Can You Hear Me?

Title: Can You Hear Me?
Composer/Lyricist: Bob Chilcott
Publisher: Oxford University Press
Catalogue #: BC19
JW Pepper Cat. #: 3183191
Price: $1.70
Duration: 4:40
Voicing: SS/SA
Obligatto: piano
Key: C-major, F-minor, A-flat Major
Tessitura: c-f'
Piano Difficulty: medium difficult
Recording Available: http://musiceducationworld.com/files/Can_you_Hear_Me_-Brighton-Michael_Griffin.mp3

Notes:

As a rule, I am not a very emotional person, and very few songs move me to tears - this is one of them. Not because the song is sad, but because the music and the text are so well wedded to each other - every time I study it, I discover something new. On top of that, the theme is very powerful. The text is written from the perspective of a deaf child explaining his/her point of view to a hearing child. Doing this could very quickly become overly sentimental or condescending, but the composer does a fantastic job of walking that particular tightrope. The sparing use of sign language in the chorus is very effective, and should be included in your own performance. A handy guide is included on the inside cover for those not versed in the details of American (or other) sign language.

By and large, there are very few rhythmic challenges in the piece - no tied rhythms, no strange dotted eighth followed by 3 sixteenths, and then quarter rest tied to a whole note (please note the absurdity). The notable exception is then change from 4/4 time to 3/2. However, this occurs so smoothly that unless you point it out to your choir they'll probably not even notice it or consider it a difficulty. The homophonic writing can be difficult for younger/beginning choirs unless you have figured out a magic way to have your young singers sing in parts (in that case, please e-mail me your secret!). Also, be very careful at m. 53 - it could be very easy for a choir to bark the high f', rather than to make it a wonderfully musical moment. Contrast that with the piano dynamic just two measures later, and the juxtaposition is very moving - this is the emotional climax of the piece.

I say use your best interpretive judgment on this one. The composer has left enough information to give direction, but left enough out for your own choir to make it's own choices and provide their own meaning. That, beyond anything else, is the beauty of this song.

The Snow Begins to Fall - Beck

Title: The Snow Begins to Fall
Composer/Lyricist: Andy Beck
Publisher: Alfred
Catalogue #: 21802
JW Pepper Cat. #: 3298569 (2-part - reviewed)
Price: $1.65 (as of 8/6/09)
Duration: 2:45
Voicing: 2-part (reviewed), SSA, SAB, SATB
Obligatto: None
Key: e-minor
Tessitura: Pt1: d-e', Pt2: c-b'
Piano Difficulty: Moderate
Recording Available: partial recording at - http://www.alfred.com/mp3/00-21802_!.mp3


Notes: This review is only about the 2-part arrangement, as I have not had a chance to look at the other arrangements. It is a lovely piece to expose younger choirs to minor key or a quick read for an advanced choir. Very nearly SA, rather than 2-part, the chorus is 2-part, while the verses are largely homophonic. The piano part is not especially difficult to play, but may require the use of a page turner.

Rhythm consists largely of eighth note/quarter note combinations in the chorus (Part 1 has eighth notes on the first 2 beats followed by a quarter note on beat 3, and eighth note pick-ups to the next measure on beat 4, with Part 2 echoes with a half note followed by 4 eighth notes). The challenge comes in putting both parts together - they almost feel like a partner song, but the similar workding may throw off some beginning choirs. The verses trade off the melody between the parts, with the other providing descant. Challenging rhythms here are the dotted quarter/eighth note combinations that occur frequently enough to provide plenty of practice and repetition for singers. Unfortunately, no rehearsal notes are given in the octavo (this is common with Alfred octavos).

Melodically, the challenge comes in the verses, with the homophonic descants and switching melody. Singers will need to be aware of which parts has the melody to be effectively exdpressive. Be aware of the first phrase in particular - singers will want to sing re-ti instead of the re-la that is written (a'-f#, rather than a'-e for those who prefer absolute pitch notation rather than moveable-la solfege). The descending chromatic motion of Part 1 from e'-b' in mm. 32-33, and 40-41 (and to a lesser extend in m. 34 and 42 for Part 2) will provide quite a challenge for beginning singers - the tendency will obviously be to go flat or fast - or both! Fortunately, the piano reinforces the choir in all of these places.

Beck brilliantly makes the chorus rhythmically challenging and the verses melodically challenging so that singers are not overwhelmed at any point. However, he manages to do so without sacrificing the overall integrity of the piece. For that reason, it is perfect for school choirs, especially advanced elementary choirs, and middle and high school choirs (with the alternate arrangements).