SSA voicings are really fun to create! Treble voices have possibilities of singing all three voice parts in unison, which brings real strength to a composition. I love working with SSA compositions. I also love writing Rehearsal Preparation Sheets for SSA. For example, if all voices are going to be singing the melody at some point, or might benefit in some way, I would likely have all the voices singing in unison. I truly enjoy that aspect of SSA choral writing. Unison is a powerful tool, and can be used creatively in conveying the text.
Below, there are four SSA Rehearsal Preparation Sheet examples with different styles and difficulty levels. As you know, SSA voicings are written for younger voices (middle school) and professional ensembles. So...there are unique possibilities for SSA voicings, when creating Rehearsal Preparation Sheets.
We will look at a few RPS examples, so you can get an idea of the product you are purchasing (found at the bottom of the voicing list on a Pepper page.).
You will find below a jazzy, fun holiday setting of Wanetta Hill's lyrics, entitled Swingin' and Jinglin' Given the title, you won't be surprised to know that syncopation is contained, and you might wonder as to how it might be taught.
Quite simply, I begin the process with whatever most students know, and move toward the thing(s) they do not know. The maturity and competence of the students determine how long we stay with the simple and how quickly we proceed to the more complex.
Let's take a look at this example for high school and beyond. Note: the measure references.
Example 2 - The introduction! Harmony is introduced by singing thirds. This interval is easily sung, and it is introduced with quarter notes. Because there are several altered pitches, quarter notes give us a bit longer to think. Then, new concepts are introduced: 8th rest, ties, skips, altered pitches, text, and staccato style....usually one-at-a-time.
Example 3 - The verse begins in this example with a repeated drill, using a lowered third (G-flat) and the B-flat below Middle "C". Both are important notes in the melody. Then, the 8th rest is added (only one). Syncopation is achieved by using a tie.
Example 4 - The second phrase is taught similarly: Quarter notes, add the 8ths, add ties to create syncopation. Notice that the altered pitch (A natural) is always approached from one-half step above. I repeat the passage until the altered pitch is likely "in the ear."
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Bring a Torch, Jeannette, Isabella is a holiday octavo for upper middle school, high school, and beyond.
Example 1 - Tempo: The 8th note gets the beat, and the tempo range is wide. Begin rather slowly, then increase the tempo gradually. Eventually, sing with the dotted quarter receiving the pulse. The altos have I/V and step-wise movement. Soprano I/II move in 8th notes, and use step-wise motion to find the harmonies.
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