Chorale Score
Rosalee Ocegueda
A beautiful hymn with rich harmonies and suspensions opens this fine work for beginning bands. As the lyrical melody reaches a final cadence, the piece then moves into a bombastic chant with a wealth of percussion. The theme is presented in different textures and students will explore the basic components of a fugue in an easy setting. Listeners and performers alike will be excited by the rhythmic drive of the percussion. In addition, consider using the opening as a daily chorale to work on intonation with your ensemble.
Parts are available for all band and orchestra instruments. The Chorales can be played by any combination of instruments, from one-on-a-part chamber groups to full band or orchestra. Playing and singing the Chorales at various tempos and dynamics, and with varieties of instrument combinations, can greatly aid in the development of ensemble cohesiveness and intonation.
The Chorale sets have also been arranged for clarinet choir..reading-box-container-6 .element-bottomshadow:before,.reading-box-container-6 .element-bottomshadow:afteropacity:0.7;Program NoteCollected Chorales: 117 SATB Chorales in the old style, using the original melodies from the Bach 371
Since approximately 1990 I have been using the Bach chorales (the 371 four-part chorales, famous to every freshman theory student) as a warm up to my composing. I play a chorale at the keyboard while singing successively soprano, alto, tenor, and bass. This process helps me to make the transition to musical thinking. I have found that the singing is the crucial thing. It bypasses analytical processes, and opens something very deep in my imagination. At a certain point I began composing my own chorales in the old style, and have now written over 200 of them. This process of singing the Bach chorales, and writing and singing my own, has taken me to the roots of our western tonal musical language. It has profoundly influenced the way I write music.
My intent was to provide musically engaging chorale material for the purpose of ensemble development. I have found over many years that ensembles blossom when each individual is completely engaged (strange idea!), and that the chorales provide each player with a beautifully formed melody within the four-part texture.
The Maslanka Collected Chorales are an extraordinary tool to help develop blend, balance, intonation, and ensemble cohesion in groups ranging from large symphonic bands and orchestras to small chamber groups or sectionals. With a daily [...]
Two-character alphabetic code that indicates the form of composition. Codes are based on Library of Congress subject headings. If more than one code is appropriate, the code mu (Multiple forms) is used in 008/18-19 and all appropriate specific codes are given in field 047 (Form of Composition). Code mu (Multiple forms) may also signify that field 047 (Form of Composition) contains non-MARC composition codes.
Form of composition code is based on the terminology in the work itself and is intended to provide a coded approach to the content of the work. In addition to codes for forms, the list also includes codes for musical genres (e.g., Ragtime music). Codes should be assigned when they apply to the item as a whole (e.g., if the item is a symphony and one of the movements is in sonata form, only the code for symphonies is recorded). Codes for which special information is needed for proper application are described below. Other codes are described in music reference sources. Non music sound recordings do not have a form of composition and are coded nn (Not applicable).
One-character code that indicates the format of a musical composition (e.g., piano-conductor score). Unless otherwise indicated, the values apply to music written using graphic, symbolic (e.g., staff), or word-based notation.
Information for this data element is generally derived from terms appearing in field 300 (Physical Description). If the item being cataloged consists of one or more scores along with other materials (e.g., one or more parts), consider only the score or scores in coding this character position. Used for notated music; for sound recordings, use code n (Not applicable).
Staff notation representing the sounds of all the parts of an ensemble (instrumental and/or vocal), arranged so that they can be read simultaneously. Note: code l (Score) may be used for works recorded with graphic, symbolic (e.g., staff), or word-based notation representing the sounds of all the parts of an ensemble, arranged so that they can be read simultaneously, or a work for solo performer or electronic media.
Score for solo and/or choral voice(s) with the accompaniment omitted. Vocal works originally unaccompanied are assigned other codes as appropriate. For chorus scores and vocal scores, prefer codes h (Chorus score) and k (Vocal score).
Orchestral or band music that has been reduced. It may be part of an ensemble work for a particular instrument, with cues for other instruments. Such a score is used by an individual playing the instrument for which the score was written or for the conductor. Prefer code i (Condensed score) or code j (Performer-conductor part) if the two types of scores can be distinguished.
Score of a work for solo voices and chorus showing only the parts for chorus, with the instrumental accompaniment either arranged for keyboard(s) or other chordal instrument(s) or omitted. Note: see code k (Vocal score) for scores that include solo voices as well as chorus parts.
Score in which the number of staves is reduced to two or a few, generally organized by instrumental sections or vocal parts, and often with cues for individual parts. Sometimes called: Reduced score, Short score.
Score showing all vocal parts, solo and/or choral, with the instrumental accompaniment either arranged for keyboard(s) or other chordal instrument(s) or omitted. Note: see code h (Chorus score) for scores of works for solo voices and chorus that include only chorus parts. See code p (Piano score) for reductions of vocal works that do not include the vocal line(s).
A reduction of an instrumental work or a vocal work with instruments to a version for piano. May include the words of a vocal work. Note: See code k (Vocal score) for a score showing all vocal parts with the accompaniment reduced for piano.
Used primarily to identify music to be used or performed by a specific target audience. When items are considered appropriate for more than one target audience, the code is recorded for the primary target audience. For juvenile material, either code j (Juvenile) or the more specific codes a (Preschool), b (Primary), or c (Pre-adolescent) are used. An item considered juvenile material often includes the word juvenile in its subject heading(s).
Aimed at a particular audience and the nature of the presentation would make the item of little interest to other audiences. Examples of items which are coded f included: 1) technical sound recordings geared to a specialized audience and 2) items which address a limited audience.
The resource is accessed by means of hardware and software connections to a communications network. If a distinction between types of electronic resources is not necessary, code s can be used as a generic code for any form of electronic resource.
Storage on a directly accessible tangible recording medium, e.g. disc, tape, playaway device, flashdrive, portable hard drive, etc. If a distinction between types of electronic resources is not necessary, code s can be used as a generic code for any form of electronic resource.
Intended for manipulation by a computer. The item may reside in a carrier accessed either directly or remotely, in some cases requiring the use of peripheral devices attached to the computer (e.g., a CD-ROM player). Not used for items that do not require the use of a computer (e.g., music compact discs, videodiscs). This code can be used as a generic code for any form of electronic resource. Codes o and q may be used if there is a need to separately identify online and direct electronic resources.
Up to six one-character alphabetic codes (recorded in alphabetical order) that indicate the contents of program notes and other accompanying material for sound recording, music manuscripts, or notated music. If fewer than six codes are assigned, the codes are left justified and each unused position contains a blank (#).
Generally, a specific code is used only if a significant part of the accompanying material is the type of material represented by the code. If more than six codes are appropriate to an item, only the six most important are recorded.
Up to two one-character codes (recorded in the order of the following list) that indicate the type of literary text contained in a nonmusical sound recording. If only one code is assigned, it is left justified and the unused position contains a blank (#).
Code # (Not a reproduction) was redefined when the focus of 008/23 was changed. Codes g, h, and i were made obsolete when the coding of 008/23 (Forms of reproduction code) was redefined as information about the medium of the item in hand rather than about bibliographic reproductions. Prior to 1977, other forms of reproduction were identified by code x.
Code n was made obsolete because the codes defined for these character positions apply to both sound recordings and music scores. Code j was made obsolete when code i was redefined to include any historical information.
The Chorale Ensemble is composed of approximately 30 Chorale members selected by the Artistic Director at the start of the Chorale season, partly based on their most recent audition results. Ensemble members have a higher score criteria and must demonstrate reliability and commitment to the Chorale, so members in their first year are rarely considered. Members can indicate their desire to be considered for the Ensemble on the audition form, or by notifying the Director.
Choral music is usually notated on two, three or four staves withina ChoirStaff group. Accompaniment, if required, is placedbeneath in a PianoStaff group, which is usually reduced insize for rehearsal of a cappella choral works. The notes foreach vocal part are placed in a Voice context, with each staffbeing given either a single vocal part (i.e., one Voice) ora pair of vocal parts (i.e., two Voices).
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