John Leavitt has established a reputation for carefully selecting important and historic repertoire and editing it in ways to make singers successful, all while staying true to the stylistic period. This
Fashioned after the 16th-century Italian ballettos which featured the popular "fa, la, la" refrains, this challenging a cappella madrigal presents wonderful educational opportunities packaged in a
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Fashioned after the Italian ballettos featuring the popular "fa, la, la" refrains, here is a wonderful piece for teaching terraced dynamics, independent singing through counterpoint, and Baroque
This Renaissance madrigal, attributed to King Henry VIII, celebrates the joys of dancing, singing, and hunting. An ornamented melody and open harmonies throughout set up this style perfectly. Detailed
Excerpted from "The SAB Choir Goes Renaissance," this madrigal offers carefully crafted choral parts that are accessible for young, developing singers while retaining the harmonic structure of the original.
This lovely collection of 12 works is a celebration of the 50th anniversary of the King's Singers. The a cappella volume contains mostly madrigals and early music, with a few selections from later
Here is a fantastic resource for introducing madrigals of the Renaissance to the developing ensembles or groups with limited male singers. The five works by Thomas Weelkes are: Come, Let's Begin; Four
A three-part madrigal by Thomas Weelkes, this sprightly dance-like piece is easily learned and delightful in performance. A wonderful selection for contest and festival! With hand drum.
Here is the famous madrigal by Thomas Morley in a stylistically authentic performance edition. Ideal for chamber, madrigal, and concert choirs, this cheerful work offers superb opportunities for developing
This tuneful chanson by the composer of Je le vous diray is perfectly set for developing singers with modest vocal ranges. The English text and buoyant fa-la-las are supported by a piano
Enjoy this lighthearted Renaissance madrigal highlighting resonant treble sonorities, terraced dynamics, and accessible homophonic voice parts. Consider adding the optional piano accompaniment, optional
This is a surprising departure from what you'd expect when you read the title. An intriguing mix of old and new, Kirby Shaw's treatment of the Thomas Morley madrigal retains the original vocal parts in
This arrangement of Josquin's tongue-in-cheek "day in the life of a cricket" offers an opportunity for three-part mixed choirs to experience this classic literature. Mostly homophonic, with several
The classic madrigal is offered in a three-part mixed voicing that includes the option to sing it a cappella or with the notated piano part. For added fun, consider using a harpsichord on the notated
Joyful cascading vocal lines and "fa la la's" will enliven your treble choir's concert or festival performance! The hand drum creates a dance-like feel in this delightful madrigal edition.
Orlando di Lasso's tuneful villanelle is set here for TBB voices, with Italian text and English subtext. Carefully edited, it is shorter in duration than the original SATB score and includes an optional
Here is a set of three 20th-century madrigals designed to be performed as a single work: Better Late Than Never; The Silver Swan (based on Orlando
The contrasting sections of this light, lilting 16th-century Italian madrigal provide an ideal introduction to this important musical style. Whether you enjoy singing a cappella or with piano, consider
John Bennet (c. 1575-c. 1614) was a Renaissance-era English composer who wrote several madrigals in the style of Thomas Morley. This is perhaps his most famous one, and is a wonderful contest or festival
The Nightingale is Thomas Weelkes' famous madrigal in an accessible SAB edition, with optional percussion (hand drum or tambourine) providing additional rhythmic security for developing ensembles
Here is a superb easy original madrigal for developing voices, with optional piano, optional baritone, a happy text and plenty of "fa la la" passages. Faithful to the madrigal style of the 16th and early
Perhaps the best-known madrigal by John Farmer, Fair Phyllis has a light, buoyant quality appropriate for women's voices. Highly imitative, with accessible ranges, this will let your singers enjoy
Introduce your young mixed choir to the madrigal style with this easy setting of Hassler's lively, dance-like madrigal. Originally written for five voices a cappella, it is revoiced here for three parts
Now available for women's voices, this popular French chanson relates the gossipy conversation of a pair of French housewives as they chatter about their husbands. Dance-like phrases echo back and forth,
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