Writing for the Choir

presented by Dr. Larry Nickel A WHO AM I? – where does the music come from? - family – childhood memories/impressions - world view - values - music background – education - turning points - a sample “I let my harmonica speak for me!” – Sonny Terry B CHORAL MUSIC - 300,000 choirs in North America! mostly amateur, the perennial need for new music - pros of amateur choirs: positive attitude, flexibility, let’s have fun - cons of amateur choirs: technical limitations, let’s have fun , singing as a hobby - singing as an ideological or didactic vehicle (church, worship, politics, memorization, etc) - the medium is the message, singing as an extension of ourselves, peace and solidarity C VALUES AND THE COMPOSER - style and technique – university instruction (rather look at it than listen to it?) - what would you rather be known as – an artist or a master craftsman? - meaningful content? – is it taboo to mention values to your colleagues? - suitability for the occasion? Can art have entertainment value? D CONTEMPORARY CHORAL MUSIC - should have a sense of history and tradition - “good music benefits the community” Dr. Keith Hamel - why people listen to music? – solace, stimulation, strength, drama, to experience the sacred - the pendulum swing of the “avant-garde”, S. Chatman, K. Penderecki, G. Rochberg - "I would prefer my music to be timeless rather than in tune with the times." E. Rautavaara - “The capabilities of the human voice, especially for young singers, limit the successful performance of atonal music. Unlike an instrument, the singer must think the pitch and place the note before actually producing a sound.” David Childs - “tailoring music for the few professional choirs in the world can lead to farewell premieres.” Jaakko Mäntyjärvi

E GETTING STARTED - the musical pyramid, is the composer on top of the musical food chain? - a privilege and a responsibility - be a player at all levels: listen & listen! support others, direct, form a choir? sing, then write - understand the instrument first hand: strengths, limitations, registers (beware of textbook ranges!), stamina, the need for breathing, voice leading intuitions, balance, timbre, - “Composers must learn to crawl before they can walk and walk before they can run – strive for mastery of form, harmony and counterpoint.” David Childs - have the courage to approach a choir director – “Can you give this new piece a try?” Not a cantata but a two or three minute approachable composition. (see the back page guidelines) F COMMISSIONED! – questions to ask before starting your composition - Can you tell me about the strengths and weaknesses of your choir – section by section? sweet spot registers, level of musical training, (some learn by rote!?) - Can you suggest a selection of texts/poems (public domain) that speak to you and the choir? - May I see the program of your last concert? Will the choir stay together as it is now? - Can you send me an MP3 of a recent performance? - How often do you meet? How many hours of rehearsal will you put into this new piece? - What can you tell me about your audience? (sophisticated listeners or country bumpkins?) - When do you hope to pass this piece out to your choir? - “The range of the choir is directly related to the strength of the catapult.” anon. - “How far a choir can go depends on how strong its motivation is. At times there may be a thin line between gearing up for a challenge and resigning in disgust.” Jaakko Mäntyjärvi G TEXT AND MUSIC – three approaches - Conformance – text is primary and the music aligns with it. Music must hug the contours of the language. The meaning is in the words and the music is a kind of coating or conveyance system. Music has little or no effect on the message. It’s easy to see the holes in this model – try swapping hymn tunes. Plato, Augustine, Calvin – music is powerful and dangerous – it should be held in check. - Conflict – music and words going in opposite directions. (eg. fragmented characters in opera) - Complementation – one medium fills the gap left by another. Music interacts with music – bringing its own powers to bear. (consider the graveside piper) St. Matthew’s Passion. H TEXT AND MUSIC - continued - O Canada, The Maple Leaf Forever - word stress can change the meaning: John drove to the theatre to pick up Sally. - consider alterations: I must walk in Your ways – I will follow Your way. - text can suggest meter, rhythms and even melodies.

BASS

Sight sing this and you're hired!

A

4

re

Messiaen

col- li- tur- me mo- ri- a- pas si- o- nis- e jus- men im ple- tur-

B8

gra ti- a,- mens im ple- tur- gra ti- a.- O sa crum- sa crum-

13

Ho

J.B. Dyckes

ly,- Ho ly,- Ho ly!- Lord God Al might- y!-

C18

Ear ly- in the morn ing- our song shall rise to thee.

22

3

335

writing for choirs - samples

3 3

3

a nickel’s worth

larrynickel@mac.com www.cypresschoral.com

Approachable gems for choirs: Die Nachtigall – Mendelssohn Abendlied – Rheinberger Ave Verum Corpus – Mozart Weep O Mine Eyes – J. Bennet Is est Bel et Bon – Passereau O Magnum Mysterium – Victoria Sure on This Shining Night – Barber Lux Aurumque – E. Whitacre For the Fallen – E. Daley In Flanders Fields – E. Daley Dirait’on – M. Lauridsen Loch Lomond – J. Quick All That Hath Life – R. Clausen Set Me as a Seal – R. Clausen Ave Maria – Bruckner Shaw/Parker collaborations Fair Phyllis – J. Farmer Il Bianco e Dolce Cigno – Arcadelt I’m a Train – King Singers If You Love Me – Thomas Tallis Feller From Fortune – H. Summers Ave Maria – Franz Bieble Tota Pulchra Es – M. Durufflé Elijah Rock – Moses Hogan Of the Father’s Love – Wohlgemuth Past Life Melodies – S. Hopkins Sicut Cervus – G. Palestrina Tell My Ma – J. Washburn Sing Me to Heaven – D. Gawthrop We Rise Again – arr. S. Smith April is in My Mistress.. – T. Morley Roses I Send to You – S. Chatman Lonesome Road – arr. K. Shaw Royal Hudson – D. Baker Little Wheel a Turning – G. Gilpin Art Thou Troubled – Handel Glory to God – JS Bach Cantique de Jean Racine – G. Fauré I Am Not Yours – R. Stroope All Too Soon – S. Hatfield Os Justi – A. Bruckner Beati Quorum Via – VC Stanford Ubi Caritas – M. Duruflé Ave Verum Corpus – I. Raminsh Make Me a World – RW Henderson Month of Maying – T. Morley Laudamus Te – Vivaldi Bist Du Bei Mir – J.S. Bach (and the list goes on)