Something to sink your teeth into...

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!