I have had the opportunity to read through this song at two reading sessions, and at that time it seemed to be too complicated to spend our limited rehearsal time on it -- especially since my chorus does all of their singing from memory--which means even more time. However, my high school students performed this song with a large, massed festival choir, in the SATB format, and found it to be a great piece, one which would work well as an individual number or as a massed number. And, when you consider the composer, Joseph Martin, you realize that this is the same man who has given us “Who Are the Brave?” and “The Awakening” so you know the song will be good. Martin is probably writing the most interesting, singable music for men’s voices of any composer at the present time.

The main concern I have with this selection is the meter which includes the technical rhythmic pattern called “hemiola.” This is the rhythmic relation of three notes in the time of two. To conduct it, or sing it, you must keep a constant, even eighth note pattern in 6/8 and 3/4 meter. In 6/8 time the accents must be on the 1st and 4th eighth notes. In 3/4 time you must accent the 1st, 3rd, and 5th eighth notes. A “toccata” is a style of music which shows the musicianship of the performer primarily by using many equal-timed notes in rapid succession--in this case the eighth notes. It is usually written for instruments, mainly the organ, but here we have it with voices in the hemiola rhythmic pattern. If a conductor is not comfortable with this meter, they should not attempt the song. For the singer, once adjusted to the rhythmic pattern of the accent, the song is very singable and just plain fun.

One of the reasons I also avoided an initial close look at this song was the fact that it changes key 7 times. However, the key signatures are the common ones: Ab, G, Bb, D, E, C, and A in the TTBB arrangement. In the SATB version the accompanist must deal with key signatures of 3, 4, 5, 6, and 7 flats. Not good--unless you have a very SHARP accompanist.

This song has added appeal because it has a double text: sacred and secular. If you do not memorize and use octavo music it is an ideal piece because you can use both texts in different concert settings. However, we memorize and would use only the secular text which is great as an opener or as a closer in any concert. I like it to open as it begins with a soft, unison “Jubilate” by bass and baritone. It builds by adding the tenors and a rhythmic “sing and rejoice” text. It’s about celebrating the joy of singing. What a great text for any AMCA chorus!

There are two spots in the music which are reminiscent of “The Awakening,” especially in measures 135 to 138 which have very interesting parts for Baritone and Tenor II--but far too short to the comparable section in “The Awakening.” However--great fun!

The rhythm is what makes this song a really good one. It is a lively, energetic concert piece about singing which would fit into any male chorus repertoire. The song:

TOCCATA OF PRAISE
Joseph M. Martin
Shawnee Press - C 0294
TTBB
$1.40