Title: Dirait-on from Les Chansons des Roses Composer: Lauridsen, Morten Arranger: N/A Publisher: Southern Music Publishing Co., Inc. Publication Date: 1994 Publication ID #: N/A Voicing: SATB Accompaniment: Piano Solos: N/A Language: French Occasion: General, Graduation, Valentine s Day Dirait-on Spec Sheet Voice Ranges: S: Ab3-F5 A: Ab3-Db5 T: Ab2-Gb4 B: Ab2-Eb4 Concepts: Polyphony (as opposed to Homophony), French Diction, Unison, Divisi, Caesura, Fermata, Advanced Dynamics and Tempo Markings, Anacrusis, Points of Imitation, Homorhythm, Rubato Skills: Singing Rubato, Part Independence, French Diction, Upper and Lower Phonation (Head and Chest Voice), Blending, Singing Legato Potential Problems: Staggered Entrances, Clashing Parts and Melodies, Extreme Register Changes, Singing out of Time, Transitions
Dirait-on Study Guide Title: Dirait-on Set of Songs: Les Chanson des Roses Composer: Morten Lauridsen Poet: Rainer Maria Rilke Voicing: SATB Historical Background: Rainer Maria Rilke lived and wrote around the turn of the century in central Europe, blending old ideas with popular ones. He was Austrian and wrote mostly in German but also wrote poems in French. This cycle revolves around human interaction with the idea of the rose and reflections upon its bearing on us as humans. Concepts: Skills: Advanced Dynamic and Tempo Markings deliberamente = deliberately, with meaning meno mosso, molto meno mosso = less motion a d much less motion, respectively poco a poco accel. e cresc. = little by little/gradually accelerate and grow in volumn tempo primo = return to the original tempo after a ritardando or accelerando Anacrusis = a note or small group of notes before the downbeat that anticipate the melody or phrase. Caesura = a deliberate pause in the music, brief or otherwise. Divisi = Vocal sections sing separate parts. Fermata = a note or chord sustained or held out for effect. Homophony = all parts move cohesively. Homorhythm = all voices sing the same rhythm at once. Points of Imitation = entrances of the same musical idea that are staggered. Polyphony = multiple melodies being sounded simultaneously. Rubato = meaning robbed time, a feeling of pushing and pulling of the tempo. Unison = all voices sing the same melody. Blending This piece is filled with unique and awe-inspiring harmonies which won't take effect if the choir doesn't blend. French Diction Tenets Nasal Vowels The soft palette lowers and directs sound through the nasal cavity, Ns are NOT pronounced. 'abandon', 'touchant', 'dirait-on' Liaison If a word begins with a vowel, the last consonant from the preceding word gets tacked on to it. 'touchant aux', reflet éclairé, 'dirait on' Mixed vowels The tongue forms one vowel while the lips form another. 'eur'=e+u Part Independence In this piece, parts don't move together and often disrupt the others such as from Letters C to D. To counter this, it's important to be able to maintain a part with confidence without interference. Singing Rubato Counted as expressive markings, this piece is full of artistic manipulations of the tempo meaning the singer must be able to sing in rhythm but also out of tempo. Upper and Lower Phonation (Head and Chest Voice) This piece involves quick, challenging register changes. In order for the piece to hold together, the ability to connect head and chest voice becomes critical, particularly for tenors. Turn to back...
Form: The piece uses two melodies in various way. The first section of the piece is the first melody sung first by the men, then by the women. The second section of the piece is the second melody, sung first in unison, then in forms of a round. The middle section of the piece is both themes plus an extra tenor theme all in polyphony with one another. A transition leads back into the second section of the piece followed by a closing. Describing and Analysing: In the space below, come up with as many descriptive qualities as you can to describe the piece and/or moments in the piece. Immediately associate this with musical terminology we've discussed over the course of the unit. Example: There's a really intense moment on page 11 because of the fermata at the top of the page.
Dirait-on Unit Learning Goals 1. Students will learn to actively describe music and musical events to then convert them into musical terminology and techniques. (NS 6) 2. Students will be able to sing Dirait-on with beautiful vocal technique and musicianship accurately executing all skills associated with the piece. (NS 1) 3. Students will be able to evaluate their own performance with specific details and ideas of how to achieve more musical performances in the future. (NS 7) 4. Students will be exposed to the concept of attaching external meaning to a piece of music and its musical ideas, establishing a deeper sense of purpose in music. (NS 6, 8, 9) 5. Students will understand relative concepts and skills to Dirait-on and be able to point them out and perform them in the music. (NS 5, 6)
Time Frame (assuming daily 50-minute rehearsals): Week 1 Introduce mm. 32-50 Introduce NASAL VOWELS and LIAISON Work on Head and Chest Phonation Introduce POINTS OF IMITATION Introduce ANACRUSIS Introduce UNISON as opposed to DIVISI Introduce mm. 1-31 (all French words other than Dirait-on on lu ) Introduce HOMORHYTHM Week 2 Review mm. 1-50 and Aforementioned Concepts Introduce mm. 51-67 (all French words other than Dirait-on on lu ) Introduce POLYPHONY as opposed to HOMOPHONY Introduce RUBATO Week 3 Polish mm. 51-67, Practicing Part Independence Introduce mm. 68-95 Introduce FORM and how the choir could make mm. 76-86 have a different character than mm. 40-50 Introduce French Text by means of Speaking Only Week 4 Singing evaluations Practice transition between m. 67 and m. 68 Introduce FERMATAS Introduce CAESURAS Apply French Text to mm. 1-31 Practice French Diction by means of Speaking followed by Singing Practice singing through the entire piece Week 5 Polish mm. 1-31, practicing entrances and cut-offs Attempt and practice mm. 1-31 from memory Polish mm. 32-50 Attempt and practice mm. 32-50 from memory, keeping in mind that mm. 40-50 are the same as mm. 76-86. Week 6 Review mm. 51-67, mm. 68-75 Attempt and practice mm. 51-67, mm. 68-75 from memory Attempt and practice the entire piece from memory
Week 7 Practice the entire piece from memory Polish Entrances and Cut-offs Polish Dynamics Polish Rubato Practice describing a piece using musical terminology Week 8 Review of concepts and distribution of study guide PERFORMANCE Week 9 Reflection and evaluation of the performance Written Exam
Composer: Poet: Basic meaning of the text: Dirait-on Unit Written Exam Section 1: Basic Information Name: Section 2: Advanced Dynamic and Tempo Markings For each of the directions below, articulate how you would perform the music differently. 1. deliberamente: 2. molto meno mosso: 3. molto rit.: 4. poco a poco accel. e cresc.: 5. tempo primo: Section 3: Terms and Definitions For each item below, insert either the correct term name or the term definition. *Spelling errors will result in a ½ point reduction. 1. [blank] Staggered entrances of the same melody. 2. [BLANK] A note or small group of notes before the downbeat that anticipate the melody or music. 3. Homophony [BLANK]
4. Casura [BLANK] 5. [BLANK] A note or chord sustained or held out for effect. 6. Polyphony 7. Homorhythm [BLANK] 8. Unison [blank] 9. Divisi [blank] 10. [blank] Meaning robbed time, a feeling of pushing and pulling on the tempo. Section 4: Form and Analysis 1. Recall the sections in which we learned Dirait-on. On the lines below, describe the form of the piece, paying special attention to where the music changes and when it repeats itself.
2. Below are two small excerpts from presumably unknown choral pieces. Identify whether they're unison or divisi. (circle one) Excerpt A A) UNISON DIVISI Example B B) UNISON DIVISI
3. Consider Dirait-on as a work of art. Assign the piece or moments in the piece three adjectives. Then for adjective, use the terms we've learned in class to describe how the composer achieves these adjectives. Section 5: Skills Employment 1. On the lines below, name the three techniques of French diction we worked the most on in Dirait-on and explain what each calls for. Give examples from the text of the music. 1. 2. 3. 2. On the lines below, describe the differences between head, chest and mixed voice. Articulate a place or places in the Dirait-on where your use of register change was challenged.
Singing Skill Test Part I: Students will sing assigned measures of Dirait-on. Students will be given two attempts for authenticity's sake. Respiration Phontation Resonant Tone Diction Expression Pitch Accuracy Rhythmic Accuracy Unsatisfactory Basic Proficient Distinguished Took adequate breaths before Neglected breathing phrases and before phrases and demonstrated managing breath. adequate breath More instances of Fewer instances of neglecting breath neglecting breath support and support and management. management. management. 0-6 7 8-9 10 Unable to transition Clear and resonant between or sing Needs practice in singing between registers. use of all three clearly in any register. registers. 0-6 7-8 9-10 Vowels are Vowels don't remain Vowels remain open indistinguishable and open consistently. with few slips. don't resonate. 0-6 7 8-9 10 Vowels remain open and clear. Nasal vowels, liaison Nasal vowels, liaison Nasal vowels, liaison and mixed vowels not and mixed vowels and mixed vowels are present nor somewhat evident. mostly present. acknowledged. 0-6 7 8-9 10 Nasal vowels, liaison and mixed vowels are all present. All expressive All expressive markings are Some expressive markings neglected. markings are neglected. executed. 0-6 7-9 10 Frequent, consistent Many hiccups, many Few hiccups, most All pitches are pitch matching issues. pitches inaccurate. pitches accurate. accurate. 0-6 7 8-9 10 Frequent, consistent duration and rest Many hiccups, many Few hiccups, most durations and rests durations and rests issues. inaccurate. accurate. 0-6 7 8-9 10 Note durations and rests are accurate.
Singing Skill Test Part II: In quartets, students will sing Dirait-on from beginning to end with the score. The quartet will be allowed multiple attempts if serious derailments occur or are inevitable. Part Independence Part Accuracy Balance/Blend Unsatisfactory Basic Proficient Distinguished Shaky or Unable to maintain a part. unsure but Able to maintain basically able the part. to hold a part. 0-3 4 5 Moderate Slight errors in errors in accuracy. accuracy. 0-2 3 4 5 Consistent inaccuracies Student was unable to blend with the group. Complete accuracy attained. Student had trouble with balancing with the group. group. 0-3 4 5 Student was able to completely blend with the
Concert Reflection and Observation Report Consider the concert that's just come to pass and our performance. In a two page or more reflection, name and describe three general strengths and three general weakness that could be improved upon. Then reflect on each piece and give a strength and weakness for each piece. Finally reflect upon your own musical contribution. Provide three examples of strengths you brought to the performance and three weaknesses you'd like to improve upon. Make examples specific! The reflection must be typed and double-spaced using 12 point, Times New Roman font. If you have a problem with accessing a computer, speak with Mr. Rigsby right away! Elements to consider: Posture and Breathing Phonation Diction Expressive Markings Behavior Focus Memorization Preparation Enthusiasm Rubric Examples of Strengths Weaknesses Pieces Accounted For Detail Examples of Strengths Weaknesses General Not Defined Defined. Clearly Defined. 0-6 7-8 9-10 Not Defined Defined. Clearly Defined. 0-6 7-8 9-10 Specific Pieces Three or More Missing Almost All Pieces All Pieces 0-6 9 12 (3 points per piece mentioned) Few clear examples and discussion Specific examples with thorough Examples with acceptable discusion. missing. discussion. 0-6 7-8 9-10 Personal Contribution Not Defined Defined. Clearly Defined. 0-6 7-8 9-10 Not Defined Defined. Clearly Defined. 0-6 7-8 9-10
Related Reading Assignment The Language of Flowers Henrietta Dumont H.C. Peck & T. Bliss, 1851 Purpose: To practice attaching symbolic ideas (in this case, aesthetically appealing plants) to music and vice versa. Symbolism is powerful social and literary device. From before the 19 th century and onward, using plants and flowers in poetry, fictional prose, and music has been used to indicate different emotions and implications. Our piece, Dirait-on, is from a song cycle about roses, indicating that it's about beauty in love. Look through the manual The Language of Flowers and find four that would be relative to your current state (example: The vervain because I'm enchanted by choral music, The cactus because I ardently love Morten Lauridsen, The peony because I'm angry at Mr. Rigsby for giving obscure assignments, etc.) Then connect your choices to separate pieces of music (also of your choice; must be appropriate for class) and write in detail how they relate to each other, pointing at moments in the music. (example: The rosemary is appropriate for Josh Groban's song 'To Where You Are' because it represents remembrance. The music crescendoes as the narrator's memory of his loved one gets stronger. ) Your assignment must be six paragraphs at least. This means a paragraph per selection with an introduction and conclusion. You must clearly indicate what pieces of music you're connecting your choices to and there must be a variety of content (example: love, affection, adoration and heartache are essentially similar but love, riches, grief and truth make a variety). The reflection must be typed and double-spaced using 12 point, Times New Roman font. If you have a problem with accessing a computer or the internet, speak with Mr. Rigsby right away!
Basic Information Earl Rigsby Choral Methods Classroom Dr. Don Ester Feb. 19, 2013 Prerequisite Knowledge and Skills Level 3 tonal skills. Behavioral Objectives Students will review the concept of a French nasal vowel. (NS1, NS6, NS7) Students will sing mm. 32-67 of Dirait-on accurately and with proper vocal technique. (NS1) Students will accurately read a tonal excerpt from Dirait-on. (NS5, NS6) Materials ELMO Projector Dirait-on sight reading excerpt. On Whiteboard: Séquence de répétition. VT CT ML Dirait-on Idée Centrale: Polyphony Procedures: 0:00 Set/Vocal Technique Students sing: ng-aw ng-aw ng-aw ng-aw ng-aw (Sol Fa Mi Re Do) Ascending by half step in the key of A 0:01 Choral Technique Students sing the melody of Amazing Grace on 'Tu' in the key of F#. Students sing the meldoy of My Country 'Tis of Thee in the key of F# Students sing both songs simultaneously. 0:04 Music Literacy Students will read Exercise 1 on solfege, then 'pa'. Students will read Exercise 2 on solfege, then 'pa'. Students will read Exercise 3 on 'pa'. 0:06 Literature: Dirait-on Students will look at and read the tenor part on pp. 7-8 of Dirait-on. 1 st time on 'pa' 2 nd time on 'Dirait-on' 0:07 Letter C to Letter D Students will read the melody on pp. 3-4 on 'lu'. Altos will sing their part from letter C to letter D. Altos and Tenors will sing together from letter C to letter D. 0:09 Sopranos will read their part from pickup to letter C to letter D. Basses will read their part from from letter C to letter D. Basses and sopranos will read their part together. 0:11 All parts will read their parts.
0:12 Students review mm. 32-49 Nasal vowels Tempo markings (new) Where in the music? Demonstration Where is there polyphony in this section? 0:14 Students Sing 0:16 Review of polyphony and other CMP. 0:17 Final performance. mm. 32-67 with accompaniment. 0:20 SPONGE: Discuss how Lauridsen's use of polyphony accentuates Rilke's use of roses as the central symbol of the text. Ask students why Lauriden's music would reflect such a symbol. CURRICULAR CONNECTION: Related reading assignment connecting music with symbolic ideas.