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Sea Green Singers contact telephone Mike Cox: +44 (0)7815 914776
e-mail: mail@seagreensingers.com

Sea Green Singers
The events files

The Events by David Greig at North Wall Theatre, Oxford.
a) 31st Aug or 1st Sept: full day's learning of music.
b) Monday choir rehearsals will be taken up with rehearsing
c ) Monday 23rd September: 3- hour rehearsal that evening 18:30 tp 21:30h
d ) 26th September: arrrive 6.20pm start for 8pm performance: With regards to costume, we ask that you come dressed as you would for a normal choir rehearsal – also I think it’s best to wear flat shoes and ladies if you wear skirts I would recommend something below the knee (only because the bottom rung of the choir rostra is quite low….!).

Choirs will be asked to fill out a short survey after the play.

Choir Pack MASTER 07082013.docx: This contains performance notes which are reproduced below.
Choir Invitation Master 120713.docx

Bonkers!.pdf - new 11/9/13
Gavrilo Princip.pdf        
How Great Thou Art Master.pdf
Soul.pdf
The Norwegian Coffee Song.pdf **        
We're all here.pdf
alto *
sop *
             
* updated versions uploaded 11/9/13

** Coffee song: According to the performance notes the song will be performed four times not three as in the score and recording.
1st: Claire calls, choir responds; 2nd: Choir call, Claire responds. 3rd: Half choir calls, other half respond, 4th: Claire calls, individuals respond.

Sarah's versions with clearer timings
Bonkers!.pdf - new 11/9/13
Gavrilo Princip.pdf        
How Great Thou Art Master.pdf
     
Soul.pdf *    
The Norwegian Coffee Song.pdf            
We're all here.pdf          

* You only have 3 notes to sing in Soul but they have to be in the right place; this may help you pick out your notes in relation to the piano.

You raise me up - Blackbird Leys Solo song which begins Wednesdays performance

Score: one page version for Tenor/Sop ; one page version for Tenor/Alt/Sop
These versions have all of the verses and chorus but when the key changes only the first few bars of the final two chorus's are included since the tune remains the same in these repeats except for the key;
Full version pdf: (note: pages marked p3 to p5 are first to third pages; the next page (p6 or fourth page) I only got to print by switching to Landscape. It was copied in Landscape mode).

Sound files

You Raise Me Up - Sop, Alto, Tenor - Score on single page

- - - - - - - - - - - - - - - - - - - - Piano (all parts but mainly for tenor following the complete score)
- - - - - - - - - -- - - - - - - - - - -Sung Tenor

Notes on Choir Music by Composer John Browne

At the centre of this story is a priest with a strong community agenda called Claire. She leads a multi-cultural choir which is attacked by a lone gunman killing several members and these "Events" trigger a spiritual crisis for her, igniting an intense quest for meaning. One way Claire has for coming to terms with what happened is to lead a series of rehearsals with her choir of specially chosen music to aid the healing process. The songs in this play relate to those rehearsals and chart Claire’s journey towards understanding while referring to a whole range of spiritual music: traditional Christian hymns; contemporary spiritual minimalism; rave music (representing the spiritual experience that some people experience in the dance tent at Glastonbury); "Om"; improvised keening; monkey chanting (related to Hinduism); and, gospel music.

GENERAL NOTES ON PERFORMANCE
The first song your choir will sing will be outside the story and should be characteristic of what your choir typically sings but after that we're encouraging you to be more flexible stylistically.

Because this is a theatre piece and therefore dependent on shifts of pace and energy it's important to get tempi right and to adhere to the dynamic markings.

We anticipate that all choirs will perform most of the music without scores. The exceptions might be their own song, How Great Thou Art, and We’re All Here.

Your choir may need to modify the music in order to fit your particular needs. Please feel free to do this and if you need help, advice, a key changed, or a bespoke arrangement, then please get in touch and we’ll figure it out with you.

THE NORWEGIAN COFFEE SONG
We are entering a dark, complex story and so this is a bit of lightness and joy before all that. This is a playful warm-up song, an innocent folk song led by Claire.

Performance Notes:
• The piano plays an introduction which is one full round of the tune (with the tune in the right hand and the full piano accompaniment played by the left hand).
• The calls ("En kopp til") vary in mood and the responses ("Ya tak") should follow suit.
• Focus on the dotted rhythms and pulse.
• Claire will lead you in with "Ready and... "
• The pianist will alternate stomps and claps to a quaver rhythm under the call and responses.
• If possible, a volunteer from the choir should add a semiquaver thigh slapping rhythm over these stomps and claps.
• The song gets faster each time. It should start at a tempo that's not too fast so there's somewhere to go. The last time should be so fast that it’s almost impossible to get the words out.

Notes on score: The structure of the piece is slightly different from the score. It will be performed four times. The second time the choir perform the calls and Claire responds. The third time will be one half of the choir calling and the other half responding.

SOUL
This underscores a scene in which Claire discusses a deep sense of spiritual loss.

Performance Notes:
• This should be very still.
• The crescendos should be subtle.
• The sound should be magical/ethereal.
• There should be no sense of pulse.

Notes on score: Cut the fermata on the second piano chord and move swiftly through to the next chord. NB the piano chord under the word soul is repeated, so we hear the D minor and A minor at the same time.

BONKERS
Claire is attempting to get inside the head of the perpetrator by having her choir perform his favourite song. Dizzee Rascal’s lyrics could equally apply to her.

Performance Notes:
• Foot stomps are important to the life of this arrangement and should be with the heel only.
• With the exception of the opening beat-boxing this arrangement should not be performed as a pop song but should be more “high art”. Think Arvo Part or even Bach.
• It should be very emphatic indicating an intense yearning for meaning.
• The "Ee's" should imitate Dizzee and have a witchy quality.
• The left hand of the piano should be heavier than the right.
• It will help to keep the off-beat “ts” steady if the singers indicate the rhythm using their hands (a karate style chop with right hand into left hand palm works best).

Notes on score:
The “Boom” should last 4 beats instead of 2.

HOW GREAT THOU ART
Claire seeks comfort in an old familiar hymn but has difficulty connecting with it so redirects the quality of the singing during the performance (as indicated in the score).

Performance Notes:
• It begins in a rousing forte and gradually becomes more internal – from public religiosity to private spirituality.

Notes on score:
The words should be “I Hear the rolling thunder”.

SOLO
Claire fantasises about the perpetrator never having been born in a speech that is both violent and tender.

Performance Notes:
• This is a song of the choirs own choosing
• It can sung by a male or a female
• It should be plaintive, slow and tender.

GAVRILO PRINCIP

This is the voice/perspective of the perpetrator. It’s a display of rampant ego and as such should be a big sound with big attitude.

Performance Notes:
• The style here is gospel meets stadium rock.
• On the repeat the choir should clap offbeat crotchets – left arm across body, hands high with the clap being placed just behind the ear.
• The pronunciation should match the style being careful with words like “Religion” and “one”.

Notes on score:
The repeat is an opportunity for choirs to do some arranging to suit them, adding harmonies, echoes, yelps etc.

WE'RE ALL HERE
A key theme of this drama is the internal conflict we humans have between being together and being separate. This song completes the story with a simple statement about togetherness but acknowledging/embracing the conflict with the “I’m not”.

Performance Notes:
• Claire will not teach the audience to sing but will still sing a section solo after her speech.
• The "I'm not" should be said by around a quarter of the choir.
• “Agnessa” should have the Russian pronunciation.

Notes on score:
The vamping chords under Claire’s speech should be as per the sequence below until Claire is ready to sing making sure to end the vamp on a bar of Cmin:

*Claire sings half a chorus solo and is then joined in unison by the choir for the second half. The choir then sing one final chorus but the piano drops out half way through.

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Sea Green Singers contact telephone Mike Cox: +44 (0)7815 914776 or e-mail mail@seagreensingers.com
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