Patti DeWitt Folkerts, DMA. The Skillful Singer

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3 Patti DeWitt Folkerts, DMA nd 2 3 SATB The Skillful Singer 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! 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 of of hich to ump ideas and to eagerly contriute 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 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 practice 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 ith 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 in loving memory of to my stepfather, Daniel Boone Darnell, r., ho has supported me for the past 3 years in every possile ay. I also dedicate this series to the memory of my eautiful daughter, Cecelia, ho offered her talents to this proect and ho lived 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: Music and Society A-1 II: Your oice A-3 III: Performances A-10 I: Concert Etiquette (Performance) A-12 : Concert Etiquette (Audience) A-18 I: Music Evaluation A-21 II: Performance Evaluation A-23 III: Musical Careers A-25 IX: Music and Other Arts A-27 X: Music and Other Suects A-29 Chapter 1: Rhythm Chapter 2: Pitch Chapter 3: Revie: F and G Maor Chapter : Revie: Key of C Maor Chapter 5: Revie: Minor Keys Chapter 6: Revie: I Chord Chapter 7: Dotted Quarter Notes Chapter 8: Exploring Other Keys Chapter 9: Revie: Chord Chapter 10: Revie: I Chord Chapter 11: "Syn-co-pa" Chapter 12: Calypso Chapter 13: George M. Cohan vi

11 Chapter 1: The ii Chord Chapter 15: Pleading the Fifth Chapter 16: Georg Friedrich Handel Chapter 17: Introduction to Modes Chapter 18: Eastern Modes Chapter 19: Polyphony Chapter 20: azzed! Glossary Index of Poems Index of Songs Index of Composers Orff Areviations IPA Chart Rhythm Systems General Index Biliography 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: Music and Society II: Your oice III: Performances I: Concert Etiquette (Performance) : Concert Etiquette (Audience) I: Music Evaluation II: Performance Evaluation III: Music Careers IX: Music and Other Arts X: Music and Other Suects

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17 I: Music and Society 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 of 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 helped people celerate the planting, the groing season, the harvest, the arrival of spring; to commemorate events significant to that particular society--irthdays, anniversaries of life-altering experiences, disasters, "miracles," etc.. The purpose of this chapter is to guide you through some activities in hich you ill explore the effects of music on society, present and past, as ell as society's effects on music. Music's Affects on Society: Using Written Activity 1 as a guide, take an assessment of music in your life. These are the kind of questions you need to explore: What role does music play in your daily life Ho large a role What kind of role What musical decisions do you make on a daily asis in your life outside of the music classroom (hat music to listen to and hat CD to purchase, for example) 2. Discuss the role that music plays and has played in our society in the past: Some possile ansers: Religious Relaxation Entertainment Social events Music therapy Community ensemles 3. Find ays that music has served other cultures. Past cultures/civilizations Foreign cultures A-1

18 I -- MUSIC AND SOCIETY 3. Find ays in hich music serves us in our society today: In our country In our state In our community In our families. Affects upon music: 1. Ho has society affected music in the past In Written Activity 7, descrie the ays in hich societal issues have affected a particular society's music. 2. Ho does society affect music no 3. What effect do cultural characteristics have on music. Ho has technology has affected music Give 5 examples of advancements in music technology availale today hich ere not availale 25 years ago. Comprehension Check: Written Activity 1: Music in My Culture Written Activity 2: Society and the Development of Musical Styles Written Activity 3: Historical Effects on the Music of a Society Written Activity. Influence 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: Past Society and Music Written Activity 8: "E-Music" Written Activity 9: Technology and the Music Consumer Written Activity 10: Technology and Music Education a L A A-2

19 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-3

20 II -- YOUR OICE 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-

21 YOUR OICE -- II 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-5

22 II -- YOUR OICE 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. But many 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-6

23 YOUR OICE -- II 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-7

24 II -- YOUR OICE 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-8

25 YOUR OICE -- II Comprehension Check: Written Activity 3: The Anatomy of a Song Written Activity : ocal Timre Written Activity 5: ocal Health ocaulary: 1. Alto--The loer trele voice 2. Baritone--A lo male voice, in eteen tenor and ass 3. Bass--The loest adult male voice. Diaphragm--The large muscle that separates the adomen from the lungs; the primary reathing muscle 5. Falsetto--High trele voice of adult men 6. Phonation--The act of making vocal sound 7. Tenor--The highest adult male voice 8. Timre--Tone quality of a voice or musical instrument 9. Trachea--The indpipe 10. Trele--Musical notes of the higher ranges 11. ocal cords--the muscular folds that create a valve in the trachea hich virate to make vocal sounds a L A A-9

26 III: Performances LESSON 1: LIE PERFORMANCES There are many kinds of musical performances. Written Activity 5 addresses one kind of performance, the live performance. A live performance is one that a person oserves as it is happening. Here are some examples of live performances: School concerts Rock concerts Sacred music concerts Recitals Footall game performances Operas Ballets Symphony orchestra performances Plays Can you identify other kinds of live performances Using Written Activity 6, make a list of all of the live performances that you have attended. Ho many are on the list aove Ho many are not LESSON 2: TECHNOLOGICAL RECORDINGS Concerts that are shon on free television, at a movie theatre, or on cale or satellite television; songs that are roadcast on the radio; CDs, mp3's--these are all examples of recorded performances. Some of these performances may have een roadcast live, ut they are recorded for audiences that are not physically present. Today's recordings are made digitally ith many technological tools so that people may enoy them on their televisions, stereos, smart phones, talets, etc. Technology has made the recording of performances a very simple task. Recordings can e made ith a touch of the thum. Personal individual as ell as professional performances are constantly eing posted on the internet ith the use of technology that e carry in our pockets. Thousands upon thousands of performances that have recorded ith "pocket technology," such as smart phones and talets and posted on entertainment esites such as Youtue.com. It is a rare song that cannot e found on the internet and donloaded onto one's computer or moile device to e enoyed at one's leisure. There is no lack of video performances, present and past, availale on the internet. A-10

27 PERFORMANCES -- III LESSON 3: TYPES OF PERFORMANCES There are several other categories of performances that depend upon the content of the performance, the place of performance, the occasion for the performance, and the identity of the performer. These performances may e formal, informal, or casual. Formal performances usually take place in an auditorium, concert hall, or church for large audiences, and the performers ear dress or formal clothing. Usually the audience ill ear dress clothing as ell. Informal performances take place for smaller audiences in less formal settings, such as for luncheons or meetings. The performers may dress less formally for such an event, and the atmosphere is more personal and more relaxed. Casual performances may take place in settings here other activities are going on at the same time, such as in shopping malls, for community picnics, festivals, carnivals, footall games or other casual gatherings. The audience may e invited to participate in informal or casual performances. Write ACROSS THE CURRICULUM: 1. Discuss the differences eteen live and recorded performances. 2. Discuss the differences eteen formal, informal, and casual performances. 3. Find to different performances of the same piece of music on the internet. Write a description of each the performances, the performers, the venues, etc., comparing and contrasting them. Comprehension Check: Written Activity 6: Performances Written Activity 7: Internet Performances Written Activity 8: Formal, informal, casual a L A A-11

28 I: 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. LESSON 1: FORMAL PERFORMANCES 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 performances y 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. 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 meet in the middle.. The singers should step on the risers and ascend to the step on hich they ill e standing efore they turn to cross to the middle instead of cutting 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-12

29 CONCERT ETIQUETTE (Performance) -- I 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 singer 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 their knees and squeeze their hands to stimulate lood flo, ut this should e done covertly so that it is not ovious 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. Demonstrate the ehaviors for large ensemles in formal performances, oth in the classroom and in actual performance. Formal performances y small ensemles: In general, most of the rules for formal large ensemle performances ould apply to formal performances y small ensemles 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. Singers should step lightly and enter the stage ith as little noise as possile.. Singers should look around them ithout too much turning of the head to A-13

30 I -- 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 focus their eyes on to or three different 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 memers should exit the stage in a quiet and orderly manner. Demonstrate the ehaviors for small ensemles in formal performances, oth in the classroom and in actual performance. Write ACROSS THE CURRICULUM: 1. Descrie the concert etiquette for large ensemles in formal performances. 2. Descrie the concert etiquette for small ensemles in formal performances. 3. Discuss the differences. Comprehension Check: Written Activity 8: Formal Large Ensemle Performances Written Activity 9: Formal Small Ensemle Performances LESSON 3: INFORMAL PERFORMANCES 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. A-1

31 CONCERT ETIQUETTE (Performance) -- I Before the performance: 1. Because an informal performance may or may not involve the use of the 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 from their teacher. 2. Students must follo the instructions silently. Since there is a likelihood of more interfering noise in an informal situation, it is even more important that the singers remain quiet so that all can hear the instructions from their director. 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 is an unnecessary inconvenience that can e avoided. After the performance: 1. If the director has not given specific instructions aout hat to do, the singers should remain in their places folloing the performance. 2. If the performance is in a pulic place, such as a shopping mall, the students should rememer that as long as they are in pulic in their school uniforms, they represent the school and should e on their est ehavior. Demonstrate the ehaviors for large ensemles in informal performances, first in the classroom and in actual performances. 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 together 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 singers open their mouths and sing out ith a full sound, 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. A-15

32 I -- CONCERT ETIQUETTE (Performance) 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 is an inconvenience that can e avoided.. While memers of a small ensemle may look at faces in 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 directly at faces of the audience and/or at each other, they should practice doing this efore the informal performance. After the performance: 1. It should e predetermined (and practiced) hat the singers should do after the performance. 2. The ensemle may choose to o after each numer or at the end of the performance. If they choose to o, they should practice the o. If they choose not to o, they should determine ho they ill acknoledge their applause. 3. If the performance is in a pulic place, such as a shopping mall, the 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. Demonstrate the ehaviors for small ensemles in informal performances, first in the classroom and in actual performances. LESSON : CASUAL PERFORMANCES 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. Examples of casual performances include performing during the holiday season at the mall, at sports events, for community events, or any outdoors performance. Descrie any casual performances you have een involved in and the performance ehaviors you exhiited during those performances. A-16

33 CONCERT ETIQUETTE (Performance) -- I Write ACROSS THE CURRICULUM: 1. Descrie the concert etiquette for large ensemles in informal performances. 2. Descrie the concert etiquette for small ensemles in informal performances. 3. Discuss the differences.. Discuss casual performances. What things might one expect during casual performances Comprehension Check: Written Activity 10: Large Ensemle Informal Performances Written Activity 11: Small Ensemle Informal Performances a L A A-17

34 : 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. LESSON 1: 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 dire 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. Keep your mind focused on the performance. An actively involved listener is one ho does not ecome ored. 5. Do not ave to the performers on stage. 6. Sho your appreciation for the performance ith applause. 7. Do not applaud eteen movements of a larger ork. Wait until the conductor loers his 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. A-18

35 CONCERT ETIQUETTE (Audience) Do not make faces or negative comments aout the performance in the concert hall. 11. Keep your mind actively involved in the performance y concentrating on musical elements and/or the quality of the performance. After the performance: 1. Applaud as long as you ould like. It is a polite gesture to reard performances ith a heart applause. 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 choir on a successful performance. Demonstrate appropriate audience ehaviors for formal performances, first in the classroom hen listening to recorded performances, and then in oservation of live performances. LESSON 2: 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. The 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 long as you ant to. It is alays polite to reard the efforts of the performers ith a hearty applause. 2. Congratulate the conductor and the choir on a successful performance. Demonstrate appropriate audience ehaviors for informal performances, first in the classroomhile listening to or atching recorded performances, and then in oserving live performances. A-19

36 -- CONCERT ETIQUETTE (Audience) LESSON : RECORDED PERFORMANCES At times you ill e asked to atch/listen to recorded performances in class or in some other group situation. The oserver should sho respect for the other listeners y listening quietly and attentively. Any talking ill distract the other listeners and ruin the performance for them. Respond cognitively to the performance. 1. Listen for specific musical events: Form, texture, arrangement, orchestration, if any. Be ale to give an informed report on hat you heard/oserved. 2. Evaluate the performance y estalished standards (hich ill e discussed in a later chapter). 3. Evaluate the music y estalished standards (hich ill e discussed in a later chapter.). Take notes, comparing the performance to like performances you have oserved previously. 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 5. Discuss ays to keep onself actively involved as a listener to a live performance. 6. Discuss some ays to respond cognitively to a recorded performance. Can you think of ays other than hat are listed aove Comprehension Check: Written Activity 11: Audience Etiquette for Formal Performances Written Activity 12: Audience Etiquette for Informal Performances Written Activity 13: Etiquette for Listening to Recorded Performances in Pulic Written Activity 1: Cognitive Response to Musical Performances a L A A-20

37 I: 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 36 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 36, 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 Written Activity 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-21

38 I -- 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 37, use Written Activity 38 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. Comprehension Check: Written Activity 36: My Taste in Music Written Activity 37: Quality and Effectiveness Written Activity 38: Create an Evaluation Form. Written Activity 39: Listening form--classical Written Activity 0: Listening form--popular Written Activity 1: Listening form--cultural a L A A-22

39 II: Evaluating Performances Write ACROSS THE CURRICULUM: A. Write an essay in your on ords on hat makes a good choir performance. B. Discuss your conclusions in class. 1. Discuss the folloing terms in class. A short discussion of each ord is given to start off the discussion. What can you add to each definition Determine the relevance of each of these to a quality and effective choral performance. 1. Technical Accuracy--Ho accurately the notes and rhythms are reproduced 2. Intonation--Ho ell the singers are in tune ith each other and ith the ritten pitches 3. Balance--Ho equally the voices and the voice parts are proected. Blend--Ho even the sound is--no individual voices sticking out. 5. Dynamics--Ho loud or soft the music is performed 6. Tone--The quality of the sound: full, thin, eak, reathy, harsh, etc. 7. Phrasing--Ho musically the melodic line is performed 8. Tempo--The speed at hich the music is performed 9. Interpretation--Ho a choir presents the mood of the music 10. Diction--Ho ords are pronounced--voels and consonants 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 5. Can there e effectiveness ithout quality A-23

40 II -- EALUATING PERFORMANCES 6. Evaluate: A. Which of the traits on the preceding page are the most important in a choral performance In teams of, rank the traits from 1 to 10 ith 1 eing the most important. B. In your team, assign points to each trait according to the rank order that your team estalishes. Make sure the points add up to 100. C. Create a form ith Written Activity 16 for evaluating choirs. D. Oserve and evaluate at least 3 different choir performances using the form you created. You may also use them in the classroom for large or small group or solo evaluations. 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 18 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 of Written Activity 18. 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 in these evaluations 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 16: Performance Evaluation Written Activity 17: Create a Critique Form Written Activity 18: Self-Evaluation a L A A-2

41 III: Musical Careers There are many ays to make a living ith music. A person can teach music in the pulic or private schools, like your teacher does. Or rite materials to use in the classroom, such as this textook. Besides your teacher do you kno other people ho make their livings y doing something related to music LESSON 1: MUSICAL OCATIONS Assignment 1: Using the internet search engines, find as many different os in the music usiness as you can find. Compare your list to your classmates' lists. Who found the most careers Who found the most unusual careers Assignment 2: Prepare a report on the life and ork of a current popular or historical figure in the music field. Include a iography ith pictures, if possile, a detailed description of hat the person does, and hat preparation as necessary to equip the person for their o. Present your report to the class either orally ith audio and/or visual exhiits such as videos, a computer slide sho presentation, or ith posters/draings. Written Activity 19 can help you ith this report. Assignment 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 20 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 the intervieee if you may record the conversation so that you can accurately report their ansers. Type up your intervie, and share it ith the class. LESSON 2: MUSICAL AOCATIONS 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 receive compensation (payment) for their musical activities. Such activities may include taking music lessons, performing in a community chorus, or uilding a musical lirary. Can you name some other musical avocations What kind of music avocations are you involved ith (on your on time, after the sdhool day Are your parents involved in some kind of music avocation What people do you kno that have a musical hoy that it very important to them A-25

42 III -- MUSICAL CAREERS Write ACROSS THE CURRICULUM: Descrie the differences eteen a vocation and an avocation. Comprehension Check: Written Activity 19: Famous Musician Written Activity 20: Intervieing a Musician Written Activity 21: ocation or Avocation a L A A-26

43 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 23 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 2. List the content and sho ho the content of one art relates to that of the other arts. A-27

44 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 25 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 are similar to those of music and ho they are 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 22: Concept, Content, Process Written Activity 23: "Concept" in the Fine Arts Written Activity 2: "Content" in the Fine Arts Written Activity 25: "Process" in the Fine Arts Written Activity 26: Music vs. other Fine Arts a L A A-28

45 CONCEPTS: As pointed out in the previous chapter, music is an art that exists in time. A sudivision of the concept of time ould e tempo, or speed. Another ould e duration. Other concepts that are characteristic of music include rhythm, dynamics, and timre. These, of course, may e divided further into more su-groups. When the sugroups ecome very specific, they make up the content of the suect. Music concepts relate to the concepts of other suects in many ays. For example, the concept of reading music relates directly to reading ords (English), and notes and rhythms ecome the phonetics of music literacy. Music performance is dependent upon training muscles through practice as is physical education. Music production depends upon the physical las of acoustics (science), and music learning is cumulative as is the study of math. Small group discussion: In small teams, ork together to identify concepts of the various suects. Use the partial list in Written Activity 35 to start you off. Add concepts to the list, and then identify the concepts of the various suects as they relate to music (and each other). CONTENT: Content involves specific learning that reinforce the concepts. It refers to the actual suect matter that is taught in a course of study. Examples of content for math ould e fractions, addition, and quadratic equations. Content for French ould include diction and conugating vers. Discuss various areas of content for different suects and ho they compare to or differ from those of music. Small group discussion: In small teams, ork together to identify maor points of content of various suects. List the content and sho ho the content of one art relates to that of other suects as ell as to that of music. PROCESS: X: Music and Other Suects 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. Music has processes in common ith most other suects. For example, music is cumulative, as is math--one skill is uilt upon another, increasingly more complex--and unlike history. Music involves the skills of oth reading and riting, as English does. Small group discussion: In small teams, identify some key process elements in each of the suects presented. A-29

46 X -- MUSIC AND OTHER SUBECTS Written Activity 37 ill help you identify process elements for each of the suects and to compare and contrast them to music. Write ACROSS THE CURRICULUM: 1. Write a rief essay descriing ho concepts of other suects are similar to those of music and ho they are different. 2. Write a rief essay descriing ho content of other suects is similar to those of music and ho they are different. 3. 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 36: Music and Other Suects (Concepts) Written Activity 37: Music and Other Suects (Content) Written Activity 38: Music and Other Suects (Process) a L A A-30

47 1: Rhythm Lesson 1: Note values Music may e defined as "Sound patterns organized in time." Music is not like the visual arts; it cannot e perceived all at one time, as ith a painting. Music must e apprehended in time. Thus e have to necessary elements necessary the creation of musical pieces: Sounds and time, or, in musical terms, pitch and rhythm. Rhythm is ho the pitches are organized in time. It has to do ith the duration of each pitch (ho long a pitch lasts in time). The eat is the asic unit of rhythm. It is the foundation of musical structure. The eat can then e divided into smaller units of time or comined into units of longer duration. There can e one single note for every eat, many notes to a single eat, or many eats to a single note. It is ho the eats and the sudivisions of the eat are put together that determines the rhythm of the piece. Notes can have different values (in duration) relative to the underlying eat ased upon meter designations. Belo is a asic chart of notes and their rhythmic values in common meter ( time). eats (units of time) Whole note Half notes units of time Quarter notes Eighth notes Sixteenth notes Thirty-second notes It is important to keep in mind that although the asic duration (the eat) can change, the relationship eteen the notes remains the same: One half note receives half of the eats that hole notes receive. The duration of one quarter note is half of a half note. It takes to eighth notes to fill the same amount of time as one quarter note. To sixteenths for each eighth note; to thirty-second notes for each sixteenth note, etc. 1

48 1 -- RHYTHM Flags and eams Individual eighth, sixteenth, thirty-second, and notes of smaller duration, are ritten ith flags. Hoever, for organizational purposes, notes ith duration of an eighth note or less are generally eamed together. r rk rk Eighth note (flagged) Eighth notes (eamed) Sixteenth note (flagged) Sixteenth notes (eamed) Thirty-second note (flagged) Sixty-fourth note (flagged) Thirty-second notes (eamed) Sixty-fourth notes (eamed) HISTORICAL SHORTS: The earliest surviving examples of notated Western music used symols knon as neumes. Originally, neumes ere dots and lines that ere inscried over the text lines of the liturgical chants. They ere, at est, imprecise and served only to remind singers of the general shape of the tunes rather than to represent specific pitch and rhythmic notation. As music notation developed, a system of rhythmic values evolved. The asic note (rhythmic duration) as called the reve. The reve (comparale to the modern doule hole note) divided into semireves (corresponding to today's hole note), ut not necessarily into to. Sudivisions of the reve could e either triple (perfect, the numer "3" representing the Trinity) or duple (imperfect). The chart elo presents a summary of the development of modern rhythmic notation. Notice that time values of notes ecame shorter in duration over the centuries, as is shon y the non-existence of the minim and smaller durations during the Middle Ages as ell as the disappearance of common use of the maxima and longa after the 17th century. 2

49 RHYTHM -- 1 Belo is an example of Gregorian notation. These pages are in the The Chigi Codex hich contains many representative pieces from late-fifteenth-century Flanders. This particular piece is the opening movement, Kyrie, from ohannes Ockeghem's ( ) mass Ecce Ancilla Domini, "The Annunciation." Pencil Time 3: Activity Sheet 1: Rhythm Revie Activity Sheet 2: Musical Math 1 3

50 1 -- RHYTHM Lesson 2: Time Signature ust as notes of smaller duration are grouped together for ease of perception, so the rhythms of a piece of music are traditionally organized into small units. These small units are called measures. A measure of music is delineated y arlines. c measure The time signature designates ho many units of time (eats) a measure can hold. The most common time signature in estern music is meter, hich, not surprisingly, is referred to as common meter. Common meter can also e designated y this sign: arlines What the time signature means: 1. The top numer tells you ho many eats are in each measure. 2. The loer numer tells you hat kind of note gets one eat. In common meter: 1. The upper "" designates that there are four eats in each measure. 2. The loer "" designates the quarter note as the asic unit of duration. In other ords, in time, there are four eats in each measure, and the quarter note receives one eat. Tell hat each of the folloing time signatures designates: READ the folloing rhythmic exercises vocally on the syllale "loo" hile conducting the eat pattern. (See Appendix A.) For further practice, read the exercises in various ays: singly, to at a time in harmony, in retrograde (reverse order), and all four, not stopping at arlines. Perform them ith various sounds, ody percussion, etc.

51 RHYTHM -- 1 In simple meters, the quarter note is the asic eat unit and it sudivides evenly into to eighth notes, four sixteenth notes, eight thirty-second notes, etc. This kind of duple division is typically characteristic of simple meters such as and. In common meter, the primary accent falls upon the first eat, the doneat. There is also a secondary accent that falls upon the third eat. The second and fourth eats are felt as eaker eats. 3 In meter, the primary accent falls on the doneat, ith the second and third eats eing eak eats. This gives meter its characteristic "altz time" feeling READ the folloing exercises on "loo" hile conducting the pattern for meter (Appendix A), placing a slight accent on the doneat of each measure. ary your performance ith creative sounds and y reading the exercises in different orders, as aove When the value of eighth notes is divided in half, the result is a sixteenth note. In meter, sixteenth notes receive 1/ of one eat ( notes to 1 eat). Count the folloing exercise on "loo" or on rhythmic syllales as your teacher requests hile conducting the pattern. Perform at a tempo that is slo enough for you to e completely successful. Lesson 3: Sixteenth Notes READ the folloing exercises hile conducting:

52 1 -- RHYTHM Since to sixteenth notes have the same duration as one eighth note, an eighth note may e sustituted for to sixteenth notes in a sixteenth note group, creating more interesting rhythm patterns: A rest is a measured moment of silence in music. The duration of the rest is the same as that of its corresponding note. The durations of the rests elo are given for common meter. Ó READ: Using a counting system of your (or your teacher's) choice (Appendix A), read the folloing rhythmic exercises. Use a slo tempo so that you can keep the eat steady Ó Ó Lesson : Rests Rest Name Duration Whole rest 1 hole measure Half rest Quarter rest Eighth rest Sixteenth rest Thirty-second rest 2 eats 1 eat 1/2 eat 1/ eat 1/8 eat 6

53 3. Ó Ó YOUR BRAIN: In meter, the primary eat generally falls on eat 1, ith a secondary accent on eat. Count the folloing exercise. Then perform it vocally on a neutral syllale, such as "loo" on a drone pitch. 6 Ó RHYTHM

54 1 -- RHYTHM Lesson 5: Ties Belo, there are to examples using this mark: What is the difference eteen the to examples Example 1. Example 2. SLURS: Example 1 shos a slur. A slur is a mark that connects to notes of different pitches. The purpose of the slur is to sho that a single syllale of the lyrics is shared eteen to or more notes. This is called a melisma. Locate the slur (indicating a melisma) in the traditional African-American spiritual, "Sing Lo, Seet Chariot," elo: Sing Lo, Seet Chariot Sing lo, Sing lo, seet seet.. char - i - ot, char - i - ot,.. Com-in' for to car - ry me Com-in' for to car - ry me Traditional spiritual home.. home. On hich syllale of the lyrics do the melismata (plural of melisma) occur The rest of the song is syllaic--that is, a single note for each syllale. TIES: A tie is a mark that "ties" together notes of the same pitch. When to notes are oined ith a tie, the pitch is held for the comined total of eats of all the notes that are tied. Indicate ho many eats each of the tied notes ould receive in the examples elo: Ties are often used to connect notes across arlines. Tell ho many eats these tied notes ould receive: READ the folloing exercises that incorporate ties hile conducting. Read them first using your choice of rhythm counting systems, the ith "loo" on a drone neutral pitch

55 RHYTHM Analyze the folloing song. Identify the ties and the slurs. Indicate ho many eats each pair (or group) of tied notes is orth. Shenandoah Oh, Shen - an - doah, I long to American folk song hear you. A - ay, you roll - ing ri - ver Oh, Shen-an doah, I long to hear you. A - ay, e're ound a - ay, 'Cross the ide Mis - sou - ri Is "Shenandoah" primarily melismatic or syllaic 9

56 1 -- RHYTHM.. Lesson 6: Augmentation Dots The duration of notes can e augmented (increased) y the tying them to other notes. Ties can increase the value of a musical tone not only ithin the measure ut also across the arline. A note's duration may also e increased y adding augmentation dots. A dot increases the value of a note's duration y one-half of its original value (50%). Note the examples elo in common meter: 1/2 of note value A dotted hole note = d+. =. = 6 eats eats 2 eats h h. A dotted half note = +. = = 3 eats 2 eats 1 eats q q. A dotted quarter note = +. = = 1 1/2 eats 1 eat 1/ 2 eat Another ay to look at it is that a dotted note is orth three notes of half its duration. For example, a dotted quarter note ould receive the same duration as 3 eighth notes; a dotted half note ould have the same duration as 3 quarter notes, etc. Dots are used ithin the measure only, and, unlike ties, cannot e used to carry over durations across the arline. Dotted notes are performed in the same manner as their tied equivalents. For example: ould e performed the same ay as ould e performed the same ay as r. ould e performed the same ay as Match the dotted notes on the left ith (all of) the tied notes on the right that represent an equivalent numer of eats. 1. A..... E. 2. B. 3. C.. D. F. G. H. 10

57 RHYTHM -- 1 Dotted notes are often paired ith other notes to create specific patterns. For example, a dotted quarter note is often paired ith an eighth note to make up 2 full eats, like this:.. Dotted eighth notes are often paired ith sixteenth notes READ the folloing rhythmic exercises containing rests, ties, and dotted notes: or or YOUR BRAIN: Note the meter changes in this exercise. Read ahead and e prepared! Conduct as you read:. 11

58 1 -- RHYTHM ocaulary: 1. Barline--A line through the staff that marks off the measures 2. Beat--The underlying (steady) pulse of music 3. Common meter-- meter; four eats to a measure ith the quarter note eing the asic eat unit. Duple meter--meters ith multiples of to eats 5. Measure--The asic unit y hich musical eats are organized 6. Melisma--Multiple notes for a single syllale of lyric in vocal music 7. Melismatic--ocal music hich incorporates many melismas 8. Meter--The organization of musical eats into measures 9. Pitch--The highness or loness of a musical tone ased upon the frequency (numer of virations per second) 10. Rest--A measured moment of silence in music 11. Rhythm--The patterns created y notes of longer and shorter durations 12. Simple meters--meters in hich the quarter note is the asic eat unit and it sudivides into smaller units to equal parts (eighth notes, sixteenth notes, etc.) 13. Slur--A curved line connecting notes of different pitches. In vocal music, a slur is used hen one syllale of lyric is used for multiple pitches. 1. Syllaic--ocal music that uses primarily a single pitch for each syllale of lyric 15. Tie--A curved line that connects notes of the same pitch, creating a pitch that is sounded for the numer of eats of the sum of the notes that are tied 16. Time signature--the sign that designates ho many eats are in each measure and hat kind of note receives one eat Pencil Time 3: Activity Sheet 3: Musical Math 2 Activity Sheet : Notale Names Activity Sheet 5: W'Eighths Activity Sheet 6: Seeing Dots! Activity Sheet 7: Rests Activity Sheet 8: Rhyme Tyme! Activity Sheet 9: Poetry 12

59 2: Pitch Pitch is the musical sound e hear ased upon the frequency of its sound aves. Pitch is determined in terms of its "highness" and "loness," referring to the velocity (frequency) of the sound aves created to produce it. "High" pitches have a high frequency (more virations per second), and "lo" pitches have a loer, or sloer, frequency. HISTORICAL SHORTS: Acoustics, the study of sound, is not a ne science. It has een a a primary topic of study for several millenia. Pythagoras of Samos (c BC), ancient Greek mathematician and philsopher, is given credit for eing the father of acoustics. He discovered that hen a string is set in motion, not only does it produce a fundamental tone as the length of the string virates (the tone e hear the most clearly), ut the string also virates in sections (partials) of y halves,thirds, quarters, eighths, etc., of its hole length. Because the virating sections are shorter than than the hole string, these partials, or harmonics, virate proportionately faster to the fundamental according to the length of the virating section. Thus, they create overtones that are proportionately higher in pitch to the fundamental. For example, the first harmonic, produced y the viration of the string in half, virates tice as fast as the fundamental tone ecause it as produced y a section of string half the length of the hole. This viration produces a harmonic of an octave higher than the fundamental. The study of music as so important to higher education in medieval times that it as included the quadrivium, along ith arithmetic, geometry, and astronomy, as the higher of the "seven lieral arts." The loer three ere grammar, logic, and rhetoric. They ere called the trivium, and this here e get the ord "trivia." Musical harmonics as considered a microcosm of the operation of the entire universe. That is, the relationship eteen fundamental pitches and their overtones as considered to e the same as the principles that governed the movement of the stars and planets. Ancient philosophers and mathemeticians, such as Pythagoras and Boethius, taught that the movements of the stars and other heavenly odies produced a celestial "Music of the Spheres," inaudile on earth, ut yet the driving force y hich the universe y hich the universe operated. The system of naming pitches ith letters of the alphaet dates ack as far as ancient Greece. Letter symols ere placed over the ords of the text to indicate pitch variances. In the sixth century, Boethius used the first 15 letters of the alphaet to lael the to-octave range of pitches that as primarily utilized in his day. Boethius' orks ere used in 13

60 2 -- PITCH medieval universities as the standard textooks on music theory even as late as the Renaissance. Guido D'Arezzo (c ) identified a set of three hexachords, scales of six notes ith corresponding numers and placements of hole steps and half steps (predecessors of the modern keys of C, G, and F Maor). Guido used alphaetical names (A-G) for the the pitches of his hexachords and gave them permanent positions on the staff. Another important contriution of Guido's as the utilization of spaces in eteen the lines of the staff as ell as the lines for notating specific pitches. This ecame the standard system of musical notation hich is used to this day. The Staff Guido as also a key figure in the development of the modern day staff. Before his time, pitches ere notated in a very general ay aove and elo a single horizontal line. In Guido's day, pitches ere indicated on to horizontal lines. Guido added to lines, one red, one yello, representing the pitches of C and F. He also defined the lines of the staff as representing intervals of a third, including the spaces in eteen the lines for pitch designation, the system of staff notation that is eing used to this very day. Belo is a representation of the "Guidonian hand," a mnemonic device invented y Guido to teach sightsinging. Notice the four-line staff ith notated hexachord across the upper palm. Guido has een credited as eing the "father" of solfeggio, a system of teaching music reading to singers using short syllales to represent pitches. Guido, a Benedictine monk, as one of the first music educators on record in music history. He as Choirmaster for the Cathedral of Arezzo and as very concerned aout educating his choir to read music 1

61 PITCH -- 2 so as to raise the quality of the music in the church service. He developed a system of music reading ased upon syllales of ords hich represented different pitches. He orroed from the hymn, "Ut queant laxis," the "Hymn to St. ohn the Baptist." Guido took the first syllale of each line and used them to name the successively higher notes of the scale. Read the song from the ottom to the top. Ut queant laxis-- "Hymn to St. ohn" _ San - cte o - an - nes. La - i - i - re a - tum Sol - ve pol - lu - ti Fa - mu - li - tu - o - rum _ Mi - ra - ge - sto - rum _ Re - so - na - re fi - ris Ut que - ant lax - is Notice that each successive line starts one note higher than the previous one. Guido also developed a four-line staff on hich to place the notes. Using ust the first syllale of each phrase, Guido taught his students to read notes ith these syllales according to their position on the staff and their relationship to each other. This system of solfege, so named for the fifth and fourth notes of the scale, Sol and fa, is still used today, and is, in fact, the system of sightreading this series utilizes. Guido's four-line staff as sufficient for the notation of the plainsong chant used in the masses. But as music ecame more complex and instrumental music gre in popularity, the four-line staff as too limited to accommodate the groing range of pitches used in musical compositions. Thus the numer of lines of the staff gre and varied until it as standardized to the "great staff" (or, "grand staff") that e use today. _ 15

62 2 -- PITCH Guido's four-line staff as sufficient for the notation of the plainsong chant used in the masses. But as music ecame more complex and instrumental music gre in popularity, the four-line staff as too limited to accommodate the groing range of pitches used in musical compositions. Thus the numer of lines of the staff gre and evolved until it as standardized to the "great staff" (or, "grand staff") that e use today. THE GREAT STAFF The great staff (or grand staff) consists of to five-line staves ith an invisile leger line in eteen the to. (Leger lines can also e used to indicate pitches that fall aove or elo the lines and spaces of the great staff.) This center line houses the note Middle C (C). The upper staff is normally designated y the trele clef and pitches higher (ith a greater frequency) than Middle C*. The ass clef marks the loer staff and is used to designate pitches of a loer frequency. F E D C B A G F E D G A B C D E F G A B C Middle C is sits eteen the staves on a short line that represents the invisile one. Both of the notes elo represent Middle C (C, 256 Hz). * The standard frequency for Middle C is 256 Hz, or 256 virations per second. 16

63 PITCH -- 2 CLEFS Only instruments ith very large ranges, such as the piano and harp, use the full grand staff. Most instruments of the orchestra use only a single staff and clef. For example, the flute and violin use the trele clef only. Instruments of loer pitch, such as tuas, assons, and tromones, read music on the ass clef staff. HISTORICAL SHORTS: Clefs developed from designation of various pitches. The trele clef is also knon as the "G clef" ecause it is no more than an ornamented G note. Notice ho it encircles the G line on the staff: The ass clef ornaments the F line and is also called the "F clef": N N Music for higher voices, such as omen's and children's (soprano and alto), is ritten on the trele clef. Loer voices--men's voices, aritone and ass--use the ass clef. Tenor, hich is the highest men's voice, may read on either the ass clef or the tenor clef. The most frequently used tenor clef looks like a trele clef, except ith an "8" attached to its tail, indicating that the notes are to e read an octave (8 notes) loer than the normal trele clef. F Middle C ocaulary: 1. Acoustics--The study of sound 2. Alto--The loest female voice 3. Baritone--Male voice in eteen tenor (highest) and ass (loest). Bass--The loest male voice 5. Bass clef--the F-clef; the standard clef on hich loer pitches are notated 6. Clef--A sign used to identify pitches for a particular staff 7. Frequency--The numer of virations per second of a virating medium 8. Fundamental--The predominate tone made a virating medium 9. Great staff--the trele and ass clef staves; also called the "grand staff" 10. Hexachord--Overlapping sets of six notes outlined y Guido D'Arezzo 11. Harmonics--The series of musical tones produced y a virating medium hose frequencies are multiples of the frequency of the fundamental tone 17

64 PITCH PITCH 12. Leger line--a short line aove or elo a staff on hich notes are placed hose pitches are higher or loer than notes on the staff could indicate 13. Middle C--The note that falls on the leger line in eteen the trele and ass clefs 1. Octave--The interval eteen a note and its first harmonic; the eighth note of a diatonic scale 15. Overtone--A harmonic 16. Partial--A harmonic or overtone 17. Pitch--The highness or loness of a musical tone ased upon the frequency of its sound aves 18. Plainsong--Medieval mass style using a cappella monophonic (unison) voices and free-floing unmetered phrases 19. Quadrivium--Four suects that ere considered the core of higher education in medieval universities: arithmetic, geometry, astronomy, and music. 20. Soprano--The highest trele voice 21. Tenor--The highest adult male voice 22. Tenor clef--an clef derived from the trele clef hich is used to notate the tenor voice of choral music 23. Trele clef--the clef used to designate the higher pitches of the great staff 2. Trivium--The "loer three" of the seven lieral arts taught in medieval universities; grammar, logic, and rhetoric Write ACROSS THE CURRICULUM: Anser these questions in your on ords. 1. Discuss the concept of "pitch" and ho it is defined. 2. Discuss the importance of the study of acoustics to ancient cultures. 3. Discuss contriutions y Guido D'Arezzo to music education.. Descrie the purpose and function of clefs. Pencil Time 3: Activity Sheet 10a and : ocaulary Word Search Activity Sheet 11: Clefs Activity Sheet 12: Line Notes Activity Sheet 13: Space Notes Activity Sheet 1: Note Names Activity Sheet 15: Leger Lines Activity Sheet 16: More Clefs 18

65 3: Revie--F and G Maor Western (Euro-American) is ased upon the Maor Scale.: F Maor Scale--F is Do Do Re Mi Fa So La Ti Do G Maor Scale--G is Do Do Re Mi Fa So La Ti Do The key signature is found directly after the clef sign. It tells you hat note is the tonic ("home" tone) and hich notes are "natural" (the hite notes on a keyoard) and hich notes are flats or sharps (the lack notes on a keyoard). Finding your eginning pitch: Pencil Time 3: When there are flats ( ) in the key signature, the last flat is alays Fa. When there are sharps ( ) in the key signature, the last sharp is alays Ti. The singer can count up or don from the last flat or sharp to identify his/her starting pitch. Activity Sheet 17: Notes of the Scale Activity Sheet 18: Finding "Do" Activity Sheet 19: Melodic Dictation - Do, Re, Mi Activity Sheet 20: Form Identify the key and the starting pitch, and READ the folloing exercises: 1. Chant the rhythm using rhythmic syllales hile conducting. 2. Sloly audiate (think) the exercise using handsigns 3. Sing each exercise sloly using solfege syllales and handsigns

66 3 -- REIEW: F AND G MAOR Ó

67 REIEW: F AND G MAOR YOUR BRAIN:

68 3 -- REIEW: F AND G MAOR READ the folloing four-part exercises: 1. Chant the rhythm in harmony (all parts at the same time). 2. Find the starting pitch. 3. Audiate ith handsigns.. Sing in harmony ith solfege and handsigns. 5. For variety, play one part on the recorder hile the other parts are sung. 1. S A T B

69 REIEW: F AND G MAOR

70 3 -- REIEW: F AND G MAOR

71 REIEW: F AND G MAOR

72 3 -- REIEW: F AND G MAOR 13. YOUR BRAIN: 1. 26

73 REIEW: F AND G MAOR -- 3 Mrs. Mallard SATB a cappella S Allegretto F Patti DeWitt A T She F She F lives don in a lives don in a lit - tle house From lit - tle house From B She F lives don in a lit - tle house From She lives don in a lit - tle house From 3. here a mile or to With a don - y car - pet and here a mile or to With a. don - y car - pet and here a mile or to With a don - y car - pet and here a mile or to With a don - y car - pet and This measure has only one eat in it. It is an anacrusis, or "pick up" measure. The remaining 3 eats missing from this measure are found in the last measure. 27

74 3 -- REIEW: F AND G MAOR 6. f tall green alls and a tall green alls and ceil- ing of end - less ceil- ing of end - less lue.. lue.. Her f Her f tall green alls and a ceil- ing of end - less lue.. Her f tall green alls and ceil- ing of end - less lue. Her 9 hus - and is a hus - and is a sho - y chap, in sho - y chap, in col - ors right and col - ors right and hus - and is a sho - y chap, in col - ors right and hus - and is a sho - y chap, in col - ors right and 12. P vain,. vain,. But P But P she's the self - ef - she's the self - ef - fac - ing sort In fac - ing sort In vain,. But P she's the self - ef - fac - ing sort In vain, But she's the self - ef - fac - ing sort In 28

75 15 ves - ture ron and ves - ture ron and ves - ture ron and rit... U plain. Al - U. U. plain. Al - plain. Al - rit... U A tempo F F F F REIEW: F AND G MAOR -- 3 though she keeps a though she keeps a though she keeps a 18 ves - ture ron and plain. Al - though she keeps a plea - sant face, Hers plea - sant face, Hers plea - sant face, Hers is a heav - y is a is a heav - y chore, And heav - y chore, And. chore, And plea - sant face, Hers is a heav - y chore, And 21 pat - ient - ly she pat - ient - ly she rai - ses Her rai - ses Her doz - en kids or doz - en kids or pat - ient - ly she rai - ses Her doz - en kids or pat - ient - ly she rai - ses Her doz - en kids or 29

76 3 -- REIEW: F AND G MAOR 2. more.. more. Her Her. more.. f f f Her f doz - en kids or doz - en kids or doz - en kids or. more.. more.. more.. more. Her doz - en kids or more. Here are the remaining three eats that ere first measure. Together, the to measures measure in common meter ( eats). eeliminated from the add up to one full Expressive elements in "Mrs. Mallard": Locate the folloing symols and terms in "Mrs. Mallard." Use them to perform the song expressively. 1. Allegretto--Quickly; literally, "a little fast" 2. A tempo--return to the previous tempo 3. Fermata--( U) Hold the note longer, according to the desires of the performer or conductor. Forte--( f) Loud 5. Mezzoforte--( F) Medium loud 6. Mezzopiano--( P ) Medium soft 6. Ritardando--( rit....) Get sloer FORM: When musicians speak of the "form" of a piece of music, they are talking aout the pattern of repeated or nonrepeated sections in a musical ork. Form is analyzed in many ays. The simplest ay is looking at musical phrases, musical "sentences," so to speak, and ho they relate to one another. Most music is created ith natural pauses. These pauses often mark the end of a phrase. To examine a musical piece for form, one looks mainly at the melodic line (in this case, soprano, line. Where are the natural pauses in the melodic line Where does one find notes of lengthier duration or rests, or some other indicator of pause Where do all of the voices pause at the same time The music analyst identifies these places of pause, and then laels them to gain an overall understanding of ho the piece of music has een put 30

77 REIEW: F AND G MAOR -- 3 together and ho it should e performed. The form of a piece of music affects the performance in the folloing ays. Often the end of the phrase ill e performed ith a decrescendo or a slight ritardando, hereas the middle part of the phrase ill e performed ith a slight accelerando and/or crescendo, moving ith energy toard the end of the phrase. These interpretational decisions in performance are hat give life and excitement to a piece of music, making it more than ust repeating notes ritten on paper. In analyzing phrases, the first phrase is alays laeled "A." The second phrase ould e laeled "B," if it is sustantially different from the first. If it is quite similar to the first, it is laeled, "A." If it is similar to the A phrase ut has a slightly different ending, it is called "A'." (The little accent mark -- ' -- is called "prime," so an A' phrase ould e called "A-prime.") Quick Analysis: Analyze the song "Tinkle, Tinkle, Little Star." 1. "Listen" to it in your head. 2. Ho many phrases are there 3. Are any phrases repeated. Using letters of the alphaet, indicate the form of the melody. 5. Use the graph in Activity Sheet 20 to represent the form of "Tinkle, Tinkle... " Analyze "Mrs. Mallard." 1. Ho many sections are there 2. Ho many phrases in each section 3. Ho many measures in each phrase. Use the graph in Activity Sheet 20 to represent the form of "Mrs. Mallard." ocaulary: 1. Accelerando--Get faster 2. Anacrusis--An incomplete measure at the eginning of a piece or section of music 3. Decrescendo--Gro softer. Flat--( ) A note that is loered one-half step from its "natural" counterpart; for example B is one-half step loer than B (natural). 5. Form--The pattern of repeated and non repeated musical phrases or sections in a piece of music 6. Key--The tonal center around hich a musical ork is ased 7. Key signature--the sign that indicates hich note is the tonic (or tonal center) and ho many sharps or flats (if any) are in the key's scale 8. Natural--A note that is not sharped or flatted; A, B, C, D, E, F, or G 9. Phrase--A musical "sentence"; delineated y pauses in the melodic flo 10. Ritardando--Get sloer 11. Sharp--( ) A note that is raised one-half step from its "natural" counterpart; for example F is one-half step higher than F (natural). 12. Tonic--The tonal center; the note upon hich the key is ased 31

78 C Maor Scale--C is Do : Revie--Key of C Maor Do Re Mi Fa So La Ti Do Finding Do: In the key of C Maor, there are no flats ( ) or sharps ( ) in the in the key signature. at the Key Signature. If you "C" nothing, you are in the key of C Maor (or its relative minor). Musicians cannot use sharps and flats as a means of finding Do in the key of C Maor. Here are 3 ays to rememer ho to find Do (or the starting pitch) in the key of C: 1. "Middle C" is Do in the key of C Maor in oth ass and trele clefs Do 2. The third space (counting from the ottom) is C (Do) in the trele clef, and the second space is C in the ass clef. So Fa Mi Re Do Fa So La Ti Do Do 3. The trele clef (or, "G clef") inds around the line for G, hich is So in the key of C Maor. The dots of the ass clef (or, "F clef") surround F, hich is Fa in the key of C Maor. 32

79 REIEW: KEY OF C MAOR -- Whole Steps and Half Steps: The Maor Scale is made up of a series of hole steps and half steps in a specific order. A half step is the distance eteen a note and its nearest neighor note in either direction. This is est illustrated on the piano keyoard. All of the rackets elo represent half steps: Select various notes on a piano or electronic keyoard and find the half steps up from all of them. Find the half steps don from all of them. A hole step is the distance of 2 half steps. If to notes are a hole step apart, that means that there is exactly one note eteen them. All of the rackets elo delineate hole steps: Select various notes on a piano or electronic keyoard and find the hole steps up from all of them. Find the hole steps don from all of them. 33

80 -- REIEW: KEY OF C MAOR A scale is maor or minor (or something else) depending upon the arrangement of of its hole steps and half steps. A maor scale has the folloing arrangement: Beginning from the tonic pitch, in this case C, move up 2 hole steps, one half step, 3 hole steps, and one half step. KEYBOARD SKILLS: Play the C Maor scale, up and don, on a keyoard instrument. Use the given formula to figure the F and G Maor scales, up and don, on the pictured keyoard aove. Play them on a keyoard instrument. AUDIATE: A popular inter song uses the descending maor scale from Ti to Do in the phrase presented elo. Read the notes elo in your head. (Do not sing it out loud.) Can you name the song.. ä.. Pencil Time 3: Activity Sheet 21: Key of C Maor Activity Sheet 22: Whole step/half step Activity Sheet 23: Building a Maor Scale Activity Sheet 2: Pitch Class 3

81 REIEW: KEY OF C MAOR -- READ the folloing exercises. 1. Chant the rhythm hile conducting. 2. Identify the starting pitch. 3. Audiate hile handsigning.. Sing ith solfege and handsigns Î

82 -- REIEW: KEY OF C MAOR 7. Î Î Î Î 8. YOUR BRAIN: Î Î Î What is this measure called 36

83 REIEW: KEY OF C MAOR -- READ the folloing four-part exercises: 1. Scan the exercise for repetition and form. 2. Chant the rhythm in harmony (all parts at the same time) hile conducting. 3. Find the starting pitch.. Audiate using handsigns. 5. Sing in harmony ith solfege and handsigns. 6. For variety, after singing play one or more parts on keyoard or recorder

84 -- REIEW: KEY OF C MAOR

85 REIEW: KEY OF C MAOR

86 -- REIEW: KEY OF C MAOR

87 REIEW: KEY OF C MAOR î î Ne expressive elements in "Moonrise in the Rockies." 1. Piano--( p) Soft 2. Crescendo--( ) Get louder 3. Decrescendo--( ) Get softer. Cresc. e rit...--get louder and sloer Quick Analysis: Diagram the form of "Moonrise in the Rockies" on paper using letters of the alphaet, for example, AABB, or use the graph in Activity Sheet 20. Ho many phrases are there Where does each phrase egin and end What phrases are alike; hat phrases are contrasting 1

88 -- REIEW: KEY OF C MAOR Ella Higginson Patti DeWitt S A T B In to, ut not too fast, h = 60 P The P The Î Î trem - ling train clings trem - ling train clings to the lean - ing to the lean - ing î all all P î To the lean - ing P To the lean - ing î î Î Î Of Of sol - id stone; a F F sol - id stone; a thou - sand feet e - thou - sand feet e - lo lo î î î î Î all of sol - id stone; A thou - sand feet e - î î Î all of sol - id stone; A thou - sand feet e - 2

89 REIEW: KEY OF C MAOR -- 8 F î î Î Î p The p The p Î sky hangs like a sky hangs like a Î pall Up - Î pall Up - Î lo a deep, lack F gulf The p sky hangs like a pall Up - lo a deep, lack gulf The sky hangs like a pall Up - 12 on the peaks of on the peaks of F F F ev - er - last - ing ev - er - last - ing p p p U U sno. sno. U Î Î î F Then F Then of a sud - den of a sud - den on the peaks of F ev - er - last - ing p sno. U î on the peaks of ev - er - last - ing sno. 16 springs a rim of. light, Î î Î Curved like a sil - ver springs a rim of F î Î. light, Î î Î Curved like a sil - ver î A F î Î rim of light, Curved like a sil - ver sic - kle. î A rim of light, Curved like a sil - ver sic - kle. 3

90 -- REIEW: KEY OF C MAOR 20 sic - kle. High and sic - kle. High and higher, î î higher, High and higher un - til the full moon urns, 2 P Till the full moon P Till the full moon P Till the full moon P High and higher un - urns urns î î urns F til the full moon On the reast of F On the reast of F On the reast of F. night,. night,. night,. urns, cresc. cresc. cresc. cresc. f And a f And a f And a f Till the full moon urns On the reast of night, And a 28 mi - llion firs stand mi - llion firs stand tipped ith lu - cent tipped ith lu - cent fire. fire. P P P f A f A f mi - llion firs stand tipped ith lu - cent fire. P A f mi - llion firs stand tipped ith lu - cent fire. A

91 REIEW: KEY OF C MAOR mi - llion firs stand mi - llion firs stand mi - llion firs stand mi - llion firs stand cresc. e rit tipped ith lu - cent cresc. e rit tipped ith lu - cent cresc. e rit tipped ith lu - cent cresc. e rit tipped ith lu - cent. fire.. fire.. fire.. fire. ocaulary: 1. Half step--the closest distance eteen to musical notes 2. Maor scale--a series of eight notes that covers the distance of one octave from Do to Do 3. Minor scale--a series of eight notes that covers the distance of one octave from La to La. Whole step--to half steps 5

92 . Do Re Mi Fa So La Ti Do La Ti Do Re Mi Fa So La : Revie--Minor Keys Maor keys are ased upon maor scales, scales ith Do as the tonic, covering the octave from Do to Do. Minor keys are ased upon minor scales, scales ith La as the tonic, covering the octave eteen La and La. Note the placement of the half steps. G Maor scale: E minor scale: G Maor and E minor are relative keys. That is, they share a common key signature. The difference is their tonal center. SING the G Maor and E minor scales, aove. Listen to the differences. The relative minor of any maor key is don a third from the tonic of the maor key. Do La Do La Do La Do La Do La Do La C Maor F Maor B Maor D Maor A Maor E Maor A minor D minor G minor B minor F minor C minor IDENTIFY the scales elo as Maor or minor: 5. * For further discussion and practice for minor keys, see Level 1, Chapter 16, and Level 2, Chapter 7. 6

93 REIEW: MINOR KEYS READ the folloing exercises. 1. Find your starting pitch. 2. Identify the tonality (Maor or minor) 3. Audiate efore sightsinging. YOUR BRAIN: Identify the keys of the 12 scales given aove, for example F minor

94 5 -- REIEW: MINOR KEYS

95 REIEW: MINOR KEYS -- 5 READ the folloing four-part minor exercises. 1. Identify the key. 2. Find your starting pitch. 3. Audiate hile handsigning.. Sing ith your class, all parts together

96 5 -- REIEW: MINOR KEYS Fine DC al Fine... DC al Fine--Go ack to the eginning ("da capo"; DC) and end at Fine (the end). 50

97 REIEW: MINOR KEYS mem' - ries, mem' - ries, mem' - ries, mem' - ries, 3 on on on on Andante P In P In P In P In my my my my the the the the. on, moon-light I moon-light I moon-light I moon-light on, on, on, SATB a cappella I p In p In p In p In alk a - alk a - alk a - alk a - my my my my. lone,. lone,. lone,. lone, lone - ly lone - ly lone - ly lone - ly Patti DeWitt F Filled F ith Filled F Filled F ith ith Filled ith prom - en - prom - en - prom - en - prom - en P. ade. ade. Pon - der - P Pon - der - P ing the ing the paths I've paths I've trod.. trod.. Did Did I I ade. Pon - der - P ing the paths I've trod.. ade Pon - der - ing the paths I've trod. 51

98 5 -- REIEW: MINOR KEYS 18.. choose choose the the ay that as ay that as est. est Did Did I I pass each pass each vi - tal vi - tal test. test 25. cresc e rit.... Did I lend a help - ing hand. Did I take a no - le cresc e rit.... Did I lend a help - ing hand Did I take a no - le 32 p ". " In p the moon-light I alk a - lone,. Filled ith U. In p the " moon - I alk a - lone,. Filled ith stand U. In p the " moon-light I alk a - lone,. Filled ith stand In the moon - I alk a - lone, Filled ith 52

99 REIEW: MINOR KEYS P mem' - ries, all my on, Look - ing P to the mem' - ries, all my on, Look - ing P to the mem' - ries, all my on, Look - ing P to the mem' - ries, all my on, Look - ing to the 3. F rit.... U. morn - ing's dan. And F ne strength to car - ry rit.... on. U. morn - ing's dan. And F ne strength to car - ry rit.... on. U. morn - ing's dan. And F ne strength to car - ry rit.... on. U. morn - ing's dan And ne strength to car - ry on. ocaulary: 1. DC al Fine--A designation in a piece of music that means go ack to the eginning ("da capo") and stop at "Fine" (the end) 2. Fine--Italian ord meaning "the end" 3. Minor--Tonality in hich the tonal center is "L.". Relative minor--a minor key that shares a common key signature ith a Maor key. For example, G minor is the relative minor of B Maor. Both keys have to flats in the key signature. Pencil Time 3: Activity Sheet 25: Minor changes Activity Sheet 26: Building a Minor Scale Activity Sheet 27: Relative Keys 53

100 6: Revie--I Chord A chord is formed hen 2 or more musical notes sound at the same time. A triad is a chord made of 3 notes. The I Chord (tonic triad) is a triad ased on Do, the first note (tonic) of the maor scale. It is composed of the first, third, and fifth notes of the maor scale (Do, Mi, So). Do Mi So I Chord G Maor triad Do Mi So I Chords: The I Chord for any maor key is derived from the Maor scale. I Chord F Maor triad Do Mi So I Chord C Maor triad Figure the D Maor scale and the tonic (I) chord for the key of D Maor. Do the same for A, E, and B Maor. Play them on a piano or other keyoard instrument. Pencil Time 3: Activity Sheet 28: I Chord Game Activity Sheet 29: Maor and Minor Thirds 5

101 REIEW: I CHORD -- 6 INTERALS that occur eteen the notes of the I Chord: 1. Maor Third -- Do - Mi Key of F Maor Do The interval Do-Mi is a maor third. A maor third is the distance of 2 hole steps or half steps. Mi Interval Practice: Music Reading: Audiate the folloing exercises (using handsigns) efore singing them

102 6 -- REIEW: I CHORD

103 REIEW: I CHORD Minor Third -- Mi - So Key of C Maor: Mi So The interval Mi-So is a minor third. A minor third is the distance of 3 half steps or 1 hole step and a half step. Interval practice: Music Reading: Audiate the folloing exercises (using handsigns) efore singing them.. 3. Î

104 6 -- REIEW: I CHORD YOUR BRAIN: Fine DC al Fine 9. 2 Repeat sign--go ack to the eginning (or nearest repeat sign) and sing the section again. 58

105 REIEW: I CHORD Perfect Fourth -- So - Do Key of G Maor: So Do The interval So - Do is a perfect fourth. A perfect fourth is the distance of 5 half steps or 2 hole steps and a half step. Interval Practice: Music Reading:

106 6 -- REIEW: I CHORD Î %. Fine DS al Fine

107 REIEW: I CHORD -- 6 Four-part Exercises: 1. Scan each exercise for repetition and form. 2. Read the rhythm, all parts together. 3. Identify the key and your starting pitch.. Find the intervals of the I Chord in the exercise and mentally audiate each. 5. Chant the solfege ith handsigns, all parts together, sloly. 6. Audiate each part ith handsigns. 7. Sing the exercise (all parts together) on solfege ith handsigns sloly and carefully. 8. For more variety, play one or more parts on recorders or piano

108 6 -- REIEW: I CHORD

109 REIEW: I CHORD Î Î Î. Î... Î Î Î. Î 6. 63

110 6 -- REIEW: I CHORD

111 8. REIEW: I CHORD Î Î.. 65

112 6 -- REIEW: I CHORD 10. YOUR BRAIN:

113 REIEW: I CHORD Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î Î 13. Î Î.. 67

114 6 -- REIEW: I CHORD Pat Pine Darnell Playfully F S A T B When F When F When F When I as young I I as young I I as young I I as young I SATB a cappella had a goat And had a goat And had a goat And had a goat And Patti DeWitt hat a kid he hat a kid he hat a kid he hat a kid he. as!. as!. as! He He He as! He loved to run and loved to run and loved to run and loved to run and play ith me Tho' his play ith me Tho' his play ith me Tho' his play ith me Tho' his 68

115 REIEW: I CHORD on - ly ords ere, on - ly ords ere, on - ly ords ere, on - ly ords ere, cresc.... "Baa - aa - aa!" His cresc.... "Baa - aa - aa!" His cresc.... "Baa - aa - aa!" His cresc.... "Baa - aa - aa!" His on - ly ords ere on - ly ords ere on - ly ords ere on - ly ords ere 10. "Baas"!. "Baas"!. P One P One P day he climed up day he climed up on the roof And on the roof And "Baas"!. One P day he climed up on the roof And "Baas"! One day he climed up on the roof And 13. F ran from edge to ran from edge to edge,. edge,. I F I F scold - ed him hen scold - ed him hen ran from edge to edge,. I F scold - ed him hen ran from edge to edge, I scold - ed him hen 69

116 6 -- REIEW: I CHORD 16 P he came don, But P he came don, But P "Baa!" as all he "Baa!" as all he said,. said,. cresc.... cresc.... cresc.... f But f But f he came don, But P "Baa!" as all he said, cresc.... But f he came don, But "Baa!" as all he said, But 19. F "Baa!" as all he "Baa!" as all he said.. said.. He F He F pulled my ag - on, pulled my ag - on, "Baa!" as all he said.. He F pulled my ag - on, "Baa!" as all he said. He pulled my ag - on, 22 ate my cake, Danced to my "Tra - la -. la." I ate my cake, Danced to my "Tra - la - la." I. ate my cake, Danced to my "Tra - la - la." I ate my cake, Danced to my "Tra - la - la." I 70

117 25 miss those times e miss those times e miss those times e miss those times e P ran and played, And I P ran and played, And I P ran and played, And I P ran and played, And I REIEW: I CHORD -- 6 miss his hap - py miss his hap - py miss his hap - py miss his hap - py 28 poco cresc.... F. Î "Baa - aa - aa!" poco cresc.... "Baa - aa - aa!" I poco cresc.... I F F miss his hap - py miss his hap - py "Baa!". "Baa!". Î Î "Baa - aa - aa!" I miss his hap - py "Baa!" poco cresc.... F. Î "Baa - aa - aa!" I miss his hap - py "Baa!" 71

118 6 -- REIEW: I CHORD 31 î P F fu î U. "Baa!" U. "Baa!" I f I f miss his hap - py miss his hap - py U. "Baa!" U. "Baa!" U. p "Baa!" U. I f miss his hap - py "Baa!" U. "Baa!" I miss his hap - py "Baa!" Quick Analysis: What it the form of "My Goat" Why is it helpful to kno hat the form is efore learning a ne piece 72

119 7: Dotted Quarter Notes When a dot is added to a note, the value of the note (in eats) is increased y half its original value. For example, hen a dot is added to a half note, its value is increased y one eat, for a total duration of 3 eats in common meter. +. = 1 (2) Don (don) up 2 eats 1 eat 3 eats (1/2 of 2) +. = eats 2 eats 6 eats (1/2 of ) For the quarter note that is dotted, the dot adds 1/2 of one eat (the equivalence of one eighth note) to its value, producing a value of 1 1/2 eats duration in common meter. +. = 1 eats 1/2 eat 1 1/2 eats (1/2 of 1) The value of the dotted quarter note is the same as the value of one quarter note tied to one eighth note. Dotted quarter notes are often paired ith an eighth note to create this pattern: Counting systems: Kodály: Numers: "Don-ups": It is important to feel the pulse of the second eat in the dotted quarter/eighth note pattern so that the dotted quarter note receives its full duration. = Kodály: Numers: "Don-ups": 1 Don (2) (don) up 3 don don 1 Don (2) (don) up 3 don don 73

120 7 -- DOTTED QUARTER NOTES PRACTICE the rhythmic pattern in the exercises elo Pencil Time 3:Activity Sheet 30: Dots and Ties Activity Sheet 31: Using the IPA The dotted quarter/eighth pattern may also occur in reverse order: This pattern is rhythmically the same as the one elo and is read as follos: Kodály: Numers: "Don-ups": 1 Don (2) up (don) 7

121 PRACTICE the rhythmic pattern in the exercises elo: DOTTED QUARTER NOTES -- 7 READ the folloing rhythmic exercises. 1. Read them one at a time. 2. PERFORM them to (or more) at a time ith ody percussion or invented percussion instruments. 3. Perform them in canon.. Perform them in harmony ith one part reading them as ritten, the other part reading them in retrograde

122 7 -- DOTTED QUARTER NOTES Write ACROSS THE CURRICULUM: Write a poem to fit the rhythmic pattern elo: COMPOSE: On staff paper or ith music notation softare, rite the rhythm to fit the ords of the poem elo, using dotted quarter and eighth notes. After riting out the rhythm, add a melody to the ords to make a song. Be prepared to teach your song to the class: What Dreams y Patti DeWitt What dreams lie in my loved one's head As she lies fast asleep Does she dream of faithfulness And promises to keep Or does she dream of future plans That have nothing of me Of eager smiles and open arms And faces ne and free I kno, of course, it matters not What hidden dream there e, For deep ithin my loved one's heart, Her love elongs to me. 76

123 DOTTED QUARTER NOTES -- 7 ocaulary: 1. Canon -- a piece of music in hich a melody in one part is imitated exactly in other part(s) 2. Retrograde -- Reading music in reverse order, from the last note to the first. HISTORICAL SHORTS: "Auld Lang Syne," the song on the folloing pages, has een called the "official" song of Ne Year's Eve. It is a very old Scottish song that as not ritten don until the eighteenth century. Scottish poet Roert Burns is reportedly the first person to have transcried it. He sent a copy of it to the British Museum ith this note: "The folloing song, an old song, of the olden times, and hich has never een in print, nor even in manuscript until I took it don from an old man's singing, is enough to recommend any air." He also rote to a friend: "There is an old song and tune hich has often thrilled through my soul. You kno I am an enthusiast in old Scotch songs. I shall give you the verses on the other sheet... Light e the turf on the reast of the heaven-inspired poet ho composed this glorious fragment!" The song is ritten in Old Scottish, and many phrases seem strange to the modern ear. But the message of the song seems to transcend language arriers, as it is sung around the orld. "Should auld acquaintance e forgot and never rought to mind Should auld acquaintance e forgot and days of auld lang syne" In modern English, "Should e forget our old friends and the old days" And the song ends ith a toast to the old times: "We'll take a cup o' kind-ness yet for auld lang syne." ARRANGE the song, "Auld Lang Syne," into a ne setting. Arrange it for some other voicing than SATB. (Suggestion: Try a to-part setting, perhaps using canon.) Write or improvise an instrumental accompaniment for your ne setting. 77

124 7 -- DOTTED QUARTER NOTES uld Lang Syne P... Arr. Patti DeWitt 1. Should P auld. ac-quain - tance e for - got, And. 1. Should auld ac-quain - tance e for - got And 3... F.. ne - ver rought to. mind.. Should F auld. ac - quain - tance ne - ver rought to mind Should auld ac-quain - tance e for - got, And. e for - got, And auld auld lang lang syne. syne Chorus: 9.. For auld lang syne, my dear, For.. For auld lang syne, my dear, For 78

125 DOTTED QUARTER NOTES auld. lang. syne.. We'll. take a cup o'. auld lang syne We'll take a cup o' 15. kind - ness yet For. kind - ness yet For. auld auld lang lang.. syne.. syne. 2. We ta hae run aout the raes, And pou'd the goans fine, But e've ander'd monie a eary fit, Sin auld lang syne. Translation: 3. We ta hae paidl'd in the urn Frae morning sun till dine, But seas eteen us raid hae roar'd Sin auld lang syne.. And there's a hand my trusty fiere, And gie's a hand o' thine, And e'll tak a right guid-illie aught, For auld lang syne IPA Pronunciation: auld = ɔld raes = reiz* frae = frei * fiere = fi - εr gie's = giz goans = gau - nz guid = guid hae = hei monie = ma - ni paidl'd = pei- dld pou'd = paud ta = ta * rolled "r's" 79

126 8: Exploring Other Keys B and D Maor B Maor: There are 2 flats in the key signature of B Maor D Maor: There are 2 sharps in the key signature of D Maor Find the starting pitch and read the folloing unison exercises. Rememer that the last flat is alays and the last sharp is alays

127 EXPLORING OTHER KEYS -- 8 READ the folloing -part exercises. Identify the key and the starting pitch

128 8 -- EXPLORING OTHER KEYS Pencil Time 3: Activity Sheet 32: D Maor and B Maor 82

129 S A T B Andante; peacefully P At P At P At P At night I alk a - night I alk a - night I alk a - night I alk a - Night Song SATB a cappella. lone. lone Qui-et Qui-et lone. lone Qui-et Qui-et EXPLORING OTHER KEYS -- 8 Patti DeWitt lanes that I have lanes that I have lanes that I have lanes that I have Î. knon And I sing up - on my ay Of the less - ings of my Î. knon And I sing up - on my ay. Of the less-ings of my knon And I sing up - on my ay Of less - ings of my knon And I sing up - on my ay Of less - ings of my 83

130 8 -- EXPLORING OTHER KEYS 9 13 day. day. Î Î The The Î day. The Î day. p p p p The Î long. dark - ness hears my dark - ness hears my dark - ness hears my dark - ness hears The Î long. The Î long. Î F F F The F my Î song And Î song And Î song And Î song stars add har - mo - stars add har - mo - stars add har - mo - P P P P And night irds sing a - night irds sing a - night irds sing a - night irds sing a - Î ny ny Î As they As they Î ny As they Î long. The stars add har - mo - ny As they 16 sing a - long ith sing a - long ith sing a - long ith U me. U me. U me. Î Î Î p And p And p And U p Î though I alk a - though I alk a - though I alk a -. lone. lone With With lone. With sing a - long ith me. And though I alk a - lone With 8

131 EXPLORING OTHER KEYS Î. mem-'ries all my on Yet lone - ly I'll not e. I am mem - 'ries all my on Î Yet lone - ly I'll not. e. I am. mem - 'ries all my on Yet lone-ly I'll not e. I am mem - 'ries all my on Yet lone - ly I'll not e. I am 2 one ith e - ter - ni - one ith e - ter - ni -. ty. I am. ty. I am. cresc. e rit.... one ith e - ter - ni - cresc. e rit.... one ith e - ter - ni - cresc. e rit.... U. ty. U. ty. U. one ith e - ter - ni - ty. I am. one ith e - ter - ni - cresc. e rit.... ty. U. one ith e - ter - ni - ty. I am one ith e - ter - ni - ty. 85

132 9: Revie-- Chord The Chord (dominant triad) is a triad ased on So, the fifth note (dominant) of the maor scale. It is composed of the fifth, seventh, and second notes of the scale (So, Ti, Re). Do Mi So So Ti Re Key of C Maor: I Chord C Maor triad Do Mi So So Ti Re Key of D Maor: I Chord G Maor triad Chord G Maor triad Chord D Maor triad Do Mi Key of F Maor: So So Ti Re I Chord F Maor triad Chord C Maor triad Figure and notate the B Maor scale and the tonic (I) and dominant () chords for the key of B Maor. Do the same for E, A, and D Maor. Play them on a piano or other keyoard instrument. Pencil Time 3:Activity Sheet 33: Chord Game Activity Sheet 3: Chord Analysis 1 86

133 REIEW: CHORD -- 9 INTERALS that occur eteen the notes of the I Chord: 1. Maor Third -- So - Ti Key of Maor The interval So-Ti is a maor third. A maor third is the distance of 2 hole steps or half steps. So Ti Interval Practice: Music Reading: Audiate the folloing exercises (using handsigns) efore singing them

134 9 -- REIEW: CHORD YOUR BRAIN:

135 REIEW: CHORD Minor Third -- Ti - Re Key of Maor: Ti Re The interval Ti - Re is a minor third. A maor third is the distance of 3 half steps or 1 hole step and a half step. Interval practice: Music Reading: Audiate the folloing exercises (using handsigns) efore singing them

136 9 -- REIEW: CHORD YOUR BRAIN:..... Fine D.C. al Fine

137 REIEW: CHORD Perfect Fourth -- Re - So Key of Maor: R The interval Re - So is a perfect fourth. A perfect fourth is the distance of 5 half steps or 2 hole steps and a half step. Interval Practice: Music Reading:

138 9 -- REIEW: CHORD YOUR BRAIN:

139 REIEW: CHORD -- 9 Four-part Exercises: 1. Scan each exercise for form and repetition. 2. Read the rhythm, all parts together. 3. Identify the key and your starting pitch.. Find the intervals of the I and Chords in the exercise and mentally audiate each. 5. Audiate each part ith handsigns. 6. Sing the exercise (all parts together) on solfege ith handsigns sloly and carefully

140 9 -- REIEW: CHORD

141 REIEW: CHORD

142 9 -- REIEW: CHORD

143 REIEW: CHORD

144 9 -- REIEW: CHORD

145 1. REIEW: CHORD

146 9 -- REIEW: CHORD YOUR BRAIN:

147 REIEW: CHORD -- 9 Write ACROSS THE CURRICULUM: 1. Write 2 ne stanzas for "My Love Comes don the Green." 2. Write a parody of the song "My Love Comes don the Green." A parody is created hen a person imitates an existing ork, making a ne, usually humorous or satirical composition. For example, the poem elo is a parody: Pens and pencils everyhere; They am my purse up tight. Pens and pencils everyhere, And not a one ill rite. It is derived from a part of the epic poem "The Rime of the Ancient Mariner" y Samuel Taylor Coleridge: Water, ater, everyhere, And all the oards did shrink; Water, ater, everyhere, Nor any drop to drink. Leis Carroll as an author that made signficant use of parody. In his ook Alice in Wonderland, Carroll presents several parodies, including this one: Of hat poem is this a parody Tinkle, tinkle, little at, Ho I onder here you're at Up aove the orld you fly Like a teatray in the sky. Weird Al Yankovic is famous for his parodies of modern rock songs today. 3. Determine the form of your ne song. Arrange it into a ne setting, and then rite or improvise an accompaniment for your ne arrangement. Illustration y Sir ohn Tenniel from Leis Carroll's Alice in Wonderland Copyright 1865 ocaulary: 1. Dominant--The fifth note up from the tonic; So in maor keys. 2. Parody--An imitative, often humorous or satirical, composition ased on an existing ork 3. Tonic--The note around hich a key is centered; Do in maor keys 101

148 9 -- REIEW: CHORD S A T B My Love Comes don the Green Lightly, ith life F Lo, my love comes F Lo, my love comes F Lo, my love comes F Lo, my love comes SATB a cappella don the green, don the green, don the green, don the green, p Patti DeWitt. Fa, la, la, la, p. Fa, la, la, la, p. Fa, la, la, la, p. Fa, la, la, la, F P. non-ny, non -ny hey! non -ny, non -ny hey! Fair as sun-light, F Fair as sun - light, F eau - ty's queen, eau - ty's queen, Fa, la, la, la, P. Fa, la, la, la, P. non -ny, non -ny hey! Fair as sun - light, F eau - ty's queen, Fa, la, la, la, P. non-ny, non-ny hey! Fair as sun - light, eau - ty's queen, Fa, la, la, la, 2. Lo, my love comes from yon ood. She is kind, and she is good... Lo, the field my love comes through... She is loyal, fair and true Lo, my love ears flo'rs so seet. Ho I run, my love to meet... Lo, I take her in her arms... And I yield to all her charms

149 REIEW: CHORD f non - ny, non - ny hey! non - ny, non - ny hey! Lo, my love comes f Lo, my love comes f don the lea, don the lea, non - ny, non - ny hey! Lo, my love comes f don the lea, non - ny, non - ny hey! Lo, my love comes don the lea, 11. f Fa, la, la, la,. Fa, la, la, la,. non - ny, non - ny hey! non - ny, non - ny hey! Comes ith love for f Comes ith love for f Fa, la, la, la,. non - ny, non - ny hey! Comes ith love for f Fa, la, la, la, non - ny, non - ny hey! Comes ith love for 1 p. last time cresc. e rit... U on - ly me, on - ly me, Fa, la, la, la, p. Fa, la, la, la, p. non - ny, non - ny hey! last time cresc. e rit... U non - ny, non - ny hey! last time cresc. e rit... U on - ly me, Fa, la, la, la, p. non - ny, non - ny hey! last time cresc. e rit... U on - ly me, Fa, la, la, la, non - ny, non - ny hey! 103

150 10: Revie--I Chord The I Chord (sudominant triad) is a triad ased on Fa, the fourth note (sudominant) of the maor scale. It is composed of the fourth, sixth, and first notes of the maor scale Do Mi So So Ti Re Fa La Do Do Mi So I So Ti Re Fa La Do Do Mi So I So Ti Re Fa La Do Maor triad Maor triad Maor triad Figure the G Maor scale and play the folloing chord progression on a keyoard instrument: I, I,, I. Do the same for C Maor, F Maor, D Maor, and E Maor. Pencil Time 3: Activity Sheet 35: I Chord Game Activity Sheet 36: Chord Analysis 10

151 REIEW: I CHORD INTERALS that occur eteen the notes of the I Chord: 1. Maor Third -- Fa - La Key of Maor Fa La The interval Fa - La is a maor third. A maor third is the distance of 2 hole steps or half steps. Interval Practice: Music Reading: Audiate the folloing exercises (using handsigns) efore singing them

152 10 -- REIEW: I CHORD

153 REIEW: I CHORD Minor Third -- La - Do Key of Maor: La Do The interval La - Do is a minor third. A maor third is the distance of 3 half steps or 1 hole step and a half step. Interval practice: Music Reading: Audiate the folloing exercises (using handsigns) efore singing them

154 10 -- REIEW: I CHORD YOUR BRAIN:

155 REIEW: I CHORD Perfect Fourth -- Do - Fa Key of Maor: Do Fa The interval Do - Fa is a perfect fourth. A perfect fourth is the distance of 5 half steps or 2 hole steps and a half step. Interval Practice: Music Reading:

156 10 -- REIEW: I CHORD YOUR BRAIN:

157 REIEW: I CHORD Four-part Exercises: 1. Scan the exercise for form and repetition. 2. Read the rhythm, all parts together. 3. Identify the key and your starting pitch.. Find the intervals of the I and and I Chords in the exercise and audiate each. 5. Audiate each part, sloly, ith handsigns. 6. Sing the exercise (all parts together) on solfege ith handsigns sloly and carefully

158 10 -- REIEW: I CHORD

159 REIEW: I CHORD

160 10 -- REIEW: I CHORD

161 REIEW: I CHORD

162 10 -- REIEW: I CHORD

163 REIEW: I CHORD

164 10 -- REIEW: I CHORD 12. Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó 118

165 REIEW: I CHORD

166 10 -- REIEW: I CHORD

167 REIEW: I CHORD

168 10 -- REIEW: I CHORD YOUR BRAIN: Write ACROSS THE CURRICULUM: Write ords for and make a song out of your favorite one of the 16 four-part exercises in this chapter. Tell hy this exercise is your favorite. 122

169 REIEW: I CHORD He'd Nothing ut His iolin SATB a cappella.. "Young Man ith a iolin" an Kupecky, 1690s, Nurnerg Mary Kyle Dallas Andante P He d P He d noth - ing ut his noth - ing ut his Patti DeWitt 2 Ó vi - o - lin, But Ó vi - o - lin, Ó P. But She'd P Ó noth - ing ut her song, But She'd noth - ing ut her song, But Quick Analysis: What is the form of "He'd Nothing ut His iolin" 123

170 10 -- REIEW: I CHORD 5 they ere ed hen skies ere lue And sum - mer days ere they ere ed hen skies ere lue And sum - mer days ere they ere ed hen skies ere lue And sum - mer days ere they ere ed hen skies ere lue And sum - mer days ere 8 long; long; And And hen e rest - ed hen e rest - ed y the hedge, The y the hedge, The long; And hen e rest - ed y the hedge, The long; And hen e rest - ed y the hedge, The 11. F ro - ins came and told. Ho F they had dared to ro - ins came and told. Ho F they had dared to ro - ins came and told. Ho F they had dared to ro - ins came and told Ho they had dared to 12

171 REIEW: I CHORD f U. " A tempo P oo and in, When oo and in, When ear - ly Spring as f ear - ly Spring as f cold. rit U " cold. They P They rit U " oo and in, When ear - ly Spring as f cold. rit U " oo and in, When ear - ly Spring as cold. 17 some - times supped on ripe de - er - ries, some - times supped on ripe de - er - ries, P Ó Or P Ó slept a - mong the 20 Ó But Ó. hay, F F But F But F oft the farm - ers oft the farm - ers oft the farm - ers Or slept a - mong the ives at eve Came ives at eve Came ives at eve Came hay, But oft the farm - ers ives at eve Came 125

172 10 -- REIEW: I CHORD out to hear them out to hear them out to hear them out to hear them dear old tunes, They dear old tunes, They dear old tunes, They dear old tunes, They. play;. play;. play;. play; P The P The P The P The could not starve for could not starve for could not starve for could not starve for rare old songs, the rare old songs, the rare old songs, the rare old songs, the. long. long. long. long F While F While 29 Ó Ó And And she her seet love she her seet love he had his old vi - o - lin, he had his old vi - o - lin, 126

173 REIEW: I CHORD cresc. e rit.... U f song.. song. While While Ó he had his old he had his old vi - o - lin, And cresc. e rit.... U f vi - o - lin, And f cresc. e rit.... U While Ó he had his old vi - o - lin, And cresc. e rit.... U f While he had his old vi - o - lin, And 35 molto rit..... U she her seet love molto rit..... song. U she her seet love molto rit..... song. U she her seet love molto rit..... song. U she her seet love song. 127

174 11: Syncopation is a rhythmic style in hich accented notes fall on normally unaccented eats. In time, the primary accent falls on the first eat (the doneat) and the secondary accent falls on the third eat. In time, the primary accent falls on the first eat (the doneat). Turn to page viii at the eginning of this ook. With your index finger, trace each conducting pattern, counting the eats as you "conduct." Why is the doneat called a "doneat" The use of syncopation shifts the accent to normally unaccented eats or divisions of the eat. For example, notice ho the stress falls on the second eat in the measures, elo. Conduct the appropriate pattern hile singing the exercises: Sometimes syncopation occurs eteen eats. In the pattern elo, "syn-co-pa," the accent falls on the second half of the eat: syn- co - pa If the "syn-co-pa" pattern falls on the first to eats in time as in the example aove, the notes fall in the conducting pattern as follos: Left Right hand hand 128

175 "SYN-CO-PA" If the "syn-co-pa" pattern falls on the last to eats in time as in the example aove, the notes fall in the conducting pattern as follos: Left Right hand hand DRAW the pattern and sho here each part of "syn-co-pa" ould fall in the pattern if it occurred on the second eat, like this: READ the rhythmic exercises elo hile you conduct. Read them in canon, in harmony, and in retrograde:

176 11 -- "SYN-CO-PA" "Syn-co-pa" can fall either on the first to or the last to eats in Notice here the "syn-co-pa" falls in eats: conducting pattern hen it occurs on the first to time: Left hand Right hand DRAW the conducting pattern in Activity Sheet 38. Indicate here each part of the "syn-co-pa" ould fall if it occurs on the last to eats of the measure (as in Example 2, aove.) READ the folloing and in retrograde: exercises hile conducting. Read them in canon, in harmony,

177 "SYN-CO-PA" Pencil Time 3: Activity Sheet 37: Syn-co-pa Activity Sheet 38: Conducting Patterns Activity Sheet 39: Write a "Syn-co-pa" Song Activity Sheet 0: Musical Math 6 READ the folloing exercises. 1. Read the rhythm first hile conducting. 2. Audiate sloly silently hile signing. 5. Sing ith handsigns

178 11 -- "SYN-CO-PA"

179 "SYN-CO-PA" YOUR BRAIN: Ten - ty gal-lons of Ten - ty gal-lons of NOTICE: The voice parts for "Tenty Gallons of Sleep" on the folloing pages have een ritten on 2 staves instead of. Can you find your voice part Soprano Alto Tenor Bass 133 al - my sleep, al - my sleep, Soprano and alto are ritten on the same line, trele clef. Tenor and ass are ritte no the same line, ass clef. When the rhythms are different, soprano and tenor stems point up, and alto and ass stems point don.

180 11 -- "SYN-CO-PA" Orff: AG AX Tenty Gallons of Sleep Agnes L. Storrie* Moderato q = 10.. F - P. Solo or unison:... P Mea-sure me out from the Patti DeWitt Or, 3- hands on piano BX Claves WB Rat.. F - P.. 3 fa- thom- less tun That some-here or oth - er you keep In your * Meet the poet on page

181 "SYN-CO-PA" vast - y cel-lars, O eal - thy one, Ten - ty gal-lons of 9 sleep... F Ten - ty gal-lons of F al - my sleep,. Ten - ty gal-lons of al - my sleep,... Ó F F Ó 135

182 11 -- "SYN-CO-PA" 12 Dream-less, and deep, and mild, Of the ex - cel - lent rand you Dream-less, and deep, and mild, Of the ex - cel - lent rand you Ó Ó Ó 15 f used to keep When I as a lit - tle.. child. 2nd time to M 27 used to keep When Ó f f f I as a lit - tle Ó.. child... Ó.. 136

183 "SYN-CO-PA" P Melody: Ó P Ah I ve Of life's nec - tars rich and its ui - ces fine, I ve P Ó P 21 drunk oth ell and deep; O F F drunk oth ell and deep; Then mea - sure me out, O F F 137

184 11 -- "SYN-CO-PA" 2 mer - chant mine, mer - chant mine, Oh Ten - ty gal-lons of. sleep.. sleep SA Unison: Ó U Meno mosso; ruato P I have P TB Unison: Ó U lived my life, and I ll not re - pine; As I I have lived my life, and I ll not re - pine; As I U u AM: BM: Ó p Ó u 138

185 "SYN-CO-PA" P soed I as ound to reap; Then mea-sure me out, O P soed I asound to reap; Then mea-sure me out, O Ó Ó Ó P p 33 U mer - chant mine, U A Tempo Ten - ty gal-lons of U sleep. U mer - chant mine, Ó SG: U Ten - ty gal - lons of sleep. U Ó U Ó Ó U Ó u u 139

186 "SYN-CO-PA" AG 36 Tempo I F - p.. Ten - ty gal - lons of F - p Ten - ty gal - lons of F - p. al - my sleep, al - my sleep, AX BX Claves WB Rat. Ó. F - p F - p. Ó 38 Dream-less, and deep, and mild, Of the ex - cel - lent rand you Dream-less, and deep, and Ó mild, Of the Ó ex - cel - lent rand you Ó 10

187 "SYN-CO-PA" used to keep When I as a lit - tle 1. child.. used to keep When I as a lit - tle. child... Ó Ó Ó... 2 child. When. child. When I as a lit - tle I as a lit - tle child. f When f child. When Ó Ó Ó 11

188 11 -- "SYN-CO-PA" 7 ( ) U I as a lit - tle I as a lit - tle Ó child. child. Ó Ó Ó U U U U U Perform "Tenty Gallons of Sleep" for a formal concert. Memorize it so that you can keep your eyes focused on your director and sing it expressively as your director conducts it. CREATE: Compose or improvise a different accompaniment for "Tenty Gallons of Sleep." What is the form of the song ocaulary: 1. Doneat -- The first eat of a measure 2. Syncopation -- A rhythmic style in hich accented notes fall on normally unaccented eats or eteen the eats. 12

189 "SYN-CO-PA" MEET THE POET: Agnes Louisa Storrie as an Australian poet and author, orn in Glenelg, South Australia, in Her father, ames, as an accountant ho immigrated in 189 from Scotland to Adelaide on the southern coast of Australia. In 1856 he married Agnes Tassie, likeise a Scottish immigrant. They had ten children, and Agnes Louisa as numer six. Agnes lived in Glenelg for most of her life. In addition to riting poetry, she also rote short stories under the pen name of 'Senga' and ran a nespaper column called "Home Topics" in a nespaper called Dalgety's Revie. She rote for other Australian nespapers also, including the Adelaide Oserver, The Australasian, the Register, the Sydney Morning Herald, and the Sydney Mail. She faithfully kept a diary, and her diaries are kept today in the Mitchell Lirary, the pulic lirary of Ne South Wales. It as said that she rote her poems hile humming a tune to them. She on the Minister of Education's Prize for her poem "Grapes From a Thorn" hich as pulished in Adelaide Oserver in She as a part of the group hich founded the Wattle Day League in The aims of the League ere to "promote a national patriotic sentiment among the omen of Australia." One ay of doing this as to ear sprigs of attle, a common yello-looming Australian tree, on special occasions. During the 1890s, it ecame traditional to take expeditions into the countryside each year on the first of Septemer 1 to vie the attles. The first Wattle day as held on Septemer 1, 1910 in Sydney, Melourne and Adelaide, and on Septemer 1, 1988, the golden attle as proclaimed to e the Australian national floer. Agnes married the pulisher ohn Kettleell, and ecause of her ork ith the Wattle Day League, Agnes had a tree--the acacia kettleelliae--named after her. She and her husand settled in Hunters Hill, Sydney. They Cootamundra Wattle (Acacia Baileyana). This illustration is from a photograph taken y A.. Campell. from Golden Wattle - Our National Floral Emlem y A.. Campell, pulished y Osoldstone and Co, Melourne, Australia, Courtesy of Ian Campell,

190 11 -- "SYN-CO-PA" had three children, one of hom, Rhoda, ecame a ournalist, and as social editor of the Women's Weekly. COMPOSE: Belo is a poem ritten aout the attle floers. Write a melody to go ith the ords. Add an accompaniment. Use the "syn-co-pa" pattern either in the melody or the accompanment. Golden Wattle * Golden Wattle, fairy stuff, Little alls of yello fluff; Hear the ees ho loud they hum To say they're glad that Spring is come! When the stars egin to peep, Then the attle falls asleep; Like a tired child in ed, It droops its pretty curly head. * Included in the ook "Wattle" y Maria Hitchcock, AGPS ic The song/poem as contriuted y Mrs enny Sayer, ho copied it out of her Headmistress' Assemly Book (Miss Leslie Bridle) at San Souci Pulic School NSW in Courtesy of ack Fahy, President, Wattle Day Society,

191 12: Irving Burgie Calypso is a style of music that is associated ith the islands of the Cariean. The style characteristics of calypso include syncopated rhythms, right melodies, and colorful percussion accents. Calypso originated in the islands of Trinidad and Toago. It is one of the earliest uniquely Cariean art forms and traces its roots from the African tradition of using song as a tool for making social commentary. The Barados tourism esite has this to say aout calypso and its signifcance to that West Indian island nation: "The derivation of calypso rhythms can e traced ack to the arrival of the first African slaves to Barados and other Cariean islands in the seventeenth century. The artform, hich as developed in Trinidad, comines the skills of story-telling, singing and instrument making, and has since een influenced y European, North American and other Cariean cultures. Calypso is a unique form of music that is an integral part of the Baradian cultural landscape."* Calypso as one of the first forms of popular music from outside North America and Europe to e commercially recorded. Both Columia and ictor record companies made recordings of a Trinidadian and led y George Bailey ("Lovey") in Throughout the 1910's and 1920's, American recording companies recorded calypso and marketed it throughout the Cariean and Latin America. As calypso singers egan to travel internationally, the demand for recorded calypso increased proportionately in North America and Europe. Of all the foreign markets, calypso as most commercially successfully in the United States. Some of the most prominent calypsonians, such as Atilla the Hun, Lion, Tiger and Executor, came to Ne York to record and to e featured on radio roadcasts. While they ere here many of them also performed for the West Indian immigrants in Ne York City as ell as for general audiences in the entertainment districts of Ne York. During World War II, the American soldiers stationed on military ases in Trinidad ere exposed to calypso and rought home ith them a heightened interest in this musical style. Calypso ecame a part of the American folk music revival that sept the country after World War II. Calypso ecame quite the rage in 1956 ith the release of Harry Belafonte's alum Calypso, hich as the first alum in history to sell over one million copies. (Eight of the songs in this alum ere ritten y Irving Burgie, ho has een called "the father of modern calypso," hose io follos.) During 1956 and 1957, scores of calypso records ere recorded y American popular singers as ell as y West Indian calypso singers. * 15

192 12 -- CALYPSO / IRING BURGIE Performers ranged from calypsonians Duke of Iron and Lord Flea to pop vocalists Ella Fitzgerald and Rosemary Clooney. At this same time, nightclus all across the nation ere looking for any sort of calypso act to hire. Three movies ith a calypso theme ere made, and calypso singers ecame popular guests for television variety shos. At the eginning, the entertainment industry elieved that calypso ould replace rock and roll and drive it into olivion. That as not the case, hoever, and it as the calypso craze that faded ith the skyrocketing rise of rock music in the 1950s. In spite of the fact that the calypso fad did not last very long, it remained an important part of the folk music revival that sept America in the late 1950s and throughout the 1960s. Calypso still has an important place in American music as is evidenced y the success of the recent recordings and concert tour of Irving Burgie, "Lord Burgess." Irving Burgie as orn in Brooklyn. He inherited his musical inclination from his mother, ho as orn in Barados, the easternmost island in the West Indies. His father as from irginia, and Irving as raised in a West Indian community in Brooklyn, Ne York. Young Irving as an avid fan of radio's "hit parade." Your Hit Parade as a radio sho that advertised itself as eing an accurate, authentic taulation of America's taste in popular music. Your Hit Parade deuted on April 20, 1935 and ran until anuary 16, It aired every Saturday night and presented the top tunes of the eek, saving the top three songs for the end of the sho. Irving Burgie "The Father of Modern Calypso" Burgie did not ecome seriously interested in music, hoever, until he as serving in the U.S. Army in the early 190s. Inspired y a fello soldier in his troop ho played the alto saxophone, he egan to sing in the chapel choir and to study music theory. After his tenure in the army had ended, Burgie enrolled himself in the uilliard School of Music. He also studied "serious" music at the University of Arizona, and the University of Southern California. The rising folk music scene hich gave irth to such artists as Pete Seeger, oan Baez, udy Collins, and the Kingston Trio, also provided Burgie the chance to perform as "Lord Burgess" on the hootenanny circuit of concerts. A hootenanny is an informal concert of folk music in hich the audience is given the opportunity to participate. In these concerts, "Lord Burgess" presented songs in English, Spanish, Italian, and Here. Burgie has een inducted into the Songriter's Hall of Fame, not only for the eight 16

193 CALYPSO / IRING BURGIE songs that ere included in Harry Belafonte's gold alum Calypso, ut for many other songs recorded y Belafonte and other artists. His songs, like "Day-O" hich as featured in the movie Beetleuice, have ecome pop classics, dear to the hearts of many Americans ecause of their captivating melodies and delightful ut not overearing rhythms. In addition to riting such familiar songs as "amaica Fareell" and "Day-O," Burgie also rote the national anthem of Barados. He has also ritten a children's ook called Cariean Carnival: Songs of the West Indies, hich includes stories and some of his songs. In 1997 at age 72, Burgie recorded Island in the Sun--the Songs of Irving Burgie. This alum includes "Day-O" and "amaica Fareell," and more of his on popular songs performed in his on style, in a manner that he originally intended. As of this riting, Irving Burgie, "Lord Burgess," is still delighting audiences ith personal performances of his immortal songs. Musical Characteristics of Calypso: Calypso has een descried as eing happy and right. There are specific compositional techniques that can e isolated as contriuting to this effect. First of all, calypso is characterized y an aundance of percussion. The percussion accompaniments have several distinctive characteristics: 1. Syncopation--Heavy use of syncopated patterns such as syn-co-pa: 2. Cross-rhythms--Multiple rhythmic patterns that are overlaid one over another 3. Ostinato patterns--rhythmic patterns hich repeat throughout the piece. Relaxed rhythms--calypso rhythms are not driving like in azz and in "hard" rock music. They are gentle, playful, dance-like. 5. Generally syllaic--one note for each syllale of lyric Percussion instruments that are frequently used in calypso music are the agogo, maracas, and the caasa. Secondly, calypso has strong melodic lines. Often these melodies are themselves performed y percussion instruments, such as steel drums, marimas, xylophones, etc. Steel drums are typically identified ith calypso music. 1. Search recorded steel drum music online. Make a list of groups and recordings that you have found to share ith your classmates. 2. Using information from internet sources, rite a short history of steel drums. ust for fun: A free donload of a virtual steel drum is availale at this Trinidadian esite: 17

194 12 -- CALYPSO / IRING BURGIE 3 5 SM BX Guiro Claves S Moderato 3 times red - da* did a - tell me that you go man - go alk, You * mi redda = my rother Mango Walk SATB ith Orff accompaniment or several hands on piano Mi go man - go alk, you go man - go alk. Mi amaican Folk Song arr. Patti DeWitt SA in unison: 18

195 CALYPSO / IRING BURGIE red - da did a - tell me that you go man - go alk, And 9 tief out* de num - er 'lev - en. + No * tief out = steal + numer eleven--a type of mango 19

196 12 -- CALYPSO / IRING BURGIE 11 tell me, oe, do tell me for true, Do tell me for true, do tell me, That 15 you don't go to no man - go alk And tief out de num - er 150

197 CALYPSO / IRING BURGIE 'lev - en. (Bass melody) I La, tell you, Sue, la, I la, la, tell you for true, I la, la, tell you for true, I 22 la, la, tell you That La, la, I don't go to la, la, no man - go alk And 151

198 12 -- CALYPSO / IRING BURGIE Nev - er Tenor: Nev - er 2nd time to M 3 steal num - er steal num - er tief out de num - er go man-go alk, you go man - go alk, you 'lev - en. Mi 'lev - en. 'lev - en. go man - Mi man-go alk, red- da did a - tell me that you red- da did a - tell me that you No, Sue, I You go man - go alk, You go man - man - go alk. go man - go alk. Mi Mi don't go to man - go alk, to man - go alk. 152

199 CALYPSO / IRING BURGIE red - da did a - tell me that you red - da did a - tell me that you No, Sue, I go man - go alk, And go man - go alk, And don't go; I 33 tief out de num - er 'lev - en. Mi 2 'lev-en. No Go to M 11 tief out de num - er 'lev - en. Mi 'lev - en. nev - er tief num - er 'lev - en. 'lev - en. 153

200 12 -- CALYPSO / IRING BURGIE 36 'lev - en. 'lev - en. Nev - er tief num - er Tief out the num - er 'lev - en. 'lev - en. 39 Nev - er tief num - er Nev-er tief num-er 'lev - en. 'lev - en. 15

201 CALYPSO / IRING BURGIE PERFORMANCE: Memorize "Mango Walk" so that you can freely express the tempo and dynamics markings ritten in the score as you perform it. Also, you ill e ale to sing hile you play an instrument if you are selected to accompany the song. ocaulary: 1. Calypso--A style of music originating in the West Indies characterized y strong melodies, syncopated rhythms, and an aundance of percussion instruments, including steel drums 2. Hootenanny--An informal concert, usually of folk-type music, in hich the audience is expected to participate 3. Steel drums--a West Indian musical instrument originally made from the lids of 55-gallon steel drums. Steel drums are associated ith calypso music. Pencil Time 3:Activity Sheet 1: Calypso Activity Sheet 2: Irving Burgie Activity Sheet 3, : Word Search 5 155

202 13: George Michael Cohan as orn on uly 3, 1878 in Providence, Rhode Island. In spite of the fact that his aptismal certificate states that he as orn on uly 3, he claims in his song, "Yankee Doodle Dandy," that he as orn on the Fourth of uly. George and his sister performed ith their parents in a vaudeville act and ere knon as "The Four Cohans." He as traveling ith his parents from irth, ecoming a part of their act hile still a ay. Not only did George learn to sing and dance, he also egan to rite songs and skits for his family's act at a very young age. Although his sister intially got more attention for her dance act, George made up for it y starting to pulish his music y age fifteen. His first ig Broaday hit (190) as Little Autographed photograph, 1920s. ohnny ones. This musical contained songs that are still popular today, such as "Give My Regards to Broaday," and "I'm a Yankee Doodle Dandy," the latter hich he rote aout himself and his career. George ecame one of the most famous of the Tin Pan Alley composers. He rote over five hundred songs, many that ould e loved for decades ecause of their right melodies, catchy lyrics, and distinctively American flavor. In addition to Broaday shos and popular songs, George M. Cohan is also knon for his patriotic songs. In fact, in 1936 he as aarded a Congressional Medal of Honor y President Franklin Roosevelt for the patriotic songs that he rote during World War I ("Over There," "You're a Grand Old Flag") ecause they raised the morale of the troops and the hole country. USPS Stamp honoring Cohan, issued in 1978 Additionally, George rote many Broaday plays, and collaorated on others. Cohan rites aout his success and failures on Broaday in his autoiography, Tenty Years on Broaday and the Years It Took to Get There. 156

203 GEORGE M. COHAN Cohan starred in only one Hollyood movie, ut in 192 a musical movie on his life as produced. It as called, appropriately enough, Yankee Doodle Dandy and starred ames Cagney as Cohan. Cohan as ale to see a screening of the film a fe eeks efore he lost his fight ith cancer. George M. Cohan died in Ne York City, Novemer 5, 192. In 1959 a statue in honor of Cohan as erected in Times Square in Manhattan. HISTORICAL SHORTS: audeville audeville had its origins in minstrel shos, saloon shos, and other stage productions. audeville as a variety sho; it involved acts of different types. "audeville" is a term for a form of entertainment that egan in United States in the 180s. The ord came from the Old French "au de ire," hich as the native valley of Oliver Basselin, poet and promoter of "party songs." A typical vaudeville sho ould present the audience a ide variety of acts, including, ut not limited to, magic shos, vocal solos and duets, dance numers, uggling and acroatics, stand-up comedy routines, animal acts, and appearances y celerity and nes figures, even criminals. The acts ould e presented in a series of "turns," usually around ten. audeville performers traveled on various theater circuits. There ere to maor circuits: "Big-Time" and "Small-Time." The "Big-Time" circuits consisted of maor theaters in ig cities, and they offered tice-a-day shos. The Palace Theatre in Ne York City as considered the very height of "Big-Time." "Small-Time," in contrast, usually meant theaters in small cities and tons, that ran their shos three or more times a day. During the later years of vaudeville, some of these theaters rotated live acts ith films. Performers in "Small-Time" ere poorly paid. HISTORICAL SHORTS: Tin Pan Alley "Tin Pan Alley" is the name given to the pulishers of sheet music usiness that egan around the turn of the 20th century. The pulishers ould contract songriters to keep on producing popular songs. The songs ere highly promoted and sold as sheet music ith eautiful covers. Tin Pan Alley as originally a nickname given an actual street--west 28th Street eteen Broaday and Sixth Avenue in Ne York City. Many pulishers of popular music set up their offices in this area in the early 1900s. In time, the phrase "Tin Pan Alley" came to represent the hole popular sheet music industry in this country. Tin Pan Alley lasted until the 'fifties, hen the rise of rock 'n' roll music and the recording industry made the popular style osolete. 157

204 13 -- GEORGE M. COHAN You're a Grand Old Flag SATB ith optional piano accompaniment George M. Cohan Draing y Walter Kinstler, 1923 Spirited Ó. U Ó. f f You're a f U You're a U U grand old flag, You're a grand old flag, You're a Geo. M. Cohan Arr. Patti DeWitt 3 high - fly - ing flag, And for - high - fly - ing flag, And for - ev - er in peace may you ev - er in peace may you 158

205 5 7. ave.. ave.. You're the You're the P P P land I love The. land I love The f f f. em - lem of The. em - lem of The home of the free and the home of the free and the GEORGE M. COHAN rave!. Ev' - ry heart eats true un - der rave! Ev' - ry heart eats true un - der. 159

206 13 -- GEORGE M. COHAN n red, hite, and lue, Where there's red, hite, and lue, Where there's. rag. But should. rag.. P P But should P nev - er a oast or nev - er a oast or. auld ac - quain - tance. auld ac - quain - tance 15. e for - got, Keep your. e for - got, Keep your f f f n eye on the grand old n eye on the grand old n 160

207 GEORGE M. COHAN flag!.. Oh, flag! You're a grand old flag, You're a 19 high - fly - ing flag, high - fly - ing flag, And for - Ev er in ev - er in peace may you 21 peace may you ave.. ave. You're the Oh,. the. em - lem of The 161

208 13 -- GEORGE M. COHAN 23 land I love. Home of the land I love The home of the free and the 25. rave!. Oh, rave! Ev' - ry. heart eats true un - der 27 Red, hite, and lue red, hite, and lue, Where there's 162 nev - er a oast or nev - er a oast or

209 GEORGE M. COHAN rag.. rag... P But should P But should P e for - got, Keep your. f e for - got, Keep your flag! Keep your f f.. auld. ac - quain - tance auld ac - quain - tance n eye on the grand old eye on the grand old eye on the n grand old n n flag! Keep your eye on the grand old 163

210 13 -- GEORGE M. COHAN 36 ƒ.. flag! Grand old flag! ƒ. flag! Grand old flag! ƒ Using staff paper or music notation softare, rite your on arrangement of "You're a Grand Old Flag." Experiment ith different articulation techniques (in Activity Sheets listed elo) in your arrangement. Which one(s) ork est ith this type of music ocaulary: 1. Articulation--Ho individual notes are performed 2. Legato--Notes hich are performed smoothly connected to each other 3. Marcato--Notes hich are heavily accented and slightly separated. Staccato--ery short, detached notes Pencil Time 3: Activity Sheet 5: Articulation I Activity Sheet 6: Articulation II Activity Sheet 7: Legato, Staccato, Marcato Activity Sheet 8: George M! Activity Sheet 9: Crossord 16

211 1: The ii Chord The ii chord (supertonic triad) is a triad ased on Re, the second note (supertonic) of the maor scale. It is composed of the second, fourth, and sixth notes of the maor scale (Re, Fa, La). The ii chord is minor in a maor key, hich is hy it is laeled ith loer case Roman numerals rather than upper case, like the I,, and I chords. A minor triad consists of one minor third and one maor third, as opposed to the maor triad hich has a maor third first and then a minor third: C Maor: I Chord, C maor triad C Maor: ii chord, D minor triad Maor third -- half steps (or 2 hole steps) 2. minor third -- 3 half steps (or 1 hole step and 1 half step) Pencil Time 3: Activity Sheet 50: The ii Chord Activity Sheet 51: Chord Analysis 165

212 1 -- THE ii CHORD INTERALS that occur eteen the notes of the ii Chord: Re - Fa -- minor third Fa - La -- Maor third La - Re -- perfect fourth Look at the ii chord and the I chord, elo, on the staff. Ho many notes do the ii chord and the I chord have in common Key of D Maor: Re Fa La Fa La Do ii chord; minor triad I chord; Maor triad Because the ii chord and I chord share 2 common notes, the ii chord is often used as a sustitute for the I chord. Name the key and each chord (horizontal) efore singing the exercises elo: Determine hat chord is presented on each eat of the exercise elo. (You ill have to look up and don--vertically--in all parts.) The first chord is a I chord ecause there is Do in the soprano part, Mi in alto, So in the tenor part, and Do in the ass. Sing the exercise after you have finished analyzing it. I 166

213 THE ii CHORD Re - Fa: (The interval Fa - La has een covered in Chapter 9.) The interval Re - Fa is a minor third. A maor third is the distance of 3 half steps or 1 hole step and a half step. Interval Practice: Music Reading: Audiate the folloing exercises (using handsigns) efore singing them

214 1 -- THE ii CHORD YOUR BRAIN: 168

215 THE ii CHORD La - Re: The interval La - Re is a perfect fourth. A maor third is the distance of 5 half steps or 2 hole steps and a half step. Interval practice: Music Reading: Audiate the folloing exercises (using handsigns) efore singing them

216 1 -- THE ii CHORD YOUR BRAIN:

217 THE ii CHORD -- 1 Four-part Exercises: 1. Estalish the key and the starting pitch. 2. Audiate all parts at the same time ith handsigns. 3. Sing the exercise (all parts together) on solfege ith handsigns sloly and carefully

218 1 -- THE ii CHORD

219 THE ii CHORD

220 1 -- THE ii CHORD

221 THE ii CHORD -- 1 YOUR BRAIN:

222 1 -- THE ii CHORD White Is the Hair on My Mother's Head SATB a cappella S Gently P Patti DeWitt Head of an Old Woman Looking to Loer Right Federico Barocci (Italian, ca ) A T B White is the hair on my P White is the hair on my P White is the hair on my P mo-ther's head. mo-ther's head. mo-ther's head. White is the hair on my mo-ther's head. 3 F. Lined, her love - ly F. Lined, her love - ly F. Lined, her love - ly, F. face. face. love - ly face. P Gone is the lilt in P Gone P is the lilt in Gone P is the lilt in. ev - 'ry step,. ev - 'ry step, And And ev - 'ry step, And Lined, her love - ly face. Gone is the lilt in ev - 'ry step, Quick Analysis: What is the form of "White Is the Hair on My Mother's Head" 176

223 THE ii CHORD p. left is peace and left is peace and left is peace and left is peace and age - less grace. age - less grace. age - less grace. age - less grace. Filled ith thoughts p. of Filled ith thoughts of p. Filled ith thoughts of times gone y; Yet times gone y; times gone y; Yet 11 F.. liv - ing for F. each. day.. Lov - ing ev' - ry. mo -ment of life Liv - ing for each F. Liv - ing for each day day Lov - ing ev' - ry. Lov - ing ev' - ry. Lov - ing ev' - ry mo-ment of life mo-ment of life mo-ment of life 15 In her el - e-gant In her el - e - gant U ay. dim. e rit. ay. dim. e rit. U U p White is the hair p on my White is the hair on my p. mo- ther's head; mo-ther's head; A In her el - e - gant ay. dim. e rit. U White is the hair p on my mo-ther's head; In her el - e-gant ay. White is the hair on my mo- ther's head; 177

224 1 -- THE ii CHORD 19 P se - cret- ive smile on her face, Hid - ing a life - time of P se - cret- ive smile on her face, Hid - ing a life - time of P se - cret- ive smile on her face, Hid - ing a life - time of P se - cret- ive smile on her face, Hid - ing a life - time of 22.. mem - o - ries Be - mem - o - ries mem - o - ries mem - o - ries F neath her peace - ful, F 'Neath her peace - ful, F 'Neath her peace - ful, F 'Neath her peace - ful, molto rit..... age - less grace. molto rit age - less grace. molto rit age - less grace. molto rit..... age - less grace. 178

225 15: Pleading the Fifth 5/ and 6/ Meters A perfect fifth is an interval of 3 hole steps and one half step; it is the interval eteen the first note of the scale and the fifth. Do So... and the second and the sixth..... and the third and the seventh... Re La The open fifth as used in Books 1 and 2 of this series for use in accompaniments. Historically, the fifth as the first interval to e used to harmonize a melodic line. The fifth is also important ecause of the tonic-dominant relationships--the dominant (alays a fifth up from the tonic) is the second most important note and chord in the key and leads to the tonic. The soldier's chant in the Wizard of Oz uses only the interval of the fifth: Oh - ee - oh, Mi Oh Pencil Time 3: Activity Sheet 52: Fifths Activity Sheet 53: 6/ and 5/ Activity Sheet 5: Conducting patterns Ti 179

226 15 -- PLEADING THE FIFTH AUDIATE: The folloing song uses the interval Do - So, perfect fifth. Ho quickly can you identify it ithout performing it out loud Can you think of another song that uses the interval of a perfect fifth Perfect Fifths: 1. Do - So (I chord)

227 PLEADING THE FIFTH So - Re ( chord)

228 15 -- PLEADING THE FIFTH Fa - Do (I chord)

229 PLEADING THE FIFTH Re - La (ii chord)

230 15 -- PLEADING THE FIFTH

231 PLEADING THE FIFTH / and 6/ Meter: Meters ith more than eats in a measure generally divide into natural sugroups. 6 meter often sudivides into 2 sugroups of 3 eats each: READ the rhythm exercises elo. If you ill sudivide the measures, it ill make them easier to read Ó. Ó Ó

232 15 -- PLEADING THE FIFTH 5 meter often sudivides into 2 sugroups, one ith 2 eats, one ith 3, usually ith the 3-eat sugroup coming first. The theme from "Mission: Impossile" is an example 5 of a popular tune in time. Here is its rhythmic motif. 5. Theme from "Mission Impossile" READ the folloing rhythmic exercises after deciding ho the eats should e sudivided, for example: Lalo Schifrin Ó 186

233 PLEADING THE FIFTH READ the folloing exercises. Read the rhythm only first. Determine key and audiate the intervals of a fifth efore singing

234 15 -- PLEADING THE FIFTH Harmonic exercises: Chant the exercises together using handsigns efore singing

235 PLEADING THE FIFTH

236 15 -- PLEADING THE FIFTH

237 PLEADING THE FIFTH

238 15 -- PLEADING THE FIFTH

239 PLEADING THE FIFTH CIRCLE OF FIFTHS: Maor keys are related y the interval of a fifth. Move clockise around the circle, and you add a sharp or sutract a flat. Move counterclockise around the circle, and you add a flat or sutract a sharp. The second most important chord in the key is the dominant, ased on the fifth note up from the tonic of the scale. The dominant is alays the next key clockise. The third most important chord in the key is the sudominant ased on the fifth note don (the fourth note up) from the tonic of the scale. The sudominant is alays the next key counterclockise. The diagram elo illustrates this relationship. 193

240 16: Georg Friedrich H Georg Friedrich Händel as orn in Halle, Prussia, (no Germany) on the tenty-third of Feruary in 1685, less than a month efore his famous peer, ohann Seastian Bach, as orn. He as the first surviving child of his parents, Georg Händel and his ife, Dorothea, ho as ho as tenty-eight years younger. Georg's father as a surgeon-arer and had plans that his son ould go study civil la, ut young Händel as osessed ith music from the start. When he as six, his aunt Anna ought him a spinet harpsichord hich they kept hidden aay in the attic ithout his father's knoledge and against his father's ishes that there e no music in the house. The harpsichord strings ere all rapped ith cloth so that Georg could practice ithout eing heard in the rest of the house. Painted y Cecelia ohnson after a 1728 painting attriuted to Balthasar Denner When he as seven years old, little Georg ent ith his father to visit his older rother ho as employed at the court of the Duke of Weissenfels. The Duke, after hearing little Georg play the postlude for the chapel service, talked to his father aout letting the oy study music. The father gave in to pressure and alloed his son to start his studies ith FriedrichWilhelm Zacho, ho played the organ for the local Lutheran Cathedral. By age telve, young Händel as competent enough to ecome the assistant organist of the Cathedral. By age seventeen, he kne ho to play the harpsichord, the organ, and the violin, and as earning his ay through the University of Halle y playing the organ for the Calvinist Cathedral. In 1702, in an attempt to please his dying father, Händel left his music for la school. This did not last long. Händel dropped out less than a year later. He moved to Hamurg here he played the violin and harpsichord in the opera house. While he as in Hamurg, he ecame interested in opera and egin riting in this relatively ne form. To of his operas ere performed at the Hamerg Opera; Almira at the eginning of 1705, and Nero soon thereafter. The next year he accepted an invitation to Italy, here he spent more than three years, in Florence, Rome, Naples and enice. There he met many great musicians and composers 19

241 GEORG FRIEDRICH HÄNDEL such as Archangelo Corelli and oth Alessandro Scarlatti and his son, Domenico. The influence of these composers and the Italian opera style ould remain evident in Händel's orks for the rest of his career. Händel returned to Germany in 1710 to ork for the Prince of Hannover. After a short visit to England, he liked it so much, that he requested another leave of asence to years later. He as so ell-accepted in England that he overstayed his leave. Then, hen Queen Anne of England died, Händel's employer, the Prince, as made King George I of England. So Händel took up permanent residence in England serving as music tutor for the king's granddaughters. Besides opera, Händel rote many religious cantatas, kno as oratorios. Perhaps his est-knon ork in the English language is his Messiah, an oratorio that as ritten from verses from the Bile that ere selected and given to him y an English minister. Händel's lifetime achievements ere staggering. He rote in every genre of the late Baroque, from the church to the theatre, from hymns to operas, from airs (vocal solos) to large orchestral orks. He rote for every instrument from voice to ooe to harp to organ. Beethoven rote this aout Händel in 182: " "Händel is the greatest composer ho ever lived. I ould are my head and kneel at his grave." On April 6, 1759, he finished the final concert of the season hen he accompanied a performance of Messiah. He died eight days later on the Saturday eteen Good Friday and Easter Sunday. He is uried in Westminster Aey. The folloing piece is an arrangement of "Omra mai fu," an aria from Händel's opera, Serse, ("Xerxes") a three-act opera hich as premiered in London in The Italian lyrics of this song consist of a lighthearted song y the ancient Persian king Xerxes to his favorite tree. Omra mai fu di vegetaile Cara ed amaile soave piu. "There has never een a tree that made A seeter, more refreshing, or more gentle shade." Händel's tom in Westminster Aey Photograph courtesy of Westminster Aey. 195

242 16 -- GEORG FRIEDRICH HÄNDEL Write ACROSS THE CURRICULUM: 1. Search on the internet for Händel's opera Serse ("Xerxes"), and rite a rief essay descriing this opera. Who are the characters What is the setting What is the story What is important aout this particular opera of Händel's 2. Write a ne set of ords for "Omra mai fu." Pencil Time 3:Activity Sheet 55: Georg Friedrich Händel Activity Sheet 56: Triplets and Dotted Eighths Activity Sheet 57: Altered Notes - "Fi" and "Si" Activity Sheet 58: The Baroque Era Ne musical elements found in "Omra mai fu": Dotted eighth-sixteenth rhythm pattern Suggested counting: Kodály: * ` ti - Numers: 1 Don-ups: Don - pa a a ti 2 don READ the folloing exercises using your favorite counting system hile conducting

243 GEORG FRIEDRICH HANDEL Eighth-note triplets -- A triplet occurs hen the eat is sudivided into three equal parts instead of the usual to. 3 3 Suggested counting: Kodály:` * Numers: Don-ups: 3 Tip - ple - 1 trip - Trip - a dy let let When Fa is a flatted note: 3. Altered notes (raised) -- When a note is raised y a sharp ( ) or a natural sign ( ), it ecomes a different note, one-half step higher. In "Omra mai fu" there are raised Fas (Fi) and Sos (Si). When So is a natural note: HANDSIGNS for Fi and Si READ the folloing exercises ith handsigns: * Not "official" Kodály pedagogy; suggested y the author 197

244 16 -- GEORG FRIEDRICH HÄNDEL Omra Mai Fu from Xerxes G. F. Handel Arr. Patti DeWitt Solo trele instrument such as flute, recorder or AG Piano or: AM BM Moderato P P P F. F F f f f. Fi Fi Fi* n.. * An altered note remains altered for a hole measure; it is cancelled only y the arline or another sign of alteration. 198

245 GEORG FRIEDRICH HÄNDEL P Om P Om P Om P Om F. ra ra ra F ra F F F F mai mai mai mai. fu. fu. fu. fu. P di ve - ge - di ve - ge - 3 di ve - ge - di ve - ge -. ta - i - le;. ta - i - le;. ta - i - le;. ta - i - le; F ca - ra ed a - F ca - ra ed a - F ca - ra ed a - F ca - ra ed a - f. ma - i - le f. ma - i - le f. ma - i - le f. ma - i - le F f 199

246 16 -- GEORG FRIEDRICH HÄNDEL 25. P so - a - ve so - a - ve. so - a - ve so - a - ve piu.. piu. Om - ra piu. P mai piu fu. Di ve - ge - Di ve - ge - P Di ve - ge - P Di ve - ge ta - i - le; ta - i - le;. ta - i - le; ta - i - le, F ca - ra ed a - F ca - ra ed a - F ca - ra ed a - F ca - ra ed a - * Ÿ. ma - i - le ma - i - le ma - i - le ma - i - le. so - a - ve soa - ve soa - ve so - a - ve F * See page 202 for an explanation of this marking. 200

247 GEORG FRIEDRICH HÄNDEL piu. Ca piu. Ca piu. Ca piu. Ca ra ed a - ra ed a - ra ed a - ra ed a -. ma - i- le; om -. ma - i - le; om -. ma - i - le; om -. ma - i- le; om -. ra mai. ra mai. ra mai. ra mai. 38 f. n. fu. fu.. Di ve - ge - f Di ve - ge - f ta - i - le, ta - i - le, ca - ra ed a - ca - ra ed a - ma - i - le,. ma - i - le,. fu. Di ve - ge - f ta - i - le, ca-ra ed a - ma - i - le,. fu. Di ve - ge - ta - i - le, ca - ra ed a - ma - i - le, f 201

248 16 -- GEORG FRIEDRICH HÄNDEL 3. so - a - ve so - a - ve. piu,. piu,. U U U p 3. so - a - ve p p piu. so - a - ve piu. so - a - ve piu.. so - a - ve piu... U U Ó U Ó U p so - a - ve piu. p so - a - ve piu. 8 f f f Ÿ. n 202. molto rit molto rit molto rit * What is this It is a trill. It is used frequently in Baroque music. A trill is a rapid alternation of a note, usually ith its it upper neighor note. ocaulary: 1. Baroque Era--A period of music history loosely defined as the era around the years Characteristics: Emotionalism, shomanship, fugues, ornamentation 2. Classical Era--A period of music history loosely defined as the era around the years Characteristics: Refinement, restraint, elegance and concrete forms 3. Harpsichord--A stringed keyoard instrument in hich the strings are plucked to produce sound. The predecessor of the piano. Oratorio--An opera that is ritten to e performed ith out the dramatic elements of set, costume, and acting. For performance in a concert hall rather than in the theatre

249 GEORG FRIEDRICH HÄNDEL The Baroque Era Handel as one of the foremost composers of the Baroque Era of music history ( ). ust as Baroque music as knon for its trills and turns and other ornamentations, so a trait of Baroque art as flourishes and ornamentation. Style periods are called y the same names for oth the visual arts and for music. Hoever, the style periods for the visual arts generally preceded the period of music called y the same name y a half century or more. The painting at the left as created y Peter Paul Ruens, a Flemish painter ho lived in the early 17th century. Ruens is knon for his use of chuy cherus and omen of ample proportions. Noticed the inged cherus in the painting, the elaorate carving of the oodork, the sumptuous roe of St. Gregory and the lady's gon. The Renaissance had rought aout a secularization of the art orld. Notice in this painting, that the Madonna and child are not the center of focus as as the case in much of the art prior to this time.. Although St. Gregory and to of the saints are focused upard toard the painting of the Madonna and Child, the likeness of Mary and Christ is very small hen compared ith the painting as a hole, and except for one stream of light, oscured mostly in darkness. The Madonna di allicello and St. Gregory ith Saints Domitilla, Maurus, and Papianus. Peter Paul Ruens, Baroque music as equally as "usy" and ornate as Baroque art. It as the unrestrained ornateness against hich composers of the Classical Era ( ) ould react. The Classical Era ushered in a ne emphasis on restraint and refinement in oth art and music, as may e seen in the art of William Hogarth and Thomas Gainsorough and the music of Haydn and Mozart. 203

250 17: Introduction tomodes The placement of the half steps (semitones) in the scale determines its modality. The interval eteen Mi and Fa and eteen Ti and Do are the half steps of the diatonic scale. IONIAN: The Ionian scale moves diatonically from Do to the next Do. The Ionian scale is more commonly knon as the maor scale DORIAN: The Dorian scale moves diatonically from Re to the next Re. PHRYGIAN: The Phrygian scale moves diatonically from Mi to the next Mi. LYDIAN: The Lydian scale moves diatonically from Fa to the next Fa. The Lydian scale is infrequently used as a melodic asis in Western music. MIXOLYDIAN: The Mixolydian scale moves diatonically from So to the next So. AEOLIAN: The Aeolian scale moves diatonically from La to the next La. The Aeolian scale is also called the natural minor scale. LOCRIAN: The Locrian scale moves diatonically from Ti to the next Ti. The Locrian scale is rarely used as a melodic foundation in Western music. SING each of the scales, aove, noting the placement of the half steps. 20

251 MODES AEOLIAN -- The Aeolian mode is also knon as the natural minor (or simply, minor). Next to the Ionian mode (maor), it is the most commonly used mode in Western music. Aeolian mode: La is the tonal center (tonic); Mi, the fifth note of the Aeolian scale, is the note of secondary importance (dominant). The D aeolian scale--the relative minor of F Maor. The key signature indicates F Maor; D (La) is the tonic. Notice the placement of the half steps (Mi-Fa, Ti- Do) The C aeolian scale--key signature indicates E Maor; C (La) is the tonal center. AUDIATE: The folloing Christmas song is in Aeolian mode. Handsign and audiate the piece. Can you identify it ithout singing it out loud Other aeolian songs: "Wayfaring Stranger," "Washington Square," "Sealed ith a Kiss," "The Sound of Silence," "Who Can Sail" Can you name some more aeolian songs READ the folloing melodic exercises: 1. Locate the half steps and identify the mode (for example, G Aeolian) 2. Chant the rhythm. 3. Audiate ith handsigns.. Sing.. 205

252 17 -- MODES Î. Î... Î

253 MODES Î. Î. Î Î Fine Î DC al Fine

254 17 -- MODES Harmonic exercises: 1. Identify the mode. 2. Audiate ith solfege and handsigns efore singing all parts together Fine... DC al Fine % Fine DS al Fine

255 MODES

256 17 -- MODES DORIAN -- The Dorian mode is ased on the Dorian Scale (Re - Re). Re is the tonal center (tonic); La, the fifth note of the dorian scale, is the note of secondary importance (dominant). The E dorian scale-- The key signature indicates D Maor; E (Re) is the tonic. Notice the placement of the half steps (Mi-Fa, Ti- Do) Some examples of dorian songs are "Scarorough Faire," "Drunken Sailor," and the Beatles hit, "Eleanor Rigy." Here is a popular Stephen Foster song, "Oh! Susannah" Sing the song ith solfege Î. Here is the same melody, only ritten in dorian mode Î.... Write ACROSS THE CURRICULUM: After solfeging the dorian "Susanna" aove, rite a short paragraph descriing the difference in the sound eteen the maor key "Susannah" and the dorian one. 210

257 MODES READ the folloing melodic exercises: 1. Locate the half steps and identify the mode (for example, G dorian) 2. Chant the rhythm. 3. Audiate ith handsigns.. Sing %... Fine DS al Fine

258 17 -- MODES 6. Î Fine.... DC al Fine Î Pencil Time 3: Activity Sheet 59: Modes, I Activity Sheet 60: Modes, II 212

259 MODES Harmonic exercises: 1. Identify the key. 2. Chant all parts together ith solfege and handsigns. 3. Sing

260 17 -- MODES

261 MODES Î Î Î Î Î Î 5 Î Î Î. Î Î Î U U Î Î U Î Î U Î Î. Î Î. Î Î.. U U U Î Î u 215

262 17 -- MODES HISTORICAL SHORTS: Scarorough Faire The English folk song, Scarorough Faire, is a a very old song, dating ack to medieval times. Medieval music as often ritten in one of the natural modes, like Scarorough Faire (dorian). The suect of the song is the ton of Scarorough, a seaside resort on the northest coast of Yorkshire that turned into a trader's heaven for 5 days out of the year eginning August 15. Scarorough Faire as not a "fair" as e think of today, ut a large trader's market that attracted all manner of peddlers, traders, and performers. Scarorough as founded over a thousand years ago y the ikings and called Skarthaorg for the Norman leader, Skartha. At the end of the Middle Ages, it had gron into a very important seaport. In the song, the lost love is offered four different hers. The hers offered ere parsley (for healing ), sage (for strength), rosemary (rememrance), and thyme (for courage). 216

263 MODES Piano or: P Pars - ley, sage, rose - î. Î SM AM BM P Î.. î me to one ho lives î. Î Î.. î Scarorough Faire SATB ith optional Orff or lute or guitar or piano or harp accompaniment ad li p. Are you go-ing î. Î p Î.. î. ma - ry and thyme. î. Î Î. î.. there; î. Î Î.. î. to Scar-. or-ough Faire î. Î Î. î. Î î. Î Î.. î p Re-mem - er She once as a î. Î Î.. î Medieval song Arr. Patti DeWitt 9. of mine. î. Î Î. î. true love Î Î.. î Î. 217

264 17 -- MODES 12 P.. Tell her to make me a P... cam - ric shirt,.. F Pars - ley, sage, rose - F Tell her to make me a Î P. cam - ric shirt, Î.. Î. Pars - ley, sage, rose - F 15. Î ma - ry and thyme.. With-out no Î seam nor nee - dle - ma - ry Î.. and thyme. Î. With-out no seam nor nee - dle - Î. 18. ork.. ork. P Then she'll e a P Then she'll e a true love. of mine.. true love of mine. Î.. Î P. Î.. 218

265 MODES F... When she has done and fin - ished her ork F F.... When she has done and fin - ished her ork. When she has done and fin - ished her ork F.. When she has done and fin - ished her ork î f î î î î F î î î 25 Pars - ley, sage, rose -.. ma - ry, and thyme... Î Pars - ley, sage, rose - ma - ry, and thyme. Then come to Î Then come to Î Pars - ley, sage, rose - ma - ry, and thyme. Then come to f f f f Î Pars - ley, sage, rose - ma - ry, and thyme. Then come to î î î î î f î 219

266 17 -- MODES me in cam - ric î î shirt; î î P P P P Then she'll e a î P î. me in her cam - ric shirt. Then she'll e a true love of mine.. me in her cam - ric shirt. Then she'll e a true love of mine.. me in her cam - ric shirt. Then she'll e a true love of mine. P Then she'll e a true love of mine. P P Then she'll e a P.. Then she'll e a true love of mine.. true love of.. true love of mine î î mine... Then she'll e a P. î. true love of mine. î. ¹. 220

267 18: Eastern Modes Eastern (oriental) music is ased on different systems of tonality than our estern music. Some of these systems (scales, modes), hoever, can e defined in estern terms. Here are a fe of the scales that are used in eastern music. Solfege each and play on piano. MAOR PENTATONIC: Much Chinese music is ased upon the maor pentatonic scale. It is called "maor" ecause there are no altered notes, and it is called pentatonic ecause it uses exactly 5 notes in the scale--in this case, Do, Re, Mi, So, and La. HISTORICAL SHORTS: Chinese Pentatonic music Five as a sacred numer to the ancient Chinese. There ere five elements--earth, ater, fire, ood, and metal; there ere five kinds of love and five different grains. Thus it as quite natural for ancient Chinese music to e ased upon the pentatonic (five-note) scale. Recently Chinese acupuncture has een comined ith the use of the pentatonic scale to produce a treatment ased upon applying tuning forks of the five different notes of the pentatonic scale to acupuncture points on the ody. Belo is an old Chinese melody. Solfege the melody to the est of your aility, then play it on a keyoard or recorder. This song is in D Maor Pentatonic. Name the five notes that are used in it. Improvise an accompaniment ith the notes, Do, Re, Mi, So, La. "Life of Leisure"... Trad. Chinese melody

268 18 -- EASTERN MODES Many Scottish songs are also ased on the maor pentatonic scale. For example, "Loch Lomond" from Book To of this series. AUDIATE: Can you identify this maor pentatonic Scottish song ithout singing it out loud Some other pentatonic songs that you may e familiar ith include "Campton Races," "Old Texas," "A-Hunting We Will Go," "Amazing Grace," "Noody Knos the Troule I've Seen," "Over the Sea to Skye," "Sing Lo, Seet Chariot," "Cindy," "Sourood Mountain," "That's Where My Money Goes," "Tom Dooley." The maor pentatonic scale is hat you get hen you play all five lack keys on a piano or other keyoard instrument. IMPROISE a melody on the lack keys of the piano. IMPROISE an accompaniment for the Chinese melody, "Life of Leisure," on the preceding page. IMPROISE an oligato for the melody ritten aove. COMPOSE a maor pentatonic song. Using Activity Sheets 61: 1. Analyze the poem given. 2. Determine the form that est suits the lyrics. 3. Write your melody, using only the notes, Do, Re, Mi, So, La.. Write accompaniment for your song, using the instructions given in Chapter 13 of Book 2. Write ACROSS THE CURRICULUM: 1. Write an essay discussing the differences eteen eastern music, specifically "Sakura," and music in a maor key. 2. Write an essay discussing the differences eteen techniques used in the apanese ood lock painting, "Cherry Blossom Party," on page 225 and estern Renaissance paintings as seen throughout this ook, such as "The Lute-Player" on page

269 EASTERN MODES APANESE PENTATONIC SCALE: There are many variations of pentatonic scales and modes in apanese music. Belo is an example of one of these modes. What are the notes of the scale that are used in this mode Sing this pentatonic scale. Sakura (or "Cherry Blossoms") is a very popular folk song in apan. With the exception of only one note, it is ritten entirely in the apanese mode ritten aove. What is the form of Sakura Sing Sakura ith solfege and handsigns. Sakura Sa - Sa - ku - ku - so - ra sa - to a mo Ka - su - Ka - su - mi mi Iz - a Sa - ku - Free Translation: ya, ra, ka ka ra, ra, ku - ku - Sa - Sa - ku - ku - ra, ra, Mi - Mi - mo mo Iz - Sa - a ku - ya, ra, ka, ka a - a - ta - ta - su su Ni - As - o - a - Mi Ha - i hi ni na Traditional apanese folk song Ya - No - yo - ya - i ma ka - ka - zo ni gi - gi - i - ni - yu - za - ri, ri su - o - ka - ka - no mo ru. u n ri. 1. Cherry lossoms, cherry lossoms, Everyhere you look. On the mountains, in the villages Floating in the air like a eautiful cloud. They smell so seet in the morning sun Cherry lossoms, cherry lossoms In glorious loom. 2. Cherry lossoms, cherry lossoms, Bloing in the spring reezes Floating in the air like a eautiful cloud They smell so seet in the morning sun And cover rooftops and the ground Come and see them! Come see our cherry trees. INENT your on pentatonic mode, using 5 different notes. Write a melody using your pentatonic mode. Activity Sheet 62 ill help you ith this. 223

270 18 -- EASTERN MODES ARRANGING Sakura: Accompaniment: The accompaniment should e appropriate to the style and music. This one is an ostinato accompaniment ith metallophones (ecause their notes are more sustained (ringing) than the xylophones. Notice the ass line is a modified ordun (open fifth), ith the AM playing a perfect fourth chord (the inversion of the perfect fifth used in t he BM part). The SM adds some color to the second verse ith a tidit of melody. Notice that only notes of the pentatonic scale are used for the accompaniment. This accompaniment ostinato pattern ill fit ith every part of the song except the last to measures. Harmony: SM AM BM Ó Ó The decision must e made for either a direct note-for-note harmony or an oligato or a comination of the to Direct note-for-note harmony in the ass voice. Sa - ku - ra, Sa - ku - ra, Sa - ku - ra, Sa - ku - ra, No - ya - ma mo No - ya - ma mo sa - to mo sa - to mo 2. Oligato harmony. The melody has een placed in the second soprano voice so that the soprano voice can provide a high counter-melody.. Ah Sa - ku - ra, Sa - ku - ra, Sa - ku - ra, No - ya - ma mo No - ya - ma mo sa - to sa - to mo mo PERFORM: Memorize "Sakura" so that you can concentrate on performing the folloing arrangement ith expressiveness and sensitivity. Additionally, it ill help you improvise counter-melodies and/or accompaniments for the song and to hear harmonies that ould e suitale for it. 22

271 EASTERN MODES Sakura SATB ith optional accompaniment AM BM Ó P Arr. Patti DeWitt Ó 3 P Sa - ku - ra, Ó Sa - ku - ra, Ó 5 Cherry Blossom Party, oodlock print Chikanou Toyohara, 189 Ya - yo - i Ó no so - ra Ó a Mi - a - ta - su Ó ka - gi - ri, Ó 9 Ka - su - mi Ó ka ku - mo Ó ka Ni - o - i Ó zo i - Ó zu - ru, 225

272 18 -- EASTERN MODES 13 Iz - a ya, Ó iz - a ya, Ó Mi ni. yu - ka - 17 n Ó Ó Ó Ó 21 F. poco cresc dim. Ah, F Sa - ku - ra, No - ya - ma poco cresc mo sa - to mo dim. Sa - ku - ra, F Sa - ku - ra, No - ya - ma poco cresc mo sa - to mo dim. Sa - ku - ra, Sa - ku - ra, No - ya - ma mo sa - to mo Ó F F Ó Ó poco cresc poco cresc Ó dim. dim. 226

273 EASTERN MODES p F Oh, p Mi - a - ta - su p Sa - ku - ra. ka - gi - ri Ka - su - mi F Ka - su - mi F ka ka ku - mo ku - mo ka ka Mi - a - ta - su Ó p p ka - gi - ri Ó Ka - su - mi ka Ó F F ku - mo ka Ó 29 P p. rit Oh, P As - a - hi P ni Sa - ku - ra. ni - o - u Ah, p Sa - ku - ra, p Sa - ku - ra. Sa - ku - ra, rit rit As - a - hi ni Ó P P ni - o - u Ó Sa - ku - ra, Ó p p Sa - ku - ra, Ó rit rit

274 18 -- EASTERN MODES 33 Ha - na. za - ka - P ri. Ó P P 37 u U U Ó p u Ó Ó Ó Ó p u Ó p u Pencil Time 3: Activity Sheet 61: Write a Pentatonic Song Activity Sheet 62: Write Another Pentatonic Song 228

275 19: Polyphony There are to asic types of choral music. Homophonic (chordal) hich means that all voices sing their notes pretty much simultaneously, on the same eats. The exercise elo gives an example of homophonic choral music: Even though there may e a fe notes that do not move precisely ith the other notes, this is still a homophonic piece. A polyphonic piece is one in hich the voices move independently of each other. Or, at least ith consideraly more freedom than homophonic music. The most asic form of polyphonic music is the canon (or, round). The canon is completely polyphonic, ith each voice singing the melodic line independently of the others, coming together for a common cadence at various points in the composition and at the end. 229

276 19 -- POLYPHONY Polyphony may also involved a modified canon, such as in the example elo. What is the relationship eteen the melody in the first voice and the melody in the second voice Music does not have to e canonic in order to e polyphonic. Polyphony, hich literally means "many voices," can involve different melodies or motives in different voices. In the exercise elo, three voices are singing three different melodies. Can you audiate and identify each of the melodies elo ithout singing them

277 POLYPHONY One of the earliest examples of polyphony is seen in the medieval canon, "Sumer Is Acumen in" ("Summer is A-Coming in"). This piece is a simple round; the voices sing the same notes, one folloing the other. It dates from around 120 AD Sum-er is a - Gro - eth sed Sing, cuc - and. cu - men in, lo - eth med,. cu! spring - eth o - de lhu - de sing cuc - sing - es thu cuc -.. cu, nu. and * lhu - de sing cuc - Gro - eth sed. cu! ne spring - eth o - de and. cu!. nu. lo - eth med, Sum - er is a - sik.. Cuc - cu, Translation: Summer is a-coming in, loud e sing, "Cuckoo!" Groeth seed and loeth mead, and springeth ood ane. Sing "Cuckoo!" Groeth seed and loeth mead, and springeth ood ane. Summer is a-coming in, So loudly sing, "Cuckoo! Cuckoo! Cuckoo!" Well thou singest, "Cuckoo!" Nor cease thee ever no. 231 thu nav - er cu - men. in, and cuc - cu! Wel Solfege the round sloly in unison until it is familiar. Sing in 2-, 3-, or - part canon after the piece is learned, ith the ne voices starting hen the previous voice reaches the asterisk. Write or improvise an accompaniment to go ith this round. A fe pronunciation tips: Pronounce the second syllale -de as "d." Example: lhude = lu - d ode = o - d singes = sing - z Pronounce the other "e's" as i (IPA): sed = sid ed = id (ust as they sound in modern English: "seed," "eed."). nu!

278 19 -- POLYPHONY Polyphony as the predominant style of choral music during the Renaissance. In fact, the music during the Renaissance as primarily choral, having developed from the music used in the mass (church services) hich as unaccompanied (a cappella), as instruments ere not seen as proper for the church service. Renaissance choral music remains among the most eautiful and inspiring music of all of estern music history. Little is knon of ohn Doland's youth and childhood. It is thought y some that his ackground is Irish, hile others claim that he as orn in Westminster, related to some Dolands ho lived in the parish of St. Martin in the Fields. Doland as orn in He as an accomplished lute player, ut, ecause he as a Catholic, he as unale to attain an important position in the Protestant English Court. Doland left England to seek positions in foreign courts. He served as lutenist in courts in Germany and Italy. In 1598, he traveled to Denmark and served in the court of Christian I until 1606 hen det forced him to return to England. In 1612, after years of trying, he finally as given an appointment as one of King ames' Lutenists. Doland performed for the funeral of King ames I. He died a year later. Doland is rememered as eing the composer of hundreds of songs (ayres) and lute pieces. He as one of the most prominent composers of his time. His song, "Flo my teares," as one of the most popular songs of his day, and it as an indicator of the prevailing mood of the times: melancholy. "Come Again, Seet Love," is one of ohn Doland's pieces ritten for voice and lute. In this arrangement the lute part has een eliminated, making it a holly a cappella piece. This ayre has oth homophonic and polyphonic sections. It as ritten at a time hen the lush polyphony of the high Renaissance as eing replaced y a simpler, more personal style. "The Lute-Player" Michelangelo Caravaggio, 1595 "Come Again" is strophic; that is, the music is directly repeated for susequent stanzas. Originally, "Come Again" has six stanzas; only the first to are presented in this setting. 232

279 POLYPHONY ocaulary: 1. Ayre -- An old English term for "song" 2. Cadence -- A point of rest in a piece of music, generally at the end of a phrase 3. Homophony -- A style of music in hich the voices tend to move from note to note at the same time; chordal music. Lute -- A stringed instrument of medieval and Renaissance times ith a long ent neck and a pear-shaped ody 5. Lutenist -- A lute player 6. Mass -- The celeration of Eucharist in the Catholic church. Important in the development of music history, ecause much of the surviving music from ancient times as ritten to support the ords of the different parts of the mass, normally the Kyrie, Gloria, Credo, Sanctus, Agnus Dei, and Benedictus. 7. Polyphony -- Literally, "many voices." A style of music in hich the voices each carry a melodic line, often starting and ending at different times 8. Renaissance -- The period of time that is loosely defined as the 15th and 16th century hen the orld egan to move into the modern age of machinery and technology. 9. Strophic -- Having more than one stanza or verse. The music repeats ith each stanza, ut different verses are sung each time. Most hymns are strophic. Pencil Time 3: Activity Sheet 63: Homophony/Polyphony Activity Sheet 6: Write a Polyphonic Song Activity Sheet 65: Renaissance Music 233

280 19 -- POLYPHONY S A T B Ó. F. 1. Come a - gain! 1. Come a - F. 1. Come a - F F 1. Come a - Come again! SATB A cappella gain! gain! gain! Ó Ó Ó Ó seet seet seet seet love doth love doth no love love ohn Doland Arr. im Leininger doth doth 5. Ó no in -. in - vite vite Ó Ó thy thy grac - es. grac - es that re -. that re - no in -. no in - vite vite Ó thy thy grac - es grac - es that re - that re - 10 Ó. frain frain Ó Ó To To do. do. me me due de -. due de - light, light, frain frain Ó To To do do me me due de -. due de - light, light, 23

281 p To p. To p. To p To see, to die, kiss,. kiss,. kiss, gain. gain. in in to to to thee a - gain F in F F see, to hear, to see,. see, die, P to to die, to die ith die, to P P P to touch, hear, to hear,. hear, f to thee a - die seet - est sym seet - - est F gain in seet - est seet - est ith... to to f f f to kiss, touch, to touch,. touch, F. F F to F to ith thee a - die ith thee a - gain, ith thee a - - pa - POLYPHONY last verse, rit. on repeat thy. sym - - pa - thy. sym - - pa - thy. sym - - pa - thy. 2. Come again! that I may cease to mourn Through thy unkind disdain; For no left and forlorn, I sit, I sigh, I eep, I faint, I die, I die in deadly pain, in deadly pain and endless misery

282 ri - ver Gon - na - side,. lay all my. Don y Don y the Gon - na the trou - les, ri - ver - side, lay all my. Don y. Don y trou - les. 1 ar no more. more, Ain't gon - na Ain't gon - na. stu - dy ar no gon - na stu - dy. stu - dy ar no the the more, I ain't gon - na. stu - dy 20: In Levels One and To, the concept of vocal improvisation (scat) as introduced, along ith some techniques for learning ho to improvise. These techniques included composed (planned) and improvised (unplanned elaorations on the I,, and I chords This is important ecause the chord structure is asic to improvisation. If a singer ishes to improvise in an appropriate and valid ay, he must e true to the harmonic structure of the piece, and, generally speaking, hen a person improvises ithin the chord structure, the improvisation ill sound musical and professional. Thus a good foundation in harmonic analysis is essential for the improviser. Analyze the chord progressions in the piece elo to determine ho to approach the improvisation for it. This piece is found in Activity Sheeet 66 A and B for copying, so that you may rite directly on it. Don y the Riverside ri - ver - side, ar ri - ver - side, SAin't no more. Traditional spiritual Ain't gon - na 2. stu - dy ar no more. 236

283 AZZED! IMPROISE: Using the techniques presented in Chapter 31 of Level One and Chapter 25 of Level To of this series, rite 8 asic ostinato patterns in each key ith hich to add vocal improvisation to "Don y the Riverside." PERFORM improvisations "round roin" style every 2 or measures hile the rest of the class sings "Don y the Riverside." ORNATE IMPROISATION: To this point, the scat improvisation that has een used has een simple improvisation-- using the notes of the I, I, and chords and creating patterns using simple rhythms and scat syllales. No, in order to uild a more elaorate improvisation, use hole scale patterns instead of ust notes of the I,, and I chords, and more complex rhythms like eighth notes, sixteenth notes, triplets, and dotted patterns. To do this e ill follo a couple of rules: 1. The notes of the chord eing used ill fall on the strong eats, or e more emphasized than non-chordal notes including a fe altered notes. 2. Non-chordal notes ill e e asically scalar, moving to and aay from notes in the particular chord. 3. Non-chordal notes ill use notes of smaller duration, for example, eighth notes, sixteenth notes, etc. For example, the scat patterns elo ere ritten to elaorate the I Chord.. Di - di - di - di - di - di - da. Doot da doo - y doo - op Da - doo - den doo - den 3 doo - a. Shoop sha shoo - ah e-dop Practices these examples individually until you are comfortale ith them. 237

284 20 -- AZZED! For the most effective improvisation of countermelodies, use oth simple and ornate improvisation. Here is a suggested ay of determining hen to use hich kind of scat: Use ornate scat hen the melody of the piece eing improvised is using simple rhythms and use simple improvisation hen the melody contains more complex rhythms. In the example elo, scat syllales have een replaced ith ords derived from the song. For example:. Gon - na I'm gon - na, lay all my All my trou-les Lord,. Gon - na lay them trou - les, Don don. don, Don, Don y the ri - ver - side, Don y the ri - ver - side, Gon - na lay all my n Don, y the. trou les, don.,. Don y Another ay to improvise is to use the melody as a foundation and to elaorate it. the ri-ver-side. n ri - ver, the ri - ver side. Pencil Time 3: Activity Sheet 66A, B: Analyze Activity Sheet 67: Scat Activity Sheet 68: Improvise a Melody! 238

285 AZZED! S A T B Easy sing eat 5 n. A.... q»ªº Ó Blues! Blues! Ó Ó Blues! Blues! Ó.. R. Ba - Makes sic a azz form: state - ment Ba - Makes sic a azz state - form: ment Ó.. three of phrase those.. three of Words and Music y Ron Yates (ASCAP) phrase those. struct - ure, feel - ings, struct - ure, feel - ings,.. n.. "Blues Is" can e used oth as a performance song as ell as improvisation practice piece. Students may rite out their scat solos until they are comfortale ith spontaneous improvisations. As students uild a memory of to and four measure ideas it ecomes easier to improvise, or "ad-li" spontaneously. Students are urged to create their on lues lyrics to replace or emellish those in the song. On each repeat, a ne lyric can e inserted. Each section (girls, oys, sopranos, tenors, etc) of the chorus can make up their lyrics so the song ecomes group effort. The "12 ar lues" is the most common standardized form in American pop music, including azz, pop, rock, RB, country, gospel, and all the derivative genres for over 100 years. "Blues Is" can e repeated as many times as desired - a common practice ith lues. 239

286 20 -- AZZED! 8.. Ó Ó telve hap - meas - ures py, ut.. long. sad. n.. Ó Ó Blues! Blues! Ó Ó Bas - Makes ic a azz form: state - ment telve meas - ures hap - py, ut n.. long. sad. Blues! Blues! Bas - Makes ic a azz state - form: ment.. n Ó. R Ó three 'out phrase those struc - feel -.. ure, ings; telve Don't meas - ures make me.... long. mad. Ó Ó First All to those phra - ses times con - three 'out phrase those. struc - ure, feel - ings; telve Don't meas - ures make me n.. long. mad. First All to those phra - ses times con R. 20

287 AZZED! ust re - fus - ion. peat. runs. The I'm n. ust re - peat. fus - ion runs.. The I'm 3 third phrase hap - py is so 3 3 third phrase hap - py is so 3 dif - f'rent; don't make it me 3 3 dif - f'rent; don't make it me 3 3 helps to sap - py; ex - plain I don't the need first this helps to sap - py; ex - plain I don't the need first this. n To Coda Last time Ó B to. no. Ó Ó to. no. Ó. R Ó n.. n R.... R 21

288 20 -- AZZED! 19 Ó Ó Ó Ooo n Ah Ó Ooo Ah n. n.. n n 2 Improvise: I chord chord I chord chord Ó. Ooo ah! Ó Ó.. Ooo ah! Ó. n. R. R Ó

289 AZZED! fi Coda. Ó. Ó. Ó Blues.. is, Ó Ó Blues.. is, Ó Ó an - y thing you make.. it! Ó Ó Blues. is, Ó Blues. is, Ó an - y thing you make. it! Ó n. Ó n. Ó n. Ó n 33. Blues.. Ó is, Ó Ó. Blues.. Ó is Ó Ó azz so you can. fake.. Ó it! Ó Ó Blues. is, Ó Blues. is Ó azz so you can fake. it! Ó.. Ó.. Ó.. Ó 23

290 20 -- AZZED! 37.. Ó.. Ó Blues is, lues is.. Ó tak - in' me. home!. Yeah! Ó.. Ó.. Ó Blues is, lues is.. Ó tak - in' me. home!. Yeah! Ó.. Ó.. Ó ~~~~.... Ó What does this mean It is very important that you memorize this song efore performing it. If the notated parts are memorized as ell as the expressive markings, it ill give you a lot more confidence hen performing it ith improvisation. Memorization ill free you to concentrate on giving a dynamic performance instead of reading the specifics of the notation. 2