Good King Wenceslas [orchestration for low voice, G] Cover Image

Good King Wenceslas [orchestration for low voice, G]: Low Voice, Orchestra Accompaniment, Conductor Score

$15.00 USD
$15.00 USD
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Good King Wenceslas [orchestration for low voice, G] Cover Image
Good King Wenceslas [orchestration for low voice, G]: Low Voice, Orchestra Accompaniment, Conductor Score

Good King Wenceslas [orchestration for low voice, G]: Low Voice, Orchestra Accompaniment, Conductor Score

By Traditional/ Folk, ed./arr. by Steve Cohen

Item: 36-A835301
$15.00
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Good King Wenceslas [orchestration for low voice, G]: Low Voice, Orchestra Accompaniment, Conductor Score & Parts

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Description
The holiday classic, GOOD KING WENCESLAS, arranged and orchestrated by Steve Cohen is for high voice and full orchestra. Instrumentation: 2.1+1(EH).2.2: 4.2(or Flglhn).3.1: Timp.Perc(2): Hp: Str (9-8-7-6-5 in set): Solo Low Voice. A version for high voice is also available from the publisher.

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Additional Details
Series: Kalmus Christmas Carols for Voice and Orchestra
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563708-9
ISBN13: 979-889-563-7081
UPC: 612735931858
SKU: 36-A835301
Instrumentation: 2.1+1(EH).2.2: 4.2(or Flglhn).3.1: Timp.Perc(2): Hp: Str (9-8-7-6-5 in set): Solo Low Voice

More about this title

Why we love this

Cohen's orchestration treats this medieval tune with genuine warmth rather than sentimentality, giving the low voice soloist a richly supported canvas without drowning out the text. The full orchestra arrangement makes this appropriate for concert settings where a solo voice needs ballast, and the conductor score puts the accompaniment where it belongs: in service to the carol itself.

What to expect

Stately and reverent without losing the carol's accessibility. The orchestra surrounds the melody with color, using strings and winds to echo and support the soloist's storytelling. This is the version for singers who want to project into a concert hall with full orchestral weight.

Who it's for

Low voice soloists with access to a full orchestra or skilled chamber ensemble willing to learn a holiday arrangement. School and community orchestras seeking a seasonal choral-orchestral work with a substantial solo role. Baritones and bass singers ready to perform in formal concert settings.

How to get the most out of it

  • Balance the solo voice against the full orchestra by establishing clear dynamic levels in rehearsal; the low voice needs presence without strain against 2 flutes, oboe, and full brass.
  • Work with your conductor on the pacing of the orchestral introduction and interludes so they support rather than rush the soloist's phrasing.
  • Use the harp to reinforce the harmonic foundation where marked; this helps the low voice singer feel supported during longer phrases.
  • Coordinate with the timpani and percussion players on their entrances so rhythmic clarity enhances the carol's narrative arc rather than complicating it.

How to use it

Schedule this as a centerpiece for a holiday pops concert where it can anchor a set of lighter fare, or pair it with other orchestral arrangements of carols to showcase the ensemble's range. It works particularly well in December programming where both the orchestra and a featured vocalist need showcase moments.

Skills your students will build

  • Balancing solo voice projection against full orchestra accompaniment
  • Sustaining long vocal phrases with orchestral support
  • Navigating the pacing relationship between soloist and conductor

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