- June 17, 2014 at 8:46 am #444766
Peter HopkinsParticipantI’m doing an all folk music program in the fall, we’ll have a guest Bluegrass ensemble. I’m looking for one or two choral pieces intended to be accompanied by a group like this, and ideas for an audience sing-along number as well. Large, SATB adult group, difficulty level doesn’t matter.Peter HopkinsReading Choral SocietyJune 17, 2014 at 11:00 am #444774
Denise BaccadutreParticipantI went to the j.w. pepper choral site and googled “bluegrass”. Listed are some SATB chorals from you to pick from. There are also some SATB choral scores available from Carol Barnett’s “A Bluegrass Mass”…Gloria, World Beloved, Sanctus, Agnus Dei. I also found this information on “A Bluegrass Mass” … http://www.nwindianalife.com/entertainment/tv-movies-music/40031-nwi-symphony-chorus-joins-monroe-crossing-for-bluegrass-massThere’s also another bluegrass mass, “Away to the Skies: a High Lonesome (Bluegrass Mass)” Additional information: http://www.charlotteobserver.com/2014/03/28/4801282/performances-of-bluegrass-mass.htmlYou might have Deke Sharon, of Total Vocal a cappella arranging, arrange a piece or two for you. I think “Blue Moon of Kentucky” would be a great tune to combine the musicians and singers. He can arrange any tune for your group.June 17, 2014 at 3:41 pm #444814
Elizabeth WaterburyParticipant“The World Beloved: a Bluegrass Mass” is a terrific piece, from beginning to end. I have performed it twice, with a pick-up group of bluegrass players. Here are some performing notes you might find useful. The vocal parts are of medium difficulty. The rhythms are a little tricky for an amateur group. There is one difficult transition from one movement to another: the group has to find their pitch a capella. You need a big group to be really successful. There are some gorgeous, massive chords in the Agnus Dei.Instruments: watch out for the banjo part. The written part you get is very inadequate and the player will probably have to learn it by ear anyway. Some of the movements are in clawhammer and some are not. Banjo players would understand this! My player had to actually call the guy in the original band to get it all figured out. The mandolin part is not hard. The fiddle player should be comfortable with singing. The recording of Vocalessence is beautifu and very helpful.June 18, 2014 at 5:37 am #444834
Peter HopkinsParticipantThanks for these responses. I should have been clear that I’m looking for actual folk music arrangements. I know of these bluegrass masses, but want secular for this concert.June 18, 2014 at 6:44 am #444838
Kevin KellyParticipantI’ve done a number of bluegrass services at my church, with wonderful results. For most of the songs, I went to the Cokesbury hymnal and arranged these for the instruments I had; mostly this involved providing the fiddle & guitar players with lead sheets (melody + chords), and a part for the bass. One anthem that goes over hugely is “Running down to Bethlehem” by Pepper Choplin. Otherwise, I tended to avoid the published pieces – they’re not very good “bluegrass” (including the Mass by Barnett, mentioned below).June 18, 2014 at 8:08 am #444846
Brian ClissoldParticipantHi Peter!Not specifically bluegrass, but you might check out the music of Malcom Dalglish. Much of it requires hammered dulcimer (on which he is an absolute virtuoso). He is also a superb guest artist. If you have the funding, he might write something and come out for the premier.BrianJune 18, 2014 at 8:35 am #444849
Thomas H. ShellenbergerParticipantHello:Just three weeks ago my choir sang “I Want Jesus to Walk with Me” – SATB, arr. Keith Christopher. This is based on the old hymn-tune, SOJOURNER, found in many hymnals. With the arrangement you can also purchase the parts(they come on disk) for mandolin, guitar, violin, and bass, along with a full score. I gave them some latitude when playing, so long as they played within the harmonic frame of the arr. We did not use a keyboard…these instruments sounded so fine all by themselves! I repeated a chorus of the song for the band to do an improvisation, also just by themselves. I do remember that, strangely, the bass part came notated in the treble clef — I made a bass clef part for him. Of all the anthems sung this year, this one, by far, garnered the most wonderful responses. In other words, the crowd loved it! To hear it go to the JW Pepper website, type in this title, then make sure you’re listening to the arr. by Keith Christopher..Good luck in your search…tJune 18, 2014 at 8:48 am #444850
Nick PageParticipantHello PeterI’d suggest doing some simple sing-alongs that any self-respecting bluegrass band would know. “Will the circle be unbroken” would be a good start but also “I’ll Fly Away,” and “You are my sunshine.” Invite people to make up their own harmonies. They will.Boosey & Hawkes publishes my bluegrass arr. of Life Is Like a Mountain Railway – great fun. SATB with solos.Boosey & Hawkes also publishes an SA arr. of mine called “Bowling Green” that is for bluegrass musicans and chorus.I’ll mount them on the music section of my website so you can listen to them.Nick Pageps: For a wild ride, you can adapt just about anything for a bluegrass band – Beatles songs, Broadway showtunes. There’s a group in Boston (Foggy Mountain Consort) that does John Dowland a a bluegrass style. I have always wanted to do Vivaldi’s famous Gloria in a breakneck bluegrass style, but I worry about rotting in **** for eternity.June 18, 2014 at 11:00 am #444862
Bart BrushParticipantI agree with Kevin, that “published pieces are not very good bluegrass,” and this causes the problems mentioned by Elizabeth. For example, bluegrass rhythms are straight forward, not tricky (other elements of blegrass style certainly are), and bluegrass banjo players play with three fingers, not clawhammer, which is an older style (still very popular and valid). In general, the whole idea of “fusion” or “crossover” arrangements is positive but fraught with opportunities to ruin the music. I recommend Kevin’s approach of making your own arrangement. And why not use the opportunity to expose your singers to the authentic and very different aspects of bluegrass singing style? That would include lead-tenor-bass harmony (and “tenor” has a different meaning than in choral music) or 4-part gospel harmony, sung WITHOUT vibrato in order to “lock in” the harmonies, a technique also used by barbershop singers.June 18, 2014 at 7:19 pm #444888
Alan StevensParticipantI’m one of the choral directors at East Tennessee State University and we have one of the only bluegrass music degree programs in the country at the university. The choirs have done several collaborations with the bluegrass department, including the above mentioned Bluegrass Mass. Just this spring we did a full concert with three choirs and the top bluegrass ensemble. For the most part, we arranged the pieces ourselves. I’d be happy to share these with you. Highlights included Bowling Green (for women’s choir), Red River Valley (men’s choir), Down to the River to Pray, Tennessee Waltz, Rocky Top, Go Down Moses (men’s choir) and a few others. The “arrangements” are for the voicing in the choral ensembles – with chord charts for the bluegrass band. Most bluegrass bands don’t use (or actually even read) printed parts. Like Nick said, most bluegrass ensembles can take any piece and develop an accompaniment based on a chord chart – it’s usually just about finding a decent choral arrangement and then working with the band to come up with something that works for both groups.June 19, 2014 at 12:14 pm #444920
Kirby ShawParticipantHi, Peter –Kirby Shaw here, with a bluegrass piece suggestion for you. Some years ago I arranged I Am A Man of Constant Sorrow…a tune composed by legendary bluegrass pioneer Carter Stanley. It’s published hy Hal Leonard for SATB and TBB voices. While recording the rehearsal/performance trax in Chatsworth, CA, I and the other singers found this piece to be an exhilarating experience. Capturing the minimal vibrato and ascending smears at the beginnings of many a phrase which is so much a part of Bluegrass singing style was a revelatory/spiritual experience for all of us. You can find a full recording of this at Kirbyshaw.com.June 19, 2014 at 9:32 pm #444957
Clay OglesbyParticipantLast year I sang in the premier of John Purifoy’s “Chronicles of Blue and Grey”, a work that tells the story of the Civil War, which uses a bluegrass band in addition to an orchestra. If you’d like me to put you in contact with John I’d be happy to.June 23, 2014 at 12:15 pm #445150June 23, 2014 at 1:49 pm #445163
Jack Curtis DubowskyParticipant
Home Cookin’ For 2-part choir.
Country Western; humor; GALA; cabaret; folk; Americana; Pythonesque. Lead sheet. Composed 2007. 4 pages. Duration 2:30. Published by De Stijl Music (D1.SM-07-0004).
A fun, cheerful, upbeat country two-step barnyard song, innocent enough with potential for innuendo. Sing about chickens, dogs, bears, and piggies (who also can be understood as representational of various character types!) Two-part harmony lead sheet with chord chart. Originally performed by the Winsome Griffles.
Your New Stupid Boyfriend (TTBB + Optional SA)
For TTBB choir and optional SA choir. Choral. Country Western; humor; cabaret; folk; Americana; Pythonesque. Octavo. Composed 2006. 16 pages. Duration 3:10. Published by De Stijl Music (D1.SM-06-0006A).
I heard all about your new stupid boyfriend. Yeah yeah yeah. An energetic, country western two-step. (Also recorded by The Winsome Griffles on Meet The Griffles; see videos on YouTube.)
Parental advsory: this piece contains explicit lyrics. May not be suitable for young audiences.
Boll Weevil (2-part Piano/Vocal)
For Piano/Vocal. Choral. Traditional; folk; Americana. Sheet music. Composed 2006. 4 pages. Duration 3:15. Published by De Stijl Music (D1.SM-06-0007).
An upbeat arrangement of the American folksong transcribed by Alan Lomax. (Also recorded by The Winsome Griffles on Meet The Griffles.).June 27, 2014 at 12:00 am #445344
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