves facing in their young lives. Dwight’s setting is wonderful, with sweeping lines, beautiful dissonances, and enormous emotive potential.
At that time, my advanced ensemble had 14 students. I liked to think of it as a “small but mighty” ensemble. A handful of the first-year singers that semester were also in my sight-singing class as potential music majors/minors, so I was determined to choose music through which I could reinforce their literacy-in-progress from the very beginning. Pedagogically, this setting of “Where Can I Turn For Peace?” was a perfect choice. It begins in F# major, and all pitches exist within the diatonic framework. That meant every single note could be learned on solfege, which was excellent for my teaching goals that concert cycle.
After two verses, his arrangement modulates to G major, which gave me the added chance to emphasize the functionality and transferability of movable-do, and to teach them how to handle modulations in solfege/analysis. Rhythms are primarily quarter and half notes, which meant students could focus their literacy efforts on the pitches without feeling overwhelmed. There was enough divisi in certain areas to create lush dissonance and resolution, but not so much that my singers were spread too thin. Additionally, many phrases include step-wise motion, which was another key to success with in-progress solfege skills.
Outside of the pedagogical literacy connections and the relatable text, Dwight’s setting was also perfect for my group in another way too: it gave the group numerous opportunities to grow together musically. Solfege and takadimi are excellent tools for teaching pitches and rhythms, and we utilized both in learning the piece. As an ensemble though, it was the dynamics and phrasing that really allowed the piece to take shape.
There are numerous breaths marked in the music, all at purposeful places. Working to feel those breaths together, along with any related tempo changes, was a quality exercise in group communication. I remember a particular rehearsal moment, in which we switched off the room lights and only had ambient early-evening light from the shaded windows. I asked the students to sing through the song in that near-darkness, focusing on what they could hear, not what they could see. Pushing forward with energy, pulling back with reverence, savoring a harmony, or honoring the silence of a breath – so many of these small moments came alive at that point.
Whether you are looking for an addition to a peace-themed school concert, a song to showcase your church choir’s women/treble singers, or a chance to grow together as an ensemble, Dwight Bigler’s arrangement provides many beautiful opportunities for these amazing moments to occur.
|Title:||Where Can I Turn For Peace?|
|Source:||LDS Hymn – music by Joleen G. Meredith; |
text by Emma Lou Thayne
|Arranger:||Dwight Bigler |
|Date of Publication:||2008|
|Subject(s), Genre:||Peace, comfort, hope, solace. Sacred hymn.|
|Voicing Details:||SSAA, with some divisi; max 6 pitches at a time|
|Publisher:||Hinshaw Music, Inc.|
Until next week!
Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Anyone who has heard a child improvise melodies from the crib knows it is a precious sound. Little ones can babble repetitive songs with pitch accuracy as early as the age of ten months. It’s likely these children have been sung to and/or have heard singing frequently during the pre-birth and early infant years. What are the basic requirements needed for children to learn to sing?
The physical ability to sing depends on the degree of normal and healthy development of the vocal mechanism (larynx, vocal folds, breathing apparatus), and on one’s neuro-biological ability to process music pitch.
In a 2006 study, a John’s Hopkins team studied marmoset monkeys using a technique that measures the electrical activity of individual neurons in the brain. The researchers viewed each neuron’s reaction as different notes were played by a computer. The researchers were able to discern that a majority of pitch-selective neurons are located in a specific region of the monkey’s brain near the primary auditory cortex, a region already known to interpret sounds.
“A tiny primate, the marmoset, appears to process pitch perception the same way we do, implying that the ability evolved in a common ancestor at least 40 million years ago.”
“The auditory cortex has traditionally been thought to detect the complex spectrum contained within a sound; for example, they thought…one set of neurons responded only to a trumpet and another set to a violin, even if playing the same note,” says Wang. “But the neurons were found to respond to a single musical note, regardless if played by a trumpet or violin.”
What about pitch matching?
It has been observed there are a set of “pre-skills” a child must learn along the way to her being able to develop the ability to match pitch. Past research verifies the need for these skills:
- Children must develop awareness of the sensations of singing.
TO DO: Help discovery of these feelings by directing the child to feel the vibrations in her chest while vocalizing in various registers. Draw attention to the sensations of chanting and of singing. Rather than instructing or telling, discovery is the key here.
- Children must be able to verbally describe their own vocal sounds and that of others.
TO DO: Encourage children to distinguish between whispering, calling, singing and speaking.
- Children must be able to produce a variety of vocal registers and voice qualities.
TO DO: Experiment play with making environmental and animal sounds.
Range and Pitch Accuracy
“Children should not be expected to sing in the same ranges, with the same intensity, for the same periods of time as adults.” (Miller, Page 29)
Songs for children should be pitched to around D Major. Since many music textbooks have lowered the pitches of songs to middle C or below, teachers must re-pitch them to a higher key for vocal health and pitch accuracy reasons. Children age 5 or younger usually cannot sing a middle C without engaging in pressed phonation. Start songs in a narrow range: D4 to A4 is recommended for our youngest students. Assess development and then add B4 and C5. Prior to puberty: B-flat below middle C to E or F at top of treble clef are now the recommended limits for most children.
Kinesthetics and Pitch Accuracy
Many researchers recommend using movement to assist in learning pitch accuracy.
- TO DO: Use movement to describe high pitch and low pitch.
- TO DO: Encourage children to follow music contour though dance or movement of the arms and body.
- TO DO: Curwen Hand Signs can be used to associate movement with pitch.
By Scanned and enhanced by Matthew D. Thibeault – (Original text: John Curwen Standard Course (1904 edition, public domain))If the date is 1904, the author may be John Curwen (died 1880) or his son John Spencer Curwen (died 1916)., Public Domain, https://commons.wikimedia.org/w/index.php?curid=6874560
Most children are born with the physical ability to sing, and most children innately love playing with their voice. This is most likely true for children have been sung to and/or have heard singing frequently during the pre-birth and early infant years. Use your voice, and watch the precious vocal development of the young children you teach.
Bendor, D; Wang, X.(2005). The neuronal representation of pitch in primate auditory cortex. Nature. Vol. 436. pp. 1161-1165.
Bennett, P. (1986). A responsibility to young voices. Music Educators Journal, 73, 33–38.
Bertaux, B. (1989). Teaching children of all ages to use the singing voice, and how to work with out-of-tune singers. In D. L. Walters & C. C. Taggart (Eds.), Readings in music learning theory (pp. 92–104). Chicago: GIA Publications.
Marra, J. (2018). Research shows where brain interprets “Pitch”. Hopkinsmedicine.org. Retrieved from https://www.hopkinsmedicine.org/Press_releases/2005/09_06_05.html
Miller, R. (2004) Solutions for Singers: Tools for Performers and Teachers. Oxford University Press.
Mina, C. (2009). The Musical Development of the Child.
Mizener, C.P. (2008). Our Singing Children: Developing Singing Accuracy General Music Today, Vol. 21, 3: pp. 18-24.
Philips, K. (1992). Teaching Kids to Sing. Schirmer.
Thurman, L, Grambsch, E. (2002) Foundations for human self-expression during prenate, infant, and early childhood development. Bodymind & Voice, Vol. 3. VoiceCare Network, Collegeville, MN.
Trollinger, V. (2003). Relationships between Pitch-Matching Accuracy, Speech Fundamental Frequency, Speech Range, Age, and Gender in American English-Speaking Preschool Children. Journal of Research in Music Education, 51(1), pp. 78-94.