Let's Talk It Through

This song has three parts, but as always, unison part one will work throughout the song. Part two, which comes in on the repeat of measure 9, adds a lovely countermelody, and is slightly more challenging - but very singable - than part one. Part three is, of course, optional, but it's also an optional solo. We used a soloist on the Performance/Accompaniment cassette so that the line would sound like the descant it is meant to be. You could use a soloist, a duo, trio, small group, or entire class to sing this part if you wish to use it. Just be aware of balance when all three parts are singing. When part three enters, it can be more out front because the other two parts have already been heard once. However, once you get into the section at 63, it becomes part of the fabric of new material. Back it off accordingly.

The song also begins with an optional solo from measure 9 to 17. If you use a soloist, make sure she or he is visible and audible. If you use a microphone, set your level prior to performance so that the sound is reasonable and doesn't distort. You can select two different soloists for this early solo and the later one, as we did on the P/A cassette, or you can use the same performer for both, if it works well for you.

Be sure that your singers follow the dynamics of the piece. It starts gently and builds to a first forte at measure 35. But then it comes back down for the repeat and begins building again. Once it gets to the second ending before measure 53, it's time to really let go. Remind your students to be careful not to let their pitch go awry when they are singing fortissimo. The ensemble comes back down to a forte at measure 63 and stays there to the end of the song. The ending is not meant to be quiet, so make sure they sustain the volume, as indicated on the music. If you're using the tape, you will hear that the drummer is very helpful in guiding the ritard and the molto ritard at the end.

Most of the time, all of the parts will benefit musically from precision in singing the pitches. However, at measure 35 and similar places, you will find a slight scoop indicated into the high D of part one. This vocal inflection feels very natural and gives the folk/pop style a little help. It also makes the D a little easier to get to for most kids. If you are shy about that note though, an alternate B is suggested. It's not as powerful, but it will work.

An important thing to keep in mind is that part two should be the equal of part one in dynamic and blend once it enters. Especially at the chorus, part two provides a vocal balance with the beat one rests in part one. Make sure your part one singers stand their ground and wait for beat two, even when part two is singing on beat one.

If you are using the cassette, you will note that the orchestration is simple, but elegant. There is a sparse brass and woodwind pad that builds with the vocal lines throughout. Of particular interest is the lovely horn line during the reiteration of the gentle section and the addition of timpani at the second ending, going into the big section. See if your students can isolate these instruments.

If you do not use the tape, remember to keep the tempo slow and constant until the very end. If you take it too fast, the words will be strained and the song will not have the same emotional impact. Also follow the dynamics closely on piano, too. Pedal a lot, taking care not to let chords clash.