22313895
Jing Jing Jingle Bells
22313895
22313895
Jing Jing Jingle Bells SA scores gallery preview page 1
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Jing Jing Jingle Bells by James Pierpont SA - Sheet Music
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Jing Jing Jingle Bells by James Pierpont SA - Sheet Music

By James Pierpont
Choral SA choir, piano

SKU: CF.BL1192

Composed by James Pierpont. Arranged by Daniel Miner. Octavo. 12 pages. Duration 0:01:55. BriLee Music #BL1192. Published by BriLee Music (CF.BL1192).

UPC: 672405010443. 6.875 x 10.5 inches. Key: Eb major. English.

Emerging treble choirs love to sing Jingle Bells, so it is my hope that this setting with limited ranges, repetitive patterns and a rhythmic ostinato proves to be a fun journey for the choir. As you work through the piece, here are a few guiding points: 1. The soprano ostinato throughout should be rhythmic and accented. "Jing" should go straight to the "ng" sound. 2. In contrast, the alto melody should be sung in a rhythmic, legato style. 3. The piece offers an opportunity to work melodic versus accompaniment balance between parts. 4. In a similar manner, in the call-and-response verse (mm. 29-39), parts should be equal in their dynamics.
Emerging treble choirs love to sing Jingle Bells, so it is my hope that this setting with limited ranges, repetitive patterns and a rhythmic ostinato proves to be a fun journey for the choir.As you work through the piece, here are a few guiding points:1. The soprano ostinato throughout should be rhythmic and accented. “Jing” should go straight to the “ng” sound.2. In contrast, the alto melody should be sung in a rhythmic, legato style.3. The piece offers an opportunity to work melodic versus accompaniment balance between parts.4. In a similar manner, in the call-and-response verse (mm. 29-39), parts should be equal in their dynamics.
Emerging treble choirs love to sing Jingle Bells,xa0so it is my hope that this setting with limited ranges, repetitive patterns and a rhythmic ostinato proves to be a fun journey for the choir.As you work through the piece, here are a few guiding points:1. The soprano ostinato throughout should be rhythmic and accented. “Jing” should go straight to the “ng” sound.2. In contrast, the alto melody should be sung in a rhythmic, legato style.3. The piece offers an opportunity to work melodic versus accompaniment balance between parts.4. In a similar manner, in the call-and-response verse (mm. 29-39), parts should be equal in their dynamics.