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22 Come and sing – together!

songs for choir

BO ROSENKULL

Come and sing – together!

22 songs for choir Content

Preface

Singing together is one of the most joyful things we can do – a sentiment shared by millions upon millions of people who sing in choirs. The world of choirs is rich in its diversity. Some choirs are based on age, gender and vocal range, as well as more inclusive and thematic groupings – including transgender choirs, all-can-sing choirs, wellness choirs, virtual choirs and language choirs for new arrivals. Regardless of prior knowledge or level of ambition, everyone is united in the common love of singing together.

However, choral singing is not only pleasurable – it also carries a powerful potential to express emotions, thoughts and social commitment. History provides us with strong examples: during the singing revolution in the Baltics (1987–1991), choral singing became a peaceful resistance to Soviet occupation. In South Africa, community singing played a crucial role in the fight against apartheid – the so-called struggle songs strengthened community and became an expression of resistance and hope.

When we sing together, a unique community emerges. We meet on equal terms, each voice is important to the collective and we contribute our own voice to something bigger than ourselves. Research confirms the positive effects of choral singing: it increases brain plasticity, improves motor skills and memory,

Come and sing – together!

Composer: Bo Rosenkull

Music engraver: Notsättarna/Göran Lillieström

Illustration on cover: Maria Nordlöw

Photo (author): Emelie Kroon

Printing house: BALTO Print, Litauen 2026

Edition: 1:1

ISBN: 978-91-89852-36-5

strengthens the immune system, reduces depression and can even slow down early signs of dementia. Studies show that the social interaction in choral singing provides health benefits that in some cases surpass the effect of when one quits smoking. Choristers report increased energy, greater well-being and deep relaxation after each rehearsal.

This book features choral songs mainly for mixed choirs (SATB and SAB) alongside others composed for treble voices, male choirs and mixed groups where the singers can be combined as needed. My compositions in this book include songs for adults, young people and children – some with piano accompaniment, but the majority intended for a cappella singing. The lyrics – featuring eight languages – are about love, peace, faith and friendship and range from nursery rhymes to drinking songs. Musically, the material ranges from rhythmic up-tempo songs to calm hymns, all of which can be used at concerts, in religious contexts, around the campfire or as a warmup exercise. The idea is that they should promote the joy of singing and fellowship. So, Come and sing –together!

Stockholm, February 2026 Bo Rosenkull

Songs on Youtube

Some of the songs from Come and sing – together! have been recorded and can be found on Youtube. There you can also listen to some songs from the collection Sjung igång! (ISBN 9789188937537, 2021). The address is: https://www.youtube.com/@borosenkull8234

About the author

Bo Rosenkull is Professor of Singing and Singing Pedagogy at the Royal College of Music (KMH) in Stockholm, and Professor of Dramatic Performance with a specialization in Music-Dramatic Singing at the Academy of Music and Drama (HSM) at the University of Gothenburg. He previously served as President of the Voice Teachers of Sweden and currently holds the position of Vice President of the European Voice Teachers Association (EVTA).

In 2023, Bo earned his PhD from North-West University in South Africa with his thesis Understanding didactic strategies based on the Laban-Malmgren technique when developing the technical and musical proficiency of singers.

Bo is a highly sought-after voice teacher and has conducted masterclasses at music and opera institutions in South Africa (Cape Town, Potchefstroom, Stellenbosch, and Pretoria), Azerbaijan, Seychelles, the Netherlands, Türkiye, Estonia, Latvia, Lithuania, Finland, Norway and Italy.

As a performer, he has sung leading roles at the Royal Opera in Stockholm, Folkoperan, Gothenburg Opera, Malmö Opera, Riksteatern, Norrlandsoperan, and other venues. In addition to his work as a singer, he has extensive experience as a choir conductor and music teacher at both elementary and secondary school levels.

In 2021, he published the book Sjung igång! (Come and Sing!), which offers practical vocal exercises and guidance for singers and educators alike.

About the songs

The lyrics express man's indomitable longing for a freedom that cannot be subdued or extinguished even in difficult times. The harmony in the song is simple and the parts sound well-balanced regardless of the voice types that are mixed. Once the song has settled, you can add some very simple steps.

• Step 1, beat 1: On the first beat – step forward with your right foot and toes pointing to the left and fol low with your body weight leaning forward, while your left arm swings forward.

• Step 2, beat 2: lift your left foot in place.

• Step 3, beat 3: bring your right foot back and your feet become parallel – your body returns to the starting position.

• Step 4, beat 4: Lift your left foot in place.

Many have sung the well-known canon Dona nobis pacem (Grant us peace). It has sometimes been claimed that Mozart was the originator of the melody but there is no evidence for this. In PEACE, the text Dona nobis pacem is woven together with a couple of verses from the Gospel of John (14:27) in the Bible. Let the song begin softly and heartfelt. Highlight the tenor voice as it takes over the melody with the comforting words Peace I leave with you and then let the dynamics of the song gradually grow until the generous fortissimo of the last phrase.

No matter how long the night, the day is sure to come is an African proverb. The words express hope for brighter times when it feels darkest. The proverb has formed the beginning of the song The day is sure to come, where the Afrikan text is woven together with music inspired by Irish folk music. The soprano part (or tenor part – or both) sings the lyrics and the other parts sing con bocca chiusa or on a common vowel. Sing the acciaccaturas in the way that one hears in folk music and use choral breathing in the alto and bass parts until the written pauses.

Clap your hands is a simple and straightforward song that encourages participation and joy in singing. You can choose to have a chorister sing solo in the first two phrases, while everyone joins in clapping and stomping. The graphic representation (marked with x) for the clapping and stomping should be executed in verses one and two. In the third verse, the Hurray! is added after the phrase has been sung and all three

expressions – clapping, stomping and Hurray! – are combined in that order three times in the fourth verse.

See me, hear me is a very simple call-and-response song with piano accompaniment that can suit children and adults. You can choose the number of parts and which specific parts you want to use in the arrangement.

Anyone familiar with the songs in Sjung igång! (Come and Sing!, Rosenkull, 2021) has already encountered the Scandinavian sounds of the song, Folklore. Here the song returns as a new, expanded version for mixed choir. During the performance, make sure that the rhythmic swing is emphasised to convey the movement and the dance-like nature of the music.

Bibere humanum est is a drinking song composed for male choir. The Latin text reads Bibere humanum est, ergo bibamus! (It is human to drink, therefore let us drink!). Let the music come to its full potential by following the indicated tempo changes and dynamic shifts. Sing with your heart, drink in moderation (or at least with style) and remember that it is human to drink – but divine to do so in harmony.

Den port är trång och smal den stig is a Swedish folk chorale originating from Leksand in Dalarna. The text is written by Lina Sandell (1832–1903), one of Sweden’s most beloved psalm writers. She wrote over 600 psalms and this one is based on a biblical verse from Matthew 7:14: (But small is the gate and narrow the road that leads to life and only a few find it). The text reminds us that the path of life is not always broad and easy – but that it leads us in the right direction. The arrangement is for a four-part treble choir and gradually builds up to a dense and more dissonant harmony. The first verse can be sung solo or in unison by all.

The melody of Låt till far (Tune for my father) has been arranged here for three-part treble choir. The melody was composed by fiddler Pers Erik Olsson, who was a prominent Swedish fiddler from Dalarna. The song should be performed simply and playfully – a bit like an unpretentious humming.

Sing a song of sixpence is an English nursery rhyme dating back to the 18th century. The exact background to the lyrics is unclear, but several fascinating theories have been put forward to explain its unusual content. One possible explanation is linked to customs during the Tudor era (1485–1630) in England, where live birds were sometimes placed in pies to create an effect of

surprise. At feasts, the pie shell could be opened so that the birds flew out – a spectacular element of the entertainment of the time. Another interpretation concerns piracy. According to this theory, blackbirds symbolise pirates, while baked in a pie could describe how pirates set traps aboard ships they plundered. A pocket full of rye is then said to be a metaphor for the whiskey that constituted the payment for their deed. Make sure that the lyrics come across clearly so that you can follow the hilarious story.

The text of L’espérance was written by Honoré de Balzac (1799–1850) and expresses how hope and faith unite in the human heart, thereby granting peace and inner peace. It reads:

Hope, flower of desire. Faith, fruit of certainty. In our hearts they came to unite, to offer us peace and fullness.

The challenge in the performance lies in the intonation and in giving life and depth to each phrase. Strive to identify the main words in the poem and let these carry the expression and make the text touching and alive.

A red, red rose is a poem written by the Scottish poet Robert Burns (1759–1796). The poem, which has been set to music many times, is a passionate declaration of love – filled with natural metaphors and promises of eternal fidelity. In this version, the music is largely built around whole-tone steps in the melody, while the accompanying parts form dense clusters that create a colourful soundscape. When performing, it is important to create variations in dynamics and intensity, to give life and depth to the text. Be careful with articulation and emphasis. Highlight the supporting words and let them shape the expression. Through a nuanced interpretation, both text and music have the opportunity to blossom and affect the listener.

Emily Brontë (1818–1848) is best known for her novel Wuthering Heights, a story that has been adapted into a film, opera and musical. In this collection of songs, she is represented by a setting of the poem Love is like a wild rose-briar. Brontë describes love as a wild rose –not only beautiful, fragrant and intense, but also thorny and short-lived, while friendship is like a holly tree, which is green all year round – enduring and reliable. Perform the song with a laid-back character with soft syncopations and an increased intensity in the repeated triplets in the second part.

Trust is a song about love, support and trust. The lyrics highlight how these qualities can help us overcome adversity and provide comfort in difficult times. Feel free to vary the dynamics according to the suggested instructions – or based on your own ideas – to create musical variety and deepen the expression.

Hevenu shalom aleichem is Hebrew and means We bring peace to you. The music is built around the harmonic minor scale which, together with the Phrygian dominant scale (also called the Spanish-Phrygian scale or the Jewish scale), is common in Jewish music, especially in Klezmer music. The music starts off as stripped down and simple but gradually builds up with multiple parts. The piece can be performed by concluding with the final part (bar 31–36) or repeat bars 23–30 several times and let it fade away gradually.

This song collection contains four Christmas carols, the first being A joyful Christmas. The song is a gospel-inspired, energetic song, arranged for SAB with piano accompaniment.

The second Christmas carol in this book is taken from Pie Cantiones (Pious songs), a collection of songs from the late Middle Ages. In hoc anni circulo (In this circle of this year) is one of the 74 songs that were included in the original collection that was printed in 1582. The songs in Pie Cantiones are in Latin and the songbook is considered the oldest one in the Nordic countries. This version of In hoc anni circulo includes six of the eleven original verses in the arrangement. For the sake of variety, it is advantageous to use a hand drum during some of the verses to strengthen the medieval feeling and the rhythmic elements. Take advantage of the different tempo indications for variation and pay attention to the intonation in both the polyphonic and unison parts.

1. In the ending of the year Light and life to man appear: And the Holy Babe is here By the Virgin Mary. For the Holy Babe is here By the Virgin Mary

2. And they circumcise the Lord, And His Blood for us is poured: Thus Salvation is restored By the Virgin Mary. For the Word becometh Flesh By the Virgin Mary

3. In a manger is He laid: Ox and Ass their worship paid: Over Him her veil is spread By the Virgin Mary.

For the Word becometh Flesh By the Virgin Mary

4. And the Heavenly Angels’ tongue Glory in the Highest sung: And the shepherds o’er Him hung With the Virgin Mary. For the Word becometh Flesh By the Virgin Mary.

5. Joseph watches o’er His rest: Cold and sorrow Him infest: He, an hungered, seeks the breast Of the Virgin Mary.

For the Word becometh Flesh By the Virgin Mary.

6. Wherefore let our choir to-day Banish sorrow far away, Singing and exulting aye With the Virgin Mary. For the Word becometh Flesh By the Virgin Mary.

Translation J.M. Neale (1867)

The lyrics to Alle Jahre wieder are taken from one of the most famous German Christmas carols. The lyrics were written by Wilhelm Hey (1789–1854) and in this publication they have been given a new musical appearance in an arrangement for three-part mixed choir. Perform the music with clarity and ease and pay attention to the endings of the phrases. The English translation reads:

Every year Comes the Christ child Down on earth, Where we humans are.

Turns with his blessing One in each house, Goes on all ways With us in and out.

Is also at my side Silent and unrecognized, That it may guide me faithfully On the loving hand.

One of the most beloved Christmas carols is Hark! The herald angels sing. The song is among the approximately 6,500 hymns and spirituals for which Charles Wesley (1707–1788), one of the founders of the Methodist Church, wrote lyrics. In this arrangement, the lyrics are set to new music, largely in the form of a quodlibet. The first verse can be sung by the full choir or by a soloist. Be careful with dynamic contrasts and ensure that each new voice is clearly audible as it enters.

The melody for Kyrie eleison can be found in Sjung igång! (Come and Sing!, Rosenkull, 2021). Here it returns as a longer, reworked version for mixed choir. It has both Virgil’s Latin text Amor vincit omnia, (Love conquers all and let us yield to love) and the Greek Kyrie eleison, (Lord, have mercy. Christ, have mercy. Lord, have mercy.) The accompanying voices sing on a string-pizzicato-imitating don (with a focus on the n-sound) while the melody flows forward in soft lines.

Agnus Dei is Latin and means O Lamb of God (who takes away the sins of the world, have mercy on us). The piece is written for three-part treble choir. The music moves in a circle of recurring motifs, where each repetition echoes with a relentlessness. The alto part should begin with soft onsets and when the repetitive and inexorable accompaniment enters in bar nine, let it be soft and with a clear legato. The piece requires great care in intonation, especially in the dense harmonic passages and requires a nuanced dynamic to give life to the restrained and meditative character.

My own music. Now it is time for the choir to explore improvisation in a playful and interactive way. Divide the singers into small groups of three or four. One person starts by singing a note, which the next imitates before changing to a new note and passing it on. This continues around the group: receive, repeat, change and pass forward. Start with a shared vowel sound to create a unified texture, then let the groups explore freely – also with dynamics. When all groups sing at once – specially in a space with good acoustics like a church – rich and unexpected soundscapes can emerge. Encourage a legato style, where tones connect smoothly into beautiful phrases rather than isolated notes. Although it may be challenging to receive a note from someone with a different voice type, each singer is free to choose the octave that suits them best. The goal is to listen, respond, and contribute to a shared musical experience.

1. Singing of Freedom Sången om frihet

Andantemoderato q = 105

Music & lyrics: Bo Rosenkull

inaheart,

Singingoffreedomthatgrows

densdepart.Ah.

Dolce affettuoso

Adagio q = 73

nobis,

2. PEACE

2. Peace

Dona nobis pacem

dona

nobis,

œ Dona

nobis

nobis,

pacem.

nobis

pacem.

nobis

pacem.

dona

nobis,

dona

nobis,

Lyrics: from the Gospel of John (14:27) Music: Bo Rosenkull

Lyrics: Trad. Music: Bo Rosenkull

nobis,

dona

nobis,

pacem.

pacem,

pacem.

pacem,

pacem.

nobis

pacem.

pacem,

pacem.

3. The day is sure to come

Lyrics:

4. Clap your hands

Lyrics: Trad. Music: Bo Rosenkull

hands. feet. ray. three.

Ifyou´rehappyandyou

5. See me, hear me Call and response

& & V ?

dadndan.

6. Folklore Polska

6. Folklore

Polska

Bo Rosenkull Music & lyrics: Bo Rosenkull

Ladamdidamdi

dandadndadn

dandidamdi

dadndan.

Ladamdidamdi

dandadndadn

dandamdidamdi

dandanladidadi

dan. La

dandadidadi

dandamdidam

dandanladidadi

dan. La

dandadidadi

dandamdidam

b b 4 3 B

7. Bibere humanum est To drink is human

7. Bibere humanum est

Biberehumanum, Moderato q = 110

biberehumanum,

Lyrics: Trad. Music: Bo Rosenkull

Biberehumanum,

? ?

Biberehu

Biberehumanum,

? ?

bibere.

est.

biberehumanum,

Biberehu

Biberehumanum,

Biberehumanumest,

biberehumanum

Biberehumanumest,

bibere.

bi berehumanum

est.

biberehumanum,

Biberehumanum, P P V ? ? b b b b b b B Bar T 18

Biberehu

Biberehumanum

manumest.

biberehumanum, P

Biberehumanumest,

rehumanumest.

bibere.

ŒŒ est. ‐

bi berehumanum

8. Den port är trång och smal den stig

But

But small is the gate and narrow the road

Lyrics: Lina Sandell‐Berg

Lyrics: Lina Sandell (1832–1903)

Music: Trad. arr Bo Rosenkull

Music: Trad. Arr: Bo Rosenkull

10. Sing a song of six-pence A nursery rhyme

10. Sing a Song of Sixpence

Lyrics:

Largo q = 46

Lʹespérance,

11. L’espérance The

11. Lʹespérance

The Hope

Adagio q = 68

fleurdudésir,

Lʹespérance,

fleurdudésir,

Lʹespérance,

fleurdudésir,

fruitdeti

fruitdecerti

tude,

viennentsʹu

Lyrics: Honoré de Balzac (1799-1850) Music: Bo Rosenkull

dansnos

Lyrics: Honoré de Balzac

Music: Bo Rosenkull

lafoi,

coeurs,elles

dansnos

coeurs,elles

dansnos

coeurs,elles

pournosoff

12. A red, red rose

12. A Red, Red Rose

islikeared,red,rose

Lyrics: Robert Burns (1759-1796)

sprunginJune.

Lyrics: Robert Burns

Music: Bo Rosenkull

that´snewlysprunginJune.

playedintune. 2. As

13. Love is like the wild rose-briar

13. Love is like the wild rose‐briar

1. Loveislikethewild

Loveislikethewild

1. Loveislikethewild

Lyrics: Emily Brontë (1818–1848)

Lyrics: Emily Brontë

Music: Bo Rosenkull

leichem,

15. Hevenu shalom aleichem

shaloma

sha lom

Lyrics:

leichem.Hevenu

leichem,

16. A joyful Christmas

16. A Joyful Christmas

17. In hoc anni circulo

InthiscircleoftheyearPieCantiones

Arr:BoRosenkull

Lyrics: Medieval Music: Bo Rosenkull

AlleJahre

18. Alle Jahre wieder

Every year again

wieder

AlleJahre

wieder

sind.

wowirMenschen

sind.

wowirMenschen

sind.

EveryyearagainLyrics:WilhelmHey

kommtdasChristus

Kehrtmitseinem

Segen

Kehrtmitseinem

gehtaufallen

dassestreumich

Lyrics: Wilhelm Hey (1789–1854) Music: Bo Rosenkull

Music:BoRosenkull

aufdieErde

nieder,

aufdieErde

nieder,

eininjedes

Haus,

Haus,-& & ?

eininjedes

eininjedes cresc. cresc. cresc.

Haus, . œ b J œ

Stehtauchmirzur

Seite

Stehtauchmirzur

Seite

anderlieben

Hand.

anderlieben

Hand.

anderlieben

Hand.

19. Hark! The herald angels sing Quod libet

19. Hark! the herald angels sing

Lyrics: Charles Wesley (1707–1788) Music: Bo Rosenkull

QuodlibetLyrics:Wesley/Whitefield

Music:BoRosenkull

20. Kyrie eleison Amor

20. Kyrie eleison

Amor

Lyrics:

21. Agnus Dei

Lyrics: Trad. Music: Bo Rosenkull

BoRosenkull

Come and sing – together! 22 songs for choir features choral songs mainly for mixed choirs (SATB and SAB) alongside others composed for treble voices, male choirs and mixed groups where the singers can be combined as needed.

The compositions in this book include songs for adults, young people and children – some with piano accompaniment, but the majority intended for a cappella singing.

The lyrics – featuring eight languages – are about love, peace, faith and friendship and range from nursery rhymes to drinking songs.

Musically, the material ranges from rhythmic up-tempo songs to calm hymns, all of which can be used at concerts, in religious contexts, around the campfire or as a warm-up exercise. The idea is that they should promote the joy of singing and fellowship. So, Come and sing – together!

”This remarkable collection stands out as a truly unique resource for choirs and choral leaders. Bringing together original songs of varied styles, textures and levels, it offers ensembles a rare blend of artistic imagination and purposeful vocal development. Each piece crafted to support singers in expanding their technique, musical responsiveness and ensemble awareness. Created by Bo Rosenkull – a highly respected professor of singing, vocal pedagogy and music-dramatic performance, and a distinguished voice coach with extensive international experience – the book reflects a deep understanding of how voices grow. His ability to unite musical creativity with pedagogical clarity makes this collection not only inspiring to sing, but genuinely transformative in rehearsal. Compact, versatile and thoughtfully curated, this volume provides choirs with repertoire that encourages curiosity, confidence and joyful music-making. A singular contribution to the choral world, it invites every ensemble to explore, learn and sing together.”

Anders Jalkéus, founder of The Real Group, singer and choir leader

”What beautiful songs! Cleverly written with a natural sense of rhythm and declamation. The songs vary in difficulty, character, and thematic focus throughout the different parts of the year, which makes the collection exceedingly accessible and useful.”

Fredrik Malmberg, Professor of choral conducting, Royal College of Music Stockholm, Chief conductor Eric Ericson Chamber Choir 2012–2024

”This collection gives choirs of all levels a wonderful opportunity to immerse themselves in the joy of singing and a great chance to find new favourites! A mixed bag of goodies from one of Sweden’s best singing teachers!”

Kathrin Lorentzen, winner of the Swedish Soloist Prize 2024 and member of the Swedish Radio Choir