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        Voicing: Treble Voices

        Title Description Composer Voicing

        Animals Noah Forgot (Set 1)

        #MM1017

        Six unison songs with piano using poems by Banjo Paterson. Sing in set 1 about The Mountains, Old Man Platypus, Flying Squirrels, and in set 2, Weary Will, White Cockatoos and Frogs in Chorus. These texts first appeared in 1931 in a collaboration between Banjo Paterson and artist Normal Lindsay (of Magic Pudding fame). Their book proposes that Australian animals are so different from animals elsewhere that perhaps they refused to go into the Ark with Noah in the great flood. Fun to sing – fun to listen to.

        The sound files are provided by Noel’s own choir, the Australian Boys Choir. The accompanist in the Animals is Charlie Sdraulig

        Animals Noah Forgot (Set 2)

        #MM1018

        Six unison songs with piano using poems by Banjo Paterson. Sing in set 1 about The Mountains, Old Man Platypus, Flying Squirrels, and in set 2, Weary Will, White Cockatoos and Frogs in Chorus. These texts first appeared in 1931 in a collaboration between Banjo Paterson and artist Normal Lindsay (of Magic Pudding fame). Their book proposes that Australian animals are so different from animals elsewhere that perhaps they refused to go into the Ark with Noah in the great flood. Fun to sing – fun to listen to.

        Recordings of two of the pieces are provided by Noel’s own choir, the Australian Boys Choir. The accompanist in the Animals is Charlie Sdraulig.

        Ave Maria

        #MM0610
        Boughen’s two part sacred piece for treble voice and organ is a reflective arrangement of the classic text. Suitable for an advanced choir of young voices.

        Black Swana

        #MM0904

        From the Torres Strait Islands north of Australia’s Cape York comes a beautiful song which depicts the progress of the ship Black Swana as it glides across the sea.

        An arrangement in SATB voicing is also available: Black Swana SATB

        Recording of SATB version of Black Swana from “Great Southern Spirits” by The Australian Voices, released in 1994.

         

        Come All Ye Fair And Tender Ladies

        #MM1006

        An Australian interpretation of a traditional English folksong that is a good companion piece to Once I Had A Sweetheart. SA and piano.

        Demonstration Recording:
        Come All Ye Fair and Tender Ladies, trad. arranged Mark Puddy: Gulf Coast Youth Choir, Florida, Conducted by Lynne Gackle, 2001

        Come By The Hills

        #MM1101

        The arrangement of a traditional song comes from Michael Tyack and George Torbay, and was commissioned by the New South Wales department of Education and Training. Arranged for SA and piano, it is a welcome addition to the repertoire for school or community performance.

        ,

        Come Ye Makers of Song

        #MM1015

        This piece owes much to Henry Purcell since it uses Ruth Watson Henderson’s lovely paraphrase of “Come Ye Sons of Art”. The music is simple (in 2 parts), with metre changes that always follow the flow of text and underpinned by constant eighth notes in the accompaniment. The piece is energetic and vibrant and makes an excellent start to a program or bracket for your choir.

        ,

        Everyone Sang (SSAA)

        #MM0810

        A delightful, joyous piece imbued with a sense of wonder throughout, Carl Crossin’s Everyone Sang is a fantastic addition to any concert programme. Incorporating birdsong with piano, cello and voices, this is a wonderfully atmospheric piece, and sure to be a great success. Highly recommended!

        Five Songs For Treble Choirs

        #MM2105

        Pieces by Stephen Leek, Michael Knopf, Kent Farbach, Robert Davidson and Mary Mageau on Australian themes. Publication was sponsored by the Australian National Choral Association.

        Gloria In Excelsis

        #MM1008

        An energetic rhythmic Gloria with alternative texts for Christmas and general use.

        Demonstration Recording:
        Gloria In Excelsis, Mark Puddy: Gulf Coast Youth Choir, Florida, Conducted by Lynne Gackle, 2001

        ,

        Ground Zero

        #MM1501

        Stanhope’s piece was written 1999. The text by Michael Dransfield, partly autobiographical, explores personal change and the inevitability of things being forgotten. Aimed at a top treble choir (children or women) although the individual parts themselves are not difficult.

         

        Listen to Ground Zero here!

        ,

        Honour the Earth (SA)

        #MM2025

        Simple voice parts, yet a powerful piece with a powerful message surely more necessary now than ever before. This piece brings together many cultural influences from the “earth tribes” – Native American, African, Celtic, Aboriginal and Mongolian as well as the music of nature herself – birdcalls and flowing streams.SA divisi a cappella or accompanied.

        An ideal song for Festivals & whole school performances including massed choirs. SA divisi a cappella or accompanied (by Small Ensemble or Concert Band, Orchestra, String Orchestra or Cello Ensemble).

        The sound sample is from the CD : Honour the Earth ~ music by Sarah Hopkins
        TRACK 1 : Honour the Earth as Your Mother – for treble voice choir & orchestra commissioned & performed by Korowa Anglican Girls’ School, Melbourne, conducted by Nadene Gilmore.
        Also available in SATB voicing here.

        Hullayha (SA)

        #MM2022

        Hullayha (pronounced ‘Hull-ay-ha’) for SA divisi choir a cappella or accompanied (by optional percussion, String Orchestra or Full Orchestra). The soulful opening gradually transforms into abundant joy. All the melodies are very ‘singable’ & supported by sustained drones which ‘birth’ out of the melody line.

        Available in SATB voicing here.

        Island Songs – Monkey and Turtle

        #MM0811a (treble)/ MM0409a (SATB)

        A humorous look at the monkey and turtle who go looking for bananas and get shot! Suitable for children of all ages! Only available within the collection of Island Songs (available in SATB and SA voicings).

        The SATB version is for unaccompanied choir. The treble version  has a piano accompaniment.

        (The musical example is for mixed voices, from Great Southern Spirits by The Australian Voices. Released: 1994.)

         

        Island Songs – Morning Tide

        #MM0811c (treble)/ MM0409c (SATB)

        An easy but effective strophic song emphasizing community. “Come my brother, come my friend, wait, wait in the deep”.

        This piece is available as a part of the Island Songs set (available in SATB and SA voicings). The SATB version is for unaccompanied choir. The treble version  has a piano accompaniment.

        (The musical example is for mixed voices)

        Island Songs – Trade Winds

        #MM0811b (treble)/ MM0409b (SATB)

        A beautiful song of travel and love. This is a lovely arrangement of a Torres Strait Island song. Only available within the collection of Island Songs.

        This piece is available as a part of the Island Songs set (available in both SATB and SA voicings). The SATB version is for unaccompanied choir. The treble version  has a piano accompaniment.

        (The musical example is for mixed voices, from Great Southern Spirits by The Australian Voices. Released: 1994.)

        Island Songs (SA)

        #MM0811

        Three songs from the Torres Strait Islands to the north of Australia. Comprises Monkey and Turtle, Trade Winds and Morning Tide. Good for use in classrooms or with choirs at elementary or high school level.

        The SATB version is for unaccompanied choir. The treble version  has a piano accompaniment.

        (The musical examples are for mixed voices, from Great Southern Spirits by The Australian Voices. Released: 1994.)

        Monkey and Turtle:

        Trade Winds:

        Morning Tide:

        An SATB version can be found here.

        La La Land (SA) (Losing the Plot)

        #MM1514

        La La Land is the third piece in a collection of four pieces for treble voices and piano. It is available in SA and SSA voicings.

        Composer Paul Stanhope writes:

        Losing the Plot is a collection of songs for children’s voices and piano with texts by Michael Leunig. They were written as a follow up to my earlier cycle of Leunig pieces called Songs of Innocence and Joy for treble voices and chamber orchestra.

        The first of these pieces, Talking to My Shoe was commissioned and premiered by the Sydney Children’s Choir as part of their 15th anniversary in 2004. The remaining three songs in the cycle were commissioned by the Network of Treble Ensembles (NoTE) which includes Brisbane Biralee Voices, Gondwana Voices,Young Adelaide Voices and Young Voices of Melbourne. All the songs in this set are tinged with an exuberant sense of the absurd, but as usual with Leunig’s texts, there are many layers of meaning and often twists in the tale.

        The songs are written for upper-primary to high-school aged treble voices mostly in unison and two parts. In two songs—Talking to My Shoe and La–La Land—the choir splits into three parts, but only in a couple of short passages. A more difficult version of this piece also exists with the voices divided into three parts.

        Permission should be sought from Penguin Books Australia before re-printing any of the texts.

        The recordings are by the Australian Boys Choir conducted by Noel Ancell.

        Let Evening Come (Treble)

        #MM3014

        NOW AVAILABLE

        This piece is based on the text of award-winning American poet Jane Kenyon’s poem by the same name, which contemplates the end of the day, and alludes to the parallels in life and death. With a quiet, reflective beginning, listeners are transported to the peaceful countryside in the late afternoon. Voice parts in turn bathe the listener in rays of light as they “shine through the chinks in the barn”. The piece culminates in an affirming declaration – “let evening come, as it will, and don’t be afraid. God does not leave us comfortless.”

        Losing the Plot (SA)

        #MM1502

         

        Composer Paul Stanhope writes:

        Losing the Plot is a collection of songs for children’s voices and piano with texts by Michael Leunig. They were written as a follow up to my earlier cycle of Leunig pieces called Songs of Innocence and Joy for treble voices and chamber orchestra.

        The first of these pieces, Talking to My Shoe was commissioned and premiered by the Sydney Children’s Choir as part of their 15th anniversary in 2004. The remaining three songs in the cycle were commissioned by the Network of Treble Ensembles (NoTE) which includes Brisbane Biralee Voices, Gondwana Voices,Young Adelaide Voices and Young Voices of Melbourne. All the songs in this set are tinged with an exuberant sense of the absurd, but as usual with Leunig’s texts, there are many layers of meaning and often twists in the tale.

        The songs are written for upper-primary to high-school aged treble voices mostly in unison and two parts. In two songs—Talking to My Shoe and La–La Land—the choir splits into three parts, but only in a couple of short passages. A more difficult version of this piece also exists with the voices divided into three parts.

        Permission should be sought from Penguin Books Australia before re-printing any of the texts.

        The recordings are by the Australian Boys Choir conducted by Noel Ancell.

        Losing the Plot (SSA)

        #MM1500

        A collection of four pieces for treble voices and piano. Click the links below to view purchasing information.

        1. Talking to My Shoe

        2. Underpants Anthem

        3. La-La Land

        4. Lost the Plot

         

        Composer Paul Stanhope writes:

        Losing the Plot is a collection of songs for children’s voices and piano with texts by Michael Leunig. They were written as a follow up to my earlier cycle of Leunig pieces called Songs of Innocence and Joy for treble voices and chamber orchestra.

        The first of these pieces, Talking to My Shoe was commissioned and premiered by the Sydney Children’s Choir as part of their 15th anniversary in 2004. The remaining three songs in the cycle were commissioned by the Network of Treble Ensembles (NoTE) which includes Brisbane Biralee Voices, Gondwana Voices,Young Adelaide Voices and Young Voices of Melbourne. All the songs in this set are tinged with an exuberant sense of the absurd, but as usual with Leunig’s texts, there are many layers of meaning and often twists in the tale.

        The songs are written for upper-primary to high-school aged treble voices mostly in unison and two parts. In two songs—Talking to My Shoe and La–La Land—the choir splits into three parts, but only in a couple of short passages. A more difficult version of this piece also exists with the voices divided into three parts.

        Permission should be sought from Penguin Books Australia before re-printing any of the texts.

        The recordings are by the Australian Boys Choir conducted by Noel Ancell.

        Lost the Plot (SA) (Losing the Plot)

        #MM1515

        Lost the Plot is the fourth piece in a collection of four pieces for treble voices and piano. It is available in both SA + piano, and SSA + piano voicings.

        Composer Paul Stanhope writes:

        Losing the Plot is a collection of songs for children’s voices and piano with texts by Michael Leunig. They were written as a follow up to my earlier cycle of Leunig pieces called Songs of Innocence and Joy for treble voices and chamber orchestra.

        The first of these pieces, Talking to My Shoe was commissioned and premiered by the Sydney Children’s Choir as part of their 15th anniversary in 2004. The remaining three songs in the cycle were commissioned by the Network of Treble Ensembles (NoTE) which includes Brisbane Biralee Voices, Gondwana Voices,Young Adelaide Voices and Young Voices of Melbourne. All the songs in this set are tinged with an exuberant sense of the absurd, but as usual with Leunig’s texts, there are many layers of meaning and often twists in the tale.

        The songs are written for upper-primary to high-school aged treble voices mostly in unison and two parts. In two songs—Talking to My Shoe and La–La Land—the choir splits into three parts, but only in a couple of short passages. A more difficult version of this piece also exists with the voices divided into three parts.

        Permission should be sought from Penguin Books Australia before re-printing any of the texts.

        The recordings are by the Australian Boys Choir conducted by Noel Ancell.

        Myoon-Myoon

        #MM0909

        The second of the Ancient Cries set, this introspective slow work in 5/8 allows a choir to showcase a beautiful tone. The title means “red earth” and evokes the landscape of Australia’s geographical center.

        An SSA version is also available here.

        ,

        Once I Had A Sweetheart

        #MM1005

        An Australian interpretation of a traditional English folksong. Appropriate for various groups but particularly suitable for women’s voices. SSAA unaccompanied.

        The demonstration recording is:
        Once I Had A Sweetheart, trad. arranged Mark Puddy: Perth Modern School (Western Australia) Schola Cantori conducted by Celia Christmass, 2006

        Past Life Melodies (SA)

        #MM2003

        Australia’s most iconic choral work to date, and featured on the Hollywood film Boychoir. This version is for SA divisi choir a cappella. There is also a treble voice version of the score for choir and an accompaniment for cello only.

        Commissioned (in the SATB version) for Graeme Morton’s high school choir, the work can be performed by choirs of modest training, and yet has made it all the way to Chanticleer, and other professional groups, such is its broad appeal.

        Accompaniment available for Full Orchestra or Concert Band, String Orchestra or Cello Ensemble.

        Recording by The American Boychoir · Fernando Malvar-Ruiz · Sarah Hopkins

        Rain Dream

        #MM2033

        A highly imaginative choral piece for SSAA choir and piano. In it a young child who lives in the dry central Australian outback and has never seen rain dreams of what it would be like to be in a thunderstorm. The work eventually becomes a sort of rain dance with chanting of “Wandjina”, an Australian Aboriginal rain spirit.

        Rainbird

        #MM0908

        The first of the Ancient Cries set; Rainbird begins with a dramatic and evocative piano introduction and includes some Australian aboriginal words as well as aleatoric sounds.

        Return To Joy

        #MM2007

        A  short song by Sarah Hopkins in a vibrant, joyful style. This is a combined score that can be used by either treble or mixed voices. The work divides into seven parts but many parts use sustained single tones so a choir of reasonable ability can perform the work. SA or SATB a cappella (or accompanied by any treble ensemble).

        Return to Joy (MM2007) ~ SA or SATB divisi a cappella
        Recording :”Honour the Earth” CD published by Sarah Hopkins

        Performed by Canticum conducted by Emily Cox.

        ,

        Rise (SSAA)

        #MM0807

        In the wake of the COVID-19 pandemic, Carl Crossin writes that the brief given to him in the commission of this work was that the song be “uplifting and life affirming” – and that it certainly is. A wonderful piece for secondary choir.

        Sea Fever

        #MM2114

        Sky Song

        #MM1502

        The composer arranged the text using both his own verses in English and traditional Australian words. The latter have a sonorous quality and also match the theme of the song. The result is a work with a distinct Australian flavour which paints a visual image of the Australian outback. SSAA unaccompanied.

        Talking To My Shoe 2pt (Losing the Plot)

        #MM1512

        Talking to my Shoe is the first piece in a collection of four pieces for treble voices and piano.

        Composer Paul Stanhope writes:

        Losing the Plot is a collection of songs for children’s voices and piano with texts by Michael Leunig. They were written as a follow up to my earlier cycle of Leunig pieces called Songs of Innocence and Joy for treble voices and chamber orchestra.

        The first of these pieces, Talking to My Shoe was commissioned and premiered by the Sydney Children’s Choir as part of their 15th anniversary in 2004. The remaining three songs in the cycle were commissioned by the Network of Treble Ensembles (NoTE) which includes Brisbane Biralee Voices, Gondwana Voices,Young Adelaide Voices and Young Voices of Melbourne. All the songs in this set are tinged with an exuberant sense of the absurd, but as usual with Leunig’s texts, there are many layers of meaning and often twists in the tale.

        The songs are written for upper-primary to high-school aged treble voices mostly in unison and two parts. In two songs—Talking to My Shoe and La–La Land—the choir splits into three parts, but only in a couple of short passages. A more difficult version of this piece also exists with the voices divided into three parts.

        Permission should be sought from Penguin Books Australia before re-printing any of the texts.

        The recordings are by the Australian Boys Choir conducted by Noel Ancell.

        The Road Not Taken (SSAA)

        #MM0815

        This poignant piece, written for the Seymour College Chamber Singers, is based on the poem by the same name by Robert Frost. The text tells of a traveller who comes across a fork in the road and decides to take the road less travelled – a moving reflection on life’s decisions. Composer Carl Crossin’s decision to include violin adds a further element of emotion to an already very stirring piece. Highly recommended.

        Three Carols

        #MM0502

        Three simple carols for women’s or children’s choir using the medieval texts Terly Terlow, When Crist Was Born of Mary Free and I Sing of a Maiden.

        Two Kyries from the Winds of Heaven (SA)

        #MM2005
        For treble voices a cappella.
        These short songs are unusual, fresh and vivid. They resonate with ideas drawn from several religious philosophies. The composer sanctions performances within the context of Christian worship as well as any philosophic tradition which values the soul. Includes harmonic overtone singing. The individual parts are very simple and a large and sonorous ensemble is preferred.
        Note: This score includes an additional alternative ‘Kyrie 11’
        Listen to the SATB version here!

        We Are The Future (SSAA)

        #MM0817

        This piece is currently in preparation, and will be available shortly. For enquiries, please contact admin@mortonmusic.com

        A wonderfully uplifting piece with solos throughout, We Are The Future is highly recommended for youth choir. With text adapted from year 8, Brighton Secondary Student, Paris Maddern’s poem “The Future”, this joyous piece for SATB or SSA choir carries a strong, youthful voice and sings of their hope for the future, and their role in it.

        “And I cry at the glowing blaze of disaster in this world

        Yearning to reshape it, let goodness be unfurled

        Perhaps I am not good enough

        Perhaps my strength exceeds me,

        The world will see me.”

        When The Sleepy Man Comes

        #MM1014

        A delightful choral piece for junior choristers aged six to nine. The three stanzas of this song feature graceful singable lines in a classical style. Highly recommended for a choir’s first competition.

        ,

        Where Go The Boats

        #MM1009

        A graceful setting of the Robert Louis Stevenson poem for young children.

        (The performance is by the Brisbane Birralee Voices Junior Choir)

        Winter Stars (SSAA)

        #MM0819

        This piece for choir, piano and flute paints a cloudless winter night – the piano and flute adding a crisp clarity to the atmosphere. A lovely piece for secondary choir, and a great addition to your concert programme.