Bob Chilcott - You and Me (2005)

'You and Me' is collection of 2 songs for a cappella SATB choir written by Bob Chilcott. We've started looking at this piece in one of my regular choirs. I'm not a great fan of Chilcott's works, I generally think they are a little bit cheesy, but he's very good a writing simply, popular music.


1. Brightness

The first song, 'Brightness', is very simple in its premise; there are two rhythmic motifs which are repeated throughout the song. With the first motif, sung to the lyrics "I am bright with the wonder of you", Chilcott uses syncopation and variable measure to creating a flowing line whilst maintaining correct emphasis - as though the lyrics were being spoken.

Each phrase is sung by a different combination of voices to create contrast through vocal colour; the first is sung by Sopranos and Altos, the second by Altos and Tenors, then the first motif is repeated by the Tenors and Basses. He gradually adds more voices to the texture as the dynamics build to a climax; a key change leads to a call and response section between the upper and lower voices. As the music builds Chilcott begins to split each voice part to add a fuller texture and range. The climax of the section is reached through a homophonic repetition of the phrase "I am Bright", finishing on a discord.

A short dissonant passage, with voices moving in 2nds and 7ths leads into the final repeat of the opening 2 motifs as the music fades away.


2. The Good Side of Me

The second song, 'The Good Side of Me', is similar to 'Brightness' in that it uses simply vocal lines and melodies, but Chilcott adds character through adding extra notes to chords and a wide dynamic range. It is more expressive than the first song, both lyrically and musically. The title 'Brightness' suggests the style of the first song, but Chilcott requests this song to be "flexible and expressive".

Chilcott starts the song quietly, builds through the song, then adds a short echo passage at the end. Again, Chilcott uses syncopation and variable measure to maintain correct lyric emphasis whilst achieving a flowing vocal line. Unlike the previous song he writes more polyphonically; different parts begin phrases at different times, such as the tenor repeating the soprano lines a beat after them. He regularly groups voices together to create 2 contrasting vocal lines. Again, as the dynamics build the vocal range increases, but this time he increases the amount of polyphony; when the basses split, there are 5 independent vocal lines which eventually come together.

The short, quiet passage at the end sees a return to homophonic writing, with every part gradually deminuendo-ing down to a hum.