Chorale Prelude: Be Thou My Vision

By Jack Stamp

Kjos Publishing

Grade IV

TEACHER’S GUIDE

Developed by Kirsten McManus

Kansas State University

MUS 670 – Advanced Topics in Music Education

Dr. Frederick Burrack

Learning goals for this piece include the following:

1. Students will recognize where the melody is located in the piece and what instrument is playing it.

Standard Addressed: 5, 6

2. Through composing a 16-measure hymn with the given cadences, students will demonstrate their understanding of the hymn style.

Standard Addressed: 2, 3, 4, 5, 9

3. The students will understand the concept of steady eighth notes through time changes.

Standard Addressed: 5

4. The student will notate the form in their music.

Standard Addressed: 7

5. In writing in the lyrics of Be Thou My Vision, students will demonstrate their knowledge of correct phrasing and breathing while performing a hymn.

Standard Addressed: 1, 4, 5, 9

6. Using their knowledge of hymns, students will find a recording of a choir singing a hymn. After critically listening to the recording, students will:
1. Pick three reaction words and write brief descriptions as to why each word was chosen.
2. Create an aesthetic representation of their reactions to the music.

Standard Addressed: 6, 7

7. Through a vocabulary quiz, students will correctly identify all terms associated with hymn songs and other related genres.

Standard Addressed: 6, 9

8. The student will prepare the materials in the “Practice Guide” section and will successfully complete a playing test with 90% accuracy.

Standard Addressed: 5, 8

Kirsten McManus

Music 670

Unit Study

Chorale Prelude: Be Thou My Vision by Jack Stamp

March 24, 2008

Unit 1: Composer Information

Dr. Jack Stamp is Professor of Music and Director of Band Studies at Indiana University of Pennsylvania and 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. Dr. Stamp 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 is also a contributing author to the "Teaching Music Through Performance in Band" series released by GIA Publications.

Unit 2: Composition

Be Thou My Vision is a traditional Christian hymn that is sung in English-speaking churches throughout the world. The tune to the hymn comes from an Irish folk tune Slane, a tale in which St. Patrick defies a pagan king on Easter Eve. Dallan Forgaill, a Christian Irish poet, placed the words to the popular tune in the 8th century. Following are a few of the lines from hymn.

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.

The hymn is used as the basis for variations in this Prelude, expanding its harmonic foundation and embellishing it with his trademark percussion effects. A professional percussionist, Stamp uses percussion creatively to create a distinctive foundation upon which he builds a cohesive sonority in the winds and brass. He dedicated this composition to his Arkansas friends and bandmasters Dr. Tom O'Neal and Pat Ellison.

Rehearsal Considerations:

Having the recommended instrumentation is ideal for an effective performance, however there are some leniencies that may be made. Many of the parts are written well within the range of a beginning to advanced ensemble; however there are some areas of interest within the piece. In the final portion of the piece (mm.72-77), the first trumpet has a passage that ascends to a written high C, and the French horn climbs to a written high F. In both cases, these high notes may cause problems for younger players, There is an English horn solo (mm. 11-26); however sufficient cues are given in the alto saxophone part. An E-flat clarinet part is also provided, but younger bands may not have access to an E-flat player; however, the part is doubled throughout the entire piece.

The section beginning at measure 11 brings up many considerations for preparing a rehearsal. The voicing from mm. 11 to 18 is a woodwind ensemble underneath the English horn (or alto sax) solo, so matching timbre and tone is imperative. There are suspensions within this section that provide tension within the piece. As always with a chorale, it’s important for the moving notes to be brought out. When the tuba enters with the pick-ups into m. 19, the timbre of the piece is beginning to change and more-solid foundation is being presented. By the time the English horn solo is ending at m. 26, a cymbal roll in the same measure is creating the crescendo necessary to push the ensemble into the next section of the piece.

There are sections in the piece that call for a fortissimo volume (mm.68-83). Students must understand the concept of maintaining good tone, relative dynamics, and how to blend as an ensemble.

Melodic & Harmonic Content

As expected, the tune from the original hymn is predominantly present throughout this piece. The theme is manipulated throughout by the use of chord manipulations and doubling in different octaves. Because of the slow and canon-like quality of the piece (demonstrated mm. 35-47), sections within the band must be able to play together well and in tune. Balance is key throughout the entire piece, but it is especially important at the beginning of the piece. The introduction has a foundation that is developed by the low reeds, euphonium and tuba, with the upper woodwinds presenting flourish on top. The mixture between the low reeds and the upper woodwinds creates harmony as it moves through the melody; the suspensions create tension to introduce the melody at m. 11.

The transition section (beginning at m. 27) concludes in mm. 32-34 with a dissonant chord. It is important that this chord not have one voice over-powering the others (i.e. trumpets) so as to present the effect that was intended.

The tension within the piece as it prepares to modulate to B-flat major is created in measures 47-57, but the melody is brought again to the forefront through sparse accompaniment and the return of the English horn solo in m. 58. Measures 64-67 create the basis of the modulation into B-flat major with the pedal tone held constant in the bass clarinet, bassoon, bari sax, tuba & timpani parts.

Stylistic Considerations

Bell tones are present throughout the piece (mm. 1-11, 27-34, 84-end) and are eventually played by all instruments. The first sound the ensemble will hear is the chimes on the first downbeat; it is important for the players to understand they must try to imitate that sound and style.

The development section begins at m. 35 with a canon feature. The rhythmic pattern begins with the clarinets and alto saxes and is added to every two measures by entrances throughout the ensemble. This tension continues to build from mm. 47-57. (The time changes are discussed the Rhythmic Considerations section.) It is important beginning at m. 56 that the English horn solo is heard again without the accompaniment over-powering. Measures 64-67 present the transition from E-flat major to B-flat major, therefore correct notes are essential throughout the ensemble. Accents are present in m. 67 and are meant to emphasize the ritard into m. 68.

The majestic chorale portion of the piece (beginning m. 68) is written with full instrumentation, therefore balance between the melody and the moving notes must be achieved. Timpani and suspended cymbal have one measures crescendos that are present throughout that need to be present to add to the majesty of the section. Accents present themselves again starting in m. 76, but again these are meant to emphasize the pulse, not to become overpowering. There should, however, be a difference in the manner in which the accented notes are playing compared to a non-accented note. Sixteenth note rhythms appear beginning at m. 77, the most predominant of which should be m. 81, beat 3 in the English horn, alto saxophones, and French horn parts.

The last few measures (beginning m. 85) provide moving notes in the low voices that need to be predominant over the sustaining notes in the upper voices, creating movement towards the final chord at m. 90. Also, the sfz marking in m. 89 in these parts needs to be played effectively to resolve to the tonic chord in the final measure.

Rhythmic Considerations

A more complex aspect of the piece is the fact that it changes time signatures every once in a while. The piece starts in a 3/4 time, but measure four becomes 5/4, then is back to 3/4 in measure 5. The next time change does not occur until m. 28, and the changes occur per measure until m. 34 where it returns to 3/4. At measure 51, Stamp includes two 5/8 measures which are followed by the same progression through time changes as found in mm. 28-34. These two 5/8 measures must have a steady eighth-note pulse kept throughout. Throughout the piece there are also simple syncopated rhythms (examples: tenor sax mm. 13-14; alto sax m. 23; low brass m. 33) that may cause initial problems but can be easily remedied.

The piece is fairly straightforward tempo-wise, but there are some points where liberties may be taken. A slight retard in measure 11 is acceptable, but the conductor must be careful to not over-do it. The ritard in mm. 61-63 helps set up the four transition measures into the modulation at m. 68; on the same note, the ritard in the 5/4 bar of measure 67 is important as to create the tension and release with the half notes starting on beat 4 and the quarter note in the low voices on beat 5.

The Majestic tempo marking in m. 68 marks the modulation to B-flat major and presents a very full, marvelous section in which the ensemble and audience can relish. Through the end section there are meter changes, articulations and rhythms that are presented in a new way, leading to a triumphant ritard in the last three bars of the piece. Syncopated rhythms (mm. 69-71) add movement to the piece and need to be heard, as do the moving eighth notes that appear throughout the ensemble. The conductor must take careful measures to accurately give the pulse through measure 89 as there are syncopated rhythms in the low voices leading into the last measure of the piece.

Explanation of Activities

Composer Information: Students are to follow the directions to the Kjos Publishing website and read the biography on Jack Stamp. After reading the biography, they are to answer the five questions on Dr. Stamp. (Questions may be added as per reason.)

Answers:

1. Indiana University of Pennsylvania

2. North Carolina

3. adjudicator

4. is

5. any of the five from the list

Composition: In this activity, students are asked to write in the correct lyrics from the first verse underneath the notation provided. The point of this exercise is to have the students understand the similarities between singing and playing the phrases in the music. Through singing the lyrics to the tune, the students will understand where breaths should be taken while performing the music.

Historical Content: In this activity, students are asked to develop a background knowledge on hymns. The students are asked to:

1. Find the definition of a hymn.
2. Compile a list of three composers of hymns along with a piece each of them has composed.
3. Pick one of these hymns and find two recordings: one being sung, one being played on instruments.

These three tasks are present to add onto the information gained during the Webquest. Composers can be found on websites such as ClassicCat.net and through search engines. Recordings can be found at the school or public library as well as on the Internet.

Rhythm: The time changes in the piece will challenge your students; therefore it’s important for the students to understand the meter changes and syncopated rhythms before performing the piece. In this exercise, the students are to write in the correct counts for the following excerpts:

Melody: These examples are given to the students. They must identify the main melody of the piece.

These three examples provided are all important parts of the piece, but only example B is the main melody. The English horn carries the solo measures 11 through 26 and is accompanied off and on by the clarinets.

Having the students write in their parts at measure 68 whether they play melody or harmony will help them understand the role of their individual parts. Writing in the breath marks will help them understand the phrasing and help the ensemble play together.

Harmony: Students are provided a page from the score that the teacher feels should be highlighted. By providing the entire score, all instruments are able to see other parts being played in the ensemble. The score provided should be any pages that demonstrate suspensions that you feel should be brought to the attention of your students. If needed, you could also ask the students to point out other important ideas on the page to emphasize other performance topics.

Form: It is suggested that the teacher goes over the form of the piece with the students in class, perhaps using the worksheet provided as a guide in the instruction. It is up to the teacher to decide how to teach the form of the piece during class time, but it is definitely recommended that the teacher cover this information before handing out the worksheet. Explanations of the importance of form are also important.

The students are given a blank worksheet that has measure numbers and titles (such as “Introduction” and “ Development”) provided. The students are asked to describe each of the musical terms and explain what that means to their particular part in the piece. The students will mark the words in their parts at the given measures so as to bring even more attention to the importance of the form to the music.

1. Introduction – A passage or section which opens a movement or a piece that establishes melodic, harmonic, and/or rhythmic material related to the main body of a piece.
2. Main theme -- the initial or primary melody; any element, motif, or small musical piece that has given rise to some variation becomes thereby a theme.
3. Transition – measures used in a piece to move from one musical idea to another
4. Canon – a melody with one or more imitations of the melody played after a given duration.
5. Development – introductory material is brought back and creates tension for a change in the piece.
6. Modulation – the process of changing from one key (tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature.
7. Tutti – an Italian word literally meaning all or together. Refers to a musical point where the ensemble enters or is playing simultaneously.
8. Coda – Italian for “tail.” A passage which brings a movement or a separate piece to a conclusion through prolongation.

Interdisciplinary/Visual Examples: It is important for students to understand the relationships between different disciplines in the art world. Students are asked to listen to an online recording of the Irish folk tune “Kerry Dance.” They are then asked to find a visual example and give three words that help enhance their definition of the piece. A brief description is to be provided that explains why they chose the picture and the word The student guide only provides a brief view into the different types of art that can associated with this piece by focusing on photography. You could also associate paintings to different ideas in the music (for example, Picasso’s impressionistic form to suspensions within Stamp’s piece), or even focus on a different form of art (dance, theater, etc.). The example provided to the students is an excellent one with which to grade the students’ answers. If the musical example provided for some reason does not work, any traditional Irish tune will suffice.

Glossary: Understanding the words provided are essential to performing this piece to the best of the ensemble’s ability. Students should be able to define terms in music as they are expected to be able to define words in English class. The teacher should provide the definitions for the terms as they arise in the piece throughout rehearsals

Following are the correct definitions:

· Andante -- at a walking pace (76 - 108 bpm); in this piece the tempo is 85 – 92 bpm

· Canon -- a melody with one or more imitations of the melody played after a given duration.

· Folk music (Irish) -- "Traditional music.” music by and for the common people

· Hymn -- song, usually religious, specifically written for the purpose of praise. Strong harmonic movement in I-IV-V-I pattern is common.

· Majestic – tempo marking with metronome marking at 90 bpm. Music should be played with a very broad and powerful ideals and articulations.

· Suspensions – Created 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

· Syncopation -- stress on a normally unstressed beat, or a missing beat where a stressed one would normally be expected.

Practice Guide: The students are provided the following to help guide them in their individual practice sessions.

1. Practice concert E-flat and concert B-flat scales using the following:

a. Styles

i. Legato

ii. Majestic

iii. Bell tones

b. Articulations

i. Staccato

ii. Tenuto

iii. Accented

2. Practice all sections highlighted in this Student Guide with a metronome.

3. Practice various Bach chorales (available in the bandroom)

4. Brass players: Work on arpeggios and lip slurs within concert E-flat and concert B-flat major.

The practice guide provided in the Student Guide encourages students to pick three of the activities every day to help become better prepared for rehearsal. After the first rehearsal, the teacher can provide any extra practice ideas for the students.

Warm-Up Strategies

1. Have the students sight-read a new Bach chorale. Students will focus on blending sounds together and listening for the moving notes.
2. Once composed, the Irish folk tunes written by the students will be used as warm-up exercises.
3. At the beginning of warm-ups, each instrument will have an opportunity to play the melody with the other instruments accompanying.
4. Play lyrical scales in the keys of E-flat and B-flat majors, working on tone control, intonation and balance.
5. Play concert E-flat and B-flat scales using the 5/8 rhythm found in mm. 51-52.

Assessment

In addition to the keys provided for the Student Guide, a rubric has been included to grade the entire unit as provided. The Student Guide is worth a total of 25 points; the WebQuest is worth 50 points; each playing test is worth 15 points; each playing test is worth 10 points; and written tests factor in 20 points. This makes for this entire unit grade to equal 85 points. The comprehensive unit assessment test has been included in this packet, and all of the answers come directly from either the Student Guide.

CATEGORY	Excellent	Average	Poor/Incomplete
Student Guide	Student guide has been thoroughly completed. The student has put time and effort into understanding all of the concepts being taught in the guide. (20-25 points)	Student guide has been partially completed. Student appears to have difficulty understanding some of the more advanced concepts being presented. (15-19 points)	Large portions of the student guide are left undone. Student appears to have trouble understanding all of the concepts being taught. (14-or below)
WebQuest	Student satisfactorily completed the WebQuest according to the rubric given on the website. (50-40 points)	Student partially completed the WebQuest, according to the rubric given on the website. (39-25 points)	Student did not complete the WebQuest, according the given rubric on the website. (24 or below)
Playing Tests	Student plays correct notes and rhythms. Correct articulations are present and the student demonstrates an understanding of the style of the piece. (10 points)	Most of the correct notes and rhythms are present. Some of the articulations are present, and student demonstrates some understanding of stylistic content. (7-9 points)	Majority of the correct notes and rhythms missing. No understanding of the style is demonstrated. (6 below)
Written Tests	Student demonstrates an advanced level of comprehension of all the skills taught during this unit. (20-16 points)	Student demonstrates basic level of comprehension of skills taught during this unit. (15-11 points)	Student does not demonstrate a level of understanding of skills taught in this unit (10 points or below)

Resources:

A to Z of Musical Terms by Christine Ammer, published by ECS Publishing.

Chorale Prelude: Be Thou My Vision by Jack Stamp, published by Kjos Concert BandWorls.

ClassicCat.net – complete collection of free mp3 files

Kjos.com – Search Jack Stamp to get audio of Chorale Prelude: Be Thou My Vision

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

Name: _______________________________ Date________ Class_____

Comprehensive Unit Test

Chorale Prelude: Be Thou My Vision

1. Who composed this piece?

_____________________________________________

2. Name one other piece he has composed.

_____________________________________________

3. From what Irish folk song did the tune for this piece originate?

_____________________________________________

4. How many measures is the main melody of this piece?
1. Eight c. Sixteen
2. Four d. Twelve
5. What is the definition of a hymn? Give a brief history in the definition.

______________________________________________________________________________________________________________________________________________________________________________________________________

6. Rhythmically, the one thing that remains constant throughout the piece is the
1. Half note pulse c. Eighth note pulse
2. Quarter note pulse d. Time signature
7. Which instrument has an extended solo throughout the piece?

_____________________________________________

8. What is the definition of a suspension?

______________________________________________________________________________________________________________________________________________________________________________________________________

9. What is the form of the piece?

______________________________________________________________________________________________________________________________________________________________________________________________________

Define the following terms:

Canon – ________________________________________________________________

________________________________________________________________

Syncopation - ___________________________________________________________

___________________________________________________________

Bell tones - _____________________________________________________________

_____________________________________________________________

Playing Test

For your playing test, you will be graded on the portions distributed last week in class. Be sure to play with correct rhythms, articulations, dynamics, and notes.