Table 2 Phrases, Vowels, and Keys

individual basis. Often students observe a master class or recital involving

will approach their teachers their peers.This instruction not only enables
SI
♭ ♭ asking for assistance in selecting students and teachers to hear how con-
Do-re-mi-fa-sol-mi-do (Keys of B , B, C, D , maybe D)
repertoire for college auditions cepts and skills are addressed in a particular
[zi-------------a---------] OR
[za-----------------------]
and solo contests. For some singer, but also can offer exposure to new
directors, selecting appropri- repertoire.
SII ate solos can be a daunting When working with young singers, it is
Do-re-mi-fa-sol-mi-do ( Keys of G, A♭, A, B♭) task. Choral directors have the important to select literature that empha-
[zi-------------a---------] OR responsibility as voice special- sizes specific concepts and skills required for
[za-----------------------] ists to explore the issue of advanced singing, including: breath manage-
AI appropriate repertoire in order ment, tone production and legato singing,
Do-re-mi-fa-sol-mi-do (Key of D♭) to better serve their students. evenness of registers and vowel modification.
[zi-------------a---------] OR Although many students par- Students should also have a general mastery
♭ ♭ ticipate in private voice instruc- of English, Italian, French, and German diction,
Sol-sol-fa-mi-re-do ( Keys of D , C, B, B , A)
[zi---a---------------] tion, the choral music educator and it is the teacher’s responsibility to see
is ultimately responsible for that these areas are addressed. It should be
AII their vocal health. noted that an audition is an opportunity for
Sol-sol-fa-mi-re-do ( Keys of A, A♭, G, G ♭) It is impor tant for any singers to display their capabilities; therefore,
[zi---a---------------] voice specialist to continue the selections should "showcase" the singer’s
expanding their knowledge of strengths. When selecting repertoire, it is
solo repertoire by attending important to remember that voice facul-
workshops, master classes, and ties are not expecting a perfect instrument.
sible to see (or hear) things differently and conferences. Instructors holding positions They are more interested in the singer’s
intellectual, emotional, and musical transfor- on college faculties have the opportunity potential rather than if he/she has mastered
mation can occur. to participate in symposia and other mas- a Puccini aria.
ter classes in which renowned artists give The table on the next two pages lists
feedback to singers. Participation in these examples of repertoire for each voice clas-
types of activities is important for any voice sification, ranging from the young to interme-
Senior High Choirs instructor’s development. Educators not diate singer. Each piece emphasizes one or
teaching in higher education should search more of the previously stated basic concepts
Amy Blosser, National Chair for similar experiences. Some school districts and skills. Since each singer is unique, certain
Bexley High School allow for private vocal instructors to work selections will be more advanced, while oth-
<[email protected]> with students during study halls, after school, ers will be very basic.
etc. It can be beneficial for all students to

The Choral Director as Voice Teacher:

Suggestions for Selecting Solo
Repertoire for Singers

by
Crescent City Choral Festival
Announcing A FESTIVAL FOR TREBLE AND MIXED CHOIRS
C. Andrew Blosser
NEW JUNE 17-21, 2011
Choral directors have many responsi- SATB track Cheryl Dupont, Artistic Director
bilities that are an integral part of their daily Bob Chilcott, Guest Artist
tasks, including working with singers on an sponsored by the New Orleans Children’s Chorus
• Open to all treble and mixed choirs representing
school, church, and community by audition For more information:
• Accepting applications now New Orleans Children’s Chorus
C. Andrew Blosser serves on the voice • Performance in St. Louis Cathedral 5306 Canal Blvd.
faculties of The Ohio State University New Orleans, LA 70124
hotel near the French Quarter (504) 482-2883 / (504) 274-9943
and Capital University. [email protected]
You’ll fall in love with New Orleans all over again. www.neworleanshildrenschorus.org

Choral Journal • June/July 2010 37

 Repertoire for Young to Intermediate Singers

Voice Book or
Title of Piece/Composer Class. Collection Pedagogical Value

The Vagabond Bass/Bar Songs of Travel (low voice) Excellent for addressing breath management, accessing the upper
Ralph Vaughan Williams register, and establishing good English diction habits

Bright is the Ring of Words Bass/Bar Songs of Travel (low voice) Excellent for addressing work in the passaggio, vowel modification,
Ralph Vaughan Williams legato singing, and breath management

Vittoria mio core Bass/Bar 24 Italian Arias and Songs An excellent way to introduce Italian art song, pure vowels, breath
Gian Giacomo Carissimi (Med. Low) management, passaggio work, and agility

Come Away Death Bass/Bar Standard Vocal Lit. (Bass) Great for working in the passaggio, vowel modification, sustained/
Roger Quilter or Standard Vocal Lit. (Bar.) legato singing, and breathmanagement

There is a Ladye Bass/Bar single copy Excellent for addressing legato singing, some passaggio work, and
Winifred Bury establishing good English diction habits

Plaisir d’amour Bass/Bar Standard Vocal Lit. (Bass) An excellent way to introduce French melodie, sustained/legato
Jean Paul Martini or Standard Vocal Lit. (Bar.) singing, vowel modification, passaggio work, and establishing good
French diction habits

"For the Mountains Shall Baritone Standard Vocal Lit. (Bar.) An excellent introduction to oratorio, sustained legato singing,
Depart" from Elijah vowel modification, passaggio work, and breath management
Felix Mendelssohn

"Non siate ritrosi" Baritone Standard Vocal Lit. (Bar.) Excellent for addressing passaggio work, and sustained/legato
from Così fan tutte singing
Wolfgang Amadeus Mozart

Die beiden Grenediere Bass/Bar. Standard Vocal Lit. (Bass) Great for addressing breath management, some passaggio work,
Robert Schumann or Standard Vocal Lit. (Bar.) legato singing, and establishing good German diction habits. This
should be given to an intermediate/advanced singer.

Vergin tutto amor Mez-Sop 24 Italian Arias and Songs An excellent introduction to Italian art song, pure vowels, breath
Francesco Durante (Med. Low) management, legato singing, and establishing good Italian diction
habits
Flow My Tears Mez-Sop Standard Vocal Lit. This piece addresses breath management, passaggio work, and
John Dowland (Mez-Sop) legato singing
Wie Melodien Mez-Sop Fifty Select Songs:Brahms, An excellent introduction to German lieder, legato singing, breath
Johannes Brahms Schubert, Schumann, and management, and blend of registers
Wolf (Low Voice)

Silent Noon Mez-Sop The Young Singer (Mez-Sop) Great for addressing English diction issues, exposure to recitative,
Ralph Vaughan Williams and sustained/legato singing

O del mio amato ben Mez-Sop Standard Vocal Lit. Great for focusing on legato singing, rubato style, passaggio work,
Stefano Donaudy (Mez-Sop) and establishing good Italian diction habits

Che faro senza il Euridice Mez-Sop Standard Vocal Lit. An excellent introduction to opera, legato singing, passaggio work,
from Orfeo ed Euridice (Mez-Sop) and exposure to recitative
Christoph Willibald Gluck

"O Rest in the Lord" Mez-Sop 56 Songs You Like A great way to introduce oratorio, legato singing, some passaggio
from Elijah to Sing (Low Voice) work, and establishing good English diction habits
Felix Mendelssohn

Du Ring an meinem Finger Mez-Sop Standard Vocal Lit. A great way to introduce German lieder, legato singing, breath
Robert Schumann (Mez-Sop) management, some passaggio work

Voi che sapete Mez-Sop Standard Vocal Lit. Excellent for addressing breath management, legato singing, and
from La Nozze di Figaro (Mez-Sop) establishing good Italian diction habits
Wolfgang Amadeus Mozart

Zueignung Mez-Sop Standard Vocal Lit. Great for addressing breath management, legato singing, rubato
Richard Strauss (Mez-Sop) style, and establishing good German diction habits. This should be
given to an intermediate/advanced singer

38 Choral Journal • June/July 2010

 Voice Book or
Title of Piece/Composer Class. Collection Pedagogical Value

Love Has Eyes Soprano The Young Singer Great for addressing vocal agility, accessing the upper register, some
Sir Henry Bishop (Soprano) passaggio work, and breath management

Das Vielchen Soprano 56 Songs You Like to Sing A great introduction to German lieder, agility work, upper register
Wolfgang Amadeus Mozart (High Voice) work, and establishing good German diction habits

Lass from the Low Countree Soprano The Music of John Jacob Great for working with a student with limited exposure to classical
John Jacob Niles Niles (High Voice) repertoire. Great for addressing legato singing, some upper register
work, and establishing good English diction habits

Nel cor piu non mi sento Soprano 24 Italian Arias and Songs Great for working with Italian diction, pure vowels, some ornamen-
Giovanni Paisiello (Med. High) tation, and vocal agility

Du bist die Ruh Soprano Standard Vocal Lit. (Sop) A great introduction to German lieder, breath management, upper
Franz Schubert register work, and establishing good German diction habits

Thy Beaming Eyes Soprano The Young Singer (Sop) Excellent for addressing the upper register, legato singing, breath
Edward Alexander MacDowell management, and establishing good English diction habits

Ich Liebe Dich Soprano The Young Singer (Sop) An excellent introduction to German lieder, legato singing, breath
Edvard Grieg management, and blend of registers

Into the Night The Young Singer (Sop) An excellent way to address legato singing, upper register work,
Soprano
Clara Edwards and establishing good English diction habits

Si me vers Soprano First Book of Soprano A great way to introduce French melodie, legato singing, breath
Reynaldo Hahn Solos (Part II) management, some passaggio work

Deh vieni non tardar Soprano Standard Vocal Lit. (Sop) An excellent introduction to opera, lyric/legato singing, passaggio
from La Nozze di Figaro work, and exposure to recitative
Wolfgang Amadeus Mozart

Tu lo sai Tenor 24 Italian Arias and Songs Great for addressing legato phrases, breath management, work in
Giuseppe Torelli (Med. High) the passaggio, vowel modification, and pure Italian vowels

Where E’er You Walk Tenor The Young Singer (Tenor) A great way to expose the singer to Baroque Da Capo arias, work
from Semele with ornamentation, upper register work, legato singing, and ad-
George Frederic Händel dressing English diction issues

Now Sleeps the Crimson Petal Tenor Roger Quilter: 55 Songs Great for working on legato singing, some passaggio work, breath
Roger Quilter (High Voice) management, and addressing English diphthongs

Come again, Sweet Love Tenor Standard Vocal Lit. (Tenor) Excellent for working in the passaggio, legato phrasing, breath
John Dowland management, and establishing good English diction habits

Du bist wie eine blume Tenor Standard Vocal Lit. (Tenor) An excellent introduction to German lieder, legato singing, breath
Robert Schumann management, and passaggio work

Still wie die Nacht Tenor Single Copy Great for exposing students to German diction, work in the passag-
Carl Böhm gio, breath management, and legato phrasing

Vaghissima Sembianza Tenor First Book of Tenor Solos, Excellent for working with Italian diction, work in the upper register,
Stefano Donaudy Vol. 1 (Tenor) legato singing, and breath management

Adieu Tenor First Book of Tenor Solos, An excellent way to introduce French melodie, sustained/legato
from Poem d’un jour Vol. 1 (Tenor) singing, vowel modification, passaggio work, and establishing good
Gabrielle Fauré French diction habits

If With All Your Hearts Tenor Standard Vocal Lit. (Tenor) This piece addresses breath management, working the upper reg-
from Elijah ister, legato singing, and vowel modification. This piece should be
Felix Mendelssohn given to an intermediate singer.

Total Eclipse Tenor Oratorio Anthology Great for accessing the upper register, breath management, legato
from Samson (Tenor) singing, and establishing good English diction habits
George Frederic Händel

Choral Journal • June/July 2010 39

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