Francis Poulenc's PETITES VOIX 1936

Author(s): DOROTHY A. LINCOLN

Source: The Choral Journal, Vol. 15, No. 5 (JANUARY 1975), pp. 11-14
Published by: American Choral Directors Association
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 The use of the diatonic melody is quite consistent as
Francis Poulenc's in the music of many of the classic composers. Poulenc has
shown that the special magic of pandiatonicism uncluttered
by chromaticism can sometimes, even in the Twentieth Cen
tury, have a very poignant effect. In the final measures of
PETITES VOIX "La petite fille sage" there is a classical melodic line in
each voice part, which could have been inspired by plainsong.

1936 J ]'/>
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trr.% ¡i'-
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DOROTHY A. LINCOLN

Petites Voix was written later in the same year that

Poulenc wrote the music for Sept Chansons. Also that year
he finished composing the Litanies a la Vierge Noir, a work
for women's or children's voices and organ. These prayers
were the first of Poulenc's religious works, and were writ
ten at the time of a death of a friend which made a deep
impression upon him. Hell (1959) reported that he made a Example 74. "La petite fille sage," measures 18-21.
pilgrimage to the Sanctuary of Rocamadour to see the Virgin
carved out of black wood, the work of Saint Amadour who 2. "Le chien perdu." In the second song, "Le chien
had climbed up a tree to see the figure of Christ. On the perdu," the B flat predominates in the form of a returning
evening of this visit, which was in 1935, he began the com note appearing first in the mezzo soprano in measures one
position. This religious work with organ accompaniment de and two, and then in the alto, measures seven and eight,
monstrates the beginning of Poulenc's religious style which in a figure which appears in six of the nine remaining
is later found in Quatre Petites Prières de Saint Francois measures. Hardee (1952) reported that B flat was Poulenc's
d'Assise. In contrast to this religious style, he finished the favorite key and in this song he has used it in every
Petites Voix the same year. medsure — often several times. The alto line beginning in
While Petites Voix is basically harmonically conceived, measures 7-8 denotes an ostinato rocking motion. In the
the individual lines have melodic interest. The boy sopranos poetry a boy has found the lost dog and asks his name as
as well as the girls' chorus will sense the fluid quality of he gently scratches his ears and rocks him.
the individual lines and should sing with a sense of the
ongoing motion of the music. Poulenc almost never left the
basic tonality and its related keys throughout the songs in I f, fi f«j
the cycle. I Qll> CV"tU. incoiKiui'
Petites Voix is certainly not easy music for a boys' choir, 4rv' y<'« httIt Jcy i
but the final product is valued by the singers, for they re iM 11

joice in their accomplishment. The texts are designed speci VT vvr

fically for children, and as usual Poulenc has set them in i *' Ah .. all ah ah
such a way as to capture the imagination of both the in
terpreter and the listener.
1. "La petite fille sage." "La petite fille sage" opens
with a diatonic melody for the first soprano in G Major.
A favorite means used by Poulenc for allowing the singer que — je te legrat.tc
grst.lc 15,
là, lier.m . ¿ . .re
•UT.ti.# iv les t>o.reiLlCs.
leS - red.les.
//• / scr stvh'il your hf-.ilt
• /If-.fit h hro'i k?hi*4
fifi ./us' !/<>»//r "sii-kf
hehiH'l eari.
n r sil e/V'i, .
to gain his tonal-footing and thus reduce the vocal tension
of the first entry, was to allow one section to enter before
the other voices. This happens again in measures 11-12 to
introduce a different tonality, and also at the beginning of je 1c
je 1 cgr«itJte
gr«*tjte là. «1er.
la. «ler_ n . en- „*\z
è -i<?s
'esc o. rti.l
- I* I**>,
«>,
it
if // H-iuiii-hi.t yuur lit-
srrntchnl your ht -tfg
tfehtml
htm' I"*'
■'»»/ h'hin.f
h,himt yurSiL
n»ur s,L- -kg
K.ij
«?«/♦«,
the fifth song, "Le hérisson." tV

qiiif Jt;
qui?_ t»' q-rut.lf
ji; t»* «TiJt.li-
i;i.là. d»T.
<Ut. ri ri
. • .• . r-
r- I.I. >>' i.--.
i.-~
La pe . •» - t*i fil . Ik | sa . e>- est rvn.. - ••
Example 75. "Le chien perdu," measures 1-2, 7-8.
Example 72. "La petite fille sage," measures 1-3.
In "Le chien perdu" the mezzo soprano line is the most
The entire piece is characterized by a parallel motion difficult because it is disjunct and chromatic, and in mea
of interval and chords, a mark of the Impressionistic style. sure 5 there is cross-relationship with the alto. The melodic
These chords in parallel motion (gliding, sliding, or planing line of the second soprano (a', b\ b' flat) against the alto
chords) impart a new harmonic coloration. Unlike the dif line introducing the a' flat after the a' natural in the same
ficult Sept Chansons however, these pieces rarely leave the measure presents difficulties. Wagner would probably have
basic tonality. told his boys' choir that they simply had to learn to sing
intervallically, and would have given them a clear cut ex

p r '•
planation of the intervals involved. The singers can rejoice
in the musical repetition in the next measure. There are

ffiLJ1 -1 ^ p r
further cross-relations of the a' flat and a' natural in mea
sures 7-8 which test the mezzos' and altos' abilities to remain
sur la pierre u _ se _ e pour
j sur la pierre u _ se _ e pour in tune when singing whole and half steps. To prepare the
sat up. on
ou a stone and
and looked
lookid choristers to sing music of this level the choral conductor
J
should create vocalises which incorporate chromaticism.

ill jiu^ljJ1 J1 I ^' =

sur la pierre u . se . e pour 'I'wrêves,
Tu re.ves,
tu tn $0utrn€ij(p p*»u.J-
Seuíineiilc?s, e-tre
.-..i- è-tre voudrais-tu.
ve mí r.i 1 p - lu
di*/ y<•>
All tlii/ gem Jrvam
Jrwtm, ,yeu
t Aluy At jfea *VWi/
&/u.<»tAtv# At'/»/**<*«
At n'CW phíéfrd
sut
Sill up . oil
on a stone and looked n¡\ ft

Z^4 - 1 s K I. s—fy Tti

Tu ré-ves,
r«*-ves,tic
tic iommeitlâî»;
iomm<5iU«b; peuí
p«?ut- -è.lffc
e.lre. vondr.os
voudr.os iu
tu

^j) J*——jJl-A J J—«u_ /t//

AU '/»fy
hty yoi/
youd r*u
"lumber;
her. HI"
y»yIt-*»hi
_ /wi yu irryhi
ht /'/<««*-•/
At /</•*«$*«/
tHir-J m
WJl'iS
un s p

sur
sur la
la pierre
pierre uu _
_ sé
se_. e
u pour
pour
sat up.
up. on
on aa stun,-
stone and
and looked
looked I'ii_ itu soinrnt'ilk's ; p»*utp.Mil
- <• -Ir.-
In* v»u.|i
vmi-Ii;n-,-tu
.ii-^-lii

Example 73. "La petite fille sage," measure 15. Example 76. "Le chien perdu," measures 5-6.

JANUARY 1975 11

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PETITES VOIX . . .
, . , J ////-. ,
-y-> * 1* 1
A further designation of the B flat tonality comes with r * - ^ j EE
the soprano outline of the tonic chord in measures 13-16. p : V ? y ' '' "
Fin
F.n rtruJrant
rtu.lrant dc dcl'e
l'e. . <:u
cu . Ic par un chemin i>vr . d;.
There are several sub-dominant major seventh chords in 111thin
hi acont
cow.int?
i hontcj'rum
hontfj'rom tfchool
school nt
tit '/il .s A Ay a. loi\? t{, C'x.l
these measures; the B flat harmony outlined by the soprano, - "if -
together with the rocking motion of the alto with a pre
dominance of b' flat, bring the piece to its rest on a tra «
fêér—ï— . k ;i J) Ji
.pry * ^ # " ■ " " 1 J) J* J±-J J— 4—
tn
Lit lvii.trant
lfii.trant d«- IV .cu
dc IV. cu_. lc
Ic pal ta, i. 1 : i. : i. ¡>. r da.
ditional* plagal cadence. The question is unanswered, "Who
II 'hiii
'hi nrom.
row in
. i j?
mrhomr
how J'rom
J'rom school
school nt
u! #/W.V* Ay .'y /•..../
are you, unknown lost dog?"
fL ^ |\ f' f\ \. 'k K. h K
0 ^ 0 •* -Jr
1 t. la. la. la. la. la. la. la.

Example 80. "En rentrant de l'école," measures 8-9.

After the first two measures the mezzo soprano line has
a most difficult intervallic progression. These singers must
be continually alert to the melodic sequences with other
voices as in measures 12-13. Both the sopranos and mezzos
should use a lyrical line for "and the sweet nightingale."
la, la. la. la. la, la. la. la. la, la. la. la, la. la, la, I.

Example 77. "Le chien perdu," measures 16-19.

3. "En rentrant de l'ecole." At the beginning of the

third song, "En rentrant de l'école," the tonality of E Major
is established by an alto pedalpoint on E in the first three j#"'4-fr-Tirf
measures, and the first soprano's constant return to e' '. a la. i... 1-. !... là. I.i. doux reS-^'-g'WX.t.
e+ ti OUX ICS--i -Jy ncl /
Example 81. "En rentrant de l'ecole," measures 12-13.

Poulenc has utilized the planing technique in measures

Whh-w^f 14-15, and again the mezzo soprano is higher than the first
i:«s r.'ii . Irani \ lv . co . par un cht'iiwii per.du.
soprano. This planing figure, in all parts, gives an excellent
opportunity for a chorus to study the tonal aspects of the
•f i r pentatonic scale as they sing the weirdness of the owl sound
\\r on a lonely night.
Bl.un . Blain

W ,> I L
(mill iin IV . i*t# . !»• 11*11*iar
ununrlit*min
cln-min per.clu.
per-<«u.

Example 78. "En rentrant de l'ecole," measures 1-2.

Parallel chords occur in measure four leading to very
disjunct melodies as in the solo patter songs of Poulenc. The
soprano line is a sequence, however, the tempo moves light
ning fast so that the second soprano and alto parts have
difficulty in finding their pitch. The interpreter needs to
strive to increase his capacity for tonal memory by listening
to key pitches in other voices. Parallelism occurs again in
measure 7 to lead back to an E Major chord.

Example 82. "En rentrant de l'école," measures 14-15.

. i n*
n' .. r»i
r»f1rs
Irs bois
bois noirs.
noirs. LIU;
til*;
Poulenc felt that the twelve-tone technique had little to
for
for .rst
rst of
of hint:ft
6 luck t rm.s.
rm.s. X/ir
She offer him, with its formalistic, cerebral style, but in this
song he combined a similar effect with the hocket technique
of the Renaissance. He used "la" effectively, reminiscent of
the Elizabethan madrigal "fa, la, la" to close the piece at
a lightning-fast tempo, to denote the child hurrying the last
few steps to get safely home.

A
A ^^l'I'1 'ffs S
*, cc *
*
lit. I.I. I„.
1.. I.I. 1.1.In,
lu. III.
III. la. la. la.

1>I>
1>1>

la. la.
! 1,,.
I,,. I.i.
In. In.
In. 1.
|..
/y

bril-
biil.liin.tr
Ian-I.-
dan»
dans
l'air...
lair...la.
la.la.
la.la
lala.
la.1.1

Example 83. "En rentrant de l'école," measures 15-17.

Example 79. "En rentrant de l'école," measures 4-7.
4. "Le petit garçon malade." The fourth selection, "Le
In measures 8-11 the alto sing a staccato "la" in the petit garçon malade," opens with eighteen major and minor
droning bourdon style. Poulenc exemplified the fear of "com thirds in the first and second soprano duet. These exemplify
ing home by a lonely road" by giving the boys this air of the melancholy boredom of "the small sick boy who is tired
bravado similar to whistling or humming as they go through of looking at picture books." Poulenc has set "malade" so
a graveyard. that the interpreter can easily convey the meaning of the

12 THE CHORAL JOURNAL

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word with a crescendo going into the second syllable. The the picardy third. The final "ah's" signify the sobs of resigna
duet in thirds continues in measures 9-11. tion of the sick boy, and the piece ends in the major mode
to convey the inevitability that the boy will surely get well.

t r p v-f—
J4__f k
rkf——f. 1 f
-F F—' I k ——
isc veutretfiiraer !.-> i .1 maen. bras pii • . a h ah a!. ..i.
fold . > d

Example 84. "Le petit garçon malade," measures 1-4. , ; ■ , T v */=

The piece abounds in chromaticism and has rotating ma
bras pli « ah ah all .ih
jor and minor chords. In measure six there is use of e'
fold . id « r m

natural and e' flat in the alto, and g' natural and g' flat in -y
the mezzo.
a i.
7tr-2— i i
■* u

A, bras
braspli pli - e ah ah ah ah

~y~
ses
ses y»*ux las; _ il
yeux las;_ i| husse
laisse ses
sesmains
mains chau
chau __ des
destrai.ner
traî.ner sur leIfdr.ip
Mir drap Example 88. "Le petit garçon malade," measures 21-24.
ti r,,(
r,deg,s— and tits
ryrs— h is
,mdl,/shis hothot hands
hands fall
./'at/ slow/y
stow, . ly on th, h,hid.
on thr d.
5. "Le hérisson." "Le hérisson" opens with a buoyant
I^Hpl
st?s >t*ux Ian, _ ii laisse ses mainsehau _ des trai.ner »ur le drap
melody in a minor in the first soprano. Again Poulenc has
established the tonality in the opening soprano phrase.
on thr hi d.
and trts his hot hands fall slow.ly

^-V
ses mains chau . des trai.ner sur drap — ]/—-t)
=F= " v ' I V' \)
v y " <>
Quand papa
Quand papa trouve
trouvc un
unhe
he. _ ris.son ilill'np.portt*
ris.son 1'ap.porte a la mai.son.
maLson.

Example 85. "Le petit garçon malade," measures 5-6.

Example 89. "Le hérisson," measures 1-2.
In measures 11-12 the alto figure of a' natural returning
from b' flat to a' flat is also difficult and requires an under When the mezzo soprano and altos join, they do so in
standing of the intervals involved. thirds while the first sopranos maintain the dominant tonality.
Poulenc rarely used portamento in his writing because
this style would obscure clear diction. Even in the solo songs
he permitted only .a few cases of portamento. Measure thir
teen gives one of the few examples of choral portamento.
=4=;
=E=jT-p-p
On lui
lui don. duu lait ti*' .. d«
lait tit' de dans le fond d'tine
d'une as.siet
as.sn t.. !<•
te
Going from sforzando to piano in one beat is generally dif H".
don. rut
n«t cl
-fl-y
uv A V/ »•/• A//>y
A//« n»lit ,i
r rit*
m 1111/A
m it A hi
/yy 1/ /nul,
r i ii A,, m
in n
a •ti. • /i
1/1 /i cAi
vh\ . . /ni
nn mi
sunii.
. a r,
ficult enough but the composer added the challenge of the f\
^ >> > > J

1
> t

slide. The text allowed this style; the sick boy is angry be E«E
cause he hears the other children playing outside on an even ... ^ V V> ~~P ? -v—^
On lui
lui dnn
don. n. du lait tit*
lait tie _ de
de dans le fond d
d une
uneas.si^t.
as.siet.
,»■.
.
ing in May. ne
uv
uv .Ilr
A '.»r» kl
htm
m M
iiu« /•ri
/»/ mi/A
/«/i/A fc» drink,
to #«
m na
•tup
.tup t'Ai
1A1 .. mi
ii-tsnu
snu.cir,
.n r,
> >
>
> , ii*
1 *
Uf- t
J '1 -i£ —J±=~*E:
On lui
lui don.
don. ru
ne du lait
lait tie
tie. .d«r
de dans le fond d'uru*
d'une as.siet.
a.s.sn-t.ti».
te.

Example 90. "Le hérisson," measures 3-4.

The mezzo line solo which follows outlines the tonic and
dominant of the relative major.

Df
e *— -V—
h ni- Wilt pas s * d«_- _ rou . l»-r nrsfju'il • •/I. tend par.I.m ..

Example 91. "Le hérisson," measures 5-6.

II.*
II**fiUt-nd
entendj(>u»*r
jouer les
!«•> au.lr»
;iu.lr»
The technique of parallelism has come to be a trademark
Example 86. "Le petit garçon malade," measures 11-13.
in these songs, and the culmination is found in the example
of chromatic faux bourdon in all voices in measures 7-8. In
In "Le petit garçon malade" Poulenc gave small solo
lines to the mezzos and to the altos. The alto entrance in the text the children leave the kitchen but peek in to watch
measure 16 demands precision going from the f' sharp to the hedge-hog lift his head. He does this in staccato fashion
in measures 9-10.
the augmented second interval on an e' flat. The altos should
be reminded to hear the soprano e' ' flat.

, A )t , p subito _ /> suflifii 'tvr

si nous quit . tons la cui . II ilion 11. -,.1 i.

if Iff Sti¡jfjrtl out Of thf . 'un his nought y In tut
¡i tii/n'f i (tr> > si .■

II ilion . I iv -,.i i.
nt if uif n/i/iped out of thf Kit chin 'h,„ his inutility h, »,
p mthito \ . . . ' "'"r> 'tr

iii.ii ^ si nous quit-tons la cui - si - in- n mon .tr » i."

sue
sur !•'
trot-toir.
trot.toir. A
A - lors
lors il
il tour,
tour.iic
lit* hi
l.i
Example 92. "Le hérisson," measures 7-9.
Example 87. "Le petit garçon malade," measures 15-18.
There follows an easy alto melody In a tonality of A
The soprano and second soprano thirds continue in mea Major over which the two top voices accompany by singing
sures 18 19, and with a series of major and minor chords, "la," sometimes in thirds (interchanging notes) and occa
cadences from a chain of dominant chords to the tonic using sionally fourths and fifths.

JANUARY 1975 13

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 it was dentistry, then in High School Music Educators Association state con
LETTER TO THE EDITOR the story was to generalize; now in con vention February 6-8 in Cincinnati. This
Dear Mr. Hugoboom: servatory, the plan again is to specialize. year, for the first time, Ohio and Ken
Schools should take the ball at this point, tucky music educators will combine their
I would like to address my comments
in part to the recent article by Mr.
and offer this type of specialized program state conventions.

Bruce S. Browne, The Director of Choral

as they would to the medical students.
Activities at Mount Union College in I would have jumped at the opportunity
to enter such a program as a freshman.
Ohio (article page 16, 1974 Choral Jour
nal). Mr. Browne has a highly sophisti
With the student chorus made up of l^eo¿ec(A
its own conductors, let me propose this
cated organization in that he has a
idea to the ACDA.
chorus of "twenty undergraduate students
You have quite a body of student DANIEL J. BRENNER, Dept. of Music, Gon
which meets three hours per week." This
members, all obviously with a high de zaga U., Spokane, WA 99202 (Head)
group of singers are the conductors of
gree of interest in the choral music and
the group also. They take turns conduct WILLIAM P. PEARSON, Dept. of Music,
conducting field. You also have massive
ing the group, and the choice of litera East Los Angeles Coll., 5357 E. Brooklyn
conventions, of which I highly approve,
ture they perform is theirs. They all have Ave., Los Angeles, CA 90022
and I shall plan to attend some now
the unique opportunity, as undergradu
ates, to conduct the group in concert.
that I am a student member. Why not JOE E. TARRY, Music Department, Cum
have a separate convention for the berland College, Williamsburg, KY 40769
This seems rather rare program to offer
student conductors? Why not have audi
to the student who, by American stand JAMES E. WILSON, Chairman, Dept. of
ards, has not had an undergraduate pro
tions thi'ough tapes and personally for
those living in the Florida area, establish Music, Greenville Coll., Greenville, IL
gram of Music Education or Voice or 62246
a chorus of about 20-24, and let these
Piano or Organ; fields which have little
people conduct and prepare the chorus
relationship to Choral Music. I believe
that this type of program should be
for a concert in the same atmosphere
offered to the serious choral conductors as the professional members. By audi MUSICAL SEASON: A Critic From
of the future.
tion, these people would be able to Abroad in America by Andrew Porter,
manage high-level choral singing as well Viking Press, New York, 1972, 313
My situation should be related at this
as the same level adequacy in conducting. pp.
time. I am a Voice Major at the Eastman
This would foster the kind of education
School in applied voice, here called Opera During the 1972-73 musical season Mr.
Mr. Browne sees as important and the
and Oratorio Major. There have been Andrew Porter, a music critic from Bri
kind of program we as the future choral
four semesters of Opera and one single tain, made the circle of musical events
musicians (which is the term by which
semester of Oratorio as required for in this country from the east coast to
we should be called) should have. This
graduation. Participation in ensembles is some cities on the west coast. Thirty
group should also perform for the main
of course required, and the celebrated seven of the essays written for The New
conventions, to let the professionals see
conductor of the New York Choral So Yorker magazine are collected in this
what the new generation is doing. You
ciety and the Robert De Cormier Singers, volume.
must begin to think along these lines
Robert De Cormier is the conductor of Mr. Porter has a delightful literary
to nurture the continuing high quality of
the choral ensembles. There is no Choral style, easy to read, at times even witty.
choral music we know, and to insure
Music major or conducting degree of that the choral conductors (musicians) His style is an excellent example of
any kind. There are Choral Literature writing for musical criticism. He made
understand and carry on with the tradi
and Sacred Choral Music courses, both an interesting comment about the acou
tions and quality our mentors have estab
ably taught, and choral conducting lished. stics of a hall, for example Avery Fischer
courses taught by Mr. De Cormier. Mr. Hall (formerly New York Philharmonic),
I hope these comments will reach the
De Cormier has tried to establish a as being affected in a listener's mind by
student members through the publication
choral conducting major here, but the of The Choral Journal for their com the color and intensity of lighting. One
School is reluctant about establishing ments and those of the professional mem very illuminating essay — "Bouleverse
new programs in this time of cutting bers. ment", is a comparison of the London
back the basics. I feel fortunate that I and New York musical world including
Thank you for your time and consi
am able to pursue an applied vocal deration. promotion of orchestras and opera com
program, but I would have liked to have panies, budgets, coordinating of concerts,
Very sincerely,
had a double major with choral music programming new works and critical
Gene Albin
as the other half. I have always been commentary.
79 Prince Street No. 1
very fond of the choral repertoire, much His criticism of individual performers
Rochester, New York 14605
more so than opera. A program such and organizations is very frank and even
that Mr. Browne has in motion in Ohio severe, but it is pleasing to have high
seems like one that more schools should praise for some American productions
take into consideration. When I was in William Hamilton, ACDA OF OHIO from the pen of a foreign critic with
Junior High School, I was encouraged President-Elect, is chairman of the an his broad perspective.
to specialize in my career. At that time nual ACDA choral meeting at the Ohio —James E. Wilson

Illllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimmiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

PETITES VOIX . . . keep the spectacular two octave span. Those soprano singers
who find the lower a' more suitable should take it, for only
about three are needed on the top. The open octaves convey
the happiness of the children in thi§ house where "When
Papa finds a hedge-hog he brings him home." (Mamma al
lows the animal to drink milk in her kitchen and the child
ren are gleeful.)
1.1, la, la, la, 1,1, la, la, la, |., |fIi I,, |„ |tli I.,
]>j>p (tr s tfttunpr)

Quand papa trouve un hé

he . ris.son
ri».son H
li l'apporte
l'apporle aà la
la inaiaon, la
la mat
mai MID
non..

|NV>
|NV>>>a étéJf
a H-frnm*t
H' k.m
tm tm
lirrmH»
lirrmHk mt kmmt.
«m*.

fi ■ "f TTi mil Y >■

>. ,,,
iii « ■ "•.

« ~j-J
J 'f
{f ^ f t*
T 1,1 $'E=
| II I'apporte a la maison. Il l'apporte a la maison, la
la mai
mai .
? """ r
>on.
1 | H' lee*' '• /"V *vl M

I't
i't si
si jc
je me
me tuiM
tais un
uii uis
ins .. tant
taut ifl ,, ,I i'|"fI 'TTi
ill 'TTiri rj ij i
Fh - p—i .t, i iu-j j M ¡ * ï * ■
ffr> p

J1 Jl
IT
i r.T 1■*
'1
U, la, la,
la, la.
la, la,
la, la,
la, la.
la. II
II l'apporte
I'apportaa
a la maiton,
maiaon. la mai

Example 93. "Le hérisson," measures 11-12.

The end of the piece brings back the opening soprano Example 94. "Le hérisson," measures 17-20.
melody with an ascending a minor scale in the alto as a
countermelody. Petites Voix ends in open octaves. It is pre Poulenc PETITES VOIX. Copyright 1936 by Rouart, Le
ferable to avoid the harmony note e' ' in the last three to rolle & Cie. Used by permission of Editions Salabert.

14 the choral journal

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