The People's Chorus

Greetings from a prodigal blogger!


My, how time flies.  It's the last day of April, and a perfect spring day in Colorado -- this evening's post is being typed outdoors in celebration.   


Degree work has been quite frenzied over the past two weeks, and there's been a heavy dollop of concertizing on top of that, the most recent of which was with the community chorus conducted by one of my very dearest friends.  He was short a soprano in his chamber group, so I filled in, and was thereby privy to two performances of a concert he'd entitled "The People's Chorus," a title I absolutely love...I find the concept inspiring.  Too many people believe that music-making is a rarified-air kind of activity, that people who are musicians had to grow up in a special kind of family or live a special kind of life -- that musicians are born, not made, and you either are one or you're not.  You either have a good voice or you don't.  You either read music or you can't.  How sad, especially in a world where people like Kodály have worked hard to get the message out: Music belongs to everyone.  Art is a birthright, a necessity, something everyone can make and learn about and benefit from.  Lots of people still don't believe this, and you'd think that a university town would have a greater proportion of people who do, who are courageous enough to be willing to take hold of their artistic inheritance and do something with it.  And, to its credit, this particular university town does have many enthusiasts for the arts in various forms.  However, the "rarified air" mentality is still hard to combat, maybe because it's either a cultural or a human tendency (and an extremely powerful one, either way) to choose to believe that one cannot learn/grow/change in order to fend off the guilt of not trying.  So, we tend to stay the same....we dabble and form opinions, but we never really get down and dirty and comfortable with who we are so we can make a proper start toward who we'd like to be.  Just think what would be possible if this were not the case!

One of the more magical parts of these concerts was a piece composed by another friend of mine on a text attributed to F.G. Lorca:

"The poem, the song, the picture, is only water drawn from the well of the people, and it should be given back to them in a cup of beauty so that they may drink - and in drinking understand themselves."


To my knowledge, Kodály and Lorca never interacted, but it definitely sounds like they were on the same page, doesn't it?  However, perhaps Lorca reveals something of the Catch-22 involved here: by engaging with art, people come to understand themselves.  But, without a pre-existing connection to their truest selves, how will they come to art to begin with?  How will they recognize the solution to their thirst if they haven't acknowledged the thirst?  This is the crux, and perhaps the hardest part of the musician's task.  Obviously, the solution of teaching the very young to value art is the best one for our future, and it's usually a pretty short reach to get kids to be and express their true selves.  But, what about the grownups?  How can we reach out to them?  Classical musicians can't out-spend Mark Zuckerberg or ABC, so how do we pry the public away from Facebook and "Dancing with the Stars" and get them out to a concert hall or a rehearsal or a class or a private lesson?  


It strikes me that the answer may be "one at a time," but I think there might be something even closer to us that we must consider.  In order to be compelling, in order to make art and teach lessons that are worth experiencing, we ourselves must be in touch with what compels us.  In order to change the world, we need to lead by example.  Heavy, I know, but necessary and beautiful....and maybe even sometimes fun.  As mentioned above, kids are almost always rarin' to go on the authenticity-honest-self front, and they don't ever like to not have a good time.  


So, despite the fact that you poor darlings haven't had a "real" assignment in weeks, I'm going to go with this as your task for the week:


All Levels


Spend time this week feeding your inner artist.  For more specific advice, look here.


Spend time this week thinking about how you'd like to impact your community through music-making and teaching.  Dream wildly.  Imagine that money is no object.  Be extravagant.


Feel free to email or call me up with your ideas -- 'tis the season for big dreams and brainstorming.


Also, get ready next week for the start of pre-AKI Solfa Boot Camp (my new idea for May and June).  I'll be taking requests for specific areas you'd like to address, so again, feel free to email!

The Red Sea

Happy Easter!  Happy Passover!  Happy Spring!

Predictably, it's been a crazy week -- not only was it Holy Week (meaning that I have spent large portions of the last seven days here, working with some of the best people I know.  It's been exhausting, but also wonderful -- Holy Week in high church mode has always felt so full of magic to me, so rich with imagery and drama, and it never really fails to capture my imagination.), but....

I passed my final DMA orals this past Tuesday, which means that my five committee members have agreed that I will be graduating on Thursday, May 10....and they officially gave me leave to start calling myself "Doctor".  !!!!!

So, now I have many loose ends to tie up (revisions, finishing up editing projects, etc.), but my trajectory towards graduation has been confirmed.  This, in turn, means that I need to figure out what's next -- I need to find a job, figure out what to do with my living situation, and generally prepare myself for life after my terminal degree.  GULP.

To be honest, I guess I started thinking of the completion of my DMA like my own personal Red Sea somewhere along the line.  I got so wrapped up in the student life I've known for many years now that I guess I never quite expected it to end -- I mean, I did, but I convinced myself it'd happen to a me that would be much wiser and more prepared than the me I am currently feels.  This theoretical person would be ready for all that post-student life demands and offers, and she would step proudly across the graduation stage and listen as her advisor announced her extremely well-conceived future plans to the people in the auditorium, and smile serenely, knowing that all was as it should be.  The reality is that for me, everything is still very much up in the air.  It's early yet, and I made the conscious decision to focus first on finishing, and second on finding a job for next year, which is all very logical -- one has to be certain one will have a doctorate before one applies to positions that require one to have a doctorate.  But now, the Red Sea is parting....the miracle of graduation is about to occur, and I have no idea what awaits me on the other shore (not to mention the chariots who are giving chase....in my case, they're not people, but student loans and my perceptions of others' expectations of me).  It's time for me to walk through, and I don't know what's going to happen, and sometimes this makes me extremely anxious.

So, Holy Week came along in the middle of my misgivings, accompanied by a flare of an old back injury that slowed me down enough to remind me to be careful and make me think.  Holy Week, with all of its stories and rituals -- all of which I've heard and seen before, but part of the Red Sea story really sucker-punched me this time around.  In the story, the Israelites have made their escape from slavery, and they're up against the Red Sea, and now all of a sudden, they're being pursued by their former captors.  They do what we all sometimes do: they freak out.  They start talking crazy.  They start saying they wished they never tried to leave.  Then, in comes a message: RELAX.  They get that call that I really wish would come in for me -- they get told that all they have to do is keep still, and that their battle will be fought for them.

I don't really expect that someone else is going to find me a job or pay off my student debt or any of that (although if anyone out there would like to make either or both of those things happen for me, I will not say you nay!).  However, the story still rings true, and it's true for everyone.  If you're in a situation that you know to be unsustainable, and you make a choice to change it, it's true that it might be really difficult for awhile.  It is also true that unsustainable is unsustainable, and when it's time to go, it's time to go.  There's no getting around it, and no point in trying to beat yourself up for not being willing to stay where you don't belong.  I have no doubt that now is the time for me to graduate and move on with my life.  The fact that I'm not sure exactly what that looks like does freak me out, but the fear doesn't change my certainty that I'm doing what I have to do.  I wish I could do more to ensure my future, but for now, this is it.  I'm doing the work to go to someplace unknown, even though it's unknown and scary, and I have to trust that I wouldn't be so certain if something wasn't going to come meet me halfway.

Ok, so now for the big solfa tie-in...why do we sometimes stagnate in our musicianship studies?  Well, I think sometimes it's because we're afraid of what we could do if we didn't have the obstacles we've come to rely upon as compass points.  We've convinced ourselves that we need limitations, we need to be afraid of harmonic dictation or Roman numeral analysis or sight-singing or using the keyboard, because those limitations tell us who we are.  And, these kinds of limitations are self-fulfilling prophecies -- if you tell yourself you can't play the piano, you're right, you probably can't.  However, if you were willing to start chipping away at the thing you believe you can't do, if you started making friends with your abilities as they are right now and doing careful, thoughtful, compassionate work in order to build upon them, you would grow.  You would become someone new.  You might not even recognize yourself....and believe it or not, that could be ok, because you would recognize yourself again in time.  You could re-draw your own borders, and make a whole new map of what you can do.

All Levels:


Spend your first 15-minute practice session doing a little soul-searching.  What is it that you think you can't do in the world of musicianship?  Write it down.  I challenge you to be vulnerable and honest in your diagnosis -- no one has to know but you.  If you can't get your head around it the first day, sleep on it, and come back to it.

Once you know what you'd like to work on, look back on some old posts:

http://49weeksofsolfa.blogspot.com/2011/09/body-remembers.html

http://49weeksofsolfa.blogspot.com/2011/09/like-cures-like.html

(etc.)

 to find some concrete suggestions for activities, or feel free to design your own course of study.

In even just a week's time, I bet you'll find you were able to make some headway.  Give it more time, though.  Don't be afraid.  The you you never thought you could be (the you who does flawless sing-and-plays or lightning-quick analysis or crackerjack sight-singing) is waiting on the other shore.

Lift Every Voice

Welcome, readers!

DISCLAIMER: While I'd like to think this post will be musically substantive, you should probably know up front that I'm going to sound kind of like a hippie.  But, since I grew up in Portland and have spent the last decade spending large portions of my time in Boulder, I don't think any of you should really be that surprised.

Last week's Alan Lomax post, in combination with my journey to the OAKE conference a few weeks back, got me thinking about "music of the people" for the past few days.  I tend to get a little shifty about this whole topic, torn between the fairly hard-core opinions of the traditional Kodály camp (the most conservative of whom tend to profess that the only legitimate folk music tradition in North America is that of its indigenous people, and all the English-language stuff is either stolen from Great Britain or composed, and therefore not technically folk music) and a more "progressive" point of view.  I find the former far too restrictive (especially in its more extreme incarnations), but I'm also not entirely comfortable with the inclusion of songs like "Rock around the Clock" on this list assembled by NAofME (formerly MENC) of songs that have a place in the American "canon" of songs everyone should be able to sing.  I think it's a sticky dilemma all around -- on the one hand, we want people to sing, and it stands to reason that they're more likely to sing songs they like.  However, I sort of think of "Rock around the Clock" as the musical equivalent of Cheetos....many will find it appealing, but the song is fundamentally without musical or emotional (nutritional) value.  And, like several other songs they include, it's pretty difficult to sing it well, which means that when people unaccustomed to singing try to sing it, it won't sound good.  Now, one might argue that "it doesn't matter what it sounds like," but I agree with one of my favorite authorities on communal singing, Alice Parker, on this one.  In her book Melodious Accord, Ms. Parker writes:

"...the statement 'I just want the people to enjoy singing; it doesn't matter how they sound' is meaningless. Music is sound, and the better it sounds, the better it is -- and the more people will be caught by it."

So, all of that has me taking a big step back into a more classic Kodály paradigm. But, at the same time, I don't really have a problem with "Edelweiss" or "Over the Rainbow" making the list.  Is that just my personal taste talking?  Maybe.  Can we really consider either one of those pieces folk music?  Nope.  However, I think there's something emotionally honest and compelling about both of them, and I think they have melodies that are made for singing (even though there are some tricky leaps).  I don't believe they're necessarily what we should be teaching kids to sing in kindergarten music classes, but I do think it'd be a great thing if kids grew up singing those songs at home with their families, and I feel that way about maybe 60% of that list, give or take.  And, it should be said that I cut my teeth on the musical equivalent of strychnine in the form of really awful church music from the words-on-the-overhead-I-V-IV-I (no, that's not a typo)-sing-the-chorus-9000-times-Jesus-is-my-boyfriend tradition, and somehow I still came out loving Bach and Josquin, so there you go.  Maybe all those Wee Sing and Simon & Garfunkel tunes (with a little help from the classical station always playing at my grandparents' house) were enough to prevent my permanent descent into the ignoble.

I'm asking all levels to do the same assignment yet again, but as always, I encourage you to regulate your own difficulty level -- if it's too easy, kick it up a notch; if it's too difficult, dial it back.

All Levels:


Read through this article:

http://www.theatlantic.com/entertainment/archive/2012/03/how-communal-singing-disappeared-from-american-life/255094/

And check out this link (the NAofME list mentioned above):

http://www.nafme.org/resources/view/get-america-singing-again

Follow these steps:

1. Take a quick look through the list of songs on the link above.  Without thinking too much about it, mark which ones you think everyone ought to be able to sing.  If you don't know a song, skip it.  If you're feeling conflicted because you LOVE a song, but you fear it might be trashy, include it -- I promise not to judge you.

2. Make a note of how much of NAofME's collection you actually chose to use.  Sort the pieces into genres: true folk songs, patriotic songs, composed traditional songs (I'd put Stephen Foster in this category, but I'll leave John Denver and Joni Mitchell up to you), pop songs, or any other designation you come up with.

3. Dust off your solfa chops and put syllables to a few songs from each genre.  Try to transcribe one from each genre in a key you think is appropriate for communal singing.

4. Analyze your transcriptions informally, but with an eye towards the elements you look for in your song collection analyses.  What elements are easy to find?  What elements are almost non-existent?  What makes a song difficult or easy?  How did you deal with the rhythms in the more syncopated examples?  Did you find that you really didn't want to have to write down the rhythms the way that you actually sing them?

5. If you were to make your own list from the songs you chose, plus others you know, what songs would you include?  Remember, these are songs you think every grownup in North America should know and be able to sing...not necessarily the songs you'd use in your classroom (so, in a sense, I'm asking you to choose with your heart rather than your head). How do your examples differ from the songs you chose to leave off your list?  Do your own examples come from your Kodály song collection, or from another source?  How personal are these songs to you?

6. Just for fun, as you go about your daily life, sing some of your favorite songs -- with others, or just by yourself.  Who knows?  Maybe you'll inspire other grownups to lift up their voices and sing.

Spring Break with Alan Lomax

Hello all!

Well, my writing obligations are not yet completely fulfilled, so I need to make another brief (and late....sorry!) post.  However, the resource we'll be using is quite the treasure trove, and I hope it provides you with many happy hours of diversion, not only as solfa practitioners, but as people who are listening for the enrichment of your hearts.

All Levels:

First, read this:

http://www.npr.org/blogs/therecord/2012/03/28/148915022/alan-lomaxs-massive-archive-goes-online
(I especially like the part where the blogger describes Alan's analytical system as being "like Pandora for grad students".....yeah, dude, if you only knew.....)

Then, follow the link in the article here:

http://research.culturalequity.org/home-audio.jsp
(the server seems to be pretty busy, so be persistent if it doesn't work the first time)

Break out your tuning forks and manuscript paper (or stick notation), and get ready to party.  You might even be able to add to your song collection!

Listen, transcribe, and enjoy!

Time held me...

My dear readers,

I know this post is late, but it'll also be a bit short -- forgive me, and I promise more and better soon!

All Levels:


First, let Mr. Hopkins read this to you:
http://www.youtube.com/watch?v=ZpydvqTm0hI

I recommend just closing your eyes and listening the first time.

Then, for the visual learners, read the poem here:
http://www.poetryfoundation.org/poem/175908

John Corigliano's setting of the poem appears several places on YouTube, but this one seems to work well:
http://www.youtube.com/watch?v=8tp7yyn1xcY (Part 1)
http://www.youtube.com/watch?v=LhEnCb0LJeU (Part 2)

Listen to the whole piece (about 20 minutes total).

Derive the form (I have my own opinion about it....I'd love to know yours!).  How does this reflect the form and/or content of the poem?

Figure out what's going on metrically...find the big beat, and then figure out what's up with the subdivisions.

Sing the opening instrumental theme, and see if you can apply some solfege to it.

Sing the opening vocal theme (soprano part), and see if you can apply some solfege to that.

At the end of the piece, something very interesting happens to the opening vocal theme -- it's sung in unison by the whole choir at "Oh, as I was young and easy in the mercy of his means," but it's altered -- how would you describe this alteration?

Transcribe anything you'd like....it's challenging, so take a small bite and see what you can do.

That's it this time...but please enjoy!  Time has its own hold on me at the moment, which I'm hoping it will loosen soon!

Balance

Welcome, dear readers!

Spring-like weather is tentatively continuing here in Denver...I am attempting to remain skeptical, but all these sunny days have my hopes running sky-high for real spring!  My journey to Phoenix later this week will probably only make it harder to keep my spring fever at bay, since they're expecting high 70's and 80's.  I plan to bask unapologetically the entire time I'm there -- will any of you be joining the big OAKE party?  If so, let me know, and let's catch up!

Thinking about the weather is an extremely pleasant distraction from the rigors of degree-finishing and future-forging that occupy most of my head-space at the moment.  It's an interesting time, and my hopes are high -- I'm lucky to have good support from my faculty, and I believe that good things are on their way, employment-wise.  Keeping the sense of urgency at bay is hard, sometimes too hard, and panic kicks me around the schoolyard and steals my sleep (like so much lunch money) and makes me feel like I'd better get my hands on a refrigerator box ASAP.  And then, I'm lucky again...my dear friends help me piece my sense of well-being back together and remind me that sometimes I just need a good night's sleep and maybe an afternoon off...and having those things will not prevent me from getting everything done.

I'm sure I am not at all alone in this.  The middle path is difficult to keep track of, and I'm not really sure why.  It's just too easy to run to extremes -- enough somehow usually doesn't seem like enough.  It's too big an issue for one little blog, really.  But, a funny thing I caught myself doing two times today is sort of the inspiration for this week's assignment.  Immediately upon both church services finishing, I made for the out-of-doors and immediately did something extremely silly -- skipping in my choir robe, quoting this movie, maniacal giggling, you get the idea.  Why?  Not because I disliked the services (I actually like the services and the music quite a bit), but because I had to behave myself just so for a certain period of time, causing a backlog of silliness that demanded to be set free the moment such a thing became possible.  It felt good (like the proper resolution of a V7 or a 4-3 suspension), no one seemed to be the worse for wear, and balance was restored to my little corner of the universe.  So, in that vein...

Rising Level 2's


Here's a little gem for you:

http://www2.cpdl.org/wiki/images/5/53/Praetorius_-_Wie_schoen_leuchtet.pdf

We've dealt with this tune before, so hopefully it sounds a little familiar to you, though the rhythmic language of this setting is a bit more complex than what we've worked on before.

Therefore, start with the lowest line (extra points if you can tell me a little something about what "Bassus generalis pro organo si placet" means), just so you're not distracted by melodic material.  Determine what meter you're actually in (hint: the top number in the time signature is NOT an 8, and neither should you count in 8), then tap or clap your way through.  Once that feels comfortable enough, sing that bottom line (note the clef changes -- you may choose whatever octave you want to sing in).

Now, go do something silly for five minutes.

At your next practice session, look at the top line and clap/tap your way through.  Try tapping the rhythm with one hand while you conduct with the other.

Now, go do something silly for five minutes.

Next time, sing through that top line.  Note that the B-naturals are just a little chromatic inflection that you will call "fi" -- they shouldn't pose much of a problem.

Guess what?  Go do something silly for five minutes.

Now, tackle the rhythm of the middle line....it's probably the most rhythmically challenging, and conducting along with your tapping is a good idea.

Done?  Good...time for your five-minute break!

Try singing the middle line...like the top line, it has a "fi" here and there, but no worries.

And one more five-minute break!

If you can, find a friend or two to sing through this with....it'll be fun, and then you can take your silly breaks together!

Rising Level 3's


And here's a piece for you:

http://www2.cpdl.org/wiki/images/sheet/scar-exr.pdf

Note that there's a rhythmic error in the next-to-last measure in the alto part -- that last C-sharp should be a whole note, not a half note.

You're going to follow the same general practice-break scheme as the 2's, but your learning procedure will be a little different.

First, look over the piece up to m. 45 and find what material Mr. Scarlatti used imitatively -- basically, you're hunting for motives or themes.  The first one is easy: the opening of the soprano part, which I think you might call Theme A.  Does it happen in other parts?  Is it transposed?  Find and label any repetitions.  Then, find a few more themes like that in between the beginning of the piece and m. 45.

Now, what changes at m. 46 (hint: think texture)?  How are you going to deal with the chromaticism you encounter?  Go back through the whole piece and locate any places you suspect you may need to change keys.

Now, just tackle one vocal line per day.  If you whip through that easily, do a solfa chord analysis of m. 46-end.  Again, singing through the piece with friends could be a lot of fun....

Rising Level 4's


For you guys, something very Lenten and fun:

http://www2.cpdl.org/wiki/images/f/fe/Battishill_o_lord_look_down.pdf

You're also on the alternation-of-work-and-fun plan, like the 2's, and your learning process is going to be rather similar to the 3's.

Begin by looking over the whole piece, noting any divisi and marking any homophonic sections.  Do a cursory examination of the accidentals you encounter, and decide where you might want to change keys.

Now, look over the text and see if you can associate particular themes or motives with textual sections.  Label these motives if you discover them.

Sing through the lines one at a time, paying special attention to intonation in any minor seconds or augmented seconds you encounter.

For fun, using the keyboard score (which is essentially a simplified reduction of the vocal lines), do a Roman numeral analysis of this piece.  Or, if you don't have time for the whole piece, focus on these spots:

mm. 71-86 (in C minor)
m. 107-end (trust the key signature)

Enjoy!

Dear March, come in!

Welcome, solfeggists!

As I look out my window today, I could easily be hoodwinked into believing that spring has arrived in Denver -- but, I've lived here long enough to know this is almost certainly just a tease.  I grew up on the west coast, and by now, we'd be at the end of crocus season and the daffodils would be raring to take over with tulips close on their heels, but here....not so much.  However, the 60-degree weather is a welcome change, though I know it's only for the next few days (for you non-Coloradans out there, I like to think of Denver as the only place I know where people could reasonably dream of a White Easter and probably eat their Thanksgiving Dinner on their outdoor picnic table later the same year...it's a weird place)....I have to make the most of bits of spring as they come here, since there's often just a stark segue from the last April or May blizzard directly into summer.

So, let's find some springtime music to enjoy!

Rising Level 2's


Here's a recording to listen to:

http://www.youtube.com/watch?v=Tf6P2K_uXH8

(There are plenty of other recordings of this piece on YouTube, and feel free to choose another one if you like it better)

Try to figure out the rhythmic pattern you're hearing before you look at the score below - note that the meter isn't constant and that the pattern seems to be anacrusic.  Speak the rhythmic pattern in tas and ta-tis, then transcribe it.

Check your transcribed rhythm against the score here:


http://www2.cpdl.org/wiki/images/7/74/Lejeune_Revecy.pdf

What metric decisions did you make aurally?  Do they differ from the notation here?  How?

Now, sing through the various parts in solfa -- nothing too difficult, yes?  Almost completely diatonic (the odd fi and di pop up, but nothing earth-shattering), and lots of stepwise motion. What do you notice about the texture throughout the piece.

Finally, read this little Wikipedia write-up on the genre this piece is frequently used to exemplify in music history classes:

http://en.wikipedia.org/wiki/Musique_mesurée

So yeah, it's a piece about spring, but evidently it was also one more weapon in the arsenal of a bunch of French guys looking to save the world through music.  Some commentators have also said that the  rhythmic pattern of this little ditty (though the same pattern is also found in Latin American dances) was actually Bernstein's inspiration for writing this piece...

http://www.youtube.com/watch?v=Rjy9acXwovE

Rising Level 3's


Listen to this lovely tune:

http://www.youtube.com/watch?v=LjJzPok_qmE

After one time through the whole recording, I bet you'll be able to derive the form of each strophe -- what is the form?  What is the meter?  How long does each phrase last?

Now that you have that information, listen a few more times and put each line into solfa.  Which line has the chromatic bit?  What interval does the chromatic syllable create with the note it is approached by?  How does the singer in the recording treat the chromatic note?

Memorize the melody.  Transcribe it in a key comfortable for your voice.

Now, look at this score:

(higher voices)
http://conquest.imslp.info/files/imglnks/usimg/c/c0/IMSLP46772-PMLP99648-Mozart_-_Sehnsucht_nach_dem_Fr__hlinge__K_596.pdf

(lower voices)
http://javanese.imslp.info/files/imglnks/usimg/0/0e/IMSLP115749-PMLP99648-Mozart_-_Sehnsucht_MV_rsl.pdf

Does your solfa line up with what you see here?

Now, notice how simple the accompaniment is...you probably discerned that from the recording (although the pianist there added some fancy stuff), and maybe you even saw this phase of the assignment coming...

Do a quick Roman numeral analysis of the accompaniment, including figured bass.

Now, either working from your figured bass (which might prove to be easier) or from the score, accompany yourself as you sing the memorized melody in solfa.  If that's easy, transpose to a new key.

Rising Level 4's


Listen to this piece:

http://www.youtube.com/watch?v=9MhxgM84Th8&feature=related

Listen to the whole thing the first time to get a sense of what happens in the piece.  Then, focus on the first statement of the melody by the sopranos and altos.  What is the metric structure of this theme -- is there one meter throughout, or are there several (hint: watch the conductor...he's extremely clear!)?  What is the tonal language being used?

The words (drawn from the Song of Solomon in the Bible) are:

Awake, O north wind, and come, thou south;
Blow upon my garden
That the spices may flow out
That the spices flow out
Let my beloved come into his garden
And eat his pleasant fruits.


Memorize the theme (upper part when it splits briefly) with the words.  Notice that it is treated imitatively later in the piece -- what do you think this depicts?

Now for the tricky part -- try to solmize this.  It won't be easy, but I bet you can do it.  You have my permission to use piano to help yourself if you get reeeeeeeeally stuck, but try to go without it as much as possible.  Here are my hints:

You will probably be tempted to call the first leap in the melody mi-la.  You can do that, but it'll mean you'll need to use fi several times later on.  However, the good news is that that's the only chromatic syllable you'll need at all -- and you won't even need that if you call the first leap la-re.

The first note and last note of the tune are the same.

The highest note in the piece is an octave and a fifth above the starting note.

If you successfully solmize the whole theme, you should transcribe it and send it to me and I will tell you that you're wonderful and send you a prize.  No, seriously, I will.

Good luck, all, and have a fantastic week!