Erynn Millard — CONTEMPORARY / COMMERCIAL MUSIC

Erynn Millard

Pick Six By:

Erynn Millard

Repertoire & Resources Chair for Contemporary/Commercial Music
Director of Choral Activities, Minnesota State University Moorhead
erynn.millard@mnstate.edu

 


Waving Through a Window

Arr. Roger Emerson

00233506

SATB Accompanied (Band parts and rehearsal track available)
Also available SAB and Two-part, e-print available

Waving Through the Window is from the Broadway musical Dear Evan Hansen, which won the 2017 Tony award for best musical. The show is written by Benj Pasek and Justin Paul, who also write the songs for the 2017 film musical, The Greatest Showman. Dear Evan Hansen addresses the themes of social anxiety disorder and suicide in teenagers. While these may be heavy themes for classroom discussion, the song itself is upbeat and immediately engaging. The pop/rock style sits nicely in young voices, high enough to avoid the temptation of belting. The rhythms are reasonable for reading and in keeping with the style.


Blue Moon

arr. Jonny Priano

45674

SATB A Cappella

This setting of the 1934 classic ballad has some divisi throughout. The tune is most recognizable as the 1961 hit for the doo-wop group, The Marcels. While the original standard had a basic chordal progression, the harmonic language in this arrangement is occasionally complex, presenting a beautiful, lush challenge for a choral ensemble. This arrangement allows the melody to move around to multiple voice parts, and occasionally employs jazz influenced harmonic progressions.


The Mad Hatter

arr. Mac Huff

00113132

SATB Accompanied
Also available SAB and SSA. E-print available.
Instrumental parts and rehearsal track available.

The Mad Hatter is a big-band style tune from the musical, “Wonderland,” which had a short-lived run on Broadway in 2011. The musical’s storyline is a sequel to Alice in Wonderland, focusing on Chloe, the daughter of the original protagonist, Alice. While this is not a jazz standard, it has a strong big-band style about it. The song could be introduced as a transfer from either the literary work or from an exploration of jazz and the big band tradition. This particular setting would make an excellent collaboration with the band department if a jazz band is available.


 

Na Na Hey Kiss Him Goodbye

arr. Deke Sharon and Anne Raugh

MN0134240

SATB A Cappella
Available digital download only

Originally by the Nylons, this setting is a classic doo-wop tune. The SATB setting makes the 50’s style readily accessible for a pop a cappella group or a choir that sings more traditional repertoire. This setting is unique as it features the tenor section prominently. The harmonic structure is standard for tunes from this era and incorporates a few chromatic moments. The octavo is a solid four-part arrangement with minimal divisi. While the rhythms are a bit syncopated, the pitches sight-read easily.


 

Opening Up

arr. Mac Huff

00209811

SATB Accompanied
Also available SAB and SSA. E-print available. Instrumental parts and rehearsal track available

Opening Up is from the Broadway musical, Waitress, which was nominated for best musical in 2016. The music for the show was written by pop artist Sara Bareilles. This setting is upbeat and would be ideal as a show opener. There is an opportunity to feature treble voices, with a solo and trio needed. The trio requires independence in tight, triadic writing. This infectious show tune would lend itself well to incorporating full-out choreography, or even simpler movement.


 

Some Nights

arr. Andy Beck

39918

SATB A Cappella
Also available TTBB

Some Nights was originally released by the Grammy-nominated pop group fun. Additionally, the song was featured on the TV series, Glee. This arrangement is perfect for a pop a cappella group, but this could also be ideal for a more traditional choir ready to try a pop a cappella experience. There is an opportunity for a soloist, and the divisi is minimal with the bass line often reinforced in octaves. The harmonic and rhythmic language are relatively simple, therefore this piece might lend itself well to sight-singing with solfege. The simplicity of the arrangement allows great attention to the dynamic shaping of phrases.


 

 

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