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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Voices 1 (2) (3) (4)<br />
(Piano)<br />
1. A Bell-Chime<br />
Anonymous bell inscriptions from<br />
Hampshire, Cornwall, and Nottinghamshire<br />
ALAN BULLARD<br />
( b. 1947 )<br />
VOICES<br />
& b<br />
< ‹ ><br />
Bright and rhythmic q = c.144<br />
3<br />
4<br />
œ œ j œ. œ ˙ œ œ œ œ. œ j ˙<br />
In sweet - est sound let all our notes re - veal, We<br />
*<br />
œ œ ˙ œ<br />
shall<br />
be<br />
6<br />
&<br />
< ‹ ><br />
b<br />
><br />
œ<br />
J œ. œ œ œ œ œ œ ˙.<br />
first<br />
œ œ œ œ œ œ œ<br />
to chime the peal; Mu - sic the deep - est<br />
for online perusal only<br />
11<br />
&<br />
< ‹ ><br />
16<br />
&<br />
< ‹ ><br />
21<br />
&<br />
< ‹ ><br />
27<br />
&<br />
< ‹ ><br />
b<br />
b<br />
b<br />
b<br />
œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ. œ J<br />
œ<br />
grief can charm, And fate’s se - ver - est rage dis -<br />
> > ><br />
˙ œ œ J<br />
œ. œ œ J<br />
œ. œ bœ<br />
œ œ œ j œ. œ<br />
><br />
- arm; Our voi<br />
- ces shall<br />
with<br />
˙ œ œ œ j œ. œ œ œ œ. œ j ˙ œ œ j œ.<br />
><br />
hills and val-leys<br />
to e - cho a- round; So join<br />
><br />
œ j œ. œ ˙ œ œ<br />
œ<br />
><br />
ring<br />
full well With a ding, dong,<br />
˙<br />
><br />
œ ˙<br />
joy<br />
ding, dong,<br />
- ful sound<br />
><br />
œ<br />
œ<br />
Make<br />
with us and<br />
U<br />
><br />
œ œ<br />
><br />
˙<br />
ding, dong, bell.<br />
˙<br />
( )<br />
œ<br />
.<br />
PIANO<br />
(opt.)<br />
{<br />
> > ><br />
( )<br />
˙˙.<br />
3<br />
& b<br />
˙<br />
˙. ˙. 4<br />
˙˙.<br />
˙˙. .<br />
? 3 b 4<br />
><br />
˙<br />
˙..<br />
con Ped. ><br />
˙<br />
˙.. ><br />
˙˙. . ><br />
˙˙. .<br />
>U (repeat as required )<br />
u<br />
( )<br />
.<br />
.<br />
This round may be performed in up to four parts (in any octave), with each voice entering in turn from the beginning when<br />
the previous part reaches the * sign. Voices may be shared between the parts using any suitable vocal grouping. Dynamics<br />
and number <strong>of</strong> repeats are left to the performers’ discretion.<br />
To finish the song, voices may drop out one by one or repeat the last four bars (with upbeat) as many times as is necessary to<br />
enable all voices to end together.<br />
The piano part is optional and may be decorated, filled out, or omitted in places, as appropriate. It may also be played once<br />
through as a four-bar introduction.<br />
© <strong>Oxford</strong> University Press 2019. Photocopying this copyright material is ILLEGAL.
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