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A baby lying is No. 4 of the ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 3, Deep in the forest, those two carols are the darker pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: A baby lying; computer-set 

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• McLeod: A baby lying; computer-set 

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This short blessing was written for my choir St Mary’s Schola at St Mary’s College. It was composed for use in a performance at mass in St. Patrick’s Cathedral in Auckland.

The text is based on traditional Irish blessing, with a version of the concluding blessing often used in many services added at the end.

David Hamilton

• Hamilton: A Blessing for this Day; computer-set  Year: 2009 

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• The Treble Voice Choral Music of David Hamilton Vol. 3  Year: 2011 

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• Ker: Arise, Shine!; facsimile 

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• Ker: Arise, Shine!; facsimile 

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Ave Maria was written for Voix de femmes which is one of two auditioned choirs at Havelock North High School (Hawkes Bay, New Zealand). It was composed for the specific purpose of entering the National Choral Federation High Schools’ Choral Festival at which the selected top twenty choirs from around New Zealand compete.

• Childs, D.N.: Ave Maria; computer set 

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Deep in the forest is No. 3 of the ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 4, A baby lying, those two carols are the darker pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Deep in the forest; computer-set 

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• McLeod: Deep in the forest; computer-set 

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J’ai oui chanter (I heard the nightingale) is No. 1 of The ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 2 Je sais, vierge Marie (I know, O Virgin Mary), the first two carols are the light-hearted pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: J'ai oui chanter (I heard the nightingale); computer-set 

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• McLeod: J'ai oui chanter (I heard the nightingale); computer-set 

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Je sais, vierge Marie (I know, O Virgin Mary) is No. 2 of the ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 1 J’ai oui chanter (I heard the nightingale), the first two carols are the light-hearted pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Je sais, vierge Marie (I know, O Virgin Mary); computer-set 

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• McLeod: Je sais, vierge Marie (I know, O Virgin Mary); computer-set 

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A warm long lyrical melody begins in unison. Over the course of 3 verses the tune and accompanying figures are passed around. It finishes Maestoso. The soft refrain of Blessed o blessed indicates Mary relationship with her Lord. The rhythmic impulse varies throughout between 6/8 and 3/4. Whilst harmonically reasonably straight forward, the piece presents good tonal and blending challenges for a women’s ensemble. The piano part can be played as written or embellished. Useful as an anthem or contemporary art song. Ideal for The Big Sing.

• Russell: Magnificat; computer set 

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• Russell: Magnificat; computer set 

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• Childs, D.N.: Prayer of St. Francis of Assisi; computer set 

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A punchy SSAA version of this great psalm. Some crunchy note clusters and speedy sections contrasted with lyrical and murmuring moments. A fanfare-like triumphant opening section, giving way to a smoother gentler passage. These two sections are repeated but with different words and musical variations. The fanfare type passage concludes the piece. The piano accompaniment is energetic and needs rhythmic precision.

• Russell: Psalm 46; computer set 

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• Russell: Psalm 46; computer set 

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