Jane, Do Be Careful
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
| Voicing: | Equal Voices, SSAA |
| Instrumentation: | A Cappella |
| Language: | English |
| Sacred or Secular: | Secular |
| Difficulty: | Beginners, Intermediate |
| Descriptive Tags: | Children, Fun, Humorous, Light, Silly |
Explore More Music…
Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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Each round 1′30″ to 2′ (in performance) | English | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The voice of the English-speaking working classes is preserved in the rich body of song that developed in the centuries leading up to the Industrial Revolution and in the years surrounding the Great Depression. The songs abound with hope, despair, delight, passion and humour. This original collection of 12 folk-inspired rounds borrows lyrics from English […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SSA | 5'30" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This marvelous love poem by Elizabeth Barrett Browning is dynamically dressed with a rich palette of word painting. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | 4'45" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Charles Wesley’s hymn text based on the story of Jacob wrestling with the angel depicts a deeply human struggle for truth and understanding. This a cappella setting of the text grows with the building intensity of Jacob’s determination, finally breaking into the joy of revelation and reassurance in the final verse. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
TTB | 2' | Other | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| KONIKONECO (TTB) is a traditional call-and-response song of the Teso people, who live in eastern Uganda and in western Kenya. The lyrics, from the Atesolanguage combined with borrowings from other languages and dialects, roughly translates as “Let us celebrate our schools, our learning, and our empowerment.” The piano accompaniment suggests the arpeggios typical of Ugandan hand-held harps (a’dungu). Other […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SA ⋅ SS | 2' | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A sweet and evocative, lyrical piece for treble voices and piano, this delicate song is a setting of a list of paint colors by Martha Stewart. The piece is also available in versions for solo voice and piano (baritone or soprano). It can be performed with or without a video/slide presentation of the paint colors. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SSAA | 2'40" | Yiddish | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Daniel Paulson and VoxMusica commissioned this beautiful a cappella arrangement of Avrom Goldfaden’s beloved Yiddish lullaby. A beautiful solo verse is followed by a lush contrapuntal setting your singers and audience will find very meaningful. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
for Soprano solo, children’s voices (or women’s semichorus), mixed chorus, chamber orchestra and piano. CHR-1504VS | SATB | 11' 00" | English | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Rosa mystica is a sacred devotional cantata combining various texts in which a rose or flower is used as an analogy for the Blessed Virgin Mary, including the Rosa Mystica tradition, and Mary as the stem of the rose from which, arising out of the root of Jesse, grew Jesus, the Spotless Rose. In three […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SA | 2'20" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Using a text by Karen (Hallal) Ricks that captures the yearning feelings of a young person, this exuberant setting seeks to match word and tone. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SAB | 3' | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “We Will Shine Like The Sun” is an uptempo piece; this arrangement is for combined SA treble choir & SATB choir with piano accompaniment.. The empowering text inspires imagination with optimistic lyrics that are ideal for young singers. The score includes a driving piano accompaniment, a clapping section, and an optional tambourine part. The rousing […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SA ⋅ SATB | 4'40" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This carol originated in the city of Wexford in the southeastern Republic of Ireland. It was transcribed from a local singer by the noted Irish author, composer, musicologist, and historian W. H. Grattan Flood (1859–1928). It eventually made its way into the Oxford Book of Carols. It has a modal (Mixolydian) feel, constantly shifting between […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||