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Can-Can: Choral Octavo SoundTrax CD

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Can-Can Cover Image

Can-Can: Choral Octavo SoundTrax CD

(à la Solfège)

Music by Jacques Offenbach / arr., with words by Sally K. Albrecht

Item: 00-46748

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Description
The unforgettable melody from Offenbach's opera, The Tales of Hoffman, has been inventively adapted into a lesson on solfège and the life of the composer himself! Perfect for practicing fluency with major scale solfège syllables, vocal agility, and crisp diction. Try performing this creative gem with hand signs, or add Sally's clever staging from the Movin' DVD.

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
UPC: 038081532035
SKU: 00-46748

More about this title

About the Composer: Jacques Offenbach

Jacques Offenbach (1819-1880) was a German-born French composer who revolutionized operetta in the mid-19th century. His witty, tuneful works brought satire and social commentary to Paris's popular theaters, establishing operetta as a distinct musical form that sat between serious opera and vaudeville.

Offenbach's gift for memorable melody and orchestral color made him one of the most performed composers of his era. The Tales of Hoffmann stands as his masterpiece, completed near the end of his life, and its famous Can-Can remains one of the most instantly recognizable pieces of the Romantic period.

Why we love this

This arrangement bridges technique and performance joy by turning a beloved operatic moment into a solfège vehicle that keeps students engaged rather than drilling. The familiar melody carries the singing, freeing singers to focus on clean diction, precise scale work, and rhythmic snap while the recorded accompaniment locks the ensemble in time.

What to expect

Spirited and playful, with a melody that bounces along the major scale in ways that feel almost like a musical puzzle unfolding. There's a lightness to the Can-Can that invites singers to move and gesture, and the familiar tune means the audience arrives already delighted.

Who it's for

This octavo works for choirs at the upper elementary through middle school level who have solid pitch control and are ready to engage with solfège as a tool rather than a beginner concept. It also suits high school singers seeking accessible repertoire with pedagogical substance for a concert or festival.

How to get the most out of it

  • Keep the diction sharp and light, especially on repeated syllables. The character of the Can-Can depends on crisp articulation that matches the dance's spirited energy.
  • Use hand signs if your ensemble is comfortable with them. They reinforce solfège accuracy and add a visual dimension that helps singers internalize major scale relationships.
  • Balance vocal agility against clarity. Take time in rehearsal to isolate any passages where the melody moves quickly, ensuring each note is heard distinctly rather than blurred together.
  • Let the recorded accompaniment drive the tempo. Resist the impulse to push the Can-Can faster than what feels sustainable for your singers; precision matters more than speed.

How to use it

This is ideal for a concert segment where you want to spotlight solfège work while entertaining the audience with a composer study. It also works well at festivals where judges appreciate seeing a classic melody reimagined through a pedagogical lens, or as a warm-up moment in a longer concert that includes more substantial repertoire.

Skills your students will build

  • Fluency with major scale solfège syllables
  • Vocal agility in rapid scalar passages
  • Crisp diction at faster tempos
  • Pitch accuracy while executing hand signs (if used)
  • Rhythmic precision with recorded accompaniment

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