Roderick Williams choral sampler

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NEW HORIZONS 28 2 Advent SATB (with divisions) a cappella for online perusal only RODERICK WILLIAMS O Adonai, et Dux domus Israel
O Adonai, et Dux domus Israel Performance directions Structure The motet is performed as follows: Solo Soprano opening phrase A sung once. · Solo and chorus Sopranos sing B and continue improvising until the solo Soprano cues the Coda. · Once B is established in upper voices, lower voices begin at and sing through to the end of their music. · The Celebrant joins at E . During the last line of the Celebrant’s music, the solo Soprano begins the Coda by singing the initial phrase, overlapping with the singing of the Celebrant and lower voices. The chorus Sopranos (with the soloist ad lib.) respond with the exit phrase, · · repeating as many times as necessary to cover their exit (see below). The upper and lower voices are not necessarily meant to synchronize the end of the motet; either part may end first. Notation · In the absence of barlines, an accidental lasts for all successive notes unless cancelled by a further accidental, a change of pitch, or a rest. · In free chant passages, the value is taken to be a longer note and the value a shorter one. Actual duration of notes is determined in performance by the conductor (for the choir) and the soloists. The rest is taken to be a longer rest, a shorter rest. · The slurring of the diphthong in ‘Ado-nai’ ( ) is not meant to give undue stress to the last vowel. Rather, the choir should sing a longer first vowel and synchronize the change. · The Celebrant’s part should be performed with great freedom, and all aspects of pacing, dynamics and expression are left to the performer. The commas are suggested phrasings and can be breaths of indeterminate length; both they and the alignment of the part in the score are for guidance only. 29 C for online perusal only Positioning of singers The preferred arrangement of the singers is as follows: · The solo Soprano (solo Angel) should begin from a high vantage point. The chorus Sopranos (chorus of Angels) should sing from different parts of the building, still from on high if possible. · Altos, Tenors and Basses (the People) should be placed at the back of the audience or in their midst, with the conductor visible to them, but not necessarily to the audience. · Before starting his solo at E , the Celebrant should walk to a position in front of the audience (for example, at a pulpit or lectern), and address the audience directly. · During the Coda the Sopranos should leave their positions and start to exit. The solo Soprano should lead off during the initial phrase as a signal for the other Sopranos to follow. The chorus Sopranos should repeat their exit phrase as necessary to cover their exit. The last ‘veni’ should be very much in the distance. This piece may also be performed in any standard choir formation. · Style The pacing and dynamics of the motet are left to the imagination of the soloists and conductor and may differ with each performance. The delivery of the Celebrant should contrast with the rest of the motet; it should be dramatic, impassioned, highly communicative – almost operatic. · ·
Page 1 and 2: Roderick Williams Choral Sampler De
Page 3 and 4: CHORAL SONGS SATB and piano 3 2 for
Page 5 and 6: 4 5 14 poco più Bb Š Š Š Š ˆ
Page 7 and 8: 34 Vb ˆ ‰ ‰ Š ‰ Š ba ba pi
Page 9 and 10: 8 47 Vbbbbbb ˆ‰ =‰ ŠŠ t Še
Page 11 and 12: 10 V # 65 unis. Š. ŠeŠ q r t Š
Page 13 and 14: NEW HORIZONS 13 2 Sacred SATB a cap
Page 15 and 16: 15 TUTTI SOPRANOS 3 lunga 8 p poco
Page 17 and 18: 17 23 a tempo f 3 3
Page 19 and 20: 19 7 38 mp cresc. e string. poco a
Page 21 and 22: 21 Tempo primo 53 p
Page 23 and 24: 23 11 poco meno mosso 71 poco più
Page 25 and 26: 25 85 a tempo f p
Page 27: 27 102 dim. can ob -
Page 31 and 32: 31 5 Coda SOLO S. Initial phrase
Page 33 and 34: 33 7 - nai, A - d
Page 35 and 36: 35 9 ve - ni ad
Page 37 and 38: qui Moy - si in 3
Page 39 and 40: 13 - nai, A
Page 41 and 42: A. T. B. G O, 15
Page 43 and 44: 43 Commissioned by the Genesis Foun
Page 45 and 46: 4 19 45 3 22
Page 47 and 48: 6 41 to where he w
Page 49 and 50: 8 69 49 night
Page 51 and 52: 10 90 - lov mf 51
Page 53 and 54: 12 111 53 allarg. a tempo
Page 55 and 56: 14 131 p O night more lov
Page 57 and 58: NEW HORIZONS 57 2 Christmas SATB un
Page 59 and 60: 9 ° & & > - œ œ œ - ˙ œ œ œ
Page 61 and 62: ° & ¢ 28 & & ‹ ? poco rall. p 3
Page 63 and 64: 47 ° & & poco rall. œ œ œ œ he
Page 65 and 66: A Catch by the Hearth 85
Page 67 and 68: from Christmas Spirituals for Choir
Page 69 and 70: 18 Children, go where I send thee 6
Page 75 and 76: 24 35 Children, go where I send the
Page 79 and 80:
28 Children, go where I send thee 7
Page 81 and 82:
Page 83 and 84:
Page 85 and 86:
Page 87 and 88:
36 Children, go where I send thee E
Page 89 and 90:
Page 91 and 92:
91 from Christmas Spirituals for Ch
Page 93 and 94:
50 Mary had a baby 93 10 Ma
Page 95 and 96:
52 Mary had a baby 95 22
Page 97 and 98:
54 Mary had a baby 97 35 mf
Page 99 and 100:
56 47 * Mary had
Page 101 and 102:
SOPRANO Gently and expressively q =
Page 103 and 104:
103 3 34 ° & b b ‹ ? ¢ b b œ
Page 105 and 106:
105 5 59 ° & bb & bb & b b ‹ ∑
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Roderick Williams choral sampler

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