Children of the RainbowAlliance Music Publications AMP – 0589 Two-part children’s chorus, accompanied. “It is a lively, upbeat song that affirms the beauty and value of all children. This composition is particularly well suited to the beginning or intermediate elementary school chorus. The bright melody and call and response refrain provide ideal reinforcement for the concept of diatonic melody built upon the interval of a perfect fourth. The melodic and accompaniment rhythms provide a great introduction to the concept of syncopation. Dr. Powell’s optional suggestions for movement and claping enhance the work’s value as an effective program opener or closer.” –Judith Willoughby, internationally-recognized choral conductor
Gloria Hal Leonard – HL08743508SAB, accompanied; A joyful, Latin motet for young voices. A great setting of the Gloria for young voices learning to sing independent parts.
Gwendete Hal leonard HL – 08551888[audio:http://rosephanyepowell.com/v18/wp-content/uploads/2010/08/Gwendete.mp3|titles=Gwendete] 2-Part, a cappella arrangement of Kenyan folk song, w/piano and percussion. Adapted from a Bantu folksong, this gently teasing song translates as iI love you, but you do not love me. How is that? If you do not love me, you had better tell me so.i Available with VoiceTrax CD. –Hal Leonard
Kingston Market Hal Leonard HL – 08741815[audio:http://rosephanyepowell.com/v18/wp-content/uploads/2010/08/Kingston-Market.mp3|titles=Kingston Market] SSA or three-part treble, Caribbean folk song arr., acc. This traditional Caribbean folk song makes a wonderful showcase for treble choirs. Joyful rhythms, easy-to-sing layered harmony parts and optional percussion highlight this setting by Dr. Rosephanye Powell. Available: 3-Part Treble. Performance Time: Approx. 2:00. –Hal Leonard
Nino Precioso, is a 2-Part arrangement of the traditional Nicaraguan folk song, with piano and hand percussion. This song can be sung at Christmas or year-round. J.W. Pepper Editor’s Choice: Traditionally, Nicaraguan mothers sang this lullaby to their children as they rocked them to sleep. This up-tempo arrangement is in the style of a Spanish dance, complete with hand percussion parts, included in the octavo. The piece is sung in Spanish, with phonetic pronunciation given below the text. It’s a wonderful multicultural selection for general concert use and appropriate for the holiday season as well.
Pete, Pete 2-Part Hal Leonard HL – 08744680[audio:http://rosephanyepowell.com/v18/wp-content/uploads/2010/07/pete_pete_demo.mp3|titles=pete_pete_demo] 2-Part arrangement of West African folk song, w/piano and percussion. This traditional West African folksong, arranged as a call-and-response, will be easily mastered by any choir. Optional African percussion parts, included, may be enhanced with body percussion and simple movements. This is exceptional, with a terrific recorded accompaniment track! Editor’s Choir, JWPEPPER.COM https://www.jwpepper.com/Pete%2C-Pete/3701680.item#/submit
Sanctus Hal Leonard HL08743507SSA, a capella. This new setting of the traditional Latin text is a perfect teaching piece for women’s choirs. The strong piano accompaniment combined with tender vocal lines creates much opportunity for musical expression. –Hal Leonard
Somebody’s Knockin’ at yo’ do’ Oxford University Press 9780193387836 NEWJ.W. Pepper Catalogue number: 10400981 For SA and piano. This thoughtful arrangement of the well-known spiritual ‘Somebody’s knockin’ at yo’ do” was originally published as part of the collection Spirituals for Upper Voices. The two vocal lines are eminently singable, with melodic interest in both parts, making the arrangement ideal for both children’s and women’s choirs of all levels of experience. Containing a recognisable knocking motif, the piano part is expressive, harmonically interesting, and supportive. Composer Notes: Directors can encourage singers to imagine themselves waiting and listening for Harriet Tubman or some other conductor knocking quietly, imploring slaves to embark upon an escape to freedom. The performance of this song should have a sense of quiet urgency and mystery. For expressive gestures, in measure 77, the singers can but their forefinger to their mouths as they speak and sustain “shh”. The final “listen” should be a soft, yet emphatic whisper with the students looking at the audience. They can cup the right hand around the back of the ear in a listening gesture.
When I Sing, 3-Part Treble; ChoralQuest HL00252768
When I Sing was composed to be a fun song that expresses the joy and power of choral singing–creating community, oneness and sharing love, joy and peace. This song, with piano and optional hand percussion, was commissioned by the American Composers Forum. The lyrics were written in collaboration with the singers of the Auburn Junior High School “Elites,” and was premiered by this group, under the direction of Teresa Rhyne. This fun song includes solfege and opportunities for creativity through circle singing
When I Sing is composed in ABA form with an introduction and coda. The piano
introduction presents an abbreviation of the opening melody. This is followed by
a choral introduction, comprised of a lyrical, unison and homophonic presentation
of the A section lyrics, melody, harmony and rhythm. In measure 12, I suggest
that the instructor explains how the compositional device “text painting” is
employed as the notes paint the text by ascending on the phrase “soaring high
above.” The introduction is followed by the A section (m. 23) which has some
independence in the vocal parts and is accompanied by a rhythmic, soulful dance
in the piano.
A contrasting B section begins at measure 41, and introduces new lyrics. The vocal
solo in the first soprano part should be sung tenderly, supported by harmony
in the two lower voices as they sing on solfege. My hope is that the instructor
will use this section as a teaching tool to help students understand the relationship
between solfege and the notes on the page. In rehearsal, the instructor may
want to have the first sopranos attempt to sing their line on solfege to practice
this skill. Additionally, the second sopranos and altos may experiment with sing-
ing their parts on [ah] rather than solfege, since the composer could very
easily have placed this syllable under the notes. In measure 52, more text
painting is employed on the words “harmonies” and “rhythms” as the
notes are harmonized and have rhythmic emphasis. Additionally, text
painting is demonstrated in measures 53–54, on “together” and “one” as
the vocal parts become unison. At measure 55, there is a return to the A
section in a new key.
The final section (coda) begins at measure 72, and is characterized by improvisation.
It should be sung in the style of a circle song. Each section can
be repeated numerous times with new parts added and parts delineated.
The parts written in the score can be used as a foundation upon which to
add new ideas. The hand percussionists can improvise their parts as well.
Feel free to end in the “pop” style in measure 83 or 84; or as composed
with a big ending in measure.
When I sing, I feel wonderful.
I feel joy. I feel peace. I feel love.
When I sing, life is beautiful; like a bird that is soaring high above.
When I sing there’s no anger, there’s no trouble; there is only love.
When I sing, when I sing, when I sing.
As I sing with those around me,
Our voices become one.
Like the moon and the tide, work together.
We sing together.
Our harmonies and rhythms work together as one voice.
When we sing, all is wonderful.
We have joy. We have peace. We have love.
When we sing, life is beautiful; like a bird that is soaring high above.
When we sing, there’s no anger, there’s no trouble, only love.
When we sing, when we sing, when we sing.
The text was written in collaboration with the girls chorus, the Elites,
of Auburn Junior High School in Auburn, AL: Arin, Autum Grace, Ava,
Brynne, Carly, Carson, Destiny, Emily C., Emily D., Emma, Isabell, Jalyn,
Jane, Karley, Lexy, Luci, Malia, Mary, Rachel, and Veronica..
When I Sing was premiered on May 9, 2017 by the Auburn Junior High Elites Choir in Auburn, AL under the direction of Teresa Rhyne.