Compiled and edited by US composers and choral educators Marques L.A. Garrett and Edryn J. Coleman, Accessible and Beautiful (OUP, 2025) is a choral anthology of 30 pieces which celebrates a richness and diversity that are both approachable for the intended performers and satisfying for their audiences. With a mix of sacred and secular, from the 18th century through to the present day, each piece within the collection tells its own story, inviting introspection, joy and connection. The pieces included bridge traditional and modern styles, but always within a tonal musical vocabulary.
The editors' preface explains the origin of the volume, which was inspired by the impact of the Covid-19 pandemic on their vocal students' musical education and development as choral singers. According to Garrett and Coleman, ‘it became apparent that a specially designed resource could help restore [our students'] technical prowess while empowering them to feel successful and inspired in their artistry.’ The editors propose that their anthology will revitalise what they term the ‘choral classroom’ by providing accessible choral pieces that explore a diverse array of vocal sounds and languages, including Spanish, Latin, Hebrew and Cherokee, as well as English. They also suggest that the anthology will serve as a ‘tool for creating an inclusive space, fostering a sense of belonging that meets the emotional, social, and academic needs of choir members.’ Such objectives are indeed commendable.
Composer mix
As one might expect from two significant choral composer-directors on the US choral scene, Garrett and Coleman, in addition to some of their own original compositions and arrangements, have chosen works by around 20 composers, many of them of African American heritage, and half of them women. This is in itself an important statement of intent and to be welcomed. Many of the composers will be familiar to North American choir leaders – Sarah Quartel, Remel Derrick, Tracy Wong, Shruthi Rajasekar, Reena Esmail, to name-check but five of them – but a UK-based choral director will probably be unfamiliar with most of the composers. Potted biographies of each would have been a valuable asset to the volume. No matter: everyone can be confident that the material presented is of the highest musical standard, and, anyway, to make new discoveries is surely one of the anthology's purposes and to be encouraged.
Scoring and languages
The works are all designed for mixed voices, mostly the conventional SATB but there are some scored for SAB. Several have the possibility of flexible scoring: for example, they work with just the soprano line on its own in unison or in octaves or with other voice parts. Accompaniment is usually with piano, but there are options to feature other melody instruments and the inventive music director could easily tease out other instrumental possibilities to enhance, or even assist with, more diffcult vocal passages, tailoring a piece to available resources and abilities. There are also opportunities to experiment with a range of body percussion techniques or include percussion instruments.
The range of languages is to be warmly welcomed. English, quite naturally, dominates; but to have the opportunity to tackle Cherokee in the traditional ‘A Cherokee Hymn’, arranged by James E. Green, doesn't come one's way every day. And rest assured, the editors provide an essential pronunciation guide as well as a literal English translation. This feature also applies to works using Spanish or Hebrew texts. However, no such guide or translation is offered for José Maurício Nunes Garcia's unaccompanied Latin antiphon ‘Domine, tu mihi lavas pedes?’ It was presumably thought unnecessary but, given the pedagogical nature of the volume, it seems an oversight. As a UK-based reviewer, it was surprising to see an outdated term used in connection with the arrangements of spirituals in the anthology: ‘African American’ or just ‘spirituals’ would surely have been more appropriate.
Rehearsal notes
Keeping in mind the anthology's pedagogical aspect, Garrett and Coleman provide detailed advice before each piece, neatly divided up under easily assimilated headings (see sample page, opposite). We are given the composer's name (though not always their vital dates), the author of the words, language(s) used and the performance direction (i.e. the marking at the start of the composition). The latter seems somewhat unnecessary as it's plainly there at the head of the piece, mostly on the facing page, and an approximate duration would have been an asset. This is followed by a paragraph briefly describing the work – for example, Shelton Ridge Love's ‘A Far Country’ is ‘a beautifully contemplative piece built on uncomplicated rhythms and a flowing accompaniment’ – and a few words about the author of the text. A set of bullet points under the heading ‘Points of Accessibility’ is valuable, as it neatly summarises the essential characteristics of the composition. For Love's piece, we learn that is has a full piano accompaniment; limited vocal ranges (it would have been even more useful to have those ranges defined, though it's easy enough to glance through the piece and find out for oneself); uncomplicated rhythmic figures; and unison moments between voices.
Next comes ‘Warm-up/Preparatory Activity’ with direct advice to the choir leader and the singers about what vocal exercises will be needed to get to grips with the piece and sing it successfully. A two- or three-bar tailor-made phrase (always written in C rather than the key of the piece in question) is isolated and specific instructions given. For Love's ‘A Far Country’, we are advised to ‘practise the following warm-up with motifs from the score to help prepare for long phrases in this piece. Singing long lines also requires good breath support. Practise singing this exercise with dynamic contrast as well as correct rhythms and pitches. Feel free to draw from different parts of the text as desired.’ Such specific guidance is beneficial to anyone, no matter what their skill level and choral experience; to have this for every piece in the anthology is a huge plus point and will surely help singers at all levels to improve their interpretation.
Under the heading ‘Making Connections’, the editors suggest areas for consideration beyond the purely musical: for example, exploration of the message of the text, philosophical ideals, etc., and how they might align with the choir's goals. This definitely feels like something for the classroom (be that at school or college) rather than the traditional adult choral society, but there is no reason why one couldn't make connections in the latter context. It might well shake things up!
Finally, ‘Rehearsal Notes’ are provided: simple pointers about what lies ahead in the piece, such as ‘Measures 5–16: Dissonance between the alto and soprano lines’, or ‘Measure 44: Brings the choir together with the same rhythms but different pitches’. Such précised notes are directed at the choir leader, who will certainly find them of assistance when focusing the e ective rehearsal of the work in question.
Accessibility
Given the number of compositions and diverse range of composers in Accessible and Beautiful, it might have been of value to indicate the di culty of each work by simple means – easy, medium, hard, for example – since so much other helpful information is on offer. But, of course, experienced directors will be able to assess this for themselves. Su ce to say, there is a good range of different levels within the anthology.
Despite the publisher's name and address suggesting a UK base, this volume is wholly American in origin (‘measures’ not ‘bars’, etc.), though it has been printed in the UK. The standard of presentation is at OUP's best, meticulously edited, with clear musical typesetting and good quality acid-free paper. The copy under review has an attractive laminated paperback cover; a lie-flat spiral-bound edition (not seen) is also available. To purchase a full set would be beyond the available budgets of most UK schools and colleges (I cannot speak of the US), but OUP is to be applauded for making many of the pieces available separately in print or as digital downloads.
Who is the market?
Who is the anthology for? The blurb on the back cover suggests it is suitable for middle- and high-school levels choirs (US terminology here), and that may well be the case in the US. But the parlous condition of music in UK state schools, where the arts and humanities are increasingly under pressure to be seen as of relevance, does make me question how many of them can muster mixed voice choirs that could tackle very many of the pieces in Accessible and Beautiful. Even in my predominantly rural locality, mixed voice singing in state high schools has dropped away alarmingly in the last decade. But I want to be optimistic: as long as people of whatever age sing together, Garrett and Coleman's anthology will have a place in the richness and diversity of choral music, celebrating compositions that are approachable and – to be frank – often a lot of fun to sing.
Accessible and Beautiful
Compiled and edited by Marques L.A. Garrett and Edryn J. Coleman
Oxford University Press ISBN 9780193572638, 296 pp.; paperback £22.75, spiralbound £29.95
tinyurl.com/39mpdp9x
