Table of Contents:

Objectives

National Standards Addressed
Composer Information
Composition Information
Historical Perspective
Melodic Content
Rhythmic Content
Harmonic Content, Form and Structure
Content Map
Textural and Timbral Content
Stylistic and Expressive Content
Warm-up Exercises
Melody Exercises
Harmony Exercises
Rhythm Exercises
A Connection with Art
Vocabulary

Resources

Objectives:

§ The students will compose an 8 bar melody and harmony displaying knowledge of parallel and contrary motion.

§ The students will make connections between music and visual art by learning about the reforms of the enlightenment period.

§ The students will learn about Archbishop Colloredo and how his reforms affected the music of that time.

§ The students will perform this piece during a concert of friends and family.

§ The students will identify the purpose of suspensions in music.

§ The students will identify the purpose of secondary dominate chords and modulations.

National Standards Addressed:

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

Score Analysis:

Composer:

Johann Michael Haydn was born on September 14^th 1737 in Rohrau, Lower Austria. He was one of 12 children and brother to Franz Joseph Haydn. At the age of 8, Michael became a chorister at St. Stephen’s Cathedral in Vienna. While at St. Stephen’s, he studied violin and organ. A few years later, he became the deputy organist of St. Stephen’s. He stayed at St. Stephen’s until 1757.

In 1763, he was appointed the concertmaster and court composer to the Archiepiscopal Establishment. During this time he became acquainted with Wolfgang Amadeus Mozart. They would continue to keep in contact with each other through out their lives. After Mozart left in 1781, Michael became the court composer and organist for the Archbishop of Salzburg. Michael also taught at the chapel boy’s college as well. While there he taught some soon to be famous composers like Carl Maria von Weber, Anton Diabelli and Joseph Woelf.

In 1804 Michael became a member of the Royal Swedish Academy of Music. However his presence in the academy was short lived because he died on August 10^th, 1806.

Composition:

Laetatus Sum or “For I Rejoiced” is a Graduale that was composed on February 26^th 1788, and was intended for performance on the fourth Sunday of Lent that year. The text is taken from Psalm 122, Verses 1 and 7.

Verse 1

Laetatus sum, in his, quae dicta sunt mihi: in domum Domini ibimus.

I was glad when they said unto me, Let us go into the house of the Lord.

Verse 7

Fiat pax in virtute tua: et abundantia in turribus tuis.

Peace be within thy walls, and prosperity within thy palaces.

The twenty two sacred Latin words listed above are the only words in the entire piece. Many of Haydn’s liturgical works including Laetatus Sum were written during the late 1780’s when Archbishop Colloredo instituted a number of liturgical reforms requiring, among other things, a simpler, direct, and concise musical style, a style which is very evident in this composition. As you can tell, twenty two words from two verses is a very simple and concise way to write music.

The original instrumental accompaniment of two oboes and timpani (or two clarinets), two violins, and continuo has been arranged into a keyboard accompaniment to facilitate today’s church performances.

Historical Perspective:

Using Psalm and verses from the Bible for text are not new to compositions. Especially since Haydn was working for an Archbishop in a Cathedral. However, the new reform on liturgical music was new. Archbishop Colloredo had different ideas on music and, in particular, its position at court. Colloredo was very fond of music, but he was also caught up in the ideal of the Enlightenment.

The Enlightenment was the age of reason, the age of reform, the age of order, symmetry, progress, and of the cultivation of harmony. Many of its leaders were dogmatic atheists, others rejected organized religion as "unnatural," but many others reconciled the ideals of the age with their faith and religious convictions.

The Archbishop Colloredo was among the latter. He was determined to govern ''reasonably." He promoted education and welfare plans; he reformed the administration of the law, and stimulated research and scholarship. For liturgy he wanted harmonious ceremonies in which no musical embellishment would impede the order and flow to the ritual.

He disliked and forbade the long, traditional Sanctus, Benedictus, and Agnus Dei whose effect was to halt and chop up the Canon and Communion of the Mass. He wanted short pieces during which prayer would be carried on and passed back to the priest by the choir without any breaks. In fact, he commanded that no liturgy in his cathedral should exceed 45 minutes.

This historical knowledge about the time period and reform explains a lot about Haydn’s Laetatus Sum. These explanations will be given at a more appropriate time.

Melodic Content:

This piece is not a melodically difficult piece for students to sing. Most of the notes in the melodic line either outline the chord or are in stepwise motion. Example 1 shows this motion in measures 5-7. Notice how the soprano line is moving in downward stepwise motion from D to D. The alto and tenor lines are also moving in stepwise motion as well. The alto, tenor and bass parts are usually moving in parallel or contrary motion to the soprano line. This would be a great chance to teach about parallel and contrary motion if it has not already been discussed. The bass line however, is mainly outlining the notes of the chord. Example 2 shows the arpeggios in measure four. The bass part is outlining a V chord in a very simple arpeggio. This simplicity of stepwise motion and simple arpeggios is a direct influence of the reform by Colloredo.

Example 1 Example 2

5 6 7 4

This piece is not based on one voice with the melody and the rest with the harmony. The melody is actually the combination of all the parts together. This allows the entire choir to be featured in this piece. The only place where a single melody is actually heard is in measure 67. The sopranos have a solo call that is responded by the rest of the chorus in measure 68. This solo call is repeated again by the sopranos in measure 69 a full step higher than before. The chorus once again responds in measure 70 a major 3^rd above their first response. Then in measure 71 the chorus is all back together.

Rhythmic Content:

There are two different rhythmic sections in the piece. The first rhythmic section can be seen in measures 1-9. The second rhythmic section can be seen in measures 10-15. These two different sections are the basis through out the rest of the piece. They are exact opposites of each other and portray the text immaculately. I have listed below the measure numbers and which rhythmic section it is. Do not get the rhythmic sections confused with the sections the form of the piece is in. The form is intertwined with the two different rhythmic sections. You can see below how Haydn rotates the two different rhythmic sections throughout the entire piece. This rotation is a reflection of the symmetry that was part of the enlightenment period.

Measures Section

1 – 9 First

10 – 15 Second

16 – 19 First

20 – 23 Second

24 – 27 First

29 – 33 Second

34 – 47 First

48 – 59 Second

60 – 65 First

67 – 74 Second

75 – 85 First

At the beginning, Haydn uses the text Laetatus Sum (I rejoiced). The choir is stating that they are rejoicing with people who want to go to the house of God. The rhythm is a mirror image of the text as well. All of the voices are singing the same forte rhythmic melody. He also reflects the mood of rejoicing through his use of pick-up notes. In measure one, the accompaniment starts on beat one and the choir comes in on the “and” of beat two. Every time the choir comes in during this first section, they come in on the “and” of beat two. Example 3 below shows the use of pick-up notes, eighth notes, eighth rest and dotted quarters as the representation of rejoicing that Haydn has given us.

Example 3

(Notice how every time the choir comes back in, it is on the “and” of beat two.)

The ending of the first section in measure 9 is the same ending that all of the first rhythmic sections have in common. It is an ending of anticipation because they all end on half cadence followed by complete silence. Everyone in the group including the accompaniment has a rest. This is a very distinguishing feature that leads us to the next section. This half cadence also ends with Haydn using the word sum or rejoiced, he has decided to leave us rejoicing anticipating one thing and giving us something completely different.

The second section is a complete 180 degree switch from the first section. Compare Example 3 and Example 4. Notice that the rhythms that Haydn uses Example 4 are comprised of half notes, quarter notes and half rests. The text in measures 10-15 talks about peace being within our walls. The choir is now singing at a very soft piano dynamic which helps to reinforce the text about peace. Notice in Example 4 how even the bass accompaniment only has quarter notes on the first and third beats throughout these measures. Not only is the choir simulating peace, but the accompaniment as well.

Example 4

Harmonic Content, Form and Structure:

The form of Laetatus Sum does somewhat follow the rhythmic sections that I included above. Below are the form sections, the measures that they correspond with and what key the piece is in at that time.

Form Section: Measures: Key:

A 1-9 Bb

B 10-19 C, F

C 20-27 F

C’ 29-33 Bb

A 34-47 C, Bb

B’ 48-57 Bb

C’ 58-65 C, Bb

B 67-80 Eb

A 81-85 Bb

We have already talked about the enlightenment period and its influence of symmetry on the rhythmic sections of the piece; but this influence is back once again in the form of Laetatus Sum. Notice how there is three A sections, three B sections and three C sections. The use of symmetry proceeds even further into the form. The first three sections are in order A, B, C. The last three sections are a mirror image of this order C, B, A. The last five sections are also a mirror image of each other A, B, C, B, A. Not only is the influence of symmetry being used rhythmically but also in placement of the three sections.

This piece is harmonically very interesting. There are many secondary dominate chords and modulations that occur during this piece. This is a great teaching opportunity to show where this tool of composition is used and how a secondary dominate transitions us into the modulation of a new key. The first two A sections include very simple I, IV, and V chords throughout. I believe that this is another influence from the reform of Colloredo. However, Haydn ends these two sections with a half cadence and a rest. This half cadence also ends on the word sum or rejoiced. Haydn decided to end the section rejoicing. While rejoicing, he leaves us hanging, waiting for tonic to come back. We want this section to go on but instead he gives us something different. With the rest, it gives the feeling that we are lost. We do not know where he is going, or what he has planned. We expect one thing but find out that there is something completely new ahead.

The B section is the start of our first modulations. Refer back to Example 4 above. This is measure 10 right after the half cadence and rest. Haydn started us off in the key of Bb and now we are in the key of C. He uses the E natural to stay in a major key. This is important because the text is referring to peace, a minor key while singing about peace would probably not be the right thing to do. In measure 11 we have another modulation to the key of F. We will stay in this key until measure 33. Measures 12 and 14 are first time that a suspension has been used in the piece so far. Haydn uses a 4-3 suspension in the sopranos and a 9-8 suspension in the altos. Notice in Example 5 how the suspensions are held out until the bass has moved from the leading tone E natural to the tonic F in measure 15. The alto and soprano parts are holding on in beat one of measure 15 causing a dissonance until they finally resolve in beat two. Explain what a 4-3 and a 9-8 suspension are, why they are numbered that way, and the use of the suspension to a resolution.

In measure 19 Haydn uses his first secondary dominate chord of the piece. The third beat of that measure analyzes out to a V7/ii chord. The choir in singing a unison D and the accompaniment has an F# that comes from no where. Explain to the students that the F# is actually there to make the D chord a major chord. It would be a vi chord in the key of F but Haydn is choosing to keep the harmonies in major chords. This secondary dominate chord is actually the starting point of our C section. The C section is again filled mainly with I, IV and V chords throughout. Measure 33 has another 4-3 and 9-8 suspension that is followed by a quarter rest, and a modulation back to the tonic key of Bb.

The other A, B, and C sections are harmonically very similar to the starting sections.

Content Map:

Below is a content Map of the entire piece.

Textural and Timbral Content:

The voicing of this piece requires that all parts are equally balanced. The only time that a section should stand out is when the sopranos have their solo descant in measure 67.

The original instrumental accompaniment of two oboes and timpani (or two clarinets), two violins, and continuo has been arranged into a keyboard accompaniment. This piece is much more interesting with the original instrumental accompaniment and I believe that it should be performed the way that it was intended to be for the time. If the instruments accompaniment is not available to perform this piece, it will still sound amazing with just the keyboard accompaniment.

Stylistic and Expressive Content:

Laetatus Sum was written to be performed in a Church during Lent. The text itself is a wonderful tool for deciding how the different sections should be sung. When the text refers to rejoicing, the choir should sound as if it is rejoicing. The same holds true when the text is referring to peace. Just following the text and the written dynamic marks are an excellent guideline for this piece. Make sure that each section has an identifiable different dynamic. The dynamics change very sudden and their must be an immediate change between them. The pick-up notes and rhythms in the A sections should be articulated more than normal. Because these are on the “off” beats, they need to be accented so the audience does not think they are actually mistakes.

Lessons:

Warm-up Exercises:

1. Work on arpeggios in the key of Bb using chords I, IV, V, and then back to one. This will be especially useful for the basses that have this pattern many times.

2. Dynamic shaping is a must for this piece. Work on singing parts forte and then going to a direct piano. There are not any crescendos or decrescendos. There must be an immediate change in dynamics so the audience can tell the start of a new section.

3. There are many suspensions in the piece as well. Have the students sing scales in thirds and have one section stop on a scale degree higher than everyone else. Then have the one group move down or up to resolve the dissonance. The other option is to have the rest of the group move up one step to resolve the dissonance. This will allow the students to hear what dissonance and resolution sounds like.

4. Even though this piece is forte, it is not a heavy forte. It should be sung with a light “rejoicing” voice. Work on singing the scales this way.

1.

2. Using warm-up 1. Have measures 1-3 forte, 4-6 piano, and 7-9 forte again.

3.

Melody Exercises:

Conjunct movement is where the melody moves in intervals of a Major or minor 2^nd. This is also called stepwise motion. The example below shows the soprano line moving in conjunct or stepwise motion.

The bass line however, is mainly outlining the notes of the chord. The example below shows the arpeggios in measure four. The bass part is outlining a V chord in a very simple arpeggio.

This simplicity of stepwise motion and simple arpeggios are a direct influence of the reform by Colloredo. Now that you know a little bit more about stepwise motion and arpeggios, look at your part and see if you can find these two types of melodies in your score. Write down at least 10 examples of either stepwise or arpeggio motion and the measures and part that you found them in.

Harmony Exercises:

The harmony in Laetatus Sum consists mainly of parallel and contrary motion. Parallel motion is where two lines are moving in the same direction with the same intervals. Contrary motion is where two lines are moving in opposite directions with the same intervals.

Parallel Motion Contrary Motion

(The soprano and tenor lines are moving in contrary motion.)

Using the information from the melody and harmony exercises, compose an 8 bar melody with 1 part harmony displaying knowledge of parallel and contrary motion, stepwise motion and arpeggios.

§ It must be 8 measures long.

§ Include a melody line and a harmony line

§ In 4/4 time

§ Must be notated clean and free from error.

Melody and Harmony Rubric:

	2	1	0
Length	The composition is 8 measures long.	The composition is in between 4 and 7 measures long.	The composition is less than 4 measures long.
Score Presence	The score is clean and free from errors.	The score is somewhat clean and has a few errors.	The score is dirty and has many errors.
Technicality	The student uses parallel, motion, contrary motion stepwise motion, and arpeggios in the correct context.	The student uses parallel, motion, contrary motion stepwise motion, and arpeggios but not always in the correct context.	The student does not use any of the needed concepts or does not use them correctly at all.
Directions	The students uses a melody line, and harmony line in 4/4 time.	The students only uses a melody line, or harmony line and is not in 4/4 time.	The student does not use a harmony or melody line.

Rhythm Exercises:

These next few rhythms are incorporated in many places in Laetatus Sum. These rhythms require that the singer moves on an “off” beat. The next few examples will show you where the beat is and when you should move. The letters in red show at part of the beat you should move at. In the first example you will move on the & of three. In the second example you will move on the & of two and in the third example you will move on the A of one.

Fill in the correct beats that you will stay still on with a pencil. With a marker that will be provided by your teacher, fill in the correct beats that you will move on.

A rubric is not needed for this example. If the student correctly Identifies the moving notes then they receive full credit.

1 2 & 3 4 & 1 2 & 3 & 4 & 1 2 & 3 4 &

A Connection with Art:

One of the main principles of the enlightenment period as we learned earlier was symmetry. We also learned that Haydn used symmetry when developing the rhythm sections and the form of our piece. Look at these paintings in the Sistine Chapel by Michelangelo.

In what ways are these painting symmetrical?

It should be obvious how all these paintings are symmetrical.

What feelings emerge from you when you look at these paintings and why?

There is no right or wrong answer to this question. As long as the student answers the question and gives a reason, they should receive full credit.

Which painting do you think best represents Laetatus Sum and why?

There is no right or wrong answer to this question. As long as the student answers the question and gives a reason, they should receive full credit.

Vocabulary:

Parallel motion: where two lines are moving in the same direction with the same intervals.

Contrary motion: where two lines are moving in opposite directions with the same intervals.

Conjunct movement: where the melody moves in intervals of a Major or minor 2^nd.

Arpeggio: when the melody outlines a triad or is in thirds.

Modulation: the act or 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. Modulations articulate or create the structure or form of many pieces, as well as add interest.

Secondary Dominant: is a type of chord used in musical harmony. It refers to a dominant of a degree other than the tonic.

Resources:

http://home.golden.net/~wts/words/greatmoments/GM15.html

http://en.wikipedia.org/wiki/Modulation_%28music%29

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