Don't be caught out by taking time occasionally. Between the verses and the chorus, we sometimes take a little bit of time to gather, breathe together and create space. Other times, we keep the energy flowing right into the chorus.
The ending of this arrangement is one of the hardest things to get together, ensemble-wise. Having had this steady pulse through most of the piece, the ritardando into the final few chords requires great listening, and heightened awareness of the other moving parts so that you can 'feel' your way into an organic slow-down together.
Try to enjoy the 'juiciness' of the first chord of the chorus (the 'Green' of Greensleeves). Here, rather than harmonising the melody note (C) with F major as you might expect, he chooses G 11, so that the melody note feels like an 'added note'. Smile, because this is naughty and lovely!
Lots of material is repeated in this arrangement. Use this as a chance to create interest through your vocal colour and dynamics. In the 3 'Greensleeves' choruses, we opt for a scheme which goes: warm, loud, very soft. We do this not just using volume, but also in vocal colour. Play with different ways of singing this passage to find different subtleties in the tone you produce.
If you're singing the bass part, this arrangement isn't the most glamorous sing for you! But this is because you're probably the most important part. You're responsible for keeping the tactus (pulse) steady. You're responsible for keeping the pitch steady and consistent. And you're responsible the articulation of the backing ostinato as you start each group of percussive quavers (eighth notes).
If you are singing the upper voice solo part (sung by Eddie), you have a fairly long time before you begin. Don't forget about your face here! It's important to stay facially engaged and not to either look bored or to look distracting. This may seem obvious, but many people accidentally switch off when they're not singing!
Get really familiar with the repeated ostinato and how it fits together with the solo part. This way, you can allow the soloist to be flexible and take time to breathe, adapting your own part to accommodate this time. Listen out for how we do this at 1:46, when Nick breathes after 'crave'.
There's a bit of a vocal juggling to do if you're singing one of the solo lines. When you finish singing the verse - during which you are a soloist using as much colour and expression as you wish - you should consider switching 'mode' for the chorus. Here, your line becomes part of the chordal texture rather than a lead, so you might want to sing slightly more softly, even out vibrato a bit (so the harmony speaks clearly) and listening more carefully to the parts either side of you so you're not over- or under-balancing.
For the upper voice solo (the one sung by Eddie), take notice of the two 'functions' you're fulfilling. In verse 2, you are singing a descant line to 'La'. This should add to (but not distract from) the lower voice solo text. For this, see if you sing it in a way that's inspired by an instrument (a clarinet perhaps, or viola) which you can imagine playing the melody; but always make sure you can hear and fit with the lower voice solo. In verse 3, your function is to be in the spotlight: try to be led by the text, and try to find a delivery of the solo that matches what the lower voice is doing an octave lower.
If you are singing the solo part, try using 'glottal' articulation to bring emphasis to certain words in the melody. You can hear Nick do this with the word 'off' around 0:55.
For the top three parts in the chorus, it's a difficult opening to the piece, trying to hit the ground running after the bass starts off without a sudden gasp of breath. To help this, we tend to take a slow half-breath in advance, and then when the bass breathes to start, we just need to do a tiny 'top-up' breath before coming in in the quick rhythm.
The most magnificent music. The most beautiful performance! Bravo! This music sends me back to the real Middle Ages and appeals to the heart and the brightest feelings... thank you!
These instructional comments from the Kings Singers themselves - masters of their genre- are so valuable. I hope any a cappella vocal ensemble who are listening to this offering will take the lessons seriously. What a gift! 💙💙💙💙💙💙🎶🎶🎶🎶🎶🎶🙏🏼🙏🏼💥
Великолепнейшая музыка. Прекраснейшее исполнение! Браво! Эта музыка отсылает меня в настоящее средневековье и взывает к сердцу и самым светлым чувствам... Спасибо Вам!
I've followed the kings singers from when Brian Kay was the bass singer and over the years with member changes the standard has never slipped; still fantastic to this day.
voci che si armonizzano meravigliosamente ... prese singolarmente sono bellissime e ognuno di loro potrebbero canta anche come solista ma io spero che mantengano questa "amicizia" per sempre perché è una cosa rara da trovare ... stupende persone e stupendi artisti
Well, that was thick indeed. And very sweet at the same time, both super ancient-Medieval and very juicy jazzy chords scattered around! At the beginning I was a little confused to find Chris's part, because the layout is a little different than the usual, but it was to virtually join you. That was very delightful music, sirs. And thanks for the indications!
Love it! I usually sing high tenor, but I sampled all the parts. Thank you for uploading this beautiful sing a long of such a beautiful piece of music.
Would love to see you do a sing along version of your version of Africa by Toto... also not sure if you've recorded it anywhere as I can't find it on YT or Spotify!
These posts are so wonderful, thank you. Did anyone notice that in mm. 21-22, if I'm counting correctly, the G-D in the basses should be F-C? Sorry if this has already been addressed.
See this comment from the group re: this arrangement by Bob Chilcott: Try to enjoy the 'juiciness' of the first chord of the chorus (the 'Green' of Greensleeves). Here, rather than harmonising the melody note (C) with F major as you might expect, he chooses G 11, so that the melody note feels like an 'added note'. Smile, because this is naughty and lovely!
Is the alto line sung by the second tenor alone? If so, he might be usefully joined by Julian, the official tenor, even though his vocal quality might complement that of Chris' light baritone on the more melodic tenor line. I am myself a countertenor but this alto line sits entirely in my chest voice range.
![The King's Singers - Stille Nacht [Silent Night] (arr. Rutter)](/img/1.gif)
Don't be caught out by taking time occasionally. Between the verses and the chorus, we sometimes take a little bit of time to gather, breathe together and create space. Other times, we keep the energy flowing right into the chorus.
Yes, I noticed this. Sort of like what David Syrus used to say about Fledermaus. Always a way to fit more beats in a bar...
The ending of this arrangement is one of the hardest things to get together, ensemble-wise. Having had this steady pulse through most of the piece, the ritardando into the final few chords requires great listening, and heightened awareness of the other moving parts so that you can 'feel' your way into an organic slow-down together.
Try to enjoy the 'juiciness' of the first chord of the chorus (the 'Green' of Greensleeves). Here, rather than harmonising the melody note (C) with F major as you might expect, he chooses G 11, so that the melody note feels like an 'added note'. Smile, because this is naughty and lovely!
'Juicy' indeed! Thank you Kings Singers and Bob Chilcott for providing a few minutes of beauty to my day.
Lots of material is repeated in this arrangement. Use this as a chance to create interest through your vocal colour and dynamics. In the 3 'Greensleeves' choruses, we opt for a scheme which goes: warm, loud, very soft. We do this not just using volume, but also in vocal colour. Play with different ways of singing this passage to find different subtleties in the tone you produce.
If you're singing the bass part, this arrangement isn't the most glamorous sing for you! But this is because you're probably the most important part. You're responsible for keeping the tactus (pulse) steady. You're responsible for keeping the pitch steady and consistent. And you're responsible the articulation of the backing ostinato as you start each group of percussive quavers (eighth notes).
If you are singing the upper voice solo part (sung by Eddie), you have a fairly long time before you begin. Don't forget about your face here! It's important to stay facially engaged and not to either look bored or to look distracting. This may seem obvious, but many people accidentally switch off when they're not singing!
I’m in a choir also and when I’m not singing or other sections are learning their parts my mind tends to wander😂I’m glad it’s not just me 😂
Get really familiar with the repeated ostinato and how it fits together with the solo part. This way, you can allow the soloist to be flexible and take time to breathe, adapting your own part to accommodate this time. Listen out for how we do this at 1:46, when Nick breathes after 'crave'.
One of the most beautiful melodies ever written.♥
Definitely yes❤.
I think so too..🇺🇸
There's a bit of a vocal juggling to do if you're singing one of the solo lines. When you finish singing the verse - during which you are a soloist using as much colour and expression as you wish - you should consider switching 'mode' for the chorus. Here, your line becomes part of the chordal texture rather than a lead, so you might want to sing slightly more softly, even out vibrato a bit (so the harmony speaks clearly) and listening more carefully to the parts either side of you so you're not over- or under-balancing.
For the upper voice solo (the one sung by Eddie), take notice of the two 'functions' you're fulfilling. In verse 2, you are singing a descant line to 'La'. This should add to (but not distract from) the lower voice solo text. For this, see if you sing it in a way that's inspired by an instrument (a clarinet perhaps, or viola) which you can imagine playing the melody; but always make sure you can hear and fit with the lower voice solo. In verse 3, your function is to be in the spotlight: try to be led by the text, and try to find a delivery of the solo that matches what the lower voice is doing an octave lower.
If you are singing the solo part, try using 'glottal' articulation to bring emphasis to certain words in the melody. You can hear Nick do this with the word 'off' around 0:55.
For the top three parts in the chorus, it's a difficult opening to the piece, trying to hit the ground running after the bass starts off without a sudden gasp of breath. To help this, we tend to take a slow half-breath in advance, and then when the bass breathes to start, we just need to do a tiny 'top-up' breath before coming in in the quick rhythm.
The most magnificent music. The most beautiful performance! Bravo! This music sends me back to the real Middle Ages and appeals to the heart and the brightest feelings... thank you!
These instructional comments from the Kings Singers themselves - masters of their genre- are so valuable. I hope any a cappella vocal ensemble who are listening to this offering will take the lessons seriously. What a gift! 💙💙💙💙💙💙🎶🎶🎶🎶🎶🎶🙏🏼🙏🏼💥
Великолепнейшая музыка. Прекраснейшее исполнение! Браво! Эта музыка отсылает меня в настоящее средневековье и взывает к сердцу и самым светлым чувствам... Спасибо Вам!
I've followed the kings singers from when Brian Kay was the bass singer and over the years with member changes the standard has never slipped; still fantastic to this day.
voci che si armonizzano meravigliosamente ... prese singolarmente sono bellissime e ognuno di loro potrebbero canta anche come solista ma io spero che mantengano questa "amicizia" per sempre perché è una cosa rara da trovare ... stupende persone e stupendi artisti
Thanks to All of You! A beautiful rendition of my all time Favorite Song.❤ 🎉😊
This helps me sing the song
Thank you for all the 'how to' instructions!
it was well worth the wait. very very good indeed
Kippenvel zeggen ze in Nederland 🇳🇱
A real delight.
Well, that was thick indeed. And very sweet at the same time, both super ancient-Medieval and very juicy jazzy chords scattered around! At the beginning I was a little confused to find Chris's part, because the layout is a little different than the usual, but it was to virtually join you. That was very delightful music, sirs. And thanks for the indications!
A really wonderful arrangement, of course also wonderfully sung.
Another video made during Covid. Thanks for keeping the flame! Brilliant singing, of course.
Sehr schön anzuhören Danke, LG Christine
This was so beautifully arranged! Thank you and greetings from Normandy!
Wonderful again love the bass, such handsome guys the eyes on the second one in are amazing, love the beard ed eyes as well
Thank You, Gentlemen For This Beautiful Gift Of Music 🎶
Love it! I usually sing high tenor, but I sampled all the parts. Thank you for uploading this beautiful sing a long of such a beautiful piece of music.
This is truly amazing! Thank you so much for sharing your thoughts and instructions.
Simply beautiful! ❤❤
Oh how fun!!! 😲Thank you! Gorgeous, as usual!😊
Delightful - thank you!
Wonderful. I love these. I had to stop myself putting an F sharp into the last chord, bad me...
Lovely, thank you!
Gentlemen, this is amazing. Bravi!
Superbe!!!
Another awesome video! 🎶❤️🎶
Eee, that were lovely
Amazing
Thanks!!!
Beautiful!!
Nice!
Would love to see you do a sing along version of your version of Africa by Toto... also not sure if you've recorded it anywhere as I can't find it on YT or Spotify!
These posts are so wonderful, thank you. Did anyone notice that in mm. 21-22, if I'm counting correctly, the G-D in the basses should be F-C? Sorry if this has already been addressed.
See this comment from the group re: this arrangement by Bob Chilcott:
Try to enjoy the 'juiciness' of the first chord of the chorus (the 'Green' of Greensleeves). Here, rather than harmonising the melody note (C) with F major as you might expect, he chooses G 11, so that the melody note feels like an 'added note'. Smile, because this is naughty and lovely!
What’s the harmony of the refrain (greensleeves was all my joy…)?
Is the alto line sung by the second tenor alone? If so, he might be usefully joined by Julian, the official tenor, even though his vocal quality might complement that of Chris' light baritone on the more melodic tenor line. I am myself a countertenor but this alto line sits entirely in my chest voice range.
I can't wait!
you can wait
@@segawa_ryo bruh
@@segawa_ryo It is an expression of excitement :)
こちらのアカペラ版の楽譜は、購入出来るのでしょうか？
❤
💗💗💗🙏👍
Por que tan caro
Promo'SM
King's Singers are over rated. They tend to overdo and butcher songs from their original intent.. This is a prime example.
Don't listen to them. Simples.
❤