Hello, Holidaying Solfeggists!
I earnestly hope that you all are in the midst of a satisfying (and at least moderately slothful) winter break, and that the holiday season is reminding you of all the reasons why you love the holiday season!
Far be it from me to make your winter break less break-y, but I did want to provide an opportunity for some fun musical engagement if such things strike your fancy. Because (theoretically) this is a quieter time for many of us, I thought it might be fun to take time to get a good look at one piece. Hopefully, by the end of the exercise, you'll feel like you really know it well, and even if you'd had a more passing relationship with it before, you can feel like you've just made a new close friend.
Rising Level 2's
Take a gander at this:
http://www1.cpdl.org/wiki/images/2/20/Bach-Cantata_140-Chorus-No7.pdf
You will notice that there are some accidentals running around in this score. Do not let them intimidate you. We'll get through this step by step.
First, read through the top line. Any snags yet? No? Great! What is the form of the melody? Have you encountered this form before (if you were raised Lutheran, or if you happen to be a Minnesinger, you'll have an unfair advantage with this trivia tidbit...)?
Next, take a stab at the bass line. What accidentals did you encounter? What are their solfa names? Knowing what you already know about the melody, and paying attention to how the accidentals behave (meaning how quickly they resolve and how long they last), do you figure that there are modulations happening, or is there another explanation?
Now, take a look at the alto and tenor parts. Any accidentals you hadn't already encountered?
Now, draw yourself a map of the piece. Indicate the length of phrases and the cadences and cadence types. Anything unexpected?
I bet this is the part where you think I'm likely to ask you for a full Roman numeral analysis, and you can do that if you really want to, but I'm more interested in you listening to some recordings of this guy (listen to the whole cantata if you'd like to treat yourself -- it's one of the loveliest pieces I know), either on youtube or elsewhere...do a search for Bach Cantata 140, and you should get plenty of hits.
Rising Level 3's
Take a look at this piece:
http://www1.cpdl.org/wiki/images/brianrussell/037.pdf
First, take the time to sing through the top two voices in solfa -- this should give you a good sense of the melody of the piece. You may choose to take the key signature's word for it, but my guess is that your eyes and ears will give you a heads-up that all is not just as it seems. Trust your intuition....and my broad hint that you may want to be a fifth away from where it looks like you ought to be.
Next, sing through the bass line (which may confirm your tonal/modal suspicions), followed by the two remaining parts.
Now, take a good look at the phrase structure of the piece. Draw yourself a map of the cadences, noting particularly on what note they occur. You may want to do one page one day, another the next.
Remembering that this music was intended to be sung with only one person on a part, and paying attention to the text, work out a scheme for breaths and figure out a tempo you like.
Finally, hunt around on youtube for some recordings of this little ditty....there are bound to be a bazillion of them, and I bet you'll have a strong reaction to them if you followed the steps above.
Rising Level 4's
For you, I have a special treat:
http://www1.cpdl.org/wiki/images/2/27/JohBrahms_WarumIstDasLichtGegeben.pdf
First, even if you think you hate Brahms, you should listen to this recording all the way through:
http://www.youtube.com/watch?v=f8OTz0h2-8k
I will not lie to you....I disagree mightily with the tempo of the second movement (I think Johannes wanted it to dance), but don't those little boys sound like a million bucks?
Now, while I am sometimes a mean teacher, I am not so mean as to make you analyze the thornier chromatic patches of the first movement, but if you are inspired, far be it from me to stop you.
Take a look at page 8 of the .pdf score (movement 3). Sing through the soprano 2 part in solfa, then the soprano 1 part, and go as far as the double bar on the bottom of page 9...chances are you found yourself going back and forth between two key choices -- I know I did when I was learning it. Do the same with the baritone and bass parts on the same two pages -- any illuminating discoveries? Now try the alto and tenor lines. What do you notice about the cadence on p. 9?
Now, look at pp. 10-12. This section is less tonally ambiguous, I think, but what do you notice about the rhythm? What kind of meter is in play? How does a faster or slower tempo impact the metric feel? How is Brahms treating the metric accents? How do you think those entrances on the second quarter note of the measure should be articulated? Sing through each voice part, and label the final cadence of this movement....what makes it out of the ordinary?
Finally, look at the melody of the last movement. Can you label the mode off the top of your head? Take a glance at the harmony, and listen to the recording again. Does it sound modal or tonal? Is that surprising, given the era of its composition? What do you know about Brahms that makes this discovery more or less surprising?
Bon appetit!
Monday, December 27, 2010
Friday, December 24, 2010
Under the shadow I will be...
Merry Christmas and Season's Greetings, my beloved students!
This isn't an assignment, except that I hope you'll take a few minutes and listen to this. Two friends of mine brought this piece to my attention, and I found this mini-testimonial about the young composer's experience when he finished it:
You will all notice, I am sure, that the melody of the piece has certain characteristics near and dear to the hearts of Kodály educators everywhere...behold the power of pentatony!
And, just in case your choral travels haven't included this little poem before (originally penned and set, I believe, by Elizabeth Poston), here are the words. They're definitely Christian in their content, but I think the desire for rest and safety is more relatable than usual for everyone at this time of year. So, my friends, may you rest under the shadow of whatever brings you peace.
The tree of life my soul hath seen
Laden with fruit and always green
The tree of nature fruitless be
Compared with Christ the Appletree
His beauty doth all things excel
By faith I know, but ne'er can tell
The glory which I now can see
In Jesus Christ the Appletree
For happiness I long have sought
And pleasure dearly I have bought
I missed of all, but now I see
'Tis found in Christ the Appletree
I'm weary with my former toil
Here I will sit and rest awhile
Under the shadow I will be
Of Jesus Christ the Appletree
This fruit doth make my soul to thrive
It keeps my dying faith alive
Which makes my soul in haste to be
With Jesus Christ the Appletree
Saturday, December 18, 2010
Instruments of Peace
'Twas the week before Christmas on the Solfa Blog....
Just kidding. I don't think I could manage a rhyme scheme at this stage of the game. However, I warn you that I may indulge my muse-ier impulses on this week's installment. First, though, the assignment...
Rising Level 2's
Continue with our syncopation theme from last week with Ottmans: 15.96, 15.98, 15.100, 15.102, 15.108 (one voice one day, the other the next). I'm sure I don't need to remind you to conduct as you sing these examples....
Rising Level 3's
More syncopation for you all as well! Check out Ottmans: 15.95 (the chromatics are all just decorative -- remember to audiate the resolutions and you'll be fine!), 15.106 (both voices), 15.112 (both voices, try to do a true allegro tempo), 15.117, 15.123, and 15.124. Conducting helps!
Rising Level 4's
Take a stab at Ottmans: 15.126, 15. 128, 15.130, 15.132, 15.133, and 15.134. The melodies are easy, but their style lives at a particular tempo -- if it seems unsatisfying, try it a little quicker, and be sure to note whether an example is in 2 or in 4.
Obviously, it's possible and sometimes necessary to subdivide in order to get all the 16th notes in the correct place, and I get that. However, I MUCH prefer that you start to feel these rhythmic cells as gestures at least a beat long...especially if a figure happens repeatedly throughout an example. None of these examples should feel unnatural or contrived....and they should all sound fun!
Now, back to the title of this entry... The Denver Gay Men's Chorus is in the midst of their concert weekend (1 down, 2 to go), and things are going quite well, I think. Spending lots of time with the chorus this weekend keeps them at the front of my mind quite a bit, and I have to say, I really love and respect these guys. I'm not sure when I've seen a community chorus that takes such responsibility for putting on a show that they feel proud of musically, visually, and interpersonally. The singers bring so much energy to what they are doing, and as an occasionally cranky Christmas professional, I find their verve very inspiring. What's more is they take care of one another -- and in their minds, that even includes me. It's enough to make the heart of the grinchiest grinch grow three sizes at least.
So, after last night's concert, a lot of the chorus members and the artistic staff went out for some merriment and celebration, and towards the end of the gathering, a bunch of us were talking, and one of the singers started talking about modes...and naturally, a very geeky and giggly conversation (complete with singing) broke out. And, though it was just a silly moment at the end of a long and happy evening, it reminds me of why we do what we do, why I love teaching solfa, and why it's important. Any information, no matter how innocuous or boring or mathematical it may seem on the surface, can act as a catalyst for human connection. It can be the vehicle that teaches human beings to seek to understand one another, not merely to be understood. It is the reason why (to paraphrase ZK himself) a more musically literate world has the potential to be a more peaceful world.
So, while I am not quite so idealistic as to believe that Mixolydian will cause soldiers around the world to lay down their arms, nor do I assert that music is only valuable as an agent of social change, I do believe that music educators and performers and lovers of music have a responsibility to realize the power we bear. We can be instruments of connectedness....and thereby, instruments of peace.
Sunday, December 12, 2010
Almost there...
Hello, my hard-working students!
The break is in sight! I've done the last of my academic chores (including the composition of a 30-measure 3-voice motet in 16th-century imitative counterpoint....yes, yes, I know you're jealous...maybe Santa will inspire me to bring it to all of you as an ensemble exercise next summer...oh, rapture. Or something.), and am now doing some prep work for next semester, getting ready for a weekend of concerts with the DGMC, and have been especially busy working on publicity for a very cool conference happening in February. And one of these days, I might even get Christmas shopping done...
I am more than certain you're all in about the same place, so I'm aiming to keep this week simple and straightforward. All I ask is that you conduct while singing all of the following, lest the syncopation render your task more difficult than need be:
Rising Level 2's
Read through the following Ottmans, paying special attention to the rhythms and phrase lengths:
15.70-15.76 (look, you can just open the book and not even have to turn pages!)
Rising Level 3's
Read through the following Ottmans, paying special attention to the rhythms:
15.85, 15.87, 15.88, 15.90 (resist all temptations to change keys!), 15.91 (ditto), 15.93, 15.98
Rising Level 4's
Read through the following Ottmans, paying special attention to the rhythms:
15.92, 15.94 (don't be pulled astray by chromaticism...hear the resolutions!), 15.95 (ditto), 15.99 (change solfa to A minor in the 3rd line, second measure), 15.101, 15.103 (think of the tied eighths before the downbeats as anticipations, and don't go too slow...trust me), 15.116 (remember the style...don't take it too seriously!).
And, if you are feeling overwhelmed, listen to this, or this, or maybe this (I don't necessarily recommend the videos, but the music is good stuff). Or, in case of a serious Christmas emergency, click here.
Best of luck to you all!
Saturday, December 4, 2010
Wassail, Wassail!
Hello, Carolers and Holidaymakers!
As you may have seen on facebook, it's Holiday Festival weekend in Boulder -- which means that all the good little choristers (and instrumentalists galore!) are putting on four big shows....the current count is three down, four to go. This is my fifth year of Holiday Festival involvement, but because of the gap between degree #1 and #2, I've been watching the whole thing evolve since 2002. I must say, it's a good show. Lots of different things happening, lots of visual interest and genre diversity (my personal favorite act is the jazz combo performing a Latin rendition of "Rudolph"...it's quite sassy!), and the audiences are very appreciative. However, anyone who has ever done four of the same show in three days' time (especially at the end of a semester when you can think of 120,980,354,309,870 really important things you ought to be doing during each of those shows) knows that it's a little hard to keep up an ideal attitude through the full gauntlet. So, knowing that many of you are in similar boats at this time of year, this posting will be part assignment, but mostly refreshment.
Let's start with refreshment....it's the fourth night of Hanukkah as I type this, and I found this on YouTube today while looking for something else, but I was so struck by its sweetness that I decided to use it instead....the second half of the video is a little weird, but I do find the singing quite touching. So, take a few minutes and just listen and enjoy:
Now, a little combo of refreshment and light work. My choir is singing this piece for the aforementioned Holiday Festival:
But, you may be more familiar with this tune for the text (which is a little grisly...for the Feast of the Holy Innocents):
So, what are the obvious differences between the two tunes? Can you solmize both versions?
And now, though it was my intention to include a YouTube rendition of "Wassail, Wassail", I cannot find one that does not set my teeth on edge (if you find a good one, please send it on....the piece is deceptively difficult -- we're doing the Ralph Vaughan Williams SATB unaccompanied setting). So, instead, some alternative Vaughan Williams (sung by some cool Dutch people):
Take a stab at solmizing that melody as well...it's not so hard.
I'm including this one because it makes me smile....if you're feeling particularly ambitious, take a rhythmic dictation of just the chorus:
And now, finally....some gratuitous humor:
Keep your chins up, my friends...
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