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22996823
Two-part A Cappella Canons for Treble Choir
22996823
22996823

Two-part A Cappella Canons for Treble Choir 2-Part - Sheet Music

Two-part A Cappella Canons for Treble Choir 2-Part scores gallery preview page 1
Two-part A Cappella Canons for Treble Choir 2-Part - Sheet Music
Choral Voice 1, Voice 2

SKU: CF.BL1357

Arranged by Mary Jane Phillips. Octavo. Octavo. 2 pages. BriLee Music #BL1357. Published by BriLee Music (CF.BL1357).

UPC: 680160927449. 6.875x10.5 inches. Key: F major,c major,g major,d minor. English.

Variety, versatility, and accessibility abound in this set of six canons from German, Australian, British and American folk songs and composers. In some cases, texts have been changed to Latin on Italian. This change was made in an effort to help your choirs sing tall, rounded vowels. Emerging choirs will ease their way into part independence through their work in these delightful rounds.
These original melodies of these 6 canons come from German, Australian, British and American folk songs and composers. In some cases, texts have been changed to Latin on Italian. This change was made in an effort to help your choirs sing tall, rounded vowels. Try these tips for singing canons:Have all singers learn the canon melody first in unison.While still singing the unison melody, work on unifying the tone with tall, rounded vowels and a blended choral tone. The Latin and Italian text should help you reach that goal!Once singers are confident in the melody, have them all begin the canon with the director singing the second part. Once singers can do that, then divide singers into parts.Consider dividing the choir into 2 equal parts instead of traditional soprano/alto parts. Intonation tends to be better in 2 equal parts when singing canons.When you first begin attempting to have the singers in parts, get them off the risers! Sing in circles or on opposite sides of the room. This grouping helps them stay on their own part and builds confidence. As they become more confident, gradually bring them back to normal riser positions.Several of these pieces are written in 4/4 time. However, they tend to “dance” along better if you feel and conduct them in cut time.If the canon tunes better in a key other than the written key, please feel free to transpose.Pay careful attention to the tempo and dynamic markings.

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