Choral Prelude: Be Thou My Vision
By Jack Stamp
Kjos Publishing
Grade IV
Teacher's Guide
Developed by Nicholas Pool
Kansas State
University
Goals for Student Learning
1.)
Students
will learn about Jack Stamp and his music
2.)
Students
will learn about altering preexisting music and its parallels in the art
movement.
3.)
Students
will learn about significant historical composers who have done variations on
preexisting music.
4.)
Students
will have a deeper understanding of the meaning of the music through the study
of the text.
5.)
Students
will be able to define all of the various meters involved in the music.
6.)
Students
will aurally transcribe the main melody from this piece.
7.)
Students
will become aware of the various harmonic structures employed in the music.
8.)
Students
will learn about the form of the piece and know what instruments are present in
the texture throughout the piece.
9.)
Students
will have a knowledge the vocabulary terms listed in the student guide.
10.)
Students will become aware of the
similarities between the visual arts as and the musical arts.
National Standards Addressed
1.)
Singing, alone and with others, a varied repertoire of music.
2.)
Performing on instruments, alone and with others, a varied repertoire of music.
3.)
Improvising melodies, variations, and accompaniments.
4.)
Composing and arranging music within specified guidelines.
5.)
Reading and notating music.
6.)
Listening to, analyzing, and describing music.
7. ) Evaluating
music and music performances.
8. ) Understanding
relationships between music, the other arts, and disciplines outside the arts.
9.)
Understanding music in relation to history and culture.
This is a unit designed to help any
band teacher successfully present the music Chorale Prelude: Be Thou My
Vision by Jack Stamp.
All examples and concepts are intended to be presented and discussed by the teacher. The student guide
should only serve as a reference point for the students. Also keys and answers
for the exercises an exams are included in this Teacher Guide. Everything is
intended to be adaptable for the needs of specific instructors.
Analysis
Unit 1-- 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".
Taken directly from the Composer personal Webpage.
Unit 2-- Composition
Chorale
Prelude: Be Thou My Vision was
written by Dr. Jack Stamp for his good friends Thomas OÕNeal and Pat Ellision
for their enduring friendship.
Thomas OÕNeal is the Director of Bands at Arkansas State University, and
Pat Ellision is the Director of the Springdale (Arkansas) High School Symphonic
Band. As can be noted from the
title, the piece is based upon the Traditional Hymn Tune ÒBe Thou My Vision.Ó
Unit 3 -- Historical
Perspective
Many
composers, including J.S. Bach, have used hymn tunes as the primary focus of
their compositions. The nature of the hymnÕs harmonic progression as well as
the very clean voice leading and singing melodies make them a great candidate
for this type of composition. Clearly, the tradition of composing chorales, preludes
and fugues goes back hundreds of years to the birth of western music. Twentieth century composers continue
the practice of integrating hymn tunes into their music.
Unit 4—Technical
Considerations
In
the beginning choral section of this piece there is a lengthy oboe solo,
however this is crossed cued in the first alto saxophone part. In the middle of this work there is a
short English horn solo that again, is cross cued in the oboe part. If the
ensemble does not include any capable oboists, the English horn solo can be
easily transposed for alto saxophone once again. In the tutti chordal section
of the work the trumpet does extend to a high C and French horn to a top line
F. Although this work may appear
to be less complicated, it can be musically challenging for even a very good
band. Also, there are unison sections that expose intonation across the
ensemble. This piece requires
confidence from all parts and players.
Unit 5 –
Stylistic Considerations
Dr.
Stamp uses a lot of very modern compositional ideas with this work, and
sometimes the interesting inner line can get lost. In all of the mass sections where the full ensemble is
playing, balance between upper voices and lower voices must be achieved, and
again the inner moving parts must be audible. Many times the moving line serves to take us to a new
section of the music. In the opening statement that reoccurs throughout the
piece, understanding of the idea of playing Òbell tonesÓ is essential. Also,
the players must be guided in finding out who has the melody. Because the music is split up in so
many voices, the players must constantly be listening, and know when to get out
of the way and let the more important musical ideas come though. Some rearrangement
of the solo lines (i.e. oboe line played by alto saxophone), is sometimes
necessary to achieve the proper intent of the composer.
Unit 6 – Musical
Elements
In
Teaching Music Through Performance in Band: Vol. 3, Dr. Stamp highlights to
main elements of the composition that he feels the players should understand.
These elements are octave displacement and melodic and harmonic staking. Octave displacement in regards to this
music is when a musical line makes a leap to the logical not, but instead of
where the note should be it is displaced up or down by an octave. The idea of melodic and harmonic
stacking is that as a line goes on, players playing the longer valued notes
begin to accumulate and a chord is produced from the sustained notes.
This
music also introduces the students to the idea of choral playing in smaller
groups, particular the woodwinds. In measure 11 the woodwinds play a
traditional harmonization of the hymn tune. This pairing of music and
orchestration creates an opportunity for a very lush and musical moment. This
is similar to the moments that Grainger creates for the woodwinds in much of
his writing.
Finally
the composer gives the ensemble the opportunity to play in a full tutti manner
with a more elaborate harmonization of the tradition theme. This unison type of playing requires
that the students play rhythmically accurate. The advanced harmonies force the
students to listen to each other and search for the important musical material.
Additional References and Resources
Dvorak, Thomas L., Robert Grechesky, and Gary M. Ciepluch. Best Music for High School Band, edited by Bob Margolis. Brooklyn: Manhattan Beach Music, 1993
Rehrig, William H. The Encyclopedia of Band Music. Edited by Paul E. Bierley. Westerville, OH: Integrity Press, 1991.
Form and
Structure
Introduction (measures 1-10 Key of Eb major): The concept of the broken melodic line and use of octave displacement is introduced, as well as some mixed meters.
Chorale (11-26 key of Eb major): Set in the woodwinds, this is
the traditional setting of the tune Be Thou My Vision. The
melodic line is in the English horn, but is crossed cued in the oboe and alto saxophone
Fugal (35-67 key of Eb major): Developmental
section. This section elaborates on the hymn tune in a fugal fashion. A gradual
crescendo is appropriate for this section.
Recapitulation
(68-83 key of Bb major): This
is a recap of the hymn tune with some advance harmonizations. This
is really the triumphant portion of this piece.
Coda (84-90 key of Bb major): Again
based on the opening theme, this segment leads us all the way to the final bar,
ending a with a powerful major tonic chord.
Student
Activities Guide
The following are brief keys,
explanations and clarifications for the student unit guide packet. These are
meant to serve you as the teacher.
Composer Information:
Students are to read a one page biography about Jack Stamp
and then complete the following crossword puzzle. Some answers will have to
found using an alternate source like the internet.
The key for the crossword puzzle is
3
across- North Texas. 5 across Washburn/Tull, 1 down is Keystone Winds, 2 down
Fantasy,
4
down IUP
Composition:
In this section the students are
asked to find art by Andy Warhol that that puts a new spin on a common object.
Some pieces that they might use are his Campbell's Soup can and his Marilyn
Monroe silk screen.
Historical Context
Here students are asked to pick a
composer from the provided list and then determine three pieces of music that
they wrote that included music that was not originally their own. For example
for Liszt one might list a theme and variations that he originally adapted from
Paganini.
Text:
Students are provided 5 stanzas of
text from the original hymn tune and are asked to pick one stanza and
extrapolate and interpret the meaning.
Rhythm:
Students are given every meter that
occurs in the music. They are asked to provide how many beats belong in each
meter and what the beat division is. Then students are asked to use the meter
of 5/8 and utilize the idea of 3+2 and 2+3 groupings. The are to write rhythms
that employee these groupings. For example: Dotted quarter note and two eighths for 3+2. Obviously there
are many acceptable answers.
Melody:
Students are asked to transcribe the
melody of Be Thou My Vision for their instrument in the key of concert F. Then students
are asked to pick a piece of art and determine what the most obvious elements
are. This should help them understand in a visual way how melody effects the
listener in music.
Harmony:
Here the students are to listen to
specific sections of the piece. They are then asked to indicate what colors the
music brings to their mind and why. This should help to get them thinking much
like an artist would think about his color palate.
Form:
Students are asked to follow a guide
of the form and while listening to a recording indicate what instruments are
predominant in each section of the form. This should serve to get them
listening to parts other than their own. They are also asked to describe a
building, landmark etc. in their home town with regard to form.
Student Practice Guide:
The students are provided with the
following list of exercises to help them practice in a very focused way.
Efficient practice is essential to
the success of any great ensemble or musician. With this in mind use the
following as a guide in your practice. Try and utilize 3-4 of the described
exercises in your daily practice.
1.) Practice the Eb major scale in 5/8
using the following patterns
3+2 and then 2+3
2.) Identify difficult passages within
the form divisions (see section on form) and focus solely on the areas in that portion
of the form.
3.) Isolate longer note values and
practice these with a tuner in
order to ensure pitch accuracy
4.) Practice basic tenuto and staccato
attacks are repeated pitches of your choice. Work to make them consistent and
even as well as toneful.
5.) Clap and sing any difficult passages
you find in the music. This is a great way to avoid physical fatigue while
still learning valuable elements of the music.
6.)
Practice
difficult passages with a metronome. This will ensure accuracy of rhythms and
will help the ensemble gain an internalized pulse.
7.)
Practice
difficult passages with a metronome. This will ensure accuracy of rhythms and
will help the ensemble gain an internalized pulse.
As the instructor you should
encourage your students to implements these exercises in their daily practice
as well.
Glossary of Terms:
The students are provided with the
following list of terms and defintions. However in their version the actual
words are scrambled. They appear in the same order as the following:
andante: A moderate tempo marking that
usually has between 76-108 beats per minute.
unison: To perform a
passage of music with multiple players.
bell tone: To aggressively articulate a note
and then immediately die away.
Molto rit.: To slow off a lot.
fugue: A form of
composition in which the theme is introduced in one voice and then imitated by
other voices in succession.
hymn: A
song of praise or adoration to a deity.
Ideas
for ensemble Warm-up:
Use the
various rhythms written by students in the rhythm portion of their student
guide to warm up the band. This could be used with different scales and
patterns. As always, transcribed chorales would serve as great warm ups as
well. Have students listening carefully and have the aurally discover who has
the high and low parts. Also, consider passing tones across the band and
intentionally create unusually voicing and instruments. Ask the students to
perform the color exercise with the live tones being created in class.
Assessment:
This unit
is designed to give a music teacher the ability to grade of various different
elements of music. The break down is really up to the individual instructor but
the main areas that should be assessed (as told to the students) are the
student guide, the webquest, any playing tests, all concerts and rehearsals,
and unit test.
A checklist
like the following should be used to assure each students successful completion
of the tasks (note the points values can be changed as deemed appropriate.
Chorale Prelude Unit Checklist
Successful
completion of the Student packet (25
pts).....................................................____________
Successful
completion of the Webquest (25
pts.)............................................................____________
Unit
Essay exam (out of 50
pts.).....................................................................................____________
Rehearsal
and playing exams (out of 25
pts.)..................................................................____________
The overall
unit assessment that has been designed for this piece requires the student to
take a final examination. This examination consists of several short essays to be written by the
students. A list of several questions should be included. This list should be
modified by the teacher to aim for topics that were most strongly emphasized in
class. Questions may include:
1.) What are some of the musical devices
Stamp uses to create interesting tone colors in Choral Prelude?
2.) What other significant composers
used hymns or existing music in their compositions? Why did the do so?
3.) Choose a passage from the form of Choral
Prelude and
describe it using words traditionally associated with visual art. Why did you
use the phrases and words that you did?
4.) What are some of the most important
vocabulary terms to know when approaching
Choral Prelude? What do they mean?
The short
essay should be graded using the following rubric:
Grading Rubric
Student:
____________________________________________________________
Short Essay for Chorale
Prelude: Be Thou My Vision Unit Study
|
Content |
Points Earned |
Points Possible |
Teacher Comments |
|
Response employee
knowledge from previous unit lessons. |
|
5 |
|
|
Addresses the prompt
appropriately and supports answers with facts. |
|
10 |
|
|
Appropriate use of
grammar, punctuation and other conventions |
|
10 |
|
|
Appropriate voice and
flow used for a formal writing. |
|
5 |
|
|
TOTAL: |
|
100 |
Overall Comments: |
Adapted
from the Vacca and Vacca text p 50