Oxford Book of Flexible Choral Songs
The Oxford Book of Flexible Choral Songs is the perfect resource for secular choirs and singing groups who like the flexibility to perform songs in a range of combinations from unison to SATB. Each piece may be performed by a mixed choir, but is also presented with flexible scoring options, clearly explained throughout, enabling performance by various combinations of singers, including upper voices or men's voices alone. As well as new arrangements of existing repertoire, the collection also features newly commissioned original works, specially written for flexible forces.
The Oxford Book of Flexible Choral Songs is the perfect resource for secular choirs and singing groups who like the flexibility to perform songs in a range of combinations from unison to SATB. Each piece may be performed by a mixed choir, but is also presented with flexible scoring options, clearly explained throughout, enabling performance by various combinations of singers, including upper voices or men's voices alone. As well as new arrangements of existing repertoire, the collection also features newly commissioned original works, specially written for flexible forces.
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145<br />
Voices 1 2 (3) (4)<br />
(Voices 5 6)<br />
(Piano)<br />
32. Sumer is icumen in<br />
Anon.<br />
modern English paraphrase by Alan Bullard<br />
Anon. 13th cent.<br />
or possibly by John <strong>of</strong> Fonsete<br />
with piano part by ALAN BULLARD ( b. 1947 )<br />
VOICES<br />
1 & 2<br />
Joyfully q. = c.92<br />
° #<br />
& # ∑ ∑ ∑ ∑<br />
< ‹ ><br />
6 8<br />
6 8<br />
6 8<br />
6 8<br />
for online perusal only<br />
VOICES<br />
3 & 4<br />
#<br />
¢ & # ∑ ∑ ∑ ∑<br />
< ‹ ><br />
PIANO<br />
& # #<br />
{<br />
?# #<br />
Joyfully q. = c.92<br />
œ œ<br />
œ œ œ œ œ œ œ<br />
œ œ œ œ œ œ<br />
œ œ œ œ œ œ œ œ œ œ œ<br />
p cresc.<br />
œ œ œ œ. œ. œ. œ. œ. œ. œ j œ j œ œ<br />
5<br />
°<br />
&<br />
< ‹ ><br />
¢ &<br />
< ‹ ><br />
& # #<br />
{<br />
f<br />
# #<br />
Sing<br />
Sing<br />
f<br />
# #<br />
Sing<br />
Sing<br />
?# #<br />
f<br />
œ. œ. œ. œ œ j œ. œ. œ. Œ.<br />
cu<br />
cuck<br />
cu<br />
cuck<br />
-<br />
-<br />
-<br />
-<br />
cu<br />
oo,<br />
œ. œ. œ. Œ.<br />
cu,<br />
oo,<br />
nu,<br />
now<br />
sing<br />
sing<br />
sing<br />
sing<br />
cu<br />
cuck<br />
cu<br />
cuck<br />
-<br />
-<br />
-<br />
-<br />
cu,<br />
oo,<br />
œ. œ. œ. œ œ j<br />
cu<br />
oo,<br />
nu,<br />
now<br />
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ<br />
œ.<br />
œ. œ. œ. œ. œ.<br />
œ.<br />
œ.<br />
This round may be performed in two, three, or four parts, choosing any suitable vocal groupings.<br />
If sung in two parts, follow the Voice 1 and 2 indications (thus the melody is sung by all in unison for the first verse). For the<br />
three-part verson, omit Voice 4.<br />
The piano part can be omitted for the three-part or four-part version. In this case, two more voice parts may optionally sing<br />
bars 5 –8 repeated throughout, to form an ostinato.<br />
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