Adaptabilities for
Choral Works By Michael Reid Winikoff
Optional Accompaniment - With the exceptions of Psalm 24, Psalm 93 and Psalm 117, all works with accompaniment may be sung a cappella. (Note on organ parts)
Hebrew or English – The following works feature alternate language singing texts.
Hashkiveinu – Night Prayer
Kadsheinu – “Bring Us in Hallowed Service to You”
L'dor Vador - "From Age to Age"
Psalm 24
Psalm 29
Psalm 93
Psalm 113
Psalm 117
Psalm 150
Shalom Rav – “Grant Peace”
Shiviti – “Before Me I Have Ever Set the Lord”
S’u Sh’arim – “Lift high your lintels”
Abridgment / Excerpting – The following longer
works may be abridged or excerpted in
one or more of the ways indicated.
Hashkiveinu (1989) Listen/View
- Begin at measure 1, singing through measure 32 “l’ma-an sh’mecha.”
- Sing final section starting or resuming at measure 75 to the end.
- Both of the above. (In between, congregation might read entire
prayer
in English.)
- Sing opening through measure 9. Cantor might continue ad lib.
- Sing concluding section, beginning at measure 61 to the end.
May be abridged in a variety of ways, but typically should feature at least 3 or 4 of the verses including the first and last, and conclude as written. Begin either at Measure 1 (Measure 2 if a cappella) or Measure 10.
- Sing measure 1 through measure 22.
- Begin at cantor/tenor solo, measure 39 to the end.
- Begin or resume at soprano solo, measure 55 to the end.
- See separately published excerpt – K’vakarat.
- Begin or resume at final fugue – measure 85 to the end.
- Choir sings
Un’ta-ne Tokef (separate work). Congregation
might
read aloud in English or quietly in Hebrew through “et g’zar dinam.”
Choir concludes from measure 85.
V’al Y’dei (Zichronot) Listen/View
- Sing opening section through measure 46 or 60. May then
optionally
pick up at measure 120 to end. - Begin at measure 61 “v'zacharti ani” through measure 119, or to the end.
- Begin at measure 85 “Havein yakir li” through measure 119 (this excerpt published separately), or to the end.
- Final fugue and coda beginning at measure 120.
- Sing opening section through measure 27.
- Conclude, starting either with solo at measure 72, or with final
fugue
at measure 80.
For use in-service, Ya-aleh may be abridged or
excerpted. For example, sing opening one or two verses of this
rendition. Then perhaps sing middle four verses congrega-tionally to an
alternate tune, or read in English. Then conclude with final one
or two verses of this rendition.
Other Adaptations / Variations
A BAROQUE S'LICHOT (See page for YouTube links for each movement)
- Each of the 29 movements may be performed individually.
- Each may be alternatively performed with piano reduction in place of the instrumental ensemble.
- Several of the movements(*) may be performed a cappella.
This hymn may be sung in parts or unison, with or
without accompaniment. It may be adapted for men's voices (TTBB),
with the following voicing:
Soprano - sung by Tenor I
Alto - sung by Bass I
Tenor - sung by Tenor II
Bass - sung by Bass II
If organ is used, each verse may be varied, e.g., men's voices, unison,
a cappella, change of organ stops and registration, etc. Click
here for an audio demonstration.
A-donay Ro-i (2-part version) Listen/View
A-donay Ro-i (2-part) may be
sung in this version with solo voices throughout, tutti
throughout, or both (as indicated in the score). May be performed
with Soprano-Alto or Tenor-Bass voicing,
or with soprano-tenor on the top, and alto-bass on the bottom.
Accompaniment is optional.
- Accompaniment is optional.
- First section (through measure 33) may be sung in unison and/or congregationally, with option to omit one or more repetitions. Add any of the given counter-melodies ad lib.
- May be sung as a round with any voice combination ad lib. through measure 33. Second section beginning at measure 34 may be omitted or abbreviated.
Instrumental part shown in this full score is
for Flute or Violin (see separate part included). Clarinet
part (see separate part included) differs slightly to accommodate
aesthetically desirable range. May be played on Piccolo
Trumpet (B-flat part included) or Recorder ad lib.
Vocal part may be performed in various ways, such as:
1. SOLO VOICE throughout
2. UNISON CHOIR throughout
a. Treble only (women and/or
children)
b. Men only
c. Both treble and men
3. SOLO & UNISON CHOIR - e.g.,
Bars 2-16 – Solo
Bars 17-24 – Choir
Bars 26-42 – Solo
Bar 43 end -- Choir
V'shamru (Duet, Choir, Cong) Listen/View
CHOIR is optional, and may alternatively be sung in
2 parts using the Soprano and Alto lines.
In all cases, CONGREGATION joins in the Refrain at Bar #10.
MEN'S VOICES may
alternatively sing the choir parts using the following assignments:
- Soprano line - sung by Tenor II (prominently)
- Alto line - sung by Bass I
- Tenor line (optional) - sung by Tenor (quietly)
- Bass line (optional) - sung by Bass II
SOLO PARTS may be sung by any suitable combination of voice parts (e.g., Sop/Alto, Tenor/Bass or Tenor/Alto)
This hymn can be performed in various ways:
- As written, i.e., choir (harmony) & congregation, with or without accompaniment.
- Congregation only (unison), with or without accompaniment
- Textually chanted in either of two traditions:
a. congregation sings all text, or
b. responsively ( cong. on 2nd half of verse) after cantor on 1st half. - If responsively, choir may hum harmonies along with cantor, then join in text.
- Vary procedure from verse to verse, e.g., solo quartet;
cantor solo with
humming; unison.
May be performed in any of the following ways:
- Sop/Alto, Tenor/Bass, or Tenor/Alto, etc.
- With or without accompaniment.
- Solo duet throughout.
- Two-part choir throughout.
- Solo duet with two-part choir (follow indications in score).