English (UK) 
Nederlands We're increasing the level of difficulty by tricky overdubs and a solo line... thus making a stunning 9-part sound! But you may rest ashure - Acappella's music is clear and structurally sound, so the voices shouldn't be too hard to follow. Intermezzo is easily followed in their song 'Spoorse Regels' (Train Regulations), although writing it down poses some problems now and then. For variation, a female quartet has been added (For Real): a transcription of a cool arrangement by Mervyn Warren.
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Artist: | The Acappella Company |
| Album: | ACAPPELLA CLASSYCAL (1994) | |
| Track: | 10 O Sacred Head |
The Acappella Company is not a group but an organisation; it's in fact the umbrella above various a cappella manifestations of founder Keith Lancaster. He has released many albums through the years with singers who are employed at The Acappella Company.
This arrangement (dating from 1994) is by Kevin Schaffer, one of the members of Acappella in the nineties.
Baritone Brian Randolph sings lead. It's not known to me who the other voices are.
The song has been released in the same arrangement on the album Hear It In Our Voice III (1995); track 9.
Listen to the song on: Youtube
- Transcription: Ton Schreuders
;TRAD / arr KEVIN SCHAFFER
Thursday, 02 February 2012 01:00
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Thursday, 02 February 2012 01:00 5.87 KB 2,139 |
| It's in fact almost impossible to hear who's singing what due to the reverb. Don't rely for 100% on the correctness on the voicings. I did make sure that the chords you're hearing are correct, though. |
| As for the lyrics: I used album ‘Hear It In Our Voice III' as transcription source, but the leaflet of that collector doesn't contain any lyrics so I had to search online for them. The HANDBOOK TO THE LUTHERAN HYMNAL (St. Louis: Concordia Publishing House, 1942), pp. 135-136 provided me with the text; I noticed a combination of the first half of verse 1 with the second half of verse 2! Does this version exist as an American version, or did Acappella mix the verses up themselves? For the second verse they took the entire 8th verse. If you'd like to check on the lyrics yourself, you can download it here. If you do, you can see for yourself that the words of bar 14/15 and 32 are somewhat ‘modernized' - which is peculiar because the rest is kept in the old language. I suspect therefore that Acappella has used an existing American version of the text. Would anyone know more on this? |
| I struggled yet again with the layout. Unfortunately I couldn't confine it to three pages. |
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Artist: | Acappella |
| Album: | SWEET FELLOWSHIP (1989) | |
| Track: | 10 To Be With You |
This is really a song to sing along with. For personal use that is; this song is unsuitable for public performance (too simple!).
- Transcription: Ton Schreuders
;K. LANCASTERThursday, 02 February 2012 01:00 114.38 KB 2,327Thursday, 02 February 2012 01:00 8.84 KB 2,190 |
| I divided the overdub of bar 32 between the available voices. It is plausible that the 3-part overdub is song by the top 3 gents, but since the second tenor is already carrying the solo, I split the three parts by using the bass. It was a challenge to take down the solo of bar 33 - 36! |
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Artist: | For Real |
| Album: | IT'S A NATURAL THANG (1994) | |
| Track: | 07 You Don't Know Nothin' |
Although it's been a while now, the members of the close harmony group of the Utrecht Conservatory will recall... Annemarie Maas coaching, Jessica Koomen , Eva Kieboom , Wouter Hamel , Itamar Lapid and myself sang this tight song by For Real.
- Transcription: Ton Schreuders
;WARREN / HILLThursday, 02 February 2012 01:00 166.08 KB 2,216Thursday, 02 February 2012 01:00 11.26 KB 2,123 |
| Ofcourse the intro is meant to be ‘freely' sung. But written notes were at the start of that, right? Perhaps these notes were. My my that alto can sing low!! (bar 8) |
| I'm not sure the voicings in bar 22-23 are entirely correct. In any case, it should be ‘different' than it ‘usually' would be, because another voice is noted suddenly (here written down at the 1st alto). |
| Who is singing the solos anyway...? I suspect that solo 1 is sung by someone else than solo 2 (bar 28). I chose to give solo 1 to soprano 1 and solo 2 to soprano 2... Solo 3 by soprano 1, although with some modification it could have been sung by alto 1... |
| The lyrics of the accompanying parts at bar 28 sounds more like “two" than “doo". But I chose for the latter. |
| It's difficult to hear what note the 2nd soprano is singing on the last crotchet of bar 91. It sounds like a d, but because bar 95 clearly has a d-flat (as wel as bar 99), I was inclined to write down a d-flat there as well. |
| Previously, I gave the 1st soprano in bar 93 a detailed rhythmic line, but in the end I rejected that idea (for in bar 95, it is getting really difficult with all those inflections). That's why these bars contain regular crotchets. (Which has been the For Real original score, undoubtedly!) |
| Lastly: I found it nice to process the (dubbed) exclamation as well; it's in unison after all - the first soprano can be missed therefore... The whole thing could be squeezed into 8 pages. I apologize for the small characters. But then again, it must be possible to know which syllable belongs to which note! |
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Artist: | Intermezzo |
| Album: | IN FOOL COLOR (1991) | |
| Track: | 11 Spoorse Regels |
A piece of ‘train regulation' put into a chant. To save space, I disregarded the traditional notation of a chant, and went for a notation with repeat signs.
- Transcription: Ton Schreuders
;INTERMEZZOThursday, 02 February 2012 01:00 77.46 KB 2,493Thursday, 02 February 2012 01:00 2.87 KB 2,097 |
A lot of doubling... tricky therefore. |
| ‘bar' 25: it is not clear who is making that bell sound. Both treble as the two tenors have the opportunity to do it, if voicings are layed out correctly. I'm not convinced by the choice I have made; it sounds like Stijn's singing it, but the treble and 1st tenor lines seem uninterrupted and seem to run as I've written. | |
| it's almost inaudible, but in bar 2 (based on the same situation in bar 36) the second tenor must have a b... I'm glad it is barely audible, because it's not a pretty chord. (The third is doubled) |