We Are the Future by Paul Rardin

Transcription

1 PBLISHERS PACKET BLES Bad Choral Music and Ho to Sot It Paul Rardin Temle niversity Texas Choral Directors Association Convention Monday, uly 22, 2013, 9:15am Featuring the rightully neglected by Paul Rardin COMPOSER GENERAL S WARNING Prolonged exosure to bad choral music may lead to drosiness, headaches, dizziness, nausea, obesity, loss o aetite, and, in extreme cases, death. Other ossible side eects include irritability, reduced intelligence, suericial hainess, bizarre md sings, and a general loering o standards. Driving heavy machinery hile singing bad choral music is actually not a bad idea the machinery may ell sound closer to high art. Women ho are regnant should not sing bad choral music. I you are listening to bad choral music ith a child, cover your on ears beore covering your child s ears. I you think might be addicted to bad choral music, see your DMA.

2 Publishers Packet Blues TCDA Convention 2013 EXCELLENCE IN CHORAL REPERTOIRE Some Criteria or Quality in Choral Music Excellent choral ieces demonstrate at least several o the olloing qualities: Distinctive Text Is the text distinctive, or is it commonlace Does the text oer challenge and insight to the reader Are there ords beteen the ords Does it have the otential to teach to move nion o Text and Music Does the iece understand the text, set it ell, and enhance it Or is the text merely a vehicle or the music itality Is the iece evocative, memorable, and alive (William Kleinsasser) Integrity Is the iece connected to itsel in interesting ays (counteroint, relationshis beteen voices and instruments, connectivity o sections) Does it have a sense o cohesion (movement/lo/drive) rom beginning to end Innovation Does the iece introduce ne musical ideas I it uses existing musical language (e.g., Western Euroean tonality), does it do so ith distinction Challenge Does the iece challenge the singer Does it challenge the listener Potential to Move Does the iece include instances o comelling beauty surrise it assion humor Idiomatic Treatment Is the iece ell ritten or voices Does it exloit the voice s unique caabilities and avoid its eaknesses * * * The Need or Standards in Comosition Museums need to reclaim the idea o quality because it is hat eole ant hen they go to museums: to be told hat they should value, so that they can then decide or themselves hether or not to agree hich is ho a ree democracy really orks. Standards change, values evolve, but ithout them at any given moment, e are lost. - Kimmelman, Michael, Museums in a Quandary, Ne York Times, 8/26/01. 8

3 Dedicated to the victims o all illnesses, diseases, natural disasters, and other bad things everyhere. And also all children. Words and Music by Paul Rardin Piano Reverently {q = c 97} 4 4 P 5 5 P When I ake u in the morn, oy- ous glad - ness ills my. heart,. Brand ne hoe or all is Coyright 2006 by Paul Rardin. All rights reserved. Are you seriously considering hotocoying this

4 15 15 born, Giv- ing love a brand ne j start, Ea-ger-ly, hoe-ul-ly, I greet each ne day smi-ling, Ha-i-ly I go on my j j j j j ay, A P When I tread out each ne day, 27 j j A 2

5 33 33 I see beau - ty all a - round, Signs o love ev' - ry hich.. F F Signs o love ev' - ry hich ay, ay, F Signs o F love ev' - ry hich ay, Hoe o Hoe o riend-shi to be riend-shi to be.. ound, ound, ound,. Piano 39 Signs o love ev' - ry hich ay, j ound, 3

6 45 oy-ous-ly, ra-diant-ly, I think o grace and glo - ry, Ky-ri - e e - le - i - oy-ous-ly, ra-diant-ly, I think o grace and glo - ry, Ky-ri - e e - le - i - oy-ous-ly, ra-diant-ly, I think o grace and glo - ry, Ky-ri - e e - le - i - 45 oy-ous-ly, ra-diant-ly, I think o grace and glo - ry, Ky-ri - e e - le - i - j j j j j 51 son, son, son, the the the B a temo u - a temo u - a temo u - a temo ture, ture, ture, e're illed ith e're illed ith e're illed ith. hoe,. hoe,. hoe,. all all all 51 son, j the j B u - a temo ture, e're illed ith hoe,. all j 4

7 57 climb climb climb - ers u lie's lot - y sloe, to - mor - - ers u lie's lot - y sloe, to - mor - - ers u lie's lot - y sloe, to - mor - ro, ro, ro, that day e'll that day e'll that day e'll 57 climb - ers u lie's lot - y sloe, to - mor - j ro, that day e'll 63 ind ind hen eace ill reach out to all hu - man - kind, b b the the b ind the b 63 ind j g. j j b n b b b. the b b j 5

8 C u u u u C. - ture, e're illed ith hoe, all climb - ers u lie's lot - y - ture, e're illed ith hoe, all climb - ers u lie's lot - y - ture, e're illed ith hoe, all climb - ers u lie's lot - y - ture, e're illed ith hoe, all climb - ers u lie's lot - y.. n. j. j n n n sloe, to - mor - ro, that day e'll ind hen eace ill A sloe, to - mor - ro, n that day e'll ind sloe, to - mor - ro, that day e'll ind 75 sloe, to - mor - ro, that day e'll n ind j g n 6

9 81 reach imrovise on hen eace ill reach out imrovise on hen eace ill reach out out imrovise on hen eace ill reach out to all hu- man - kind. kind. kind. kind. sloer, more reverently sloer, more reverently sloer, more reverently sloer, more reverently 81 sloer, more reverently 87 (sitch to n) (sitch to n) (sitch to n) (sitch to n) hisered Û Û Û (hu - man - kind) hisered Û Û Û (hu - man - kind) hisered Û Û Û (hu - man - kind) hisered Û Û Û (hu - man - kind)