Repertoire Corner remains, I am afraid, rather infrequent, but I have some new music that I hope to review over the next few weeks, starting with Lin Marsh’s Serendipidy Solos

The Cuckoo Clock – Lin Marsh
[AB(2)]

I’m quite new to Lin Marsh’s work, but I’m pleased to say that this is a great example of music which has been specially written for new and young singers. The melody is fairly straight-forward, but there are variations as the music progresses, so it is worth taking time over learning this song. Once the basic structure is in place, there is plenty of instruction for dynamic variation and change of moods which need to be included to really give a great polished performance. Young singers should enjoy this song and other works by Marsh.

[lyrics and video unavailable]

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Part of Your World – Composer (The Little Mermaid)
[LCMMT(1-3);TG(2)]

This stalwart of the Disney songbook is a popular choice, but requires careful attention to really perform well. Watch for the rests – they come in irregular places! Once the rhythm has been mastered, this song needs to be sung with imagination to convey the curiosity and wonder of Ariel’s character. This might be a good song to use for introducing some theatre games to young singers, or exploring how to mix singing with semi-spoken phrases.

[Lyrics] [YouTube]

[Introductory Remarks]

He Shall Feed His Flock – Handel
[AB(x);LCM(x);TG(x)]

Text. [Lyrics] [YouTube]

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I Dreamt I Dwelt in Marble Halls – Balfe (Bohemian Girl)
[AB(x);LCMMT(x);TG(x)]

Text. [Lyrics] [YouTube]

Christmas is nearly upon us, so the next few repertoire corner posts will focus on some of the festive music available on the exam lists

Sans Day Carol – Anon
[AB(x);LCM(x);TG(x)]

This song is a bright and jolly alternative to the Holly and the Ivy, and tells the story of Jesus through colours. It does go at quite a brisk pace, so singers will need to ensure that they know their words and articulate clearly throughout the song. There are also several short runs which will need close attention to ensure they don’t become glissandos. There is plenty of scope for dynamic and mood variations between verses, so select those to be performed carefully!

Text. [Lyrics] [YouTube]

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A Spoonful of Sugar – Sherman/Sherman (Mary Poppins)
[AB(x);LCMMT(x);TG(x)]

Just as with the Sans Day Carol, this is a song which requires precision and accuracy to be really excellent. Watch that singers perform exactly the right notes as written rather than what they think it should be. The tone should be brisk, but not halting – the goal is to create a fluid song, but one which is also precise. This should be a jolly song to sing, and a great choice for young singers.

Text. [Lyrics] [YouTube]

This week’s songs are both full of joyful music and cheerful thinking – just what we need when the evenings are suddenly that bit darker.

Funiculi, Funicula – Denza
[AB(x);LCM(x);TG(x)]

This is a bright and happy tune which requires a good measure of confidence to bring off. Time should be taken to ensure that the singer is certain of the words before increasing the tempo to  it’s full allegro. Each chorus section is a chance to demonstrate the ability to build in volume and intensity, making this song a great opportunity to develop performance skills at an early stage.

Text. [Lyrics] [YouTube]

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I Whistle a Happy Tune – Rodgers & Hammerstein (The King and I)
[AB(x);LCMMT(x);TG(x)]

Unlike it’s Sound of Music counterpart, this Rodgers and Hammerstein number betrays none of the nerves of the characters who sing it. Instead, this should be sung jauntily and with the confidence that the lyrics speak of. All the words should be crisp, firm and confident – they need to be really well known. Watch the intervals at the end of the middle section – they need to be accurate even with the rallentando. The whistling is optional for exams, and does require some technical skill, but it is worth the effort to lift the central section.

Text. [Lyrics] [YouTube]

More songs of love this week, but this time they’re taken from two different cultural backgrounds. One is a traditional Antipodean love song, and the other strongly inspired by Russian musical traditions.

Pokarekare Ana – Trad. New Zeland (arr. Sarah Class)
[AB(3)]

This traditional New Zeland song was made famous by Haley Westenra, and should be treated with a light touch. The lyrics speak of a distant love, and need to be communicated with sensitivity. Watch for the large slurred intervals at the end of each line – the movement between pitches should be legato, but clean – there should be no portamento effect. Some of the intervals between the lines in the middle section are tricky, so attention should be paid to accuracy for each starting note.

Text. [Lyrics] [YouTube]

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Somewhere My Love – Maurice, Jarre & Webster (Film of Doctor Zhivago)
[AB(3);LCMMT(2-4);TG(3)]

As with Pokarekare Ana, care should be taken in this song to ensure all the interval jumps in the vocal line are accurately placed. Each phrase should be sung through, avoiding the temptation to pause after the high note in the middle of the line. This provides a smooth, lullaby-like melody which echos the gently optimistic lyrics. The rallentando at the end of the second section should be used to create a build point, but there should not be too dramatic a drop in energy as the third section begins.

Text. [Lyrics] [YouTube]

Two songs on the “perils of love” this week.

Love Quickly is Pall’d – Purcell
[AB(4)]

This is a good introductory song for students who are beginning to tackle Baroque repertoire. Purcell incorporates quite a few vocal runs which should be practiced slowly at first to ensure that they are pitch-accurate before being sung at speed. Ensure all the rests are counted, and that students use both counting and listening to the piano to identify when to come in for each phrase. This song also provides a good introduction for teaching about perfect cadences, which need to be understood as part of the ABRSM’s Grade 5 theory requirements.

Text. [Lyrics] [YouTube]

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Waiting at the Church – Leigh & Pether (Music Hall)
[AB(2);LCM(MT)(3-5)]

This is a great little music hall number, and should be sung with the performance context in mind. Rather than a clean bel-canto line, this song requires quite a conversational, almost spoken verse, and then a rousing chorus to get the audience to join in. This song can really be played for laughs and is great for developing acting and communication skills in advanced beginners who are looking to become more consummate performers.

Text. [Lyrics] [YouTube]