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!!

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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


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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 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.


Pronunciation warm-ups
11.O magnum mysterium Used when learning Lauridsens O magnum

12.Cantate Domino Used when learning Schtzs Cantate Domino











 AH

UH AW

A OH

EH OO
___
IH 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 arr. Walth
b 4
&b 4 nn## ##

Soprano

Alto
Mah meh mee moh moo, - - - mah, - meh, - mee, - moh, - moo.

? b 4 ##
Tenor
Bass b 4 nn # ##
#
b b 4 Bb9
& 4 nn## ##
F7 Bb9 F7 Bb F#11

n # #

? b b 44 #
nn## ##
Piano
n
#

#### nnnn
# n
5

&
Mah meh mee moh moo, - - - - mah, - meh, - mee, - moh, - moo.

? #### nnnn
# n
#### nnnn
& # n n
B G11

n n n
B9 F#7 B9 F#7

? #### n nnnn
# n n

##

9

&

##
Mah meh mee moh moo, - - - mah, - meh, - mee, - moh, - moo. Mah meh mee moh

?
##
&
C9 G7 C9 G7 C D9 A7

A11

?

# #

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# nnbb
& # b
14

? ## nn b
moo, - - - mah, - meh, - mee, - moh, - moo. Mah meh mee moh moo, - - -

bb

## n n b Eb9
& n b b b b b
D9 A7 D Bb11 Bb7 Eb9 Bb7 Eb

b
? # #
b nnbb
b

b U
&bb
19

U
mah, - - - meh, - - - mee, - - - moh, - - - moo.

? bb
b
U
bb
Eb

& b

U
? b
bb
 2.Triad Arpeggios
Allegro {m q = c 200}
b 4F #
arr. Walth

b
& 4 nn## ##
. . . . . . . . . . . . . . . .
Soprano

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

F
? b b 44 . . . . . . . . . nn # # # # . . .
Yah hah hah hah hoh hoh hoh hoh hee hee hee hee hee. Yah hah hah hah

. . # .
.
Tenor
Bass

bb 4 Fm7 # # nn # # # # B F#m7
b b # n
Bb F#7

& 4
Bb Bb Fm7 Bb Eb/F

n
P
#
Piano
? b b 44 nn## ##
#

#### nnnn
# n
6

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

? #### . . . . . . nnnn . .
. . . . .
hoh hoh hoh hoh hee hee hee hee hee. Yah hah hah hah hoh hoh hoh hoh

# . . n .
#### B nnnn C
& # n n n b b
F#m7 B E/B B G7 Gm7 C Gm7

n
? #### n nnnn
# n

#### ##
nn n ##
# nn
11

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

? . . . # # # # # # . . . .
. . .
.
. . . nn n ##
hee hee hee hee hee. Yah hah hah hah hoh hoh hoh hoh hee hee hee hee hee.

. # . nn
# #G#7 # # # # # # C# n nA7 nn n ##
&
# #
n nn
C G#m7 F#/G# C#

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

? #### ## n nn n #
# # nn#

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# nnbb
& # . . . b . .

17

. . . . . . . .
. . .
. . . .
. . . .
? # # . . . . . . . . . .
Do mi sol mi Do mi sol mi Do mi sol mi Do. Do mi sol mi do mi sol mi

. . n n b b . . . .
Yah hah hah hah hoh hoh hoh hoh hee hee hee hee hee. Yah hah hah hah hoh hoh hoh hoh

b
G/A
# # D Am7
nBb n n b b Eb Bbm7
b b
n n b b
D D Bbm7

&
D Am7 Eb

? ## nnbb
b b

# nnnnb
b .
& b b . . n n n # # # . . .
23

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

? b b . . . nn # # # # . . . . . . . . . nnnnb
hee hee hee hee hee. Yah hah hah hah hoh hoh hoh hoh hee hee hee hee hee.

b n
# #B7 # E E nC7 nnnnb
b
& b
b Eb Ab/Bb

n n n n # # # n n b
Eb Bm7 E Bm7 E A/B

? bb # nnnnb
b
n nnn## #

n

& b . . . . . . . . . .
29

. .

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

? . . .
Yah hah hah hah hoh hoh hoh hoh hee hee hee hee hee.

b
b b U
&b
F Bb/C F

F Cm7 F Cm7 F

U
?b

Also try using a major triad on the lowered 7th for the 2nd chord of the measure, for a Gershwin-like effect.
 Moderato and faster {q = c 66+)
3.Bachianna
ed., Gary Kent Walth
2
& 4 j j bbbbb
[X]
Soprano
Alto
b

? 42 j b J b b b b b

Do mi Do sol Do Do ti la sol fa mi re Do, Do mi Do sol Do Do ti la sol fa mi re

Tenor
Bass

j j Gj j j b b b Dbj j j j
2 Ab
G7
j
C Ab7
b b b b
b
C
&4

j j j j b
Piano
? 42 b b J b b b b b J J j
J J

b
& b bbb j nnnnn##
b j
nnbb
b

7

n
ti la sol fa mi re Do,
? bb b n nnnnn##
b nnbb
Do, Do mi Do sol Do Do Do mi Do sol Do

bb J b
J
j # # Dj j j j j j
b b b b Db nA7 j n n n
n n j b
n n b Eb7
b b j
A
& b n n
D Bb7
n b
#
? bb b n n nn n ##
bb n J nn J j bb b nnbb
b J
J J J J J J

b ## U
&bb n j n n n # #

12

ti la sol fa mi re ti la sol fa mi re Do,
? b n nn #### U.
Do Do, Do mi Do sol Do Do

bb J n
EU
bb b j Eb7 B7j
n## j Bj
j
# # n n j n n # #
Bb7 E
&
J J
? bb j n n # j U
b J n J n n n # # # J J
J
J
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 4.Unison to 4-parts
Moderato {q = c 68) Anon.
b 4
Soprano
&b 4 J

Alto

? 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 j
& b 44 j j j j j j j
Bb F Bb Eb Bb/D Cm F7 Bb

. .
Piano
? b b 44 . . .
. . .

b n n 44
& b 42
3

? bb
Ah - - - - - - - - - - - - - - - -

42 n n 44
bb Bb n n 44
& 42
F Gm Dm Eb Bb Bb G7

F7

n
? b 2 4
b 4 nn 4

& 44 J
6

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.

? 44

C j
4 j j j j j j j
&4
G

C C F C/E Dm7 G7

? 44 . . . . .
. . .

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2 ## 4

8

& 4 4

Ah - - - - - - - - - - - - - - - -

?
42 # # 44

24 A7 ## 4
& 4
C G Am Em F C G7 C

#

?
42 # # 44

## 4
J
11

& 4

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.

? ## 4
4
# # 4 D j j j j j
j j j

G

& 4
A D D/F# Em7 D

A7

? # # 44 . . . . . .
. .

#
& # 42
13

Ah

etc.
? ## 2
4
# # D

42 n b
D

&
A Bm F#m G A7 D Bb7

? ## b

42 b

Thanks to Mike Esser!

 5.Choral Contrast
Allegro {m q = c 120}
F Gary Kent Walth
b 8 j j j j
Soprano
&b 8 j j j J J

Alto

Do mi sol fa la Do, sol ti re

? b b 88 j J J J
Tenor
Bass J J J J J
b j j j j j
j j j j
& b 88 j j
EbMaj.7/FBb9 BbMaj7Gm7/F EbMaj7 Cm7 F F7 F9

Bb9 Cb9/F Bb9

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

? b b 88 . . j j
. . . . > > j
> > > >

b j j j j j . #
&b j nn## ##
6

J j J

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

.
? bb J J j J J J J #
nn## ##
J J

bb .. . j j j j j j j # ##
nn # ##
Bb F#7

..
BbMaj7 F13 Bb9 BbMaj7 Gm7/F EbMaj7 Cm7 F Cm7/F Cm/F

& . # #
. > > >
.
> > >
? bb .. j j j j j j #
.

j .
. #n nn## ##
> > > >
> >

#### j j j j j
# j j j j j . .
11

& J J j

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

.
? # # # # j J J J J . J J J j
# J J J J
#### j j j
j F# F#7 .
& # j j . . ... j
j j
G#m7/F# EMaj7 C#m7 F#9 BMaj7 F#13

B9 BMaj7 B9 BMaj7 G#m7/F#

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

>
> > >
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#### nnnn
# j j . . n j j j . .
16

& J
fa la Do ti Do re Do. Do mi sol fa la Do,

? # # # # J J . .
n n n n j J . .
# J n J
#### j j j n nnnn j j j j jj
B

.. .. j j


EMaj7 C#m7 F# C#m7/F# C#m/F# G7 Dm7
Am7/G FMaj7

# n
C9 CMaj7

& n
> > . . .
> > > >
? #### n n n n n j j j
# j j j .. .. n n >
> > >
> > . .

j j j j j j
& J J . .
21

J J . J
sol ti re mi re Do ti la sol, Do mi sol fa la Do ti Do re

.
? J J J J J J J j J . .
J
J
j j j .. j j j j j

j jDm7j Gj Dm7/G Dm/G
..
G G7 G9

CMaj7 G13 C9 CMaj7 Gm7/F FMaj7

& .. .
>. >
>
j j .
? j .. j

j j
j
..

> > > . .

## j
& . . . . J J J JJ
26

. .

Do. Do mi sol fa la Do sol ti re mi re Do ti la sol,

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

## j j j j j j j j j Em7j A j j A7 j jA9
.
&
#
C A7 D6 GMaj7 DMaj7 A13

Db9 A6

J
J

? ## . . . .
. . . . . J
 3

# j j j .
& # j J J
31

J
Do mi sol fa la Do ti Do re Do.

.
? # # J J J J
J J J
j j Em7 j >
## j j j j A7sus
..
GMaj7 A Em/A D

&
D9 DMaj7 D6/A

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


> > >
>
 7.Descending 3rds w/ Ascending scale
Gary Walth
b 3
&b 4





Soprano
Alto

? b b 43
Mi fa sol la fa, re mi fa sol mi, Do re mi fa - mi re mi fa so la ti

Tenor
Bass

b
& b 43 ..
Cm7 F7 Bb Eb/Bb F7 Bb Gm Cm7 F7/A

..
..

? b b 43 .. .

Piano

. . ..
.

b nn
&b
9

? b
Do. Mi fa sol la fa, re mi fa sol mi, Do re mi fa - mi

b nn
bb Bb n .. nn
G7

& .. ..
C F/C C Am Dm7

..
G7

? bb . .
nn .
.
. .
.
. . .

##
&
17

? ##

re mi fa sol la ti Do. Mi fa sol la fa, re mi fa sol mi, Do re mi

##
& ..
A7

G7/B C D G/D A7 D Bm

. .. ..
# ..

? . # # .. .
. .
..
. .

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# nnbb
& # b
25

? ## nnbb
fa - mi re mi fa sol la ti Do. Mi fa sol la fa, re mi fa sol mi,

b
## n n b b Eb .
..
A7/C# D

n b
Em7 Bb7 Ab/Eb Bb7 Eb

& b . ..
.
? # # b
b n n b b .. . .
.


b

b nn####
&bb n
33

Do.
? bb #
nnn## #
Do re mi fa - mi re mi fa sol la ti Mi fa sol la fa, re mi fa

b
bb b nn####
Bb7/D Eb

n n .. ..
Cm B7 A/E B7

Fm7 E

&

# #
. n n # ## . . .
? bb . n nn# . . .
b

####

41

&
ti
? ####
sol mi, Do re mi fa - mi re mi fa
sol la Do.

#### E
B7/D# E

Cm F#m7

& ..

? # # # # .
.

 8.Sol la sol
Allegro {m q = c 120} Gary Kent Walth
4
&4
soli: tutti:

Soprano
Alto

Do re mi fa sol la sol, sol la sol, sol la sol, Do re mi fa

? 44 tutti:

soli:
Tenor
Bass

& 44
Dm7 Dm11 C9/E G11 G7 C Em

G7 C Em Dm/F G7 Am11

? 44
Piano

& bbbbb
7

soli: tutti:

sol la sol fa mi re Do ti Do. Do re mi fa sol la sol, sol la sol,

?
bbbbb
soli: tutti:

b b b b b
Dm/F G7 Fmaj7 G11 G7 C Ab7 Db Fm Ebm/Gb Ab7 Bbm11 Ebm11

&

b b

? b
b bbbbb

bb
&bbb nnnnn##
13

sol la sol, Do re mi fa sol la sol fa mi re Do ti Do. Do re mi fa

? bb b
nnnnn##

bb
bb #
n n n n n #
Ebm/Gb Ab7 Gbmaj7 Ab11 Ab7 Db

Db9/F Ab11 Ab7 Db Fm

b
D F#m

& b b # n n

? bb b n
bb

n nnnnn##


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##

19

&
soli: tutti:

sol la sol, sol la sol, sol la sol, Do re mi fa sol la sol fa mi re Do ti

? ##


soli: tutti:

##
Em11 C9/E A11 A7 D

Em/G A7 Bm11 F#m A7 Gmaj7 A11

Em/G

&

? ##

## nn b
bb
25

&
soli: tutti:

Do. Do re mi fa sol la sol, sol la sol, sol la sol, Do re mi fa

? ## nnbb

soli: tutti:

b
## n n b b
b
Eb9/G Bb11 Bb7 Eb Gm

D Bb7 Eb Gm Fm/Ab Bb7 Cm11 Fm7

& b n

? # # bb nnbb




b

#
b
&bb nnn## #

31

soli: tutti:

sol la sol fa mi re Do ti Do. Do re mi fa sol la sol, sol la sol,

? b ##
nnn # #
soli: tutti:

bb

bb #
n n n # # #

Bb11 E

Fm/Ab Bb7 Abmaj7 Eb G#m F#m/A B7 C#m11 F#m7

b
B7

& # n #

? b nn ##
bb n n n # #

 3

#### nnnnb

37

&
sol la sol, Do re mi fa sol la sol fa mi re Do ti Do. Do re mi fa

? #### nnnnb

#### n n n n
b
E9/G# B11 B7 E G#m B11 F Am

n
F#m/A B7 Amaj7 E C7

&
n

? ####



bn nnnnb

b

43

&
soli: tutti:

sol la sol, sol la sol, sol la sol, Do re mi fa sol la sol fa mi re Do ti Do.

?b
soli: tutti:

>
Dm11 G7 F9/A C11 C7 F Am

& b
Gm/Bb C7 Gm11 C11 Bbmaj7 C11 F

? b



>
 9.Upward Leap Waltz
Allegro {m q = c 180} Gary Kent Walth
b 3 .
&b 4

Soprano

Alto

.
Do re Do Do, la ti Do sol fa re do re Do Do - la ti Do sol, -

Tenor
Bass
? b b 43

b 3
& b 4
Bb9 Gm Cm7/Eb Cm7 F11 Bb11 Gm Cm/Eb Eb/F F7

Piano
? b b 43 . . .
. . . . .

b . .
&b
9

J
. .
fa ti mi la re mi fa sol la ti fa ti mi la re Do ti Do.

? b
b J

b .
& b .
Bb/Eb Cm9/Eb F9

Cm7 F11 Dm Dm7 Ebmaj7 Cm7/F F11 Cm7 F11 Dm Bb

.. .

? b ..
b . .
. . . .

b nn .
&b
17

.
Do re Do Do, la ti Do sol fa re do re Do Do - la ti Do

? bb
nn

b n n
& b n ..
G7 C9 Am Dm7/F Dm7 G11 C11 Am Dm/F

? bb . nn . .
. . . . .

WalthWorks 2012
2

.

25

& J

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

? J

& .
F/G G7 Dm7 G11 Em Em7 Fmaj7 Dm7/F G11 Dm7 G11 Em C/E Dm9/F G9

..

? .
. . . . . . .

## .
& .
33

?
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Do. Do re Do Do, la ti Do sol fa re do re Do Do -

##

# # D9
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C A7 Bm Em7/G Em7 A11 D11 Bm

? .. . ## . . . .
. .

#
& #
41

? ##
la ti Do sol, - fa ti mi la re mi fa sol la ti fa ti mi la

# # Em/G
& ..
G/A A7 Em7 A11 F#m F#m7 Gmaj7 Em7/G A11 Em7 A11 F#m D/F#

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. . . . . . . .
 3

# . . nnbb
& # b
49

J
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re Do ti Do. Do re Do Do, la ti Do sol fa re

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b

# # Em9/G
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& b
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. n.

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b. bb . .

b .
&bb
56

.
do re Do Do - - - la ti Do sol, - - - fa ti mi la

? bb
b

b
&bb
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b . . . . .

b . U
.
rit.

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J
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.

re mi fa sol la ti fa ti mi la re Do ti Do.

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b

b .
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.
Eb

.
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? b .
b b . . . .
 10.Short Chorale Without Words
Gary Kent Walth

b nn
Soprano & b 44 w w w

b nn
& b 44

w w w
Alto

b nn
Tenor V b 44 w w w

? b b 44
w w nn

Bass

b n n
& b 44
G9 +11

ww ww ww
ww ww
? b b 44 w w
Piano
ww w
(for rehearsal only)

w nn
w

## w
9

& w w w w

##
& w w w w w
## w
V w w w w

? w w ## w

##
www ww
A9 +11

& ww ww ww ww
w
w w w w w w
? w w ## w
w
WalthWorks 2012
2

## nnbb #
b w w nnn## #
17

& w w

# nnbb #
& # w b w nnn## #
w w
## nnbb #
V w b
w w w nnn## #

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bb nnn # #

## nnbb #
b n bn wwww ww n # #n wwww nnn## #
B9 +11

b ww
Bb9 +11

& ww ww
w w w
? # # ww bw nn b w w nw ##
bw bb nw nnn # #

#### w w
25

& w

####
& w w w

# ## w
V # w w

? #### w w

#### ww
& ww ww
w w w
? #### w w

 11.O magnum mysterium
Moderato

4
Soprano
Alto &4 w . .

? 44 w .
O mag - num - my - ster - i - um, et ad - mi - ra - bi - le

Tenor
Bass
.

4
&4 w ww w
G Em Dm7 C/E Dm7/F

w
C

ww w w w
w w w
? 44 ww
Piano
w w w w
w w w w w

& . w .
7

. w
? .
sa - cra - men - tum. Ut a - ni - ma - li - a vi -

& ww w ww ww ww w
G7 C Am Em Dm/F Em

w w
?w w w ww ww ww
w w w

j

13

&
?
de - rent Do - mi - num na - tum, ja - cen - tem in prae - se - pi - o.

J
j
& ww
Dm7 Dm7/G Am Am/F Dm/F Dm7/F G7

#

? j

WalthWorks 2012
 Warm-up on "Cantate Domino"
adapted GKW

3 j j
&4 .
Can - ta - te Do - mi - no can - ti - cum no - vum, laus

j .
.
5
e - ius in ec - cle - si - a sanc - to - - - rum.

. j
J

9
Lae - te - tur Is - ra - el in e - o qui fe - cit e - um, et

j
.
13
fi - li - ae Si - on ex - ul - tent in re - ge su - o.

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