Chorale Prelude: Be Thou My Vision

Jack Stamp

Kjos Publishing

Grade IV

Unit study by Kathleen Dishion

Objectives:

The students will sing the melody to “Be Thou My Vision”, adding in correct phrasing and breathing.

The students will compose a 4 bar syncopated rhythm with correct counts.

The students will make connections between music and visual art.

The students will correctly identify the difference between this piece and a true canon.

The students will perform this piece for a concert of friends and family with 95% accuracy.

The students will research traditional Irish music and instruments, making connections between ancient and current music.

The students will identify the purpose of suspensions in music.

National Standards

Singing, alone and with others, a varied repertoire of music

Playing on instruments, alone and with others, a varied repertoire of music

Reading and notating music

Evaluating music and music performances

Composing and arranging music within specified guidelines

Understanding relationships between music, the other arts, and disciplines outside the arts

Understanding music in relation to history and culture

Score Analysis

Composer:

Dr. Jack Stamp is Professor of Music and Conductor of Bands at Indiana University of Pennsylvania where he conducts the Wind Ensemble, Symphony Band, and teaches courses in undergraduate and graduate conducting. Dr. Stamp received his Bachelor of Science in Music Education degree from IUP, a Master's in Percussion Performance from East Carolina University, and a Doctor of Musical Arts Degree in Conducting from Michigan State University where he studied with Eugene Corporon.

Prior to his appointment at IUP, he served as chairman of the Division of Fine Arts at Campbell University in North Carolina. He also taught for several years in the public schools of North Carolina. In addition to these posts, Dr. Stamp served as conductor of the Duke University Wind Symphony (1988-89) and was musical director of the Triangle British Brass Band, leading them to a national brass band championship in 1989.

Dr. Stamp's primary composition teachers have been Robert Washburn and Fisher Tull, though he was strongly influenced by his music theory teachers at Indiana University of Pennsylvania and East Carolina. Recent studies include work with noted American composers David Diamond, Joan Tower and Richard Danielpour.

He is active as a guest conductor, clinician, adjudicator, and composer throughout North America and Great Britain. His compositions have been commissioned and performed by leading military and university bands across the United States. He has won the praise of American composers David Diamond, Norman Dello Joio, Samuel Adler, Robert Ward, Robert Washburn, Fisher Tull, Nancy Galbraith and Bruce Yurko for performances of their works. He is also a contributing author to the "Teaching Music through Performance in Band" series released by GIA Publications.

In 1996, he received the Orpheus Award from the Zeta Tau Chapter of Phi Mu Alpha for service to music and was named a "Distinguished Alumnus" of Indiana University of Pennsylvania. In 1999, he received the "Citation of Excellence" from the Pennsylvania Music Educators Association. In 2000, he was inducted into the prestigious American Bandmasters Association.

Two CD recordings on the Citadel label entitled "Past the Equinox: The Music of Jack Stamp" and "Cloudsplitter" by the Keystone Wind Ensemble with the composer conducting feature his band works. He is founder and conductor of this ensemble, and also leads them on the Citadel releases, "Night Fantasy: The Wind Music of Robert Ward", "Divertimento: Wind Music by American Composers", "Celebrations", "Wind Visions: The Music of Samuel Adler", "Songs of Abelard", "Pageant", and "Cornerstones".

(Biography from <http://www.arts.iup.edu/facmus/jestamp/>)

Selected Works:

Gavorkna Fanfare (Kjos)- 5

Four Maryland Songs (C. Alan)- 4

Pastime (Kjos)- 5

Past the Equinox (Kjos)- 4

Elegy and Affirmation (Kjos)- 4

Cenotaph (Kjos)- 3.5

Divertimento in F (Kjos)- 5

Ricercare (Kjos)- 5

Composition:

The piece is based on the hymn tune “Slane”, more commonly known as the hymn “Be Thou My Vision”. The tune is ancient Irish in origin. Slane Hill is about ten miles from Tara in County Meath. It was on Slane Hill around 433 AD that St. Patrick defied a royal edict by lighting candles on Easter Eve. High King Logaire of Tara had decreed that no one could light a fire before Logaire began the pagan spring festival by lighting a fire on Tara Hill. Logaire was so impressed by Patrick’s devotion that, despite his defiance (or perhaps because of it), he let him continue his missionary work. The words, although not a part of this composition, are also ancient Irish. They are attributed to Dallan Forgaill (8^th century) and were translated into English by Mary E. Byrne in 1905.

Be Thou my Vision, O Lord of my heart;
Naught be all else to me, save that Thou art
Thou my best Thought, by day or by night,
Waking or sleeping, Thy presence my light.

Be Thou my Wisdom, and Thou my true Word;
I ever with Thee and Thou with me, Lord;
Thou my great Father, I Thy true son;
Thou in me dwelling, and I with Thee one.

Be Thou my battle Shield, Sword for the fight;
Be Thou my Dignity, Thou my Delight;
Thou my soul’s Shelter, Thou my high Tower:
Raise Thou me heavenward, O Power of my power.

Riches I heed not, nor man’s empty praise,
Thou mine Inheritance, now and always:
Thou and Thou only, first in my heart,
High King of Heaven, my Treasure Thou art.

High King of Heaven, my victory won,
May I reach Heaven’s joys, O bright Heaven’s Sun!
Heart of my own heart, whatever befall,
Still be my Vision, O Ruler of all.

The piece is listed as both grade IV and grade III. It was written for the Wind Ensemble at Arkansas State University, and first published in 1997. Other arrangements of this tune include works from all difficulty levels. Composers include Gillingham, Cross, Kidd, and Wagner.

Irish folk music is well entrenched in our culture. Perhaps the most famous Irish tune is “Danny Boy”, but other popular ones include “Londonderry Air”, “The Irish Rover”, and all Metallica fans are familiar with “Whiskey in the Jar (Kilgary Mountain)”. “Be Thou My Vision” is a slow ballad, and is similar in style to “Danny Boy”.

(http://www.cyberhymnal.org/htm/b/t/btmvison.htm)

Historical Perspective:

The idea of using chorales and hymns is not new. Bach is one of the major composers to have perfected the chorale prelude genre, as well as using hymns as the basis for compositions. English and American composers often use hymns as the basis for sets of variations. “Simple Gifts” (Ticheli, Zdechlik) is a tune that is often used in this manner, as well as “Amazing Grace” (Claude Smith, Ticheli), “Dona Nobis Pacem” (Sudduth, Del Borgo), and “Eternal Father, Strong to Save” (Smith, Coachman), to name only a few of the more popular ones. A J.W. Pepper band music search for “variations” will produce 226 results, of which most are hymn tunes.

Technical Considerations:

This piece is not technically difficult for students accustomed to playing grade III and IV music. Stylistic aspects, such as the bell tones in the beginning, middle, and end of the piece (1-11, 27-34, 84-end), which are eventually played by all instruments, require control and might be more difficult for younger players to achieve. Students must also be able to play individually, due to some open scoring and the canonical section in measures 35-47. The ability to play powerfully in the chordal, majestic section, measures 68-83, is imperative. This section also presents more challenges, as the students must be able to play at a ff volume, yet still have a good tone and blend with the ensemble, while at the same time being careful to balance the sound. There is also an extended English Horn solo. This solo is cross-cued if sufficient instrumentation is not available. An E-flat clarinet part is included, which may not be a part of some younger bands, but this part is always doubled in another part. In the final section, the first trumpet has a high C, and the French horn has a top line F. These notes might present a challenge for some younger instrumentalists. Two 5/8 measures (51-52) as well as minor syncopation may trip up younger bands. Stamp also changes meter throughout the piece, which could be an initial problem with some bands. Accidentals are used to create different harmonies. The accidentals themselves should not be a problem, but the harmonies they create might be unusual to some players. Care should be taken to ensure that they are playing the correct notes and hearing the right things.

Stylistic Considerations:

Due to the complex and changing harmonies in the piece, proper balance is essential. This includes the internal lines which create harmonic interest and must be heard. This is particularly true in the final chorale section.

Measures of interest:

mm. 68-73, 81 in the French horns

mm. 75-83 in the low reeds/tuba

Style matching is also very important. In the introductory, transitional, and coda sections, each attack should be bell-like, so that the initial attack is heard clearly. The notes should be sustained to preserve the harmonies, but should not overpower additional attacks. In the hymnal setting, the woodwinds should play with a smooth, singing style. Each part should be heard equally. The canonical section (mm.35-47) requires the players to match style exactly. Each part that is added must sound the same as the initial statement. In the chorale section, the players should perform with a majestic style. It also must be matched across the ensemble in order to achieve the maximum effect.

Style markings are written in the score. It is important that the performers follow these, as they add greatly to the mood of the piece.

Musical Elements:

This piece involves several different compositional techniques. The introduction, based on the first six notes of the hymn tune, includes octave displacement and melodic/harmonic stacking. The octave displacement involves hearing the melody in at least 2 octaves. In this case, it is the first six notes, played as bell tones. It is important for the conductor to pay close attention to balance on this section, due to the displacement. Each note brings in another instrument or group of instruments, in ascending score order. This opening theme is repeated three times, each time moving down a whole step. It is based primarily in the woodwinds. As each note is sounded, it is sustained, creating a harmony from the melody.

At measure 11, the woodwinds present the tune in a full hymnal style. Some important considerations for the conductor in this section include the counter movement in measure 12 & 13; the suspension between 13 & 14 in the 3^rd clarinet and tenor sax; the 3^rd clarinet syncopation in 15; bringing out the 16^th notes in the bass clarinet, bassoon, and bari sax in 17; the importance of the tuba entrance into 19; the suspension in the 3^rd clarinet and tenor sax between 19 & 20; and the 3^rd clarinet and 2^nd alto sax movement in 22. The cymbal roll in 26 must be brought out in order to create the necessary lead-in to the next section.

Measure 27, a transition into the development, brings the return of introductory material in the brass section. These notes should be played as bell tones, with care taken to bring out any moving notes. The suspended cymbal rolls and crescendos should also be exaggerated to create tension. This section ends on a dissonant cluster/polychord, so the conductor must be careful to maintain the balance of the ensemble.

The development section is based on the third phrase of the hymn, and is highly canonical and contrapuntal. New statements begin every two measures, so bring these entrances out. In measure 39 and 40 the bass clarinet and tenor sax have a syncopated rhythm that should be brought out. There is also a suspension form 40-41 in the 2^nd clarinet and alto sax. Measures 43-47 become busier as the music pushes to modulate to A-flat. Make sure that all parts are equally heard and that students do not shy away from dissonances, such as the suspension into 44. In the polytonal measures of 53-55, make sure all parts are equally brought out.

The English horn enters at the end of the development with a reflective quality. The chords in the low woodwinds should not be allowed to overpower the solo. Exaggerate the gradual crescendo at 64 in order to create drama for the upcoming majestic section.

In the majestic chorale section, beginning at measure 68, the composer uses “substitute chords” to make this section interesting and powerful. Bring out syncopations in measure 69 and 71, as well as moving 8^th notes that appear at various times in most of the parts. The crescendos in the timpani and suspended cymbal are important, as they push the music toward the next phrase. Be sure that these are heard. At measure 75, the basses have a suspension leading into an accented, syncopated part. This should be brought out as well. The accents are removed at 78, but return for short 8^th note statements in many of the parts. Make sure that there is a distinction between these notes and surrounding notes. Continue to bring out the bass syncopation, as well as the accented 16ths in the English horn, alto sax, and French horn. The final measures call for the moving 8ths in the basses to take precedence over the chords, as they add interest. The suspended cymbal roll should also be heard.

The final section has the ensemble restating the introduction. Any moving 8th notes should be brought out, and accents should be exaggerated. The suspended cymbal roll is once again very important to the movement of the music. In measure 89, the sfz in the basses and timpani should be brought out before resolving to a loud, full tonic chord at the end.

Form and Structure:

Measure Event

1-10 Bell-like introduction of first phrase of hymn with octave displacement and harmonic stacking. The first phrase is repeated three times, each time moving the tonal center down a step. Dynamics grow with each statement as well, beginning at piano.

11-26 Full statement of tune with traditional harmonization in E-flat major. This section is completely woodwinds, excepting the addition of the tuba for measures 18-23.

27-34 Transition in based on introductory material. Brass and percussion are added in. The first statement is in E-flat, while the second statement adds accidentals to create a sense of D-flat Major.

35-46 Canonical, contrapuntal development section based on third phrase of hymn tune. Texture is thin, and includes only the woodwinds. This section builds toward the end.

47-57 All instruments enter. Texture is much thicker, and accidentals are utilized to create a bitonal sound. Measures 51 and 52 are in 5/8 time. This section decrescendos in preparation for the English horn solo.

58-63 English horn solo with clarinet and saxophone accompaniment, still based on the third phrase of the hymn tune. A small ritardando is written in to aid in expression.

64-67 The original tempo returns. Other instruments join in and modulate to B-flat. This is achieved by repeating the same motive four times, moving in stepwise motion through related keys. A pedal tone of F is presented by the tuba and timpani, providing continuity. A molto ritardando at measure 67, accompanied by accent markings and a fortissimo dynamic level, adds to the drama and majesty of the upcoming chorale section.

68-83 Majestic chorale setting of hymn tune with elaborate harmonization. The key signature suggests B-flat Major, which is the key of the melody. Accompaniment parts bring in many accidentals, both sharps and flats, which contribute to the intricacy of the harmony. Style is very important in this section. It is also important for the moving lines in the horns and tuba to be brought out.

84-end “Coda” based on opening section. Once again, the six-note introductory phrase is presented in three tonal centers (B-flat, G-flat, and E-flat) before ending on a B-flat major triad.

Lessons

Warm-up exercises

1. Play the B-flat and E-flat concert scales using the syncopated rhythms composed by the students
2. Play m. 68-83 as a slow chorale, having students listen for tuning and balance
3. Play B-flat and E-flat scales in a round
4. Play B-Flat and E-flat scales using the 5/8 rhythm found in measures 51-52

Melody

The student will sing the hymn “Be Thou My Vision” in unison in order to understand correct phrasing of the melody.

1. Have students sing the hymn, printed in their student guides
2. Students should mark the logical breathing spots in their guides
3. Students play through mm. 68-84, breathing in the correct spots.

Discussion:

1. Why did you breathe where you did?
2. How do the words affect the phrasing in this tune?

Visual art connection- Tatted Celtic cross

Harmony

1. Explain what a suspension is.
2. Hand out copies of score pages; ask students to circle each suspension they see.
3. Play through this section
4. Play again, asking students to remove suspensions (they should know if they have one from the circled score copy)

Discussion:

1. How were the two times different?
2. What kind of feeling did the suspensions add to the music?

Connection to the piece

Jack Stamp loves to use suspensions, and they can be found throughout the piece.

Visual art connection- the use of color to create tension

Rhythm

1. Go over the definition of syncopation
2. Point out instances of syncopation; have students play these for examples
3. Direct students to compose four bars of syncopated rhythm
4. Have students write out counts below
5. Play some of these rhythms in warm-ups

Discussion:

1. Why did you choose the rhythms you did?
2. What about this activity was hard/ easy?
3. How does this add interest to an accompaniment part, like in this piece?

Visual art connection- Picasso and cubism

Form

1. Discuss the term “canon” and its relationship to the piece
2. Ask for examples of other canons (Pachelbel, etc.); play a few of these
3. Have each part play separately- ask students why this section is not a true canon

Discussion:

1. What aspects of canons might make them difficult to write?
2. What about the canonical section in this piece makes it not a “true” canon?

Visual art connection- Celtic knot

History and Culture

Webquest researching Irish folktunes and traditional instruments

Assessments

Student Quiz

1. Who used cubism in his painting, and what musical concept can it be related to?

Picasso, syncopation

Why?

Features of the painting, like the accented notes, are not where you expect them to be

2. What is a canon?

Imitative music where each instrument has the exact same part, but they all start at different times

Where in this piece is it used?

In the woodwinds, m. 35-47.

3. How are suspensions used in music?

To add tension and release

4. Where does the composer of this piece teach?

Indiana University of Pennsylvania

Other Assessments

Playing Test

- Students play mm. 68-84, using correct phrasing

- Also any other spot students are struggling with

Webquest essay

Informal observation and questioning

Weekly journal

Resources

http://www.arts.iup.edu/facmus/jestamp/

http://www.cyberhymnal.org/htm/b/t/btmvison.htm

www.kjos.com

www.harbour.sfu.ca/~hayward/van/glossary/vision.html

www.carmelmooney.com

Chorale Prelude Be Thou My Vision

By Dr. Jack Stamp

Student Guide

Student Goals

You will understand music in relation to visual art.

You will compose a syncopated rhythm.

You will better understand the musical elements of this piece.

You will be a better performer!

About the Composer

Dr. Jack Stamp is Professor of Music and Conductor of Bands at Indiana University of Pennsylvania where he conducts the Wind Ensemble, Symphony Band, and teaches courses in undergraduate and graduate conducting. Dr. Stamp received his Bachelor of Science in Music Education degree from IUP, a Master's in Percussion Performance from East Carolina University, and a Doctor of Musical Arts Degree in Conducting from Michigan State University where he studied with Eugene Corporon.

Prior to his appointment at IUP, he served as chairman of the Division of Fine Arts at Campbell University in North Carolina. He also taught for several years in the public schools of North Carolina. In addition to these posts, Dr. Stamp served as conductor of the Duke University Wind Symphony (1988-89) and was musical director of the Triangle British Brass Band, leading them to a national brass band championship in 1989.

Dr. Stamp's primary composition teachers have been Robert Washburn and Fisher Tull, though he was strongly influenced by his music theory teachers at Indiana University of Pennsylvania and East Carolina. Recent studies include work with noted American composers David Diamond, Joan Tower and Richard Danielpour.

“Be Thou My Vision” Cultural and Historical Background

The piece is based on the hymn tune “Slane”, more commonly known as the hymn “Be Thou My Vision”. The tune is ancient Irish in origin. Slane Hill is about ten miles from Tara in County Meath. It was on Slane Hill around 433 AD that St. Patrick defied a royal edict by lighting candles on Easter Eve. High King Logaire of Tara had decreed that no one could light a fire before Logaire began the pagan spring festival by lighting a fire on Tara Hill. Logaire was so impressed by Patrick’s devotion that, despite his defiance (or perhaps because of it), he let him continue his missionary work. The words, although not a part of this composition, are also ancient Irish. They are attributed to Dallan Forgaill (8^th century) and were translated into English by Mary E. Byrne in 1905.

Be Thou my Vision, O Lord of my heart;
Naught be all else to me, save that Thou art
Thou my best Thought, by day or by night,
Waking or sleeping, Thy presence my light.

Be Thou my Wisdom, and Thou my true Word;
I ever with Thee and Thou with me, Lord;
Thou my great Father, I Thy true son;
Thou in me dwelling, and I with Thee one.

Be Thou my battle Shield, Sword for the fight;
Be Thou my Dignity, Thou my Delight;
Thou my soul’s Shelter, Thou my high Tower:
Raise Thou me heavenward, O Power of my power.

Riches I heed not, nor man’s empty praise,
Thou mine Inheritance, now and always:
Thou and Thou only, first in my heart,
High King of Heaven, my Treasure Thou art.

High King of Heaven, my victory won,
May I reach Heaven’s joys, O bright Heaven’s Sun!
Heart of my own heart, whatever befall,
Still be my Vision, O Ruler of all.

Rhythm

Jack Stamp uses syncopation throughout this piece, mostly in the accompaniment part.

For example:

mm. 40, Tenor sax

The accent is on the weak beat.

For this activity, you are to compose a 4 bar syncopated rhythm. Write the counts below the notes, using whatever method you are comfortable with.

_______________________________________________________________________

Be sure that you are capable of playing this rhythm, as we will be using these in our warm-ups!

This is a painting by Pablo Picasso entitled “Bust of a Woman Seated in Chair”. In syncopation, the accent is on the strong beat, which is where you wouldn’t expect it. In this painting, the woman’s features have received a similar treatment- they are not where you would expect them to be. This style of painting is called “cubism”.

Form

In measures 35- 46, the woodwinds have the third phrase of the hymn in a form that is almost a canon. A canon is a musical form in which all instruments have the exactly the same part, but they start at different times. Listen to your classmates play their parts at this section.

Why would this section not completely fit the definition of a canon?

What other canons have you heard?

What characteristics of a canon would make writing one difficult?

Celtic knots were used by ancestors of the Irish people as decoration in religious and other documents, and are still used as decoration today. Like a canon, three colors of strings (blue, white, and green), which are all the same and simple, combine to make a very complicated final product.

Melody

This piece is based on the Irish tune “Slane”, more commonly known as the hymn “Be Thou My Vision”. Below you will find the words and melody for this hymn. We will sing through this as a class.

Where were the logical places to take a breath? Please mark these in.

Why did you choose those places?

Now play through your music at measure 68, using the breaths you put in the hymn. How does this affect the phrasing of the music?

This is a picture of a Celtic cross that has been tatted. (Tatting is an art form that consists of lots of knots in varying patterns.) Like the melody in this tune, it is simple, but the work as a whole is very beautiful. Also like the melody, there are small loops, called picots, at the top of each larger loop. These smaller loops resemble the breaths in between each phrase. The cross shape of the design is also related to the religious content of the words.

Harmony

A suspension occurs when one note from a chord is held over into the next chord before being resolved. This often creates a feeling of tension in the music. Jack Stamp loves to use suspensions.

Please look at the copy of the score that your teacher has handed out. Circle any suspensions that you see.

How did the music sound when the suspensions were taken out?

This is a painting called “Glenbeigh Landscape” by Irish artist Carmel Mooney. The stormy colors used in the painting create a feeling of tension in the viewer, much like the held notes in a suspension.

Glossary

Andante- a moderately slow tempo

Bitonality- The use of two different keys simultaneously

Canon- A composition or passage in which a melody is imitated by one or more voices at fixed intervals of pitch and time.

Folk tune- a piece of music that has been passed down through generations and is generally associated with one specific culture

Suspension- Occurs when a note from one chord is held over into another chord

Practice guide

1. Practice the concert B-flat and E-flat scales using these styles:
1. Majestic
2. Legato
3. Bell tones

2. Brass- Practice these range-builders:

Move up by whole steps and repeat the pattern.

Move up by whole steps and repeat the pattern.

3. Woodwinds- Practice your part at measures 35-47 with a metronome so that you will be able to put it with the rest of the band. (q = 90) Pay careful attention to the syncopation.

4. All players- practice your part, paying careful attention to stylistic, dynamic, and chromatic alterations.

Quiz

1. Who used cubism in his painting, and what musical concept can it be related to?

Why?

2. What is a canon?

Where in this piece is it used?

3. How are suspensions used in music?

4. Where does the composer of this piece teach?

Webquest

Introduction

The local museum is doing an exhibit on traditional Irish music and instruments. The regular researcher is sick with the flu, so he can’t provide any information on any of the artifacts that the museum has. Since he knows that you have experience with Irish folk music, the curator has asked you to step in and help find information on traditional Irish music.

Task

Using the resources below, find out about traditional Irish music. The museum has exhibits on instruments as well as songs, so there are several pieces of information that the curator needs you to find. First, you need to find a few traditional Irish tunes. Second, you will need to provide some brief background on these tunes. Third, find out 4 instruments that are used in Irish music and describe them. Once you have all this information, you need to compile it into a 4 page paper (typed and double spaced, so that the curator can read it with his bad eyesight).

Resources

http://www.contemplator.com/ireland/

Lists many different Irish tunes by time period and includes historical information.

http://www.ireland-information.com/irishmusic/irishsongs-music-lyrics-midis.htm

http://www.twilightbridge.com/hobbies/festivals/patrick/music/barry/midi.htm

These two sites list even more tunes, with recordings.

http://www.stmoroky.com/reviews/music/irinst.htm

This site is great for finding information about instruments.

www.google.com

is also a great site for finding additional sites and information.

1. Find at least 3 different Irish folk tunes
2. Write a paragraph for each one, telling its history and any other information you can find
3. Find 4 different instruments that are used in Irish music
4. Describe how these are used in Irish music, as well as any distinctive characteristics, what instrument family they belong to, and any other interesting information
5. Compile this information into a 3 page, typed, double spaced essay

Rubric

	0	1	2	3
Folk tunes	No songs are included	1 song is included	2 songs are included	3+ songs are included
Historical Information	No Information	Minimal information	Information is included, but does not go into much detail	Information is included and thorough
Instruments	No instruments are included	1-2 instruments are included	3 instruments included	4 instruments are included
Instrument Information	No Information	Minimal Information	Information is included, but does not go into much detail	Information is included and thorough
Presentation	10 or more grammar or spelling mistakes	9-5 grammar or spelling mistakes	4-1 grammar or spelling mistakes	No grammar or spelling mistakes
Directions followed		Paper is typed and double-spaced according to directions

Conclusion

The curator of the museum was very thankful to you for stepping in and filling his researcher’s shoes. Your research helped this exhibit open without a hitch. People have been raving about it all over town!