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The See-A-Dot Catalog: Sacred Pieces

Religion and choir go together like peanut butter and jelly: the Western choral tradition has its roots in medieval Gregorian chant and mutated over time to include polyphony and form, usually after some ecclesiastical reckoning or change. In recent times, the choral tradition has also included numerous sacred practices and experiences, such as Judaism, Hinduism, Islam, Taoism, among others. See-A-Dot acknowledges this relationship between the ecstatic experience found in sacred practice and in group singing, and we have many pieces that are either influenced by sacred text or part of sacred worship. Take a look below at some of our favorites!   Domine Jesu Christe, by Toby Twining It is a coincidence that the newest piece on our list is inspired by the oldest sacred…

The See-A-Dot Catalog: Instrumental Solos

Our last blog post focused on pieces in our catalog with featured vocal solos, but we also carry a number of pieces featuring obligato instrumental parts as well. There are many examples in the standard repertoire of the interplay between instruments and voice, like Eric Whitacre’s Five Hebrew Love Songs, and Randall Thompson’s Tarantella. Such obligato additions allow choirs to collaborate with musicians within their communities and are a great way to create new relationships between instrumental and choral groups. Below are some pieces in the See-A-Dot Catalog that feature instrumental solos.   Of all of them: the first, the last   The cello solo in Drew Corey’s Of All of Them: The first, the last may seem like an auxiliary component of the piece, but it…

The See-A-Dot Catalog: Vocal Solos

In the See-A-Dot catalog, there are many great vocal solos for soloists in your vocal ensemble or choir, and now you can search for pieces with vocal solos on our Octavos page! Just click on the Any Instrumentation button and select “Featured Vocal Solo” from the menu, as seen below. If you’re not sure which piece has the featured vocal solo you want, don’t panic; below are some of our personal favorite featured vocal solos in the catalog. They That Wait Upon the Lord, by David Hurd David Hurd is known throughout the Episcopal community as one of the foremost organists and composers among the faith, and his experience is on full display in the hopeful, yet elegiac They That Wait Upon the Lord. This…

An Introduction to Intonation and Microtonality for Choirs, Part 3

Microtonality is one of those seemingly deeply esoteric terms that both mystifies and terrifies musicians. The purpose of this series is to open the door of understanding to the world of microtonality and, ultimately, intonation. The question of how to achieve intonation in choral music has plagued conductors for centuries. We struggle with teaching our singers to hear the alignment of harmonies, and training their technique to maintain the pitches they hear.   To make sure we’re all on the same page, here’s a list of terms I’ll be using in this series:   Term Definition Overtones/Harmonics The upper harmonics present in all pitches Hertz (hz) The absolute frequency of any given pitch Equal Temperament (ET) The division of the octave into 12 equal parts…

ACDA Conference 2017: Reading Session & Packet

See-A-Dot Music Publishing, Inc. is very excited to participate in the ACDA Conference being held this year in Minneapolis! For those interested in delving into the See-A-Dot catalog, we will be holding a reading session at the conference on Thursday, March 9th, 2017 at 1 PM, in Room L100/A&B. Pieces included in the reading session this year are: Love is Anterior to Life by Bettina Sheppard How She Went to Ireland by Joseph N. Rubinstein In Flanders Field by Rachel D. Fogarty Ave Verum Corpus by John Cantrell Three Kalinga Chants by Nico Alcala Maskil of David by Karen Siegel The Peace of Wild Things by Michael Conley Of all of them: the first, the last by Drew Corey The Tree of Life by Trevor Shaw Hymn to Aethon by Fahad Siadat…

An Introduction to Intonation and Microtonality for Choirs, Part 2

Microtonality is one of those seemingly deeply esoteric terms that both mystifies and terrifies musicians. The purpose of this series is to open the door of understanding to the world of microtonality and, ultimately, intonation. The question of how to achieve intonation in choral music has plagued conductors for centuries. We struggle with teaching our singers to hear the alignment of harmonies, and training their technique to maintain the pitches they hear.   To make sure we’re all on the same page, here’s a list of terms I’ll be using in this series: Term Definition Overtones/Harmonics The upper harmonics present in all pitches Hertz (hz) The absolute frequency of any given pitch Equal Temperament (ET) The division of the octave into 12 equal parts Cents…

An Introduction to Intonation and Microtonality for Choirs, Part 1

Microtonality is one of those seemingly deeply esoteric terms that both mystifies and terrifies musicians. The purpose of this series is to open the door of understanding to the world of microtonality and, ultimately, intonation. The question of how to achieve intonation in choral music has plagued conductors for centuries. We struggle with teaching our singers to hear the alignment of harmonies, and training their technique to maintain the pitches they hear.   To make sure we’re all on the same page, here’s a list of terms I’ll be using in this series: Term Definition Overtones/Harmonics The upper harmonics present in all pitches Hertz (hz) The absolute frequency of any given pitch Equal Temperament (ET) The division of the octave into 12 equal parts Cents…

Call for Scores: Pieces for SAB Choir

See-A-Dot Music Publishing is currently seeking new works for middle-school and junior high school choir to publish. See-A-Dot has taken an interest in curating a high quality collection of innovative and original choral works for SAB appropriate for younger voices, and we are also interested in introducing fun, exciting techniques to younger music students that can be included in a middle-school choir curriculum. We are looking for pieces that are: • Between 3-5 minutes long • Arranged for SAB choir • Appropriate for younger singers • No arrangements please Ideally, these pieces should be simple enough for middle-school singers to learn, but seeks to challenge them either through the subject material or the musical content. We are interested in publishing work that students can identify with,…

Competitions and Music Submissions for January 2017

Calls for scores and composer competitions are one of the few ways both emerging and established composers can receive recognition for their work. However, there are so many competitions, and many with submission fees, that it can seem overwhelming before you even dip your toe in. We here at See-A-Dot Music wish to alleviate that. Below are just a few of the calls and competitions that focus on new choral music, do not have submission fees, and are currently accepting scores. The Khorikos International New Music Competition NYC-based vocal ensemble Khorikos just put out information for the Ortus International New Music Competition, a competition calling strictly for new, mixed acapella work that is less than 15 minutes long. The group will select 10 new pieces to perform in…

To Publish or Not to Publish?

The answer, of course, is to publish! As a composer, you are sitting on a collection of potentially money-making assets and it is in your best interest to make them available to the public. The real question is whether or not you should self-publish or find a company to publish your music instead. To answer this question, it helps to understand what publishing entails so you know what characteristics you might look for in a potential third-party publisher, or what to expect if you are going to do the work yourself. The functions of a publisher are numerous, and to do it well can be expensive and time-consuming. Here are the 5 most important jobs for a publisher, and a self-publishing composer should be comfortable…

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