Does anyone have favorite madrigals or madrigal-adjacent pieces for two sopranos or solo soprano?

Hello everyone!

Back in 2007, I sang a SATB piece in my high school choir that was essentially variations on Mary Had a Little Lamb. It was fun and a bit satirical, as I remember really having fun with the Gregorian Chant variation in the piece. I think it was called Lamb Songs, or Lamb Signs?

I would love to find a recording of the piece if anyone could help me find out the title and composer's name!

Thanks in advance!

I only have little musical experience, I recently joined a choir and I haven't been listened to before to be correctly assigned to a voice type. I entered soprano 2 (who usually sings with soprano 1) and it was difficult for me to sing some higher musical pieces, so I moved to alto. I went to the auditions at another choir to be assigned a voice and there I was told that I was a soprano. However, in this choir too I feel more comfortable on the alto score. I can't afford to take singing lessons, although I would like to be a soprano. Should I talk to the second conductor and move to alto so as not to strain my voice?

Hello,

Of the following schools, what are your inputs on their choral ensembles if you have any? Which may be the strongest? This is in terms of the ensembles any student can audition for, not students specifically enrolled in the music program/pursuing a related degree/major/minor:

• University of Pittsburgh
• Stonybrook University
• University of Maryland
• Indiana University Bloomington
• Boston University
• University of Massachusetts-Amherst
• Carnegie Mellon University
• Rutgers University-New Brunswick
• Temple University
• UIUC (University of Illinois at Urbana-Champaign)
• Purdue University
• University of Wisconsin-Madison
• University of Connecticut
• University of Florida

Thank you!

EDIT: Again, thank you for all of the inputs! I am limited to the list of schools above, as those are my options as a soon-to-be college student, but I appreciate the other recommendations. I have listened to some of the schools mentioned for their renditions of pieces my choir is performing. As of now, though, my list has narrowed due to cost factors.

I plan on doing the pre-med track, which is pretty intensive academically and will take up the majority of my time. However, I've been in choir/music for years, and after my experiences at all-state and regional choirs, it's something I love and can't leave behind. That's why I was looking to go to a school which is both good for premed and choir (something a commenter mentioned), although I won't be able to commit to a time-intensive practice/rehearsal schedule.

Ideally, I'll enjoy my time wherever I go, audition successfully, and do well overall!

Hi all a little backstory first,

I am currently halfway done with my MM in Choral Conducting and want to continue on to earn my DMA in Choral Conducting. While I don't have K-12 classroom experience, I do have nearly five years of full time conducting experience through my church job as well as two years of teaching the 6-12 youth group. Most of the programs I am looking at such as Wisconsin, Colorado, Miami, Washington, Iowa, ASU all say it is for those who are current school educators, church, and/or community choir conducting experience. Yet, I have been told that the classroom is essentially a rite of passage... do i have anything to worry about in finding a program that won't have an issue with me only having professional experience on top of my MM?

Does anyone know if this is available WITH orchestration?

https://youtu.be/-QVq8UganHA?si=BML1kM2FwjQL8g4u

Thanks!

Does anyone have any statistics/resources on why dumping students into middle school choir is bad for the students?

Do you know of any modern interpretations of classics that are potentially better than the original. Here are two examples:

• Cum dederit, Vivaldi, by Armand Amar
• Strike the viols, Purcell, by Christina Pluhar

I am especially looking for vocal-instrument stuff.

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I have an audition for a choral conducting position with a semi-professional SATB choir. What is a good, upbeat piece to conduct for the audition? Something that would contrast Egil Hovland's The Glory of the Father. The audition is an hour. I have to introduce myself, do a warmup and then run the Hovland and the piece I choose - the objective being to see how I would run a rehearsal.

Has anyone done them? I’m talking about a famous conductor, plus 3 days in NYC that comes out to $900, $1200, even $1600… midAmerica Productions, Manhattan concert productions, DCINY, etc. is it not a Ponzi scheme?? It’s so expensive!!!

Trying to find some different choral music to enhance choir productions in this decade. Mostly looking for songs from movies or remix versions of pop or metal music, etc. Something far from the usual church or classical repertoire.

Also, non-lyrical harmony songs are very welcome, as well as African choral songs or composers from this era.

If you know of any good playlists on YouTube or Spotify, please share the links.

Thank you in advance ❤️

Hi, I'm diving into the world of sacred music, and while the classics are good, I especially like the more contemporary pieces. I like the style of composers like Philip Stopford (especially of his new piece, O Sacrum Convivium), Elaine Hagenberg, Joseph Martin, etc. In as much depth as you care to go in to, what would you say describes the composing style of these artists? I don't know much about theory. I just know I like whatever they are doing. Who are other artists who have similar styles?

So Im in a chamber ensemble at my university, about 7 voices, 3 sopranos, 2 tenors, and 2 contrabasses (and I very much mean the contrabass part). We are planning a concert with settings of sea shanties, any solo/small ensemble/ choral setting recommendations? each of us can handle challenging harmonies and rhythms but we are limited in size

edit: Ik this isnt "the place" for it, but any fitting solo voice recommendations would be greatly appreciated

Looking for a piece to "introduce" a choir: sections, showcase some different music styles etc It's meant to be a novelty concert piece, for kids. Think Peter and the wolf. But for choir and short!

I'm posting this on the slim chance someone will know what I'm talking about and help me fill in the blanks.

I was in a treble choir in the early 1990s, and at once concert we sang this set of pieces with lyrics from poems by Walt Whitman. I think there were three songs in the set; one was "Unseen Buds," another was "To a Certain Cantatrice," and the third may or may not have been "Whispers of Heavenly Death."

I don't remember the composer's name. I'm not certain if they were SSA, SSAA, or some combination of the two. I was under the impression that they were *fairly* recently written at the time, but I'm not sure. I do know they were unaccompanied, and that the particular scores we used had a yellow cover and a black comb binding.

I've searched every online source I can think of with that limited information, checked the local university music library, and asked my IRL choral-type friends, but no luck so far. I *have* found other settings of the three poems, but none of them are what I'm looking for (I remember my own vocal part pretty well, so I think I'd recognize it if I heard it or saw the score). I'd love to be able to do this set with my current group. (Hey, I'd love to just know for sure that I didn't hallucinate the whole thing.)

So, as I said, I know this is a million to one shot if this set is that obscure. But if any of this at all rings a bell and you happen to be that one person in a million who knows what the heck I'm even talking about, it would be awesome to hear from you!

You know when you go to a gym and there are different kind of exercises, like chest, legs, etc. But when I go to a choir, during warm-up, it's always the same kind of warmup, three exercises, go as high as possible, go as low as possible.

Does anybody practice a more complicated type of warmup exercises, which focus on dynamics, text pronunciation, common intervals (e.g. singing in thirds), etc. Is there any book with such choral exercises a conductor might use for their choir?

https://www.youtube.com/watch?v=TSKR_tYIyxU

We're a student quartet at UW Seattle and we are all members of multiple choirs and ensembles

Anyone know what arrangement this is, and whether it's available commercially? https://youtu.be/pwkPsKe-39Y?si=pl_RGVAwTDxznPoP

I am looking for an app to scan my choral music that I have collected over the years. I would love the ability not only to scan, but to file and catalog them.

It is not necessary for it to be played back via OCR.

What is the best app for this? I am only looking for apps with a 1 time fee. I am not interested in monthly subscriptions.

Join us In Person or On Line on Sunday April 7. St. Paul Lutheran. In person at 1600 Grant Denver or online at:

https://zoom.us/j/98167059785?pwd=K1U3czRsc2p2MWRSRkRqamRKRUtuUT09Meeting ID: 981 6705 9785. Passcode: 589936

Great Music in an exceptional space. Here is the program with an excellent commentary on the composers in Music Notes at the end of the program list.

PROCESSIONAL HYMN Come, You Faithful, Raise the Strain GAUDEAMUS PARITER. John Mason Neale, a nineteenth-century Anglican priest, prepared the first English versions ever made of Byzantine (i.e., Greek) hymnody, including this eighth-century hymn drawn from the first ode of the canon for Saint Thomas’ Sunday (Sunday after Easter) by John of Damascus. Text: John of Damascus, c. 696-c. 754; tr. John M. Neale, 1818-1866, alt. Music: Johann Horn, c. 1490-1547.

HYMN OF PRAISE Glory to God in the Highest Libby Larsen (from Celebration Mass)

PSALMODY Psalm 133: How Good It Is to Share QUAM BONUM. This metrical paraphrase of Psalm 133 from Great Britain combines an eloquent and inclusive text by Martin E. Leckebusch with a thoughtful tune by Alan Rees. Text: Martin E. Leckebusch. Music: Alan Rees.

GOSPEL ACCLAMATION Alleluia Libby Larsen (from Celebration Mass)

GOSPEL RESPONSE This Joyful Eastertide VRUECHTEN. This Easter carol combines a twentieth-century British text with a seventeenth-century Dutch folk tune. Text: George R. Woodward, 1848-1934. Music: Dutch folk tune, Seventeenth century.

HYMN OF THE DAY These Things Did Thomas Count as Real DISTRESS. Hymn writer Thomas H. Troeger cites his “reading of twentieth-century theology and its coming to terms with the limits of the enlightenment and rational cognition” as the foundational thought for this text about Thomas in today’s Gospel, whose “skeptic mind was keen enough to make him blind to any unexpected act too large for his small world of fact.” A man before his time, perhaps?

Text: Thomas H. Troeger, b. 1945. Music: W. Walker, Southern Harmony, 1835.

OFFERING “Alleluia” from Exsultate, Jubilate, K.165 Wolfgang Amadeus Mozart

PREFACE DIALOGUE (from Celebration Mass) Libby Larsen

SANCTUS Holy, Holy, Holy Lord Libby Larsen(from Celebration Mass)

AGNUS DEI Lamb of God, You Take Away the Sin of the World Libby Larsen (from Celebration Mass)

COMMUNION HYMN We Walk by Faith and Not by Sight SHANTI. This hymn is a prayer which personalizes the story of Thomas from today’s Gospel. Thomas’ words become our words as we encounter the Risen Christ. However, unlike Thomas, “we may not touch (Christ’s) hands and side,” nor may we “follow where (Christ) trod;” instead, we must “walk by faith and not by sight.” Text: Henry Alford, 1810-1871, alt. Music: Marty Haugen, b. 1950.

RETIRING PROCESSIONAL HYMN “Peace be with you!” Jesus Said SALZBURG, Each stanza of this Easter hymn opens with the greeting used by Jesus to address his disciples in both of the post-resurrection appearances recorded in today’s Gospel. Text: Adam M. L. Tice, b. 1979. Music: Jakob Hintze, 1622-1702; harm. J. S. Bach, 1685-1750.

POSTLUDE Werke für das Flötenuhr Franz Joseph Haydn (H.XIX:23) [Vivace]

Music Notes __________________________________________________________________

Most of this morning’s organ and vocal music is by the two leading Austrian composers of the second half of the eighteenth century, namely, Franz Joseph Haydn (1732-1809) and Wolfgang Amadeus Mozart (1756-1791). While Haydn did not compose any organ music, per se, the Prelude and Postlude are drawn from a group of thirty (or thirty-two, depending on the source consulted) pieces composed by Haydn for a flötenuhr, or flute clock, a mechanical instrument combining a small set of flute-like organ pipes with a clock so that music could be played automatically on the hour. In the late eighteenth century, such devices were “all the rage” with the aristocracy, and commissioning a set of pieces from a famous composer for one’s flötenuhr was considered especially “chic.” Haydn was asked to compose pieces for three such instruments, but now, with most of the remaining flötenuhrs in European museums, these charming miniatures are usually played on the organ. Haydn, who was born in Rohrau, spent much of his childhood and youth as a boy chorister at Saint Stephen’s Cathedral in Vienna and devoted much of his career to the service of Prince Nikolaus Esterházy, his patron and employer for nearly thirty years; at various points during his tenure there he served as court composer, orchestra conductor, and/or church musician.

The Offertory solo is the final movement of a solo motet composed by Mozart in Milan, Italy, during the production of his opera, Lucio Sillas. The four-movement work was composed for the renowned castrato singer, Venanzio Rauzzini (1746-1810), who was starring in the opera, and received its premier performance in Milan’s Theatine Church in 1773. Born in Salzburg, Mozart was an incredibly prodigious child whose career as both a performer and a composer began before he reached the age of five, and by the age of eight, Mozart’s father took his son on a three-year performance tour of Europe, visiting all of the important musical centers. Subsequently, Mozart became recognized as a significant composer of symphonic, operatic, chamber, and church music, first in Salzburg, where he was a musician in the court of Prince-Archbishop Hieronymus Colloredo, and later in Vienna, where he barely eked out a living as a free-lance composer and died at the young age of 35 after falling ill while completing his final work, his great Requiem in D Minor.

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Back in 2012 I took part in the world choir games in Cincinnati Ohio. There was a choir there that sang a song and the only thing I remember is someone screaming "THEY TOOK MY BABY" in the middle of it (or some similar set of words). It has been in the back of my brain ever since and I am hoping someone here might be able to know the reference!

Please help me find this so I can learn more about it!

Hello everyone !

I'm a choir bass singer in a small french choir.

We sing a lot of stuff but mainly Gospel / Soul / Sea Shanties with english lyrics, and it is getting hard for some of our singers to learn lyrics of songs that they don't fully understand.

We don't really want to sing in french though.

Do you have any idea of cool songs with little to no lyrics that are easy to learn ?