September 8, 2016 in All Opportunities, choral, Composers by mwhiteside

The Brooklyn Youth Chorus is seeking score submissions of stylistically diverse pieces written within the past 10 years for our Men’s Ensemble.

Entries should be:
• for Men’s Choir (TBB, TTB, or TB); see detailed notes for composers below
• unaccompanied, or with piano accompaniment
• three to eight minutes in length
• written within the last 10 years
• secular text is preferred, but sacred texts would be considered. Text can be original or in the public domain. Copyrighted text is permissible as long as a letter of permission from the copyright owner is included with the submission
• suitable for young men ages 12-21
• the Men’s Ensemble is often hired for galas, parties, and community events. Special preference will be given to pieces that are rhythmic, fast-paced, and uplifting.

• open to all composers regardless of age or nationality

• include name, address, phone number(s), and email address when submitting scores
• please include your bio/website and a performance history of the piece
• scores may be submitted by:
¬ Sibelius or PDF
¬ mp3 or other audio
• submissions must be submitted via email by October 31, 2016 and should include the SUBJECT heading: Original Composition and your name
• email compositions to: Kristopher Burke, Conductor, Brooklyn Youth Chorus,

• there is no compensation at this time
• we are able to offer at least one performance and a well-rehearsed recording of the live performance
• fee for submission and consideration is $0

Listening Samples – Spring Concert 2016

About Brooklyn Youth Chorus

FOR THE 2016-2017 SEASON

The Men’s Ensemble (ME) is the Brooklyn Youth Chorus’ professional level all-male ensemble. The ME is comprised of young men whose voices have changed and the group sings tenor/bass repertoire ranging from classical to barbershop to pop.

The experience and abilities of the ME vary greatly among its members.

The ME performs roughly 4-6 times during the season.

Voice range: main tessitura (comfortable range) is roughly an octave and a half – A2 to D4;
• Range extension – some basses can reach down to F2, and some tenors can reach up to A4, but extended ranges should be approached carefully – easier by step or small skips rather than large skips – and should not be sustained for long periods of time or over extended phrases (a place to visit, not to live)
• Passaggio/register event – most of our singers switch from pure chest voice into either head voice, mixed voice, or falsetto around D4. It is comfortable for most tenors to sing through D4, but be mindful of extended passages that lay within the passaggio zone (D4, E4, and F4) – again this should not be sustained for long periods of time.
Voice parts: Typical repertoire for the ME is 3-part tenor/bass in the form of: Tenor 1, Tenor 2/Baritone, and Bass. We also sing music in two (tenor and Bass) or unison.

In general, learning pieces comprised of more than 3 parts requires considerable rehearsal time, and is easiest to achieve with limited divisi on isolated chords or for limited sections of a piece, or by incorporating solo/small (no more than two at a time) group lines on top of the main choral texture.

Vocal color/timbre for ME can range from light and clear to full and robust. Generally speaking, the full sound often associated with all-male singing groups is easiest to access in the C3 to C4 range. Pitches along this range can also be sung comfortably in any register quality or ‘mix’ of qualities.

BYC is known for its “cross-choral training™” method, which prepares singers to produce a wide range of vocal qualities and timbres, and supports the belief that authentic performances within a musical style include a vocal quality that is distinct and appropriate. Singers enjoy using the full range of their voices in their programming. That said, it is easier to ‘add weight’ in their sound as a program progresses than to take it out, meaning that songs sung in a lighter quality (classical, musical, sweeter and more gentle sounds) typically precede those sung in a heavier quality (pop music, belting, loud gospel, etc.). Abrupt and extreme changes in vocal quality can be very difficult, although variation between sections or even between voice parts is certainly doable.