These choral scores are in three voices for various voicings and from various eras and genres. Editorial markings are minimal, and remain true to the composer's original indications. I referred to original source materials whenever possible and compared with other published and edited editions to present as clear and clean an edition as possible. Minor editorial changes have been made (transpositions, occasional re-voicing, modernized notation and meter) but are generally indicated as a note within the score. Please let me know if you find any errors or formatting issues.
These canzonets (a sub-genre of the Renaissance Madrigal that is generally light and whimsical in nature) are great for teaching polyphonic singing and maintaining independent parts in a three part texture. They are a natural extension from the two-voice canzonets and are generally accessible for middle school or high school singers, especially those with limited numbers in tenor and bass sections! Most are in SAB or SAT voicing with the Soprano and Alto parts in similar range and tessitura to help all singers develop head-voice singing. Tenor/Bass parts tend to utilize an octave or greater tessitura, so they will help young singers develop head and chest voice singing, but may need modification for changing voices. I generally kept the tenor/bass parts in the treble clef notation so it is also possible to sing this part in the same octave as the soprano and alto parts to make them equal voice exercises for SSA choirs. These are presented in order of difficulty (approximately!) and not in the original publication order. All utilize modern notation and may include meter changes to facilitate Morley's original Renaissance compositional techniques. The first set have all been transposed into more comfortable keys for younger singers while the second set are in Morley's original published keys.