Go-in up the lad-der,

Transcription

1 Goin up the ladder RSOURCS P CD track perormance); CD2 track x backing) Inormation Goin up the ladder is a call and response song, similar in style to many street games, work songs, and military chants. Rarely pretty, the style is about being together with others and singing with spirit. This type o song is oten accoanied by a physical activity such as skipping, clapping, or dancing, which helps to cement the rhythm and give a sense o pulse. This is an entrylevel song, ideal or less experienced or younger singers. Both parts are suitable or all voices. Starting Start by clapping the ollowing rhythm, in swing, ehasizing the irst and ourth quaver/eighthnote: 4 > Š Š Š > Š q > Š Š Š > Š q. As you repeat, make the second and third claps quieter, and eventually just think them, clapping only irst and ourth notes. Now play the bassline o the piano part, and ask the group to listen to the rhythm and clap what they hear note that the rhythm just covered appears in the second bar. With more advanced singers, split the group into two and get them to clap the piano and vocal parts together, being sure to anticipate the beat in the piano part only. The melody o this song is based on the major pentatonic scale. Ater some deep breaths, sing an F to ah strong and sile. xpand the range down to D and C, and then up to G and A. Finally, put them together starting on the ith C), ocusing on each pitch as you go: Vb4 Š Š Š Š Š Š Š Š Teaching and rehearsing This song is easily taught by rote. Start with the chorus, using call and response: you sing the irst part to the group, and they sing it back by ear. Practise the smears on Don t hold me back!. Next teach the last our bars, where the call is dierent rom the response. Add this to the section rom bar 45 a repeat o the opening). Note that this section is up a tone rom the beginning. Finally, work on the verses, with the two parts singing together on work to be done, gonna see it through, etc. q When everyone eels conident, divide the choir into two equal groups one sings the call and the other the response. Ideas xperiment with who sings which part. Swap around the groups in the choruses, so everyone gets to sing both call and response, or perhaps use a soloist on part in the verses. Alternatively, to give as many as possible the chance or a short solo spot, ask individuals to sing the phrase ater the counting in the verse: Group : Up one, Group 2: Up one, Soloist: Work to be done. The group can use this song as a basis to create their own call and response. Perhaps invent new words using the existing melody or coose your own tune. The counting rhyme in the verses can be extended as ar as you like, with the leader signalling the return to the chorus. Try singing while juing! Playing a game such as double dutch while singing can irove breathing and make the sound more powerul. Listen out Make sure all the singers remember where the key change happens. Listen out or the tuning o the G# on heaven in bar 38 this is the only note outside the pentatonic scale. Check that the rhythm o You mean there? is secure in bar 53, with no gap between the entries in the irst and second parts. Is the tone suitable or this type o song? Keep the sound bright and solid throughout. Try omitting the pitch altogether at the end. Perorming This song works best i singers interact with each other during perormance, as i part o a street game. Have un, and show this in your movements and acial expressions. Sto, clap, or click during the piece, or add homemade percussion pots, pans, brooms). Try creating an assembly line or a taking a break rom work tableau. Include the audience by asking them to join in with the chorus or movements. 2. Goin up the ladder

2 Goin up the ladder Piano Funky march; swing h = 84 V b 2 p q r #Š/ b Š ˆ Bb 2 r Š r t Š Š eq Š.. Š Š. r Š. r Š.. F7 Music and words: Steve Milloy, with additional words by Norman Welch t Š eq t Bb7/F Š eš> 5 F7 V b #Š/ b Š r q q r #Š/ b Š ˆ Bb r Š r t Š Š eq Š.. Š Š. r Š. r Š.. t Š eq t Bb7/F Š eš> 2 Vb Š Š Š Š Š Š p Š Š Š Š Š 9 Chorus Goin up the ladder, gotta get up there. Vb p Š Š Š Š Š Š p Š Š Š Š Š Goin up the lad der, gotta get up there. p Oxord University Press 202 F7 V b #Š/ b Š r q q r #Š/ b Š ˆ Bb r Š r t Š Šeq Š.. Š Š. r Š. r Š.. t Š eq t Bb7/F Š eš>. Goin up the ladder 3

3 Vb Še Š Še Š r q r t Še Š Š Š Š Š Vb p Še Š Še Š r q r t 3 Don t hold me back! I m gonna get up there. F7 Don t hold me back! I m V b #Š / b Š r q q r #Š / b Š ˆ Bb r Š r t Š Še q Š.. Š r Š r Š... Vb q r Š Š r q Še Š Še Š Š 6. Up one, work to be done. Up Vb Š Š Š Š Š r Š Š r Še Š Še Š r gon na get up there.. Up one, work to be done. V b r t > bš Š =bšš Š Š Š r Š bš. > #Š/Š. =Še..... r Š. Bb t Š Še q bš Š r t Š Še q..> Š. Vb Š r q Š Š Š Š Š Š Š r q 9 F7 two, gon na see it through. Up three, Vb r Š Š r Š Š Š Š Š r r Š Š r Up two, gon na see it through. Up three, V b =bššš Š r Š bš. > #Š/Š. =Še r =bšš Š Š Š.. r Š bš..... Bb bš Š r t Š Še q.> Š. bš Š.> r Š 4. Goin up the ladder Še Oxord University Press 202

4 5 Hard Times Come Again No More SSA or TBarB version 5 Voices Piano Stephen Collins Foster arr. Steve Milloy Conteorary country olk; earthy and hopeul h V # ### 4 p. p p p = 72 V# ### 4 r t Š/Š A Š Š Š. Š/Š Š Š Š Š Š /B Š B9sus4) Š ŠA Š Š Š B####4 p. Š Š Š Š. Š Š e opt. solo or soli) V # ### q Š Š Š Š Š Š Š Š Š Še Š Še. Let us pause in lie s plea sures and count its ma ny tears, 2. While we seek mirth and beau ty and mu sic light and gay, 3. There s a pale, droop ing mai den who toils her lie a way, 4. Tis a sigh that is wat ed a cross the troubled wave, /G# A V# ### ˆ t Š eš Š Š Š Š t Š eš Š r Š B#### ˆˆ. Š Š Š Š V # ### Š Š Š Š Š Še Š. Š Š Š ˆ 9 While we all sup sor row with the poor; There are rail orms ainting at the door; With a worn heart whose bet ter days are o er: Tis a wail that is heard up on the shore, V# ### Š A )Š = /B Š A6/B Š/ Š Š A Š Š Š Š Š B#### Š #Š Hard Times Come Again No More Oxord University Press 202

5 Oxord University Press V # ### q Š Š Š Š Š Š Š Š Š Še Š Še 3 There s a song that will lin ger or ev er in our ears; Though their voi ces are si lent, their pleading looks will say, Though her voice would be mer ry, tis sigh ing all the day, Tis a dirge that is murmured a round the low ly grave. /G# F#m7 /G# A V# ### Š Š t Š eš Š Š Š Š t Š eš Š r Š B####. Š Š Š Š V # ### Š. ŠeŠŠ Š q Š Š Š Š Š Š Š Š ˆ Š Š Š 7 mel.) V # ### mel.) Chorus Oh, hard times come a gain no more. Tis the song, Š. ŠeŠ Š Š Š Š Š Š Š Š ˆ q Š Š Š V# ### Š )Š = Š Š/ Š Š Š Š Š Š Š Š Š Š Š Š Š B#### Š #Š Š Š Š A /B A6/B A B5 V # ### r Š Š. #Še Š ŠŠ Š )ˆ = Š=Š Š Š. r Š. ŠeŠŠ Š Š Š 22 the sigh o the wea ry, Hard times V # ### r Š Š. =Še Š Š. Š. r Š. ŠeŠ Š Š V# ### Š Š/ Š. =#ŠŠe Š ŠŠ Š =Š. Š Š Š Š Š. ŠeŠ Š Š Š. Š Š B#### Š Š Š Š Š Š 7b5) 7 A A6/B 5. Hard Times Come Again No More 83

6 V # ### Š ŠŠŠ r Š ŠŠŠ ŠŠ Š r Š Š Š Š Š Š Š 27 unis. V # ### Š ŠŠŠ r Š ŠŠŠ ŠŠ Š r Š Š Š Š Š Š Š hard times come again no more. Many days you have lin gered a F#m/C# C#m7 F#7 B A/B /G# V# ### Š. ŠŠ Š #ˆ Š Š = t Š ešššš Š t Š ešš B#### Š Š Š Š. Š ŠŠŠ dim. V # ### Š Š ŠeŠ Še Š. ŠeŠŠ Š Š Š Š Š Š Š Š Š ˆ 32 mel.) Š. dim. round my cabin door; Oh, hard times come a gain no more. V # ### Š Š ŠeŠ Še Š. ŠeŠ Š Š Š Š Š Š Š Š ˆ V# ### r Š Š )Š = Š Š/ Š Š Š Š Š Š Š B#### Š #Š Š Š Š dim. A A /B A6/B A dim. V # ### p. p p p p x 4 37 V # ### p. p p p p x 4 V#### Š. Š/Š Š Š Š. x 4 Š/Š Š Š Š Š Š Š B#### q. Š Š Š rit. Š Š F Š Š Š Š/ˆ Š A /B B9sus4) A Hard Times Come Again No More rit. F ˆ Oxord University Press 202

7 8 Guiding Light RSOURCS P CD track 8 perormance); CD2 track x backing) Inormation Guiding Light is a conteorary R&B ballad or emale voices, inspired by artists such as Mary J. Blige and Corinne Bailey Rae. The scoring is lexible, making the song ideal or a mixedability group o girls containing both high and low voices. A lessexperienced group can sing it straight through in two to our parts, while more advanced singers can perorm it as a round, with each person starting with Part and continuing all the way through to Part 4. Starting Stretch up high with both hands. Reach up higher and towards the centre with one hand, and lean sideways. Feel the stretch up that side o your body rom your hips to your shoulders. Repeat on the other side, and then release slowly, exhaling as you do so. stablish the pulse ata=66, counting our beats in a bar out loud. Subdivide into quavers/eighthnotes, saying an2an3an4an, and then inally semiquavers/sixteenthnotes: eeana2eeana3eeana4eeana. With this subdivision in mind, say the words Nothin let to ear. Sing a low ah, with a warm, rich tone. Yawn, and try again, aiming or a eeling o space at the back o your mouth as you raise your sot palette. Now try singing the word light instead, again on long, low notes. I you keep the yawning eeling at the back o your mouth, you shouldn t need to open your jaw too much. Teaching and rehearsing Start with everyone on Part, singing in any octave that is coortable at this stage. Focus on creating a sustained sound on the long notes, and on careul tuning. For Part 2, say the words to the rhythm irst, aiming or clarity and reerring back to the exercise above i necessary. Sing it through, and then put Parts and 2 together. I you preer a siler version o the song, end with the last time bar ater Part 2. Otherwise, move on to Parts 3 and 4. These lines are best suited to higher voices, and they work well as backing vocals, since the rhythms are similar. Finally, either allocate a group o singers to each part and end with the last time bar or, i your singers have the range to perorm all our parts, sing the whole song in sequence as a round, as on the CD demo. Rounds are much more interesting to sing rom memory, so try to memorize the song as you go, over a couple o sessions. This will ultimately encourage listening among the group, and develop ensemble skills. Ideas Try giving each line a dierent tone quality. The irst part could be smooth and personal, midlevel, with chest resonances. Part 2, with its low semiquavers/sixteenthnotes, needs clearer diction so that the words cut through the texture. Parts 3 and 4 should be light and loating, in head voice, possibly with some breathiness see the voo, voo, voo exercise on p. x). xperiment with dierent orms. Here are some ideas: 0 Have a soloist perorm Parts and 2 to open the song. 0 Perorm the whole song as a round initially, then split it up into separate lines. 0 Add an instrumental verse without singing. Dynamics have not been given or the vocal parts, so once you ve decided on a orm, experiment to see what works or your group. One option would be to build the dynamics gradually as the dierent parts enter. Irovising toolbox Try adding an irovised line above the round, or include a section with solo or group irovising. You can use the piano part as a backing, or sing a cappella. To start, sing the minor pentatonic scale on A to oh, V Š Š Š Š Š Š do, and yay : V Š Š Š bš =Š Š Š Make this into a blues scale by adding in an =: Now try out some ragments that you can use in your irovising. It can help to see the scale in two parts. In the lower hal, try A C A, then A C D C A, then A C D b D C A; and in the upper hal = G =, then = G A G A. Also try playing a copying game. In a circle, one person chooses and sings a phrase rom the song such as You re my light ) and everyone sings it back. Repeat this with a dierent person and phrase, and so on. Do the same again, but this time each singer makes up their own phrase, wordless or with lyrics, and everyone Guiding Light

8 copies back. ncourage singers to use ideas rom the game in their irovisation. Listen out Listen careully to words like guide gaheed ), which contain diphthongs, and ask singers to identiy other exales. Are they aware o when they move rom the ah to the ee on long notes? Do they move together? Rather than positioning singers according to part, try mixing everyone up. This can teach inexperienced singers to sing their own part with added conidence. Rounds can be tiring to sing, so listen out or signs o atigue. Decide on a orm and length to suit the group. Perorming Remember that you can vary the orm each time you perorm the song. This will keep the perormance resh and singers on their toes. ach line works on its own, so most perormances should include some sections in unison and some in parts. This will also enable the audience to hear the story o the song, and to recognise parts sung in combination that they initially heard one by one. Think about the person being described in the song, and the strong commitment the singer eels to them. How might that aect the way you sing? The director should cue the Coda clearly, as singers can easily get lost in a round. Oxord University Press Guiding Light Piano R&B ballad; melancholy i V = 66 4 p q Š Š You re V 4 p p V 4 p p V 4 p p R&B ballad; melancholy i = 66 Fmaj7 7#9) V 4 Š Š Š Š # =Š. B p 4 Š Š. Š Še. Š Še Š. * Sing each part through in sequence. t #) Š t r Music: Charles Beale Words: John Moysen my Š t Š bš 8. Guiding Light 03

9 V ˆ Š r Š Š lie, like a V Š Š Š Š Š Š Š Š Š Š t. Š Š Š Š Š Š Š Š Š Š Š t. 3 Part * Part 2 nothin let to ear when your love is near, I only need to hear your voice, my dear. There s Part 3 V. Š Š. r guid ing light, Part 4 V. Š Š Š r r tš Š guid ing light, you re my V. Dm7 Š Š Š. Š r r # =Š B. Š Š Š. Š Š. Šu. Šẹ Š Š Š 7#9) Š Š r. Š. Šu. Š ẹ Š 5 V Š Š Š Š r Š Š star at night. In my V Š Š Š Š Š Š Š Š Š Š t. Š Š Š Š Š Š Š Š Š Š Š t. Š nothin in the world that I d rather do than sit around and spend my lie with you. There s V. Š Š Š. Še Š t Š Š guid ing ligh hight, you re my V. Š Š Š r r t Š Š guid ing light, you re my Am7 Fmadd4)/Ab Gm C9sus4) m7b5) V = Š Š Š bššš bšš Š Š Š. Š u Šẹ. B Š Š Š. Š Š bš Š. =ŠbŠ Š. Šu. Š ẹ Guiding Light Oxord University Press 202

10 9 Gonna Make a Wish RSOURCS P CD track 9 perormance); CD2 track x backing) Inormation Many classic 960s pop tunes were heavily inluenced by the vocal inlections and orms o the gospel music o US black churches. For this reason, pop, early R&B, gospel jazz, soul, and Motown overlapped to a considerable degree, with artists such as Ray Charles, Sam Cooke, and Tina Turner paving the way or the likes o lvis Presley and the queen o blueeyed soul, Dusty Springield. Gonna make a wish embodies the spirit o that gospel soul style. Presented here or lead voice and backing vocals any octave), the song would work equally well or SSAB or SAB plus soloist. Starting Stand still in silence and become aware o tension in your body. Release it as best you can. Feel your head loating up and orward away rom your body, and swing your arms rom side to side. Feel naturally tall, without trying. Next massage your own neck or a ew seconds, and then massage a riend s. Shrug your shoulders, and ind the place where they loat in a relaxed way, not too ar orward or back. Once everyone s relaxed, add some energy. To the groove o the music, sway lexibly rom side to side, as i the top hal o your body is disconnected rom the bottom. As you sway, take a deep, relaxed breath and sing Gonna make a wish. Feel how the body movement rees up your breathing apparatus and connects the voice with the breath. Teaching and rehearsing Start by singing the irst verse in unison to get the overall shape. Take a moment to work on the tone quality and vowel sound, especially or the low Bs. Assign parts or verse 2. I using mixed voices on each part, aim or approximately hal the group singing the lead line and hal the backing vocals divided into three). Listen or balance and adjust as necessary. Next ocus on the inal buildup rom bar 37. Check that really becomes really, really at the right time on cue at bar 39), and make the most o the interplay between the parts. The hoo! s in the lead part are just a bit o un, so the tone can be less pretty and more piercing. Finally work on verse 3, ater the key change. This should build up considerable intensity, allowing the top F in the lead part bar 30) to be conident and soaring. Ideas To lengthen the arrangement and give the singers a break!), try repeating the orm o the irst two verses with an instrumental solo replacing the voices. Listen out Are the words and rhythms coming across clearly at teo? Rehearse slowly to ensure clarity, and then try singing aster than the given teo to loosen things up. When you go back to the original speed, the song should eel relaxed but orwardmoving. Listen careully to the key change. Does the group really rise a colete semitone/halstep? I in doubt, invent a warmup where irst one note and then a amiliar melody is sung twice once at pitch and again up a halstep. The phrase really can come true repeats many times and needs care to ensure that the anticipation o the beat on true sounds relaxed. ncourage singers to listen careully to the piano part to help the groove to lock in. Perorming In the 960s there was a certain ormality to the presentation o this type o song, especially on big TV occasions. Smart dress is thereore to be encouraged, ideally with glamour! This song is ripe or a 60sstyle dance routine. For inspiration, look up old video clips eaturing the Twist, the Mashed Potato, the Watusi, or the Pony. 9. Gonna Make a Wish 07

11 9 Gonna Make a Wish Piano Lead 2 Backing vocals Music and words: Charles Beale, with additional words by David Major V# ### 4 r Š Š=Š Š t ^ > Še Š Š Š. Še ^ t Š eš Š=Š Š t ^ > Še Š Š Š. Še. ^.. B#### 4 r Š Š=Š Š. t Š Š Š^ > Š. Š^ t ŠeŠ Š=Š Š. t Š Š ^ > ^ Š Š. Še. V # ###. t Š e Š Š =Š Š Š r q t Š eš Š =Š Š Š 5 Sassy 960s gospel soul i = 68 A A ). I m gonna make a wish, cos it ll set me 2. I m gonna have a dream; gonna scream and V # ###. p r Š Š ŠeŠ Še p 2nd time only 2.) Gonna have a dream; V # ###. p r Š Š Š Š Š p 3 2.) Gonna have a dream; V# ###. r Š Š =Š Š r Š Š. Še r Š Š =Š Š... B####. r Š Š =Š Š. Piano Š. Še Š. Še r Š Š =Š Ṧ. V # ### Š r q t Š e Š Š =Š Š =Š Š Š Š Š 8 2nd time only V # ### r Š Š Še Š Še p ˆ ˆ gonna scream and shout! ah V # ### r Š Š Š Š Š p ˆ #)ˆ A ree! I m gonna tell the whole world who I want to be. shout! I m gonna tell the whole world what I dream a bout. gonna scream and shout! V# ### r Š Š. Še r Š Š =Š Š r Š t Š. r Š t C#m7. Š. B####... Š. Še Š. Še r Š Š =Š Š. Š. Š Š. Še Gonna Make a Wish A ah 6 Oxord University Press 202

12 V # ### Š r q r Š ˆ Š Š =Š Š Š. Še 2 Just be lieve wishing makes the world brand new Just be lieve dreaming makes the world brand new V # ### r # Š Š Še Š Še r ) = Š ˆ =Š Š Š Š Š. Še What I dream about. Just be lieve dreaming makes the world brand new V # ### r Š Š Še Š Š r Š ˆ Š Š Š Š Š. Š What I dream about. Just be lieve dreaming makes the world brand new V# ### r # Š t ŠŠ Še r ) = Š Š Š t Š. =Š Š t Š. Š Š t.. Š. B#### Š. Še Š. Še. r Š Š. Še Š. Še Š. Še F#7 B B9sus4) 9/G# A Oxord University Press 202 V ### t Š. Š Š =Š Š Š Š Š Š r q. And all your wish es real ly can come true. And all your wish es real ly can come true. V # ### t Š. Š Š # =Š Š Š Š Š Š r q. And all your wish es real ly can come true. V ### t Š. Š Š #Š Š =Š Š Š Š r q. 7 And all your wish es real ly can come true. V#### = = # # =# =Š. ^ > Š Š Š Š r #Š Š. Še. ^ A#7 /B C#7 F#7b9) B9sus4) =Š. #Š. B#####Š. ^ > ^ ŠeŠ Š Š #Š Š Š Š Š =Š Š Š Š Š. Še. 9. Gonna Make a Wish 09 A