Jane, Do Be Careful

13 performance rounds for young partnered voices
by  Brian Kogler

The round is the first tool of any music teacher wishing to develop in children an ability to listen to others while holding an independent line. Rounds also build cohesion among singers, providing opportunities to improve ensemble, sight-reading, articulation and breathing. Here are thirteen original rounds of varying difficulty for Youth Choir: while intended for maturing treble voices, they may of course be sung by mixed groups of all ages. The vocal ostinati add richness to the texture.

Three or more rounds may be programmed as a set for performance. The collection explains the concept of “partnered voices” and offers notes on the teaching of rounds to children.

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-003 Categories: , , , , Instrumentation:
Voicing: Equal Voices, SSAA
Instrumentation: A Cappella
Language: English
Sacred or Secular: Secular
Difficulty: Beginners, Intermediate
Descriptive Tags: Children, Fun, Humorous, Light, Silly

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for SATB choir a cappella
POA-017
SATB
2' 50"
English
This modern English version of a 9th Century Old Irish benediction lends itself well to both concert and liturgical performance. Liturgically, it fits well as a call to worship or as a communion meditation. The text recalls the doxology given in Revelation 7:12.
for SATB choir and violin
POA-009
SATB
3'20"
Italian
Tre Madrigali Amorosi are settings of poems by Torquato Tasso (1544-1595), a favorite poet of Italian madrigal composers of the sixteenth century.  The set was written for the Saint Mary’s University Chamber Singers, who premiered the works on their tour of France in March, 2013, with the composer conducting and Chun Chim (David) Leung, violin. […]
for Mixed Choir (SATB) with Soprano Soloist
GTT-022
SATB
2' 3"
English
This setting is ideally suited for a good chamber choir with a high soprano soloist. Julie Myers’ beautiful poem suggests to the composer a journey from darkness to light, from despair to hope, and this is reflected in the music, which should be performed simply, but with expressiveness and conviction.
for SATB choir a cappella
RCL-024
SATB
3'15"
English
“Border” is an artistic response to the immigration/refugee crisis around the globe (especially in the United States). The opening passage is: “Border, sanctuary, asylum, bridges not walls.” The text draws from (and paraphrases) several sources: contemporary media, Emma Lazarus’ “The New Colossus,” the Bible’s Matthew 25:31-40, currency, and others. The changing meters of “Border” fill […]
for SATB choir and piano
GTT-004
SATB
⋅
Unison
2'50"
Christmas Time in the Eyes of a Child is a light-hearted secular Christmas song for mixed choir (SATB) This version is for  mixed choir (SATB), and also incorporates an optional part for children’s choir (in unison) if available. The piece would suit a community choir, or maybe a school choir.   There is also an S(A) version for children’s choir, and […]
for SSA choir a cappella
PGN-003
SSA
5'30"
English
This marvelous love poem by Elizabeth Barrett Browning is dynamically dressed with a rich palette of word painting.
for mixed choir and piano
JBN-018
SATB
4'50"
English
for mixed chorus a cappella
PGN-013
SATB
5'50"
English
Near the turn of the 20th century, Colin Sterne penned a tender Christmas text, which has been transformed into a Christmas lullaby.
for SSAA chorus and piano
EHE-002
SSAA
2'30"
English
This sweet and gentle setting of a classic Southern Harmony hymn features the Alto section in its first verse, then opens out into a joyful depiction of the sensation of flight. The second verse features birdcalls in the piano accompaniment. Recording by First Readings Project. This recording is of the SATB version of the piece, […]
for SSA choir and piano
SPN-020
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.
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