National ACDA 2023 | Thursday Reading Session | MusicSpoke

Thursday, February 23, 2023

Tom Shelton, Conductor

Derrick Fox, Conductor

Phone & FAX: 844.687.7653 • Email: notes@musicspoke.com

P.O. Box 10026 | Kansas City, MO 64171

American Choral Directors Association 2023 National Conference

A little song of Life | Reg Unterseher | SSAA, SATB, TTBB

Passing Dreams (Ukrainian Lullaby) | Tom Shelton | SSA

Peace in the Desert | Lee Kesselman | SSA

Wynken, Blynken, and Nod | Bradley Vogel | SA

Measure Me Sky | Braeden Ayres | SSA

My Cage | J. Reese Norris | SSA, SATB

Raise Your Voice in Song | Derrick Fox | SATB, TB

Sikirileke/Koloi | Sabelo Mthembu | SATB

Epilogue: Why I Do Not Weep | Christopher Harris | SATB

You Can Fly | Brandon Williams | SSA, SSAT, SSAB, or SSATB

Keep Marchin’ | Raymond Wise | SATB Double Choir

* If ordering printed scores, shipping will be added to the invoice

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American Choral Directors Association 2023 National Conference

Music for developing voices | Tom Shelton, Conductor

5 A little song of Life | Reg Unterseher | SSAA, SATB, TTBB

15 Passing Dreams (Ukrainian Lullaby) | Tom Shelton | SSA

29 Peace in the Desert | Lee Kesselman | SSA

41 Wynken, Blynken, and Nod | Bradley Vogel | SA

51 Measure Me Sky | Braeden Ayres | SSA

62 My Cage | J. Reese Norris | SSA, SATB

Lizette Woodworth Reese

A Little Song of Life

by Lizette Woodworth Reese (1856-1935)

Glad that I live am I; That the sky is blue; Glad for the country lanes, And the fall of dew. After the sun the rain, After the rain the sun; This is the way of life, Till the work be done. All that we need to do, Be we low or high, Is to see that we grow Nearer the sky.

ABOUT THE PIECE

The energy, hope and positive energy in the poem is reinforced by the layered rhythms and syncopations in both the piano and voice parts. The poem is divided into three parts. The first part is an expression of the feeling of the joy of the natural world. The middle section explores in simple terms the cyclical nature of natural systems. When the musical material returns, it is both recognizable and developed a little more each time. The third section introduces the last lines of the poems as a mantra, repeated back and forth between two parts while a descant group soars above them. Finally, we just repeat the first line of the poem.

for the Spokane AreaYouth Choirs, Marc A. Hafso and Judy Pearson Hafso, Artistic Directors

A Little Song of Life

Upper Voices (SSAA) and Piano

Lizette Woodworth Reese, 1856-1935 Reginald Unterseher, b. 1956

© Reginald Unterseher 2016

NOTICE: The unauthorized copying of the whole or any part of this publication is illegal.

All that we need to do be we low or high is to see that we grow near er the sky.

we need to do be we low or high is to see that we grow near er the

All that we need to do be we low or sky.

All that we need to do be we low or high is to see that we grow near er the

that we need to do be we low or high is to see that we grow near er the

All that we need to do be we low or high is to see that we grow near er the sky sky.

Background Information:

● I used the haunting Ukrainian Lullaby "Oy khodyt son kolo vikon" (The Dream passes by the window)

● The first verse is sung with the Ukrainian text. (mm.3-10) After the first verse, the choir joins for the repeat of the verse. (mm.11-18)

● I created new music (beginning m.19), and adapted the English verses to tell the original story.

● At m. 58, the Ukrainian melody is overlaid above the new music.

● At the end of the piece (m.66), I incorporated the Ukrainian text of the last two lines of verse 3. (Spaty, spaty, sokol'yatko, Spaty, spaty, holubyatko.)

This is a flexible piece! The premiere was with an SSAB choir. For the Baritones, they sang the following:

● meas.11 - 18 - Baritones sing Solo/Small Ensemble part and the S1 part (melody) at mm. 15 -18.

● meas. 27 - 54 - Baritones sing SII part down the octave.

● meas.58 - 65 - Baritones sing Solo/Small Ensemble part.

● meas. 66 - 69 - Sing Melody (SI)

● p. 11; m. 70 - End: Sing the top line the 3rd and 4th times.

Original language, translation, and transliteration taken from Wikipedia: Ukrainian

Translated into English

Translated into Roman alphabet

Ой ходить сон, коло вікон. А дрімота коло плота. Питається сон дрімоти: "Де ж ми будем ночувати?"

Де хатонька теплесенька, Де дитина малесенька, Туди підем ночувати, І дитинку колисати.

Там ми будем спочивати, І дитинку присипляти: Спати, спати, соколятко, Спати, спати, голуб'ятко.[3]

The Dream passes by the window, And Sleep by the fence. The Dream asks Sleep: "Where should we rest tonight?"

Where the cottage is warm, Where the tot is tiny, There we will go, And rock the child to sleep.

There we will sleep, and will sing to the child: Sleep, sleep, my little falcon, Sleep, sleep, my little dove.

Oy khodyt' son, kolo vikon. A drimota kolo plota. Pytayetsya son drimoty: De zh my budem nochuvaty?

De khaton'ka teplesen'ka, De dytynka malesen'ka, Tudy pidem nochuvaty I dytynku kolysaty.

Tam budem spochyvaty, I dytynku prysypl'yaty: Spaty, spaty, sokol'yatko, Spaty, spaty, holubyatko.

IPA Translation: IPA

Translation by Irina Petrik

Verse 1:

ɔi hɔdɨtʲ sɔn kɔLɔ vikɔn

ɑ drimɔtɑ

kɔLɔ plɔtɑ pɨtɑjɛtsʲɑ sɔn drimɔtɨ

ɑ dɛ budɛm nɔʧuvɑtɨ

Last Two lines of Verse 3: spɑtɨ spɑtɨ sɔkɔlʲɑtkɔ spɑtɨ spɑtɨ ɦɔlubjɑtkɔ

Pronunciation Notes:

– The capital indicates the back Slavic "L" as in "luck"

– The vowel [ɨ] is similar to the sound [ɪ] as in "it", "stick" but a bit wider. Should be sung as in the [i] family - not a diphthong!

– The upper [j] notated like an apostrophe indicates a phantom glide, a very quick [i] glide coloring the vowel subtly, as in "sɔkɔlʲɑtkɔ"

– The regular [j] glide stands for a real audible and obvious [j], as in "ɦɔlubjɑtkɔ". Must be pronounced as in "yet", "yesterday"

– The [ɔ] vowel is closer to the Italian word "caro". Not as open as "dawn".

– The stressed vowels are underlined

Special thanks to Irina Petrik for the IPA and Pronunciation Notes! In addition, on the musicspoke.com website, you will find pronunciation recordings by Irina Petrik and rehearsal learning tracks by the composer.

Commissioned by the New Orleans Children's Chorus for the 2022 Crescent City Choral Festival Cheryl Dupont, Artistic Director; New Orleans, Louisiana

Passing Dreams

Incorporating Oy khodyt son kolo vikon

3 part, solo (or small ensemble) with Piano and Cello*

Copyright © 2022 Tom Shelton

Music

Ukrainian Lullaby Arranged and Adapted by TOM SHELTON

Text Ukrainian Lullaby New and Adapted text by TOM SHELTON

Commissioned by the New Orleans Children's Chorus for the 2022 Crescent City Choral Festival Cheryl Dupont, Artistic Director; New Orleans, Louisiana

Passing Dreams

by TOM

Tom T. Shelton, Jr. is a native of Greensboro, N.C. and a graduate of the University of North Carolina at Greensboro, where he earned both a Bachelor of Music Education and Master of Music in Choral Conducting. He is Associate Professor and Chair of the Choral Studies, Music Education, and Sacred Music Department at Westminster Choir College. In addition, he is the director of Children's and Youth Choirs at Princeton United Methodist Church and conducts the Semi-Tones Ensemble with the Princeton Girlchoir Organization.

Professor Shelton has a passion for music education in all areas: church, school and community. He taught middle school choral music in Winston-Salem/Forsyth County for 18 years. During that time he was selected Teacher of the Year for both Atkins Middle School and Kernersville Middle School. In 1999 the North Carolina Music Educators Association presented him with the North Carolina Middle School Music Teacher of the Year award.

Professor Shelton is an active member of the American Choral Directors Association, having served as the National President (2017-2019). Other ACDA leadership positions have included Southern Division president (2011-2012), National R&S chair for Middle School/Junior High Choirs (20072009) and North Carolina president (2005-2007).

Professor Shelton has conducted and adjudicated choral festivals, as well as presented workshops in 21 states as well as Hong Kong; Minsk, Belarus; Jakarta, Indonesia; and Sri Lanka. He has conducted Choral Festivals in Carnegie Hall; Honor Choirs for the Central Division ACDA and Southern Division ACDA; as well as All State and Festival Choirs throughout the United States. Professor Shelton is the Series Director for the Music for Young Voices Series with GIA Publications and has over 60 compositions published by Choristers Guild, Colla Voce Music, G. Schirmer, Galaxy, GIA Publications, Growing in Grace Curriculum, Heritage Music Press, Hinshaw Music Company, Musicspoke.com, Santa Barbara Music Press, and Walton Music.

For more information: tomsheltonmusic.com

Peace in the Desert

for voices and piano

Music: Lee R. Kesselman

Words: Isaiah, Chap 2, v. 2, 4

Commissioned by my dear friends the Portland Symphonic Girlchoir, Roberta Q. Jackson & Debra Burgess, Directors

Kesselman, Lee Peace in the Desert - Treble Voices and Piano MS39805 $2.25

Isaiah 2:2

In the last days the mountain of the Lord's temple will be established as chief among the mountains, it will be raised above the hills, and all nations will stream to it.

Isaiah 2: 4

He will judge between the nations and will settle disputes for many peoples.

Arabic: Fiyaqde bayna al-omam wa yahkom bayna al-sha'ub al-kathira.

[fuh-yuk-dee bey-nuh uhl o-muhm wah yakh-kahm bey-nuh ehl shah-ohb ehl keh-thee-ruh]

They will beat their swords into plowshares and their spears into pruning hooks.

Latin: Et conflabunt gladios suos in vomeres, et lanceas suas in falces.

Nation will not take up sword against nation, nor will they train for war anymore.

Hebrew: Lo yisa goy el goy kherev v'lo yilm'du od milkhama

[loh yee-sah goy ehl goy kheh-rehv v'-loh yeel-m'-du ohd meel-khah-mah]

NOTE:

No place on earth is more famous as the birthplace of major religions than the deserts of the Middle East. And no place has been such a center of conflicts among the followers of those religions than the same Middle East. The texts to this piece -- in English, Latin, Hebrew and Arabic -- represent the Middle Eastern religions of Christianity, Judaism and Islam and speak of the hopes of all peoples for lasting Peace.

Commissioned by the Portland Symphonic Girlchoir, Roberta Q. Jackson & Debra Burgess, Directors

Commissioned by the Portland Symphonic Girlchoir, Roberta Q. Jackson & Debra Burgess, Directors

Peace in the Desert

for voices and piano

Peace in the Desert

for voices and piano

© 2015 by Lee R. Kesselman

NOTICE: The unauthorized copying of the whole or any part of this publication is illegal.

2015 by Lee R. Kesselman

Vogel, Bradley NOTICE:

Wynken, Blynken, and Nod

To Janie Brokenicky and the Flint Hills Children's Choir in appreciation for the artistry of your music-making. May your dreams and life be full of delight!

Wynken, Blynken, and Nod - Unison, Piano, Flute

Wynken, Blynken, and Nod

To Janie Brokenicky and the Flint Hills Children's Choir in appreciation for the artistry of your music-making. May your dreams and life be full of delight!

MS200607

$2.50

Bradley Vogel ©2019

Eugene Field

Wynken, Blynken, and Nod

Wynken, Blynken, and Nod

Bradley Vogel

Wynken, Blynken, and Nod

text by Leonora Speyer

Measure Me, Sky

for Desert Canyon MS, Scottsdale, AZ; Andrea Squires, Director

Leonora Speyer (1872-1956)

q.=42, or e=126)

Braeden Ayres (1989–)

© 2016

find more works at www.braedenayres.com

NOTICE: The unauthorized copying of the whole or any part of this publication is illegal.

SESSION ONLY

O T

H E R J R E E S E N O R R I S

C O M P O S I T I O N S

F O R T R E B L E C H O I R S

T H I S I S Y O U R T I M E

S A N T A B A R B A R A M U S I C P U B L I S H E R S

P A P E R C R A N E

M U S I S S P O K E

L O S C R I S T A L E S T U R B I O S

S A N T A B A R B A R A M U S I C P U B L I S H I N G

E N D L E S S S O N G

M U S I C S P O K E

M I S E R I C O R D I A

S A N T A B A R B A R A M U S I C P U B L I S H I N G

R I S E A B O V E

M U S I C S P O K E

W E S I N G O F L O V E

S A N T A B A R B A R A M U S I C P U B L I S H E R S

L A Y A G A R L A N D

M U S I C S P O K E

P R E C I O U S L O R D , T A K E M Y H A N D

L A W S O N - G O U L D P U B L I C A T I O N S

A R E Q U I E M O F H O P E

C O L L A V O C E P U B L I S H I N G

M Y C A G E

M U S I C S P O K E

A L L Y O U H A V E

M U S I C S P O K E

F O R M E N ' S C H O I R S

T H E W A R R I O R

M U S I C S P O K E

W O R D S O F W A R

C O L L A V O C E P U B L I S H I N G

I S H A L L N O T L I V E I N V A I N

M U S I C S P O K E

F O R M I X E D C H O I R S

P A P E R C R A N E S A T B ( P I A N O ) M U S I C S P O K E I S H A L L N O T L I V E I N V A I N

M U S I C S P O K E

W H O I A M M U S I C S P O K E

T W O S T R A N G E W O R L D S

M U S I C S P O K E

T H E C R O S S I N G

G . S C H I R M E R - A N D R E A R A M S E Y C H O R A L S E R I E S

A N O L D I R I S H B L E S S I N G

C O L L A V O C E P U B L I S H I N G - J O H N F L A N E R Y S E R I E S

C O M E T H O U F O U

Flightless Wings

I ' M F I N I S H E D W I T H M Y C A G E , F O R W H A T I N T E R E S T D O E S A

F L I G H T L E S S B I R D H A V E ?

W H A T T U N E W I L L A Q U I E T E D B I R D K E E P ?

I W I L L J U M P

My Cage

Music by J Reese Norris

Text by Syd Smallwood

what in t'rest - does a flight less - bird have? What tune will a

& bbb & bbb & bbb

bbb ?

?

for what in t'rest - does a flight less - bird

? bbb 66 2023 NATIONAL ACDA

for what in t'rest - does a flight less - bird

for what in t'rest - does a flight less - bird

have? What tune will a qui et - ed bird keep? have? What tune will a qui et - ed bird keep? w ˙ Œ œ œ œ œ œ œ œ œ œ œ œ ™ œ j œ œ w ˙ Œ œ œ œ œ œ œ œ œ œ œ œ ™ œ j œ œ w ˙ Œ œ œ œ œ œ œ œ œ œ œ œ ™ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ˙ ™ œ œ œ œ œ œ œ w w œ œ œ ˙ œ ˙ ™ œ œ œ œ œ œ œ w w œ œ œ œ ˙ œ ˙ œ œ œ œ œ œ œ w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w w w w w w w w Ó œ œ œ œ œ œ

& bbb & bbb & bbb & bbb 5 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

mf will jump. read -y to soar,

I will jump. read -y to soar,

?

bbb

?

I will jump. read -y to soar,

or read y - to fall, I will jump, read -y to soar, 50

or read y - to fall, I will jump, read -y to soar,

with increasing intensity

it is bet ter - to fight for flight, ah oh,

For mp

59 oh,

than to wait for the un known, -

than to wait for the un known, -

mf

mf mf & bbb & bbb ∑ ∑ & bbb ∑ ∑ ∑ ∑ & bbb ? bbb ? bbb & bbb ∑ & bbb ∑ & bbb & bbb ? bbb ∑ ? bbb œ œ œ œ œ œ œ œ œ œ œ œ w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ ™ œœ œ j œœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ ™ ™ œœ œ j œœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w w w w ˙ ™ œ œ œ œ œ œ ˙ ™ Œ w ˙ œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ™ ‰ œ j œ œ œ œ œ œ œ œ œ œ œ ™ ™ ™ œœ œ j œœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ w ww œ œ œœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ w w w w w w w 7 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE 68 2023 NATIONAL ACDA

mf for the no thing that will come, than to

& bbb & bbb & bbb ? bbb ? bbb & bbb & bbb & bbb & bbb ? bbb ? bbb

wait for the un known, - If we do bbb ∑ ∑

mf for the no thing - that will come, ah oh, than to will come, ah oh, than to

wait for the un known, - If we do 69

f not break free break free from the bars, wait for the un known, - If we do Ó Œ ‰ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó Œ ‰ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ˙ œ œ œ œ œ œ œ œ w w w ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w w w w œ œ œ œ ˙ ™ œ œ œ œ œ œ ˙ Ó Œ œ œ œ œ œ ˙ œ œ œ œ ˙ ™ œ œ œ œ œ œ ˙ Ó Œ œ œ œ œ œ ˙ œ œ œ œ ˙ ™ œ œ œ œ œ œ ˙ Ó Œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œœ œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w w w w œ œ œ œ œ œ œ œ œ w

To wait

q = 115 rit.

from the bars that hold, That hold us back, I will

from the bars that hold, That hold us back, I will q = 115 rit.

3 3

jump, read -y to soar, or read y - to fall, I will jump, read -y to soar, 79

70 2023 NATIONAL ACDA

jump, read -y to soar, or read y - to fall, I will jump, read -y to soar, rit. Ó Œ œ œ œ œ œ ˙ Ó Œ œ œ œ œ ˙ ˙ œ œ Ó Œ œ œ œ œ œ ˙ Ó Œ œ œ œ œ ˙ ˙ œ œ Ó Œ œ œ œ œ œ ˙ Ó Œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ œœ œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙ ˙ ˙˙ ˙ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ œ w ˙ œ œ ˙ œ œ œ œ ˙ Œ œ œ ™ œ J œ œ œ ˙ œ œ ˙ ˙ œ œ œ œ œ w ˙ œ œ œ œ ˙ Œ œ œ ™ œ J œ œ œ ˙ œ œ ˙ œ œ œ œ w ˙ œ œ œ œ ˙ Œ œ œ ™ œ j œ œ œ œ œ œ ˙ œ œ œ œ w œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œœ œ ˙ ˙˙ ˙ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œœ œ w ww w œ œ ™ œ œ j œ œ œ œ œ œ œ œ œ œ ™ œ œ j œ œ ™ œ œ j œ œ œ œ œ œ œ œ ™ ™ œ œ j œ œ ™ œ œ j œ œ ™ œ œ j œ œ ™ œ œ j œ œ œ œ œ œ œ w w w w ˙ Ó œ œ

jump, read -y to soar, or read y - to fall, I will jump, read -y to soar,

For

years a head, - we lie with fold ed - wing, on ly -

For

years a head, - we lie with fold ed - wing, on ly -

For

years a head, - we lie with fold ed - wing, on ly -

The Derrick Fox Choral Series on MusicSpoke is rooted in the belief that representation matters. This series is intended to be a resource for those looking to create diverse musical programs that include music by and about people from marginalized and/or minoritized populations. I hope the singers in your choir will see themselves reflected and respected in the music included in this series or learn about the lived experiences of people outside of their own community.

S A

MS200987

Raise Your Voice in Song

and Piano*

and & ? b b b b b b b b 8 6 8 6 Piano

SATB Chorus and Andantino ( q. »ca. 70 ) F . œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ

Music by DERRICK FOX . œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ

. . . œ œœ œ œœ œ œœ . . . œ œ œ . . . œ œ œ . . œ œ & & & ?

5 ∑ ∑ œ œ œ . œ . œ œ J œ œ œ œ

b b b b b b b b b b b b b b b b

∑ ∑ œ œ œ . œ . . . œ œ œ j œ œ œ œ œ

œ j œ . œ Raise your voice, œ j œ œ Raise your voice . œ œ j œ . œ . œ . . . œ œ œ . . . œ œ œ

9 œ J œ œ œ œ Raise your voice in . œ . œ Raise your œ œ œ œ œ œ œ œ œ œ œ œ . . œ œ œ . œ œ œ

F œ œ œ œ œ œ sing a new song. . œ œ œ œ Sing a new song . œ œ j œ . œ . œ . . . œ œ œ . . . œ œ œ & & & ?

b b b b b b b b b b b b b b b b

. œ . œ song. . ˙ voice ‰ œ œ œ œ œ œ œ œ œ œ . œ œ œ . œ œ œ

œ J œ . œ Raise your voice, œ j œ œ j œ Raise your voice in œ œ œ . œ œ œ J œ œ œ œ

* . œ œ œ œ œ œ . . œ œ . . œ œ . . . œ œ œ

Copyright © 2021 by Derrick Fox

Copyright © 2021 by Derrick Fox

œ œ œ . œ sing a new song. . ˙ song. œ œ œ . œ œ œ œ j œ œ œ œ œ

* Also available for male chorus, TB. Fox, Derrick NOTICE: The unauthorized copying of the whole or any part of this publication is illegal.

Copyright © 2021 by Derrick Fox

Copyright © 2021 by Derrick Fox

Copyright © 2021 by Derrick Fox

Copyright © 2021 by Derrick Fox

Copyright © 2021 by Derrick Fox

Copyright © 2021 by Derrick Fox

Copyright © 2021 by Derrick Fox

Copyright © 2021 by Derrick Fox

Mthembu, Sabelo

Sikirileke / Koloi

Traditional SeSotho Folk Song

   

le ke ki si ri

MS200562

$2.50

Arranged by: Sabelo Mthembu

Si ki ri ke le Si Si

Si tho wel' a ki si ke le mo tho we a la ki si ri ki si ri

eh mo

ke le mo ke le mo

tho we a la tho we a la

eh mo tho a wel' si ki ri

ki ri le ke ki ri le ke

      

mo tho mo tho

a we la, a we la,

ki ri le ke

Ha re pa ba Ha re pa ba  To Coda

    

a we la, Ha re pa ba la Ha re pa ba la mo tho mo tho

mo tho we a la mo tho we a la

la la With Energy With  = 130 - 140 ( = 130 - 140 (  = =     ) ) 1. 2.

we a la we a la

NOTICE: The unauthorized copying of the whole or any part of this publication is illegal.

SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE 86 2023 NATIONAL ACDA

   

wel'. Si ki we la 1.

ri... Re ne we la. mo tho a we la    

2.   2

ha re ba ha re ba

pa la mo tho pa la mo tho

a we la, a we la, pa la pa la

a we la, a we la, mo tho a mo tho a mo tho a  D.S. al

Coda        

2 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

87 2023 NATIONAL ACDA

mo tho mo tho

re ba pa la mo tho a we la.   

Re ba re ne pa la a tho mo la we ne Re pa ba re la a we la

Re ba re ne la pa mo we a tho la.

a tho mo la. we

   

ko loi e me, ko hae hae

   

   

ea tsa ma ya loi ea

thi e me 1. 2.

Ko loi tsa ma ya loi loi

e me, e me,

ko ko

ea ea

tsa ma ya. tsa ma ya ..ma ya. ea ea

ba ko loi Ko tsa ma ya. Ko ea tsa ma ya Ko

        4

Thi tsa ma ya

     

4 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

ba ko e me loi hae e me  

hae loi

e me hae loi hae

         

89 2023 NATIONAL ACDA

loi ko

ea tsa ma ya loi ea tsa

ko ko

loi loi

ea tsa ea tsa

hae e me, ko hae e me, hae e me, Ko loi hae e me,

About the song: song:

Thi ba ko ma ya ma ya ea

Ko loi tsa ma ya ma ya. ma ya

loi ko

ea ea

tsa ma ya. tsa ma ya

ea tsa loi ko loi D.S. al Fine

ma ya. ea tsa ma ya ea tsa ma ya. ko loi ea tsa ma ya

1. 2.                                           5     5 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE 90 2023 NATIONAL ACDA

Harris, Christopher

Why I Do Not Weep

Epilogue: Why I Do Not Weep

Sara Teasdale

Christopher H. Harris

They wonder why I do not weep, they think it strange that I can sing, they say "Her love was scarcely deep, since it as left so slight a sting."

They wonder why I do not weep, they think it strange that I can sing, they say "Her love was scarcely deep, since it as left so slight a sting."

--Sara Teasdale

--Sara Teasdale

& & V

?

&

& V ? & ?

p p p

# # # # # # 4 4 4 4 4 4 4 4 4 4 Soprano Alto Tenor Bass Piano ‰ œ œ œ œ œ œ œ

They ne ver saw my lo ver's

œ œ œ œ œ œ They ne ver saw my lo ver's

‰ œ œ œ œ œ œ œ

They ne ver saw my lo ver's

p p

œ œ ---- -

flowing with much freedom, rubato, and feeling q = 48 p--

œ

œ œ œ

œ œ

‰ œ

œ œ œ face, they on ly

face, they on ly

p--

‰ œ œ œ face,

˙

œ œ ˙ œ œ œ brief, wea ring a ˙ œ œ œ brief, wea ring a ˙ œ œ œ brief, wea ring a ˙ œ œ œ brief, wea ring a ˙ ˙ œ œ œœ œ œ ˙ ˙ œ œ œ œ œ œ

NOTICE: The unauthorized copying of the whole or any part of this publication is illegal. $2.50 MS200549 Epilogue: Why I Do Not Weep - SATB SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE 91 2023 NATIONAL ACDA

©2012

Why I Do Not Weep

pas sing, pas sing like an

& V ? & ?

pas sing, pas sing like an

pas sing, pas sing like

they say, "Our love was scarce ly

think it strange that I can

they say, "Our love was scarce

strange that I can

œ œ think it strange that I can

place I pi ty

ne ver saw my love, 3

place I pi

ne ver saw my love, nor--

ne ver saw my love, nor--

ne ver saw my love, ---- -

œ ˙ œ œ men who have ˙ . œ j œ men who have œ ˙ œ œ men who have œ ˙ œ œ men who have œ ˙ œ œ ˙ . œ J œ œ ˙ œ œ œ ˙ œ

V ? & ? SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE 93 2023 NATIONAL ACDA

?

Why I Do Not Weep

?

by Zetta Elliott

In commemoration of the Children's Chorus of Washington's inaugural Stand Up: Harriet Tubman Tour in June 2022

You Can Fly

Music by Brandon Williams

Text

from "You Too Can Fly"

You Can Fly slightly faster

You Can Fly

You Can Fly

ABOUT THE COMPOSER

Brandon Williams is an Associate Professor of Choral Music and Choral Music Education at Rutgers, The State University of New Jersey, where he conducts the Rutgers Voorhees Choir and teaches a variety of undergraduate and graduate courses related to choral music education. Brandon earned degrees from Western Illinois University, the University of Illinois Urbana‐Champaign, and Michigan State University. He also received an Artist Teacher Diploma from the Choral Music Experience–Institute for Choral Teacher Education. In addition to his edited book Choral Reflections: Insights from American Choral Conductors, Brandon has numerous choral compositions and arrangements published with Hal Leonard, G. Schirmer, Mark Foster, Colla Voce, and Morningstar Music.

ABOUT THE POET

Zetta Elliott is the author of over forty books for young readers, including the award-winning picture books Bird, Melena’s Jubilee, and A Place Inside of Me Dragons in a Bag, a middle grade fantasy novel, was selected for the 2021 Global Read Aloud. The sequel, The Dragon Thief, was named one of the best books of 2019 by the Cooperative Children’s Book Center. Her young adult poetry collection, Say Her Name, was nominated for the YALSA Excellence in Nonfiction Award. Her own imprint, Rosetta Press, generates culturally relevant stories that center children who have been marginalized, misrepresented, and/or rendered invisible in traditional children’s literature. She currently lives in Chicago, IL.

POEM EXCERPT PERFORMANCE NOTES

do not forget to marvel at the wonders of the world when sinister shadows gather and fear clutches your tender heart remember: a single star sparkling in the sable sky may guide you to your destiny

when the struggle to survive leaves you breathless know that we have outpaced hounds and tunneled through mountains of despair to emerge unbowed and free remember: you too can fly

“You Can Fly” was commissioned by the Children's Chorus of Washington in honor of their inaugural Stand Up: Harriet Tubman Tour in June 2022. Along with members from the Choir School of Delaware and the Bel Canto Youth Chorus of The Bach Choir of Bethlehem, singers traveled through Cambridge, MD; Wilmington, DE; and Philadelphia, PA to perform, learn from local historians, and visit sites that played a role in the Underground Railroad and Harriet Tubman's journey to freedom. They learned from and alongside other choirs, connected songs to the physical terrain and landmarks, and engaged in dialogue about Harriet Tubman’s legacy and continued impact-connecting the past and present through music.

This piece may be performed in the following voice configurations: SSA, SSAT, SSAB, or SSATB.

Read the full poem in We Rise, We Resist, We Raise Our Voices

SUPPORT LIVING ARTISTS THE DEAD ONES DON’T NEED IT

Commissioned by Dr Everett McCorvey and the American Spirituals Ensemble Dedicated to the Denison University Gospel Choir, 2007

Keep Marchin' 'Til I Make It Home for Double SSAATTBB Chorus - A

Commissioned by Dr Everett McCorvey and the American Spirituals Ensemble Dedicated to the Denison University Gospel Choir, 2007 Keep Marchin' 'Til I Make It Home for Double SSAATTBB Chorus - A cappella

Wordsa and Music by RAYMOND

WISE

Wordsa and Music by RAYMOND WISE

chin, - mar chin, - wo mar chin, - mar chin - Mar chin, - mar chin, - wo

chin, - mar chin, - wo mar chin, - mar chin - Mar chin, - mar chin, - wo

NOTICE: The unauthorized copying of the whole or any part of this publication is illegal.

fight to reach my goal

sfz

fight to reach my goal

sfz

f - ter

sfz - how hard the bbb

But no mat

mf chin, - mar chin, - wo

Mar chin, - mar chin, - wo mar chin, - mar chin - Mar ? bbb

Mar chin, - mar chin, - wo mar chin, - mar chin - Mar ? bbb

- Mar mf

chin

chin, - mar chin, - wo & bbb mf & bbb mf & ‹ bbb ∑ ∑ ∑ ? bbb ∑ ∑ ∑ / & bbb ? bbb ˙ > œ ™ œ . œ > œ > ˙ ™ œ > œ . > œ > ™ œ œ ‰ ™ œ r œ > œ > ˙ > œ ™ œ . œ > œ > ˙ ™ œ > œ . > œ > œ œ ‰ œ r œ > œ > œ > ™ œ > Œ œ > ™ œ > ≈ œnœ bœ œ > ™ œ > Œ œ œ > œ œ > Œ œ > ™ œ > Œ œ > ™ œ > ≈ œnœ bœ œ > ™ œ > Œ œ > œ > ≈ œ œ bœ œ > ™ œ > Œ œ > œ > Œ œ > ™ œ > Œ œ > œ > ≈ œ œ bœ œ > œ > Œ œ > ™ œ > ≈ œ œ bœ œ > œ > Œ œ > œ > Œ œ > œ > Œ œ > ™ œ > ≈ œ œ bœ ˙˙˙ - ˙ ˙˙ ˙˙ ˙˙˙˙˙˙˙œ > œ > œ > ≈ œ œ œ œ > œ > œ > ≈ œ œ œ œ > œ > œ > ≈ œ œ œ œ > œ œ > ‰ œ > J œ > œ > œ > ≈ œ œ œ œ > œ > œ > ≈ œ œ œ ˙ ˙ > œ œ ™ ™ œ . œ > œ > ˙ ˙ œ œ œ œ . > œ . > œ œ œ > ™ ™ ™ œ œ œ œ œ ™ ™ ™j œ . r œ > œ > œ œ > ™ œ œ > Œ œ œ > ™ œ œ > ≈ œ œ œ œ n œ œbb œ œ > ™ œ œ > Œ œ œ œ œ > œ œ œ œ > Œ œ œ > ™ œ œ > Œ œ œ > ™ œ œ > ≈ œ œ œ œ n œ œbb 3 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE 109 2023 NATIONAL ACDA

mar chin, - mar chin - Mar chin, - mar chin, - wo mar chin, - mar

mar chin, - mar chin - Mar chin, - mar chin, - wo mar chin, - mar

mf chin

-

mar chin, - mar chin. - Mar chin, - mar chin, - wo mar chin, - mar mf chin.

& bbb for my soul

sfz Does n't mat ter

sfz & bbb

sfz how hard the jour ney

bbb

soul

sfz Does n't mat ter

sfz how hard the jour ney

sfz I'll keep & ‹

mar chin, - mar chin - Mar chin, - mar chin, - wo mar chin, - mar chin? bbb

mar chin, - mar chin - Mar chin, - mar chin, - wo mar chin, - mar chin? bbb

mar chin, - mar chin - Mar chin, - mar chin, - wo mar chin, - mar chin& bbb

soul

sfz Does n't mat ter

sfz how hard the jour ney

sfz I'll keep & bbb

bbb

? bbb

/ & bbb ? bbb

soul

sfz Does n't mat ter

sfz how hard the jour ney

sfz I'll keep & ‹

mar chin, - mar chin. - Mar chin, - mar chin, - wo mar chin, - mar chin.

mar chin, - mar chin - Mar chin,

mar chin, - wo mar chin,

keep on til I make it home. Make it

bbb

mar chin,

sfz til I make it home til I make it & ‹

mar chin, mar chin Mar chin, - mar chin, - wo mar chin, - mar chin. -

mar chin, mar chin Mar chin, - mar chin, - wo mar chin, - mar chin. -

mar chin, mar chin Mar chin, - mar chin, - wo mar chin, - mar chin& bbb

sfz til I make it home til I make it & bbb

&

mar chin,

sfz til I make it home til I make it

mar chin, mar chin. Mar chin, mar chin, wo mar chin, mar chin & bbb

mar chin, mar chin Mar chin, mar chin, wo mar chin, mar chin & ‹

bbb

Sa vior,

sfz and His Spi rit,

sfz as my guide

sfz ff Does n't ? bbb

Sa vior, and His Spi rit, as my guide Does n't ? bbb

mar chin, mar chin Mar chin, mar chin, wo mar chin, mar chin & bbb

mar chin, mar chin Mar chin, mar chin, wo mar chin, mar chin & bbb

mar chin, mar chin Mar chin, mar chin, wo mar chin, mar chin & ‹

bbb

Sa vior,

sfz and His Spi rit,

sfz as my guide

sfz ff Does n't ? bbb

Mar chin, mar chin Mar chin, mar chin, wo mar chin, mar chin /

Mar

chin, mar chin, wo mar chin, mar chin. Mar chin, mar chin.

Mar

mat ter

f chin, mar chin, wo mar chin, mar chin Mar chin, mar chin &

sfz how hard the jour ney

sfz

Cause

f He's wal king

sfz right by my

mat ter how hard the jour ney.

Cause He's wal king right by my

Mar chin, mar chin, wo mar chin, mar chin Mar chin, mar chin & bbb

Mar

f chin, mar chin, wo mar chin, mar chin Mar chin, mar chin & bbb

Mar

f chin, mar chin, wo mar chin, mar chin Mar chin, mar chin &

mat ter

sfz how hard the jour ney

sfz

Cause

f He's wal king

sfz right by my ?

Mar chin, mar chin, wo mar chin, mar chin Mar chin, mar chin

Mar chin, mar chin, wo mar chin, mar chin Mar chin, mar chin, wo & bbb

Mar chin, mar chin, wo mar chin, mar chin Mar chin, mar chin, wo & ‹

bbb side, right by my side ? bbb

side, right by my side. ? bbb

Mar chin, mar chin, wo mar chin, mar chin Mar chin, mar chin, wo & bbb

Mar chin, mar chin, wo mar chin, mar chin Mar chin, mar chin, wo & bbb

Mar chin, mar chin, wo mar chin, mar chin. Mar chin, mar chin, wo & ‹

bbb side, right by my side. ? bbb

Mar chin, mar chin, wo mar chin, mar chin Mar chin, mar chin, wo / & bbb ? bbb

home to that ci ty. I'm gon na make it home to that & bbb

mar chin home to that ci ty. I'm gon na make it mar chin home to that & ‹

bbb home to that ci ty. Make it home to that ? bbb

mar chin home to that ci ty I'll make it mar chin home to that ? bbb

mar chin home to that ci ty I'll make it mar chin home to that & bbb home to that ci ty. I'm gon na make it home to that & bbb

mar chin home to that ci ty. I'm gon na make it mar chin home to that & ‹

bbb home to that ci ty Make it home to that ? bbb

mar chin home to that ci ty. I'll make it mar

& bbb

land I'll keep mar chin, to that ci ty I'll keep & bbb

bbb

land, to that land. Oh I'll keep mar chin, to that ci ty. I'll keep & ‹

land, to that land. Oh I'll keep mar chin, to that ci ty I'll keep ? bbb

land, to that land Oh I'll keep mar chin, to that ci ty I'll keep ? bbb land, to that land Oh I'll keep mar chin, to that ci ty I'll keep & bbb

land I'll keep mar chin, to that ci ty I'll keep & bbb

bbb

land, to that land Oh I'll keep mar chin, to that ci ty I'll keep & ‹

land, to that land Oh I'll keep mar chin, to that ci ty I'll keep ? bbb land, to that land Oh I'll keep mar chin, to that ci ty I'll keep

& bbb

Gon na make it mar chin, til I get there & bbb

mar chin, til I get there

bbb

mar chin, til I get there

Gon na make it mar chin, til I get there & ‹

mar chin, til I get there.

Gon na make it mar chin, til I get there. ? bbb

mar chin, til I get there

Gon na make it mar chin, til I get there ? bbb

mar chin, til I get there

Gon na make it mar chin, till I get There & bbb

mar chin, til I get there

Gon na make it mar chin, til I get there & bbb

bbb

mar chin, til I get there. Gon na make it mar chin, til I get there. & ‹

mar chin, til I get there. Gon na make it mar chin, til I get there. ? bbb

mar chin, til I get there Gon na make it mar chin, til I get there / & bbb ? bbb

SUPPORT LIVING ARTISTS

THE DEAD ONES DON’T NEED IT