Format : Sheet music
100 Songs in the Key of C. Par . 100 contemporary holiday hits in the popular Easy Fake Book format are presented in this book featuring large, easy-to-read notation, simplified harmonies and melodies, lyrics, and easy stay-open binding, all in the key of C. Songs include: All I Want for Christmas Is You · Breath of Heaven (Mary's Song) · The Christmas Song (Chestnuts Roasting on an Open Fire) · Do You Want to Build a Snowman · Frosty the Snow Man · Grown-Up Christmas List · Happy Xmas (War Is Over) · It's Beginning to Look like Christmas · Jingle Bell Rock · Let It Snow! Let It Snow! Let It Snow! · Mary, Did You Know · Please Come Home for Christmas · Rudolph the Red-Nosed Reindeer · Silver Bells · White Christmas · You're a Mean One, Mr. Grinch · and more. / Date parution : 2021-12-09/ Recueil / Instruments en Do
SKU: CF.CM9634
ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual.
Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!.This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy.This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part” henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio part”, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position” cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio” role and actually become a “Men’s Choral Ensemble”. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vamp”. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp” and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy.
