56 the Vocalize Canon Collection Singer Pages

Reproducible Singer Pages

The Vocalize!

Canon Coll Collection ection 55 Rounds for Choral and Classroom Singing Compiled and Arranged by Andy Beck

THE VOCALIZE! CANON COLLECTION – Singer Page 3

Alleluia It’s all about the vowels. Tall vowels encourage an open space, which improves tone quality. Vowels Vowels that are uniform across the choir help with blend and intonation. The word “Alleluia” “Alleluia” includes just three pure vowels (the first and last syllables are the same). Concentrate on each as you perform. Also, note that the first four pitches step down a major scale. Be certain cer tain to sing descending intervals in tune. Optional: Gesture with index fingers that float upward throughout the first phrase. William Boyce (1711-1779)

1

Al

al

-

-

le

le

-

lu

-

-

lu

ia,

al

-

-

ia,

-

le

ia,

-

lu

-

ia.

2

Al - le - lu

-

le

-

-

lu

ia,

al - le - lu

-

ia,

lu

-

al

al

-

-

le

l e - lu le

-

lu

-

ia,

-

al

-

ia.

3

Al

le

45274

-

-

le

lu

-

-

ia,

ia,

al

-

le

al

-

-

le

lu

-

© 2017 Alfred Music Right to photocopy with purchase.

-

lu

ia,

-

al

ia.

-


All Things Shall Perish This tuneful German canon should be sung with a well-supported but rather soft dynamic. Strive for consistent tone quality throughout, especially on the two phrases that include descending sevenths. Traditional German 1

All

things

shall

per

-

ish

from

un

-

der

the

sky.

2

Mu

-

sic

a

-

lone

shall

live,

mu

-

sic

nev

-

a

-

lone

shall

live,

3

mu

-

sic

a

-

lone

shall

live,

er

to

die.

Are You Sleeping? The familiarity of this popular French canon presents a perfect opportunity to check in on some basic techniques. How is your posture? Are you forming vowels carefully? How are the choral balance and blend? Traditional French 1

Are Frè

2

you - re

sleep - ing, Jac - ques,

are Frè

you - re

sleep - ing, Jac - ques,

Broth - er dor - mez

John, vous,

3

Broth dor

-

er mez

John? vous?

Morn - ing Son - nez

bells les

are ma

-

ring tin

-

ing, es,

4

morn - ing bells son - nez les

are ring ma - tin

-

ing: es:

Ding, Ding,

ding, dang,

dong, dong,

Pronunciation: FREH-ruh ZAH-kuh, DAWR-meh voo? SAW-neh leh mah-TEE-nuh. (“Z” as in “azure”) 45274


ding, ding,

ding, dang,

dong. dong.


Bella Donna This charming canon requires a relatively large vocal range. Note the optional pitch (for singers who may not be comfortable with the higher one) at the end of the third phrase. How can you approach a high note with ease? Check your posture, drop your jaw, and engage your breath support. Traditional Italian 1

2

Bel - la

don - na,

bel - la

don - na,

bel - la

don

-

na.

Bel - la

3

don - na, bel - la

don - na, bel - la

don - na.

Bel - la

don - na, bel - la

don - na, bel - la

4

don

-

na.

Bel - la

don - na,

bel - la

don - na,

bel - la

don -

na.

Pronunciation: BEH-lah DAW-nah Translation: Beautiful lady.

The Bell Doth Toll Initiate the letter “b” at the front of the lips, then close (and lightly hum through) the “m” in the word “bim-bom.” This approach will build resonance, while imitating the sound of a bell. Traditional Canon 1

The

bell

doth

toll,

its

ech

-

oes

roll,

its

ring - ing,

I

2

know

calls

the

sound

to

so

sing - ing

well.

with

its

I

bim -

bom,

love

bim

-

bom

bell.

3

Bim 45274

-

bom,

bim

-


bom

bell.

for

it


Be Welcome Franz Schubert is known for his lyrical melodies, and this lovely tune is no exception. A s you sing, work for expressive phrases that gently crescendo toward the middle and decrescendo toward the end. Tapering to each of the final eighth notes will demonstrate musicality and enhance ar tistry. Take time to breathe at each rest, inhaling completely, without constricting the throat or making a sound. To emphasize vowels, place interior consonants at the start of the syllables that they follow. Franz Schubert (1797-1828) 1

Be Will

wel - kom

-

come, men,

gen lie

-

tle ber

month schön

of er

-

May, Mai,

with dir 2

wren tönt

wel kom

-

and der

rob Vö

-

come, men,

gen lie

in’s gel

-

roun Lob

tle ber

-

month schön

de ge

- lay. - sang.

of er

-

May, Mai,

Be Will

-

with dir 3

wren tönt

wel kom

wren tönt

and der

-

come, men,

and der

rob Vö

-

gen lie

-

rob Vö

in’s gel

tle ber

-

roun Lob

month schön

in’s gel

-

de ge

-

of er

roun Lob

-

- lay. - sang.

May, Mai,

de ge

-

with dir

lay. sang.

Pronunciation: vihl-KAW-mehn, LEE-buhr SHO-nuhr mahee, deer tont dehr VO-guhl LOHP-guh-zahng. (Say “eh” through rounded lips for “o”)

45274


Be Will

-


Candlelight Canon Inhale completely before each of these long phrases. Resist caving in to spend (and save) breath wisely. Place a soft “t” on the quarter rest that follows the first two phrases, and a light puff of air on the letter “p” at the start of the word “peace.” Like a good apple … be crisp and tasteful. Andy Beck 1

In

the

glow

of

can

-

dle

-

light,

to

-

night.

2

all

of

the

world

comes

to

in

the

glow

of

the

-

geth

-

er

3

And

can

-

dles

we

see

4

peace

45274

for

you

and

peace


for

me.


Chairs to Mend Imagine old-time street merchants se lling their wares in a crowded marketplace. Crisp diction (with enunciated consonants) and healthy projection (with solid support) were required in order to attract as many customers as possible. As you develop these same vocal attributes, be sure to anchor the sound with breath. William Hayes (1708-1777) 1

2

Chairs

to

mend,

old

chairs

to

mend!

Mack

-

er - el,

fresh

3

mack

-

er - el!

An - y

straw - ber -

ries,

an - y

straw - ber -

ries?

A Child of Song This jazzy canon was inspired by “Take Five” by the American pianist and composer Dave Brubeck. Its uplifting message and attention-grabbing rhythms offer a great way to begin a rehearsal. When you establish good singing habits at the start, those habits will continue for the remainder of your rehearsal. Posture, vowels, and vocal freedom are always important! Derryl Herring and Andy Beck

1

2

Sing

Play

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me

me

a

a

tune

3

song

when

in

the

I

4

wake

cool


in

of

the

the

morn

night.

-

ing.


Christmas Is Coming Sing this happy holiday song with a full voice, explosive consonants, and abundant joy. Joyful sounds require a smile in the eyes without spreading the vowels, so drop the jaw to create vertical space and avoid pulling the corners of your mouth back. Carefully tune the octave jumps. Optional: Hold the palm of your hand in front of your mouth as you sing. Feel a light puff of air as each consonant is produced. Traditional English 1

Christ

-

mas

is

com - ing,

the

goose

is

get - ting

fat.

2

Please

to

put

a

pen - ny

in

the

old

man’s

to

put

a

pen - ny

in

the

old

man’s

have - n’t

got

a

pen - ny,

have

-

n’t

got

a

have

-

n’t

hat.

3

Please

45274

got

ha’

a

ha’

a

pen - ny,

pen - ny,

ha’

then

then

pen - ny

God

God


will

bless

bless

hat.

If

you

do.

If

you

you.

If

you

you.


Coffee Wake up! It’s time to sing! Bright eyes and expressive faces are re quired. Performing with emotion adds so much. For fun, experiment with different moods each time you sing this playful round. Carl Gottlieb Hering (1766-1853) 1

C

-

O

-

F

-

F

-

E

-

E.

Pour

me

a

cup,

or

two,

or

three,

2

ear - ly

in

the morn - ing when I want to wake,

and then lat - er when I

O

-

Oh,

need a

cof - fee break.

3

C

-

F

-

F

-

E

-

E.

how

I

love

cof

-

fee!

Come, Follow This variation of John Hilton’s famous round descends a major scale, walks halfway back up, outlines some diatonic thirds, then continues all the way up before introducing only one large interval (a 6th) just before the final cadence. It all adds up to an effective sight-singing exercise. John Hilton (1599-1657) 1

Come,

fol

-

low,

fol

-

low,

fol

-

low,

fol

-

low,

fol

-

low,

fol

-

low,

fol

-

low?

2

fol

-

low

me.

Whith - er

shall

I

fol

-

low,

3

Whith - er shall

to

45274

the

I

fol

-

green - wood,

low,

fol

to

-

low

the

thee?

green - wood,


To

green - wood

the green - wood,

tree.


Day Is Ending Sing softly, with a warm and expressive tone. Always listen to and blend with others. Trad t ona Austr an Words by Andy Beck 1

Day

is

end

-

ing;

eve

-

ning, now

de - scend

-

ing.

2

Moon

is light -

ing;

stars,

ig - nit

-

is light -

ing;

stars,

ig - nit

-

ing;

dreams,

in - vit

-

ing,

all

on this night.

3

Moon

ing;

dreams,

in - vit

-

ing,

all

on this night.

Ding-a-Ding Dong Perfect for beginners, this simple canon is in just two parts. When sung in a round, the voices move in contrary motion and with unique melodic rhythms, ensuring success. Once you have mastered the par t singing, experiment with different dynamics and articulations.

1

Ding

Ding

45274

dong,

Traditional Canon

2

dong,

ding - a - ding

ding - a - ding

dong.

dong.

Stee - ple

Ding - a - ding


bells

ring

dong,

ding

out

the

dong.

song.


Dona Nobis Pacem Anticipate large melodic leaps by aurally internalizing the pitches prior to singing them. Approach ascending intervals as if coming from above and landing on top. Treat descending intervals with a lightness on the lower notes. Intonation will be improved, vocal tone will be consistent throughout the range, and a legato line will be evident. Traditional Canon 1

Do

Do

-

-

na

no

na

-

no

bis

-

pa

bis

-

pa

cem,

pa -

-

cem.

2

Do

Do

-

-

na

na

no

no

-

bis

-

bis

pa

pa

-

-

cem.

cem.

3

Do

Do

-

-

na

na

no

no

-

bis

-

bis

pa

Pronunciation: DAW-nah NAW-bees PAH-chehm. Translation: Grant us peace.

45274


pa

-

-

cem.

cem.

cem.


Donkeys and Carrots This whimsical Belgian folk tune isn’t just for fun, it’s also a great way to work on crisp consonants and rounded vowels. The highest note is sung on an “ee” vowel, which can easily become strident if allowed to spread. Be sure to round the lips and create plenty of space inside. Traditional Belgian 1

Don

-

keys

are

in

love

with

car

2

Car

-

rots.

3

-

rots

aren’t

in

love

at

all.

“Hee

-

haw.

4

Hee

-

haw.”

Lis

-

ten

to

that

lov

-

ing

call.

Early to Bed Let’s think about phrasing. If you observe the breath marks between each phrase, it will be important to place the final consonants together—and “s” can be tricky. Perform a light, short “s” on the sixth beat of the measure, followed by a swift but quiet breath. Taking time to breathe ensures that the sibilant “s” will not linger (or hiss) too long. The School Round Book, 1852 Words attributed to Benjamin Franklin 2

1

Ear - ly

to

bed

and

ear - ly

to

rise

makes

a man health - y,

3

wealth - y,

45274

and

wise.

Wise,

health - y,


and

wealth

-

y.

and


The Ghost of John The third phrase of this familiar round can be sung on any vowel of your choice. Choose a different one each time.

Traditional Canon

1

Have

you

seen

the

ghost

of

John?

2

Long

white

bones

with

the

flesh

all

gone?

3

Oo. 4

Would - n’t

it

be

chil

-

ly

with

no

skin

on?

Goodnight to You All Complete each phrase with a light consonant followed by a full but quiet breath. Traditional Canon 1

Good

-

night

to

you

all

and

sweet

be

your

2

sleep.

May

an

-

gels

a

-

round

you,

their

si

-

lent

3

keep.

45274

Good - night,

good - night,

good - night,


good - night.

watch


Hashivenu Focus on pure “ah,” “ee,” “eh,” “oo,” and “oh” for this traditional Hebrew round. Sing musically throughout, building and tapering every phrase. Additional breaths may be added as desired. Traditional Israeli 1

Ha

-

shi

-

ve

-

nu,

ha

-

shi

-

ve

-

nu

2

A

-

do

-

nai

e

-

le

-

cha,

ve

-

na

-

3

shu

-

cha

va,

-

ve

-

desh

na - shu

ya

-

mei

-

-

va.

nu

ke

Cha

-

ke

-

-

desh,

dem.

Pronunciation: Hah-shee-VEH-noo Ah-doh-NAHEE eh-LEH-chah, veh-nah-SHOO-vah. Chah-DEHSH yah-MEH-noo keh-KEH-dehm. (“ch” as in “Bach”) Translation: Return us, O Lord, to you, and we shall return. Renew our days as of old.

Here’s a Merry Jest Articulation adds another important layer to musicianship. The first notes of this canon are marked with three distinct articulations. Discuss, define, rehearse, and refine your marcato, staccato, and tenuto. Optional: Add articulations (or dynamics) of your choice throughout. Traditional Canon 1

2

Laugh,

ha,

ha!

Here’s

3

But

45274

a

mer - ry

jest.

4

if

you

will

laugh

last,

you

will


laugh

the

best.


Hey Ho, Nobody Home Connect note to note for an uninterrupted line. Consistent use of breath ensures legato. Pammelia, 1609 1

2

Hey

ho,

no

-

bod - y

home.

Meat

nor

I

will

drink

nor

3

mon

-

ey

have

I

none.

Still

be

4

ver

-

y

mer

-

ry.

Hey

ho,

no

-

bod - y

home.

Hine Ma Tov Perform this spirited Israeli folk song with great enthusiasm, incorporating healthy technique. Traditional Israeli 1

Hi - ne

ma

tov

u - ma

na

-

yim

she - vet

a - chim

gam

ya

-

chad.

2

Hi

-

ne

ma

tov

she - vet

a - chim

gam

Pronunciation: HEE-neh mah tohv OO-mah NAH-eem SHEH-veht ah-CHEEM gahm YAH-chahd. (“ch” as in “Bach”) Translation: How good and pleasant it is for all of us to live together in peace.

45274


ya

-

chad.


How to Join the Choir Try this round as a sight-singing exercise. The second half perfectly outlines a major scale, while the beginning includes some commonly used intervals. Practice with solfège syllables (or numbers) to drill diatonic 2nds, 3rds, 4ths, and 5ths. Note the contrary motion when sung in canon. Traditional Canon Words by Andy Beck 1

May

I

in

-

quire

how

to

join

the

choir?

2

If

you

de

-

sire,

you’ll

have

to

sing

much

high

-

er.

I Love the Mountains Develop musicianship by adding new dynamics each time. Perhaps the phrases will alternate from loud to soft, soft to loud, gradually crescendo, decrescendo, or terrace. No matter what you decide, be sure to require a free vocal tone. As a sight-singing extension, note that each phrase begins one step higher than the last. Camp Song 1

I

love

the

moun

-

tains,

I

love

the

roll

-

ing

hills.

2

I

love

the

flow

-

love

the

fire

-

ers,

I

love

the

daf

-

fo - dils.

3

I

side

when

all

the

lights

are

low.

4

Boom - de - ah

45274

-

da,

boom - de - ah

-

da,

boom - de - ah


-

da,

boom

boom!


Jubilate Deo Sing expressively by giving direction to the musical line, as if stretching elastic or pulling taff y on every phrase. Enjoy the suspensions that are created when performing in c anon. The brief Latin text requires pure vowels. Implode the letter “t” throughout. Michael Praetorius (1571-1621) 1

2

Ju

-

bi

-

3

la

4

-

te

De

-

o.

Ju

5

De

-

o.

-

bi

-

la

-

te

6

Al

-

le

-

lu

-

ia.

Pronunciation: Yoo-bee-LAH-teh DEH-aw. Translation: Rejoice in God.

Kookaburra Repetitive notes have a tendency to lose energy, resulting in flat intonation. Use consistent breath support and sing lightly. This approach will not only keep the voice buoyant and in tune, but it will also ensure vocal flexibility. The octave jump halfway through this melody can be a challenge. Words of wisdom: Lighten up on the bottom to float up to the top. Traditional Australian 1

Koo - ka

-

bur -

ra

sits

on

the

old

2

mer - ry,

gum 3

mer - ry

king

of

the

bush

is

he.

Laugh,

4

laugh,

45274

tree,

koo - ka - bur - ra,

gay

your

life


must

be.

koo - ka - bur - ra,


Kyrie Canon Our voices are greatly affected by how we carr y and hold our bodies. Get set for singing with well-aligned posture that is strong but not rigid. Avoid any kind of tightness in the body or throat. Additionally, never raise or lower the chin for high or low notes. Instead, allow the breath support (from below) and the space (up above) to work in tandem. Andy Beck 1

Ky - ri - e

le - i - son,

e

-

le - i - son,

Ky - ri - e

e

-

Ky - ri - e

le - i - son,

e

-

-

son,

le

e

-

-

i

-

2

son.

Ky

Ky

-

ri

-

-

e

ri

-

e

e

e

-

le

-

le

-

i

-

-

i

son.

Ky - ri -

3

e

e

e - le

e - le

-

i

-

son,

-

i

-

Ky - ri -

son,

e

e

-

le

Pronunciation: KEE-ree-eh eh-LEH-ee-sohn. Translation: Lord, have mercy.

45274


e - le

-

-

i

i

-

-

son,

son.

Ky - ri -


The Lark and the Magpie What sets vocal music apart from instrumental music? The words! And with those words comes the responsibility to make them understood. A lot depends on the lips and the tongue, their placement and movement, and the amount of air used to enunciate. Sing this story paying close attention to diction. It’s a clever fable about the impor tance of listening to teachers. Traditional Canon 1

In

a

beau - ti - ful

snug

lit

morn - ing

-

tle

in

field

at

the

spring,

edge

a

of

bold

the

park

lit - tle

on

mag - pie

a

once

2

asked

no,”

of

a

said

lark

the

lark

tail,

if

with

he

a

“’twould

thought he

could teach

con - fi - dent

be

too

look,

much trou - ble

him

as

to

he

sing.

“Oh

war - bled and

and

sor - row,

I

wag - gled his

fear,

and

I

3

know

that

lis - ten,

birds

45274

who

I

sure - ly

the

chat - ter

would

art

fail.

of

can

For

the

teach - er

de

nev - er ex - pect


he

-

fies,

to

be

who

won’t

and

wise.”


Let Us Sing Together This cheerful Czech folk song celebrates the sense of community that is felt when we sing with others. Though it may sound simple, this togetherness and commonality goes a long way toward enriching the quality of our choral ensembles. When we can collaborate with, trust in, and rely upon fellow singers and instructors, we are able to open our hearts, minds, and voices. Traditional Czech

1

Let

us

sing

to - geth

-

er,

let

us

sing

to - geth

-

er,

2

one

and

all

-

er,

us

sing

geth

to

-

geth - er

one

in

and

song.

all

to

-

Let

us

sing

geth - er

in

song.

to

-

a

-

3

Let

a

-

gain

and

a - gain.

Let

us

sing

4

gain

one

45274

and

a - gain.

and

Let

all

to

us

-

sing

geth

a

-

er


-

gain

in

and

a - gain,

song.


ra,

ta - de - da,

ta - ran - ta

-

ra,

ta - de - da.

The

trum

-

pet

is

4

sound

-

ing

horn,

ta - ran - ta

the

-

ra,

horn

ta - de - da,

a

-

ta - ran - ta

wakes

me

-

at

ra!

The

morn.

The

5

horn,

tim - pa - ni

tim - pa - ni

45274

the

horn

play

play

a

two

two

notes,

notes,

-

wakes

just

a

me

this

-

at

one

rat - a - tat


morn.

and

-

tat

that.

-

tat.

The

The


A Ram Sam Sam A favorite for singers of any age, this bounc y canon hails from Morocco. Despite its nonsensical text (comprised of syllables that don’t mean anything), the silly sounds are excellent for working on diction. With a full octave melody, concentrate on consistency of tone throughout the entire range. Traditional Moroccan 1

A

gu - li

ram

sam

gu - li

sam,

gu - li

gu - li

a

ram

ram

sam

sam

sam.

A

sam,

ram

gu

sam

-

sam,

li

a

2

ram

sam

ra

-

ram

gu

45274

gu - li

fi,

sam

-

sam,

li

a

-

sam.

gu

-

ra

A

li

gu - li

-

-

gu

fi

ra

-

gu - li

li

gu - li

gu - li,

-

gu

fi,

-

li

gu - li

ram

gu - li

a

ram


-

gu - li

ra

sam

-

sam

sam.

gu - li

fi

sam.

A

gu - li

gu -

li,

-


Rise Up, O Flame Slurs indicate that one syllable of text will be sung on multiple notes. Sing slurred passages extremely legato, allowing the vowels to ride on a steady stream of breath. Christoph Praetorius (1535-1609) 1

Rise

up,

O

flame,

2

3

by

thy

light

glow

-

ing.

Show

and

joy.

to

us

4

beau

-

ty,

vi

-

sion,

A Round Sing lightly, with an agile and flexible voice. Tall, rounded vowels ensure quality. Andy Beck 2

1

A - round and a - round and a - round and a - round,

how we love sing - ing a

round.

A 3

round

round,

45274

and

a - round and

a

a - round and

round,

a - round,

how we love

oh,

we

how

love


sing - ing

sing - ing

a

a

round.

round.

A


Samba de Brazil Adding simple movements to this energetic samba will relax the body and free the voice. Try the following, or create your own! 1. Roll fists low, R then L (2x) 2. Shimmy R-L (2x) 3. Roll fists high, R then L (2x) 4. Float both arms from high to low (4x) Traditional Samba 1

Sam

-

ba

chill,

sam

-

ba

Bra

-

zil.

2

Sam

-

- ba

chill,

sam

-

ba

ing through the night.

Bra - zil.

Ri - o

de

Ja - nei - ro,

Ri - o

de

Ja - nei - ro,

’til

the morn - ing light.

danc -

3

Sam

-

ba

de

Bra - zil,

sam

-

ba

de

Bra - zil.

4

Sam - ba

de

Bra - zil,

sam

-

ba.

5

Sam - ba

de

Bra - zil,

sam

-

ba.

Sam - ba

45274

Sam - ba

de

Bra - zil,

sam


-

ba.

de

Bra - zil,

sam

-

ba.


Scotland’s Burning At the upper end of this stately round, drop the jaw to make space for a tall “ah” vowel. Be careful not to let the urgency of the words create tension. Project with a well-supported tone.

Traditional Canon

1

2

Scot

-

land’s

burn

-

ing,

Scot

-

land’s

burn

-

ing!

Look

3

out,

look

out!

Fi

-

re,

fire,

fi

-

re,

4

fire!

Bring

some

wa

-

ter,

bring

some

wa

-

ter!

Shalom Chaverim This familiar Hebrew canon deserves the very best technique. Work for warmth by singing through an open, oval-shaped space in the mouth. Additionally, concentrate on maintaining consistent tone throughout the entire vocal range and smooth legato lines.

Traditional Israeli

1

Sha

2

-

lom

cha - ve -

rim,

sha

3

-

lom

cha - ve -

rim.

Sha

-

le

-

4

lom,

hit

sha

-

ra

-

-

lom.

ot.

Sha

Le

-

lom,

-

sha

Pronunciation: Sha-LOHM CHAH-veh-reem. Leh-HEET-rah-oht. (“ch” as in “Bach”) Translation: Goodbye friend. Until we meet again. 45274


hit

-

-

ra

lom.

-

ot,


Sing and Rejoice This joyful canon is appropriate for the start of rehearsal. The one-octave range and manageable phrase lengths are just right as a beginning warm-up. Combine with some physical movements (such as head rolls or back rubs) to relax the body. Set the tone for a produc tive rehearsal. William Bradbury (1816-1868) 1

2

Sing

and

re

-

joice.

Sing

3

and

re

and

re

-

joice.

4

Let

all

things

liv

-

ing

now

sing

-

joice.

Sing We Merrily Sing lightly, with a feeling of buoyancy to ensure vocal flexibility. Experiment with staccato versus legato. The cue size notes offer options for range constraints and create additional harmony. Antonio Caldara (1670-1736) 1

Sing

we

mer - ri - ly,

dance

as

well,

’til

we

hear

the

2

morn

-

ing

bell.

Fa

la

la.

Fa

la

la

la.

3

Fa

la

la

la

Fa

45274

la

la

la.

la

la

la.

Fa

la

Fa

la


la

la

la.

la

la.


Thula, Thula, Ngoana Here’s a wonderful folk song from the African country of Lesotho. Accent the syncopations to energize the rhythm throughout. Keep in mind that this is a lullaby, so perform the melody softly, staying within a dynamic range of pianissimo to mezzo piano. Traditional Lesotho With new material by Andy Beck

1

Thu - la,

thu - la,

ngoa

- na.

Thu - la,

thu - la,

ngoa

- na.

2

Thu - la,

thu - la,

ngoa

-

na.

Thu - la,

thu - la,

ngoa

-

na.

thu - la,

ngoa

-

na.

Thu - la,

thu - la,

ngoa

-

na.

ba

-

by.

3

Thu - la,

4

Hush,

lit

-

tle

Sleep,

Pronunciation: TOO-lah, TOO-lah, nGWAH-nah. Translation: Hush, hush, child.

45274


lit

-

tle

child.


To Make a Round A great way to introduce canon singing for the very first time, this beginning round explains the concept and keeps count of entrances with its lyrics. Optional: Add simple gestures to highlight entrances. Display numbers with your fingers, then shake hands with a neighbor on the final notes. Moritz Hauptmann (1792-1868) 1

2

One

may

be

-

gin.

Then

num

-

ber

two

makes

a

3

sound.

Num - ber

three

joins

in

to

make

a

round.

Ubi Sunt Gaudia This lovely melody clearly outlines the key of C major. Note the descending scale in the fourth phrase, and the fact that every entrance point begins on a pitch from the tonic chord. Optional: Sight-sing on solfège syllables or numbers. Philip Hayes (1738-1797) 1

U

2

-

bi

sunt

gau

-

di -

a,

the

an

-

gels

up

in

3

heav

-

en

sing

no

-

va

can

ti -

-

le

-

lu

-

ias

ring.

In

re

-

6

cu

-

ri

-

a,

gau

-

di

-

um

Pronunciation: OO-bee soont GAHOO-dee -ah, NOH-vah KAHN-tee-kah. Een REH-jees KOO-ree-ah, GAHOO-dee-oom ehst. Translation: Where there is joy, angels sing new songs. In the courts of the king, there is joy. 45274

ca.

Sweet

5

4

al

-


est.

gis


We Merry Minstrels If you breathe only where rests are shown, you may find the phrases quite long and the rests rather brief. Be sure to conserve air as you sing, not deflating too soon after inhaling. Remember not to gasp for air, even though the time to breathe is short. As always, approach the Baroque style with lightness. Optional: Try two-bar phrases at first, then work up to four. Henry Purcell (1659-1695) 1

We

mu

-

mer

-

ry

min - strels

sic

doth

ha

We

sing

so

blithe

with

tune

ful

har

-

soft

mu

tred

and

mal

-

ly,

we

drive

ny,

ban

-

sic

en

ice

de

-

-

joy,

for

stroy.

2

-

-

-

mo

-

a

-

-

way

ish

de

care,

-

and

spair.

3

Then

hail

pleas - ure

45274

sweet

si

-

lence,

hail

like

mu

-

sic

on

heav

earth


-

en

can

-

ly

be

sound.

found.

No


Wenceslas Canon Approach this festive canon like a storyteller, singing each new verse with a unique attitude. There are three characters to portray: the narrator, the king, and the page. As you perform, be an actor by incorporating precise enunciation, healthy projection, and dramatic facial expressions. Optional: Sing the first verse again for a fourth stanza.

Pammelia, 1609

Words from a Traditional English Carol 1

Good “Hith “Sire,

-

King er, he

Wen page, lives

-

ces come a

-

las stand good

looked by league

2

on if un

out me, hence,

3

-

the Feast thou know’st der - neath

of it the

-

Ste tell moun

phen, ing. tain,

when Yon right

the snow der peas a - gainst

-

-

lay ant, the

4

round who for -

a - bout, is he? est fence,

deep Where by

and and Saint

crisp what Ag -

and his nes’

-

e dwell foun

ven. ing?” tain.”

Where Is John? Emphasize this articulation: short, short, long, then legato to conclude the first two phrases. Optional: Add a sforzando attack on the final “John” followed by a crescendo to the release. Traditional Czech

1

Where

is

John?

The

old

grey

hen

has

left

her

pen!

2

Where

is

John?

The

cows

are

3

John! 45274


in

the

corn

a - gain!


Whether the Weather This English tongue twister requires your very best diction. In addition to clear consonants, try to maintain top-quality vowels. Initiate the letter “w” with an “oo” vowel, then keep your lips forward and round for the subsequent syllables. Optional: Go faster each time.

Andy Beck Words from a Traditional English Rhyme

1

Wheth

-

er

the

weath

-

er

-

er

is

cold

or

2

wheth

-

er

the

weath

is

hot,

we’ll

3

weath

-

er

the

weath

-

er,

what

-

ev

-

er

the

weath

-

er,

4

wheth

-

er

we

like

it

or

not.

White Coral Bells Practice this charming English round with solfège syllables (or numbers) to emphasize the following sight-singing concepts: descending major scale, melodic thirds, and notes of the tonic triad. Traditional English 1

White Oh,

cor - al don’t you

bells, wish

up that

-

on you

the could

slen - der hear them

stalk, ring.

2

lil - ies That will

45274

of the hap - pen

val on

- ley - ly

deck when

my the

gar an


-

den gels

walk. sing.

56 the Vocalize Canon Collection Singer Pages

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