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

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

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

By Thomas Morley / arr. Kirby Shaw

Item: 00-46370
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Now Is the Month of Maying!: SATB, a cappella Choral Octavo

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Description
An intriguing mix of old and new, Kirby's treatment of the Thomas Morley madrigal retains the original vocal parts in dancing counterpoint, while adding a fresh rhythmic refrain at the beginning and end. With just a shaker accompaniment, this spritely a cappella arrangement builds ensemble skills such as intonation, flexibility, balance, and blend.

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!: SATB, 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 Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081527499
SKU: 00-46370

More about this title

About the Composer: Thomas Morley

Thomas Morley stands as one of the most prolific and inventive English composers of the late Renaissance. His mastery of the madrigal form made him a dominant force in secular vocal music during the 1590s, and his theoretical writings shaped how musicians understood counterpoint and composition for generations. Morley's ability to blend intellectual rigor with immediate musical appeal explains why his work remains central to choral education today.

Why we love this

Kirby Shaw's arrangement respects the original madrigal's contrapuntal DNA while injecting rhythmic energy that speaks to contemporary singers. The addition of a shaker-driven refrain gives the piece structural clarity and a moment of textural contrast that keeps audiences engaged. This is the rare arrangement that deepens your singers' understanding of Renaissance voice-leading rather than simplifying it.

What to expect

Part sophisticated court music, part infectious rhythm workout. The original madrigal glides through interweaving melodic lines with a natural elegance, while the refrain injects a playful, almost modern swing that makes the entire piece feel alive and immediate. There's a spring in the text and harmony that justifies the title completely.

Who it's for

Choirs with solid Renaissance repertoire experience and confident intonation will thrive with this piece. It works especially well for groups preparing for festival competition or seeking concert material that challenges musicianship without requiring orchestral resources.

How to get the most out of it

  • Lock the opening and closing refrain as a rhythmic unit with the percussion; the shaker should pulse with precision so the choir can latch onto its groove.
  • Shape the madrigal's inner sections with gentle phrase arcs rather than dramatic dynamics. Renaissance counterpoint thrives on clarity and balance, not volume shifts.
  • Rehearse the transition from refrain back into madrigal material slowly at first so singers understand how the harmonic language shifts between the two sections.
  • Balance soprano and alto lines in the counterpoint equally; many singers default to strengthening the highest part, which muddies the independent voice integrity Morley composed.

How to use it

Position this as a centerpiece of a Renaissance choral set, where it can anchor a concert segment alongside other secular works. Its hybrid nature also makes it an effective bridge piece when transitioning between classical and contemporary programming, since audiences immediately grasp both its period roots and its fresh energy.

Skills your students will build

  • Independent voice-leading in SATB counterpoint
  • Intonation precision in four-part harmony without harmonic support
  • Rhythmic flexibility and coordination with percussion accompaniment
  • Stylistic contrast between Renaissance madrigal and contemporary rhythmic material
  • Ensemble balance and blend across sustained and moving lines

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