A Round for Three
by Patrick M. Liebergen
Choir - Sheet Music

Choral Flute, Hand Drum, alto voice, soprano 1, soprano 2

SKU: CF.BL1122

Composed by William Cranford. Arranged by Patrick M. Liebergen. Sws. Octavo. 16 pages. Duration 2 minutes, 5 seconds. BriLee Music #BL1122. Published by BriLee Music (CF.BL1122).

UPC: 680160912339. 6.875 x 10.5 inches. Key: F minor. English, English. Original with additional works and arrangement by Patrick M. Liebergen.

Canons are invaluable resources for teaching and reinforcing part-singing and this tuneful a cappella canon arranged by Patrick Liebergen is no exception. Highly recommended as an introduction to a cappella singing, whether performing with or without the optional flute and drum.
This tuneful canon has been arranged by Patrick Liebergen for unaccompanied SSA voices with optional flute and hand drum. Composed by the early Baroque composer William Cranford, it was originally titled Come Hither Tom and Make up Three when first published in John Hilton's Catch That Catch Can. This popular collection of catches, rounds, and canons for three and four parts was originally printed in London in 1652. The source for this arrangement is found in the enlarged second edition of 1658. Besides this collection, Hilton is best known for his book Ayres or Fa-Las for Three Voices, a compilation of love songs published in 1627. Born in Cambridge in 1599, he became organist at St. Margaret's Church, Westminster, served as lutenist to Charles I, and also composed a number of small-scale oratorios and operas. He was buried at Westminster in 1657. A Round for Three is one of nine canons composed by Cranford. A composer and singer, he also wrote the well-known Anglican hymn tune Ely and composed his most popular work titled The King Shall Rejoice during the reign of Charles I. He also contributed two settings to Ravenscroft's 1621 psalter and completed more than twenty works for viols. Canons are invaluable resources for both school and church use, and they have been performed throughout the history of music. Found in the vocal and instrumental works of the great composers, they are also part of the folk music traditions of many lands. The canon provided in this accessible arrangement is an excellent resource for teaching and reinforcing part-singing. This arrangement should be performed quite energetically while clearly sounding the two main pulsations of each measure, and the naturally energized syllables and words should be emphasized in order to successfully proclaim the text to the audience. Additionally, the dynamics should be closely followed in order to contrast the various sections and to highlight the importance of the main melodic lines.
This tuneful canon has been arranged by Patrick Liebergen for unaccompanied SSA voices with optional flute and hand drum. Composed by the early Baroque composer William Cranford, it was originally titled Come Hither Tom and Make up Three when first published in John Hilton’s Catch That Catch Can. This popular collection of catches, rounds, and canons for three and four parts was originally printed in London in 1652. The source for this arrangement is found in the enlarged second edition of 1658.Besides this collection, Hilton is best known for his book Ayres or Fa-Las for Three Voices, a compilation of love songs published in 1627. Born in Cambridge in 1599, he became organist at St. Margaret’s Church, Westminster, served as lutenist to Charles I, and also composed a number of small-scale oratorios and operas. He was buried at Westminster in 1657.A Round for Three is one of nine canons composed by Cranford. A composer and singer, he also wrote the well-known Anglican hymn tune Ely and composed his most popular work titled The King Shall Rejoice during the reign of Charles I. He also contributed two settings to Ravenscroft’s 1621 psalter and completed more than twenty works for viols.Canons are invaluable resources for both school and church use, and they have been performed throughout the history of music. Found in the vocal and instrumental works of the great composers, they are also part of the folk music traditions of many lands. The canon provided in this accessible arrangement is an excellent resource for teaching and reinforcing part-singing.This arrangement should be performed quite energetically while clearly sounding the two main pulsations of each measure, and the naturally energized syllables and words should be emphasized in order to successfully proclaim the text to the audience. Additionally, the dynamics should be closely followed in order to contrast the various sections and to highlight the importance of the main melodic lines.