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Now Is the Month of Maying: SSA, <I>a cappella</I> Choral Octavo

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Now Is the Month of Maying Cover Image
Now Is the Month of Maying: SSA, a cappella Choral Octavo

Now Is the Month of Maying: SSA, a cappella Choral Octavo

Music by Thomas Morley / arr. Russell Robinson

Item: 00-21649
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Description
Thanks to the skillful editing of Russell Robinson, now SSA and 3-part mixed choirs can enjoy this merry madrigal from the traditional repertoire. Superbly reduced to preserve the harmonic and melodic structure of Thomas Morley's original work. A quintessential madrigal featuring dynamic variations, much repetition, and joyful "fa-la-la's."

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Now Is the Month of Maying: SSA, a cappella Choral Octavo comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Alfred Archive Edition: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081210438
SKU: 00-21649

More about this title

About the Composer: Thomas Morley

Thomas Morley (1557, 1602) stands as one of the most accomplished English composers of the late Renaissance, with a gift for melody and textual expression that shaped the English madrigal tradition. His theoretical writings, particularly "A Plaine and Easie Introduction to Practicall Musicke," codified musical instruction for generations; his compositions demonstrate the very principles he taught, balancing technical sophistication with genuine tunefulness.

Morely's secular vocal works, especially his madrigals, remain essential repertoire for choirs seeking to understand Renaissance counterpoint and expressive text-painting. His ability to marry humor and harmonic interest in pieces like "Now Is the Month of Maying" reveals why his music endures in the classroom and concert hall alike.

Why we love this

Russell Robinson's SSA reduction opens this Renaissance jewel to choirs that have long sung it only in mixed voicing or higher arrangements. The harmonic and melodic integrity of Morley's original shines through cleanly, making this an authentic madrigal experience without the performance barriers. Your singers will feel immediate joy in the piece's jubilant character while building real Renaissance literacy.

What to expect

Radiant and playful, with the charm of spring birdsong. The piece dances between moments of consonant warmth and gentle imitative texture, inviting singers and listeners alike into a world where joy is both serious and perfectly silly.

Who it's for

SSA and 3-part mixed choirs looking for Renaissance repertoire that feels genuinely madrigalian rather than simplified. Intermediate to advanced ensembles benefit most from the harmonic language and part-writing, though the text and melodic grace make it accessible to younger singers with solid fundamentals.

How to get the most out of it

  • Shape the repetition of 'fa-la-la's as musical moments rather than obstacles. Each iteration deserves its own energy and attention, especially when singers realize how the text-painting supports the text itself.
  • Balance voices so the melody remains visible even during the busier harmonic passages. SSA voicing can blur if the second soprano and alto aren't listening to each other constantly.
  • Embrace the dynamic variations marked in the score as dramatic arcs rather than technical requirements. Morley wrote them to delight; your rehearsal energy should reflect that.
  • Space rehearsal time for rhythmic precision in the section parts. Renaissance madrigals depend on clean alignment even when voices move at different speeds.

How to use it

Pair this with other Renaissance secular works to build a concert section celebrating the madrigal tradition, or program it as a tonal and textual contrast in a classical concert. The piece works equally well as a festival selection or a rehearsal highlight that reminds singers why choral music matters.

Skills your students will build

  • Reading Renaissance counterpoint and imitative voice-leading
  • Managing text repetition and melodic variation within a single phrase
  • Balance and blend in SSA scoring
  • Harmonic ear training through unfamiliar (to modern singers) harmonic progressions
  • Historical context and musical expression in secular Renaissance vocal music

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