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Teapot Song
Price:
$2.00
Description
THE TEAPOT SONG is a medley of music by Sanders and Kelley, Straus II, Tchaikovsky and Offenbach arranged by choral director, composer and music educator David Stevenson for SATB a cappella Choir. Duration: 3:00 NOTES AND PERFORMANCE SUGGESTIONS This composition is meant to be all fun and games, a respite from the more serious offerings in the repertoire, but definitely a crowd-pleaser. A possible beginning could be the director playing a pitch pipe and giving a serious down-beat, and then as the song begins, picking up the conductor's music stand and leaving the stage. The opening "Teapot Song" (George Harold Sanders and Clarence Z. Kelley - 1939) should be sung with childish vocal quality, and accompanied with the appropriate "teapot handle and spout" arm motions. The "Teapot Song" morphs into "An der schönen blauen Donau" ("the Beautiful Blue Danube"), adapted from the waltz by Johann Strauss II, and a pair of singers waltz in front of the chorus. "Trepak," a Russian dance (this music styled after the ballet version of Pyotr Ilyich Tchaikovsky) is all vitality. The suggestion is that two or three singers come to the front and perform the Cossack dance with varying degrees of credibility. Suggestions are that they might fall down, do some gasping for breath, and maybe some stretching before resuming, whatever seems appropriate under the circumstances. The dynamic marking is a suggestion, but will in all likelihood have to be adjusted depending upon the chuckling that may be prevalent among the audience. The bombastic singer leads the tango (strutting in a pompous display) while two dancers, parade back and forth in dramatic "Tango Style." The gentleman dancer, pulling a plastic rose from his sleeve (hopefully, with the audiences' expectation of a "presentation to the lady") works well when the gentleman puts the rose in his own teeth, and the dance continues. A "real" Can-Can may seem a bit risqué. How about a few of the "guys" make their way to the front, and perform the dance. Four young men in pinwheel fashion (arms linked with two facing one direction and the other two facing the other), two pinwheels in front of, or on either side of the chorus works well. This arrangement follows the tune of the “Infernal Galop” from Jacques Offenbach's “Orpheus in the Underworld.” The return to the "Teapot Song" is in minor mode, and in full operatic, declamatory style (until “tip me over and pour me out” reverts to childish tone). The two percussion indicators for the final two beats are inserted merely for timing purposes. The recommendation is for the singers to be poised (handles and spouts displayed proudly and prominently) to "pour" on the second beat of the measure - eyes on the spout, and then snap their faces to the audience on the third beat. -ds
Audio/Page Samples (if available)
Table of Contents:
THE TEAPOT SONG is a medley of music by Sanders and Kelley, Straus II, Tchaikovsky and Offenbach arranged by choral director, composer and music educator David Stevenson for SATB a cappella Choir. Duration: 3:00 NOTES AND PERFORMANCE SUGGESTIONS This composition is meant to be all fun and games, a respite from the more serious offerings in the repertoire, but definitely a crowd-pleaser. A possible beginning could be the director playing a pitch pipe and giving a serious down-beat, and then as the song begins, picking up the conductor's music stand and leaving the stage. The opening "Teapot Song" (George Harold Sanders and Clarence Z. Kelley - 1939) should be sung with childish vocal quality, and accompanied with the appropriate "teapot handle and spout" arm motions. The "Teapot Song" morphs into "An der schönen blauen Donau" ("the Beautiful Blue Danube"), adapted from the waltz by Johann Strauss II, and a pair of singers waltz in front of the chorus. "Trepak," a Russian dance (this music styled after the ballet version of Pyotr Ilyich Tchaikovsky) is all vitality. The suggestion is that two or three singers come to the front and perform the Cossack dance with varying degrees of credibility. Suggestions are that they might fall down, do some gasping for breath, and maybe some stretching before resuming, whatever seems appropriate under the circumstances. The dynamic marking is a suggestion, but will in all likelihood have to be adjusted depending upon the chuckling that may be prevalent among the audience. The bombastic singer leads the tango (strutting in a pompous display) while two dancers, parade back and forth in dramatic "Tango Style." The gentleman dancer, pulling a plastic rose from his sleeve (hopefully, with the audiences' expectation of a "presentation to the lady") works well when the gentleman puts the rose in his own teeth, and the dance continues. A "real" Can-Can may seem a bit risqué. How about a few of the "guys" make their way to the front, and perform the dance. Four young men in pinwheel fashion (arms linked with two facing one direction and the other two facing the other), two pinwheels in front of, or on either side of the chorus works well. This arrangement follows the tune of the “Infernal Galop” from Jacques Offenbach's “Orpheus in the Underworld.” The return to the "Teapot Song" is in minor mode, and in full operatic, declamatory style (until “tip me over and pour me out” reverts to childish tone). The two percussion indicators for the final two beats are inserted merely for timing purposes. The recommendation is for the singers to be poised (handles and spouts displayed proudly and prominently) to "pour" on the second beat of the measure - eyes on the spout, and then snap their faces to the audience on the third beat. -ds
Audio/Page Samples (if available)
| Catalog: | APIAP-10675 |
| Publisher: | Alliance Publications |
| Composer: | Sanders and Kelley |
| Artist: | |
| Arranger: | Stevenson, David |
| More Info: | |
| Voicing: | SATB a cappella |
| Level: | |
| Pages: | 16 |
AP-10675