Veni, Sancte Spiritus by Dan Davison SA - Sheet Music

SKU: CF.BL1202

UPC: 672405010542. 6.875 x 10.5 inches. Key: D major. Latin. 10th Century Hymn.

VENI, SANCTE SPIRITUS was written so as to give younger choirs the opportunity to sing in a Classical style usually reserved to more advanced choirs. In this piece, Classical techniques have been used to imitate the music of composers such has Mozart or Haydn. In this sense, the song is said to be "Classically inspired". Sacred music from the Classical period often used a Latin text, relatively simple chords, accented syllables that fall on strong beats, and counterpoint. All of these techniques are used in this song. Since accented syllables fall on strong beats, be sure to understand how to pronounce the Latin words, and then give good emphasis to the strong syllables, and less emphasis on the unaccented syllables. Also, for the small amount of counterpoint that is written, the proper technique is to bring out your part when your part is going first, and then to back off in volume when the other part comes in. Think of a theater spotlight that can either shine on the lower part or the upper part. The two parts need to share that spotlight, and thereby help the audience to focus on just one part at a time. The vocal ranges in this piece have been carefully controlled. Both soprano and alto sections should find the range comfortable for singing. In addition, since the piece only has two parts, learning the piece will be easier than it would be if there were three or four parts. The Latin translation has been written directly above the text, making it easy for the choir to know the meaning of the words. Since the piece is in a foreign language, but also sacred, the song would be suitable for school use or church use.
VENI, SANCTE SPIRITUS was written so as to give younger choirs the opportunity to sing in a Classical style usually reserved to more advanced choirs. In this piece, Classical techniques have been used to imitate the music of composers such has Mozart or Haydn. In this sense, the song is said to be “Classically inspired”.Sacred music from the Classical period often used a Latin text, relatively simple chords, accented syllables that fall on strong beats, and counterpoint. All of these techniques are used in this song. Since accented syllables fall on strong beats, be sure to understand how to pronounce the Latin words, and then give good emphasis to the strong syllables, and less emphasis on the unaccented syllables.Also, for the small amount of counterpoint that is written, the proper technique is to bring out your part when your part is going first, and then to back off in volume when the other part comes in. Think of a theater spotlight that can either shine on the lower part or the upper part. The two parts need to share that spotlight, and thereby help the audience to focus on just one part at a time.The vocal ranges in this piece have been carefully controlled. Both soprano and alto sections should find the range comfortable for singing. In addition, since the piece only has two parts, learning the piece will be easier than it would be if there were three or four parts.The Latin translation has been written directly above the text, making it easy for the choir to know the meaning of the words. Since the piece is in a foreign language, but also sacred, the song would be suitable for school use or church use.
VENI, SANCTE SPIRITUS was written so as to give younger choirs the opportunity to sing in a Classical style usually reserved to more advanced choirs.xa0 In this piece, Classical techniques have been used to imitate the music of composers such has Mozart or Haydn.xa0 In this sense, the song is said to be “Classically inspired”.Sacred music from the Classical period often used a Latin text, relatively simple chords, accented syllables that fall on strong beats, and counterpoint.xa0 All of these techniques are used in this song.xa0 Since accented syllables fall on strong beats, be sure to understand how to pronounce the Latin words, and then give good emphasis to the strong syllables, and less emphasis on the unaccented syllables.Also, for the small amount of counterpoint that is written, the proper technique is to bring out your part when your part is going first, and then to back off in volume when the other part comes in.xa0 Think of a theater spotlight that can either shine on the lower part or the upper part.xa0 The two parts need to share that spotlight, and thereby help the audience to focus on just one part at a time.The vocal ranges in this piece have been carefully controlled.xa0 Both soprano and alto sections should find the range comfortable for singing.xa0 In addition, since the piece only has two parts, learning the piece will be easier than it would be if there were three or four parts.The Latin translation has been written directly above the text, making it easy for the choir to know the meaning of the words.xa0 Since the piece is in a foreign language, but also sacred, the song would be suitable for school use or church use.