Who s Afraid of Renaissance Music? No-Fear Solutions for Middle and Senior High Choirs

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1 made my appointment with a doctor. Student Services think you are a quack. Why? I asked. Because they believe I m fi ne, and you don t know what you re talking about. Student Services thought he had a reading retention problem rather than a physical problem deciphering what was in front of him. With what I had seen, I disagreed, but internalized it, wanting to be professional. Meet with a doctor, I replied, trying to be positive. Within a week Mark was back in my offi ce. He had been diagnosed with a spatial disorder that acted a bit like dyslexia. Special glasses were prescribed that vastly improved his vision and reading skills. His musical progress has been remarkable ever since. A few days ago, the fi rst Mark walked into my offi ce with special glasses. Since our fi rst talk, he had had an accident that changed things. When he went to a doctor, Mark explained his situation. The doctor responded, I can fi x that. Mark has had nearly perfect vision ever since. When are you going to teach me to read music, Jeff? he asked with a broad smile on his face. It pains me to think that both of these young men went through almost their entire schooling experience suffering with severe visual disabilities. This story should be a reminder for all of us music educators, especially those in two-year colleges, to be alert to signs of learning disabilities. You can make a huge difference in the lives of students by being proactive and caring. How sad it is that some of our students with visual disabilities are called dumb or stupid or worse when a correct diagnosis and/or glasses can completely change the situation and give hope and a new life to a person. Even if you are labeled a quack by those who are supposed to be helping and advising students at your school, be a strong and persevering advocate. Being observant when around your students may be all it takes. Believe in them and their resilience. You can be instrumental in opening up an entirely new world for students who struggle with disabilities. Who s Afraid of Renaissance Music? No-Fear Solutions for Middle and Senior High Choirs by Michael Zemek Augustana College, Rock Island, Illinois (Reprinted with permission from Illinois Podium, Vol. 38 No 2 Winter ) Recently, I attended an enjoyable high school madrigal dinner complete with well-performed Renaissance and contemporary carols. Following that event, I began to wonder why all too often the inclusion of vocal music from the Renaissance period is relegated entirely to select Madrigal Ensembles in school music programs. As we know, music reached a sophisticated level of development during the Renaissance, and a considerable body of music survives. Hundreds of works from this era are legally available for free at sites such as < We should not be intimidated by this superb music. Rather, basic issues surrounding style and performance practice can be addressed so that we are able to offer an exciting experience with this compelling music. In two ways, Renaissance choral music is especially suitable for performance in middle and senior high school choirs. The fi rst centers on adolescent vocal characteristics; the second deals with the fl exibility with which this music can be performed without a loss of stylistic authenticity. My goal here is to brush off the cobwebs from our music history texts and choral literature classes and examine how several important performance practices can be observed in ways that are stylistically accurate yet manageable by adolescent singers. First there are the two schools of approach to authenticity that compound the problem of performing Renaissance music. One approach seeks utmost faithfulness to period instruments, methods of tuning, vocal styles of the time, etc. Unfortunately, this approach may fi ll some with anxiety and unnecessarily lead one to dismiss the inclusion of Renaissance literature in 6

2 programming. A second approach seeks thoughtful adaptation of the music for use in today s world. For reasons of practicality, I will discuss a few of the performance practices of the Renaissance based on this second approach for use in our choral programs. Vocal Considerations The range and tessitura of much of this music is within the ability of senior high school singers, and a large portion is also suitable for middle school students without alteration. Because pitch was not fi xed, transposition of a composition to a suitable key is acceptable. Outside of convents of the era, women were excluded from participation in liturgical services. Therefore, we often think of Renaissance music as being sung exclusively by men and boys. Keeping the sound of a boys choir in mind may help direct your choices when it comes to vocal color, but women s voices should not be excluded from today s performances of madrigals, motets, and masses, in my opinion. Renaissance music fi ts the tone quality of most adolescent singers. It utilizes the tone of young singers with little or no adjustment of vocal color. Remind your singers to sing freely with a clear, steady, and forward-placed tone that is not pressed or forced in any way. Most adolescent voices are marked by a slight natural vibrato which is appropriate for this style. Extreme vibrato and big, mature sounds do not fi t. A solution for including a developed, mature soprano voice in a Renaissance madrigal might be to have her sing an inner voice instead of the highest soprano part. Lastly, Renaissance choirs were small by today s standards, so it is important to keep that in mind when determining which choirs or small ensembles will offer the most stylistically correct performances of this music. Instrumental Accompaniment The vast majority of music written prior to 1600 was for voices both with and without instruments. Music originally intended for instruments alone owes much to vocal models; however, there is a general misconception that all Renaissance choral music should be performed a capella. A majority of compositions from the Renaissance era, both sacred and secular, may be played instrumentally or by a combination of vocalists and instrumentalists depending upon what is available in a given situation. One of the most important points to remember when selecting music to perform with your choirs is that no score will indicate exactly what forces to use. Sixteenth-century musicians experimented with different sounds. Most of the time, they utilized the instruments and singers available to them. It is entirely appropriate to have brass, string or woodwind instruments double vocal lines or even substitute for missing vocal parts. Care must be taken to balance vocalists and instrumentalists from the standpoint of dynamics. Such choices can provide an opportunity for you to collaborate with instrumentalists in your school and community. Notation and Editions One of the challenges for the modern choral conductor is determining if his/her printed score accurately represents the music as originally performed. Inserting musica fi cta in a printed score that contains few, if any, accidentals can make a huge difference in performance. Conductors must be judicious in their selection of performance editions. Most often you must rely on the qualifi cations of an editor for tasteful use of musica fi cta. In many modern editions, accidentals are placed above or below a staff or in parentheses indicating that, in the original source, accidentals were not notated but would have been common practice at that time. I recommend you compare several editions of the same work to arrive at a historically accurate and satisfying performance. Text underlay in Renaissance choral music can also present challenges. Again, conductors must rely upon qualifi ed editors, but a knowledge of styles, performance practices, and common sense can equip you to make minor alterations whenever modern text underlay is problematic. Markings for dynamics and articulation were unknown in original scores of the Renaissance, but we can assume that Renaissance musicians were no less concerned about expression than musicians of any other era. The dynamic range of Renaissance music was narrow, and contrasts were achieved through texture rather than volume. I believe that subtle shadings of dynamics exist within what would otherwise be an overall medium dynamic level. 7

3 Musical Examples To illustrate a few of the performance practices as well as modern day practical applications we can follow to make Renaissance music more accessible for our singers, I offer a few staples of the repertoire by Morley, Byrd, Bennet, Palestrina, and Praetorius. Sing We and Chant It by Thomas Morley With his strong sense of tonality and feeling for dance rhythms, Morley was a leader of the English madrigal school. His use of the Italian balletto form with its fa-la refrain may account for much of his popularity. The form of this work is strophic the same music is utilized for each stanza. The melody is written in four-bar phrases except for the last three measures of each strophe which are three bars in length. The verses are chiefl y homophonic. The fala refrains are polyphonic. Two types of non-harmonic tones, passing tones and suspensions, can be found. A popular work for young choirs and advanced chamber choirs alike, Morley s Sing We and Chant It has vocal ranges and tessituras comfortable for all vocal parts. Voice crossing between tenors and altos is common. If needed, those two parts may be switched. While written in Mixolydian mode, the strong tonic and dominant arrival points give the effect of being in major, making it more accessible and easily learned by singers of all levels. I Thought That Love Had Been a Boy by William Byrd The texture is basically homophonic. The soprano I line presents a continuous melody, while the remaining voices provide harmonic underpinning. The text is set in a light, lyric manner as was common in classical mythology. Love is portrayed as a blindfolded boy think of Cupid. One genre of English secular songs, often referred to as madrigals, was intended for a small group of soloists, thus I Thought that Love had been a Boy would serve well as a contest 8 or concert work for a small ensemble. Ranges and tessituras are appropriate for middle and high school voices, but it may be desirable to have a few tenors or changing voices join the altos to achieve a unique sonority. In most editions, the tenor part lies too low for altos, thus concerns about balance may be warranted. Instruments, e. g., strings or woodwinds, could double vocal parts or alternate with the voices. Instruments could also play the lower parts with one singer or a unison choir performing the soprano line. Weep, O Mine Eyes by John Bennet The melodic contours found in the voice parts present fi ne opportunities for sensitive shaping. The four-voice texture is rather simple, but subtle rhythmic construction creates an impression of counterpoint. Voice pairing (SA, TB) creates lovely contrasts of timbre. As is common in Renaissance vocal music, the clarity of the text and the subtle application of syllabic and harmonic stress points are important. The successive entrances at the beginning of Weep, O Mine Eyes outline a triad based on the Aeolian mode. The most important word, weep, is reiterated, and a natural crescendo occurs. The words, Weep o mine eyes, are set with a descending scale fi gure, a good example of text painting. Since shaping and expression are built into the structure of most of the melodic lines, rehearsing them separately can help achieve the required independence and balance between parts. In my opinion, a capella performance is the best means of realizing this work s full potential. Intonation can be challenging, but attention to tall, healthy and matched vowels plus energized breath will make a big difference. Special attention should be given to the descending lines, slow tempo, and successive entrances of voices. Carefully consider the size of the ensemble so that an intimate feeling is nurtured. This composition is suitable for advanced junior high singers if performed in a key comfortable for all voice parts. Agnus Dei from Missa Veni sponsa Christi by Giovanni Pierluigi da Palestrina An important type of Mass composition employed by Re-

4 naissance composers was the parody Mass. An entire work or selected sections of a previously composed work a madrigal, motet, or chanson, e. g., were borrowed and reworked for each Mass movement. Missa Veni Sponsa Christi (Come, Bride of Christ) is a parody Mass based on a motet taken from a Gregorian chant refrain. Marked regularity of rhythm is characteristic of the Agnus Dei. Much of the harmony consists of triads and chords in fi rst inversion resulting from the use of imitative counterpoint and canon. Triadic harmonies and subtle dissonance give Palestrina s polyphonic music a transparent quality which never obscures the text. Although Renaissance choirs may not have been large when compared with today s choruses, a number of motets and mass settings can be sung successfully by today s larger choirs. This exquisite work should be sung in a free fl owing and sustained manner. Singers will fi nd a challenge in shaping the long phrases. Psallite by Michael Praetorius Using a chorale melody as the basis for an attractive work in the style of a motet, Psallite contains a melody which is split into small motifs employed in dialogue between groups of voices and used as points of imitation. Each voice enters with a descending perfect fourth on the word, Psallite. Apart from this motif, the voices move mostly in conjunct motion. Imitation and homophonic writing are evident throughout. The texture is often varied by voice pairings i.e., sopranos and altos sing a phrase which is answered by tenors and basses. The overall form of Psallite is ABA. This well-known work is performed and enjoyed by choirs of all sizes. A hook for young singers, it is especially effective with middle and junior high school singers. With a few modifi cations to the bass line or by choosing a well-crafted edition, Psallite s ranges are well within this age group s ability. Unchanged male voices can sing a combination of the alto and tenor parts. The use of both Latin and German texts also serves as an introduction to singing foreign languages. Summary With mostly minor adaptations of musical scores, performances of Renaissance music in today s secondary schools can broaden and enrich the horizons of middle and high school singers while remaining stylistically faithful to performance practices of the time. Directors have viable options in the forces employed (voices, instruments, or combinations of both) and in musical execution (tempo, balance, dynamics, phrasing, music fi cta, etc.). The use of Renaissance choral music encourages performance of diverse styles often unfamiliar to young singers of today. This era s choral music is especially suited for singers when considering factors such as appropriateness of texts, aesthetic appeal, and melodic interest in all voice parts. Tasteful adaptations can be made to the music while remaining faithful to the intent of the composers. Books on style and performance practice Brown, Howard Mayer, & Stanley Sadie, eds. The Norton/Grove Handbooks in Music: Performance Practice Before Norton, Garretson, Robert. Choral Music: History, Style, and Performance Practice. Prentice Hall, McGee, Timothy. Medieval and Renaissance Music: A Performer's Guide. University of Toronto Press, Poe, Frances. Teaching and Performing Renaissance Choral Music: A Guide for Conductors and Performers. Scarecrow Press, Choral textbooks containing helpful summaries of Renaissance performance practices Collins, Don. Teaching Choral Music, 2nd ed. Prentice Hall, DeVenney, David. Conducting Choirs, Volume 2: Music for Classroom Use. Roger Dean Publishing, Garretson, Robert. Conducting Choral Music, 8th ed. Prentice Hall, Phillips, Kenneth. Directing the Choral Music Program. Oxford University Press,

5 Roe, Paul. Choral Music Education, 2nd ed. Waveland Press, How do your conducting gestures affect the choir? Such questions are important. Of course you want the choir to grow as singers and musicians. Life is more meaningful when you are always looking to grow and working towards a goal. Les Brown Church Choir Directors/Organists: Conducting Gesture and Active Listening in Rehearsals and Worship by Jason Thoms Concordia College, Bronxville, New York (Reprinted with permission from New York s Choral Cues, Vol. 41 Winter 2011) From my vantage point, many East Coast church choirs are led by an organist/choir director who, in many cases, is primarily an organist. He/she also directs the choir. This situation presents a number of dilemmas. This article will focus on two issues: conducting gesture and listening. Does this description fi t you? If so, I suggest you think about and even set up a video to see what you do with your hands when you work with the singers. The choir and the organ are so very different, as we all know. What you think your gestures are accomplishing and what is actually occurring may be miles apart. Do you know what your choir sounds like without the organ or piano? Can the singers perform their parts a capella? Conducting Gesture Your conducting gestures are a conversation between you and the singers. Beating time and giving cues may be helpful, but communicating ideas, emotions, dynamics, eliciting nuance, and shaping the music are far more important. I imagine you think about these issues as you play, but how do help the choir achieve these goals both in rehearsal and in worship? Here are a few ideas to consider: Conduct the music in front of a large mirror What do your gestures look like? Are they expressive? Do you just beat time? Are you communicating musical ideas visually? Even if you conduct from the organ on Sundays, you owe it to your choir to master basic, expressive conducting gestures. Video yourself during rehearsals and worship If you conduct primarily from the organ, video yourself in that position. Put the camera behind the choir so you get the choir s view. When you watch the video, turn off the sound. Focus only on what you see. Look carefully at your face, posture, arms and hands, and how you speak (too loud, too soft, energized, etc.) Get away from the organ Even if your choir never sings a capella, you should plan to do so on a regular basis in rehearsals. If you always accompany the choir, you cannot hear what your singers are actually singing below a certain dynamic level. They will use the piano or organ as a crutch. I have often heard choir members say, I can t sing this piece without the accompaniment. That is not their fault; it is ours. Have your singers rehearse without accompaniment as much as possible so that you can hear everything. More important, your singers will realize they can sing alone. When you step away from the organ, communicate only with your hands. If 10

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