Full Fathom Five
12 performance rounds from Shakespeare to Synge
by Brian Kogler
The sixteenth, seventeenth and eighteenth centuries in Britain form a golden age of round-singing; even the nineteenth provided some fine examples. These twelve rounds, set to texts by Shakespeare, Skelton, Swift, Dryden, Johnson, Carroll and Synge, are of varying difficulty and may require rehearsal. Keeping as they do to the style of the period, they offer plenty of movement among the parts. Some have special endings for performance. While intended for experienced voices, they may of course be sung by mixed groups of all ages. The composer explains the concept of “partnered voices” in gaining melodic range.
Over 100 of Brian Kogler’s rounds are now accessible on YouTube. Scores are available for free on request. Please contact: bkogler [at] bigpond [dot] com
SKU: BKR-008
Categories: Children's Choir, Choral Music, Lower Voices, Mixed Voices, Treble Voices
Instrumentation: Choral
| Voicing: | Equal Voices, SSAA |
| Instrumentation: | A Cappella |
| Language: | English |
| Sacred or Secular: | Secular |
| Season or Event: | General |
| Difficulty: | Intermediate, Advanced |
| Descriptive Tags: | Fun, Humorous, Light, Rounds, Silly |
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Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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Equal Voices ⋅ Unison | 2'27" | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
A moving setting of the classic American lullaby. Good for developing singers, but also a good choice for some lovely unison singing with more advanced ensembles. The students we arranged this for absolutely loved it. We hope your choir does too. More info & view score » | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
2' 45" | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
This very simple Christmas song is aimed at younger children. It is in unison throughout, apart from a brief optional descant part near the end. Accompaniment is for piano, and a few simple percussion instruments may be added if desired. This is the original version (GTT-025a), which refers directly to Christ’s Nativity, and is suitable […] More info & view score » | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SSA | 3' | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
“Community of Unity” is an exciting and uplifting piece written specifically for civic and municipal events. Beginning with a lyrical, unison verse, the soundscape opens up to a chorus in 3 part harmony. A driving, rhythmic piano accompaniment propels the piece throughout. There is a 4 measure a cappella section near the end, and two […] More info & view score » | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | 4' | English ⋅ Latin | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Hodie/Today on Earth was commissioned by Garrison Keillor and “A Prairie Home Companion” in 2012. Based on the 15th century antiphon Hodie Christus Natus Est, the piece is a joyful Christmas song. It was written for the DiGiallonardo Sisters and the All-Star Shoe Band, and received its premiere on ” A Prairie Home Companion” on […] More info & view score » | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SAB | 3'30" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The text for How Can I Keep from Singing was written by members of the Derventio Choir of Allestree, Derbyshire, England, and Steven Paxton’s setting was composed for the competition celebrating that choir’s 30th anniversary. Moderate tempo a cappella sections alternate with fast, rhythmically driving sections mixing 6/8 and 5/8 meters. The piano accompaniment is […] More info & view score » | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SSA | 5'30" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
This marvelous love poem by Elizabeth Barrett Browning is dynamically dressed with a rich palette of word painting. More info & view score » | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | 4'50" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | 3' | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
A tender new Christmas lullaby is combined with a solo trumpet, which begins to play “Lo, How a Rose ‘ere Blooming.” Text by Edward Caswall (1814-1878) Mary Breden led her Consort Singers of Loyola Marymount University in the premiere at their 2018 Christmas program. More info & view score » | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
4' 10" | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The Soul Considers Its Nearness to God is the second in a choral set entitled Three Songs of the Soul. Jan Luyken (1649-1712), a native of Amsterdam, lived a secluded life as a poet, artist, and engraver. In this choral setting, the melodies and harmonies aspire to express the meaning and beauty of the poet’s […] More info & view score » | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SSA | 3'30" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SSA settings, with piano accompaniment, of texts by e. e. cummings (in Just), Thomas Dekker (The Merry Month of May), and from Genesis 1:11-12 (First Spring). The style is rhythmically intricate, includes spoken passages, and is rooted in an expanded tonality; the piano accompaniment is virtuosic. More info & view score » | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||