Patti DeWitt Folkerts, DMA SATB. The Choral Virtuoso

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3 Patti DeWitt Folkerts, DMA nd 2 SATB The Choral irtuoso n o i t i Ed

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5 The Singing Musician 2nd Edition A complete and sequential program LEEL ONE: A Good Start! Unison LEEL TWO: Groing Artistry SA, TB, or Mixed LEEL THREE: The Skillful Singer SSA, TTB, SAB, or SATB LEEL FOUR: The Choral irtuoso SSA, TBB, SAB, or SATB Teacher's Editions for each level Supplemental literature for each ook availale on CD Rom Copyright 201 Pulished in the United States of America, Patti DeWitt, Inc, Cedar Creek, TX The pulication, or parts thereof, may not e reproduced in any form y photographic, electrostatic, mechanical, or any other method, for any use, including information storage and retrieval, ithout ritten permission from the pulisher

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7 Welcome choral students! You are aout to emark on a fantastic ourney into the onderful orld of musicianship! When you open this ook, you ill discover many musical adventures Not only ill you learn to sing and to read music, ut you ill also learn tools ith hich you can express yourself in musical performance And it gets even etter! You ill also learn ho to create your on music as ell! So open your minds and hang on! There is a ild and exciting ride aaiting you What you find eyond this page could change your life forever! "Hesitating eteen Music and Art" Painting y Angelica Kaufmann, iii

8 l Acknoledgments L There are many people ho have helped me in the pursuit of the ideal choral textook First of all, I ould like to thank my husand, Ronald Folkerts, ho has tirelessly devoted himself to making my dreams a reality Also my son, oel ohnson, ho has done a lot of the "grunt ork" for me My daughter, Cecelia, spent much time making paintings, taking photographs, and creating many of the graphics in the first edition hich are eing reused in the second My mother, Pat Darnell, has alays een there for me; even in my ildest schemes, a co-conspirator; someone off of hich to ump ideas and ho eagerly contriutes her on talents to my proects My love and appreciation goes to all of my family, most of hom have een nvolved in my pursuits at some level--hether y choice or y (loving) coercion Dr Ronald Yates, my teacher and mentor, has not only graciously contriuted his compositional talents to this proect and others, he has inspired and elieved in me from the first Additional thanks are due my high school uddy, Beth Butler, for her excellent editing skills Not only as she my classmate, ut her father, ames Butler, as my unior high and director and a huge inspiration to me in my pursuing a musical career Kenneth Eastepp once again took domestic responsiilities off my ack and alloed me to complete this proect A oundless expression of appreciation goes to my choral director peers ho have given me the opportunity to pursue educational ventures such as this one, ho have used my products in their classrooms, and have made the Second Edition possile In this edition, it as my goal, not to reinvent the heel, as it ere, ut to offer an improved version of the ooks, ith hatever resequencing and additional clarification and activities ere needed I hope the users ill find that the ooks ill facilitate music literacy skills and other requisite music knoledge even etter than the first edition l Dedication L I have a onderful family That is proaly hat most people ould say aout their families, and that is the ay things should e But sometimes people ho come into your life ho sho amazing love and support for you even though they are not "ound" y lood relationships to do so I ould like to dedicate this ne series to the memory of my stepfather, Daniel Boone Darnell, r, ho supported me for the past 3 years in every possile ay Since I egan this proect of revision, I not only lost my stepfather, ut I also lost my lovely daughter, Cecelia I dedicate this ne series also to her, ho lit up my life ith her smile and vivacity, ho contriuted her talents to its fruition, and ho loved living my dreams ith me iv

9 Meet the Author Patti DeWitt Folkerts is a music educator and composer and living in the Austin, Texas area She has a Bachelor of Music Education degree from Henderson State University in Arkadelphia, Arkansas, a Master of Music from Texas A M University at Commerce, and a Doctor of Musical Arts degree from University of Houston Dr DeWitt taught for 20 years at all levels of vocal music in the pulic schools Since 1991, she has composed many choral pieces for the Texas State University Interscholastic League Sightreading Contest In addition to over 100 pieces pulished y Southern Music Company and Hal Leonard Corporation, Dr DeWitt selfpulishes and markets her on music as ell as her choral sightreading series, Music Literacy for Singers In 200, Dr DeWitt rote the first edition of The Singing Musician textooks Since that time, the series has appeared on state adoption lists in Utah, South Carolina, Georgia, Louisiana, and Texas It is also eing used in many choral classrooms in other states Dr DeWitt has presented orkshops and interest sessions in most of the states in this country She has also presented several orkshops, in Germany and in Italy, for the European Music Educators Association In addition, she has presented many clinics and inservices for school districts and individual classrooms Dr DeWitt continues to provide support for classroom teachers and to compose commissioned choral pieces She also has produced many music education products for all levels, including her Marvelous Music Carpet hich is eing used in music classrooms in the United States, Mexico, and Canada Her passion is aiding choral directors in the classroom to empoer their students to ecome independent successful musicians, and thus to inspire them to ecome the music educators of tomorro aa v

10 l Tale of Contents L Welcome iii Acknoledgements iv Meet the Author v Conducting Patterns viii ohn Curen's Handsigns ix Ancillary Pages I: Introduction A-2 II: Your oice A-6 III: Choral Excellence A-12 I: Musical Careers A-1 : Concert Etiquette (Performance) A-18 I: Concert Etiquette (Audience) A-2 II: Evaluating Music A-27 III: Evaluating Performances A-30 IX: Music and Other Arts A-33 X: Music and Other Suects A-35 Chapter 1: Rhythm Revie Chapter 2: The I, ii, and I Chords 1 Chapter 3: Sixths and Octaves 15 Chapter : Meter Matters 32 Chapter 5: The vi Chord 2 Chapter 6: The 7 Chord 53 Chapter 7: Cadences 76 Chapter 8: "Fi" 81 Chapter 9: "Si" 99 Chapter 10: Other Leading Tones 117 Chapter 11: an Pieterzsoon Seelinck 11 Chapter 12: Modulation 155 Chapter 13: Loered notes 178 vi

11 Chapter 1: Schuert Chapter 15: The Spiritual Chapter 16: Barershop Glossary 235 Index of Poems 22 Index of Songs 22 Index of Composers 22 Orff Areviations 22 IPA Chart 23 General Index 2 Biliography 26 vii

12 CONDUCTING PATTERNS Left hand 3 Right hand viii

13 ohn Curen's SOLFEGE HANDSIGNS for the notes of the scale Loered Notes Raised Notes ix

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15 Ancillary Pages I: Introduction II: Your oice III: Choral Excellence I: Musical Careers : Concert Etiquette (Performance) I: Concert Etiquette (Audience) II: Music Evaluation III: Performance Evaluation IX: Music and Other Arts X: Music and Other Suects A - 1

16 I: Introduction Music is a uniquely human experience Nohere in the animal kingdom do e find rhythm, pitch, timre and intensity all poured together into the creation of musical orks Whereas irds may "sing," their songs are very short and repetitive and specific to their species There are no composers in the animal kingdom: No performers of the orks of others; no musical instruments that have een created; no consuming audience supports such performances On the other hand, every society in recorded human history has had the gift of music hich has served important roles in society Music has lifted voices up together in orship Music has rought helped people celerate the planting, the groing season, the harvest, the arrival of spring, and to commemorate events significant to that particular society, such as irthdays, anniversaries of life-altering experiences, disasters, "miracles," etc Because of the importance of the role that music plays in society, it follos that the individual society ould have significant effects on shaping that society's music The purpose of this chapter is to identify and descrie some of the ays in hich society, culture, and technology have and have had an influencing effect upon music Society and Music: We ill e examining these influencing effects from the folloing perspectives: Ho music has affected societies of the past Ho music affects our modern society Ho music affects my life Written Activity 1 ill guide you through questions concerning music of the past Select a specific era and descrie ho it affected the music that e have today For example, the renaissance of folk music in the 1960s as a direct result of the turmoil that as going on in our society at that time People longed for a simpler and more innocent time, and this as reflected in the folk music resurgence Ironically, the same societal violence also inspired a more violent genre of music, as a different stream rock music turned increasingly "harder"--louder, ith more violent rhythms and more desperate ords Conversely this music had its affects upon our society also It rought people together, inspired them ith a sense of unity of purpose, and made stark delineations eteen the strata of society These to different styles of music compelled people to react in divergent ays: to revolt and violent protest and to live communal lives of "peace and harmony" Written Activity 2 ill guide you through activities that trace the development of a particular stream of music historically For example, the church hymn can e traced ack to the Protestant Reformation and the chorale melodies of Martin Luther and others that ere later harmonized in four parts y composers like ohann Seastian Bach It as the need of that particular society for a particularly Protestant expression of faith that led to A - 2

17 INTRODUCTION -- I the development of the hymn and, thus, for four-part chordal riting, the asis of music music theory education Written Activity 3 deals ith our modern society and the effects that it has on music What are come current issues, trends, or attitudes in our society that affect our interaction ith, participation in, and appreciation of music Culture: The effect of culture on music ill e examined from these different perspectives: What are some primary cultural factors effect a culture's music Ho do a culture's priorities influence its music Ho has the history of a culture influenced its music Ho does one culture compare to another for its influences on music Written Activity provides activities for examining primary cultural factors affecting a culture's music Some factors that might e considered are religion, political ideology, importance of education to that society, censorship, and economic factors For example, the culture of the late Soviet Union forad the consumption of "decadent" music from "the West"--Europe and America Thus there as not a lot of rock music eing produced and consumed in the Soviet Union and its satellites from the 1950s-1980s Can you name and descrie some other factors that have affected music in a culture Written Activity 5 discusses the history of a particular culture and ho its history has contriuted to music in its culture For example, the lending of African cultures ith the Christian religion and the pathos of the slave led to the development of the spiritual Additionally, it as the poverty of the freed slaves--the lack of funds to study music formally--that led to them to teach themselves to improvise hich gave irth to azz In fact, the African influence in the Americas during the eighteenth and nineteenth centuries eventually led to the irth of all of these styles of music: the spiritual, calypso, azz, ragtime, lues, arershop, "Gospel," soul, "Moton," and Dixieland--and more Isolation from other cultures is in itself a factor in the development and preservation of various folk cultures as ell as the development of instruments unique to that culture The folk music of Appalachia is an example of this isolation Bluegrass is a type of folk music grounded in the Appalachian folk tradition Instruments like the mountain dulcimer and the ano are representative of this culture The purpose of Written Activity 6 is to provide a side-y-side comparison of the factors influencing the music of one culture to the factors influencing the music of another For example, ho does the culture of Mexico affect its music, and ho does this compare ith ho the culture of Scandinavia influences the music in its culture Written Activity 7 calls for an assessment of factors in one's personal culture, family or environment that have affected the importance of, the preferences for, the production of, and participation in music in your life A - 3

18 I -- INTRODUCTION Technology and Music: Written Activity 8 provides guidance in exploring the effects of technology on music One ovious effect of technology on music is the emergence of electronic music in the 1960s and 1970s When it as discovered that musical instruments and voices could e synthesized y a computer, there ere many ho thought that the day of live musical concert as over; that instead of eing consumers of pulicly performed music, people ould ecome their on composers, creating their on music electronically instead of paying to oserve the performance of the music of others This has not een the trend, hoever Composers are the ones ho create music electronically, and the consuming pulic still supports them y attending live performances and uying recordings of their music With the invention of the electronic keyoard, it as likeise speculated that the keyoard skills of the general population ould rise, ut the trend indicates that it is ust the opposite, and expertise in keyoard instruments has diminished instead of increased according some piano teachers* Written Activity 9 explores the ays in hich technology has made music more readily availale and of a higher quality for a consuming pulic For example, the development of Doly filters as responsile for vastly improving the quality of a recording Additionally, advances in technology has made it possile to rerecord older performances digitally in order to improve their clarity and to enhance their quality Music education has also een affected y technological advances Written Activity 10 guides research into technology's effects on this field Such technology includes music notation and music theory softare, electronic tuners and metronomes, electronic practice instruments such as drumpads and electronic violins, MIDI and mpg files, not to mention the incredile aundance of musical information availale at one's fingertips on the Internet Comprehension Check: Written Activity 1: Past Society and Music Written Activity 2: Society and the Development of Musical Styles Written Activity 3: Music in our Society Written Activity Influences of Culture on Music Written Activity 5: Historical Effects on the Music of a Culture Written Activity 6: Cultures and Music: A Comparison Written Activity 7: Music in My Culture Written Activity 8: "E-Music" Written Activity 9: Technology and the Music Consumer Written Activity 10: Technology and Music Education * From a personal informal survey Official research surveys ould need to e taken to verify A -

19 INTRODUCTION -- I Write ACROSS THE CURRICULUM: After 1 completing Written Activity Sheets 1-10, rite a paragraph for each of the folloing questions 1 Identify and descrie three ays in hich society affects music Give one example of each 2 Identify and descrie three ays in hich cultural influence have affected music Give one example of each 3 Identify and descrie three ays in hich technology has affected music creation, music performance, the music industry, and music education a L A A - 5

20 II: Your oice LESSON 1: ANATOMY We sing ith our voices--the same system of organs ith hich e speak In fact, singing is speech that is continuous and at specific pitch levels Whereas in speech, our voices are silent for rief periods of time eteen the ords, there are no periods of silence in singing except for notated rests or hen the singer stops to take a reath ocal sounds are made hen the vocal cords in the larynx (or voiceox) are set into viration y the air from the lungs rushing through them )) ) ocal sound The Larynx A Larynx (voiceox) B Trachea (indpipe) C Tongue D Hard and soft palates E Sinus cavity Air from the lungs The sinuses, hard and soft palates, and tongue ork together to shape the size and shape of the mouth cavity affecting the volume and tone quality of the singing sound The diaphragm, a large muscle that separates the lung cavity from the adominal cavity, contracts draing air into the lungs When the diaphragm relaxes, the muscle returns to its domed position high in the ricage and pushes the air out of the lungs and up the trachea The air must pass through the larynx oth reathing in and out A - 6

21 YOUR OICE -- II Air travels up the trachea and through the larynx If the vocal cords in the larynx are taut, they ill virate and set up virations in the air hich the human ear perceives as sound If the vocal cords are relaxed, then they ill not virate This is the reason that e can reathe in and out through the larynx ithout any vocal sound ocal sound occurs hen e consciously tighten the vocal cords and push air through them To understand the perspective of the illustrations, elo, imagine that you are standing ehind someone ho has his head tilted ack and that you are looking don his throat Front Back Relaxed vocal cords (normal reathing) Evenly taut vocal cords (during phonation) The timre, or tone quality, of the vocal sound can e seriously affected if the vocal cords do not meet completely If the vocal cords do not meet precisely during phonation, extra air can escape through the vocal cords, causing the sound to e reathy There can e several reasons that the vocal cords do not meet completely Sollen vocal cords ocal nodes Boed vocal cords Sollen vocal cords are symptomatic of laryngitis This can happen ith allergies, colds, flu, and other minor respiratory illnesses Sollen vocal cords can also happen through overuse or through misuse such as continued screaming or yelling The vocal cords ecome thickened and cannot virate normally Additionally, the cords cannot fully close, so that the resulting sound has a lo, raspy timre If the vocal ause continues over a long period of time, the vocal cords may ecome thickened permanently ocal nodes can occur ith misuse of the voice Nodes are callouses that develop hen the cords do not meet and virate evenly along their full length They ecome thickened and toughened in the spot here they touch most frequently A - 7

22 II -- YOUR OICE Boed vocal cords can occur hen the voice is constantly misused or hen there is a structural prolem All of the vocal prolems aove can e diagnosed and treated only y a doctor If a person has a continued prolem ith a reathy vocal timre, (s)he should consult a physician LESSON 2: OICE TYPES Before adolescence, all normal human larynxes, male and female, are approximately the same size, and thus they produce approximately the same range of pitches--in the trele range Children's choirs are trele choirs, usually made up of oth oys and girls ith the higher and loer parts generally designated ithout regard to gender During adolescence, oth oys' and girls' larynxes gro in size, ut, hereas the female larynx is very close to the size it ill e as an adult, the male larynx ill doule in length to reach its adult size The enlarged male larynx is evident from the exterior and is sometimes called an "Adam's apple" Over a period of a year or to, the male voice ill drop y an octave As the adolescent voices approach maturity, they egin to fall into the categories that they ill remain in in adulthood The higher adult female voices are classified as soprano, hile the loer ones are called alto The higher male voices are called tenor, and the loer voices are asses oices that fall in the middle ranges of the adult male voice are referred to as aritone Although the male voice drops consideraly during adolescence, men are still ale to sing ust as high as omen sing using their falsetto voices In falsetto, only the outside edges of the vocal cords virate as opposed to the hole vocal cord Because a thinner portion is virating, the pitch is much higher than hen the hole vocal cord virates Thus men are capale of singing very high, although the sound ill e thinner than hen they use their "full voices" Write ACROSS THE CURRICULUM: 1 Descrie the processes that occur in the larynx to create vocal sound 2 List and descrie the different voice classifications Comprehension Check: Written Activity 1: The Human oice Written Activity 2: oices A - 8

23 YOUR OICE -- II LESSON 3: OCAL TIMBRE ocal timre is the tone quality of the human voice One type of tone quality that as discussed earlier in this chapter is reathiness or raspiness What is one cause of reathiness in the human voice Anormalities or inflammation of the vocal cords can only e cared for y a physician Other kinds of tone quality prolems can e improved ith proper instruction and practice Breathiness is a common trait of young voices Here are some other common vocal timre prolems: Stridency--A harsh, piercing "edge" to the tone Nasality--A "flat," out-of-tune Dullness--A dark, "salloed" sound Thinness--A small, lifeless sound Breathing, the foundation of good vocal timre Relaxed Diaphragm Contracted Diaphragm Pharynx Tongue Larynx Pharynx Tongue Diaphragm Lung Contracted Diaphragm Expanded Lung The diagrams aove sho hat happens hen the diaphragm contracts and the lungs are filled ith air The diagram elo shos the expansion of the ri cavity and the adomen during inspiration: 1 The adomenal muscles hen the diaphragm is relaxed 2 The adomenal muscles hen the diaphragm is 1 contracted 2 When the diaphragm contracts, it pushes don on all of the organs in the adomen, causing a "pooching" of the loer adomen and an expansion of the ack as ell When these muscles are trained to hold the air in the lungs hen singing, alloing it to escape evenly and steadily (as opposed to pushing the air out), the vocal cords are supported and the tone is steady and clear If the adomenal muscles do not hold and air is pushed out through the vocal cords, it can result in a eating together of the vocal cords hich ill not only lead to a faulty vocal timre, ut ill eventually do damage to the vocal cords, a damage that might ecome permanent A - 9

24 II-- YOUR OICE oel production The next important factor determining tone is voel production oel production is determined y the shape of the mouth and the position of the tongue If voels are produced ith a closed, "smiling" mouth, the tone (or timre) ill suffer and intonation (in-tuneness) ill suffer Closed voels can cause a "flat" or nasal tone Your teacher ill proaly use the expression "drop your a," or use "tall" voels This means that you should open your mouth farther than you think you should to sing each voel The pictures elo sho approximations of the mouth and tongue positions for the five asic voels: (ritten in IPA), i,, a, o, u i (ee) (eh) a (ah) o (oh) u (oo) i (ee)--the tongue is high ehind the teeth; the lips are puckered forard; the a is dropped (eh)--the tongue is slightly farther ack, ut still high; the lips are still puckered forard; the a is dropped further a (ah)--the tongue farther ack, ut still high in the ack of the throat; the lips are pulled forard; the a is fully dropped o (oh)--the tongue comes forard ut is lo in the mouth; the lips are very puckered, shaped like an O; the a is fully dropped u (oo)--the tongue remains forard and lo; the lips fully puckered, shaped like a small o; the a is dropped as far as possile ith a full pucker Practice singing in front of a mirror Beginning singers alays think that their mouths are more open than they actually are Practicing singing these voels in front of a mirror ill help you check your mouth to see if it is open enough and to check to see if your tongue is in the right position Practice singing the literature in front of a mirror so that you can check to make sure every voel is "tall" and "open" In this ay, using tall voels comined ith good deep reathing controlled ith the adomenal muscles, you ill e ale to produce the est possile vocal timre for your voice at this time of your training A - 10

25 YOUR OICE -- II Rememer, every time you sing to demonstrate the est possile vocal timre you can produce through reathing correctly and producing "tall," open voels This is especially important hen you are singing y yourself, ecause no other voices ill e covering your voice; your voice ill stand on its on Write ACROSS THE CURRICULUM: 1 Descrie the events that have to take place in the ody for phonation to occur 2 List the five asic voels and descrie ho each one is properly sung LESSON : OCAL HEALTH Your voice is an organic instrument It is a part of your ody Therefore, it must e taken care of ust like the rest of your ody A healthy voice needs: 1 Sufficient rest Your vocal cords need a good night's sleep in order to e in the est possile orking condition Lack of rest ill tire all of your muscles, and your vocal cords are muscles also Your vocal cords also need rest from usage Overuse of your vocal cords can lead to all kinds of vocal prolems, as shon earlier in the chapter Cheerleading, yelling, talking for an extended period of time, oversinging, singing ithout reath support-- all of these things can overstress your vocal cords and damage your vocal chords, especially ith continuing ause 2 Good nourishment Your hole ody needs good nourishment in order to function properly A diet that is good for your overall health ill also e good for your voice There are some foods that should e avoided efore a maor performance --Icy cold drinks and foods can cause the muscles of the throat and larynx to contract making the muscles sluggish and slo to respond --Salty foods and spicy foods should e avoided ecause they can dry out your throat --Caffeinated drinks and foods--such as coffee, tea, caffeinated sodas, and chocolate--can also cause a mild drying of the larynx --Highly acidic foods or drinks such as lemon uice should e avoided for the same reason Gargling ith salt ater or lemon uice is not recommended Not only is it not effective, (It ill never reach the vocal cords) it can cause a drying out of the vocal cords also 3 Hydration Drinking plenty of ater is one of the est things you can do for your health and for your voice Your vocal cords need lots of hydration Many choral directors have their students carry a ottle of ater ith them for rehearsals A - 11

26 III: Choral Excellence At the time you egin to use this choral textook, you have, presumaly, accumulated many musical experiences along the ay By this time you should kno ho important music is to a society as a hole and to you as an individual In Written Activity 11 you ill e asked to list and decrie your on musical experiences The original musical instrument as the human voice Western music developed from medieval times through the chant of the mass Music as considered only a channel for presenting the Word of God, rather than something to e pleasing to man's senses There ere very strict rules during medieval times concerning riting music for the mass The music must never overshado the text; the text must dominate It as declared idolatrous for music to e appreciated for its on sake, and so the "eauty" of music as not a even a consideration for riting appropriate chant music Whereas it as not desired that the music itself e eautiful, there as concern that the music e sung correctly and in tune Whereas there as a desire that the music not e so eautiful that it distracted the listener from spiritual matters, there as still a need for the music not to e so adly performed that it interfered ith the message Thus egan training the singers to read music, the theory eing that the etter choir could read music, the more easily the singers could learn ne music, the more music they could learn, and the more time could e spent on creating the perfect musical conduit for the mass texts If this as the case in medieval times, ho much more important is music reading to the choral musician today hen music is appreciated simply for its on sake The choir that reads music ill e ale to learn ne more quickly, so that more time may e spent on perfecting the qualities of the choral performance--characteristics such as intonation, tone quality, voel formation, phrasing, alance eteen the sections, lend ithin the section, and musical interpretation--qualities that make the choral performance more than a mere recitation of musical notes, ut a virant stream of emotion that speaks to the human heart FOR CLASS DISCUSSION: 1 Ho important is music in your life 2 Ho important is music in your environment 3 Ho important is music in our society Discuss some events/activities in our society that are inextricaly linked ith music 5 Discuss the vocal instrument In your opinion, does it require more confidence to perform vocally than instrumentally Give reasons for your anser 6 Why is the vocal music tradition significant in Western music history Excellence in Choral Music In Level Three of this series, you ere asked to compile a form for evaluating choral performances Consider this form as you anser these questions: A - 12

27 CHORAL EXCELLENCE -- III 1 Has your opinion changed since Level Three Do you have different ideas aout excellence in choral music than you did hen you filled out the form from Level Three If you have not completed that form, you may do so no y using Written Activity 5 2 Discuss each of the characteristics of choral performance elo Define them using Written Activity Which do you find most important Use Written Activity 5 to place all of the characteristics in rank order from most important (1) to least important (10) to the overall performance 1 Technique (correct notes, rhythms, etc) 2 Intonation (Is the choir in tune) 3 Dynamics (oserving the loudness and softness) Balance (equality of voice parts) 5 Blend (uniformity of voels; no individual voices ) 6 Diction (Clear consonants, pure voels Can the ords e understood) 7 Tone (Full, clear, reathy, thin, eak) 8 Tempo precision 9 Interpretation (Style, musicality, phrasing, ruato, etc) 10 Stage Presence (Appropriate stage ehavior, posture, etc) 3 Consider your most recent choral performance Ho ould you rank this performance using the standards of excellence you developed in the evaluation form Exemplary performances: Sometimes you ill hear a choir that is so outstanding that it almost takes your reath aay What explanation can you give for this What are those singers doing that less exemplary groups do not do Ask your teacher here to find some recordings of some exemplary groups Listen to the carefully What do you hear What do you not hear Can your choir achieve the same choral finesse that this group has Ho Listen to and/or atch some exemplary choir performances y diverse groups Write don in Written Activity 1 hat you oserved Did they do anything that you and your choir could not learn to do given adequate instruction and practice Listen to and evaluate at least 3 performance y different choirs using the evaluation form you developed in Level Three or use Written Activity 5 to develop a ne one Comprehension Check: Written Activity 11: My Musical History Written Activity 12: My Performance History Written Activity 13: Performances Written Activity 1: Characteristics of Excellence a L A A -13

28 I Musical Careers There are hundreds of os in the music industry--from classical performance to church music to recording and selling popular CDs and DDs Activity 1: POST a long anner of paper on the all on hich to make a list of musical careers Add any musical careers the class can think of to the list Leave the list on the all for a several eeks and add to the list as more musical careers are reported DISCUSS these careers in class Which ones are you illing to consider Activity 2: 1 Select one of the careers from your list aove 2 Research your career online Write a paper discussing and descriing your career choice Anser the folloing questions aout your chosen career: A What ill e expected of you in the career you have chosen What kind of services ill you e expected to give What kind of duties ill e expected of you B What preparation is needed for your chosen career (Ho many years What kind of training, formal--school or university--or informal--private lessons, practicing, performing, learning to use softare, etc) Take into consideration that many concert performers train from early childhood C What kind of starting salary can you expect from your chosen career D What are some advantages of seeking the career you chose E What are some disadvantages of seeking the career you chose Activity 3: Intervie a person ith a musical career outside of education You may conduct your intervie either y letter, y , y phone, or in person (Never contact any person ithout your parents' knoledge, permission, and supervision) Written Activity 18 contains some standard questions to ask the person you intervie Add questions specific to the musician you are intervieing and/or your on questions to the list If you are doing an oral intervie ith the person, ask him/her if you can record the conversation so that you can accurately report their ansers Type up your intervie, and share it ith the class A - 1

29 MUSICAL CAREERS -- I ocation vs Avocation: Sometimes people are very much involved ith music ust for the love of music They are involved ith musical activities as a hoy, or an avocation, meaning that they do not make their livings y their musical activities Such activities may include taking music lessons, performing in a community chorus, or uilding a musical lirary Questions for discussion: 1 Can you name some other musical avocations 2 Do you or any memer of your family participate in a musical avocation 3 What is the difference eteen a vocation and an avocation Comprehension Check: Written Activity 15: Musical Careers I Written Activity 16: Musical Careers II Written Activity 17: ocation or Avocation Written Activity 18: Intervieing a Musician A - 15

30 I -- MUSICAL CAREERS A personal letter from the Author of this series: ================================================================ April 200 For those ho may e teetering on the rink of a decision for a musical career, allo me to share my personal professional ackground I as raised in a musical family Music as alays a maor part of our lives My mother as a professional pianist and church organist; one rother played organ, ass guitar, and drums; the other as a fine classical guitarist My little sister and I oth played the piano from a very early age I played clarinet and ooe in my high school and In spite of all these things, I as a very poor performer Not ecause I as incompetent, ut ecause I totally lacked confidence, and henever placed in front of an audience of any kind, my nerves got the est of me Considering this fact, it is an amazing thing that I decided to maor in music In fact, I cannot give you a concrete reason for my decision, except that, I suppose, I hoped that further education ould give me the help me I needed to overcome my insecurity and ecome a etter performer Because performing as hat I thought music as all aout In fact, from my perspective, it seemed that as all the universities cared aout--one had to audition to get into the music program, to perform for the music faculty every semester, to perform on one student recital every year, and to give a senior recital in order to receive the degree All of hich I did, ut, as far as I as concerned, not competently and certainly ithout confidence Some people seem to think that the only careers availale to musicians are either teaching or performing I as one of these people And I as not a performer, so that left only one thing--teaching And so I maored in Music Education, a decision that is treated y some merely as a second est alternative for those ho do not perform ell I have learned that nothing could e farther from the truth It takes ust as much skill and training to teach students to ecome musicians as it does to e a performer Some might say it takes more After I had een teaching for aout 10 years, I as approached y the chairperson of the Texas State (UIL) Sightreading Committee and asked to sumit composed choral pieces for the annual contest And so I egan riting music for pulication in 1990 I had no real experience in composition, ut I decided to try it, and this as a maor turning point in my life Not that I as an instantaneous success and everyone clamored to uy my music Hardly But I did find that, although there is little recompense in riting choral music for pulication, it does ring acclamation from one's musical peers And it led to further opportunities Some of my music as selected for the Texas Prescried Music List and pulished y an international pulishing company I decided to pursue a Doctor of Music Education in 1992 I applied as a composition maor and as declined In 1993, I re-applied and as accepted in the Music Education program--opening more doors of opportunity My doctoral committee approved of my dissertation proposal for a choral sightreading program for eginning choral students A - 16

31 MUSICAL CAREERS -- I So eager ere my choral colleagues for this program that they egan to uy it efore it as finished It is no selling across the country I stopped teaching in 2000 to devote my time to producing and selling my choral music teaching aids My sightreading program as selling ell enough that I as ale to live ithout my teacher's salary Since that time, I have traveled around the country making presentations and giving orkshops on choral sightreading Additionally, I am frequently invited to give staff development orkshops for school districts, to give clinics for individual choirs, to serve as clinician for Honor choirs, and to udge various choral events My point in sharing this ith you Not to oast, ut to sho you that that you can never tell hat opportunities may come your ay And to encourage you to think ig and e illing and ready to pursue your opportunities I am quite sure that my piano professor ho endured my lessons and someho managed to pull a senior recital out of me had no clue of the opportunities I ould have My peers ho seated ith me through my uries and recitals ould e surprised at the good things that have come my ay! I thought that ecause I as not a good performer that I as not a real musician This is ecause no one ever told me ho many ays there are to e a musician and to make a good living from it I as, in fact, discouraged from maoring in music y my grandmother and my rother ecause they could not see any future in it Here are ust a fe of the ays I have made money as a musician: 1 Piano teacher (from age 1) 6 Composer 2 Pulic school teacher (all grades) 7 Clinician--oth locally and nationide 3 Wedding musician 8 udge oice teacher 9 Textook riter76yu 5 Church music director 10 Pulisher I am telling you these things aout myself ecause I had no one ho told me of my on possiilities, or to give me direction in my musical pursuits No one ever encouraged me to rite music I simply did it on as a hoy and later found out, to my surprise, that some others appreciated hat I rote And so I am telling you, in case no one else does, to pursue the things that you enoy doing You have unlimited potential in you There is no telling ho far you can go and ho important your life and ork ill e to our society Even if you do not choose a musical career, pursue your opportunities ith confidence and optimism And if you do choose to earn your livelihood through music, then so much the etter! What could possily e etter than to end up making a living doing hat you love to do Musically yours, Dr Patti a L A A - 17

32 : Concert Etiquette (Performance) Concert etiquette for performers involves ho a choral singer should ehave hile performing This involves every aspect of the performance: deportment efore the concert, hile entering the stage, hile standing on the stage, hile singing, during applause, hile exiting the stage, and after the concert Concert etiquette for the performer varies according to the occasion Etiquette for formal performances differs somehat for etiquette for informal or casual performances It also differs according to hether the performing group is a large ensemle ith a conductor or a small ensemle that is self-directed Belo is a list of appropriate formal concert ehaviors for performers in large ensemles The first thing a singer must do to prepare for a formal performance, large or small ensemle, is to make sure that his/her uniform is clean, pressed, and completely ready for the performance This should e done a day or to efore the day of the performance This includes making sure all parts of the uniform are present, including shoes, ties, cummerunds, vests, and the correct color socks or hose, etc Formal performance techniques for large ensemles: Entering the stage: 1 The stage should e entered as quietly as possile There should e asolutely no talking, not even to give directions to others 2 If the risers are mounted from one side only, they should e mounted from the far side That is, the leader should e the first person on the ack ro of the side farthest from here the choir is entering the stage 3 If the risers are mounted from oth sides, then the leaders should e the centermost singers on the ack ro They should clim each step at the same time and alk across on the top riser and meet in the middle The singers should step on the risers and ascend to the step on hich they ill e standing efore turning to cross to the middle They should not cut across the risers diagonally to reach the step on hich they ill e standing 5 If the singers are using music, the music should e in lack folders and carried at their sides in the hand opposite the one that faces the audience 6 The singers should step lightly on the risers to make as little noise as possile 7 The singers should look around them ithout too much turning of the head to make sure they are here they are supposed to e and that they are spaced evenly If adustments need to e made, they should e made silently and ith as little commotion as possile A - 18

33 CONCERT ETIQUETTE (Performance) -- Before the performance: 1 Stand tall, eight evenly distriuted on oth feet, feet shoulder-idth apart, one foot slightly ahead of the other, and hands to the side 2 The singer may look at the audience at this time, ut as soon as the conductor enters the stage, the focus should e on him/her 3 There is asolutely no talking or interacting or extraneous movement during this time During the performance: 1 The singer does not take his/her eyes off of the conductor from the time the conductor raises his/her hands or aton, to the time (s)he loers it 2 All music should e memorized unless the choir is performing a lengthy ork In hich case, music should e held up so that the singer can see the conductor ust over the top of the music 3 The singer should rememer to move his/her knees slightly from time to time to make sure the lood keeps floing to the rain and (s)he does not pass out (This is not an unusual occurrence in eginning choirs) After the performance: 1 The singers should stand still, face up to the audience and acknoledge the applause 2 They may look at the audience and take the time to reathe deeply, iggle iggle their knees and squeeze their hands to stimulate lood flo, ut this should e done covertly so that it cannot e seen from the audience 3 If it is eteen numers, the singers may egin preparing themselves mentally for the next piece It is not necessary for large ensemles to o in order to acknoledge the applause It is generally etter for the conductor to accept the applause y oing for the hole group 5 If it is at the end of the performance, the singers remain in their places until they receive direction to leave the stage, hich they should do in an orderly manner, one ro at a time, eginning ith the front ro PRACTICE: Descrie and exhiit the performance techniques for large ensemles in formal performances, oth in practice in the classroom and in actual performance Oserve and critique the formal large ensemle techniques of others in your class and for other formal large ensemle performances Formal performances y small ensemles: In general, most of the rules for formal large ensemle performances apply to formal small ensemle performances as ell Entering the stage: 1 The stage should e entered as quietly as possile There should e asolutely no talking, not even to give directions to others 2 Risers are not generally used for small ensemles If risers are used, they should e mounted according to the rules for large ensemles 3 The singers should step lightly and enter the stage ith as little noise as possile The singers should look around them ithout too much turning of the head to A -19

34 -- CONCERT ETIQUETTE (Performance) make sure they are here they are supposed to e and that they are spaced evenly If adustments need to e made, they should e made silently and ith as little commotion as possile Before the performance: 1 Stand tall, eight evenly distriuted on oth feet, feet shoulder-idth apart, one foot slightly ahead of the other, and hands to the side 2 The singers may look at the audience to acknoledge the applause at this time, ut they should then directly or indirectly focus on the leader of the ensemle for pitches and/or the starting gesture During the performance: 1 During the performance, the memers of the small ensemle should find to or three different focal spots slightly over the heads of the audience and change their focus every fe seconds 2 At places hich have changes in tempo and as the end of the piece dras near, ensemle memers should refocus on the leader for any ritards or other tempo changes, as ell as the final cut-off After the performance: 1 The small ensemle may stand and acknoledge the applause or o, depending upon hat has een pre-decided and practiced 2 After the applause has een acknoledged and has faded, the small ensemle should exit the stage in a quiet and orderly manner PRACTICE: Exhiit performance techniques for small ensemles in formal performances, oth in the classroom and in actual performance Oserve and critique others in formal small ensemle performances Descrie your findings Write ACROSS THE CURRICULUM: 1 Descrie concert etiquette for large ensemles in formal performances 2 Descrie concert etiquette for small ensemles in formal performances 3 Discuss the differences After oserving and critiquing large and small ensemles in informal performances: Descrie performance techniques that you oserved and critiqued for each group 5 Write suggestions for improvement of these performance techniques A - 20

35 CONCERT ETIQUETTE (Performance) -- Informal performances y large ensemles: It is appropriate to follo all of the rules for formal performances in informal settings But it is not appropriate to take the lierties alloed for informal performances in a formal performance situation In general, the rules for performance etiquette remain much the same for informal performances as they are for formal performances Hoever, in informal settings, the singers may e a it more relaxed in their ehavior Before the performance: 1 Because an informal performance may or may not involve the use of risers or entering a stage, the teacher must decide ho to organize the ay the singers ill stand If possile, this should e practiced eforehand If not, then the singers must stand in an orderly and quiet ay, aiting for instructions 2 Students must follo instructions silently Since there is a likelihood of more interfering noise in an informal situation, it is even more important that singers remain quiet so that all can hear their director's instructions They should not take it upon themselves to try to tell other singers hat to do, ut merely to stand quietly so that the rest of the choir can hear the director's instructions During the performance: 1 During an informal performance is it particularly important for a large ensemle to stay focused on its director The chances of more motion and commotion in the audience is greater in an informal performance, and the individual singer must stay focused no matter hat interference may occur in the audience 2 There is a chance that the audience may choose to participate during an informal concert y either clapping to the eat or y oining in the singing The singers should e prepared for this possiility so that they are not taken y surprise if it should happen 3 Informal performances should alays e memorized Carrying music folders are an inconvenience that can e avoided After the performance: 1 If the director has not given specific instructions aout hat to do, singers should remain in their places folloing the performance 2 If the performance is in a pulic place, such as a shopping mall, students should rememer that as long as they are in pulic in their school uniforms, they are the school's representatives and should e on their est ehavior PRACTICE: Exhiit performance techniques for large ensemles in informal performances in the classroom and in actual performances Oserve and critique other groups in informal large ensemle performances Descrie your findings A - 21

36 -- CONCERT ETIQUETTE (Performance) Informal performances y small ensemles: Before the performance: 1 The memers of the small ensemle must kno ho to stand efore they go to place of performance When they arrive, they should either sit or stand quietly in and ait for their performance cue 2 When it is time to perform, they should go straight to their places ithout discussion During the performance: 1 During an informal performance is it particularly important for a small ensemle to stay focused on its music It is also important that the singers open their mouths and sing out, as there may e noise interference that they ill have to compete ith Whatever happens, the singers must remain focused and keep on performing no matter hat interference may occur in the audience 2 There is a chance that the audience may choose to participate during an informal concert y either clapping to the eat or y oining in the singing Singers should e prepared prepared for this possiility so that they are not taken y surprise if it should occur 3 Music for informal performances should alays e memorized Carrying music folders is an inconvenience that can and should e avoided While memers of a small ensemle may focus more on the faces of the audience and even glance at each other during an informal performance, they should not do anything to reak their concentration in performing the music to the est of their aility If they ish to look at the faces of the audience and/or at each other, they should practice doing this efore the informal performance In casual performances, the singers should follo the guidelines for informal performances Even if their director allos them to e more relaxed in the performance, they should stay focused on giving the est performance possile under the circumstances, keeping in mind that people ill possily e coming and going and conversing hile they are singing They must not allo the commotion distract them from their est performance of the music PRACTICE: Demonstrate performance techniques for small ensemles in informal performances in the classroom and in actual performances Oserve and critique the informal performances of other large and small ensemles Descrie your findings Write ACROSS THE CURRICULUM: 1 Descrie concert etiquette for large ensemles in informal performances 2 Descrie concert etiquette for small ensemles in informal performances 3 Discuss the differences Discuss casual performances What things might one expect in casual performances After oserving and critiquing large and small ensemles in informal performances: 5 Descrie the performance techniques you oserved and critiqued for each group 6 Write suggestions for improvement of these performance techniques A - 22

37 CONCERT ETIQUETTE (Performance) -- Comprehension Check: Written Activity 19: Formal Large Ensemle Performances Written Activity 20: Formal Small Ensemle Performances Written Activity 21: Informal Large Ensemle Performances Written Activity 22: Informal Small Ensemle Performances Written Activity 23: Performance Techniques I Written Activity 2: Performance Techniques II Written Activity 25: Performance Techniques III Written Activity 26: Checklist/Small Ensemle Formal Written Activity 27: Checklist/Large Ensemle Formal Written Activity 28: Checklist/Small Ensemle Informal Written Activity 29: Checklist/Large Ensemle Informal Written Activity 30: Critique Form/Small Ensemle Formal Written Activity 31: Critique Form/Large Ensemle Formal Written Activity 32: Critique Form/Small Ensemle Informal Written Activity 33: Critique Form/Large Ensemle Informal Written Activity 3: Written Critique Form for Performance Techniques a L A A -23

38 I: Concert Etiquette (Audience) Choir memers should not only e responsile performers, they should also e good oservers There are some guidelines that need to e folloed in order that the audience give proper respect for those ho are performing Although the guidelines may vary slightly for formal, informal, or casual performances, the asic respect for the performer is at the center of all audience etiquette Sho that you understand appropriate audience etiquette y demonstrating these guidelines in the classroom setting Then it ill e easy for you to demonstrate them hile oserving live performances Audience etiquette for formal performances: Before the performance: 1 Dress appropriately The audience should ear dress clothing for formal concerts 2 Be on time There should e no seating after the performance egins and until the applause after the first numer 3 Take care of personal needs efore the concert Do not expect to e ale to go to the restroom or get a drink during the concert Pick up a program efore you enter the auditorium 5 Do not sit eside those ho ill tempt you to talk to them 6 Do not seat-hop Find a seat and keep it 7 If you come in late, ait to enter until the first applause Then enter quietly and take the first availale seat During the performance: 1 Asolutely no talking! 2 Do not exit the auditorium except in case of emergency; and in that case, exit only during the applause 3 You may follo along ith the program if there is enough light, ut do not rattle it or use it as a fan Sit upright and give the performers your full attention 5 Do not ave to the performers on stage 6 Sho your appreciation for performance ith applause 7 Do not applaud eteen movements of a larger ork Wait until the conductor loers his/her hands or aton efore applauding 8 Do not histle or yell during the applause 9 You may stand during the applause if you think the performing group has given an exceptional performance 10 Do not make faces or negative comments aout performances in the concert hall A - 2

39 CONCERT ETIQUETTE (Audience) -- I After the performance: 1 Applaud as long as you ish 2 If you have floers for a soloist or for the conductor, you may take them up to the stage after the choir is finished performing 3 Do not go up on the stage until the choir has completely exited Congratulate the conductor and the singers on a successful performance PRACTICE: Demonstrate appropriate audience ehaviors for formal performances, first in the classroom and then in oserving live performances Audience etiquette for informal performances: Before the performance: 1 Be on time Even though informal performances are more relaxed, one should still do as little as possile to distur the performance 2 Take care of personal needs efore the concert so that you do not have to miss part of the performance or distur the performers y leaving early Performers might think that you alked out on their performance ecause you do not like it; so make every effort to avoid this 3 Do not seat-hop Find a seat and keep it If you come in late, ait to enter until the first applause During the performance: 1 Do not talk during the performance--sho the performers the same respect that you ould ant them to sho you 2 Do not leave the performance except in case of emergency; and in that case, exit only during the applause 3 Give the performers your full attention Sho your appreciation for the performance ith applause 5 Do not histle or yell during the applause 6 You may stand during the applause if you think the performing group has given an exceptional performance 7 Do not make faces or negative comments aout the performance in the concert hall After the performance: 1 Applaud as heartily as you ish (ut no cat-calls or histles, please) 2 Congratulate the conductor and the choir on a successful performance PRACTICE: Demonstrate appropriate audience ehavior for informal performances, in the classroom and as ell as hen oserving live performances In casual performances, the guidelines for audience response are fairly relaxed In general an oserver should follo the guidelines for informal performances and treat the performers in the same ay as they ould ish to e treated: Avoid talking near the performance, pay attention to the performance, alk out or aay only during applause, etc A - 25

40 I -- CONCERT ETIQUETTE (Audience) Write ACROSS THE CURRICULUM: 1 Descrie audience etiquette for formal performances 2 Descrie audience etiquette for informal performances 3 Discuss the differences Discuss casual performances What are some things to rememer aout casual performances Comprehension Check: Written Activity 35: Audience Etiquette for Formal Performances Written Activity 36: Audience Etiquette for Informal Performances a L A A - 26

41 II: Evaluating Music As choral musicians, you ill e singing many different types of music Some of the music you ill like very much; some of it you may not enoy as much Everyone has tastes in music; there is nothing rong ith this The purpose of this chapter is to lead you into evaluating your on taste in music, to develop musical reasons for liking or disliking a piece, to evaluate music as to hat kind is est for specific situations, and the determine overall artistic value of a piece of music to you We ill start ith an evaluation of your on current taste in music Everyone has his on personal tastes, ut one of the purposes of music education is to teach the elements of music in order to empoer students to learn to appreciate various styles of music This eing the case, it is likely that your taste in music ill e modified y ecoming musically literate Not that you on't like the music you enoy no, ut that you ill roaden your repertory and ill learn to enoy many kinds of music Written Activity 37 ill guide you through an analysis of your favorite music and, hopefully, provide some musical insights as to hy you like it After you completed Written Activity 37, hat did you find out aout your primary reasons for liking a piece of music Were they musical Were they mainly nonmusical, such as lyrics, personality of the performer, or sentiment aout circumstances surrounding the piece or your hearing it From this point on, you ill e asked to evaluate music simply from a musical standpoint You ill e using the criteria given in Activity Sheet 37, plus any criteria you ould like to add, to create your on form for evaluating the quality and effectiveness of music that you listen to or perform First of all, you ill need to decide ho to divide the 100 possile points for your evaluation form eteen quality and effectiveness You may may ish to divide them 50/50 Make your decision after studying the meaning of oth quality and effectiveness Quality: What is meant y quality in music Look up the ord in a dictionary Ho does it relate to music Effectiveness: What is meant y effectiveness in music Look up the ord in a dictionary Ho does it relate to music Questions for discussion: Ho do quality and effectiveness in music relate to each other Can quality music e noneffective Can effective music lack in quality To hat degree is the quality and effectiveness of a piece of music dependent upon the performance of it A - 27

42 II -- EALUATING MUSIC Which musical qualities (modality, melodic line, tempo, rhythmic interest, harmonic interest, dynamic changes, etc) contriute the most to the quality of a piece of music Which musical qualities (modality, melodic line, tempo, rhythmic interest, harmonic interest, dynamic changes, etc) contriute most to the effectiveness of a piece of music Using the musical qualities you defined in Written Activity 0, use Written Activity 1 to create your on form for evaluating the quality and the effectiveness of a piece of music You ill e using this form to evaluate the choral music you learn in this ook, in the literature that accompanies this ook, and other choral music Here are the terms you ill e using on your form Discuss in class the relationship eteen each of these terms and the quality and the effectiveness of a piece of music: Melodic line Modality (Maor/Minor) Meter/eat Tempo Dynamic levels/contrasts Style Rhythmic interest Harmonic interest Accompaniment/Instrumentation Lyrics Set up a ranking scale for the total score for a piece of music For example if the total score falls eteen and is evenly divided for quality and effectiveness, you may ish to lael that category, High quality/ery effective Or for an evenly divided score eteen 85 and 95, Good quality/effective, etc Be creative! Additionally, at the ottom of each form, make a place to rite in the type of performance setting in hich the piece ould est fit, such as formal concert, informal concert, pop sho, small ensemle, etc Type your form up on a computer so that you can make copies of it to use throughout the year If at any point, you ecome dissatisfied ith your form, talk to your teacher aout ho you think you could improve it Music Selection Exercise your on taste and udgment in music selection y using the form provided in Written Activity 2 to plan a formal concert, and use the form in Written Activity 3 to plan an informal performance ith large and small ensemles Ask your teacher to provide literature for you to consider Some things that you should take into consideration hen planning a choral concert: 1 Literature appropriate for the skill level of the individual performing groups 2 Literature appropriate for the occasion of the concert (holiday, etc) A -28

43 EALUATING MUSIC -- II 3 Literature that represents various styles Literature that represents various moods 5 Literature that represents various historical periods 6 Literature that represents various types (for example, a cappella, accompanied) 7 "Openers" that ill gra the attention of the audience 8 "Closers" that have a special audience appeal Rememer that it is a good idea to alternate slo and energetic pieces on the concert so that audience attention is maintained Also, you may need to allo for soloists and other students ho may e required to change places on stage eteen pieces, so that movement ill e minimized as much as possile Comprehension Check: Written Activity 37: My Taste in Music Written Activity 38: Evaluating Music Written Activity 39: Evaluating Music II Written Activity 0: Quality and Effectiveness Written Activity 1: Create an Evaluation Form Written Activity 2: PYOC! Written Activity 3: Plan an Informal Performance a L A A - 29

44 III: Evaluating Performances Write ACROSS THE CURRICULUM: A Write an essay in your on ords on hat makes a good choral performance B Discuss your conclusions in class udging choral performance: 1 Belo is a list of qualities that are exhiited (to some degree or other) in choral performances Discuss each of these qualities ith the class Are some of these qualities more important (asic) than others 1 Technique (correct notes, rhythms, etc) 2 Intonation (Is the choir in tune) 3 Dynamics (oserving the loudness and softness) Balance (equality of voice parts) 5 Blend (uniformity of voels; no individual voices ) 6 Diction (Clear consonants, pure voels Can the ords e understood) 7 Tone (Full, clear, reathy, thin, eak) 8 Tempo precision 9 Interpretation (Style, musicality, phrasing, ruato, etc) 10 Stage Presence (Appropriate stage ehavior, posture, etc) 2 Discuss each of the terms, aove, in terms of its significance to: A The quality of the choral performance, and, B The effectiveness of the choral performance 3 What is the difference eteen the quality of a choral performance and the effectiveness of one Can you have quality ithout effectiveness Can there e effectiveness ithout quality Oserve and evaluate at least 3 different choir performances using the form you create ith Written Activity 5 You may also use them in the classroom for large or small group or solo evaluations In addition to (or in place of) the evaluation, give further constructive suggestions for improving specific aspects of the choral performance as that are recorded as needing improvement on the evaluation form A -30

45 EALUATING PERFORMANCES -- III Not only is it important for choral musicians to e ale to evaluate the performance of choirs, (s)he must e ale to evaluate the quality and effectiveness of his/her on performance also The form on Written Activity 6 allos the individual student to evaluate his or her on solo or small ensemle performance This form may e used henever a student is called upon to perform solo or in a small ensemle, in the classroom as ell as in a formal or informal concert or recital Record yourself hile performing Before you listen to or atch the recording, fill out the self-evaluation form in Written Activity 6 Then atch or listen to your performance, and fill out a second self-evaluation form ithout consulting the first Compare the to evaluation forms Were they alike Or ere there some significant differences When filling out the form, after totaling your score for each of the characteristics listed on the form, give yourself a rating for overall quality and effectiveness (A lo total score should not result in high quality and effectiveness scores, nor should a high total score result in lo quality and effectiveness scores) Also make some notes for improvement for your next performance Turn these evaluations in to your teacher for safe-keeping so that you may revie them all at the end of the year to gauge your progress Comprehension Check: Written Activity : Performance Evaluation Written Activity 5: Create a Critique Form Written Activity 6: Self-Evaluation Evaluating small ensemle performances: The same form you created for choral performances may e used to evaluate small ensemles The thing you must rememer aout evaluating small ensemles is that there are many feer voices responsile for making the sound Therefore, each memer of the small ensemle has a greater level of personal involvement in their performance Thus, care must e taken not to unduly discourage the individuals involved In such cases, one must determine hether it is est to evaluate small ensemle performances ith an oective (and cold) evaluation form, or to simply give constructive suggestions for the improvement of the performance In such a case, egin y identifying to or three positive aspects of the performance Then address only a fe negatives-- three to five at the most Select the factors that you are most ale to address in a ay that ill e eneficial to the group For example, delling on ovious defects such as memory prolems ill not contriute to the overall groth of that ensemle Instead, focus on issues such as voel production in hich your advice can, if folloed, make a significant difference to the performance of the ensemle A -31

46 III -- EALUATING PERFORMANCES Evaluating solo performances: Oserved solo performances may e evaluated ith the form presented in Written Activity 6 for self-evaluation Again, this evaluation form is designed to e oective Soloists are even more likely to e sensitive to criticism than memers of small ensemles Thus the evaluator needs to determine the usefulnes of such a tool to evaluate a soloist When it is required that one use such a form, one needs to carefully consider the impact that assigning numers to a performance ill have on the soloist The evaluator may ish to push the norm up so that no singer ill get less than a score of 50 for example It could e devastating to a young soloist to receive a very lo score So, if given the choice, a veral or ritten critique might serve the situation etter than a coldly oective form If you have to evaluate a soloist in this manner, make sure you: 1 Find to or three positive things to comment upon; 2 Make your positive comments first; 3 Address only the most glaring prolems, and address them in a constructive ay Exemplary performances: Oserve or listen to some exemplary choirs in performance Using this performance as a standard, compare the performances of other choirs, including recorded performances of your on choir Comprehension Check: Written Activity 7: Exemplary Performances I Written Activity 8: Exemplary Performances II A -32

47 IX: Music and Other Arts The "fine arts" are often set aside from other disciplines They are referred to as expressive, creative, or "right rain" suects, and often set apart from the other "academic" suects The arts have an important part to play in our society, and so it ould follo that they are important to the education of every child that lives in this society Additionally, the arts give us not only the aility to express ourselves in creative and imaginative ays, ut they also encourage us to seek creative ays to solve prolems in all areas of our lives Traditionally, the "fine arts" include music, visual art, theatre, and dance Some include literature ith the fine arts also CONCEPTS: There are to aspects of the fine arts that e ill e discussing First of all, are the concepts involved in the different fine arts disciplines One example is time Music, dance, and theatre are arts that exist in time Space ould e another concept isual art, dance, and theatre are arts that exist in space These are to fundamental concepts hich have many sudivisions One sudivision of the concept of time ould e tempo, or speed Another ould e duration One sudivision of space ould e height Another ould e readth Small group discussion: In small teams, ork together to identify concepts of the various arts Use the partial list in Written Activity 50 to start you off Add concepts to the list, and then identify the fine arts that incorporate that particular concept CONTENT: Content refers to the actual suect matter that is taught in a course of study Examples of content for music ould e note values, pitch notation, music reading, etc Content for theatre ould include acting, set design, lighting, etc Discuss the different areas of content for the different arts and ho they compare or differ from those of music Small group discussion: In small teams, ork together to identify maor points of content of the various arts Use Written Activity 51 List the content and sho ho the content of one art relates to that of the other arts A - 33

48 IX -- MUSIC AND OTHER ARTS PROCESS: Process is the ay in hich content is delivered Process involves the sequence in hich content is presented or skills are learned, the manner in hich it is presented, and the activities that are used to convey the content Small group discussion: In small teams, identify some key process elements in each of the arts presented Written Activity 52 ill help you identify process elements for each of the fine arts and to compare them to each other and to music Write ACROSS THE CURRICULUM: 1 Write a short paragraph discussing the difference eteen the concepts, the content, and the processes of courses of study 2 Write a rief essay descriing ho concepts of other fine arts are similar to those of music and ho they are different 3 Write a rief essay descriing ho content of other fine arts is similar to that of music and ho it is different Write a rief essay descriing ho processes of other fine arts are similar to those of music and ho they are different Comprehension Check: Written Activity 9: Concept, Content, Process Written Activity 50: "Concept" in the Fine Arts Written Activity 51: "Content" in the Fine Arts Written Activity 52: "Process" in the Fine Arts Written Activity 53: Music vs other Fine Arts a L A A - 3

49 X: Music and Other Suects The purpose of this chapter is to explore the relationships eteen music and other suects The characteristics to e considered are concepts, content, and process CONCEPTS: There are to aspects of the fine arts that e ill e discussing First of all, are the concepts involved in the different disciplines One example is fractions Fractions are an important math concept incorporated y music in the fractional relationships of the durations of different notes Another concept in music is that of rhythm Rhythm is also important in riting poetry and in physical education Small group discussion: In small teams, ork together to identify concepts of the various suects Use the partial list in Written Activity 5 to start you off Add concepts to the list, and then identify the suects that incorporate that particular concept CONTENT: Content refers to the actual suect matter that is taught in a course of study Examples of content for music ould e note values, pitch notation, music reading, etc Content for English ould include literature, grammar, reading, etc Discuss the different areas of content for the different suects and ho they compare or differ from those of music Small group discussion: In small teams, ork together to identify maor points of content of the various suects Use Written Activity 55 List the content and sho ho the content of one suect relates to that of music and other suects PROCESS: Process is the ay in hich content is delivered Process involves the sequence in hich content is presented or skills are learned, the manner in hich it is presented, and the activities that are used to convey the content Small group discussion: In small teams, identify some key process elements in each of the arts presented Written Activity 56 ill help you identify process elements for different suects and to compare them to each other and to music A - 35

50 X -- MUSIC AND OTHER SUBECTS Write ACROSS THE CURRICULUM: 1 Write a short paragraph discussing the difference eteen the concepts, the content, and the processes of courses of study 2 Write a rief essay descriing ho concepts of other suects are similar to those of music and ho they are different 3 Write a rief essay descriing ho content of other suects is similar to that of music and ho it is different Write a rief essay descriing ho processes of other suects are similar to those of music and ho they are different Comprehension Check: Written Activity 5: Music and Other Suects (Concepts) Written Activity 55: Music vs Other Suects (Content) Written Activity 56: Music vs Other Suects (Process) a L A A - 36

51

52

53 Ï Ï Ï Ï 1: Rhythm Revie This chapter is a revie of the rhythmic elements presented in the first 3 levels of this series Refer to any of these if further instruction is needed 1 2 Ï Ï Ï Î ú Ï Ï Î Ï Ï Ï î Ï Ï Ï ä Ï Ï Î Ï Ï Ï Ï Ï READ the folloing rhythmic exercises in canon, in retrograde, and in harmony Conduct as you read, and place a slight accent on the first and third eats of the measure Perform each exercise ith ody percussion or on traditional or improvised instruments Ï Ï Ï Ï Ï Ï Ï ú 3 Ï Ï Ï Ï Ï Ï Î Î Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï ä Ï Ï Ï î Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Ï Ï ä Ï Ï Ï Ï ÏÏÏÏÏÏÏÏÏ Ï ÏÏÏ Ï Ï ÏÏÏ Ï Ï Ïú Î ÏÏÏÏÏ ÏÏ Î Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ä Ï ú ú ä Ï Ï Ï Ï Ï Ï Ï Ï î Ï ÏÏÏ Ï ä Ï Ï Ï ÏÏÏÏÏÏ Î ÏÏÏ Ï Ï ÏÏÏ ÏÏÏ ÏÏÏÏ Ï Î 8 Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï READ the folloing rhythmic exercises in canon, in retrograde, and in harmony Conduct as you read, and place a slight accent on the first eat of the measure 1 3 Ï Ï ä 3 Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î 3 ú Ï Ï Ï Ï 3 Ï Ï Ï Ï Ï Ï Î Î Ï Ï Ï Ï Ï 3 Ï Ï Ï 3 Ï Ï Ï Ï Ï ä Ï Ï Ï Ï Ï 3 Ï Ï 3 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 1

54 1 -- RHYTHM REIEW Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï ä Ï Î Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 3 3 Ï Ï ÏÏ Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï Ï 3 Ï Ï Ï Ï Ï Ï Ï Ï 3 Ï Ï Ï ä Ï ä 3 Ï Ï Ï Ï Ï Ï Ï Ï Î ÏÏÏÏ Ï Ï î ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï ä Ï Ï Ï Ï 6/ Meter: 1 6 Ï Ï Ï Ï Ï ú Ï Ï Ï Ï 3 Ï Ï Ï Î Ï Ï Ï Ï Ï Ï Ï Î ä Ï Ï Ï Ï Ï Ï Ï Ï Ï Î ú Ï 2 Ï 6 Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï 3 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 3 Ï Ï Ï Ï Ï Ï Ï Ï Ï ä Ï Ï 3 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ä 3 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 3 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ä Ï Ï 3 Ï Ï Ï Ï Ï Ï Ï Ï 5 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Ï Ï Ï Ï 3 Ï Ï Ï 3 Ï Ï Ï Ï Ï Ï Ï Ï Ï 3 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï 5 ÏÏÏ Ï 5 ú Ï 3 Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï ÏÏÏ Ï Ï Ï Ï Î Ï Ï Ï Ï 3 Ï Ï Ï Ï Ï Ï Ï Ï 3 Ï Ï Ï Ï ÏÏÏÏÏÏ 6 5 Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï ÏÏ 3 Ï Ï Ï Î Ï Ï ÏÏÏ Î Ï ÏÏ Ï Ï Ï Ï Ï Ï ÏÏÏÏ Ï 3 Ï Ï Ï 3 3 Ï Ï Ï Ï Ï Ï ä Ï ú 3 Ï Ï Ï 3 Ï Ï Ï Ï Ï Ï 2

55 Write out the rhythm for this poem Write it out in or time Use music notation softare to accomplish your task The Prickly Pear The prickly pear's an amazing plant, A fact that you may kno It seems to me there is no place That the prickly pear on't gro On a snoy hill, in the desert sun, In a sand dune y the sea On the aseall field, On the cattle range, Underneath your favorite tree The prickly pear can often e A most unelcome guest It seems that here you don't ant it to e- That's here it gros the est! So here's to the prickly pear, and to it's prosperity, And to the secret of its success: Its dogged tenacity! 3 Patti DeWitt RHYTHM REIEW -- 1 Add pitches to the rhythms you rote to make a song Pencil Time : Activity Sheet 1: Rhythm Revie Activity Sheet 2: WYOS* Activity Sheet 3: Musical Math 8 Write ACROSS THE CURRICULUM: Write a poem y adding ords to fit the folloing rhythmic patterns: 3 Ï Ï Ï Ï Ï ú Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï ú * Write your on song 3

56 2: I, ii, I, and Chords Sing the folloing arm-up exercise of the I, ii,, and I Chords Which chord is in hich measure Determine each of the chords in the exercises elo (vertically) Sing the line your teacher tells you to sing in the exercises elo: A B C 1 S S L S T T D 2 M M F M S R M 3 D D D D T S S D D F D S S D I 1 D D R R M R T D 2 M F F S S F R M 3 S L L T D L S S D F R S S R S D I 1 D M R D L F S D 2 S S F M F R R M 3 M D L D D R T S D D R S F L S D I ANALYZE: Do a chord-y-chord (vertical) analysis of the exercise elo The first measure has een analyzed for you Sing the exercise Example 1 I

57 I, ii, I, and CHORDS -- 2 Roots The root of the chord is the note upon hich it is ased The root of the I chord is Do The root of the chord is So What is the root of the I chord The ii chord Thirds The third of the I chord is Mi The third of the chord is Ti What is the third of the I chord The ii chord Fifths What is the fifth of the I chord The chord The I chord The ii chord Copy the tale elo and finish filling it out I chord chord I chord ii chord Root Do So Third Fifth All three notes of the triad need not e present for a chord to e analyzed as a I,, I, or ii chord In most cases, if the root is present in to or more voices and the third is present in one voice, it is enough evidence to call it y the name of the root Look at the last chord in Example 2 Notice the final chord contains 3 Gs (Dos) (soprano, alto, ass voices) and one B (Mi) (tenor) Even though So is missing, the other notes are sufficient to qualify the chord as a I chord Read the exercise and see if you agree Example 2: I I Finish analyzing the chords of Example 2 5

58 2 -- I, ii, I, and CHORDS Nonharmonic tones In harmonic analysis, all notes must e accounted for A nonharmonic tone is a note that sounds simultaneously ith chord (harmonic) notes ut is not actually a part of the chord Belo are some common nonharmonic tones found in choral music 1 Neighor notes: A neighor note is a note that falls eteen 2 other notes of the same pitch Notice in Example 3, the soprano part in the last eat of measure 3 contains 2 eighth notes, A and G (Mi and Re) The A (Mi) falls eteen to Gs (Re) The A (Mi) is a nonharmonic neighor note ecause it does not elong to the chord (the Chord) formed y the notes in the other three voices on the eat The G, (Re) hoever, hich falls on the last half of the eat is a part of the chord Neighor notes can e either upper (in this case) or loer Example 3: 2 Passing tones A passing tone does ust hat its name says--it passes from one note to another in a scaleise manner For example, there are eighth notes on the third eat of the measure 7 of Example 3 The note on the eat, C (So), is a harmonic note; that is, it is part of the Chord The second eighth note, D (La) hoever, is not a memer of the Chord or the chord on the next eat (hich is also a Chord) And so the D (La) is a nonharmonic tone, a passing tone In this case, since it is on the last half of the eat and not on the eat itself, it is an unaccented passing tone 6

59 I, ii, I, and CHORDS -- 2 If the passing tone falls on the eat, it is called an accented passing tone In the first measure of Example, there are 2 accented passing tones on the second eat--one in the soprano voice, and one in the tenor Their function is to pass eteen to notes of the I chord Example 3: 7 3 Suspensions A suspension is a note (or notes) held over from the previous chord On the first eat of the last measure of Example Fa and Ti (C and F ) are held over from the previous chord and ultimately resolved on eat 3 to harmonic notes of the I Chord (Do and Mi), Fa resolving don to Mi, and Ti up to Do Anticipations Anticipations are notes that sound efore the rest of the chord Notice the Do is heard in the soprano line 1/2 eat efore the rest of the I chord is heard in the other voices Example :

60 2 -- I, ii, I, and CHORDS 5 Appoggiaturas An appoggiatura is a nonharmonic tone that is approached y a leap and resolved y a step in the opposite direction to the nearest harmonic note In Example 5, the note pointpurpledontif on eat 3 in the soprano voice, C (Re), is not in the I Chord, ut the note to hich it resolves on the next eat is, the tonic of the I Chord (Do) Example 5: B 6 Pedal point A pedal point occurs hen one voice part (usually the ass) holds to a single note and the other voices continue in their harmonic progression over it The pedal point in the Example 6 occurs hen the note F (So) is sustained in the ass line from measures 5-7 These are six examples of nonharmonic tones, notes that may sound at the same time as harmonic notes--notes in particular chords--ut are not a part of that specific chord This ill help you in your analysis of the music that you ill e learning in this ook Read all of the examples again, paying close attention to the chord structure and the nonharmonic tones that are used in each Pencil Time : Activity Sheet : Chord Analysis Activity Sheet 5A and B: Nonharmonic Tones Activity Sheet 6: Literature Analysis 8

61 I, ii, I, and CHORDS -- 2 ANALYZE the folloing exercise efore singing 1 Analyze the chord sequence 2 Locate and identify the nonharmonic tones 3 Audiate efore singing I The song, "The Blueonnet," on the folloing pages contains examples of several kinds of nonharmonic tones Can you identify a fe of them Rememer, a nonharmonic tone, y definition, must not e a part of the chord Activity Sheet 6 ill guide you through a complete analysis of this song 9

62 2 -- I, ii, I, and CHORDS The Blueonnet SATB A cappella S Andante F Patti DeWitt A T There F There F stands a la - dy stands a la - dy y the road All y the road All B There F There stands a la - dy stands a la - dy y the road All y the road All 3 neat - ly dressed in neat - ly dressed in lue lue She's She's all decked out in her all decked out in her neat - ly dressed in lue She's all decked out in her neat - ly dressed in lue She's all decked out in her 10

63 I, ii, I, and CHORDS P Sun - day est Quite Sun - day est Quite e - le - gant to e - le - gant to vie vie She P She P Sun - day est Quite Sun - day est Quite e - le - gant to e - le - gant to vie vie She P She 9 stands a - mid her stands a - mid her stands a - mid her stands a - mid her flor - al friends Of flor - al friends Of flor - al friends Of flor - al friends Of vi - vid rain - o vi - vid rain - o vi - vid rain - o vi - vid rain - o 12 hues, hues, The The fire - heels and the fire - heels and the ut - ter - cups Set ut - ter - cups Set hues, hues, The The fire - heels and the fire - heels and the ut - ter - cups Set ut - ter - cups Set 11

64 2 -- I, ii, I, and CHORDS 15 off her ril - liant off her ril - liant off her ril - liant U lues U lues decresc e rit And And U lues decresc e rit And U A tempo P P P P so she stands, e - so she stands, e - so she stands, e off her ril - liant rect and prim, So rect and prim, So rect and prim, So rect and prim, So lues And mo - dest and so mo - dest and so mo - dest and so mo - dest and so so she stands, e - shy, shy, shy, shy, F And F And F And F And sto - ic - ly holds sto - ic - ly holds sto - ic - ly holds sto - ic - ly holds high her head A - high her head A - high her head A - high her head A - 12 gainst a Tex - as gainst a Tex - as gainst a Tex - as gainst a Tex - as

65 sky sky sky sky And And And And out a fron or out a fron or out a fron or out a fron or then one day, she then one day, she then one day, she soft spring rains That ill soft spring rains That ill soft spring rains That ill then one day, she p p p p tear tear And And tear And tear f P P P P And ring her ack next f ring her ack next f ring her ack next f van - ish - es With - van - ish - es With - van - ish - es With - van - ish - es With - rit rit rit rit I, ii, I, and CHORDS -- 2 e a - ait the e a - ait the e a - ait the e a - ait the U year U year U year U soft spring rains That ill ring her ack next 13 year

66 2 -- I, ii, I, and CHORDS ocaulary: 1 Accented passing tone--a nonharmonic note that passes eteen to harmonic notes and falls on a strong eat 2 Anticipation--A nonharmonic note that sounds ahead of the rest of the chord; it sounds hile the previous chord is still heard in the other voices 3 Appoggiatura--A nonharmonic note that leaves one harmonic note y a leap and resolves to the next harmonic note y step in the opposite direction Loer neighor note--a nonharmonic note eteen to harmonic notes of the same pitch that is a half step or step loer than the harmonic notes 5 Nonharmonic tones--notes that are not a part of the chord eing sounded 6 Pedal point--a drone (continuously sounding) note, usually in the loer voice, over hich the harmonies continue to change 7 Root--The note upon hich a chord is uilt--for example, the root of the chord is So; the root of an F Maor Chord is F 8 Suspension--A note that is held over from the previous chord 9 Unaccented passing tone--a nonharmonic note that passes eteen to harmonic notes and falls on a eak eat or the eak part of the eat 10 Upper neighor note--a nonharmonic note eteen to harmonic notes of the same pitch that is a half step or step higher than the harmonic notes 1

67 Do La 15 3: Sixths and Octaves SIXTHS: Here is an exercise that covers all of the sixths in the maor scale Sing ith handsigns sloly Sing in higher or loer keys Sixths can e maor or minor A maor sixth is the interval of a perfect fourth plus a maor third Or 1/2 hole steps Or 9 half steps Using the keyoard representation, aove, figure out hat note is a maor sixth aove: 1 F 2 D 3 G B 5 A 6 C 7 G 8 B 9 E Using solfege, tell hat note is a maor sixth aove: 1 Do 2 Re 3 Fa So

68 3 -- SIXTHS AND OCTAES A minor sixth is the interval of a perfect fourth plus a minor third: Or hole steps Or 8 half steps Using the keyoard representation, aove, figure out hat note is a minor sixth aove: 1 F 2 D 3 G B 5 A 6 C 7 G 8 B 9 E Using solfege, tell hat note is a minor sixth aove: 1 Mi 2 La 3 Do Ti Pencil Time : Reading exercises: Sixths in the I Chord 1 2 Activity Sheet 7: Sixths Activity Sheet 8A and B: Key Signatures Activity Sheets 9, 10: ocaulary Word Search 6 The folloing exercises contain the sixths of the I Chord-- So - Mi (maor sixth) and Mi - Do (minor sixth) 1 Identify the sixths in the folloing exercises as maor or minor 2 Audiate each sixth efore audiating the hole exercise ith handsigns 3 Sing on solfege using handsigns 2 16

69 3 3 SIXTHS AND OCTAES

70 3 -- SIXTHS AND OCTAES Sixths of the Chord: Re - So (maor sixth) and Ti - Re (minor sixth)

71 SIXTHS AND OCTAES Sixths of the I Chord: Do - La (maor sixth) and La - Fa (minor sixth)

72 3 -- SIXTHS AND OCTAES Fine DC al Fine 20 Fine DC al Fine

73 SIXTHS AND OCTAES -- 3 Octaves: 1 The folloing exercises contain octaves 1 Identify the octaves in the folloing exercises as maor or minor 2 Audiate each octave efore audiating the hole exercise ith handsigns 3 Sing on solfege using handsigns Do - Do So - So

74 3 -- SIXTHS AND OCTAES Fa - Fa La - La DC al Fine Fine

75 13 SIXTHS AND OCTAES Re - Re

76 3 -- SIXTHS AND OCTAES Harmonic Exercises:

77 SIXTHS AND OCTAES

78 SIXTHS AND OCTAES

79 SIXTHS AND OCTAES -- 3

80 SIXTHS AND OCTAES

81 SIXTHS AND OCTAES

82 3 -- SIXTHS AND OCTAES

83 SIXTHS AND OCTAES % Fine DS al Fine 31

84 6 8 : Meter Matters There are 2 asic types of meter The first type is called simple Meter is simple hen 2 3 the eat divides into to Examples of simple meter are, and In compound meter, the eat sudivides into 2 or 3 or a comination of the to For example, usually divides into 2 sugroups of 3 eats each: 6 And 5 usually divides into 2 sugroups of 2 and 3 eats, like this: 5 Or like this: Other notes esides the quarter note can serve as the asis of the time signature In fact, any note value can serve as the asic eat unit: What is the asic eat unit in 1 2 What is the asic eat unit in 2 3 What is the asic eat unit in 3 Write ACROSS THE CURRICULUM: 1 Of the three meters given aove, hich is/are simple Which is/are compound Discuss hy you made the decision you made 2 What other eat units are possile for time signatures 32

85 METER MATTERS -- Common meter and "cut time" (alla reve): c Common meter ( ) is often areviated ith the folloing marking: measures elo ould e read the same as if the time signature read The technical name for cut time is "alla reve," or "according to the reve" (half note) Cut time looks the same as common meter, ut it is performed ith the half note eing the asic eat unit, so that the quarter note ecomes half of a eat (like the eighth note in common time) Cut time is used for marches and for quickly moving common meter It reduces the need for eamed notes such as eighth notes and sixteenth notes Cut time is areviated ith this symol: C c The C Belo is the conducting pattern for to eats per measure Left hand Right hand Read the folloing exercises hile conducting: 1 C C Ó C C C 33

86 -- METER MATTERS Compound meters ith an eighth note eat unit: /8 Time: 6 8 Notice that in time, the notes usually fall into a pattern of 2 groups 6 of three eighth notes So the feeling is of sets of triplets rather than straight eighth notes 8 time is generally conducted in to, ith each of the to eats dividing into three time is compound ecause the asic eat unit is not the quarter note hich hich divides into to, ut the dotted-quarter that sudivides into groups of three eighth notes Work Activity sheet 11 and invent your on counting system for time It is not recommended to count the groups of three eighth notes like triplets, ecause triplets represent a deviation from the regular 2 eighth-note division In 6 8 time, the groups of three eighth notes are the regular division, and not a deviation One possile counting system for time: (2) 1 si-di 2 si-di 1 di 2 di 1 si 2 si READ the exercises elo Conduct the appropriate pattern (2) and use either your on counting system or the one provided aove

87 METER MATTERS -- 5/8 Meter: 5/8 meter is a cross eteen compound and simple meters It generally employs oth Like 5/ time, it usually divides into patterns of 3 and 2: 8 5 Or 2 and 3: It is important to rememer that in time, the eighth note remains stale Every eighth note gets exactly the same duration, they are simply grouped in units of to and three READ the folloing exercises, conducting a to pattern What ill happen to the eat pattern hen conducting for the group of 2 eighth notes as opposed to the group of In summary, the same kind of note may not have the same value (in eats) in different meters In cut time, the eat value is cut in half: A half note receives one eat, a quarter 6 note receives one-half of a eat, etc In 8 time, the dotted-quarter receives one eat, and the eighth note receives one-third of one eat Complete the tale in Activity Sheet 12 Pencil Time : Activity Sheet 11: Simple or Compound Activity Sheet 12: Note alues Activity Sheet 13: Conducting Patterns 35

88 -- METER MATTERS Meter changes: Often in a piece of music the composer ill rite meter changes--one section ill e in one meter, and a susequent section in another When going from one simple meter to another (ith the quarter note as the asic unit), the quarter note ill retain the same duration from one meter to the next When going from to 8 or vice versa, the eighth note ill maintain the same duration, unless otherised specified When going from a simple meter (such as ) to a compound meter (like 6 8 ), then the eighth note ould maintain the same duration unless otherise directed When going from common meter to cut time, rememer that the duration of the quarter note ill e cut in half, unless otherise specified The est tactic for reading a ne rhythm exercise is to read it at a very slo tempo, alloing time to read ahead as you go (Note: The doule arline is for organizational purposes only Some composers use it efore a meter change; some do not But there should e no delay in the rhythm at the doule ar And the student should not stop reading until the final arline at the end of the exercise) READ the folloing multi-meter exercises, changing the eat pattern as indicated C 36

89 METER MATTERS C

90 -- METER MATTERS S A T B Lightly, ith life F Oh, the days of the F SATB A cappella Ker-ry danc-ing, Oh, the ring of the Traditional Irish Arr Patti DeWitt H'room H'room pi-per's tune; Oh, for one of those hours of glad - ness, Gone, a - las! like our H'room H'room 8 youth, too soon Loo, When the oys e - loo, loo gan to gath - er Loo, in the glen of a 12 loo, sum - mer loo night, Loo, And the Ker - ry loo, pi - per's loo, tun - ing U Loo, loo With f f U made us long ith 38

91 METER MATTERS great great de - light! de - light Oh, to think of it Oh, to think of it Oh, to dream of it Oh, to dream of it 19 Fills my heart ith Fills my heart ith tears! tears! p p U U f Lads and las - ses f Lads and las - ses 22 to your pla - ces Up the mid - dle and don a - gain to your pla - ces Up the mid - dle and don a - gain 25 Ah, the mer - ry Ah, the mer - ry heart - ed heart - ed laugh - ter laugh - ter Ring - ing through the Ring - ing through the 39

92 -- METER MATTERS 28 hap - py glen! hap - py glen! P Oh, the days of the Ker - ry danc - ing, Oh, the ring of the P Oh, the days of the 32 pi - per's tune; Oh, for one of those hours of glad - ness, Ker - ry danc - ing, Oh, the ring of the pi - per's tune; 35 Gone, a - las! like our too soon youth, Oh, for one of those hours of glad - ness, Gone, a - las! like our 38 youth, too soon π Oh, the days of the π H'room Ker - ry danc - ing, 1 Oh, the ring of the pi - per's tune; Oh, for one of those H'room H'room 0

93 METER MATTERS -- hours of glad - ness, Gone, a - las! like our youth, too soon H'room 7 Gone, a - las! like our youth, too soon U U H'room ocaulary: 1 Alla reve--"cut time"; meter 2 Common meter-- meter 3 Compound meter--meter that divides into sugroups of three Cut time-- 2 meter 5 Simple meter--meter that divides into sugroups of to 2 2 1

94 5: The vi Chord The folloing exercise presents chords ased on all of the notes of the scale Which chords are maor Which chords are minor Which chord is neither maor nor minor I The vi chord The vi chord is a minor chord It is made up of a minor third and then a maor third: minor maor La Do Mi 2

95 THE vi CHORD -- 5 Identify the chords in the exercise elo: I Intervals of the vi chord The intervals eteen notes of the vi chord are shon elo: La Do Mi La La Mi Do Do La minor third maor third perfect fourth perfect fifth minor sixth maor sixth All of the intervals, aove, have een covered in previous chapters of this series of ooks except for the fourth (Mi - La) and the fifth (La - Mi) Pencil Time : Activity Sheet 1: The vi Chord Activity Sheet 15: Chord Game Write ACROSS THE CURRICULUM: Write a rief essay discussing the triads uilt on each of the seven notes of the maor scale Which chords are maor Which are minor Which is neither maor nor minor 3

96 5 -- THE vi CHORD vi chord--perfect fourth, Mi - La Interval Practice: READ the folloing exercises: Read the rhythm hile conducting 2 Locate and audiate the perfect fourths (Mi - La) 3 Audiate the entire exercise ith handsigns Sing ith handsigns

97 THE vi CHORD

98 5 -- THE vi CHORD vi chord--perfect fifth, La - Mi Interval practice: READ the folloing exercises: 1 Read the rhythm hile conducting 2 Audiate ith handsigns 3 Sing ith handsigns

99 THE vi CHORD

100 5 -- THE vi CHORD Locate and identify the vi chords and the intervals of the vi chords in the folloing exercises Locate and identify nonharmonic tones Audiate the intervals and the exercises efore singing them 1 8 U u U U

101 2 THE vi CHORD

102 5 -- THE vi CHORD Ó Ó Ó Continued 50

103 THE vi CHORD

104 5 -- THE vi CHORD 52

105 6: The 7 Chord Chords can have more than three notes All maor and minor chords consist of only three notes, ut sometimes other notes are added to them to create more interesting sounds The 7 chord is a chord hich has had a note added to it--fa, the seventh note aove So, the root of the chord The four notes of the 7 chord are So, Ti, Re, and Fa The 7 chord is the dominant seventh chord for maor keys IDENTIFY the key and analyze the chords in the melodic exercises, elo, efore singing them Exercise A: * 7 * Fa, the seventh note aove So ANALYZE the chords in the harmonic exercise, elo, efore singing it Exercise B: Ho many 7chords are in Exercise B On hat eat(s) 53

106 6 -- THE 7 CHORD Intervals of the 7 Chord: The intervals eteen notes of the 7 chords are: So - Ti (maor third), Ti - Re (minor third), Re - Fa (minor third), Ti - Fa, (tritone), So - Fa (minor seventh) As discussed in Chapter 8, the tritone is the interval of a diminished fifth (one half step smaller than a perfect fifth) It could also e an augmented fourth, (one-half step larger than a perfect fourth) It consists of three hole steps (six half-steps or semitones), thus the name, tritone It has een considered a most dissonant interval for centuries of music theory: So Ti Re Fa n The tritone divides the octave exactly in half No matter in hich order Fa and Ti are placed, the result is alays a tritone, either a diminished fifth ( o5) or an augmented fourth (+) Tritone ( o5) Tritone ( o5) Tritone (+) Tritone (+) Harmonic tritones: 1 Tritone (+) eteen sopranos and tenors So Ti Re Fa Re Fa So Ti 2 Tritone ( o5) eteen tenors and asses Fa So Ti Re 3 Tritone (+) eteen sopranos and altos 5

107 THE 7 CHORD -- 6 Melodic tritones: o Tritone ( 5) Tritone (+) Melodic exercises: 1 Locate the tritones in the folloing exercises 2 Audiate each exercise 3 Sing on solfege and ith handsigns

108 6 -- THE 7 CHORD

109 THE 7 CHORD -- 6 HISTORICAL SHORTS: Diaolus in Musica The tritone interval, hich consists of three hole steps, as anned from all use in music for the medieval church It should have een a perfect interval In fact, it should have een the most perfect interval for several reasons: First of all, it consisted of three tones--three represented perfection to the medieval church, as it as the numer of the Trinity Secondly, it divided the most perfect interval--the octave--into to equal parts In spite of these "spiritual" indicators, the tritone as the most dissonant and harsh-sounding of all of the intervals And ecause this interval as so "deceptive," it as considered evil and ecame knon as "diaolus in musica," "the devil in music" The minor seventh The interval that occurs eteen the tonic of the 7 chord (so) and the seventh (fa) is a minor seventh (m7) A minor seventh is a half step smaller than a maor seventh (M7) hich occurs eteen Do and Ti M7 m7 Interval practice: 57

110 6 -- THE 7 CHORD

111 THE 7 CHORD -- 6 Locate and identify the tritones in the folloing exercises Audiate them and the hole exercise efore singing 1 2nd time to m9 59

112 6 -- THE 7 CHORD Continued 60

113 THE 7 CHORD Fine DC al Fine 61

114 6 -- THE 7 CHORD Ó Ó Ó Ó Ó Ó 62

115 THE 7 CHORD -- 6 Ó Ó Ó 63

116 6 -- THE 7 CHORD

117 THE 7 CHORD

118 6 -- THE 7 CHORD 6 Ó Ó Ó Ó Ó Ó Ó Melody: 66

119 THE 7 CHORD -- 6 Ó Ó Ó Ó Ó Ó 67

120 6 -- THE 7 CHORD 7 Fine DC al Fine U U U U 68

121 THE 7 CHORD % Fine DS al Fine 69

122 6 -- THE 7 CHORD 9 70

123 THE 7 CHORD

124 6 -- THE 7 CHORD 10 Fine 72

125 THE 7 CHORD -- 6 DC al Fine 73

126 6 -- THE 7 CHORD 11 Ó 7

127 THE 7 CHORD -- 6 Ó ocaulary: 1 Augmented fourth--a tritone made y raising a perfect fourth one half step 2 Diminished fifth--a tritone made y loering a perfect fifth one half step 3 Minor seventh--a maor seventh that has een loered one half step Tritone--The interval of 3 hole steps; one-half of one octave Pencil Time : Activity Sheet 16: Seventh Chords Activity Sheet 17: Tritones 75

128 7: Cadences A cadence is a chordal progression that marks the end of a phrase of a musical composition There are several types of cadences, named for the chords that they use 1 Full cadence Also knon as an authentic or perfect cadence A full cadence involves the chord progression of (or 7) to I It is the most final sounding of all of the cadences, and is often found at the end of a piece in a maor key Analyze the chords in the exercise elo What are the last to chords Sing the exercise ith solfege and handsigns 2 Half cadence Also knon as an imperfect cadence A half cadence ends on a chord It lacks the feeling of finality of a full cadence Analyze the chords in the exercise elo What are the last to chords Sing the exercise Ho does this cadence "feel" to you Ho ould you feel if you ere singing or listening to a song or piece of music that ended on this cadence 76

129 A men 77 CADENCES Plagal cadence Also knon as the "Amen" cadence The plagal cadence involves the chord progression I - I Analyze the chords in the exercise elo What are the last to chords Sing the exercise ith solfege and handsigns Why is it called the "Amen" cadence Because it as used so frequently at the end of Christian hymns in the 18th - 20th centuries Deceptive cadence The deceptive cadence resolves to a vi chord rather than a I chord Analyze the chords in the exercise elo What are the last to chords Sing the exercise ith solfege and handsigns Why do you think this cadence is called "deceptive"

130 7 -- CADENCES Sing the exercises elo and identify each of the cadences:

131 CADENCES

132 7 -- CADENCES Write ACROSS THE CURRICULUM: Write a short essay aout cadences including a definition and description Descrie and contrast the four types of cadences presented in this chapter Pencil Time : ocaulary: Activity Sheet 18: Cadences I Activity Sheet 19: Cadences II 1 "Amen" cadence--a plagal cadence; I - I; so called for its prominent use in closing hymns 2 Authentic cadence--a full cadence 3 Deceptive cadence--a cadence that resolves to the vi chord; for example, 7 - vi Full cadence--a final cadence: - I 5 Half cadence--a cadence that resolves to the chord 6 Imperfect cadence--a half cadence 7 Perfect cadence--a full cadence 8 Plagal cadence--a cadence using the chord progression I - I 80

133 8: "Fi" When the note Fa is raised, it ecomes Fi Fa can e raised in several ays: 1 Sharped 2 "Natural"ed: When a natural sign cancels a flat and raises the note 3 Doule-sharped: of Mi Fa Fi So n Mi Fa Fi So Å Mi Fa Fi So In the key of C Maor, to raise the Fa (F ) it is necessary to doule-sharp the note to make it "Fi" Note the doule-sharp sign Handsign for Fi NOTICE: An accidental (altered note) lasts for a hole measure; it is cancelled out y the arline n n So Fi Fi So Fa Mi Re Do Do So La So Fi Fa Mi Re Fi remains "raised" for one The accidental is hole measure unless cancelled cancelled y the out y another accidental sign arline Pencil Time : Activity Sheet 20: "Fi" Activity Sheet 21: Secondary Dominants 81

134 8 -- "Fi" ust as Ti is the "leading tone" to Do, Fi is the "leading tone" to So; that is, oth Ti and Fi tend to resolve upard to the next note This is a general tendency for all raised notes as ell as for Ti There are several uses for the altered note Fi--that is, several different purposes it serves MELODIC: 1 Cadential--at a cadence--the end of a phrase--to estalish the dominant-tonic relationship in the dominant key ( of ) N 2 Passing--a passing note usually has no harmonic influence on the piece; its function is melodic n 3 Neighor note--a neighor note usually has no harmonic influence on the piece 3 (5) Do/So C Maor: Modulatory--Harmonic in nature; indicates a change of key (1) (2) (3) () C Maor: So Fi So/Do G Maor: Notice ho the piece egins in C Maor (1), cadences on a of - chord (2), So hich ecomes the pivot note for the next key (3)--So in C Maor hich turns into Do in G Maor Another cadence (-I), this time in G Maor () Then Do in G Maor turns into So in C Maor (5) for a modulation ack to the original key Do 82

135 "Fi" -- 8 READ the folloing melodic exercises: 1 Identify Fi in each exercise 2 Define the function of Fi in each case 3 Audiate hile handsigning Sing n n n 3 n n n n 83

136 8 -- "Fi" HARMONIC: n 1 Cadential-- used at the end of a phrase n n n 2 Passing: May or may not have harmonic signficance: (1) N (2) n Notice the Fi at (1) has only a small harmonic effect, hereas the Fi at (2) estalishes a of - cadence and has a significant harmonic effect 8

137 "Fi" Modulatory n A n n E Maor: of / B I Maor: n / B Maor: I E Maor: On the folloing pages are four-part exercises that use the note "Fi" READ the folloing harmonic exercises: 1 Identify Fi in each exercise 2 Define the function of Fi in each case 3 Audiate hile handsigning 5 Sing in parts * Modulation ill e discussed in greater detail in Chapter 12 85

138 8 -- "Fi" 1 n Fine DC al Fine 86

139 "Fi" n Fine n n n DC al Fine 87

140 8 -- "Fi" 3 n Fine n n n DC al Fine 88

141 "Fi" -- 8 Ó Ó n Fine Ó Ó n n n n n n DC al Fine U U n n U U 89

142 8 -- "Fi" n Continued on next page 90

143 "Fi" n n 91

144 8 -- "Fi" 8 YOUR BRAIN: n n n n n n n n n 92

145 "Fi" n n n n n n n n 93

146 8 -- "Fi" 3 S A T B Where the play - ful Where the play - ful Where the play - ful Where the play - ful Andante Strolling ith You P Stroll - ing thru' the P Stroll - ing thru' the P Stroll - ing P thru' Stroll - ing thru' the ree - zes pass ree - zes pass ree - zes pass ree - zes SATB A cappella pass rest - less n rest - less grass, grass, rest - less grass, rest - less F grass, Life is young and F Life is young and F Life is young and F Patti DeWitt Life is young and 9

147 6 grand and ne grand and ne grand and ne grand and ne Stroll - ing a - long the Stroll - ing a - long the Stroll - ing a - long the "Fi" -- 8 Stroll - ing a - long the 8 11 mea-do ith n meado ith mea-do ith you! you! mea-do ith F you! you! Lightly p Danc - ing, flirt - ing p Danc - ing, p flirt - ing Danc - ing, Laugh - ing rook and F Laugh - ing rook and F Laugh - ing rook and F flirt - ing ut - ter - flies, ut - ter-flies, ut - ter - flies, smil - ing skies smil - ing skies smil - ing skies Laugh - ing, rook and smil - ing skies 95

148 8 -- "Fi" f Life is young and f Life is young and f Life is young and f grand grand Life is young and grand mea - do ith you! n mea - do ith you! mea - do ith you! mea - do ith you! and ne and ne grand and ne and ne P Stroll - ing a-long Stroll - ing a-long Stroll - ing a-long Stroll - ing a - long Stroll - ing at the P the the Stroll - ing at the P Stroll - ing at the P Stroll - ing at the the the 18 end of the n end of the day of the end of the day day day day Gen - tle ree - zes Gen - tle ree - zes Gen - tle ree - zes Gen - tle ree - zes cease their play cease their play cease their play cease their play 96

149 "Fi" F Life is peace - ful, F seet, and fine Stroll - ing home ith Life is peace - ful, F Life is peace - ful, F Life is peace - ful, seet, and fine seet, and seet, fine and fine Stroll - ing home ith Stroll - ing home ith Stroll - ing home ith 2 Broadly f U rit U your hand in n your hand in mine mine Stroll - ing f U Stroll - ing f home ith home ith U your hand in rit rit mine U your hand in n mine U your hand in mine Stroll - ing f home ith U your hand in mine rit U your hand in mine Stroll - ing home ith your hand in mine Write ACROSS THE CURRICULUM: 1 Write ne ords for "Strolling ith You" 2 Write a short essay descriing "Fi," and its various uses in a piece of music 97

150 8 -- "Fi" ocaulary: 1 Accidental--A note that is altered from its "natural" state in the scale 2 Cadential--A note that is used to create a cadence and mark the end of a phrase or section 3 Fi--A raised Fa (sharped, doule-sharped, or naturaled, depending upon the key signature) Leading tone--in the natural maor scale, Ti; otherise, any note that has een raised and resolves to the next higher note 5 Modulatory--Serving to change keys 6 Passing tone--a note that serves as ridge eteen its upper and loer neighor notes 98

151 9: "Si" When the note So is raised, it ecomes Si, a leading tone to La So can e raised in several ays: 1 Sharped 2 "Natural"ed: When a natural sign cancels a flat and raises the note 3 Doule-sharped: of vi So Si La n So Si La So Si La In the key of C Maor, to raise the Si (G ) it is necessary to doule-sharp the note to make it "Si" Note the doule-sharp sign Å Handsign for Si The most common usage of Si is in relationship to the relative minor chord or key: the vi chord, ased upon La Level 3 of this series covers the natural minor scale, the aeolian, hich has no altered tones Hoever, in modern practice the minor scale is often altered depending upon the usage of the scale In addition to the natural minor scale, there are 2 other minor scales that are commonly used: The harmonic minor, hich is frequently used in eish and Middle Eastern music, and the melodic minor hich is a variation of the harmonic minor In the harmonic minor scale So is replaced y Si, creating a leading tone for La (the tonic--i--in a minor key) and a maor dominant () chord (Mi - Si - Ti) 99

152 9 -- "Si" The prolem ith the harmonic minor scale is that it causes a difficult interval eteen the sixth and seventh degrees of the scale--an augmented second--hich as shunned during the Middle Ages and Renaissance and generally avoided y estern composers in general until the tentieth century Augmented 2nd n n SING the harmonic minor scale up and don and listen for the augmented second The augmented second, although shunned y estern composers, is a distinguishing trait of eastern music, especially eish music Listen to the prominence of the augmented second in "Hava nagila" Where does it first occur in the song Hava Nagila Ha - va na - gi - la, ha - va na - gi - la, Traditional eish Folksong ha - va na - gi - la 1 2 ve - nis' me- cha ve - nis' me - cha Ha-va ne - ra - ne-na, 7 10 ha - va ne - ra - ne -na, 2 ve - nis' me - cha 13 ha - va U - ru a - chim e-lev sa - me' - ach, ne-ra - ne - na U - ru, 1 ve - nis' me - cha u - ru a - chim, U - ru a - chim e-lev sa - me' - ach, U - ru a - chim e-lev sa - me' - ach, U-ru a - chim, u-ru a - chim U - ru a - chim e-lev sa - me' - ach, 'lev sa - me' ach

153 "Si" -- 9 In order to "fix" the prolem of the augmented second in the harmonic minor scale, the melodic minor scale as formulated The melodic minor scale raises the Fa to Fi so that the augmented second is eliminated Sing the melodic minor scale elo ith solfege and handsigns: n n The traditional melodic minor scale has an interesting quirk Although it uses oth Fi and Si hen ascending, hen descending, it reverts to the natural minor: n n COMPOSE: Write a short song using the harmonic minor scale from Activity Sheet 23 as a asis Then rerite your song using the melodic minor Pencil Time : Activity Sheet 22: "Si" Activity Sheet 23: Natural, Melodic, Harmonic Activity Sheet 2: "Weep, O Mine Eyes" Melodic uses of Si: 1 Cadential n 2 Passing tone 3 Neighor note 3 Modulatory 101

154 9 -- "Si" Locate the Sis in the exercises elo and identify their function efore audiating and singing each exercise: 1 n n 3 n n n n

155 "Si" -- 9 HARMONIC: n Analysis: I I vi of vi I ii 7 I 7 I 2 Passing tone: 3 Neighor note 3 n

156 9 -- "Si" Modulatory* A Maor: I I I ii I I 7 7 vi of vi F minor: / i i iv iv i i i i iv iv II A Maor: / On the folloing pages are four-part exercises that use the note "Si" READ the folloing harmonic exercises: 1 Identify Si in each exercise 2 Define the function of Si in each case 3 Audiate hile handsigning Chant all parts together in rhythm ith handsigns 5 Sing in parts * Modulation ill e discussed in greater detail in Chapter 12 A Maor: I I I ii I I ii ii I 7 I 10

157 "Si" -- 9 Four-part exercises Fine DC al Fine 105

158 9 -- "Si" 2 C C C C n 106

159 "Si"

160 9 -- "Si" n Fine Ó Ó DC al Fine 108

161 "Si" n n 3 3 n n n n n n n n n n n n 109

162 9 -- "Si" ohn Bennet, a contemporary of ohn Doland, as an English madrigalist ho lived in the late sixteenth century Little is knon aout his life except that he composed several popular songs and madrigals, including a ook of madrigals for four voices hich as pulished in 1599 His madrigals include oth light and solemn orks His madrigal, "Weep, O Mine Eyes," is one of his solemn orks, and it is also his most popular ork ohn Bennet's orks sho the influence of his famous colleague, Thomas Morley Things to look for in "Weep, O Mine Eyes": 1 Form 2 Non-harmonic tones 3 Style: homophonic or polyphonic (or oth); melismatic or syllaic; legato or marcato; homogeneous or contrasting, etc "Si" 5 The use of the melodic minor scale 6 The use of the "picardy third"-- a raised third of the chord at a cadence 110

163 "Si" -- 9 eep, O Mine Eyes SATB A cappella S Adagio; molto legato In to ohn Bennet, c Ed Patti DeWitt A T B Ó p Weep, p Weep, Weep, poco cresc poco cresc p poco cresc P O P mine O mine O mine eyes eyes, P and Ó p Weep, O mine eyes, eep O mine eyes and cease not, eep O mine and cease not, eep, 111

164 9 -- "Si" 7 P eyes, cease eep, P not, O mine and eyes, eep, cease not, eyes and cease P not, eep O mine O mine eyes, eep, O mine 10 eyes, O mine eep, eep eyes, and O mine O mine cease eyes and eyes and eyes, eep and cease 13 cease not, not, A - P - las, Ó P P A these cease not, A - las, not, and cease not, 112

165 "Si" F las, these your your these your spring - spring F spring - tides a - F tides F tides, las, A las, these your 21 Ó these A - your a las, las, spring - these your tides me- thinks in - these Ó your crease spring - spring - spring - tides in - crease 25 tides me - thinks in - crease not not, me - tides me not, me - thinks in - thinks in - thinks in crease crease crease not not not 113

166 9 -- "Si" Ó Ó F O F O hen hen F O F O hen e - hen e - F hen, hen, e - gin e - gin gin gin high that I may F high that I may dron, that I may dron me you you hen, hen, Ó Ó you to sell so you to sell so dron me in dron me in dron me in in 11 Ó Ó p O p O p O p O F to sell so to sell so high that I may F high that I may p you p you p you p you that that that that

167 "Si" I may dron me in last time rit you I may dron me in you I may dron me in you I may dron me in you Interpretation: Fe interpretative markings (tempo, dynamics, etc) ere used in ancient music, and so the arranger/editor must use his/her on udgment hen editing a score Some people feel that it is a violation of the music to impose one's on interpretation on a score, hile others feel that it is necessary for those ho do not understand the music of the time The interpretative markings ere added to this score y the editor Examine them carefully and evaluate them: 1 Are they adequate 2 Are they appropriate 3 Are they faithful to the musical style Are they reasonale for performance y the "average" choir 5 Ho ould you mark the score if you ere the editor Perform an internet search and locate donloadale performances of English madrigals such as "Weep, O Mine Eye" from at least to different sources Evaluate each performance for interpretative techniques Ho do the performances differ Ho are they alike Which performance do you consider the most "effective" musically, and hy 115

168 9 -- "Si" ocaulary: 1 Adagio--Sloly; take your time 2 Augmented second--a raised second; an interval of 3 half steps 3 Cadence--A point in the music hen all voices come to rest on a common chord Harmonic minor--a minor scale in hich the So has een altered (raised) to Si 5 Homophonic--Chordal; a style of music in hich all voices move to the next note at the same time 6 Leading tone--the seventh note of the maor scale, or any raised note that resolves to the next higher pitch 7 Legato--Smoothly 8 Madrigal--An a cappella polyphonic choral piece popular in the Renaissance 9 Marcato--Heavily accented; the opposite of legato 10 Melismatic--Several (or many) notes to a single syllale of text 11 Melodic minor--a minor scale in hich Fa and So are raised to Fi and Si hen ascending, ut are natural (Fa and So) hen descending 12 Molto legato--ery smoothly Molto is Italian for "very" 13 Picardy third--a raised third in a minor chord at the end of a maor cadence 1 Polyphonic--A style of music in hich the voices sing independent melodic lines 116

169 1 Di -- ( of ii) 10: Other Leading Tones Di is the leading tone to Re, ust as Ti is the leading tone to Do Melodic: Harmonic: COMPOSE an 8-measure melody in hich you use at least one "Di" If you use music notation softare, you ill e ale to listen to your melody Write or improvise an accompaniment to go ith your melody Improvise a counter-melody to accompany your melody 117

170 10 -- OTHER LEADING TONES 2 Ri -- ( of iii) Ri is the leading tone to Mi Melodic: Harmonic: COMPOSE an eight-measure melody in hich you use at least one "Ri" Write or improvise an accompaniment to go ith your melody Create your accompaniment in a different style than for the melody that uses "Di" Details on ho to rite an accompaniment are presented in the first 2 ooks of this series Pencil Time : Activity Sheet 25: Raised notes Activity Sheet 26: Hans Leo Hassler Activity Sheet 27: Dixit Maria 118

171 OTHER LEADING TONES Li -- ( of vii) Li is the leading tone to Ti Melodic: Harmonic: Ascending Chromatic Scale: * * After the ascending chromatic scale is mastered a cappella, to extend learning, sing in canon ith the second voice starting here 119

172 10 -- OTHER LEADING TONES READ the folloing exercises Identify the raised notes and audiate them efore singing N N

173 6 n OTHER LEADING TONES n n n n n YOUR BRAIN: n n n n n

174 10 -- OTHER LEADING TONES HARMONIC EXERCISES: n n n n n n n n 122

175 OTHER LEADING TONES n n n n 123

176 10 -- OTHER LEADING TONES 3 n n n n n n 12

177 OTHER LEADING TONES n n n n 125

178 10 -- OTHER LEADING TONES 5 n n n % n n Fine n n n DS al Fine 126

179 OTHER LEADING TONES n 127

180 10 -- OTHER LEADING TONES n n n 7 n n n n n n n n n n n n n n U U U U Continued on next page 128

181 OTHER LEADING TONES n n n n n n n n n n n n 129

182 10 -- OTHER LEADING TONES Ó n Ó n Fine Continued on next page 130

183 OTHER LEADING TONES n n n n n n n n n rit U rit U rit rit U U 131

184 10 -- OTHER LEADING TONES 9 n Continued on next page 132

185 OTHER LEADING TONES n 133

186 10 -- OTHER LEADING TONES 3 Ó 10 Ó n n n n n n n Ó n n n n n Ó nn n n Continued on next page 13

187 OTHER LEADING TONES Ó INTERPRETATION: The piece on the folloing pages, Dixit Maria, has een presented ithout editorial expression markings Study the score Ask your teacher for a photocopy of Dixit Maria (permission is granted y the author for this piece only) so that you can rite in dynamics and expressive markings Be prepared to defend your decisions 135

188 10 -- OTHER LEADING TONES S Moderato; not too fast C Dixit Maria SATB a cappella Hans Leo Hassler ed Patti DeWitt A T C C Di - xit Ma - ri - a ad n Di - xit Ma - ri - a ad An ge - lum, ad B C 5 Di - xit Ma - An An Latin: Dixit Maria ad angelum: Ecce ancilla Domini, fiat mihi secundum verum tuum - ri - a ad ge - lum, di - English translation: - ge - lum, di - An xit Ma - xit Ma - Di - xit Ma - n ge - lum, ad ri - - a ri ri - a ad Pronunciation: dik - sit ma - ri - a ad an - dʒ - lum - t an - t i - la d - mi - ni fi - at mi - hi s - kun - dum v - um tu - um Mary said to the angel, 'Behold the handmaiden of the Lord; Let it e done according to your ord' 136

189 An - ge - - ad An a ad An An - ge - lum, ge - ge - xit Ma - ri n ge - lum, ge - xit Ma - ri - lum, di - ge - lum di - An - ge - lum, di - n ge - lum, lum, di - di - xit lum, ad An - ge - - xit Ma - ri - xit Ma - ri - - n - xit Ma - ri - a ad An xit Ma - ri - n lum, Ma - ri - a lum, ad An di - xit a ad An Ó Ó ge - ge - Ma - ri - n OTHER LEADING TONES ge - a ad An - a ad a ad An - Ó di - - a ad An - ad An - Ó di - - lum, lum, ad An - a ad An - ge - lum, ad di - xit Ma - ri - a ad An - 137

190 10 -- OTHER LEADING TONES ge - lum: C C Ec - ce an - cil - la Do lum, ad An - ge - lum: C Ec - ce an - cil - la Do - n 2 3 An - ge - lum: C Ec - ce an - cil - la Do ge - lum: Ec - ce an - cil - la Do - 25 mi - ni, mi - ni, n ec - ec - - ce an - ce an - cil - la Do - - cil - la Do - - n mi - ni, mi - ni, fi - mi - ni, ec - ce an - cil - la Do mi - ni, mi - ni, ec - - ce an - cil - la Do - - mi - ni, 30 fi n at fi at mi - mi - hi, at mi Ó fi hi fi - at mi at mi - se - cun - dum hi se - cun - dum hi, hi se - cun - dum Ó 138

191 OTHER LEADING TONES ver-um tu - um, ver - um tu - ver - um tu - um, se - cun - dum um, ver - um um, se - cun - dum um, Ó se - cun - dum um, se - cun - dum Ó se - cun - dum se - ver - um tu - um, tu - um, se - ver - um tu ver - um tu n ver - um tu ver - um tu cun - dum ver - um cun - dum ver - um um, tu - um, se - se - cun - dum tu - um, se - se - cun - 1 cun - dum ver - um ver um tu - um, tu um, tu tu - um, cun - dum ver - um 2 3 tu um, tu dum ver um tu - um, - um tu - 139

192 10 -- OTHER LEADING TONES Ó U um, se - cun - dum ver - um tu - um U se - cun - dum um, ver - um se - cun - dum tu ver - um tu - um U um U um se - cun - dum ver um tu - um Hans Leo Hassler as orn in Nüremurg, Germany in 156 Born into a family of organists, he received his initial musical training from his father, famed organist Isaak Hassler In 158 he started a tradition that German organists ould follo for decades to come: He relocated to enice to receive instruction in the Italian style directly from Italian maestro Andrea Garieli In 1586 Hassler returned to Germany to enter the service of Count Fugger at Augsurg to hom he dedicated his first collection of orks in the Italian style In 1595 Hassler, together ith his rothers ako and Kaspar, as granted noility status y the Emperor Rudolph II This as extremely signficant ecause this also granted him the privilege of copyright In Augsurg he orked for a time as organist at the church of St Moritz, and later as director of the ton and He returned to his home ton in 1601 to ecome director of music for the city of Nüremurg At the eginning of 1602 he as appointed Kaiserlicher Hofdiener ("Imperial servant") and as sent on several ourneys for the Emperor This position alloed Hassler time to pursue some of his personal ventures, including musical composition In 160 Hassler moved to Ulm here he married the daughter of a local merchant the next year In 1608 he accepted an appointment as organist to the Elector of Saxony in Dresden His duties also included overseeing the Elector's music lirary and led eventually to his appointment as Kapellmeister to the Electoral Chapel in Dresden He as frequently ill in his later years He traveled to Frankfort-am-Main ith the Elector for the coronation of the ne emperor in 1612 He died there on une 8 of the same year at the age of forty-seven Hassler left ehind him a rich repertoire of ork containing masses, Latin and German motets, chorales, hymns, and songs, as ell as masterorks for instrumental groups and for the organ His compositions as ell as his virtuosity on the organ led to his eing hailed as the greatest German musician of his time 10

193 11: Seelinck (yan pi-t r-zon sv -liŋk) an Pieterszoon Seelinck, , as perhaps the most important organist and composer from the Netherlands in the late Renaissance and early Baroque eras He is est knon for his vocal compositions and organ orks He as also one of the leading organ teachers in Europe during his time, numering among his students his on son Dirck and other notale organ masters such as Nicolaus Hasse, Samuel Scheidt, and Michael Praetorius He has een called the "maker of German organists" ecause the succession of his pupils descended directly to S Bach and Handel In his organ fugues, called "fantasias," he as the Draing y Cecelia ohnson first to give the pedals a voice of their on His father as organist Peter Syertszoon, his first teacher His mother as Elske Seeling Seelinck's father served as organist at Amsterdam's Oude Kerk ("Old Church") from 156 until his death in 157 Young Seelinck may also have studied ith organist Cornelis Boskoop, ho succeeded his father at the Oude Kerk for a short time For a reason that remains unclear, Seelinck changed his name to a variant of his mother's surname In any event, his keyoard talents lossomed quickly and Seelinck succeeded Boskoop at the Oude Kerk in the late 1570s His post at the church as less a religious one than a civil appointment, since he actually orked for the city officials of Amsterdam and not for the Calvinists ho forade music performance during the church services It is likely that he played the organ in the morning and evening hen services ere not scheduled He ould serve in this post for over 0 years and as succeeded y his son, Dirck, ho kept the the position for nearly as long until his on death in 1652 "Oude Kerk," full color engraving, 1726 Pulished y Ten Hoorn, Amsterdam 11

194 11 -- SWEELINCK Seelinck's mother died hen he as 23, leaving the young composer to care for his younger rother and sister In 1590 Seelinck married, and, already receiving a healthy salary, forsook an automatic increase alloed for in his contract upon marriage in favor of an alternate perquisite--rent-free living quarters His ife ould give irth to six children, five of hom ould survive their father By the time of his marriage, Seelinck had already estalished himself as one of the finest teachers in Europe and had a sustantial income from that source also His first pulished music as a collection of 18 chansons (French ord meaning "songs," printed in 159 Additional pulications came in 1597 and 160, oth collections of Psalm settings hich included "Psalm 96," presented on the folloing pages While his keyoard orks rank in importance ith his vocal music, no instrumental music as pulished during his lifetime Unlike most composers and artists, Seelinck led a rather uneventful life, and relatively little is knon of him He traveled outside Amsterdam only a fe times, generally for matters associated ith his post at the Oude Kerk It is recorded that he returned to his irth place, Deventer, in 1595 and 1616 for rief visits and that he also traveled to Anterp, Harderik, and Rotterdam It is almost certain that Seelinck ecame a close friend of English composer ohn Bull ( ), ho left England in 1613 to live in Belgium, from here he often visited the Netherlands Pencil Time : Activity Sheet 29: Seelinck Activity Sheet 30: Renaissance Art and Music Activity Sheet 31: Psalm 96 Write ACROSS THE CURRICULUM: Compare Seelinck's "Psalm 96" to Bennet's "Weep, O Mine Eyes" in Chapter 9 and Hassler's "Dixit Maria" in Chapter 10 hich originated during the same time period Ho are they similar Ho are they different PREPARING to learn "Psalm 96": What is the form of the piece What is the style of the piece Is the piece imitative If so, at hat points "Psalm 96" may seem to e more difficult than previous pieces in this ook ecause of aundance of eighth notes and sixteenths The secret is to take the piece sloly enough that the notes can e performed ith ease 12

195 SWEELINCK Art in the Renaissance Renaissance art as divided into three distinct periods--early, High, and Late Renaissance art as orn of revival of the philosophies of the ancient Roman and Greek art and architecture that took place during the 1th and 15th centuries The "reirth" of art in Italy as connected ith the rediscovery of ancient philosophy, literature, and science and a ne emphasis of empirical methods of study in these fields The term "early Renaissance" characterizes virtually all the art of the 15th century Florence, the cradle of Renaissance artistic thought, remained one of the undisputed centers of innovation The first generation of Renaissance artists included Donatello in sculpture, Filippo Brunelleschi (ho discovered linear perspective) in architecture, and Masaccio in painting Central to their thinking ere theoretical foundations of art and the conviction that development and progress ere not only possile ut essential to the life and significance of the arts The challenge of accurate representation in sculptural form (Donatello), a commitment to linear perspective (Masaccio), and effects of light and color, ere approached ith intense and methodical inquiry Rational inquiry as elieved to e the key to success; therefore, efforts ere made to uncover the specific las for the correct proportion for architecture, for the representation of the human ody, and for systematizing pictorial space By the late 15th century the novelty of the first advances of Renaissance style had progressed to a general acceptance of such asic notions as proportion, contraposto (tisted pose), and linear perspective; consequently many artists sought means of personal expression ithin this relatively ellestalished repertoire of style and technique The Early Renaissance as not, as as once maintained, merely an imperfect ut necessary preparation for the perfection of High Renaissance art, ut a period of great intrinsic merit The essence of the High Renaissance art as its unity-- the alance that is achieved intuitively, eyond the reach of rational knoledge or technical skill The High From The Ghent Altarpiece, an van Eyck, 132, Ghent, Belgium 13

196 11 -- SWEELINCK Renaissance style endured for only a rief period (c ) and as exemplified y a fe artists of exceptional genius such as Leonardo da inci and Michelangelo Da inci's fresco The Last Supper (ottom) is an icon of High Renaissance alance and unity Michelangelo not only produced the masterpiece paintings on the ceiling of the Sistine Chapel (like the example on the right), he also produced many magnificent orks of sculpture (David, Moses) Michelangelo elieved his gift to e of divine origin and had no qualms aout taking artistic license ith his suect matter Central to the development of Renaissance art as the emergence of the artist as a creator, sought after and respected for his scholarliness and imagination Art, too, ecame valued--not merely as an outlet for religious and social change, ut even more as a ay of personal, aesthetic expression Music of the High Renaissance folloed the trend of the visual arts Music, instead of merely eing a conduit for a religious text, ecame appreciated for itself, and the High "aco - oseph," Sistine Chapel ceiling Michelangelo, Renaissance produced some of the most eautiful choral music ever ritten, due partly to the same feeling of unity and alance in the musical compositions as can e seen in the artorks of the time As you study and learn "Psalm 96," feel free to allo yourself to e sept aay y the sheer eauty of the music itself--the long, independent phrases, the interaction eteen eteen the voices, the eauty of the melodic lines "The Last Supper," Leonardo da inci, ; Milan 1

197 SWEELINCK SATB A cappella an Pieterszoon Seelinck ( ) Ed Patti DeWitt S f A T Chan - tez à Dieu chan - f Chan - tez à Dieu chan - Ó f son nou - vel - le, son nou - vel - le, chan - tez à B Chan - son nou - vel - le, chan - tez à f Ó Chan - tez à 3 chan - son nou - vel - Dieu chan - son nou - vel - - le, chan - tez, ô F F - le, chan - tez, ô ter Ó Dieu chan - son nou - vel - Dieu chan - son nou - vel - - le, F le, chan - tez, ô ter - 15

198 11 -- SWEELINCK 5 terr' u - ni - ver - sel _ re, chan - tez, ô terr' u - P le, P ni - ver - sel - le, u - ni - ver - P F chan - tez, ô terr' u - Ó re, ni - ver - sel - le, u - P chan - tez, ô terr' u - 7 _ P chan - tez, ô terr' u - sel - - le, u - ni - ver - sel - le, u - ni - ver - sel - le, ni - ver - sel - le, u - ni - ver - sel - le, ni - ver - sel - le, u - ni - ver - sel - le, u - ni - ver - u - ni - ver - sel - le, u - 16

199 SWEELINCK u - ni - ver - sel - ni - ver - sel - le, u - ni - ver - sel - sel - le, u - ni - ver - sel - n ni - ver - sel - le, u - ni - ver - sel - - le Chan - tez, chan - - le Chan - tez, chan - - le Chan - tez, F F F F - le Chan - tez, chan - p p p 11 tez, et son Nom e - nis - n tez, chan - tez, et son Nom p chan - tez, Ó cresc cresc cresc tez, et son Nom e - nis - sez, et son Nom e - nis - e - nis - sez, cresc et son Nom e - nis - sez, sez, F Ó F et 17

200 11 -- SWEELINCK 13 sez, et son Nom F et son Nom e - nis - sez, son Ó F F et son Nom F son Nom e - nis - sez, et son Nom cresc e - nis - sez, cresc Nom e - nis - sez, et de cresc e - nis - sez, cresc f f f f e - nis - sez, P 15 P et de our en our our en our, et de Ó P P et de our en cresc et de our en our, et de an - non - cez, our en our an - non - cez, our cresc cresc F F F an - non - cez, F our en our an - non - cez, 18

201 SWEELINCK an - non - cez sa dé - li - vran - ce so - lem - nel - Ó an - non - cez an - non - cez sa an - non - cez sa sa dé - li - vran - ce so - lem - dé - li - vran - ce so - lem - nel - 19 le, sa dé - li - vran - ce n dé - li - vran - ce nel - le, sa dé - li - vran - ce le, Ó so - lem - nel - le, sa so - lem - nel - le, sa dé - dim dim dim so - lem - nel - le, sa F F F sa dé

202 11 -- SWEELINCK 21 dé - li - vran - ce so - lem - nel - li - vran - ce so - lem - nel - n dé - li - vran - ce so - lem - nel - li - vran - ce so - lem - nel - le, sa dé - li - vran - ce le, sa dé li - vran - ce le, sa dé - li - vran - ce le, sa dé li - vran - ce 23 n so - lem-nel - le, chan - dim n so - lem - nel - le, chan - so - lem-nel - le, chan - tez, dim dim dim so - lem-nel - le, chan - F F F F tez, chan - tez, et tez, chan - tez, chan - tez, chan - tez, P P P P chan - tez, tez, chan - tez, et 150

203 SWEELINCK son Nom e - nis - sez, et cresc cresc n et son Nom e - nis - sez, Ó cresc F F son Nom e - nis - sez, F cresc et son Nom cresc son Nom e - nis - sez, Ó F Ó e - nis - sez, cresc et son Nom cresc et son Nom e - nis - 27 f et son Nom e - nis - e - nis - sez, son Nom e - nis - f f sez, et de our en F sez, et de our en our, Ó F et son Nom e - nis - f sez, F sez, et son Nom e - nis - sez, et de our en 151

204 11 -- SWEELINCK 29 our an - P P et de our en our P non - cez, an - non - an - non - cez, an - non - f f f et de our en our P our, et de our en our an - non - cez, an - non - an - non - cez, an - non - f 31 cez sa dé - li - vran - ce cez cez sa dé - li - vran - ce cez sa dé - li - vran - ce Ó so - lem - nel - le, sa dim P sa so - lem - nel - le, sa dim so - lem - nel - le, dim P P 152

205 SWEELINCK de - li - vran - ce so - lem - nel - dé - li - vran - ce so - lem - nel - n dé - li - vran - ce so - lem - nel - Ó F sa le, sa dé - li - vran - ce le, sa de - li - vran - ce so - F F F le, sa dé - li - vran - ce dé li - vran - ce 35 so - lem - nel - le, sa dé - li - vran - ce so - lem - nel - _ lem - nel - le, sa dé n so - lem - nel - le, so - lem - nel - le, sa dé sa li - vran - ce so - lem - nel dé - li - vran - ce so - lem - nel - li - vran - ce so - lem - nel - 153

206 11 -- SWEELINCK 37 f le, so lem - nel - - f cresc e rit le, so - lem - nel f le, so lem - nel - - f cresc e rit cresc e rit cresc e rit le, so lem - nel - - ƒ ƒ ƒ ƒ U le U le U le U le Translation: Sing to the Lord a ne song; Sing to the Lord, all the earth Sing to the Lord, praise his name; proclaim his salvation day after day Chantez a Dieu chanson nouvelle, Chantez, ô terre, chantez, ô terr' universelle, Chantez, et son Nom enissez, et de our en our annoncez sa délivrance solemnelle 1 Pronunciation: 1 ʃo* - t a d U ʃo* - so* nu - v - l ʃo* - t o t r - ʃo* - t o r u - ni - v r - s - l ʃo* - t so* nom - ni- s d ʒ Ur o* ʒ Ur a - no* - s sa d - li - vro* - s so - l m - n - l * Nasalized voel 1 These pronunciations are ritten using the IPA (International Phonetic Alphaet) A chart of the IPA is provided on page 23 Practice in using the IPA can e found in Pencil Time Activity Sheets from Levels I (Activity Sheet 30) and III (Activity Sheet 25) 15

207 12: Modulation Modulation is the act of changing keys ithin a musical composition Modulation can e either formal (ith a specifically designated key change) or informal (no specifically designated key change, ut ith a definite change in tonality as indicated y the repeated use of altered notes) Much of modulatory tonal music modulates to another key and then ack to the tonic efore the end of the piece Modulation may e direct; that is, a change of key ith no arning or preparation But most often key changes are implemented in a smooth and seamless manner The ay this is accomplished is through the use of pivot chords A pivot chord is a chord serves as a common link eteen to keys The chord may include altered notes, or it may not INFORMAL MODULATION: Consider the 8-measure phrase, elo, in hich there is a rief modulation and ack again In hat key is the example To hat key does it modulate No all that needs to e decided is here the modulation egins and here it modulates ack to the tonic Example 1: C Maor: I I I 7 of G Maor: I Although there is an F-sharp in measure 3, e cannot e sure that this is a full modulation until measure, here e have a full cadence in the ne key: G Maor Then e can use the last chord in the full cadence as a point of modulation This is called a pivot chord, a chord common to oth keys (the chord in the key of C, and the I chord in the ne key, G Maor), hich serves as a link from the one to the other At hat point does the piece modulate ack to C Maor Is there a specific pivot chord If so, hich chord is the pivot chord Finish analyzing the chords in Example 1 What specific indicator do e have that the piece has, indeed, modulated ack to the key of C maor When the key changes, so does the assignment of the solfege syllales to specific pitches / 155

208 12 -- MODULATION In the Example 1, the pivot chord has een located and identified, ut hat does this mean to the individual singer It means that the scale has shifted as ell as the key, and different solfege syllales ill apply to the pitches Look at these to measures from Example 1 in Example 2, elo It has een stated that the last chord in measure is the pivot chord; that is, it changes from the chord in the key of C Maor to the I chord in the key of G Maor Thus the solfege must change also Example 2: 5 Re Do Ti 7 of / I The soprano note (G) changes from So to hat solfege syllale on eat three What change of notes occurs in the alto part Bass The tenor line is shon inside of the staves What happens to sho us that the piece modulates ack to C Maor y the end of the piece Example 3: 6 7 Which is the pivot chord ack to C Maor What is the pitch and solfege syllale in the soprano voice in the pivot chord in G Maor To hat solfege syllale does the soprano voice change in the ne key of C Maor What is the pitch and solfege syllale in the alto voice in the pivot chord in G Maor To hat solfege syllale does the alto voice change in the ne key of C Maor What is the pitch and solfege syllale in the tenor voice in the pivot chord in G Maor To hat solfege syllale does the tenor voice change in the key of C Maor What is the pitch and solfege syllale in the ass voice in the pivot chord in G Maor To hat solfege syllale does the ass voice change in the key of C Maor 156

209 MODULATION Modulations often occur to the dominant To help visualize this, look at the Circle of Fifths* chart, elo: Dominant () Sudominant (I) Circle of Fifths If one ants to find the dominant of a key, he looks to the next key clockise from that key What is the dominant of the Key of F G A-flat B If one ants to find the sudominant of a key, he looks to the next key counterclockise from that key What is the sudominant of the Key of C D E If one ants to modulate from one key to another, he can find the chords that the to keys have in common y looking at the chart For example, if a person ishes to modulate from the key of C to the key of B-flat maor, the F Maor chord may e used as a pivot chord, since it is common to oth keys It is the I chord in the key of C and the chord in the key of B-flat Modulation to the dominant is quite common in music in a Maor key Modulation to the relative Maor or minor is also quite common Modulation may also occur eteen parallel maor and minor keys To keys are said to e parallel if they share a note name For example, E Maor is parallel to E minor; B-flat Maor is parallel to B-flat minor; F-sharp minor is parallel to F-sharp Maor When this occurs there is a change in key signature and modality, ut the tonal center remains the same * The reason this chart is called the "Circle of Fifths" is ecause as one moves clockise around the circle, the notes move up y fifth (or don y a fourth) As they move counterclockise to the sudominant, the notes move don y a fitfth (or up y a fourth) If one keeps modulating up y a fifth, one ill eventually end ack up in the original key 157

210 12 -- MODULATION In the exercises elo: 1 Identify the key of each 2 Identify the key to hich each modulates 3 Locate the pivot chords (to and from) and define them in oth keys Identify the solfege syllale for the pivot notes (to and from) of each voice part 1 n n n 158

211 3 3 n 159 MODULATION FORMAL MODULATION: A formal modulation occurs hen there is a notated key change in the piece This kind of modulation may e prepared ith altered chords, or it may e sudden, ithout arning Is the modulation in the example elo a prepared or unprepared modulation Defend your anser I 7 / 7 I / 7 of I

212 12 -- MODULATION MODULATION TO THE RELATIE: Perhaps the simplest modulation is to the relative maor or minor, ecause, in its natural form, the minor key has all chords in common ith the maor Even if the raised sixth is used to create a maor dominant () chord for the minor key, it is still very easy to slip ack and forth from relative keys If there are no altered notes (no maor chord), one has to determine hether or not a modulation has taken place y looking at the cadences If there is a iii - vi cadence in one or more places and the chords keep moving ack and forth from the iii chord (dominant to the vi chord) to the vi chord, then it is safe to assume that a modulation has occurred Belo is an example of a modulation to the relative minor ith no accidentals or other markings indicate a modulation In hat measure does the modulation egin In hat measure does it end

213 MODULATION The folloing exercises contain modulations, some formal, some informal, some to the relative or parallel maor or minor 1 Identify the pivot chord or point of modulation and the ne key (and ack) 2 Determine the pivot note for your voice part, oth modulating and returning 3 Audiate the point of modulation--first in the original key; then in the ne key Audiate the entire piece 5 Chant in chorus 6 Sing in chorus ith solfege and handsigns Fine DC al Fine 161

214 12 -- MODULATION 2 * n n * This may appear, at first sight, as a modulatory cadence, ut since it continues in the key of B-flat in the next measure, the is merely a half cadence ith a secondary dominant ( of ) 162

215 MODULATION n What kind of cadence What kind of cadence 163

216 12 -- MODULATION This exercises modulates from one key to its parallel minor Name the key Name its parallel minor Notice at the point of modulation, the tenor note changes from C to C n in the next measure 3 C n C 16

217 MODULATION n n n n n n 165

218 12 -- MODULATION 3rd time to m 9 5 Da Capo 9 n n n 12 3rd time to m

219 MODULATION nd time to m " " " " 167

220 12 -- MODULATION The folloing exercise contains several places in hich it seems that it might e modulating, ut, in reality, it only modulates one time Analyze the piece carefully and find here it truly modulates into another key Then decide the function of the other, nonmodulatory altered notes This is a rather long exercise Make sure you study over it all the ay to the end

221 MODULATION

222 12 -- MODULATION 9 ocaulary: 1 Direct modulation--"unprepared" modulation; a modulation that occurs ith no preparation or arning 2 Dominant--The fifth note aove the tonic; the chord 3 Formal modulation--a modulation that is indicated y a change in key signature Informal modulation--a modulation that is indicated only y a change in modality or the use of altered notes 5 Modulation--A change of key in the midst of a piece of music 6 Parallel maor/minor--keys hich are called y the same letter name, for example A maor and A minor; F maor and F minor 7 Pivot chord--a chord common to oth the original key and the key of modulation that serves as a link eteen the to keys 8 Relative maor--a Maor key that shares a common key signature ith a minor key 9 Relative minor--a minor key that shares a common key signature ith a Maor key; The tonic of the relative minor is a minor third loer (La) than the tonic of the Maor key 10 Sudominant--The fourth aove the tonic; the I chord Pencil Time : Activity Sheet 31: Pivot Chords Activity Sheet 32: Modulation to the Relative or Parallel Maor or Minor Activity Sheet 33: Circle of Fifths Activity Sheet 3: Analysis: "Navy Hymn" 170

223 MODULATION The Navy Hymn The hymn, "Eternal Father, Strong to Save," as ritten y to Englishmen The original poem as in 1860 y William Whiting of Winchester, England, for a student of his ho as sailing to America The poem as set to music in 1861 y Rev ohn Bacchus Dykes, an Episcopalian priest It is has come to e knon as the "Navy Hymn" ecause it is not only sung for official ceremonies at the US Naval Academy, it is also used y the British Royal Navy and the French Navy "Eternal Father" as President Franklin Delano Roosevelt's favorite hymn and as sung at his funeral William Whiting in April 195 It as also played y the Navy Band in 1963 as President ohn F Kennedy's ody as carried up the steps of the Capitol Both Roosevelt and Kennedy had served the Navy, Roosevelt as Secretary of the Navy and Kennedy as a PT oat commander in World War II In 200, "The Navy Hymn" as again played, this time for the funeral of President Ronald Reagan In 1879, Lieutenant Commander Charles ackson Train (later a Rear Admiral), then director of the Midshipmen's Choir, instituted the practice of singing the first verse of "Eternal Father" at the conclusion of the US Naval Academy's Sunday Services Because of this practice "Eternal Father" came to e called "The Navy Hymn," ecame an integral part of Navy tradition, and gained increasing popularity among US Navy personnel Other verses have een added over the years to include all military personnel, such as sumariners, pilots, and land forces Rev ohn Bacchus Dykes 171

224 12 -- MODULATION William Whiting S A T B F Reverently 1 P E - P E - P E - P E - arm doth ind the F arm doth ind the F ter - nal Fath - er, ter - nal Fath - er, ter - nal Fath - er, The Navy Hymn Eternal Father, Strong to Save ter - nal Fath - er, SATB A cappella p rest - less ave, Who p rest - less ave, Who p Rev ohn Bacchus Dykes Arr Patti DeWitt cresc strong to save, Whose cresc strong to save, Whose cresc strong to save, Whose cresc strong to save, Whose ids ids cresc poco the might - y cresc poco the might - y cresc poco arm doth ind the F rest - less ave, Who p ids the might - y cresc poco arm doth ind the rest - less ave, Who ids the might - y Where is the modulation in "The Navy Hymn" What is the pivot chord From hat key to hat key does it modulate What is the function of the pivot chord in the first key What is the function of the pivot chord in the second key 172

225 MODULATION a poco o - cean deep Its a poco o - cean deep Its a poco on ap - poin - ted on ap - poin - ted F li - mits keep Oh, F li - mits keep Oh, F p p p o - cean deep Its a poco on ap - poin - ted li - mits keep Oh, F p o - cean deep Its on ap - poin - ted li - mits keep Oh, 10 hear us hen e hear us hen e hear us hen e hear us hen e cresc cry to Thee for cresc cry to Thee for cresc cry to Thee for cresc cry to Thee for those in per - il those in per - il those in per - il those in per - il 13 on the sea on the sea on the sea P on the sea O, Ó Ó p Ah p Ah migh - ty Spi - rit, cresc cresc P cresc Up - P Up - F ho didst rood Up - 173

226 12 -- MODULATION 16 on the cha - os on the cha - os dark and rude, dark and rude, And F Ah id the ang - ry F And id the on the cha - os dark and rude, 19 cresc poco a poco And give for ild con - fu - sion cresc poco a poco tu - mult cease And give for ild con - fu - sion peace: cresc poco a poco n tu - mult cease And give for ild con - dim e rit dim e rit dim e rit fu - sion peace: O, Ó p p 22 A tempo p peace: O, p hear us hen e p hear us hen e hear us For Ó For cry to thee For F F F F cry to thee For O, those in per - il those in per - il those in per - il those in per - il 17

227 MODULATION molto rit U f " on the sea O, molto rit U f " on the sea O, molto rit U U f " on the sea O, molto rit on the U " f sea O, Broadly Tri - - ni - ty of Tri - - ni - ty of Tri - - ni - ty of Tri - - ni - ty of 27 love and po'r Our reth - ren shield in love and po'r Our reth - ren shield in love and po'r Our reth - ren shield in love and po'r Our reth - ren shield in 29 P cresc dan - ger's hour From P rock and tem - pest, cresc dan - ger's hour From P rock and tem - pest, cresc dan - ger's hour From P rock and tem - pest, cresc dan - ger's hour From rock and tem - pest, 175

228 12 -- MODULATION poco a poco fire and foe; Pro - tect them here - so - poco a poco f fire and foe; Pro - tect them here - so - poco a poco f fire and foe; Pro - tect them here - so - poco a poco f fire and foe; Pro - e'er they go Thus n e'er they go Thus e'er they go Thus e'er they go Thus a poco rise to Thee Our a poco f F F F F rise to Thee Our a poco f rise to Thee Our a poco f rise to Thee Our f f tect them here - so - ev - er - more shall cresc poco ev - er - more shall cresc poco n ev - er - more shall cresc poco ev - er - more shall cresc poco hymns of praise from hymns of praise from hymns of praise from hymns of praise from 176

229 MODULATION land and sea land and sea land land and sea and sea dim e rit dim e rit dim e rit dim e rit U U U U " " " " F Our F Our F Our F Our hymns of praise from hymns of praise from cresc e molto rit cresc e molto rit cresc e molto rit hymns of praise from cresc e molto rit hymns praise from 0 ƒ rit U land land, and sea ƒ land ƒ rit and rit U sea U land, land and land ƒ sea and rit sea U 177

230 13: Loered Notes 1 Te--Loered Ti When a note is loered, it has a tendency to resolve don y step, as opposed to 7 the raised notes hich tend to resolve upard A note can e loered in several ays: 1 Flatted: 2 "Natural"ed: When a natural sign cancels a sharp and loers the note 3 Doule-flatted: Ti Te La n Ti Te La Ti Te La When Ti is a flatted note, such as in the key of C Maor, aove, it is necessary to doule-flat the note to make it "Te" Handsign for Te: Melodic: n Te Te is a part of the I 7 chord, a secondary dominant leading to the I chord I Te n I 7 / 7 of I I 178

231 LOWERED NOTES Maor 7th 7 Harmonic: Ti Melodic exercises: 1 Minor 7th Finish analyzing the examples elo Then sing them Te N I7 /7 of I 3 2 I7 7 of I / N n n 179

232 13 -- LOWERED NOTES 3 n n 5 3 n n n n n n n 180

233 LOWERED NOTES Me: Me is a loered Mi Handsign for Me: n 3 Ra: Ra is a loered Re Handsign for Ra: Melodic: n n Harmonic: n n 181

234 13 -- LOWERED NOTES Le: Handsign for Le: Melodic: Harmonic: 5 Se: Se is a loered So Handsign for Se: Melodic: Harmonic: n 182

235 LOWERED NOTES Descending Chromatic Scale: * * After the descending chromatic scale is mastered a cappella, to extend learning, sing in canon ith the second voice starting here Full Chromatic Scale, ascending and descending: SING the full chromatic scale, ascending and descending ith handsigns: 1 2 * * After the scales aove are mastered a cappella practice singing them simultaneously and in canon Melodic exercises: 1 Locate and identify the loered notes in each of the melodic exercises, elo 2 Audiate each exercise hile handsigning 3 Sing ith solfege and handsigns n 183

236 13 -- LOWERED NOTES 3 n n n n n n n 18

237 LOWERED NOTES n n n n n n n n n n n Fine n n n n DC al Fine 185

238 13 -- LOWERED NOTES Harmonic exercises: 1 n n n 186 Fine n DC al Fine

239 LOWERED NOTES Fine n DC al Fine n 187

240 13 -- LOWERED NOTES 3 n n n 188

241 LOWERED NOTES n n n 189

242 13 -- LOWERED NOTES n n 190

243 LOWERED NOTES n U U n n U U U U n U n U n 191

244 13 -- LOWERED NOTES 5 n n n n n n n n 192

245 LOWERED NOTES n n n n n n n n n n n 193

246 13 -- LOWERED NOTES n 7 11 n n 19

247 LOWERED NOTES n n 2 U U U U " " " " 195

248 13 -- LOWERED NOTES 7 n 3 n

249 LOWERED NOTES n n 197

250 13 -- LOWERED NOTES 8 n n n n 5 n 9 n n n n 13 n n n 198

251 LOWERED NOTES n n n n 21 n 25 n n n n 29 n n n n n 199

252 13 -- LOWERED NOTES 9 6 n 11 1 n n n 200

253 LOWERED NOTES Ó 21 n 23 n n n n

254 13 -- LOWERED NOTES n 1 n 202

255 LOWERED NOTES Melody:

256 13 -- LOWERED NOTES 38 n n n ocaulary: 1 Chromatic scale--a scale that moves up or don y half steps 2 Secondary dominant--a chord that is altered from its normal state in a key so that it ecomes a Chord of another chord For example, in the key of C Maor, a D minor chord in hich the third has een raised to form a D Maor Chord may function as a secondary dominant chord to a G Maor or G minor chord Write ACROSS THE CURRICULUM: Select one of the exercises in this chapter, and rite lyrics for it If you select a unison exercise, rite an accompaniment for your song Pencil Time : Activity Sheet 35: Loered notes Activity Sheet 36: Secondary dominants Activity Sheet 37: Write a Solo! 20

257 1: Franz Schuert Franz Schuert as orn in ienna in 1797, the son of a schoolmaster He shoed an amazing aptitude for music and studied piano, violin, organ, and harmony While a chorister in the imperial court chapel, he studied composition ith Salieri ( ) By 181 he had produced piano pieces, settings of the poems of Schiller and Metastasio, string quartets, his first symphony, and a 3-act opera After his voice roke hile he as a oy soprano he started teaching and composing Eventually he gave up teaching altogether so he could compose full time While he as still teaching, hoever, he as ale to produce a huge volume of ork His output of ork from alone includes Gretchen am Spinnrade and Erlkönig (oth famous for their textpainting), numerous other songs, to symphonies, and three masses Schuert and Beethoven ere contemporaries in ienna at a time of significant change in the development and shape of music Beethoven as ell-knon, ell-funded and orking toards a maor revolution in musical expression Schuert as a it younger, less-knon, under-funded, and his innovations in musical expression ere not so ell appreciated at the time Schuert did gather a vast group of supporters over time, a loyal group of associates ho enoyed his music ho ould support him and promote his music His rother as one of the first ones to provide creative stimulation and financial support Although Schuert as a skilled pianist and violinist he as neither a virtuoso performer or flamoyant conductor ho could promote his on ork on the pulic stage Because of this, most of his orchestra compositions ere never performed pulicly during his lifetime His chamer music and songs did find some acceptance in smaller social gatherings, ut this resulted only in a meager income His songs (aout 600) did fairly ell though ohann ogl, a noted aritone soloist, gre very fond of Schuert's songs and sang them on many occasions This resulted in recognition of his music and, of course, more money Schuert often rote several songs a day Some say they found his notes on the acks of menus in restaurants here he ate Schuert very effectively estalished the "German Lied" as a ne art form in the 19th century He used the late 18th-century outurst of lyric poetry and the ne possiilities for picturesque accompaniment offered y the nely developed piano His genius is most apparent in his use of harmony and accompaniment patterns to represent shifting 205

258 1 -- FRANZ SCHUBERT emotions and suect matter in the text For example, the accompaniment "gallops" in Erlkonig (the Erl King) as the horse gallops home in the text Schuert as a great admirer of Beethoven When Beethoven died, he served as a pallearer at his funeral Schuert himself died of typhoid in ienna at the age of 31, ust as he as eginning to explore ne directions in music and gain some modest recognition Although having lived a very short life, Schuert achieved much, and all ith poetic perfection His musical orks comined the styles of the Classical Period of Mozart, Haydn, and Beethoven ith the Romanticism of Chopin, Schumann, and Liszt Friend and poet Franz Grillparzer rote Schuert's epitaph His tomstone reads: "The art of music here entomed a rich possession; ut even far fairer hopes Here lies Franz Schuert" It asn't until after his death that people egan to recognize his genius It as only then that some of his orks ere pulished and performed for the first time Gradually his orks received ide recognition and appreciation Schuert left a remarkale legacy of chamer music, including several poerful String Quartets and Piano Sonatas Facilitated y his rother, Schuert's orks ere later discovered y Schumann and Mendelssohn ho helped them achieve a ider recognition Some of the symphonies ere similarly discovered much later y George Grove and Sir Arthur Sullivan Romanticism as a movement that as first made manifest in literary orks German Romanticism as given impetus y the orks of such literary giants as Fredrich Schiller and ohann Wolfgang von Goethe Although Schiller is primarily knon as a playright, his poems found their ay into the music of the Romantic Era composers Schiller's poem, An die Freude ("Ode to oy") provides lyrics for the last movement of Beethoven's great Choral Symphony Schuert also set many of Schiller's poems to music Schuert's famous and haunting lied, Erlkönig, is ased a poem y Goethe (elo) Erlkönig y ohann Wolfgang von Goethe English Translation Wer reitet so spät durch Nacht und Wind Es ist der ater mit seinem Kind; Er hat den Knaen ohl in dem Arm, Er faßt ihn sicher, er hält ihn arm Mein Sohn, as irgst du so ang dein Gesicht Siehst, ater, du den Erlkönig nicht Den Erlenkönig mit Kron und Scheif Mein Sohn, es ist ein Neelstreif "Du liees Kind, komm, geh mit mir! Gar schöne Spiele spiel ich mit dir; Manch unte Blumen sind an dem Strand, Meine Mutter hat manch gülden Geand" Who is riding so late through night and ind It is the father ith his child; He has his arm ell around the oy, Holding him securely, and keeping him arm My son, hy are you hiding your face in fear Do you not, father, see the Erlking* The Erlking ith his cron and long roes My son, that is a trail of mist "You seet child, come, go ith me! ery lovely games I ill play ith you; Many colorful floers gro near the each, My mother has many garments of gold" 206

259 FRANZ SCHUBERT -- 1 Mein ater, mein ater, und hörest du nicht, Was Erlenkönig mir leise verspricht Sei ruhig, leie ruhig, mein Kind; In dürren Blattern säuselt der Wind "Willst, feiner Knae, du mit mir gehn Meine Töchter sollen dich arten schön; Meine Töchter führen den nächtlichen Reihn, Und iegen und tanzen und singen dich ein "Mein ater, mein ater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau "Ich liee dich, mich reizt deine schöne Gestalt; Und ist du nicht illig, so rauch ich Gealt" Mein ater, mein ater, etzt faßt er mich an! Erlkönig hat mir ein Leids getan! My father, my father, can you not hear What the Erlking so softly promises me Be calm, stay calm, my child; It's only the ind rustling in dry leaves "Will you, fine oy, come ith me My daughters shall attend you lovingly; My daughters lead the nightly circle of dance, They ill rock and dance and sing you to sleep" My father, my father, and can't you see there, The Erlking's daughters in that dark place My son, my son, I see it quite ell: It is the old illo-trees looking so grey "I love you, I'm charmed y your eautiful shape; And since you not illing, I ill have to use force" My father, my father, no he's graing me! The Erlking is hurting me! Dem ater grausets, er reitet geschind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not; In seinen Armen das Kind ar tot The father shudders, he rides faster still, Holding his moaning child in his arms, And ith perilous effort he reaches the farm; But in his arms, the child lay dead * The Erlking personified death German Romantic Art The 18th century ended ith the ruling philosophy that man as the measure of all things--that all good things could e attained y the exercise of man's logic and reason The 19th century rought aout a change of perspective, and man as no longer the center of the universe, ut an integral part of the orld around him This ne trend toard Romanticism as a reaction against the "classicism" of the the Age of Reason, and a turn aay from the idealization of the rational friedrich_zei_mannertif poers of man and a turn toard the expression of man's innermost feelings ased on real experiences and interactions ith the rest of nature To Men Contemplating the Moon Caspar David Friedrich, 1819 A fascination ith nature as ell as ith the fantastic pervades the art orks of this genre Emotionalism ecame the driving factor in much of Romantic art, and much of the artork as ell as the music of the Romantic Era as extremely passionate 207

260 1 -- FRANZ SCHUBERT German Romantic art focused mainly on their landscape as a manifestation of the "divine" or--god This school of painters ere highly religious and proud of their country Pride in their landscape fueled the German Romanticists to use it as a metaphor for God and his poer over humanity They felt that their mountains and trees ere of such eauty that they ere rivaled y nothing anyhere else on all the earth The Germans ere influenced y the concept of the 'sulime' experience in nature--fear of the unknon, fear of God, fear of nature, and danger in nature illustrating that man has no poer over the forces of God and nature But in accordance ith this, they anted the landscapes to e eautiful in the same ay, like tension created at the prospect of sky diving, for example, hen one is afraid to ump, ut at the same time exhilarated and in ae of the experience Another concept presented y German riter ETA Hoffman, as "Infinite Longing" It presented the elief that man as mortal and helpless in the face of the poer of nature, and Romantic paintings exemplified this in their suect matter: landscapes of aves crashing upon deadly crags, dramatic lighting, violent storms, as ell as symols inferring loneliness, melancholy, estrangement, mystery Humans ere darfed y large trees hose lims appeared to e alive ith their on personality and agenda Their elief as also that nature as an extension of God further illustrating the idea that man as defenseless in the face of God and nature Frightening cliffs, mystical ild trees, unmodulated expanses of ater or land (desolation) ith one or more figures somehere in the painting shoing psychological suffering: fear or hesitation, yet intrigue They painted emotion ithin the human knoledge of the uncharted landscapes that ere meant to instill the "fear of God" in the figures and also the vieers of the paintings This as the German Romantic ay of illustrating human emotion and infinite longing in their art German literature and music also reflected this emotionalism The Romantic Era sa the irth of the Gothic novel exemplified y such authors as Edgar Allen Poe Romantic music reached its apex in the massive operas of Richard Wagner friedrichanderer-sea-fogtif Schuert as to appear at the very eginning of this Era Along ith Beethoven, he ould serve as a segue from the asolute forms and restraint of the Classical Era to the passion and emotionalism of the Romantic Activity Sheet 38: Franz Schuert Activity Sheet 39: Analysis, "Kyrie" Activity Sheet 0: Classical vs Romantic "The Traveller Aove the Sea of Clouds" Caspar David Friedrich,

261 FRANZ SCHUBERT -- 1 The Mass Western music history has its roots in the mass of the Roman Catholic Church The Roman church as not only the dominant religious group in Europe for many centuries, it as also the dominating political poer for almost 1000 years And so it as that all matters, hether they ere spiritual, social, political, scientific, or artistic, ere decided y the church And so it folloed that most music as not only ritten for liturgical purposes, ut its creation and characteristics ere overseen y the church Thus, it as through the development of the mass from single-line, plainsong chant to the parallel harmonizations of the telfth and thirteenth centuries to the lush polyphony of the late Renaissance to the refined and structured forms of the Classical and early Romantic periods to contemporary music in hich individualism is honored more than tradition that e trace the ulk of music history Nearly all of the great composers have ritten a setting for the mass After the Reformation, many composers rote "masses" in their native tongues (rather than in Latin) and even replaced the traditional mass text ith texts that etter suited their reformed ideas For example, Brahms rote his requiem mass, called it Deutsche Requiem (German requiem) and used Bilical scripture rather than the usual requiem liturgy The ordinary of the mass consisted of six main parts: I Kyrie--"Lord, have mercy on us" II Gloria--"Glory to God in the highest" III Credo-- "I elieve in one God" I Sanctus--"Holy, holy, holy" Benedictus--"Blessed is the name" I Agnus Dei--"Lam of God" Most of these parts remain in the liturgy of mainstream Protestantism in one form or another Some of them, like the Creed, are spoken instead of sung, ut it is the chanting, later singing, of the mass that led to specific rules eing estalished for the composition of the mass These rules, in turn, ecame the foundation of the music characteristics that e hear all around us in our society today Listen to a CD or search the internet and donload a mp3 file that features Gregorian chant, specifically the "Kyrie" Compare the chanted Kyrie to Schuert's setting of the Kyrie Dra a tale that outlines the similarities and differences eteen the to Listen to a CD or find an mpg file on the internet ith Schuert's lied, Erlkonig and find a CD or mpg ith a song y Mozart Compare the to and rite don your findings in a short essay 209

262 1 -- FRANZ SCHUBERT S Andante con moto 3 p Kyrie from Mass in G SATB Franz Schuert Ed Patti DeWitt A 3 Ky - ri - p e e - lei son, T 3 Ky - ri - p e e - lei son, B 3 Ky - ri - p e e - lei son, 3 3 Ky - ri - Ÿ p e e - lei son, n "Silence" ohn Henry Fuseli,

263 FRANZ SCHUBERT Ky - ri - e e - lei son, Ky - ri e e - n Ky - ri - e e - lei son, Ky - ri e e - Ky - ri - e e - lei son, Ky - ri e e - Ky - ri - e e - lei son, Ky - ri e e - Ÿ n n 9 lei - son, lei - son, Ky - ri-e e - Ky - ri-e e - lei - son, e - lei - son, e - lei lei lei - son, lei - son, Ky - ri-e e - Ky - ri-e e - lei - son, e - lei - son, e - lei lei

264 1 -- FRANZ SCHUBERT 13 son son Ky - ri - Ky - ri - son Ky - ri - son Ÿ n Ky - ri - Ÿ 17 2nd time To Coda e e - lei son, Ky - ri - e e - lei son, Ky - ri - e e - lei son, Ky - ri - e e - lei son, Ky - ri - n Ÿ 212

265 FRANZ SCHUBERT F n e, e - lei F son, e - lei e, e - lei F son, e - lei e, e - lei F son, e - lei e, e - n lei n n F son, e - n n lei p Ó P n son p Ó Ky - ri - e, e - P n lei son son p Ó Ky - ri - e, e - P lei son son p Ó Ky - ri - e, e - P lei son son p Ky - ri - e, e - n n n P lei n n son 213

266 1 -- FRANZ SCHUBERT 29 Sopranos or solo: p n n Chris - te, e - lei - son, Chris - te, e - n p Ó n n n Ó 33 n F n lei - son Ó Chris - te, e - lei - son, n Chris - te, e - n F 37 p n lei - son Chris - te, e - lei - son, p Ó n n 1 n f Chris - te, e - lei - son, Chris - te, e - lei n Ó Ó f 21

267 FRANZ SCHUBERT Ó Tutti F son Ó F Chris - te, Ó E - F lei son E - E - lei F son E - Chris - te, 9 Chris - te, Ó Christ Ó te, E - lei son, Chris - te, lei son, E - lei son, E - Chris - te, Chris - te, Chris - te, Ó Ó 215

268 1 -- FRANZ SCHUBERT 53 lei - son, Chris - te, e - n lei son, E - p p lei - son, lei - son, Chris - te, e - Chris - te, e - lei lei son, E - son, E - p p lei - son, Chris - te, e - lei son, E - n p 57 Í lei son Chris Í lei lei son son Chris lei son π 216

269 FRANZ SCHUBERT R te, e - r lei son Ó Ó te, e - Í Chris Í lei R te, e - R son lei son Ó Ó Chris te, e - lei son Ó Ó 65 DC al Coda fi Coda Ky - ri - Ky - ri - Ky - ri - Ky - ri - Ó n Ÿ 217

270 1 -- FRANZ SCHUBERT 69 e, e - e, - e - lei lei - son, son Ky - ri - n Ky - ri - e, e - e, - e - lei - son, Ky - ri - e, e - e, e - 3 lei son n Ky - ri - 73 poco cresc e, e - lei son, e - n lei lei son poco cresc son poco cresc lei - son, e - lei son poco cresc e, e - lei son poco cresc 218

271 FRANZ SCHUBERT π Ó π Ó π Ó π Ó π ocaulary: 1 Chamer music--music for small ensemles, such as string quartets 2 Lied--German for "song" 3 Mass--The celeration of Eucharist in the Catholic church; each part of the mass has specific ords set to music and sung or chanted Plainsong--The original chanting of the mass parts 5 Requiem--A mass for the dead 6 Text-painting--One characteristic of Romanticism; the composer tries to express thoughts and feelings through musical techniques Write ACROSS THE CURRICULUM: Do some research online and rite an essay discussing the role of the development of the mass in the development of Western music history 219

272 15: The Spiritual Almost all Africans ho first arrived in the Ne World came as slaves, sold to ork on the cotton plantations of the South, the sugar cane fields of the Cariean Islands and the toacco fields of irginia, North Carolina, Tennessee, and Kentucky Slaves ere alloed to gather for Christian services, and it is from these services that the spiritual developed The rural slaves liked to linger after regular orship services for singing and dancing But the slaveholders did not like for the slaves to assemle and interact Fearing an organized revolt, most slaveholders ould not allo the slaves to gather for drum playing and dancing, as their custom had een in Africa Because of the oppression, many slaves held secret meetings in order to commiserate and to gain strength from each other Often these "camp meetings" ould involve thousands of slaves, gathered together for hours to listen to traveling preachers and to sing spirituals The lyrics of spirituals ere tightly onded to the lives of the slaves While they did have ork songs aout their daily occupations, the spirituals ere inspired y the Christian message Most of the spirituals focused the slaves' faith on a etter life hereafter, as the life that the slaves experienced as so exceedingly harsh Today the spiritual is considered a very important part of our American folk music heritage The haunting melodies, the faith that shines constant through the ords of sorro and physical pain, the universality of human feelings of despair mixed ith faith, oy mingled ith sorro, resignation comined ith determination--all of these ork together to make the spiritual one of the purest expressions of human spirituality in the midst of a hostile orld A page from Slave Songs of the United States Ne York: A Simpson Co,

273 THE SPIRITUAL Spirited; ell-accented Didn't My Lord Deliver Daniel SATB a cappella Traditional spiritual Arr Patti DeWitt Ï cresc Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Dan - iel, de - li - ver Ï cresc Ï Ï Ï Ï Ï p Ï Ï Ï Ï Ï Ï Dan - iel, de - li-ver Dan - iel, de - li - ver cresc Ï Ï Ï Ï Ï Ï Dan - iel, de - li - ver Dan - iel, de - li - ver Ï Ï Ï Ï Ï Ï Dan - iel, de - li - ver f Ï Ï Dan - iel f Ï Dan - iel f Ï Dan - iel f Ï U Ï U Ï Ï Ï Ï U Ä Ä Ä Ä Ï U Ï " Ï Ï Dan - iel Did - n't " " " Î Î Î Opt solo p Ï Ï Ï Ï Ï Î my Lord de - li - ver 6 Ï Ï Ï Ï Ï Ï Dan - iel, de - li -ver ä Ï Ï Ï Ï Ï Ï Dan - iel, de - li -ver ä Ï Ï Ï Ï Ï Dan - iel; Did - n't 9 Ï Ï Ï Ï Ï Î Ï Ï Ï Ï Ï Ï Ï ä Ï Ï Ï Ï my Lord de - li -ver Dan - iel Then-a hy not ev - er - y 221

274 15 -- THE SPIRITUAL 12 î ú man Altos: P Î Ï Ï Did -n't Ï Ï my Lord p Ï Ï Ï Ï Î de - li - ver Ï ú Dan - iel, p Ï Ï ú Dan - iel, Ï Ï Ï Ï Ï Ï Dan - iel, de - li - ver Ï nï Dan - iel, ú Ï Ï ú Dan - iel, 15 ä Ï Ï Ï Ï Ï Ï Dan - iel, de - li -ver nï Ï ú Dan - iel, Ï Ï ú Dan - iel, ä Ï Ï Ï Ï Ï Ï Dan - iel; Did -n't Ï ú Dan - iel, Ï Ï ú Dan - iel, Ï Ï Ï Ï Î Ï my Lord de - li -ver Ï Ï ú Dan - iel, Ï Ï ú Dan - iel, 18 Ï Ï Ï Ï Ï Dan - iel, Then - a Ï nï Dan - iel, ú Ï Ï ú Dan - iel, Ï Ï ä Ï Ï Ï Ï hy not ev - er - y nï Ev' - ry Ï Ï Ï Ï Ï ú Ev' - ry ú Ï Ï man He de - ú man ú man F Î Î 222

275 THE SPIRITUAL P ú Ï Ï Ï Ï Ï Ï Oh, Ï Ï Ï Ï Ï Ï Ï li - vered Dan - iel from the Ï Ï li - on's Ï den, ú o - nah from the Ï Ï Ï Ï Ï Ï Ï Ï o-nah from the el - ly of the ú Ï Ï ú Oh, Ï Ï Ï Ï Ï Ï Ï Dan - iel from the Ï li - on's Ï Ï Ï Ï Ï den o - nah Ï ú o - nah 2 27 Ï Ï Ï ú hale; ú hale Ï Ï Ï ú fromthe hale; Ï Ï Ï ú from thehale; ä Ï Ï Ï Ï Ï Ï hy not ev - er - y Ï Ï Ï Ï Why not ev'-ry Ï Ï Ï Ï hy not ev'-ry Ï Ï Ï Ï hy not ev'-ry ú Oh, Ï Ï The He-re Ï Ï Ï Ï Ï Ï Ï chil - dren from the Ï Ï Ï Ï He - res from the Ï Ï Ï Ï Ï Ï Ï He - re chil - dren from the ú Ï Î man Yes, ú Ï Î man Yes, ú Ï Î man ú man, Yes, Ï Yes, Î Ï Ï Ï Ï Ï Ï fie - ry fur - nace, so Ï Ï Ï Ï Ï fie - ry fur - nace Ï Ï Ï Ï Ï Ï fie - ry fur - nace, so Ï Ï Ï Ï Ï Ï Ï fie - ry fur - nace, so Ï Ï U Ï Ï Ï Ï ev' - ry man Did -n't Ï Ï ev' - ry man Did -n't Ï Ï U Ï Ï Ï Ï nï U Ï Ï Ï ev' - ry man Did -n't Ï Ï U Ï Ï Tempo I Ï Ï ev' - ry man Did -n't 223

276 15 -- THE SPIRITUAL F-p Ï Ï my Lord F-p Ï Ï my Lord F-p Ï Ï my Lord F-p Ï Ï my Lord ä Ï Ï Ï Ï Î de - li -ver Ï Ï Ï Î de - li -ver Ï Ï Ï Î de - li -ver Ï Ï Ï Î de - li -ver Ï Ï Ï Ï Dan - iel Did-n't ä Ï Ï Ï Ï Ï Dan - iel Did-n't ä Ï Ï Ï Ï Ï Dan - iel Did-n't ä Ï Ï Ï Ï Ï Dan - iel Did-n't Ï Ï Ï Ï Ï Ï Dan - iel, de - li -ver Ï Ï Ï Ï Ï Ï Dan - iel, de - li -ver Ï Ï Ï Ï nï Dan - iel, de - li -ver Ï Ï Ï Ï Ï Ï Dan - iel, de - li -ver Ï Ï my Lord Ï Ï my Lord Ï Ï my Lord Ï Ï Ï Î de - li -ver Ï Ï Ï Î de - li -ver Ï Ï Ï Î de - li -ver Ï Ï Ï Ï Ï Î my Lord de - li -ver Ï ä Ï Ï Ï Ï Ï Ï Dan - iel, de - li -ver ä Ï Ï Ï Ï Ï Ï Dan - iel, de -li -ver ä nï Ï Ï Ï Ï Ï Dan - iel, de - li -ver ä Ï Ï Ï Ï Ï Ï Dan - iel, de - li -ver Ï Ï Ï Ï Ï Dan - iel Then-a Ï Ï Ï Ï Ï Dan - iel Then-a Ï Ï Ï nï Dan - iel Then-a Ï Ï Ï Ï Ï Ï Dan - iel Then-a 36 Ï Ï ä Ï Ï Ï Ï hy not ev - er - y Ï Ï ä Ï Ï Ï Ï hy not ev - er - y nï Ï ä Ï Ï Ï Ï ú man ú man ú p Ï Ï Did-n't p Ï Ï Did-n't p Ï Ï 2 ú man ú man ú Î Î f Ï hy not ev - er - y Ï Ï ä Ï Ï Ï Ï hy not ev - er - y man ú man Did-n't p Ï Ï Did-n't man ú man The f Ï The 22

277 THE SPIRITUAL P Ï Ï Ï Ï Oo P Ï Ï Ï Ï Oo Ï Ï Ï Ï ind los east, the Ï Ï Ï ind los east, the Ï f Ï Ï Ï Ï f Ï Ï Ï Ï Ï Ï Ï Ï ind los est; It Ï Ï Ï ind los est, It Ï ú Blos ú Blos Ï Ï Ï Ï like Ï like Ï Ï los like the udg-ment Ï Ï Ï Ï Ï los like the udg-ment 2 Ï Ï udg-ment Ï Ï Ï ú Day Ï Ï (melody) Ï ú Oh, Ï Ï Ï Ï And Ï Ï Ï Ï (melody) Ï Ï ev' - ry soul ill e Ï Ï Ï Ï Ï udg-ment Day, And ú Day ú Day Î Î ev' - ry soul that ú Ï Ev' ry Ï Ï Ï Ï Ev' - ry soul that does - n't Ï soul Ï ú ill e pray, Ï Ï Ï Ï Ï Ï does - n't pray ill e 225

278 15 -- THE SPIRITUAL 5 Ï Ï Ï Ï Ï Ï glad to pray in that Ï Ï Ï Ï Ï Ï glad to pray in that Ï Ï Ï Ï Ï Ï glad to pray in that Ï Ï Ï Ï Ï Ï glad to pray in that ú Ï Î day, Yes, ú Ï Î day, Yes, ú Ï Î day, ú day, cresc cresc cresc Yes, cresc Ï Yes, Î molto rit U Ï Ï Ï Ï f Ï in that day Did - n't f molto rit U P Ï Ï Ï Ï Ï in that day Did - n't f molto rit U Ï Ï Ï Î in that day molto rit U Ï Ï Ï Î f in that day Tempo I P 8 p Ï Ï my Lord p Ï Ï my Lord p Ï Ï Ï Ï Î de -li-ver Ï Ï Ï Î de -li-ver Ï ú Dan - iel, p Ï Ï ú Dan - iel, Ï Ï Ï Ï Ï Ï Dan - iel, de - li -ver Ï Ï Ï Ï Ï Ï Dan - iel, de - li -ver nï Ï ú Dan - iel, Ï Ï ú Dan - iel, ä Ï Dan - iel, ä Ï nï Dan - iel, Ï Ï Ï Ï Ï de - li-ver Ï Ï Ï Ï Ï Ï ú Dan - iel, Ï Ï ú Dan - iel, de-li-ver 226

279 THE SPIRITUAL ä Ï Ï Ï Dan - iel ä Ï Ï Ï Dan - iel Ï Ï ú Dan - iel, Ï Ï ú Dan - iel, Ï Ï Did-n't Ï Ï Did-n't Ï Ï my Lord Ï Ï my Lord Ï Ï Ï Ï Î de -li-ver Ï Ï Ï Î de -li-ver Ï ú Dan - iel, Ï Ï ú Dan - iel, Ï Ï Ï Ï Ï Dan - iel Then - a Ï Ï Ï Ï Ï Dan - iel Then - a nï Ï ú Dan - iel, Ï Ï ú Dan - iel, 5 57 Ï Ï ä Ï Ï Ï Ï hy not ev - er - y Ï Ï ä Ï Ï Ï Ï n hy not ev' - er - y nï Ï Ï Ev' - ry Ï Ï ú Ev' - ry nï Ï Dan - iel, Ï ú Ï ú Dan - iel, Ï Ï Ï Ï Ï Ï Ï Dan - iel, de - li-ver Ï Ï Ï Ï Ï Ï Dan - iel, de - li-ver ú man ú man ú man ú man nï Ï Dan - iel, Ï ú Ï ú Dan - iel, ä Ï Dan - iel, ä Ï Dan - iel, Î Î f Ï Ï Did - n't f Ï Ï Did - n't Ï Ï Ï Ï Ï de - li-ver Ï Ï Ï Ï Ï de - li-ver f Ï Ï ú Dan - iel, f Ï Ï ú Dan - iel, Ï Ï my Lord Ï Ï my Lord Ï Ï Ï Ï Î de - li -ver Ï Ï Ï Î de - li -ver Ï U Ï, Ï Ï U, Ï Ï Ï Ï Dan - iel Did-n't Ï Broadly Dan - iel Did-n't ä U Ï Ï Ï, Ï Ï Dan - iel Did -n't ä Ï Ï U Ï, Ï Ï Dan - iel Did -n't 227

280 15 -- THE SPIRITUAL 60 Ï Ï Ï Ï Ï Î my Lord de - li - ver Ï Ï Ï Ï Ï Î my Lord de - li - ver Ï Ï Ï Ï Ï Î my Lord de - li - ver Ï Ï Ï Ï Ï Î my Lord de - li - ver Ä Ï Ï U Ï, Ï Ï Dan - iel Then - a Ä U ú nï Dan iel ú U Ï Dan iel ú Ä Ä U Ï Dan iel A piacere; ruato P Î Î Î 62 AÏ P Ï Ï Ï Ï Ï Ï hy not ev - er - y P Ï Ï Ï nï Why not ev' - - ry ten P Ï Ï Ï Ï Why not ev' - ry P Ï Ï Ï Ï ten ten Why not ev' - ry ten Tempo I man man man p Ï Ï Ï Ï Ï Ï Dan - iel, de - li - ver 228

281 THE SPIRITUAL Ï cresc Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Dan - - iel, de - li - ver Ï cresc Ï Ï Ï Ï Ï Dan - iel, de - li - ver cresc Ï Ï Ï Ï Ï Ï Dan - iel, de - li - ver Dan - - iel, de - li - ver Ï Ï Ï Ï Ï Ï Dan - - iel, de - li - ver 66 f Ï Ï U Ï Dan - iel f Ï U Ï Ï Dan - iel f Ï Ï U Ï " Î " Î " Î Maestoso; largo Ä Ï Ï nï Ï Ï Why not ev-er - y Ä Ï Ï nï Ï Ï Why not ev-er - y Ä Ï Ï nï Ï Ï ú U Ï man - Hm ú U Ï man - Hm ú Ï U Dan - iel f Ï U Ï Ï Dan - iel " Î Why not ev-er - y Ä Ï Ï nï Ï Ï Why not ev-er - y man - Hm ú Ï U man - Hm FIND a spiritual online and rite out its melody IMPROISE a counter-melody and an accompaniment Complete your arrangment using Activity Sheet Pencil Time : Activity Sheet 1: History of the Spiritual Activity Sheet 2: Analysis, "Didn't My Lord Deliver Daniel" Activity Sheet 3: Arrange a Spiritual 229

282 16: Quartet singing has een a part of Americana tradition for the past century or more Although it has not een as prominent a part of our society for the past 50 years or so as it as in the early part of the 20th century, it is enoying a renaissance today Thanks to the Barershop Harmony Society and to Seet Adelines International, quartet singing is thriving today The quartet singing tradition ("arershop") as orn from the African American tradition of amateurs getting together informally (yes, even at the arershop) and lending their voices together in four-part harmony, a cappella, of course The Mills Brothers, a famous African-American quartet ho cut records in the 190s and 1950s, learned to sing in their father's arershop, and several Gospel quartets also trace their roots directly to the arershop Barershop music also employs several important traits of the African-American music tradition First of all is the call and response This technique is a very simple one in hich the leader sings a phrase of music, and the group ansers ith its on response Secondly, arershop often employs the echo effect, here the harmonic voices echo a ord or phrase in order to keep the rhythm alive and moving Last is the use of special harmonic techniques Barershop frequently uses the dominant seventh chord ( 7 ) ut ithout any specific harmonic function For example, you have learned in this ook that in classical music, the 7 chord has a specific harmonic function--that is, to resolve to the tonic chord But in arershop, the 7 is used for color and for character Barershop also orros other characteristics from the lack music tradition 1 A concentration on vertical harmonies 2 Improvisation, and 3 The "lue" note--the loered third (Me) The Barershop Harmony Society, formerly knon as Society for the Preservation and Encouragement of Barer Shop Quartet Singing in America, as founded in 1939 for the precise reason that its name states Six years later, ives of the arershoppers met to form their on group, hich they called Seet Adelines International Both groups sing the same style of music--"barershop" Both are voice in -part a cappella and have the same designated voice parts: Tenor--the highest voice Lead--the second highest voice, and the one hich usually sings melody Baritone--the second loest voice Bass--the loest voice Because arershop involves four parts in close harmony, they rarely use only simple maor or minor triads More often than not, the harmony ill involve an added seventh (as discussed aove) or some other note On the folloing pages are some examples of these chords "stacked" ith extra notes 230