Title: Sing to the Lord $1.65
Performance requirements: SAB chorus and organ
Composer: Ben J. Legett
Text: Psalms 98 and 100
Length: 2’00”
Difficulty (1-5): 3
Ranges: sop d1-g2, alto c1-e2, baritone c-e1
Usage: General sacred
Rehearsal Guide: This is a great piece for a good choir that just happens to be
short on men. Sopranos, altos and baritones alike get a chance to sing a melody.
After a fanfare beginning, the women sing a duet over an ostinato pattern in the
men’s part. The written alto part is a little high, but it is easy enough to simply
divide the women into two groups with some sopranos in each group. Distinct
soprano and alto colors are not important here.
Begin by teaching the men the ostinato patter starting in measure 16. Send them
out for coffee while you teach the soprano and alto parts separately, paying
attention to the syncopation that pops up from time to time, e.g. mm 20-21. Call
the men back in and put things together. Lastly, ask the singers to clap eighth-
notes while speaking the rhythms of the first 15 measures. When they understand
that the eighth-note remains constant through the 3/8 measure, they are ready to
sing the beginning of the piece.
Performance requirements: SAB chorus and organ
Composer: Ben J. Legett
Text: Psalms 98 and 100
Length: 2’00”
Difficulty (1-5): 3
Ranges: sop d1-g2, alto c1-e2, baritone c-e1
Usage: General sacred
Rehearsal Guide: This is a great piece for a good choir that just happens to be
short on men. Sopranos, altos and baritones alike get a chance to sing a melody.
After a fanfare beginning, the women sing a duet over an ostinato pattern in the
men’s part. The written alto part is a little high, but it is easy enough to simply
divide the women into two groups with some sopranos in each group. Distinct
soprano and alto colors are not important here.
Begin by teaching the men the ostinato patter starting in measure 16. Send them
out for coffee while you teach the soprano and alto parts separately, paying
attention to the syncopation that pops up from time to time, e.g. mm 20-21. Call
the men back in and put things together. Lastly, ask the singers to clap eighth-
notes while speaking the rhythms of the first 15 measures. When they understand
that the eighth-note remains constant through the 3/8 measure, they are ready to
sing the beginning of the piece.
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