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Polymélodies 2

Polymélodies 2

(Code: A135300158)
Discover the collection Polymélodies 2, an anthology of today's songs for mixed voices, harmonized by Thierry MORIN.
The eleven arrangements gathered here have been made to allow youth choirs (but also groups with few male voices) to appropriate songs already more or less known in their original version.
12.40 EUR
161g

Discover the collection Polymélodies 2, an anthology for mixed voices, harmonized by Thierry Morin:



The eleven arrangements gathered here have been made to allow youth choirs (but also groups with few male voices) to appropriate songs already more or less known in their original version.
Initially, these arrangements were written for "Les ADos Ré-Mi", a group of about thirty young singers aged 14 to 22.
In order to suit beginners or inexperienced singers, these arrangements were elaborated taking into account several aspects:
  • The vocal ambitus are never very extensive, the melodies have often been transposed to be easily sung by all;
  • The rhythmic difficulties of each voice are not very important even if the polyrhythm of the ensemble can be quite rich;
  • The melodic interest of each part has always been sought, silence preferred to "filling" or "choruses" (Oh..., Ah...) tedious;
  • The main melody often shifts from one part to another so that each chorister assumes a little of what he knows to be the essential;
  • Each arrangement can be performed a cappella.

    Tips for interpretation:



    All of these songs were originally written to be performed by a solo accompanied singer. The transcription for a three-voice mixed a cappella choir required some harmonic or rhythmic adjustments and allowed for some developments (end of Tête en l'air, for example).
    However, the main characters of the original version have been preserved. It is therefore very important that the choirmaster makes the effort to familiarize himself with the existing recording(s) of each song to better "understand" these arrangements.
    Tempos, nuances :
    The indications given on these scores have been deliberately limited to the strict minimum in order to leave as much room as possible for the conductor's imagination. He will thus be able to react more easily according to the number of singers, the place, etc. However, it is important to avoid overloading the interpretation with effects (organ point, stop points, slow motion, crescendos...). These songs must keep their simple and popular character.
    Likewise, attention must be paid to the melody; this, often passing from one lectern to another, must not be overwhelmed by "secondary" voices.
    Phrasing, breathing, articulation and pronunciation of the text:
    Be careful not to fall into the trap of imitation. The choices made by a solo singer with a microphone are not necessarily valid for a choir of several dozen singers.
    Instrumental accompaniment:
    The chord figures necessary for the realization of an instrumental accompaniment have been noted for each arrangement. But if the role of the instruments should go beyond a simple harmonic and rhythmic support (a piano, a guitar...) we will not hesitate to "prune" the score so that the sound texture does not become too rich, at the risk of seeing the listeners and the choristers get lost in it.
    (Thierry Morin)

    Content:

    • Yesterday (John Lennon/ Paul Mc Cartney)
    • Un homme heureux (William Sheller)
    • Tête en l'air (Jacques Higelin)
    • Le Poinçonneur des lilas (Serge Gainsbourg)
    • La recette de l'amour fou (Serge Gainsbourg)
    • Mon amant de Saint-Jean (Emile Carrara/ Léo Agel)
    • Rame (Laurent Voulzy/ Alain Souchon)
    • La maison près de la fontaine (Nino Ferrer)
    • Les amoureux des bancs publics (Georges Brassens)
    • Framboise (Bobby Lapointe)
    • Forteresse (Brice Homs/ Michel Fugain)

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