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.
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
• If your choir is TB, you can sing all those marked ‘Voices 1 2’ (or ‘Voices<br />
1 2 3’, etc.), ‘Voices 1 (2)’, and many <strong>of</strong> the upper-voice pieces by singing SA<br />
an octave lower, as indicated in the performance notes.<br />
• If your choir prefers to sing in unison, in both octaves, or just upper or<br />
lower, then you can sing all the pieces in which everything after the ‘S’<br />
is in brackets, or where everything except ‘Voice 1’ is in brackets.<br />
Occasionally, individual voice parts will divide, with two notes indicated on the<br />
same stem. If both notes are large, then either or both may be sung. If one note<br />
is small, then the larger should be sung by some or all voices, but the smaller is<br />
an optional alternative for those for whom the large note is out <strong>of</strong> range.<br />
Some performance aspects<br />
for online perusal only<br />
Many <strong>of</strong> these songs have a piano accompaniment, which is in some cases<br />
optional. In some pieces there are sections in small notes for the piano—these<br />
sections can be omitted where all voice-parts are present, but should be played<br />
if not. Remember that the accompaniment is designed to support the choir,<br />
adding musical interest but not detracting from the singing or the projection<br />
<strong>of</strong> the words, for it is the words that shape the musical phrases and aid<br />
communication with the audience.<br />
I would like to thank all who have contributed to this book and made<br />
suggestions for it, including Dr Mark Williams, Departmental Lecturer in Celtic<br />
at the University <strong>of</strong> <strong>Oxford</strong>, for his advice on the use <strong>of</strong> Gaelic. Particular thanks<br />
must go to all those at OUP responsible for the various aspects <strong>of</strong> the project,<br />
in particular Robyn Elton, Commissioning Editor, whose advice, efficiency, and<br />
encouragement has been invaluable.<br />
Alan Bullard, August 2019<br />
iv
Change language