What is SA(T)B ?
SA(T)B music is designed for developing choirs with more girls than boys. Specifically, SA(T)B music is written for middle-level choirs with 40 girls and 8 boys.
Unbalanced choirs at any level are very common, and the directors with unbalanced choirs often end up looking for sheet music in the SAB section of music catalogs. This creates a problem. The girls get two parts to sing while the boys only get one part. This is a big problem because the boys are the ones who need two parts the most. Their voices vary greatly from one another.
There's no way around it. The boys need two parts. But there are only eight boys in the choir. So here is what SA(T)B does.
Although SA(T)B music always includes separate tenor and bass parts, the tenor and bass parts are always supported by another part. A typical type of support would be to have the tenors sing in octaves with the sopranos, and the basses sing in octaves with the altos. Another option would be to have the basses sing in octaves with the sopranos, and the tenors could sing in unison with the altos for a short period of time. In SA(T)B writing, the tenors and basses could sing together just as they do in traditional SAB music, but the joining of the tenors and the basses needs to be brief. After all, the few notes that the tenors and the basses have in common are the highest notes in the bass range, and the lowest notes in the tenor range.
The creator of SA(T)B music would be wise to begin with the tenor and bass ranges in mind. To put it in simplest terms, the writer could write a piece that was perfectly suited for the tenor and bass ranges, and then simply write soprano and alto parts up one octave so as to double the tenor and bass parts. I usually write middle-level tenor parts within a fourth up or down from middle C. (Down to G and up to F) For basses, I usually have middle C as the highest note, and then I extend down to D to get a range of a minor seventh.
There are some shortcomings to SA(T)B writing. The traditional four-part chord, commonly heard in most SATB writing, will never be heard in SA(T)B. To make up for this shortcoming, the writer or arranger of SA(T)B music will need to add interest to the song by using elements other than harmony. The SA(T)B song that has interest will need to have much variation in texture, and it will most likely need to be interesting rhythmically.
The writer of SA(T)B music should also make use of a hidden strength. While there are only 8 boys in the choir, there are a lot of girls. In a choir with 40 girls and 8 boys, the girls are most likely able to sing in three parts if the voice leading is easy and the duration of the three-part texture is brief. The composer of SA(T)B music can do much to vary the texture of the piece by using three-part writing for the girls along with the occasional use of solos or duets.
Lastly, I would suggest that those who write SA(T)B music concentrate on writing music that is rhythmical. At the middle level, boys tend to be energetic. Rhythmical pieces tend to have a more natural appeal to middle-level boys. My philosophy is to write music that either makes you dance, or it takes you to another place.
If you would like to explore SA(T)B music, check out these pieces at Walton Music:
Ritmo - SA(T)B - by Dan Davison Listen to it here. Take a look at it here.
'Tis The Season - SA(T)B - by Kirk Marcy Listen to it here. Take a look at it here.
The True Lover's Farewell - SA(T)B - by Reginald Unterseher Listen to it here. Take a look at it here.
Come, Ye Ladies And Lairds - SA(T)B - by Dan Davison Listen to it here. Take a look at it here.
Rocks On The Mountains - SA(T)B - by Carol Barnett Listen to it here. Take a look at it here.
Laudate Dominum - SA(T)B - by Dan Davison Listen to it here. Take a look at it here.
Regina Coeli - SA(T)B - by Dan Davison Listen to it here. Take a look at it here.
Elijah - SAB - By Dan Davison (it is SA(T)B disguised as SAB) Listen to it here. Take a look at it here.
Unbalanced choirs at any level are very common, and the directors with unbalanced choirs often end up looking for sheet music in the SAB section of music catalogs. This creates a problem. The girls get two parts to sing while the boys only get one part. This is a big problem because the boys are the ones who need two parts the most. Their voices vary greatly from one another.
There's no way around it. The boys need two parts. But there are only eight boys in the choir. So here is what SA(T)B does.
Although SA(T)B music always includes separate tenor and bass parts, the tenor and bass parts are always supported by another part. A typical type of support would be to have the tenors sing in octaves with the sopranos, and the basses sing in octaves with the altos. Another option would be to have the basses sing in octaves with the sopranos, and the tenors could sing in unison with the altos for a short period of time. In SA(T)B writing, the tenors and basses could sing together just as they do in traditional SAB music, but the joining of the tenors and the basses needs to be brief. After all, the few notes that the tenors and the basses have in common are the highest notes in the bass range, and the lowest notes in the tenor range.
The creator of SA(T)B music would be wise to begin with the tenor and bass ranges in mind. To put it in simplest terms, the writer could write a piece that was perfectly suited for the tenor and bass ranges, and then simply write soprano and alto parts up one octave so as to double the tenor and bass parts. I usually write middle-level tenor parts within a fourth up or down from middle C. (Down to G and up to F) For basses, I usually have middle C as the highest note, and then I extend down to D to get a range of a minor seventh.
There are some shortcomings to SA(T)B writing. The traditional four-part chord, commonly heard in most SATB writing, will never be heard in SA(T)B. To make up for this shortcoming, the writer or arranger of SA(T)B music will need to add interest to the song by using elements other than harmony. The SA(T)B song that has interest will need to have much variation in texture, and it will most likely need to be interesting rhythmically.
The writer of SA(T)B music should also make use of a hidden strength. While there are only 8 boys in the choir, there are a lot of girls. In a choir with 40 girls and 8 boys, the girls are most likely able to sing in three parts if the voice leading is easy and the duration of the three-part texture is brief. The composer of SA(T)B music can do much to vary the texture of the piece by using three-part writing for the girls along with the occasional use of solos or duets.
Lastly, I would suggest that those who write SA(T)B music concentrate on writing music that is rhythmical. At the middle level, boys tend to be energetic. Rhythmical pieces tend to have a more natural appeal to middle-level boys. My philosophy is to write music that either makes you dance, or it takes you to another place.
If you would like to explore SA(T)B music, check out these pieces at Walton Music:
Ritmo - SA(T)B - by Dan Davison Listen to it here. Take a look at it here.
'Tis The Season - SA(T)B - by Kirk Marcy Listen to it here. Take a look at it here.
The True Lover's Farewell - SA(T)B - by Reginald Unterseher Listen to it here. Take a look at it here.
Come, Ye Ladies And Lairds - SA(T)B - by Dan Davison Listen to it here. Take a look at it here.
Rocks On The Mountains - SA(T)B - by Carol Barnett Listen to it here. Take a look at it here.
Laudate Dominum - SA(T)B - by Dan Davison Listen to it here. Take a look at it here.
Regina Coeli - SA(T)B - by Dan Davison Listen to it here. Take a look at it here.
Elijah - SAB - By Dan Davison (it is SA(T)B disguised as SAB) Listen to it here. Take a look at it here.
