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.
2 reviews for Forgotten
Peter Dennee –
A perfect marriage of music and text. Written mostly in two parts, I love how the surprising harmonies are written is such a way to make the piece approachable by a developing treble choir. My women’s choir loves singing this piece.
Patricia C. Connors –
This hauntingly beautiful little gem for women’s voices, oboe and piano combines relatively simple vocal lines (much of it in just two-part harmony) with a satisfyingly complex interplay between the piano and obbligato oboe. From the beginning, the tinkling piano part, which skims over several octaves and is full of 7ths and tritones, contrasted with a plaintive oboe melody, evokes a sense of a memory that floats just on the edge of one’s awareness – something sweet and, perhaps, sad, hovering out in the mist.
A contrasting middle section is set up by the opening line of the poem’s second stanza, “Time is a kind friend.” This new section “rocks” with a driving rhythm and more assertive vocal lines – a determination to “forget and be strong,” perhaps. The hushed conclusion to this section shimmers on a cappella tone clusters – effective tone painting of a memory as forgotten “as a hushed footfall in a long forgotten snow.” This climactic moment serves as the transition back to a brief recap of the opening material of “hazy memory” before quietly disappearing into the mist.
It was an honor for my choir to collaborate with Jocelyn throughout the compositional process and subsequent premiere of this meaningful and rewarding piece.