1: (Easy) No divisi in voice parts, accompaniment doubles or supports vocal parts, diatonic, symmetrical phrases, textures mostly homophonic, simple rhythms, stepwise voice leading (conjunct), moderate ranges, no extended techniques, and limited sustained singing.
2: (Medium Easy) Limited divisi, voices somewhat independent from accompaniment, some chromatics, phrases may be longer or more fragmented, mostly homophonic, moderate rhythmic complexity, some difficult intervals (disjunct motion), moderate ranges, extended techniques are simple, limited sustained singing.
3. (Medium) Limited divisi, unaccompanied, or with independent accompaniment (voice parts not doubled), many chromatics, phrases of varying lengths, more contrapuntal textures, moderately complex rhythms, some difficult intervals (disjunct motion), moderately difficult/challenging ranges, extended techniques are potentially challenging, and some sustained singing.
4. (Medium Difficult) Abundant divisi, unaccompanied, or accompanying instruments are fully independent from voice parts, many chromatics and/or key changes, long and/or broken phrases, potentially little homophony, complex rhythms, many difficult intervals (disjunct motion), difficult/challenging ranges, potentially difficult extended techniques, and a demand for sustained singing.
5. (Difficult) Adundant divis, unaccompanied, or accompanying instruments are fully independent from voice parts, many chromatics and/or key changes, long and/or broken phrases, potentially little homophony, complex rhythms, extreme ranges, use of challenging or unusual extended vocal techniques, abundant sustained singing.
1 review for Salve Regina (Takach)
Geoffrey Boers –
This is a challenging, yet highly rewarding piece for male voices. At a recent program with the TMEA Men’s Choir, this piece was their favorite.
Written as a companion piece for Franz Biebl’s beloved Ave Maria, Tim Takach’s setting of Salve Regina sure to please any conductor who is familiar with that score. Salve Regina possesses the harmonic richness of its companion, with greater variation and rhythmic vitality.
The opening section is a dialogue between a trio group and the main chorus. The trio can be sung by strong soloists, but I found that the harmonic balance was more satisfying and successful with a larger soli group. Part one gives way to a rhythmic middle section. The trio continues a lyric declamation of the text, while the main chorus sings a vibrant chant like rhythmic punctuation. Later the trio group adds to the rhythmic momentum and joy. The piece concludes with a more harmonically complex, lyric sequence. The harmonic movement, vocal lines, and expressive markings and articulations create a passionate build up to the final, dramatic cadence.
The marriage of text and musical setting is profound. I have shared this work with young high school boys as well as mature teachers, and the response is, regardless of personal background or experience, a deep understanding of spiritual passion that is so much a part of Marian texts.