Missouri ACDA 2023 Summer Conference | MusicSpoke Reading Session

Phone & FAX: 844.687.7653 • Email: notes@musicspoke.com

P.O. Box 10026 | Kansas City, MO 64171

Missouri Choral Directors Association 2023 Summer Convention

I Had No Time to Hate | Nathan Howe | SATB (TTBB)

Imaginary Creatures (ACDA Version) | Andrea Ramsey | SATB divisi

Castelloza’s Song | B.E. Boykin | SATB (Unison)

Chorus Storm | Kurt Knecht | SSATBB

Sikirileke/Koloi | Sabelo Mthembu | SATB

Pie Jesu | Hans Bridger Heruth | SSATBB

To a Skylark | Tim Brent | TTBB

Imaginary Garden | Marie-Claire Saindon | SATB (SSAA)

Autumn Dusk | Bonnie McLarty | SATB divisi

The Journey | Andrea Ramsey | SATB

* If ordering printed scores, shipping will be added to the invoice

MUSICSPOKE PURCHASE ORDER

You can email your P.O. to notes@musicspoke.com or FAX to 844.687.7653. MusicSpoke accepts purchase orders from qualified institutions, universities, and school districts. We cannot accept purchase orders from individuals. To place an order using a Purchase Order, you must not have overdue invoices.

Date: P.O. No

School/Organization:

Billing Name: Title:

Phone: Billing Email:

Ship to Address:

Teacher/Conductor Name:

Teacher/Conductor Email:

Missouri Choral Directors Association 2023 Summer Convention

5 I Had No Time to Hate | Nathan Howe | SATB (TTBB)

9 Imaginary Creatures (ACDA Version) | Andrea Ramsey | SATB divisi

25 Castelloza’s Song | B.E. Boykin | SATB (Unison)

32 Chorus Storm | Kurt Knecht | SSATBB

41 Sikirileke/Koloi | Sabelo Mthembu | SATB

46 Pie Jesu | Hans Bridger Heruth | SSATBB

55 To a Skylark | Tim Brent | TTBB

70 Imaginary Garden | Marie-Claire Saindon | SATB (SSAA)

84 Autumn Dusk | Bonnie McLarty | SATB divisi

94 The Journey | Andrea Ramsey | SATB

Use coupon code MCDA2023 for 10% off your next order at MusicSpoke.com

THE DEAD ONES DON’T NEED IT

S A T B

I Had No Time to Hate

Text by Emily D ickinson Music by N athan H ow e

P œ œ . œ j œ had no ti m e to œ œ œ œ œ had no ti m e to œ œ œ . œ j œ had no ti m e to œ œ . œ J œ had no ti m e to œ œ . œ j œ œ œ œ œ œ œ œ œ . œ j œ œ œ . œ J

6 œ œ c ause the ∑ ∑ ∑ 6 œ œ ∑

# # # # # #

. ˙ œ ti m e , I . ˙ œ ti m e , I . ˙ œ ti m e , I . ˙ œ ti m e , I . ˙ œ . ˙ œ . ˙ œ . ˙ œ . ˙ U ‰ j œ hate be . ˙ U Œ hate . ˙ U Œ hate . ˙ U Œ hate . ˙ u ‰ j œ . ˙ U Œ . ˙ u Œ U

œ œ . œ j œ had no ti m e to œ œ . œ j œ had no ti m e to œ œ . œ j œ had no ti m e to œ œ . œ j œ had no ti m e to œ œ . œ j œ œ J œ œ œ . œ j œ œ œ . œ J œ co n mo to co n mo to

4 2 4 2 4 2 4 2 4 2 4 2

4 4 4 4 4 4 4 4 4 4 4 4

. ˙ œ gr av e woul d Œ œ œ œ the gr av e woul d Œ œ n œ œ the gr av e woul d Œ œ œ œ the gr av e woul d . ˙ œ Œ œ œ œ Œ œ n œ œ œ œ œ

F F F

œ œ . ˙ hi n de r m e , œ œ . ˙ hi n de r m e , œ n œ . ˙ hi n de r m e , œ n œ . ˙ hi n de r m e , œ œ . ˙ œ œ . ˙ œ n œ . ˙ . ˙

--

f f f f

Œ œ œ œ And l i fe was Œ œ œ œ And l i fe was Œ œ œ œ And l i fe was Œ œ œ œ And l i fe was Œ œ œ œ Œ œ œ œ

. ˙ œ hate I . ˙ œ hate I . ˙ œ hate I . ˙ œ hate I . ˙ F& & V ? & ?

. œ J œ œ œ , not so am pl e , . œ j œ œ œ , not so am pl e , . œ J œ œ # œ , not so am pl e , . œ J œ œ œ , not so am pl e , . œ j œ œ œ , . œ J œ œ œ . œ j œ œ # œ . œ J œ œ œ ,

--

Œ

œ œ œ I had no Œ œ œ œ I had no

œ œ I had no

œ J œ œ œ œ

œ j œ œ œ . œ J œ œ œ . œ j œ œ œ . œ J œ œ œ

A

& V ? & ?

&

# # # # # #

cresc p o co a p o co

i n dus tr y m ust be ,

cresc p o co a p o co

œ œ œ œ

cresc p o co a p o co

but si nc e S om

- -

œ

si nc e S om e

su b ito p su b ito p su b ito p

Œ œ œ œ The l i t tl e Œ œ œ œ The l i t tl e Œ œ œ œ The l i t tl e ∑ Œ œ œ œ œ œ œ Œ œ œ œ

. œ J œ ˙ U

. œ J œ . œ ‰

-

7 2023 MCDA

P P P-

toi l of l ov e , . œ j œ ˙ U

toi l of l ov e , . œ J œ ˙ U

toi l of l ov e , ∑ . œ j œ ˙ U . œ J œ ˙ u . œ J œ ˙ U

∑ ∑ ∑ Œ œ œ œ I thought was ∑ Œ œ œ œ

-

P

--

3 I H ad N o Time to H ate SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

l ar ge e nough, . œ j œ . œ ‰ l ar ge e nough, . œ J œ . œ ‰ l ar ge e nough, . œ J œ . œ ‰ l ar ge e nough, . œ j œ . œ ‰ . œ J œ . œ . œ j œ . œ ‰ . œ J œ . œ -

j œ had no ti m e to œ œ . œ j œ had no ti m e to

Commisioned by the California Choral Directors Association for the SATB All-State Honor Choir 2022 Dr. Jeffery Redding, director

Imaginary Creatures

SATB divisi Chorus with Piano

1. Fairy

(ages 5 & 8)

Copyright © 2021 Andrea L. Ramsey

unis.

‰ j œ œ œ œ œ œ œ They

MCDA

j œ œ n œ all eat at the fai ‰ j œ œ œ œ œ œ œ They all eat at the fai Œ ¿ Œ ¿ œ œ œ œ n œ Œ Fai ries all eat, Œ ¿ Œ ¿ Ó J œ n œ n J œ Fai ry Œ œ œ œ œ œ n œ œ n Œ œ œ œ Œ œ n j œ ‰ F F P fingersnaps fingersnaps œ œ œ œ œ œ œ œ ry ca fe, they eat lol œ œ œ œ œ œ œ œ ry ca fe, they eat lol Œ ¿ Œ ¿ œ œ œ œ n œ Œ fai ry ca fe, Œ ¿ Œ ¿ œ Œ J œ n œ n J œ ca fe, Œ œ œ œ œ œ n œ œ n Œ œ œ Œ œ n j œ ‰ - -~~~~~ ~~~~~~ ~~~~~~-~~~~~~ -- --5 SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE 13 2023

2. Mermaid

Soprano Alto Tenor Bass

& ? & ?

b b b b b b b b b b b b b b b b b b b b b b b b

8 12 8 12 8 12 8 12

U . œ U " Œ . goes: NAY* NAY!*

œ ‰ . œ U . œ U " Œ . goes: NAY* NAY!*

œ ‰ œ U œ U " Œ goes: NAY* NAY!*

f f f f F

Œ . . . ˙ ˙ . . ˙ ˙ U " Œ . œ œ œ Œ . " Œ . œ œ œ > ‰

œ J œ œ J œ œ j œ ‰ ‰

It has spe cial pow ers

œ j œ œ j œ œ j œ ‰ ‰

It has spe cial pow ers

œ J œ œ J œ . œ J œ ‰ ‰

It has spe cial pow ers

* Toss hair and shake head from side to side. Sing roughly at pitch, but with a fast vibrato that mimics the neighing of a horse. Conductor can take lots of time on the gliss.

4. Imaginary Friend

5. Dragon

& V ? & ?

J œ œ . œ Ó ride it,

œ j œ œ . . œ œ Ó ride it, J œ œ . . œ œ Ó ride it, J œ . œ Ó ride it,

˙ ˙˙ ˙ g g g J œ œ œ . œœ œ U œ œ > œ œ œ J œ . œ U

œ œ œœ œœ œ œ # > œ œ # > Or it is an e vil

œ œ œœ œœ œ œ # > œ œ # > Or it is an e vil

With fire ( q»120 ) With fire ( q»120 )

∑ Œ œ œœ œœ > œœ ‰ J œœ œ œ Œ œœ œ # # > œœ œ ‰ J œœ œ &

œ œ # > œ œ # œ œ , ˙ ˙ dra gon, Oo œ œ # > œ œ # œ œ , ˙ ˙ dra gon, Oo Ó œ œ œ # œ > and

* Separate destroys & everything with slight glottal attack.

** entire chorus makes an open-mouthed hissing sound (no ss sounds) just open-mouthed breathing, unpitched, but with crescendo and an accented finish on an unpitched/unvoiced "ah." Scream to follow should be performed by a maximum of one scream soloist in each section (8 voices, max) and should be on the beat, quickly released, and blood-curdling. (This is a reactionary scream in fear of the evil dragon.)

C a s t e l l o z a ' s S o n g

for SATB Choir 25 2023 MCDA

Castelloza's Song

For the 2021 National Conference of the American Choral Directors Association, presented by Liza Calisesi Maidens and Katy Lushman for their research session, "(re)Consider the Canon." Performance by the Michigan State University Graduate Choral Ensemble. Generously commissioned by the Edward D. Anderson Choral Scholars Fund.

Historical and Performance Notes:

Castelloza’s Song was commissioned in conjunction with a research presentation, (re)Consider the Canon - bringing the past into the present, for the ACDA National Conference in 2021 In addition to uncovering approachable works by well-known composers from the Renaissance and Baroque eras, the session also highlighted voices that have often been excluded from choral history. In our research, we learned about Na Castelloza, a 13th-century trobairitz from Occitan. Based on her depictions in the Chansonnier Provençale Codex, she is thought to have been a woman of color. Only some of her poetry survives - none of her music survives Given the parameters of our session, we thought another way to “bring the past to the present,” would be to commission a work that featured one of Castelloza’s poems and used early music conventions. Like much of the repertoire from our session, Castelloza’s Song can be adapted to fit your ensemble needs.

Flexible voicing options:

- SATB unaccompanied (click here for youtube link)

- SATB with keyboard instrument (opt. cello on the bass line)

- Unison melody with guitar accompaniment (click here for youtube link)

- Unison melody with keyboard instrument (opt cello on the bass line)

Other adaptations:

- Feature a soloist at the beginning of each section, then add voices at each repeat (vocal solo or obbligato instrument)

- Flexible tempo marking

Text and Translations:

Eu sai ben qu'a mi esta gen, Si ben dison tuig que mout descove Que dompna prec ja cavalier de se, Ni que tenga totz terns tarn lone pressic Mas cil c'o diz non sap gez ben chausir. Qu'ieu vueil preiar ennanz que m lais morir, Qu 'el preiar ai maing douz revenimen, Can prec sellui don ai gran pessamen

I know well that it pleases me, even though everyone says that it's very improper for a lady to plead her own cause with a knight, and make him so long a sermon all the time But whoever says that doesn't know how to discern well at all. I want to pray before I let myself die, since in prayer I find much sweet healing, when I pray to the one from whom I get great care

Text and Translation Source: III of VI by Na Castelloza

Text 1: Amics, s’ie us trobes avinen (P-C 109, 1)

Paden, William "The Poems of the 'Trobairitz' Na Castelloza " Romance Philology 35, No 1 (1981)

Chorus Storm

Commissioned by Blue Valley Northwest Chamber Singers for their 2023 KMEA performance, Beth Richey-Sullivan, conductor for SSATBB chorus, unaccompanied

Sikirileke / Koloi

Traditional SeSotho Folk Song

 = =    

Arranged by: Sabelo Mthembu

) )

Si ki ri ke le Si Si

eh mo tho a wel' si ki ri ki ri le ke ki ri le ke

mo tho mo tho

Si tho wel' a ki si ke le mo tho we a la ki si ri ki si ri

eh mo

ke le mo ke le mo

tho we a la tho we a la

ki ri le ke

a we la, a we la, le ke ki si ri

Ha re pa ba Ha re pa ba 

we a la. we a la.

To Coda

mo tho we a la mo tho we a la

la la

a we la, Ha re pa ba la Ha re pa ba la mo tho mo tho

   

we la, ha re ba we la, ha re ba mo tho a mo tho a

we la, we la,

ha re ba ha re ba

42 2023 MCDA

ri... Re ne we la mo tho a we la  D S al Coda

  2

wel'. Si ki we la.

  

a we la, a we la, pa la pa la

pa la mo tho pa la mo tho

re ba pa la mo tho a we la. 1. 2.

       

mo tho mo tho

a we la, a we la, mo tho a mo tho a mo tho a

    SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

Re ba re ne pa la a tho mo la we ne Re pa ba re la a we la

Re ba re ne la pa mo we a tho la.

a tho mo la. we

   

ko loi e me, ko hae hae

   

ea tsa ma ya loi ea

thi e me 1. 2.

Ko loi tsa ma ya. loi loi

e me, e me,

ko ko

44 2023 MCDA

ea ea

tsa ma ya. tsa ma ya ..ma ya. ea ea

ba ko loi Ko tsa ma ya Ko ea tsa ma ya Ko

        4

Thi tsa ma ya.

     

    SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE

ba ko e me loi hae e me  

hae loi

e me hae loi hae

         

ea tsa ma ya loi ea tsa ko ko

loi loi

ea tsa ea tsa

Thi ba ko ma ya ma ya. ea

Ko loi tsa ma ya. ma ya. ma ya

hae e me, ko hae e me, hae e me, Ko loi hae e me,

loi ko

tsa ma ya. tsa ma ya Ko loi Ko loi

ea tsa loi ko loi D.S. al Fine

ea ea

ma ya. ea tsa ma ya. ea tsa ma ya ko loi ea tsa ma ya

1. 2.                                           5     SAMPLE FOR READING SESSION ONLY | NOT LICENSED FOR PERFORMANCE | NOT FOR RESALE 45 2023 MCDA

PIE JESU

Commissioned by Canticum Novum Mizzou for SSATBB voices

Hans Bridger Heruth

Performance time: approx. 4'00"

Text:

Pie Jesu Domine, dona eis requiem.

We will love you, we will hold you, you'll be safe here in our arms. We will always be beside you, so don't leave this world behind. Don't go my love! I need you here beside me. I'll hold you in my arms so you won't go. Don't go. Please don't go.

Pie Jesu Domine, dona eis requiem aeternam.

Performance notes:

If the notes in the bass voice are too low for the ensemble, ALL voices should sing the optional upper pitches notated with smaller noteheads. The small circles at the end of diminuendos indicate a descrescendo al niente.

www.afsp.org

TTBB a capella

Performance Notes

This TTBB setting of the poem To a Skylark by Percy Shelley, is a rhythmically driving piece that will inspire your ensemble with beautiful moments of emotion, harmony, and changing dynamics to reflect the flight of the Skylark.

Make sure to pay careful attention to the various dynamic changes throughout the piece, as these contribute to the different twists and turns the Skylark often encounters while flying

It will be very important to make sure the ensemble is able to maintain the P5 interval as it is one of the supporting accompanying figures of the piece (this pattern opens the piece).

The melody is distributed between the basses and tenors throughout the piece. Make sure that each section knows when they are the either the melody or accompanying the melody.

Have fun and enjoy the challenge!

Text by Percy Bysshe Shelley (1792-1822)

b b b 8 6 8 6 8 6 8 6 8 6 8 6

Spirito q. 100 f

To a Skylark

TTBB a cappella

Music by Tim Brent

f f -

> > > > > > > > > >

j œ j œ j œ œ j œ High er and high er, j œ j œ j œ œ j œ High er and high er, j œ j œ j œ œ j œ High er and high er, j œ j œ j œ œ j œ High er and high er, ∑ œ œ œ œ œ œ œ œ J œ œ

Œ j œ j œ j œ j œ still high er, and Œ j œ j œ j œ j œ still high er, and Œ j œ J œ j œ - -

- -

--- -

> > > > > > > > > >

-- -

f J œ still high er, and Œ j œ J œ j œ J œ still high er, and ∑ Œ J œ œ œ œ œ œ œ œ

j œ j œ j œ œ j œ High er and high er, j œ j œ j œ œ j œ High er and high er, j œ j œ j œ œ j œ High er and high er, j œ j œ j œ œ j œ High er and high er, ∑ œ œ œ œ œ œ œ œ J œ œ --- -

www.timbrent.com

Tim Brent Music © 2020

> > > > >

> > > > > > > > > >

-- -

f j œ j œ j œ œ j œ high er, and high er. j œ j œ j œ œ j œ high er, and high er. J œ J œ j œ œ j œ high er, and high er. J œ J œ j œ œ j œ high er, and high er. ∑ œ œ œ œ œ œ œ œ J œ œ

V ? ? ? ?

high er, and high er,

still high er, and

high er, and high er,

still high er, and

high er and high er,

still high er,

sun, clouds are . œ ‰ J œ J œ sun, clouds are . œ ‰ J œ J œ

p p p

œ

∑

Œ j œ j œ j œ j œ still high er, and Œ j œ j œ j œ j œ still high

The Imaginary Garden

Marie-Claire SAINDON

a musical adaption of poetry wri7en by Mahvash SABET

translated and adapted to Enlgish by Bahiyyih NAKHJAVANI

Listen to it here!

or follow this link: h7ps://goo.gl/4gfU69

2018 George Ronald, Publishers and

Marie-Claire Saindon: THE IMAGINARY GARDEN for SATB a capella choir

Copyright © 2018 by Marie-Claire Saindon, Montréal Tous droits réservés. SOCAN.

Publishing permission of Mahvash Sabet's poem, "The Imaginary Garden", has been granted by George Ronald, Publisher.

The Imaginary Garden

Mahvash Sabet

Translated and adapted into English by Bahiyyih Nakhjavani

There once was a woman green as the spring, who planted her hands in a garden. And another woman, red as her heart who plucked light from the bars of a prison. And now here I am with my own patch of soil, growing a garden in this small cell, with poppies full of love for each pane.

You need just one flower –that's all it takes –to open the windows of sight. A single verse is quite enough to illumine the eyes with light.

Program Notes

So I'll tie my bags to the foot of the breeze and soar high up to the top of the trees in my garden that grows inside. And I'll spread my wings to reach you and soar high to teach you how windows can open wide. You don't need much : one poppy is all it takes to be open to love. One verse is sufficient to fill the eyes with the shining beams from above.

“The Imaginary Garden” is a piece of hope, steadfastness, and determination during trials and tribulations. Mahvash Sabet, the author of the poem “The Imaginary Garden”, was one of the seven Bahá’í leaders in Iran who was sentenced to 20 years of imprisonment as prisoners of faith in 2008. Mrs Sabet was a school principal and was stripped of her role during the Islamic Revolution because of her adherence to the Bahá’í Faith - but this did not stop her from covertly teaching all the children and youth around her from persecuted communities, Bahá’í or not, who were devoid of the basic human right to education.

Despite her hardships in prison, Mrs Sabet still held firmly to her love of God, and to the utmost conviction that it was still her duty to teach. In this poem, she evokes others who have come before her and, like herself, have found ways to continue their tasks through unconventional means that circumvented the bars keeping them captive. The imagery of the wind picking up her materials to reach those that would be taught by her is what drives this piece.

The poem comes from a collection of short texts, scribbled on small pieces of paper and napkins, that Mrs Sabet’s family and friends snuck out of prison aber visiting hours. The poems were shared with friends outside of Iran, who then translated them into English. The collection as a whole was published under the name of “Prison Poems”, by George Ronald, Publisher in Oxford, while Mrs Sabet was still in prison.

Composer Bio

Marie-Claire Saindon is a Franco-Ontarian composer based in Montréal. She began her creative journey in high school, where she wrote and produced her first musical. She collaborated in many projects while studying music at McGill University and Université de Montréal, from choral pieces to scoring short films and full documentaries to fiddling in a team of folk musicians on a historical steam train.

Recipient of multiple composition prizes, her choral works are published with Boosey & Hawkes and Cypress Choral Music. She currently scores films, composes choral commissions, and is composer-in-residence of the Montréal female vocal ensemble Adleisia. – www.marieclairesaindon.com

Winning composition of the 2018 Eastern Horizon Choral Writing Competition, hosted by Choirs For Change, Nova Scotia

The Imaginary Garden

Poem: Mahvash Sabet*

Music: Marie-Claire Saindon

*from "Prison Poems" by Mahvash Sabet; publishing permission has been granted by George Ronald, Publisher

œ œ œ œ œ once was a wo man

œ œ œ

green as the spring who

œ œ œ œ œ once was a wo man

was a

œ œ œ œj green as the spring who

œ

œ wo man, who

n œ J œ wo man, who

œ œ œ . œ œ plan ted her hands in a

œ œ œ . œ œ plan ted her hands in a

plan

plan ted a

as her heart, who plucked

as her heart, who plucked

The Imaginary Garden

. œ‰ œ œ spread, and I'll ˙spread . œ œ œ œ œ ‰ dum bay a bay dum œ ‰ . œ œ œ œ dum dum bay a bay ˙spread . œ‰ œ œ spread, and I'll . ˙spread . ˙ ˙(spread j6 ‰ ‰ J x ‰ ‰

Split into SSAATTBB . ˙spread œ œ œj wings to . œ œ œ œ œ ‰ dum bay a bay dum œ ‰ œ œ œ œ œ œ dum da bay a bay da bay œ œ J œ wings to . ˙spread . ˙ my .

. œ œ

œ wings to ˙reach . œ œ œ œ œ ‰ dum bay a bay dum œ ‰ .

*The singers may clap their hands or slap any comfortable surface if holding a binder/score.

** If the singers are comfortable to perform the stomped pick-up notes in the parenthesis, they may do so by alternating feet as they stomp. Otherwise, they may simply repeat measure 73 until measure 89, where they stomp one last time on its downbeat.

The Journey

SATB Chorus and opt. Percussion*

by Ashland High School Choirs in honor of Andrew Prezioso Kimberly Wolbert, conductor.

The Journey

SUPPORT LIVING ARTISTS

THE DEAD ONES DON’T NEED IT