Teaching-Learning Experiences for Section One
Alleluia
S.A.B. a cappella
based on a round by William Boyce,
arranged by Theron Kirk
Pro Art Publications, Inc. (PRO OCT 2031)
also available in a S.A. setting
(Pro Art 2381)>
Objectives
(Refer to page 41.)
1. Experience a cappella singing. (Aural Skills) (CCT)
2. Develop the musical independence necessary to sing a canon successfully.
(Musical Literacy)
3. Observe and realize dynamic markings. (Musical Literacy) (CCT)
4. Develop an awareness of tonic/dominant harmonic relationships. (Aural Skills)
5. Assess the degree to which the choir is able to hold the pitch in this work without any help from the piano. (Aural Skills) (CCT)
6. Research biographical data on the composer William Boyce. (Interpretation/Appreciation/Decision Making) (IL)
7. Distinguish between the two different types of polyphony present in this piece.
(Interpretation/ Appreciation/Decision Making) (IL)
Preparatory Exercises
1. Employ exercises which establish the pronunciation of the text as ah-leh-loo-yah (for the second syllable "e" as in "bed"). Although the first syllable is frequently found on beat one in the music, it is the third syllable that should be emphasized.
2. Devise counting/scale exercises on this rhythm.
3. Sing the solfa syllables/numbers.
a) Also, transpose the following exercise up to C#, D, Eb and down to B, Bb, A, Ab and G.
b) Also transpose up C#, D and down to B and Bb.
Creative/Productive
1. Introduce the material in this order:
- soprano part "A" to "D"
- "A" to"G" as written
- "G" to the end
- beginning to "A".
2. Rearrange the students in such a way that the three sections are intermixed. Rehearse from "A" to "G" until the students are able to hold their own part. Then have one group of three (one soprano, one alto, one baritone) sing
from "A" to "B", have another group sing from "B" to "C", etc.
3. Have the students sing the chord before "G", then from "G" until the first chord in the second measure of "G" with an aim to hearing the tonic/dominant relationship between the C major and G major chords.
4. Compose an eight-measure canon. In measures 1, 3, 5, and 7, use the tonic chord as the basis for harmonic relationships. In measures 2, 4, 6 and 8, use the dominant chord as the basis for harmonic relationships.
5. In groups of 3 or 4, have students prepare a performance of a canon from Classical Canons, compiled by Antal Molnar, published by Boosey & Hawkes.
Cultural/Historical
1. Research the composer William Boyce.
William Boyce (1711-1779) was an English composer and organist. He composed music for both the church and the theatre and figured prominently as a music editor. Boyce is widely regarded as England's leading composer of the late baroque style. J.S.
Bach was a contemporary of William Boyce.
Source: Sadie. 1980. The New Grove Dictionary of Music and Musicians, Macmillan Publishers Limited.
2. Explore the question: How does the texture of the introductory section (up to "A") and closing section ("G" to the end) vary from the canonic section ("A" to "G")?
This piece, as is the case with most music from the baroque era, is polyphonic. The introductory and concluding sections are homorhythmic. This style borders on chordal texture and is known as strict chordal style. The voices move together rhythmically and the alto and baritone line harmonize the melody of the soprano line. The canonic section ("A" to "G") is polyrhythmic. The lines are rhythmically independent and of equal melodic importance.
Source: Apel. 1979. Harvard Dictionary of Music, (Second Edition), Harvard College.
Critical/Responsive
1. Listen to a recording of your choir's performance of the introductory section (up to "A") of Alleluia. Assess the degree to which the group realized the dynamic markings. Also analyze a recording of the canon ("A" to "G") with a view to assessing the extent to which the sections have established an audible difference between the material marked forte (f) and the music marked mezzo-forte (mf).
2. Listen to a recording of your choir's performance of this work. Without reference to a keyboard, ask the students: "Was the last chord in a higher or lower tonality than the first chord?" Ask the students to pinpoint specific locations
and sources of tuning problems in the taped performance.