Three Songs fro 2-Part Chorus “Flowers Will Sing”



Three Songs for 2-Part Chorus “Flowers Will Sing”

Voicing: SA

Ranges: Soprano D4 – E5 Alto A3 – A4

PML Grade: 2

UIL ID: 935-2-22640

Composer/Arranger: Patti DeWitt

Publisher: Hal Leonard Corporation, 1999

A Cappella: Yes

Accompaniment: No

Key/Mode: G Major, E minor

Meter: 3/4 (suggested to be conducted in 1)

Form: ABA’

Style: 20th/21st Century

The A section is from measures 1-16. The overall dynamic is mp with a decrescendo on the last note. The rhythm consists of quarter notes, half notes, and dotted half notes. The first part has mostly stepwise motion and skips of a third with the exception of a do to sol to do jump. The second part sings in mostly stepwise motion with the exception of sol to do, do to la, and fa to la.

The B section is from measures 17-32. It is in the relative minor of G Major (e minor). It has several dynamic changes with the same general rhythmic speed. Part one has stepwise motion and repeated notes with occasional skips of do to la, la to do, mi to la, and la to fa. They also stop singing the words in measures 21-24 and sing on the syllable “oh.” Part two also has repeated notes and many skips including mi to la, la to re, do to la, ti to mi, mi to re, and ti to mi.

The A’ section is from measures 33-48. The dynamics and rhythmic speed is almost an exact repeat of the A section. Part one is the same as the A section except for at rhythmic change in measure 34 to accommodate the text and sings mi instead of do in measure 47. The second part has pick-ups in measures 33 and 41 and a rhythmic change in measure 42. In measures 45 and 46 they sing on fa and sol instead of moving to a different note.

The ending is from measure 49 to measure 64. It begins p grows to f then decrescendos to mf. It returns to G major and contains small sections of the A section. Part one sings an ascending and descending G major triad and contains skips from sol to do, do to la, la to re, and re to sol. The second part sings a descending inverted G major triad and a descending e minor (vi) triad and also sings intervals of sol to do, fa to la, mi to do, ti to re, and re to sol.

Text

Flowers will sing, and horses will fly,

And fishes will walk on the shore.

The mountains will spread and cover the plain,

And the birds will not sing anymore.

The sea will not (won’t) tumble ad beat on the beach.

The rivers will all flow upstream.

The stars will grow dark and no longer will shine,

The moon will withhold her bright gleam.

The earth will not spin, and time will stand still;

The sun will burn out of the sky.

Before I could leave my heart’s only joy,

Before I could tell you goodbye;

Before I could leave my heart’s only joy,

Before I could tell you goodbye.

Goodbye, goodbye.

Before I could tell you goodbye, goodbye.

“Harps and Wheels”

Voicing: SA

Ranges: Soprano C4 – D5 Alto C4 – E5

PML Grade: 2

UIL ID: 935-2-29426

Composer/Arranger: Incorporating two traditional spirituals: “Little David, Play on Your Harp” and “Ezek’el Saw the Wheel” arranged by Joseph M. Martin

Publisher: Shawnee Press Inc. 2003

A Cappella: No

Accompaniment: Yes

Key/Mode: F Major, Gb Major, G Major

Meter: 2/4, 6/8, 3/8, 3/4, 4/4

Form: AB form (several sub sections within)

Style: Spiritual

Performance Considerations:

▪ 3 Solo Opportunities

▪ mm 29-36; Range F4 – F5; mm 74-78; Range F4 – D5; mm 82-87; Range F4 – D5

The A section is from measure 1 to measure 55. It consists of the sections a, a’, b, and a’. The a section, measures 9-16, is unison with a dynamic level of mf. There are mostly skips between tonic triad members and a skip from do to la. It contains sixteenth notes, eighth notes, quarter notes, and syncopation. The first a’ section, measure 17-25, is in two parts with the first part being an exact repeat of the a section. The second section has a different rhythm of an eighth note and eighth note rest and contains mostly skips between triad members and the interval of do to fa. Measures 29-36 are the b section. It contains a solo and more simplified rhythms. The solo sings mp with skips from mi to sol, sol to do, do to la, and la to mi. The choir responds also at the dynamic level of mp and contains several skips between tonic triad members. The return of the a’ in measure 37 to 44 is a two part round of the original a section material. Measure 17 to 25 is an exact replica of the a’ section with the addition of two pick-up notes in the second part on the syllable “oh.”

The B section is from measures 56-119. It consists of the section c, d, d’, transition e, e’, and the ending. The c section, measure 56-71, introduces the second spiritual and with it a complicated sixteenth and dotted eighth note rhythm. It is a call and response between the second and first part and is made up of repeated notes and stepwise and tonic triad movement. The dynamics begin mf and slowly diminish to mp. The d section is made up of a solo section and a choir section. It is mp in dynamic, simple rhythmically, and relaxes in tempo. The solo sings in mostly stepwise motion while the choir sings in two parts. The first part is completely stepwise in motion while the second part has skips of do to la and sol to ti. The d’ section, measures 82-87, consists of only the solo and has a slightly different rhythm and melody but still consists of mostly stepwise motion and some tonic triad skips. The transition is from measure 89 to measure 96. It consists of small sections of previous material, which modulates from F major to Gb major to G major. It returns suddenly to the original tempo. Section e, measures 98-105 is a combination of both spirituals. The second part is exactly the same as the a section while the first section sings the Ezek’el melody. The e’ section begins the same as the e section and then the first part sings unison with the second part and they both sing an additional hallelujah. The ending, measures 115-119, is either an exact unison or unison at an octave on the syllable of sol and do. It has dotted quarter note and eighth note rhythms and syncopation.

Text

Little David play on your harp,

Hallelu, hallelu;

Little David play on your harp, hallelu.

Little David play on your harp,

Hallelu, hallelu;

Little David play on your harp, hallelu.

Now David was a shepherd boy,

He faced Goliath and he shouted for joy.

Little David play on your harp,

Hallelu, hallelu;

Little David play on your harp, hallelu.

Little David play on your harp,

Hallelu, hallelu;

Little David play on your harp, hallelu.

Ezek’el saw the wheel, ‘way up in the middle of the air;

Ezek’el saw the wheel, ‘way up in the middle of the air;

‘Way in the middle of the air,

‘Way in the middle of the air,

‘Way in the middle of the air,

Now life is like a wheel spinning ‘round,

‘way in the middle of the air.

You never know where it might be bound,

‘way in the middle of he air

Little David, ‘way in the middle of the air.

Little David, ‘way in the middle of the air.

Little David, play.

“O Nata Lux”

Voicing: SSA

Ranges: Soprano D4 – F#5 Soprano E4 – F#5 Alto C4 – E5

PML Grade: 3

UIL ID: 935-3-29323

Composer/Arranger: Deborah C Lutz

Publisher: Colla Voce Music, Inc. 2003

A Cappella: No

Accompaniment: Yes

Key/Mode: D Major, B minor natural and harmonic

Meter: 3/4, 4/4

Form: Through Composed

Style: Sacred Hymn

Performance Considerations:

▪ 4 part split for the last phrase

The a section, measures 4-20, is unison except for the last two measures where it splits to two parts. The split is in thirds. There are several skips and jumps in this melody including sol to do, sol to mi, re to sol, fa to la, la to do, do to mi and a descending iii triad. It begins on sol and its dynamics begin at mp and crescendos to f.

The a’ section is from measures 25-43. The altos repeat the four phrase melody of the sopranos in measures 33-36. Soprano I have the melody in measures 37-40 and the lower voices mostly have harmony at the third with occasional dissonance between the two lower voices. In measures 33-36 the soprano II and altos have the melody while the soprano I sing a D major arpeggio and scale combination on “ah.” It ends on a bVI chord, then repeats the text and ends on I. The repetition is completely stepwise in motion and contains some chromatics.

The b section, measures 44-51, is unison and in b minor. It is mostly stepwise in motion with the occasional skips of fa to re, re to la, la to mi, mi to do, and do to la. It is softer in dynamic than the other sections, starting at mp and diminishing in sound level.

The b’ section is from measures 52-62 and is louder in dynamic than the b section. The altos have the melody with a few changes including an a# while the sopranos (I and II) have the harmony and begin on the and of beat two. They sing unison with occasional harmony at the third with one occurrence of dissonance. There is a repeat of text in measures 60-62 which is mostly stepwise in motion for each part and contains some dissonance between the different parts. It cadences on V (with an a#).

The c section, measures 63-70, is mp in dynamic and drops in tempo to 60 = the quarter note. It returns to major and is in two parts. The sopranos and altos have their own four measure melodies, which the altos and sopranos alternate singing. Both parts are stepwise in motion with skips between the tonic triad members. The sopranos have a large jump of sol to mi to do.

The ending is from measures 71-83. The altos repeat the sopranos’ line of do-ti-la-sol on the text of “O Nata Lux” in measures 71-78. Measures 79-83 are in four parts and are extremely soft. It consists of a lot of dissonance and moves in steps and thirds. It cadences on a VI chord.

Text

Taken from a 10th Century Hymn

O nata lux de lumine,

Jesu redemptor saeculi,

dignare clemens supplicum

laudes preces que sumere.

Qui carne quondam contegi

dignatus es pro perditis.

Nos membra confer effici,

tui beati corporis.

O born light of light,

Jesus, redeemer of the world,

mercifully deem worthy and accept

the praises and prayers of your supplicants.

Thou who once deigned to be clothed in flesh

for the sake of the lost ones,

grant us to be made members

of your holy body.

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