Email contact@cambiatapress.com
for orders and information.

Phone: 940-206-1854      (Monday – Saturday, 9am – 5pm CT)

-Procedural Notice for the Pre-2015 Menu-

To view and hear the scores online, take the following steps:

Go to Browser FIREFOX and type SIBELIUS SCORCH;
Download and Install;
Go to CAMBIATA PRESS and select a score;
To view and play online, click the score in the upper corner(s).

Note: Sound is midi-dated, but it offers a helpful overview.

To search for a specific title, composer, or arranger, use Control F.

Don L Collins (1939-2016)

It is with great sadness that I report the passing of Dr. Collins on October 22, 2016 in Conway, Arkansas.  His life touched the lives of so many, and Cambiata Enterprises attests to his lifelong commitment to music education. He will be missed.  

Alan McClung 

Pre-2015

Cambiata Press Catalog

Mission:  Cambiata Press is committed to providing quality music for a variety of early adolescent choirs and for adult choirs that require (SSAM) and (SAM) voicings, (M = Men). We believe that we fill this mission better than any other American choral music publisher.    – Don Collins, Ph.D. founder and past managing editor.

 

Part 1 = S = soprano  or male treble
Part 2 = A = alto or male treble
Part 3 = C = cambiata/tenor
Part 4 = B = baritone

Pre-2015 REPERTOIRE PRICE LIST

PRE-2015 REPERTOIRE BY CATEGORY 

  • Adult Choir Series: SSAM

EARLY ADOLESCENT AND CHANGING VOICES

  • All “Singing” Boys Series
  • Festival Series: Original Works
  • Irving Cooper Series
  • Mixing Melodies Series
  • Patriotic Series
  • Seasonal Music Series
  • Spiritual Series
  • The Masters’ Series
  • Traditional Folk and World Music Series
  • Tuneful (2-Part) Series: Variable Voicing

 ADULT CHOIR SERIES: SSAM

Cambiata Press is primarily designed to provide music for changing voices; however, many musicians recognize that the voicing of our literature frequently fits choirs with fewer males than females, the SSAB or SAB choir.     

EARLY ADOLESCENT AND CHANGING VOICES

Due to their physical development, students’ vocal ranges are constantly shifting. Each semester, to determine the appropriate part assignment for early adolescent female voices, consider listening to each student on an individual basis for vocal comfort and vocal color. In following semesters, everything could change. 

As with the girls, listen to the boys for vocal comfort and vocal color. Helpful information is posted on the Cambiata Institute site, especially the voice testing video under under Resources.  The vocal ranges provided below can be used to assist you in your music selection process. Alan McClung, new managing editor. 

EARLY ADOLESCENT VOCAL RANGE OVERVIEW

  •  soprano females, grades 6 , 7, 8: [B-ff]
  •  soprano males, grade 6 (many, but fewer as the year progresses)
  •  soprano males, grade 7 (occasional)
  •  alto females, grades 6, 7, 8: [A-d]
  •  alto males, grade 6 (many, but fewer as the year progresses)
  •  alto males, grade 7 (occasional)
  • _______________________________________________
  •  male treble I, grade 6, many in Aug-Dec: [B-dd]
  •  male treble II, grade 6, many in Jan-May; [A-a]
  •  cambiata I/Phase A; 6th, many; 7th, some; 8th, few: [A-a].
  •  cambiata I/Phase B; 6th, some;  7th, many; 8th, few: [F#-f#].
  •  cambiata II; 6th, few; 7th, some; 8th, many: E-e].
  •  baritone/Phase A; 6th, occasional; 7th, many; 8th, some: [C-d].
  •  baritone/Phase B; 6th, occasional; 7th, some; 8th, many: [AA-c].

ALL “SINGING” BOYS SERIES

Many choral programs across the United States offer gender specific choirs in middle school.  Finding music that fits the boys ranges can be a challenge.  The works that follow include 2-part, 3-part, and 4-part music.  Part assignments are suggested, but each teacher should base part assignments on the students’ vocal ranges in that classroom. Teachers are encouraged to make slight pitch edits/adjustments to create the best vocal fit.   

ALL “SINGING” BOYS- 2, 3, 4 Part

FESTIVAL SERIES

Selecting music that fits a singer’s vocal range is essential for success. Comprised of variable voicings, this series of original works allows for flexible part  assignments. Potential voice assignments are provided, but additional possibilities exist.  Should the choir have a minimum number of changed male voices (baritones) consider having them sing the soprano part or perhaps the alto part down the octave.       

Part 1 = S = soprano or male treble
Part 2 = A = alto or male treble
Part 3 = C = cambiata/tenor
Part 4 = B = baritone

IRVIN COOPER SERIES

Dr. Irving Cooper originated of the cambiata concept.  Although these wonderful melodies deserve your consideration, some teachers may find Part 2 a little low for young altos.  In such cases, make a pitch edit.  The same may be found in Part 3(CII).  Sometimes, it lay a bit too low.  Should you find it so,  don’t be reluctant to edit the line to allow the music to fit the students’ voices.  

MASTERS’ SERIES

We hope you will agree that singing works by the music masters is essential to a student’s musical diet. Arranged to fit middle school voices, this series has much to offer, from Renaissance music with Byrd and Morley to music from the Romantic era with Mendelssohn.  It is a category we hope to grow.

Remember that young baritones may find the best fit by singing the soprano part or the alto part down the octave. 

MIXING MELODIES SERIES

This series is quite unique, as is each middle school choir classroom. Don Collins created the Mixing Melodies Series to offer the teacher a variety of musical options (a vocal menu)to help students succeed.

Part 1 = S = soprano or male treble
Part 2 = A = alto or male treble
Part 3 = C = cambiata/tenor
Part 4 = B = baritone

PATRIOTIC SERIES

It is always a bit distressing when one of my college music education students says to me: “Oh, I’m sorry, I don’t know that song.”  The  student is referring to the melody and/or the words to America, God Bless America, and even The Star Spangled Banner.  At Cambiata Press, that music is perceived as an important part of the uniting fabric of  American culture and a tasteful and educational addition to any choral  concert.  Like the Master’s Series, this is another category we hope to grow. 

SEASONAL

Seasonal music, especially the Christmas music, is an essential dimension of most American choirs.  The works that follow fit the early adolescent voice. Remember that young baritones may find the best fit by singing the soprano part or the alto part down the octave. 

SPIRITUAL SERIES

The Spiritual Series offers a variety of loved melodies, arranged in a variable voicing format.  Part assignments have been suggested, but teachers may want to consider different voice assignments or small edits to ensure a successful fit with the voices in unique classroom settings.

 

TRADITIONAL FOLK AND WORLD MUSIC

In the United States, we define traditional folk music as that music which has been handed down to us from various regions of the country.  Sometimes, we expand that definition to include folk tunes that exist in western music’s traditions,  including folk music from England, Scotland, Ireland, France, Canada, Germany, and that list continues. 

World Music is folk music too.  The primary difference is that it introduces us to exciting new melodies, harmonies, and rhythms that exist outside the western music traditions.  At Cambiata Press, we believe that performing the music of a student’s cultural ancestry is a powerful way to honor the varied cultural heritage that exists in our present-day choirs.  This is another category that we want to grow.  

It is important that the singer’s assigned part fit the vocal range of that singer. Teachers are encouraged to make small edits if necessary. Remember that young baritones may find the best fit by singing the soprano part or the alto part down the octave. 

Seasonal Songs with Folk Roots

Sacred Songs with Folk Roots

Secular Songs with Folk Roots

TUNEFUL (2-PART) VARIABLE VOICING SERIES

When assessing the range suitability of the following works, begin by determining if the range fits the female voices.  Secondly, determine if the range fits the male trebles, cambiatas, and baritones. Remember that young baritones may find the best fit by singing the soprano part or the alto part down an octave. Sometimes a pitch edit helps to make the work accessible. Each classroom is unique and variable voicing provides multiple possibilities. Voice assignments have been suggested, but ultimately the teacher must decide assign parts that fit the voices in the choir. Finding the right fit is key to success.   

Post-2015 Catalog

In 2015, Dr. Don Collins, the founder and the past managing editor of Cambiata Press, invited me to become the “new” managing editor. Because of our successes with the Cambiata Institute, our efforts with the 2014 Cambiata Composition Initiative, and the impact Cambiata Press had on my own early teaching, I accepted his offer. Yet, due to the Cambiata Institute’s responsibilities to the 3rd MS/JH National Conference for Choral Music in 2016, updates to the Cambiata Press web site have been slow to show up.  Finally, we are starting to see a difference.

We continue to have much to do. Organizationally, we plan to maintain the pre-2015, “original” catalogue, while establishing a new collection, the post-2015 catalogue. We are working through the pre-2015 titles to verify, clarity, and revitalize. Simultaneously, we are making plans to publicize the new Cambiata Press to the nation’s middle school choral teachers and to invite new composers to contribute exciting, quality choral music for the voices of early adolescent boys.

Mission: “Cambiata Press strives to provide quality choral literature that fits the vocal ranges and the literary imagination of early adolescent boys.” — Alan McClung,Ph.D., managing editor