2012

WISCONSIN STATE MUSIC CONFERENCE

Setting the Tone For Exceptional Rehearsals With Choral Warm-ups That Work!

Friday, October 26, 11:30 AM-12:45 PM, Room J, Monona Terrace
Gary Kent Walth, Director of Choral Music Studies, UW-La Crosse

*Welcome/Introduction
*I am convinced and truly believe that the key to the success of each and every
choral rehearsal lies in the first minutes of the rehearsal. Clear and distinct
musical purpose and artistry can begin the minute the singers walk into the
choral classroom. The choral conductor must be there to lead and guide.
On time, on task, on top of the heap
*The tone for each rehearsal is set with carefully planned and appropriate
WARM-UPS that either introduce or re-enforce the following basic choral concepts that
are integral to every rehearsal:
posture/alignment
breath management
sight reading/solfeg promotion and enhancement
tone production
diction
intonation
articulation
blend
balance
rhythmic accuracy
phrasing
artistry, nuance
style awareness/historical perspective

Important Starting Points:
1. Warm-ups should not be seen as just a routine activity using the same two or
three repetitious vocalises throughout the year. Each warm-up should:
a. Be carefully chosen as part of an organized rehearsal plan
b. Have an objective and an outcome
c. Be related, in part, to the choirs repertoire and overall performance goals
2. I believe a daily warm-up regimen should include:
a. 1 physical warm-up and/or a warm-up emphasizing proper posture and
breath support
b. 1 vocal warm-up promoting flexibility, lightness of tone and bouncy fun
c. 1 or 2 choral warm-ups that promote listening, tuning, diction,
equipping, and preparing minds & voices to rehearse and perform
No matter the length of rehearsal time, most choral conductors use 10 to 12%
of that time for warm-ups. Effective warm-ups must be performed with the
same care, artistry, and positive energy that the repertoire is given. In fact, it
might be to your advantage TO PERFORM A CHORAL WARM-UP FOR YOUR
LOCAL AUDIENCE ONCE PER YEAR!!

Walth-2-

3. The question begs to be asked: When do vocal warm-ups become choral warm-
ups, or vocalises become choralises? Is there a difference? When do vocalists
become choristers?

WARM-UPS (the musical scores used in this session)
most are written in treble and bass clef
o can be used by a variety of choirs
most have piano accompaniments, many with chord symbols, roughly interpreted
o a cappella performance is preferable when appropriate
o I encourage choral conductors to become proficient in reading chord symbols-
it allows you to multi-task
no need to read the melody, which benefits singers ears
allows the conductor to listen more closely, comment and problem-solve
several can be performed in canon form and have a [X] to designate starting points
words/lyrics are either solfeg syllables or sing-able syllables
o Because the practice of sight-reading is a daily or at least frequent activity for
most upper level choirs, the incorporation of the use of solfeg syllables is
employed in these warm-ups. Singers should be familiar with movable-Do
syllable singing so that sight-singing becomes a natural part of the choral
rehearsal process. All warm-ups should be sung interchangeably with sing-able
vowels and solfeg syllables

A Simplified Vowel Chart For Choral Singers



pdf file

LETS SING (12 choral warm-ups)

A Listing of 12 Choral Warm-ups With Objectives/Choral Concepts p. 3 & 4

12 Choral Warm-ups written or arranged by Gary Kent Walth
pdf files





2-3 Warm-ups from Jazz Warm-ups and Vocalizes


separate hand-out

QUESTIONS AND ANSWERS


CONCLUSION
No matter what warm-ups or rehearsal plan that I choose, as a choral conductor and
choral music educator my daily mantra will continue to be:

Each living, breathing choir member entering my choral classroom will leave my
rehearsal a better singer, a better musician and most importantly, and better person!










Gary Kent Walth

Walth-3-

A LISTING OF 12 CHORAL WARM-UPS USED IN THIS SESSION

Title




Objectives/Choral Concepts
1.Rich, Round and Resonant

Improvement of tone quality with good vocal technique






Relax, let the breath do the work, emulate the sound

2.Triad Arpeggios


Forward placement with a feeling of lift in the back
Work for tall, open vowels, tune the 5th of the triad,
Sing a high 3rd, throw down a good quick breath.

3.Bachianna
Sing with a light, agile and supported sound, with
perfect intonation up and down.

Each section must listen so that vowel blend is the

priority of this warm-up

4.Unison to Four Parts
A study in contrast between a unison, light staccato in
the first 2 measures and a legato connected four part
chorale-like second half of the warm-up. Learn the
legato section using solfeg syllables. A good beginning
warm-up and also valuable for blend with f or ff
singing.

5.Choral Contrast
Another study in contrasted phrasing and articulation.

Promotes careful reading of the entire musical score
and the singing of open vowel colors with proper
support. Another in tune triad challenge.

6.Descending Scales


This unison warm-up encourages intonation awareness






with attentiveness to half steps and whole steps. It also






functions as a beautiful a cappella canon.

7.Desc. 3rds w/ Asc. Scale
A ballad-like warm-up featuring descending thirds and
ending with an upward scale from re to Do. This can also
be effective as an acappella canon. Keep in mind the
image of an icy stairway, taking small steps going down
and big, solid steps to the middle of each stair going up.

8.Sol La Sol
A warm-up with a scale floating through the passaggio,
promoting supported, forward placement. The perfect
example of an arched sound. This warm-up can also be
used to give shy singers their first experience as a
soloist, although brief it may be.

Walth-4-

9.Upward Leap Waltz

A nice teaching piece for exhibiting phrasing and nuance,

this waltz can really help voices open up and display
richness and depth of sound. Pitch accuracy, especially,
especially on the tri-tone and forward motion make it a
good challenge.

10.Short Chorale Without Words

Pronunciation warm-ups
11.O magnum mysterium

12.Cantate Domino

Choristers can be challenged to sing this five measure

chorale using movable Do solfeg. The piano will play the
next transition chord and the singers can check their
pitch accuracy. Sections might even switch parts for
variety.

Used when learning Lauridsens O magnum

Used when learning Schtzs Cantate Domino

AH

UH

AW

OH

IH

EH

OO

___
OO

EE

A Simplified Vowel Chart For Choral Singers

UH as in luck

AH as in father

AW as in awe

A as in nap





OH as in boat

EH as in bed





OO as in look








___
IH as in bit





OO as in hoot

EE as in feet





as in earth

Common Diphthongs:

A/ee as in bag





AH/ee as in night






EH/ee (ay) as in late




AH/oo as in out

EE/oo as in new




AW/ee as in roy


Solfge syllables:

Do = DOH






Sol = SOHL

Re = REH/ee





La = LAH

Mi = MEE






Ti = TEE

Fa = FAH






Do = DOH

Choral conductors and advanced choral students should become familiar
with the International Phonetic Alphabet (IPA).

1. Rich, Round and Resonant

Moderato

b 4
&b 4

Soprano
Alto

Mah meh mee moh

? b 4
b 4

Tenor
Bass

b 4 Bb9
b
& 4

&

####

? ####
&

####

? ####
9

B9

Mah meh mee moh

?
&

Bb9

G7

moo,

Bb

mah, - meh, - mee, - moh,

F#7

B9

F#7

C9

F7

moo,

Mah meh mee moh

&

C9

F7

? b b 44

Piano

moo,

G7

#
nn## ##

arr. Walth

moo.

##
nn # ##
#
nn## ##

F#11

n # #

nnnn

nnnn

nnnn

mah, - meh, - mee, - moh,

mah, - meh, - mee, - moh,

WalthWorks 2012

moo.

#
nn## ##

n
#

moo.

nnnn

n
n n n

G11

n
n

##

##

A11

Mah meh mee moh

##

D9

# #

A7

#
& #

14

? ##
moo,

##

mah, - meh, - mee, - moh,

&

? # #

b
&bb

19

? bb
bb

D9

A7

mah, -

& b
? b
bb

- meh,

- mee, -

moo.

nnbb

nn b
bb

Mah meh mee moh

n n b Eb9
b b

n b b b

Bb11

b
b

- moh,

nnbb

U
-

moo.

Eb

Bb7

moo,

Eb9 Bb7 Eb

2.Triad Arpeggios

Allegro {m q = c 200}

Soprano
Alto

Tenor
Bass

Piano

&

b 4F
b
& 4
. . . .
Do mi sol mi
Yah hah hah hah
F
? b b 44 . . .
.
Bb
bb 4 Fm7
& 4
b
P
? b b 44

####

. . . .
do
mi sol mi
hoh hoh hoh hoh
. . .
? ####

# .
F#m7
#### B

& #
n

& .
.
. .
Do mi sol mi Do.
? . . .
.
C
F/G

&

hee hee hee hee

hee.

# #G#7
#

Fm7

. . . .
Do mi sol mi
hee hee hee hee
. . .

.
Bb
Eb/F

Bb

. . . .
Do mi sol mi
hee hee hee hee
. . .

.
B
E/B

? ####

11

. . . .
do mi sol mi
hoh hoh hoh hoh
. . .

#### ##
#

Do.
hee.

Do.
hee.

# #
n

Bb

nnnn

n
n
B

F#7

#
nn## ##

. . . .
Do mi sol mi

nnnn
n .
nnnn C
n

. . . .
do mi sol mi

.
. .

.
. . .

Yah hah hah hah

. . . .
Do mi sol mi
Yah hah hah hah
nn # # # # . . .
# .
nn # # # # B F#m7
#
n

#
nn## ##

G7

arr. Walth

hoh hoh hoh hoh

Gm7

nnnn
n

. . . . . . . . . . . .
Do mi sol mi
do mi sol mi
Do mi sol mi Do.

# # # # # # . . .
# .
G#m7
# # # # # # C#

#
n

Yah hah hah hah

#### ##

.
. . .

.
. . .
F#/G#
G#m7
C#
C#
n

hoh hoh hoh hoh

WalthWorks 2012

hee hee hee hee

Gm7

hee.

nA7
n

C#

nn n ##
nn
nn n ##
nn
nn n ##
nn
nn n #
nn#

#
& # . . .
.

17

? # # . . . .

Do mi sol mi
Yah hah hah hah

# # D Am7
n
&
? ##

b
.
& b b . .
.

23

.
? b b . . .
b

b Eb Ab/Bb
b

& b

Do mi sol mi
hee hee hee hee

? bb
b
& b .

29

Do
Yah

&b
F

?b

.
.

mi
hah

.
.

. . . .
. . .
.

Do mi sol mi
hee hee hee hee

Do mi sol mi
hoh hoh hoh hoh

Do.
hee.

n n b b .
b
n n b b Eb
b

nBb
b

#
nnn## #
.

.
.

do
hoh

mi
hoh

.
.

.
. .

sol
hoh

mi
hoh

Cm7

do mi sol mi
hoh hoh hoh hoh

Bbm7
b

.
.

Do mi sol mi
hee hee hee hee

.
.

.
.

Do
hee

mi
hee

sol
hee

. . .
.

do mi sol mi
hoh hoh hoh hoh

Bb/C

mi
hee

Bbm7

Eb

nnbb
b

.
. .

Do mi sol mi
Yah hah hah hah

b .
.
. .

.
.
.
nn # # # # . . . . . . . . .
n
Bm7
E
A/B
Bm7
E

# E
n n n # # # n n

G/A

Do.
hee.

Do mi sol mi
Yah hah hah hah

# #B7
n

. . .
.

nnbb

#
n n n # # # . . .
. . .
. . .
.
. .

Eb

mi
hah

Am7

sol
hah

Cm7

. . . .

nnnnb

nnnnb

nnnnb

Do.
hee.

E nC7

Do.
hee.

nnnnb

Also try using a major triad on the lowered 7th for the 2nd chord of the measure, for a Gershwin-like effect.

3.Bachianna

Moderato and faster {q = c 66+)

2
& 4 j
Do mi Do sol Do Do ti la sol fa mi re

? 42 j

G7
C
j j Gj
2

&4

[X]

Soprano
Alto

Tenor
Bass

Piano

? 42

j j j j

b
& b bbb
? bb b
bb

j nnnnn##
n

n nnnnn##

J
j
# # Dj
j
b b b Db nA7
n
n
b
j
n
n n
& b n n
#

? bb b n n nn n ##
bb
n J
nn J
J
J
Do,

Do

b

&bb
Do
ti la sol fa mi re

? b
bb
Bb7
bb b j
&

12

? bb
b J

mi Do sol Do

j bbbbb
b

Do,
Do
mi Do sol Do

b J b b b b b
C Ab7
j j b b b Dbj j
b

b b b b

b
b b J b b b b b J J
J

##
n j n n n # #
Do

n n
n J
J

mi Do sol Do

j
j

#
n n n # # # J J

WalthWorks 2012

Do ti la sol fa mi re

j
j
Ab

j
J

nnbb

b j
Do
Do
ti la sol fa mi re Do,
b
J
j
A
D Bb7
j j
j
b

n b

j
bb b
J
J J

n nn ####
n
J
Eb7 B7j
n##
# # n n j n n # #

Do,

ed., Gary Kent Walth

nnbb
b
j
n n b Eb7
b b j

mi Do sol Do

nnbb
b J
J

U


Do
ti la sol fa mi re Do,
U.

J

J

Bj

EU

4.Unison to 4-parts

Moderato {q = c 68)

Soprano
Alto

b 4
&b 4

Anon.

? b b 44 J
Mm ah hah hah, mm ah hah hah, mm ah hah hah, mm ah hah hah, mm ah hah hah, mm ah hah hah, mm ah hah hah hah.

Tenor
Bass

b
& b 44

Bb

Piano

? b b 44
.

b
& b
? bb

Ah

bb Bb
&
? b
b
6

Bb

Eb

Gm

Dm

Eb

Bb

Cm

? 44
j

WalthWorks 2012

Bb

F7

Mm ah hah hah, mm ah hah hah, mm ah hah hah, mm ah hah hah,

? 44
.

& 44

C
4

&4

Bb/D

F7

.
42
-

42
42
2
4

.
n n 44

Bb

n n 44
n n 44

G7

4
nn 4

J
J

mm ah hah hah, mm ah hah hah, mm ah hah hah hah.

C/E

Dm7

G7

C j

2
8

&
?

Ah

2
4

Am

Em

## 4
& 4

11

Mm ah hah hah, mm ah hah hah, mm ah hah hah, mm ah hah hah,

? ## 4
4
# # 4 D
& 4
? # # 44 .

#
& #

Ah

13

? ##

# # D
&
? ##

G7

Bm

F#m

# # 44

## 4
4

42

# # 44

J
J

mm ah hah hah, mm ah hah hah, mm ah hah hah hah.

D/F#

Em7

A7

A7

24 A7

42

&

## 4
4

Thanks to Mike Esser!

42

2
4

etc.

42 n b

Bb7

b
42 b

5.Choral Contrast

Allegro {m q = c 120}

b 8
&b 8

Soprano
Alto

Gary Kent Walth

F
j
j
j j
j j j J J

Do

? b b 88

Tenor
Bass

b
& b 88
Piano

? b b 88

&b

? bb
bb

? bb
11

&

sol

fa

la

re Do

ti la sol,

Do

mi

sol

fa

la

Do,

mi

? # # # # j
#
J
B9
BMaj7
#### j
& # j

>.
>
? # # # # j j
# >
>

sol

fa

la

Do

sol

ti

>

C#m7

Cm7/F

Cm/F

j
j .

>

ti

re

re

#
nn## ##

#
nn## ##

Do.

#
# #

Bb F#7

#n

##
nn # ##
#
nn## ##

j j j j j
j

mi

re Do

ti la sol

Do

F#13

B9

mi

sol

J J J j
J
J
J

j F# F#7 .
. . ...

.
> .
.
j j j j . . ..

. .

> >
>
>
WalthWorks
2012
j

>

G#m7/F# EMaj7

Do - re

j
j
..

.
>
Cm7

.
J J J J .
j

>

ti

J J

# j j j j j . .

Do

sol

J J j J J
J
J
BbMaj7
F13
Bb9 BbMaj7 Gm7/F EbMaj7
j j j
.
..
j
j

. > >
>
>
>
..
j j j j j

>
>
> >
>

####

Do,

j J J J
J J J J
J
Cm7
F9
F
F7
EbMaj.7/FBb9 BbMaj7Gm7/F EbMaj7
Bb9
Cb9/F Bb9
j
j
j
j
j
j
j j j
j
j

b b b
. >. > > > >
. .
.
.
.
f
F
P >
j
j j j j j j j
j

.
.
.
. .
. > > j
> > > >

b j
j j j j .

mi

&

mi

F#9 BMaj7

j

>.

>
j
j

>
>
BMaj7

>

G#m7/F#

>

2
16

&

####

# j j . .
J
fa

la

Do

ti

Do

re

Do.

? # # # # J J . .
# J
&

####

? ####

j
#
>

>

EMaj7

j
& J J
sol

ti

re

? J J J

mi

re Do

&

Do.

##

Do

#
&
C

n
n

A7

Do

mi

sol

mi

sol

fa

A6

CMaj7

fa

la

la

Do

> .

D6 GMaj7
j j j j j

la

Do,

.
sol

Do

ti

.
.

Do

re

j jDm7j Gj Dm7/G Dm/G

..

re

j j Em7j A j j A7 j jA9

J
.
.

ti

.
.

.
J

Gm7/F

.
.

fa

Am7/G FMaj7

CMaj7

FMaj7
j j
j

>

j
j

>.
>
j
j

>
>

C9

G13

## j j


## .

C9

J
J J J j J .
J

## .

Db9

ti la sol,

sol

Dm7
j
j
j
jj
j
j
j

>
>
>
n n n n j j j
n >

.
>

> .

nnnn

G7

j j j j j
.
J

G7
G9
CMaj7
j j j ..

&
..

j .
j
? j ..

mi

n n n n j J .
n
J

n j j j .

Do

n
n

F# C#m7/F# C#m/F#

# j j j .. ..

>
>
>

21

26

j
.. ..
. .
>
C#m7

nnnn

j
..

j
J J J JJ

J J J J J J

mi

re Do

.
J
DMaj7

.
J

ti la sol,

A13

#
j
j
& # j

31

Do

mi

sol

? # # J
J
J
DMaj7
D9
D6/A
j
## j
j
&

>.
>
>
? # # > > j

J
J
>

J J

.
J

J J
J

ti

re

Do.

Em/A

j
.

fa

la

Do

j
j Em7 j

>
>
>

GMaj7

j
j
j
>
>
>

Do

j A7sus
..

>

>

7.Descending 3rds w/ Ascending scale

Soprano
Alto

Tenor
Bass

Piano

b 3
&b 4
? b b 43

b
& b 43
Cm7

F7

? b b 43

b
&b
? b
b

Do.

bb Bb
&
? bb

la fa,

re mi fa

Do re mi

Bb

Eb/Bb

F7

Gm

Cm7

.
.

Bb

..

..

sol mi,

.
.

..

..

nn

n ..
.

nn
Mi

nn

&
?
re mi fa sol la ti

Do.

&
G7/B

fa

..
C

sol

la

G7

F/C

.
# ..
.
.

fa,

..
.
.

##

##

Mi fa sol

##

.
nn .

.
.

17

Mi fa sol

..

sol mi,

mi

G7

.
.

la

..

G/D

# # ..

.
.

WalthWorks 2012

fa,

A7

fa - mi

fa

re

..

re

A7

.
.

re mi fa so la ti

mi

fa

F7/A

Do

re

mi

Am

..

Gary Walth

.
.

sol mi,

..

fa

- mi

Dm7

Do re

Bm

mi

..

#
& #
? ##

mi
re mi fa sol la ti
Do.

? # #

25

fa -

&

##

Em7

A7/C# D

n b

nnbb

Bb7

b
b

nnbb

b
Ab/Eb
n n b b Eb .
..
b .
Mi fa sol

la fa,

.
.

n n b b ..
b

nn####

Do re mi
fa - mi
re mi fa sol la ti

Do.

#
? bb

nnn## #
b
Bb7/D Eb
Cm
B7
Fm7
bb b

nn####

&

# #

n n # ##

.
? bb .

n
nn#
b
b
&bb

33

####
&

41

? ####
#### E
&
..
sol

? # # # #

mi,

Do

Cm

.
.

re

mi

fa

F#m7

sol mi,

Eb

Bb7

.
.

..

Mi fa sol

..

la fa,

re mi fa

..

B7

A/E

.
.

.
.

sol la
ti

mi

re

re mi fa

mi

fa

.
.

Do.

B7/D#

8.Sol la sol

Allegro {m q = c 120}

4
&4

Soprano
Alto

? 44

Tenor
Bass

Do re mi fa

sol la sol,

sol la sol,

sol la sol,

Do re mi fa

soli:
tutti:

& 44

&
sol

la

sol

G7

fa

mi

re

Do

Fmaj7

ti

G11 G7

bb
&bbb

13

sol la sol,

? bb b
bb

bb
b

& b b

Db9/F Ab11 Ab7

Do re mi fa

Db

Fm

G7

Dm/F

Do

Db

b b

b
b

sol la sol fa

Ebm/Gb Ab7

Do.

Ab11 Ab7 Db

WalthWorks 2012

sol

la

sol,

soli:

Ab7

tutti:

Bbm11

nnnnn##

Ebm11

Do re mi fa

# n n

tutti:

la sol,

mi re Do ti

Gbmaj7

sol

Ebm/Gb

bbbbb

Fm

b b b b b

Ab7

fa

Em

soli:

bbbbb

mi

re

G11 G7

C9/E

Dm11

bbbbb

tutti:

Am11

Do.

? bb b
bb

Em

&

?
Dm/F

G7

? 44

Piano

soli:

Dm7

Gary Kent Walth

n
n

nnnnn##
#
n n n n n #

nnnnn##

F#m

2
19

&

##

sol

sol

sol

soli:

la sol,

tutti:

la

sol,

soli:
tutti:
? ##

&

##

Em/G

Bm11

? ##

25

&

##

Do.

? ##
&

##

Bb7

b n

? # # bb

b
&bb
sol la sol fa

? b
bb
bb
b
&

Fm/Ab

? b
bb

fa

mi

re Do

ti

Bb7

Abmaj7

Bb11

fa

mi

Em/G

A7

Gmaj7

sol

la sol,

Do.

soli:

Bb7

la sol,

tutti:

Cm11

#
nnn## #

Fm7

Do re mi

Eb

B7

# n #

nn

fa

##

nnn # #
#
n n n # # #
E

##
n n n # #

G#m

la sol,

ti

A11

Bb11 Bb7

Do re

Eb9/G

Do

sol

tutti:

re

sol

sol

Fm/Ab

la

Gm

Eb

sol

n n b b
b

fa

F#m

soli:

nnbb
b

nnbb
b

31

mi

mi

re

A11 A7

C9/E

Do re

Do

Em11

nn b
bb

sol,

A7

la

mi

fa

Eb

Gm

sol la sol,

sol la sol,

soli:

soli:

F#m/A

B7

tutti:

tutti:

C#m11

F#m7

####
&

37

sol la sol,

? ####
&

####

E9/G#

B11 B7

? ####

Do re

sol la sol fa

mi

fa

G#m

F#m/A

B7

soli:
tutti:

&

43

sol la sol,

?b

sol la sol,

soli:

sol la sol,

tutti:

mi

re Do

Amaj7

? b

C7

bn

n
n

sol la sol fa

Gm11

C11

nnnnb

Do re

B11

Dm11 G7 F9/A C11 C7 F Am

& b
Gm/Bb

Do.

Do re mi fa

ti

C7

fa

nnnnb
n n n n
b
F

Am

nnnnb

mi re Do ti

Do.

Bbmaj7 C11

mi

>

>

9.Upward Leap Waltz

Allegro {m q = c 180}

b 3
&b 4

Soprano
Alto

Do re Do

? b b 43

Tenor
Bass

Piano

fa

la

Gm

ti Do

sol fa

re

mi

la

b
& b

? b
b
.
.
Cm7

F11

Dm

nn

b
& b n ..
G7

? bb .
.

re Do

nn

re

mi

fa

nn .

sol

la

Do,

ti

do re Do

Do

Am

Bb11

la

ti Do

fa

ti

Cm/Eb

Gm

sol,

Cm7

F11

Bb/Eb

Dm

ti

Do

sol

fa

re

do

re

Do

Dm7

WalthWorks 2012

G11

re

Do ti

Do.

F9

Bb

Cm9/Eb

.
.

Do

C11

Am

.
.

..

Dm7/F

.
J

la

F7

.
.

.
J

mi

Eb/F

F11

la

F11

.
..

n n


C9

Cm7

Dm7 Ebmaj7 Cm7/F

Do

? bb

Cm7/Eb

ti

? b
b

&b

Do,

? b b 43 .

b
&b

17

b 3
& b 4








Bb9

Gary Kent Walth

la

ti

Do

Dm/F

25

&

sol,

ti

&

mi

Dm7

? .
.

G11

& .
.
?
Do.

A7

.
.

#
& #

41

? ##
ti

Do

sol,

G/A
A7
# # Em/G
&

? ##

.
.

fa

A11

.
J

la

re

G11

la

ti

Do

sol

mi

F#m

fa

re

C/E

Em

do

Do ti

G9

Dm9/F

re

Do

.
.

Do

Em7

G11

Em7/G

la

Em7

mi

ti

ti

Bm

fa

ti

## .

la

Dm7/F

Do,

# # D9

#.
.

sol

.
J

.
..

Do

##

fa

Dm7

Fmaj7

Em7

re

mi

Do

la

Em

##

33

? ..

re

& ..

la

G7

fa

F/G

A11

re

mi

fa

sol

..
.

F#m7 Gmaj7

Em7/G

la

A11

ti

D11

Bm

fa

ti

mi

la

Em7

A11

F#m

D/F#

# .
& #

49

? ##

re

b
&bb

56

do

? bb
b
b
&bb

Eb11

? bb .
b
b
&bb

62

Do.

re

Do

b.
b.

Cm

la

ti

sol

b
&bb

Fm7/Ab

Bb11

..
.
.

ti

la

Fm/Ab

Do

fa

? b
b b .

mi

Abmaj7

re

? bb
b

fa

ti

Fm7

Bb11

la

Ab/Bb

.
.

Fm7

la

Gm

Bb7

fa

re

Eb/G

Bb11

ti

mi

la

Gm

Gm7

Bb11

.

J

rit.

Do

Fm9/Ab

re

Fm7

mi

fa

sol

Do

Fm7/Ab

sol,

ti

Cm

Do,

nn b .
bb

.
Do

Do

n n b b Eb9
b

.
n.

Bb7

..

re

nnbb
b

b
Do

.
.

A9

nnbb

Do ti

# # Em9/G

&
? ##

ti

Bb9

rit.

U
.
U
.

Do.

.
.

Eb

.
.

10.Short Chorale Without Words

Gary Kent Walth

Soprano

Alto

Tenor

Bass

Piano

& w
& w
V w
? w
& ww
w
? w

b
& b 44
b
& b 44
b
V b 44
? b b 44
b
& b 44

? b b 44
(for rehearsal only)

ww

ww

nn

nn

nn

nn

G9 +11

ww

w
w

ww
ww

ww

ww

w
w

n n
nn

##

##

##

##

ww

w
w

www
w

A9 +11

w
w

##

##

WalthWorks 2012

ww

ww

w
w

17

&

##

#
& # w
V

##

? ## w
&

##

nnbb
b

nnbb

nnbb
b

nn b
bb

b n bn wwww

? # # ww

w
w

nnbb
b

Bb9 +11

ww

bw
bw

nn b
bb

ww

w
w

ww
w

#
nnn## #

##
nnn # #

ww

n # #n wwww

w
w

B9 +11

nw
nw

&

&

####

# ##
V #
? ####

####
&

? ####

ww

ww

w
w

#
nnn## #

####

25

#
nnn## #

w
ww

w
w

#
nnn## #
##
nnn # #

11.O magnum mysterium

Moderato

4
&4 w

Soprano
Alto

? 44 w
O

Tenor
Bass

mag - num - my - ster

C
4
&4 w
w
? 44 ww

Piano

&
?

tum.

w
w

& ww
G7

?w
w
13

&
?

de - rent

& ww

Dm7

Do - mi

Ut

ww

Am

Em

w
w

w
w

ww

num

Dm7/G

Am

na - tum,

ja

J
j

Am/F

um,

C/E

w
w

ni

WalthWorks 2012

ma

li

ww
ww

in

prae - se

w
w

Dm/F

w
w

Dm7/F

Dm7/F

w
w
ww

Dm/F

cen - tem

ad - mi - ra - bi - le

ww
w

Dm7

et

ww

w
w

w
w
w
w

w
w

Em

ww

sa - cra - men

Em

pi

G7

o.

vi -

Warm-up on "Cantate Domino"

adapted GKW

3
&4

Can

Lae

13

fi

te

in

ta

te

ius

ec

Do

tur

Is

li - ae

Si

cle

can

si - a

sanc

mi - no

ra - el

on

in

ex

ti

- cum

no

ul

WalthWorks

to -

qui

tent

in

vum,

laus

- rum.

fe - cit

re - ge

su

um,

et

o.