Arranging Music For First Experiences Singing

Bass-Tenor-Alto-Soprano Choral Music

FREDERICK SWANSON go where they are supposed to go". This may be a problem
for some of those nearly-emerged bass voices, especially after
2033 Fourteenth Street a summer of non-singing. It will be wise to avoid the reading
Moline, Illinois 61265 of notes in an unfamiliar part or any puzzling problems of
rhythm, and to down-play any other factors that will distract
The purpose of this article is to discuss the choice of their attention from the one challenge they have, "Finding
music for the first expereiences that young singers are to those new tones down in the bass clef".
have in a four part mixed chorus. Our discussion is intended What do we see in so many commercially pUblished "easy
to be of immediate interest to: SATB arrangements?" An attractive melody in the soprano,
1. Vocal music teachers in junior high school an undemanding alto-line. a tenor part filling in a harmony
2. Directors of high school freshmen courses, especially and the bass following the I-IV-V-I progression, which means
in areas where students come with limited training leaps of a fourth or a fifth. That is just the opposite of what
3. Directors of church choir programs that include a the situation demands.
unit for younger teen-agel's. Obviously the voice part most in need of development is
It is also probable that this discussion will be helpful to the bass. These boys have been singing in the treble clef
high school choral conductors who maintain training choirs ranges for some six to eight years, many of them on the
for less capable singers and perhaps even for college choral highest soprano part. Suddenly they are confronted with some
conductors who include in their course offerings a chorus rather puzzling new requirements. They must sing in a radi-
for students with deficient choral experience. cally different range. They have to use a vocal appartus that
We will suppose that it is early September, and you are has grown rapidly in size, with a frustrating loss of control.
meeting your SATB chorus for the first time. As you survey They must sing in a different idiom, Le. not the melody "up
the students that arrive your heart sinks, for it is not the on top" but a vocal line including widely spaced leaps and
ideal enrollment you had anticipated. Instead of the sixty uninteresting contours. They are now buried below all the
singers divided neatly into four sections of approximate size, other singers. where they cannot hear themselves easily to
you see only fifty-four pupils, thirty-eight girls and sixteen be sure they know what they are doing.
boys. You suspect that your perennial foe, the athletic coach, To reduce the number of problems our new basses must
has let it be known that no boys hoping to be on the team solve, we will contrive some arrangements where as many
may sing in the choir. You also wonder if that prejudiced problems as possible will be eliminated, or at least minimized.
counselor has again steered some of those better singers you We cannot do much about their range or tessitura, but we
had worked with in grade seven into science and enriched can. remembering our statement above, give them a famiiar
mathematics. melody to sing so they can concentrate entirely on adjusting
Whatever has happened, this is the material out of which their neWly-enlarged vocal appartus to the new sounds and
you must develop a performing group that will don the on "making the voice go where it should".
beautiful robes you have managed to purchase and appear in
public p':lrformance to bring pleasure to an audience while
adding to the prestige of the school music program, to you
the director, and especially to give satisfaction and a sense
of accomplishment to the singers.
You survey those sixteen boys, knowing what the problems
will be. They are a motley crew, ranging in size from the
six-foot bean-pole to the four-foot-eleven cherub. A few dis-
play the very significant muddy complexion, the pimply skin,
the faint traces of moustache. Others still have the smooth
rosy skin of prepubescent little boys. From this unpreposses-
BE READY TO CATCH THE
sing group you are to develop your tenors and basses. BIG FISH! ANYTIMEl ANYWHEREI
The voice of those gangly pubescents will be well into
the changing stages. There will be some with restricted ranges
somewhere down in the lower bass clef; some will be un- NEW FISHING ROD FITS IN YOUR POCKET!
certain of pitch; some will be coarse and rough in tone quality. TELESCOPES TO A FULL 6 FEET!
There may be some definitely deep basses; with luck You'll never miss a chance to fish again! 6 foot Fishing Rod
there will be a few true, settled tenors. There will be some telescopes down to only 15'12". Stows away in glove compart-
that are not ready to be classified as anything definite. As
ment. back pack, travel bag or pocket. Great for casting, spin-
for those little fellows, they probably should be sopranos or
altos, but you know that they will resist sitting in the "girls' ning or spin-cast use. Tubular glass rod, rugged. Positive grip
sections" for psychological - social reasons. cork handle. Complete with it's own vinyl case. You would ex-
For the moment the girls do not pose so many problems. pectto pay more than $25.00 for this fantastic Rod-Yours for
They have been singing soprano and alto for several years only
and are probably quite prepared to continue doing so. True,
these thirteen and fourteen year old girls' voices will tend to
be colorless, breathy, rather restricted in range. There will be
only a few who can be definitely classified as true altos, and on
there will not be many Who can soar above the treble clef introductory
with ease as genuine sopranos. But right now they are ready offer!
to assume their roles as sopranos and altos.
The most pressing problem, you know well, is that group
of boys. They will demand most of your attention during Mail orders Approved by
these opening days of the semester. What to do? They have add $2.00 Dr. Trikie-
come expecting to sing, and they have a right to have some for tax and
success and pleasure in that singing. Presumably this is an Used on his
elective course. and nobobdy has come reluctantly.
postage big fishing
Several decades ago I heard a noted choral director say, expedition!
"If you have only one tenor, put him in the front row and
L.D. PARSONS A~
give him the melody". Translate to our situation, "If you
have a weak, uncertain section, put those singers into a 18592 MADISON AVENUE
special group and give them the melody, preferably one they
know well. . CASTRO VALLEY, CALIF.
The rationale is quite clear. The immediate need of these 94546
uncertain singers is to concentrate on "making their voices

SEPTEMBER 1975 1&

 ARRANGING
For purposes of illustration, let us consider JOY TO THE
WORLD:
1. It is a familiar carol which all the basses are sure to
know
2. The melody lies within the compass of an octave, pre-
sumably a manageable range if the octave is chosen properly
3. It is a downward melody, built on the descending scale,
so the basses will be working into the newly emerging lower
tones.
Let us suppose that after some quick voice checking, the
a new choral festival to be held key of A-major is the best one for our basses at this parti-
cular time. We have a sizeable group of boys, or maybe only
in Washington, D.C. three or four, who can produce tones within that octave range
December 27 - 30, 1975 without having to force or strain. Our basses now have a
familiar melody on which to practice maneuvering their
between Christmas & New Years coarse and uncertain voices until they can achieve a passable
homogeneity of tone.
The next section of the choir that needs special attention
Non-professional choral groups are invited to audition for is the tenor section. There will not be many true tenors with
participation. a full, resonant quality at this age level. Most of these boy-
tenors will be really treble voices, the immature boys who
will strongly prefer not to sing with the girls. Keep in mind
that these boys may be vocally immature in this first week
in September, but within the coming school year many of
them will become pubescent and will be rea.dy to move into
the bass clef ranges. There are those who believe that it is
wise to anticipate the voice change by easing these boys into
a low alto part occasionally, providing there is no forcing or
straining.
The tenor part we will work out must be carefully con-
trived. We cannot give the tenors the melody, since the basses
already have that, but we can give them a very obvious
harmonic part, similar to the tune in melodic line. The range
must be rather limited, not going below a G for those light
treble voices, yet not very high, in case there are boys finding
their changing voices moving into a tenor range. One hazard
here will be the new, unfamiliar experience of harmonizing
a m,elody "below them". This is compensated for by the re-
moval of any temptation for these "tenors" to sing a soprano
melody an octave lower.
Alexander Dashnaw GiVing the tenors a part that moves in thirds or sixths
Artistic Director with the basses and putting the two parts on a bass-clef staff,
we get this arrangement.
Alexander Dashnaw will direct the massed performance
of all participants at Washington National Cathedral and
Kennedy Center. Mr. Dashnaw is presently Choral Di-
rector at C.W. Post College, Long Island. His choirs have
performed at the National Convention of the ACDA.

PRICE: $76.00 per person

Four days - three nights at Marriott Twin Bridges Motor
Hotel. Two meals daily, all concerts arranged at such sites
as Kennedy Center, St. Matthews' Cathedral and
Washington National Cathedral. Adjudication concert,
massed rehearsals and performance, sightseeing and This two-part arrangement will be quite satisfactory in
much more. (Transportation not included). itself if sung on the exact pitches written, so it could be used
with an all-boy chorus. Some of you sophisticated choral di-
rectors may think it is trite and corny, but that is just the
For more information on JUBILEE please contact: point. We want our new, inexperienced basses and tenors to

Performing Arts Abroad JJ\02East Michigan Ave.

Kalamazoo, Michigan 49006
work into the "feel and sound" of their new voice-ranges in
a song that is obvious and easy. This won't sound trite and
corny to them. It probably will intrigue and satisfy them.
If the boys' voices are uncertain, muddy, hesitant at first,
Tel. 616-381-0200 and if the girls must be kept busy while this new material
is being presented to the boys, parts can be doubled. Altos
may sing lightly with the basses in their own range, while
the sopranos double the tenor part an octave higher and very
softly. As soon as possible the boys should carryon by them-
selves.
Director's Name . It is notorious that the most shoddily taught section of
the mixed choir is the soprano section. These girls have been
Name of School or Institution . singing melodies since earliest childhood. Since 95% of the
so-called "easy four-part songs for junior high" put the melo-
dy in the soprano, these girls are given nothing new. They
meet no challenges, few puzzling problems. All too often these
girls become adept at "singing by ear" so they never have
Address . to acquire skill at sight-reading or even hearing harmonies,
and they seldom meet a moving contrapuntal line.
Phone No. Office Home . Now we are going to give these unchallenged sopranos a
descant, one with a moving line involving sixteenth note fi-
gures and a few leaps involving intervals greater than a
third. In the back of our minds we also know that such a

16 THE CHORAL JOURNAL

part will not tempt our immature boy-singers to try singing come out in the minor rather than the major. In
the soprano an octave or two-octaves below the girls. We are the notes are starred where the tenor line needs to move
also going to insist that the sopranos sing lightly and crisply, contrary motion.
so they do not cover the melody and so that they are aware
of the sound of their voices moving against a melody.
The same applies to the altos, with a few modifications.
If there are few girls with real alto quality, we'll stay in
the treble clef, making few forays into the leger-lines below.
We may want to give these girls just as interesting a part
as the sopranos if they are adept at singing an alto line, or
we may choose to keep their part simpler, depending on their the ~1~m ::-.- bove
ability.
While the girls are learning their parts, the boys can be
singing their bass melody and tenor harmony, not only to
give them ample practice in developing their new voices, but
also to give the girls the needed experience of singing counter
to the melody.
Our four parts may emerge as illustrated in Example 2.
Note that I have elected to put the tenor in the treble clef
Once the boys' parts are in place, estimate how much
with the admonition to sing an octave lower than written.
chaIlenge the girls should have and contrive some interesting
That is what these tenors will be seeing when standard, pub- soprano and alto counter-melodies.
lished SATB music is used. If preferred and if there is to be Next, let us deal with another problem, that of the fre-
some singing from hymnals and liturgical scores, it may be
quently weak tenor section. What if your boys in that part
advisable to put the tenor with the bass on the bass-clef staff. of the choir are immature of voice, feeble of tone, non-aggres-
sive, and unable yet to hold their own against the sopranos
Example 2 and altos? Let's give THEM some arrangement where they
have the melody. Choose an easy, familiar tune, with limited
I range and with sttp-wise progressions rather than leaps or
skips. The hymn NOW THE DAY IS OVER, is one which
f..1 .L":fer:: to the world
wi~h t~'ki~.n~om;~ce ~j ~~~~ tt~-~~~VB tio~~ l'¥t3w fills these requirements very adequately. What key to use?
Ir.u- tt 2 • He rules the HOrla
Whatever key will best accommodate these timid voices.

----
-' "- ..-cI \-'. , r----
Choosing the key of E-flat for our example, we'll give

!rJJ-+t
- v
- -~- - ...- '-----"
----- - .... the basses the traditional bass-line with some alterations to
avoid the extended range of a tenth. We are assuming that
by now the basses have attained some homogeneity of tone,
some control of their voices, and are ready to han.dle some-
1-
2. fey ru;o~~ il;~ l·rnrlrJ,
"[orld
tt,¥:
:lith
LOT"l
rl.l:c..~ ~rid.c~~~e ~;;~ p;~~~ tr;~- ;~~Vf:; ti~~£ leir'
:·':-1"1fe
thing more challenging than an obvious tune.
~.
We next give the altos the familiar counter-melody with
the admonition that they must keep it softer than the tenor
melody; no heavy, pushed, chesty tones will be acceptable.
As for the sopranos, we won't give these girls a chance to

PRAISE TO THE LORD!

by
Ron Klusmeier

sJ.nt;;.
12 Modern Hymns with
love.
Contemporary Music 0

(Record $5.95)

One of the purposes of this article IS to motivate YOU. Perhaps one of the brightest young. writers of contemporary sacred music of today. Of the
the reader, to arrange music that will fit your particular situ- twelve hymn texts, seven are by the world reknown, FRED KAAN, of Switzerland.
ation, not to give you something to copy. That is why I In score form only at the moment but composed for chorus with added instrumentation.
chose as an example a song that is not suitable for early FI utE::, guitar, trumpets, trombones and bass. All instrument parts are transposed for ready
September. playing. Further single choruses and parts in preparation.
Suppose you take the familiar theme from Beethoven's
Ninth Symphony, found in many collections as JOYFUL, WRITE FOR COMPLIMENTARY COPY OF SCORE ONLY.
JOYFUL WE ADORE THEE (Also, we are told, there is
a popular arrangement out, with rather deplorable words)
If you change the final note in measure twelve, the entire
HARMUSE PUBLICATIONS
melody lies within the range of a fifth, so a wide choice of
keys is possible to fit almost any restricted tessitura YOUR
new basses find singable. On staff paper, sketch out the bass '!he
part in the optimum range. Above it, pencil in a tenor part,
one which will in general move in paraIlel motion, either a
third or a sixth above the bass.
You will quickly discover that if you copy the tenor in
the treble-clef, by putting the tenor notes on the same lines
and' spaces as the bass, you will get a pitch a sixth above.
This will work whenever you· want obvious harmonic writing,
but some care must be taken to watch the cadences lest you

SEPTEMBER 1976
 versity, New Orleans, La. 70118. church music, contemporary folk, and
LOYOLA TO HOST High school directors who would like rock. It is scored for chorus, 3 soloists
to attend and/or bring their choirs to and chamber orchestra.
CHORAL fESTIVAL APRIL 8-11 New Orleans to hear the collegiate en- Gerre Hancock will present a master
sembles perform should write to the class for organists on Improvisation.
Loyola University, in conjunction with above address for further information. Anne McKlenney Krauss will present
the New Orleans Bicentennial Commis- piano literature especially designed for
sion, will host a Collegiate Choral Festi- Bicentennial recitals and programs. Alice
val on April 8-11, 1976. HINSHAW MUSIC COMPANY Parker will present a master class in
Ten to twenty college choirs will be choral literature and techniques. Natalie
invited to perform American choral mu- HOLDS OPEN HOUSE Sleeth will present a lecture and her
sic concerts at Loyola University and newly published materials. Hank Beebe
in schools and churches in New Orleans. Donald G. Hinshaw, President, Hin- will present a lecture and demonstrate
It is hoped that several choirs will per- shaw Music, Inc. announces the Grand the use of jazz in his new music.
form works by composers from their own Opening and Open House of the new Registration begins at 12 o'clock noon
schools and will bring the composer with publishing company in Chapel Hill, North on Friday, October 3, at the Carolina Inn
them for a composer's symposium which Carolina on October 3-4, 1975. in Chapel Hill. (Overnight accommoda-
will be held in conjunction with the event. Choral directors (both school and tions are available at the Inn.) A registra-
The select ensembles from the five uni- church), Organists, .Piano Teachers are tion fee of $10.00 covers all lectures,
versities in New Orleans will combine to cordially invited to attend reading ses- concerts, classes, and a FREE packet of
perform the final concert of the festival. sions, lectures, master classes, and con- choral music. For more information write
The performance will include the New certs conducted by noted composers: or call: Hinshaw Music, Inc., P.O. Box
Orleans Symphony Orchestra and the Alice Parker, Natalie Sleeth, Anne Mc- 470, Chapel Hill, NC 27514, Phone 919-
guest conductor will be Mr. Gregg Smith, Klenney Krauss, Hank Beebe, and Galt 967-9702.
the noted professional choral conductor. MacDermott.
Final rehearsals for this performance will The two-day workshop will feature the Members ordering music from the Se-
be open to all festival participants and southern premiere of Take This Bread, lective American Music list in the April
interested choral directors. a new sacred work by Galt MacDermott, 1975 issue of the MENC Journal from
College choral directors who would like well-known composer of the Broadway Standard Music Publishing, Inc. are urged
to have their choirs participate in the musical Hair. Subtitled, "A Mass in our to use the following corrected address:
festival should write: Larry D. Wyatt, Time", this new work is a collage of P.O. Box 1043, Whitman Square, Turners-
Director of Choral Activities, Loyola Uni- musical styles encompassing English ville, New Jersey 08012.
11111111111111111111111111111111111111111I111111111111111I111111111111111111111111111111I1111111111111111111111111111111I11111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111

ARRANGING . . . illegal to reproduce any score that is copyrighted; so if you

take a currently popular tune or some song from a recent
Broadway show,' rearrange it and reproduce copies mechani-
sit back and sing a hymn by ear. Rather, we'll giv:e them a
cally, you are breaking the law. Be advised to use familiar
fairly high descant, just difficult enough to keep them alert
hymns (as we have, with a thought for our church choir
and interested, with the requirement that they keep their
directors), folk songs, old spirituals, both white and negro,
voices light enough so that they hear the tenors easily.
the "old line" patriotic songs, and melodies dating back to
the nineteenth century or earlier. For suggestions, consider
EX2IJlple 4
-
NOli THE DAY IS OVER
-
-fI"'-
these:
1. Give the tenors the melody for America, for All
ajad-oHs of the
~:ith Tl;.v te~~ltr st
Through the Night, Oh Susannah, Home on the Range, Blow
N the Man Down
2. Give the basses the melody for Skip to My Lou, The
- I - Water Is Wide, Joshua Fit De Battle of Jericho
Your first attempts at this process may be slow and time-
consuming. Too time consuming for you? Well, that depends
niJo. ••• on your philosophy and attitude toward your job. How serious
:0° 8 (.", ....
is your problem and how hard are you willing to work to
solve it? How much difficulty do you have in fitting your
voices to standard choral arrangements? How well prepared
I
and vocally settled are your singers when they first come to
you?
The results achieved by the above procedure will more
1/ teal a-
may 0= crdss •'!.he
eye-
sky
close
~

A •• than repay a director for the time spent. It only takes two
or three attempts at this process to become rather adept,
reproducing a sixteen bar arrangement in as little as half
an hour once you have pencilled in your proposed arrange-
ment. Paradoxically, the more acute and restricted your
problem, the easier it is to contrive the arrangement, because
the problem suggests the arrangement you must use. :.:

It must be remembered that the purpose of making these

special arrangements is educational. These are learning ex-
ercises intended to attain certain goals, to introduce young
teen-age singers (or inexperienced, deficient older singers) to
SATB singing, efficiently and effectively. These arrangements ../
THIS IS NO LINE ...
make no claim to great artistic worth, and only occasionally ../ THERE ARE MORE FISHING LICENSES SOLD
will one of them prove to be so musically satisfying that you THAN MARRIAGE L1CENSES--
will want to keep it in the permanent repertoire of your choir.
Often an arrangement can be retired after having served its MEET INTERESTING PEOPLE
purpose. OWN AND OPERATE
We are presuming that within a few weeks your four sec-
tions will have attained enough assurance and control so that A TACKLE SHOP
you can proceed to use the standard, published SATB ar- INVESTMENT NEEDED ONLY $6950. 00
rangements available commercially, and that you will resort CALL Mr. PATRICK AT:
to specially contrived arrangements ONLY if one of your 803/556-4970
sections is persisently weak and is in constant need of atten-
OR WRITE TO:
tion.
A word of caution is in order. Only songs in the public P. O. Box 10206 CHARLESTON, SC 29411
domain should be used in these learning-arrangements. It is

18 THE CHORAL JOURNAL