BACH CHORALES AND ORIGINAL COMPOSITION CHORALES WITH AN EDUCATIONAL SUPPLEMENT FOR WIND BAND WARM-UPS
by JUSTIN KOSZAREK
MASTER’S PROJECT Presented to the School of Music and the Graduate School of Northern Illinois University in partial fulfillment of the requirements for the degree of Master’s of Music Education May 2012
Contents Introduction...............................................................................................................................................3 About the Composer............................................................................................................................................3 About the Compilation........................................................................................................................................3 Musical Comprehension......................................................................................................................................4 Brief History of Johann Sebastian Bach (1685-1750)....................................................................................9 Brief History of the Chorale......................................................................................................................10 Structural Phenomena and Units................................................................................................................10 Meter..................................................................................................................................................................10 Cadence..............................................................................................................................................................11 Mayhew Lake’s Bach Chorale Transcriptions.............................................................................................15 Mayhew Lake’s Chorale Transcription #4 – Chorale 156: Ach Gott, wie manches Herzeleid.........................15 Mayhew Lake’s Chorale Transcription #9 – Chorale 304: Auf meinen lieben Gott..........................................17 Mayhew Lake’s Chorale Transcription #12 – Chorale 361/102: Du Lebesfürst, Herr Jesu Christ..................19 Original Chorales.....................................................................................................................................21 Four-Chords Chorale.........................................................................................................................................21 Continuous Variation Chorale............................................................................................................................23 Student Original Chorale Composition.............................................................................................................25 Appendices..............................................................................................................................................26 Appendix A - Chorale Composition Unit..........................................................................................................26 Lesson 1: Rhythm Only.....................................................................................................................26 Lesson 2: Two Pitches.......................................................................................................................27 Lesson 3: Two-Chord Progressions.....................................................................................................28 Lesson 4: Staff Writing......................................................................................................................29 Lesson 5: Right-hand Inversions........................................................................................................30 Lesson 6: Home and Away.................................................................................................................31 Lesson 7: Bass Inversions..................................................................................................................32 Appendix B – Worksheets.................................................................................................................................35 Appendix C – Teaching Meter...........................................................................................................................39 Appendix D – Chorale 102, Ermuntre dich, mein schwacher Geis...................................................................44 Appendix E – Four-Chords Song List...............................................................................................................45 Appendix F - Mayhew Lake’s Bach Chorale Transcription Instrument Voicing...............................................46 Appendix G – Full Scores..................................................................................................................................47
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Introduction About the Composer Justin Koszarek is the Assistant Director of Bands at Plainfield East High School in Plainfield, Illinois. He has had arrangements and original compositions performed and/or commissioned by the Plainfield East High School Symphonic Band, Plainfield East Marching Band, Plainfield South High School Marching Band, John F. Kennedy Middle School Band (Plainfield, IL), Heritage Grove Middle School Band (Plainfield, IL), and the Saint Francis Xavier Choir (Joliet, IL). He received his bachelor’s degree in music composition from Bradley University in Peoria, Illinois where he studied composition with Dr. Stephen Heinemann and percussion with Peggy Bonner. Justin completed his master’s in music education at Northern Illinois University in 2012 where his mentors included Dr. Mary Lynn Doherty (Music Education), Project Chair Dr. Edward Klonoski (Theory/Composition), Dr. Ronnie Wooten (Music Education), and Dr. Jui-Ching Wang (Music Education) Justin has performed with the Knox-Galesburg Symphony, Peoria Municipal Band, Prairie Winds Ensemble (under the direction of Robert Sheldon), and the New Lenox Community Band. Email:
[email protected]
About the Compilation This compilation combines three of the most performed Bach chorale arrangements from the Mayhew Lake collection as well as two original compositions and one guide to student chorale composition1. The intent is to create a chorale compilation that demonstrates how to explore, learn, and perform a chorale and to lead the student in the combination of the basic elements of music2, expression3, and technical skills4 of performance. This compilation contains a guided emphasis on structure, meter, and harmony. The utilization of chorales in warm-ups and tuning exercises builds the base of an ensemble by fostering tone, developing color, and demonstrating superior balance and blend. Chorales offer musical opportunities to hear the overall sonority of the ensemble and listen to the individual parts. This will aid the ensemble’s ability to both balance and blend. These skills are then transferred back to ensemble performance and to other areas of music. 1 Koszarek, J. Chorale Survey. Message posted to http://www.facebook.com/groups/banddirectors/and personal communication with directors (2011, 04, 05; 06; 07; 11)
2 Pitch, rhythm, harmony, dynamics, timbre, texture, form.
3 With appropriate dynamics, phrasing, style, and interpretation and appropriate variations in dynamics and tempo.
4 The ability to perform with appropriate timbre, intonation, and diction and to play or sing the correct pitches and rhythms. 3
The first three chorales are from the Mayhew Lake compilation of Bach chorales and represent the traditional Baroque style. In order to demonstrate other ways chorales may be utilized, I composed a fourth chorale that uses “pop” chords. These “pop” chords are those commonly found in a vast gamut of popular music. They are the Major I – Major IV – Major V – minor vi chords and inversions. In Appendix F there is an extensive, but non-exhaustive, song list. The fifth is a variation chorale demonstrating another manner of composition. The final chorale is intended to be composed by the reader, under the direction of the teacher, and is accompanied by eight lesson plans to introduce composition.
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Musical Comprehension The musical standards assist in defining what a good education in the arts should provide. It guides students and teachers to an understanding of the basic body of knowledge and the skills required for this discipline. The select standards below are specific to this compilation and provide an outline of what the students should accomplish by its compilation. The standards are taken from the National Association of Music Educators (NAfME). 1) Singing, alone and with others, a varied repertoire of music a) Sing music in four parts, with and without accompaniment b) Demonstrate well-developed ensemble skills 2) Performing on instruments, alone, and with others, a varied repertoire of music a) Perform an appropriate part in an ensemble, demonstrating well-developed ensemble skills b) Perform in small ensembles with one student on a part 4) Composing and arranging music within specific guidelines a. Students compose music in several distinct styles, demonstrating creativity in using the elements of music for expressive effect c. Students compose and arrange music for voices and various acoustic and electronic instruments, demonstrating knowledge of the ranges and traditional usages of the sound sources 5) Reading and notating music a. Demonstrate the ability to read an instrumental or vocal score up to four staves by describing how the elements of music are used b. Sightread, accurately and expressively, music with a level of difficulty of 3, on a scale of 1 to 6 6) Listening to, analyzing, and describing music b. Demonstrate extensive knowledge of the technical vocabulary of music c. Identify and explain compositional devices and techniques used to provide unity and variety and tension and release in a musical work and give examples of other works that make similar uses of these devices and techniques e. Compare ways in which musical materials are used in a given example relative to ways in which they are used in other works of the same genre or style f. Analyze and describe uses of the elements of music in a given work that make it unique, interesting, and expressive
7) Evaluating music and music performance a. Evolve specific criteria for making informed, critical evaluations of the quality and effectiveness of performances, compositions, arrangements, and improvisations and apply the criteria in their personal participation in music b. Evaluate a performance, composition, arrangement, or improvisation by comparing it to similar or exemplary models c. Evaluate a given musical work in terms of its aesthetic qualities and explain the musical means it uses to evoke feelings and emotions 5
9. Understanding music in relation to history and culture d. Identify and explain the stylistic features of a given musical work that serve to define its aesthetic tradition and its historical or cultural context
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Terms Chord References Chord
Non-chord Tones Anticipation
Measure Form Information Barline Antecedent
Note Symbols 8va
Diminished Triad Equal Temperament Fundamental
Appoggiatura
Bar
Consonance
Bass Clef (F-clef) Fermata
Harmonic Note Half-diminished Seventh Interval
Measure Pitch Repeat Sign
Phrase
Sharp
Inversion
Escape Tone Neighbor Tone Nonharmonic Note Passing Tone
Double Period Motive Period
Accidenta l Doubleflat Doublesharp Flat Natural
Phrase Group
Slur
Major Triad
Pedal tone
Scale Degree Treble Clef (G-clef)
Minor Triad
Resolution
Root Position
Retardation
Secondary Dominant Semitone
Suspension
Dissonance
Asymmetrica l Consequent
Key Cadences Information Key Away Cadence (HC) Key Cadence Signature Modulation Home Cadence (IAC/PAC/DC) Parallel
Harmony Harmonic Function Leading Tone Roman Numerals
Relative
Symmetrical
Tonicization Triad Tritone Whole step
Term Definitions (alphabetical) 8va (ottava alta) – Direction to play notes under this sign one octave higher than written Accidental – Notational symbol placed before a note to alter its pitch (see double-flat, double-sharp, flat, natural, sharp,) Antecedent – The first phrase of a musical period Anticipation – An unaccented non-harmonic note, sometimes regarded as an ornament, that belongs to and is usually repeated in the harmony immediately following 7
Term List Continued Appoggiatura – A non-harmonic tone that is approached by leap and left by step in the opposite direction Asymmetrical – Two phrases having a different number of measures Away Cadence (HC) – A stable point of arrival on the dominant Barline – A vertical line drawn across a single staff or multiple staves to mark the beginning and/or end of a bar. Bar – A single notated measure of music Bass Clef (F-clef) – Notational symbol that indicates where F3 is located on the staff Cadence – Stable point of arrival that concludes a phrase with varying degrees of closure. The most complete closure occurs in a Perfect Authentic Cadence (PAC), followed by an Imperfect Authentic Cadence (IAC), a Half Cadence (HC), and a Deceptive Cadence (DC) Chord – The sounding of two or more notes (usually at least three) simultaneously. Most chords are based on triads with the interval of a major or minor third between each of the three notes. The two most common chords are the major and minor chords. A major chord is composed of a major third above the tonic note, and a perfect fifth above the tonic note, a minor chord is composed of a minor third above the tonic note, and a perfect fifth above the tonic note. (e.g. see Major and minor Triad) Consequent – The answering, or second phrase, of a musical period Consonance – Perfect consonances are the Perfect unison, fourth, fifth, and octave, imperfect consonances are the Major and minor thirds and sixths. Diminished Triad: A minor 3rd on the bottom and a minor 3rd on top. Conversely a minor 3rd on the bottom and a diminished 5th from bottom to top
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Dissonance – Intervals of Major and minor 2nd and 7th and the tritone Double-flat – Lowers a pitch by two semitones (one whole step) Double Period – Consists of an antecedent and consequent. The antecedent contains two phrases and the consequent contains two phrases. The cadence of the consequent is stronger than that of the antecedent double period antecedent consequent a phrase b phrase a phrase b’ phrase HC PAC/IAC IA PAC C Double-sharp – Raises a pitch by two semitones (one whole step) Escape Tone – A non-harmonic tone that is approached by step and left by skip in the opposite direction Equal Temperament – Each of the twelve half steps within the octave are exactly equal size Fermata – A notational symbol placed over a note or rest to be extended beyond its normal duration, and occasionally printed above rests or barlines, indicating a pause of indefinite duration. In Baroque music, often signifies the end of a phrase Flat – Lowers a pitch by semitone (one half-step) Fundamental – The bass pitch upon which a chord is built
Term List Continued Half-diminished Seventh – A seventh chord with a diminished triad and a minor 7th
Harmonic Function – The way in which chords interact and relate to each other Harmonic Note – Member of the chord Home Cadence (PAC/IAC/DC) – Stable arrival on the tonic Interval – The distance between two pitches. Intervals are defined as combination of two components: Size of the interval represented by an Arabic numeral (3, 4, 5, etc) and the quality of the interval (Major, minor, Perfect, Augmented, or diminished) Inversion – The position of a chord when the fundamental is not the lowest note. Key – A set of specific relationships around a central pitch called the tonic (e.g., relationship between tonic and dominant) Key Signature – A collection of accidentals placed at the beginning of the staff Leading Tone – The pitch that lies a semitone below the tonic Major Triad – A Major 3rd on the bottom and a minor 3rd on top. Conversely a Major 3rd on the bottom and a Perfect 5th from bottom to top
Measure – One complete metrical pattern. Measures can be larger or smaller than a bar. Minor Triad – A minor 3rd on the bottom and a Major 3rd on top. Conversely a Major 3rd on the bottom and a Perfect 5th from bottom to top
Modulation – The process of changing tonic Motive – A recurring figure that is developmental to the piece Natural – Raises or lowers a pitch by a semitone (one half step); commonly used to cancel a previous accidental Neighbor Tone – A non-harmonic tone that is approached by step and left by step in the opposite direction Non-harmonic Note – A note that is not a member of a particular chord Parallel – Two keys with different pitch collections that share the same tonic (example, C Major and c minor) Passing Tone – A non-harmonic tone that is approached by step and left by step in the same direction
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Pedal Tone – chord tone – sustains while harmony changes becoming a non-chord tone and resolves by again becoming a chord tone; usually in the bass Term List Continued Period – Consists of a antecedent and consequent phrase where the cadence at the end is the strongest period antecedent phrase consequent phrase HC PAC/IAC IAC PAC Phrase – The smallest musical unit that ends in a cadence. Phrase Group – Several phrases that belong together structurally but do not constitute a period or double period – typically when the final cadence is not the strongest one Pitch – (A frequency.) Relative highness or lowness of musical tones Relative – Two keys that share the same pitch collection but different tonics (example, C Major and a minor) Repeat Sign – A type of barline that indicates a passage is to be repeated Resolution – Progression of a dissonant sound to a consonant sound Retardation – An upward resolving suspension Roman Numerals – Indicates the scale degree upon which the chord is built Root Position – The position of a chord when the bass pitch of the chord is in the lowest voice. This is also known as fundamental position Scale Degree – The steps of the Major or minor scale. An Arabic numeral with a caret over it signifies a scale degree such that: Tonic is scale degree 1^ , Supertonic is scale degree 2^ , Mediant is scale degree ^ ^ , Dominant is scale degree 5^ , Submediant is scale degree 6^ and, 3 , Predominant is scale degree 4 Leading-tone is scale degree 7^ . Secondary Dominant – A chord used to tonicize a scale degree other than 1 ^ . Semitone – (Half step) Using equal temperament, the smallest musical distance between two pitches (e.g. C – C#/Db) Sharp – Raises a pitch by a semitone. Slur – A notational symbol used to group notes Suspension – A chord tone that sustains while harmony changes becoming a non-chord tone and resolves down by step to become a chord tone Symmetrical – Two phrases having the same number of measures Tonicization – Where a scale degree other than 1^ temporarily assumes a tonic function Treble Clef (G-clef) – Notational symbol that indicates where G4 is located on the staff Triad – A chord made up of three notes constructed in thirds Tritone – Historically the augmented 4th – 3 whole tones– is the true tritone. Historically the diminished 5th is known as the false fifth. Current usage treats the two interchangeably Whole step – Two semitones (e.g. C – D)
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Brief History of Johann Sebastian Bach (1685-1750) Johann Sebastian Bach was born in born in Eisenach, Germany on March 21st, 1685. He died in Leipzig, Germany on July 28th, 1750. During his life he became a famed composer and organist with credits of around 1,120 compositions including full-scale sacred and secular cantatas, sacred vocal music, passions, oratorios, motets, chorales, arias, organ and keyboard sonatas, concertos, lute pieces, and orchestral works. Noted compositions include the Brandenburg Concertos, Well-tempered Clavier book one and two, Mass in B minor, the Goldberg Variations and, as many know from weddings, Jesu’ Joy of Man’s Desiring from Cantata 147 (Herz und Tat und Leben). Bach’s musical language drew together the styles and achievements of earlier generations in addition to his own unique mannerisms. Subsequently, he would become the culminating figure of the Baroque period.
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Brief History of the Chorale Chorales were originally referred to as a style of performance. As of the 17th century, the term chorale evolved into a reference to the melody and later, the combination of melody and text. The first settings of the chorale were traditional Protestant hymns during the Baroque period. Composers used simple language and melody, metrical verse, and strophic form to provide music during sacred service. Since those early congregational hymns, the chorale has developed beyond vocal music to also include a wide range of instrumental music. While chorales were common during the Baroque period, they have become less common as other musical forms have taken over. However, in contemporary wind band literature, chorales provide for effective source material to teach band students to sing. The voice leading is typically easy to follow and the progressions are usually familiar to most students. However, singing is only one part of the chorale structure that is useful. Other key areas include:
The practice of tone, balance and blend Learning to interpret phrase and structural phenomena Listening to the horizontal intonation and movement of scale degrees Listening to the vertical tuning of intervals and chords Understanding the technical skills of scale and pattern recognition. Performing these chorales in a manner that there is ample time to hear how the melody moves horizontally and how the chords are constructed vertically.
Structural Phenomena and Units Meter5 There are two categories of Meter: notated and perceived. The notated meter is associated with the time signature and perceived meter with music heard while NOT looking at the page. Both are created using a recurring pattern of accented and unaccented beats (otherwise known as strong and weak beats). The placement of these beats is determined by multiple factors including the beginning and ending of phrases, melody, harmonic rhythm (how fast or slow the chords are changing), and the tempo of the music. The notated meter is best understood when time signature is properly deciphered. A time signature indicates the division of the beat and serves to place a level of the music within the metrical hierarchy. The beat can be divided in either simple or compound fashion. Simple division is when the individual beat can be consistently divided into two parts on the next faster level, such as when a quarter note is consistently divided into two 4 eighth notes in 4 time. Compound division is when the individual beat can be consistently divided into three parts on the next faster level, such as when a dotted quarter note is consistently divided into three eight notes in 6 8 time. However, music may also suggest simultaneous simple and compound meter depending on the metrical level where the physical representation of the beat, the tactus, is placed. Perceived meter is more what is audible than what is on the page. It is important for active listeners to hear the cadences, the form, and notice the tempo changes, as well as to understand the harmonic rhythm. Experiment 5 This section is based on a 2006 article by Dr. Edward Klonoski, music professor at Northern Illinois University. Klonoski, E. (2006). Improving dictation as an aural skills instructional tool. Music Educators Journal, 93, (1), 54-59.
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with how music moves between different levels of the music. Explore how the tactus and harmonic rhythm move between faster and slower levels. Take time to not only read the music but to actively hear the music. A guide to teaching notated meter, a simple and compound meter worksheet, and a listening map of meter can be found in Appendix D.
Cadence Cadences are one of the eleven types of structural phenomena discussed in Spencer and Temko’s A practical approach to the study of form in music6. In it they list the eleven structural phenomena as: cadence, tonality, tempo, meter, rhythm, dynamics, density, timbre, register, texture, and motive. Of these eleven, cadence is defined as stable points of arrival that concludes a phrase with varying degrees of closure. Cadences are separated into two categories: Home and Away. The Perfect Authentic Cadence (PAC) is the most complete member of the Home cadences. It is followed by an Imperfect Authentic Cadence (IAC) and lastly, a Deceptive Cadence (DC). Away Cadences are those that end as a Half Cadence (HC). In music after the Baroque period, plagal cadences, when written, would occur after authentic cadences and, as such, serve as cadential extensions rather than as independent cadences. True plagal cadences occur more frequently in Baroque Chorales. Since cadences are stable points of arrival, the harmony gives the music direction towards the arrival point. Dr. Nicholas Meuse points out that a chord by itself serves no harmonic function. It is not tonic nor is it dominant. Only in the presence of other chords is there harmony.7 It takes chords to build harmony and harmony to progress towards cadences. To better understand the hierarchy of cadences, the chord members and their functions need first be understood. In a progression, each chord has a job. Tonic function precedes either directly to the dominant function, or passes through the pre-dominant function before arriving at the dominant. Pre-dominant function proceeds only to dominant function, and dominant function proceeds only to tonic function.8
Pre-dominant Tonic
Dominant Tonic chords I
Pre-dominant chords IV
Tonic
Dominant chords V
6 Spencer, P, & Temko, P. (1994). A practical approach to the study of form in music. 1-29. Waveland Press, Long Grove, IL 7 Nicholas Meuse rightly points out that “Harmonic functions do not reside in chords, nor in the position of chords within an immanent tonal hierarchy. They result from a relation between chords. No chord is a dominant in itself, none is a tonic in itself; they become dominant and tonic with respect to each other when they occur in that relation.” “Toward a Post-Schoenbergian Grammar of Tonal and Pre-tonal Harmonic Progressions” Music Theory Online 6.1, 2000,http://mto.societymusictheory.org/issues/mto.00.6.1/mto.00.6.1.meeus.html
8 Klonoski, E. & Hatmaker, J. A compositional approach to teaching harmony and voice leading. Unpublished manuscript. 13
vi iii
ii
vii○ iii6
-------------------------------
Cadence examples
Home Cadences
Away Cadences
Perfect Authentic Cadence (PAC)
Half Cadence (HC)
Imperfect Authentic Cadence (IAC)
Phrygian Cadence
Deceptive Cadence (DC)
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Structural Units Music is perceived as structural units. Motives or Subphrases are components of Phrases. Phrases are components of Periods or Phrase Groups. Periods or Phrase Groups are components of Parts or Sections.
Motive/Subphrase
Phrase
Period/Phrase Group
Part/Section
The motive is a recurring figure that is developmental to the piece. A phrase is the smallest complete musical unit that ends in a cadence. It possesses a clear beginning, middle and end and exhibits both melodic and harmonic motion. Periods are a combination of two or sometimes three phrases where the final cadence is the strongest. They can be parallel (both phrases begin with similar material) or contrasting (each phrase begins with different material), symmetrical (same length) or asymmetrical (different length), and modulating or non-modulating.
Steps to Chorale Introduction Steps to introducing a chorale 1) Identify the tonal center(s) of the composition. Examine the key signature, the starting bass note and the ending bass note. Use this to confirm the key or discover if there are multiple keys 2) Once the key(s) are identified, sing the scale of the key, ending with a triad
3) Using solfege, sing through the bass line, then the soprano, the tenor and finally the alto line a) See next section "Discuss the Importance of Singing” 4) Play each line in unison 5) Split the band into harmonic function groups (Soprano, Alto, Tenor, and Bass) and have the student play their respective line. The version below is my variation on the Mayhew Lake instrumentation. The original version can be found in Appendix G Soprano Piccolo in C 1st Flute 1st Oboe / 1st Mallet Clarinet in Eb Solo or 1st Clarinet in Bb 2nd Horn in F Solo or 1st Trumpet in Bb 1st Baritone, Bass Clef
Alto 2 Flute 2nd Oboe / 3rd Mallet 2nd Clarinet in Bb st 1 Alto Saxophone in Eb 1st Horn in F 2nd Trumpet in Bb 2nd Trombone nd
Tenor 3 Clarinet in Bb Alto Clarinet in Eb 2nd Bassoon / 2nd Mallet 2nd Alto Saxophone in Eb Tenor Saxophone in Bb 3rd Horn in F 3rd Trumpet in Bb
Bass Bass Clarinet in Bb 1st Bassoon / 4th Mallet Baritone Saxophone in Eb 4th Horn in F 3rd Trombone 2nd Baritone, Bass Clef Basses
1st Trombone
Timpani
rd
1st Baritone, Treble clef
6) Move instruments to different harmonic function groups as desired to experiment with voicing 7) Have the students compose a choral based on the lesson plans below (See Appendix A)
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Discuss the importance of singing 1) Singing is important as it assists with the development of the aural skills and a solid sense of tonality. a. The purpose of switching parts provides an opportunity for students to learn about voicing and how parts differ from their own in function, melody, and harmony b. Good intonation depends on the musician’s ability to adjust pitch, to recognize and understand the function of that pitch in a harmonic context and how it relates to the pitches of the rest of the ensemble 2) Sing cadential patterns. a. Home patterns i. From Chorale 4 (m.3 beat 3 – m.4 beat 3) Do Mi So So Do I I6 V6/4 V I Special note about V6/4 When looking at the music it spells a tonic chord in 2nd inversion, a I6/4. However, it functions as a decoration of the V chord with a pair of suspension above the bass, thus a V6/4 that resolves to a V chord. ii. From Chorale 12 (m. 5 beat 3 – m. 8 beat 3) Do So la So Do I V vi V I iii. Do I
fa ii6
So V
Do I
Mi I6
re ii
Do I
iv. So V
Do I
b. Away pattern i. From Chorale 9 (pick up to m. 1 – m. 2 beat 1) do fa do la So i iv i iv6 V
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Mayhew Lake’s Bach Chorale Transcriptions Mayhew Lake’s Chorale Transcription #4 – Chorale 156: Ach Gott, wie manches Herzeleid The original hymn and text were written by Martin Moller (1547-1606). The Bach chorale was composed for the Sunday after the Circumcision (New Years Day) in 1725, which is also the Second Sunday after the Epiphany. The Mayhew Lake transcription is a transposition of Chorale 156 from A Major to Ab Major. English translation by John Christian Jacobi (as written in Lake’s arrangement)
German
O Lord! How many miseries Assault and discompose my peace; The path that leads to Zion’s gate Is full of thorns and very strait
Ach Gott, wie manches Herzeleid Begegnet mir zu dieser Zeit! Der schmale Weg ist trúbsalvoll, Den ich zum Himmel wander soll.
A second translation from the Chorale Book of England O God, how many pains of heart Befall me now with cruel smart. The narrow way is troublesome By which to heaven I must come.
Key areas: Ab Major Tonic I
Pivot Chord Modulation Ab: vi Eb: ii
Eb Major Dominant V
Pivot Chord Modulation Eb: IV Ab: I
Ab Major Tonic I
Pivot Chord modulations are those that take place within the phrase. The diatonic function of a chord within the original key serves as a different diatonic chord within the new key. This provides a pivot between the two keys.
Cadence types
Meter
Form
Measure 2 – Half Cadence (HC) Measure 4 – Perfect Authentic Cadence (PAC) Measure 6 – Half Cadence (HC) Measure 8 – Perfect Authentic Cadence (PAC)
Simple Quadruple
Parallel Symmetrical Modulating Period
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Mayhew Lake’s Chorale Transcription #9 – Chorale 304: Auf meinen lieben Gott This hymn and text were written by Sigismund Weingartner and published in 1607. It is commonly mistaken for Johann Heermen’s Lenten Hymn, “Wo soll ich fliehen hin,” but properly belongs to Weingartner. Heermen’s version was not published till 16309. The original tune is secular in nature and the sacred setting is first attributed to Johann Pachabel (1653-1706). While the lyrics for Lake’s transcription are of Heermen’s “Wo soll ich fliehen hin”, the musical setting is instead a transcription of Chorale 304, “Auf meinen lieben Gott.” This Mayhew Lake transcription is without transposition. English translation anonymous (as written in Lake’s chorale arrangement) Translation for “Wo soll ich fliehen hin”
German
O wither shall I flee, Depressed with misery? Who is it that can ease me, And from my sins release me? Man’s help I vain have proved, Sin’s load remains unmoved
Wo soll ich fliehen hin, weil ich beschweret bin mit vielen grossen Sünden? Wo kann ich Rettung finden? Wenn alle Welt herkäme, mein Angst sie nicht wegnähme.
This is the translation for “Auf meinen lieben Gott” and is from the Chorale Book of England'
German
In God, my faithful God, I trust when dark my road; Though many woes o’ertake me, Yet He will not forsake me; His love it is doth send them, And when ‘tis best will end them.
Auf meinen lieben Gott Trau’ ich in Angst und Noth. Er kann mich allzeit retten Aus Trubsal, Angst und Nothen; Mein Ungluck kann er wenden: Steht all’s in seinen Handen
Key areas: g minor tonic i
Pivot Chord Modulation g: V Bb: III
Bb Major Mediant III
Pivot Chord Modulation Bb: I F: IV
F Major Subdominant VII
Pivot Chord Modulation F: I G: V/III
G Major Tonic I
Pivot Chord modulations are those that take place within the phrase. The diatonic function of a chord within the original key serves as a different diatonic chord within the new key. This provides a pivot between the two keys.
Cadence types
Meter
Form
9 Terry, C. (1917). Bach’s chorales: Part II – the hymns and hymn melodies of the cantatas and motets. 468. Cambridge: University Press 19
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Measure 2 – Half Cadence (HC) Measure 4 – Half Cadence (HC) Measure 6 – Half Cadence (HC) Measure 8 – Perfect Authentic Cadence (PAC) Measure 10 – Imperfect Authentic Cadence (IAC) Measure 12 – Perfect Authentic Cadence (PAC)
Simple Quadruple
Parallel Symmetrical Modulating M. 1-8: Double Period M. 9-12 Period
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Mayhew Lake’s Chorale Transcription #12 – Chorale 361/102: Du Lebesfürst, Herr Jesu Christ (Ascension hymn) The original hymn and text were written by Johann Rist (1607-1667). While the lyrics for Lake’s transcription are of Du Lebesfürst, Herr Jesu Christ, the musical setting is instead a transcription of Chorale 102, Ermuntre dich, mein schwacher Geist. This Mayhew Lake transcription is a transposition from G Major to F Major The Bach realization for Du Lebesfürst, Herr Jesu Christ (Chorale 361) can be found in Appendix E. English translation by G. Mar (as written in Lake’s chorale arrangement)
German
Thou Prince of Life, O Christ our Lord, Ascended to Thy Father, Where in sweet heavenly accord The chosen righteous gather, How shall I prize the victory Through struggle bitter won by Thee And meet devotion render To Thee, our one Defender?
Du Lebensfurst, Herr Jesu Christ, Der du bist aufgenommen Gen Himmel, da dein Vater tst Und die Gemein' der Frommen: Wie soil ich deinen grossen Sieg, Den du durch emen! schweren Kneg Erworben hast, recht preisen, Und dir g'nug Ehr' erweisen?
A second translation from the Novello & Co.'s Original Octavo Edition. O Jesus Christ, Thou dearest Lord, Thou Prince of life and glory, Thou with the Father art adored In heaven, where saints surround Thee. How best can I the victory sing Won by Thy might, Thou gracious King? What strains can I be raising, Thy love and power praising?
Key areas: F Major Tonic I
Pivot Chord Modulation F:V g: IV
g minor supertonic ii
Pivot Chord Modulation g: V d: V/iv
d minor submediant vi
Pivot Chord Modulation d: V/III F: III
F Major Tonic I
Pivot Chord modulations are those that take place within the phrase. The diatonic function of a chord within the original key serves as a different diatonic chord within the new key. This provides a pivot between the two keys.
Cadence types
Meter
Form
22
Measure 4 – Half Cadence (HC) Measure 8 – Perfect Authentic Cadence (PAC) Measure 12 – Perfect Authentic Cadence (PAC) Measure 16 – Perfect Authentic Cadence (PAC) Measure 20 – Half Cadence (HC)
Simple Triple
Parallel Symmetrical Modulating
Measure 24 – Perfect Authentic Cadence (PAC)
23
24
Original Chorales Four-Chords Chorale The four chords that are the foundation of this chorale are the same chords found in contemporary “popular” music, the I – IV – V – vi chords. These chords appear in many selections of music in combinations of root position and inversions. Root position is when the bass note (or root note) is also the lowest note (or bass note) of the chord. Example, C Major in root position would be written C – E – G An inversion is when the root of the chord is NOT the lowest note of the chord. Example, C Major in 1st inversion could be written as E – G – C or E – C – G. Notice that the C is not the bottom note. C Major in 2nd inversion could be written as G – C – E or G – E – C. To better understand these harmonies, a bass line progression will be similar to or be a variation on ^ 4 This is something akin to Journey’s Don’t Stop Believin’, or John Lennon’s Let it Be.
^
1
,
^
5
, 6^ ,
This chorale is designed to accomplish four goals. 1. That only four chords (I – IV – V – vi) are utilized but not necessarily in that order 2. That there is asymmetrical phrasing 3. That the melody remain in the top voice 4. That the chorale have a "feel" of mixing 20th century “popular” song with 17th century chorale style
Cadence types
Meter
Form
Measure 4 – Imperfect Authentic Cadence (IAC) Measure 7 – Half Cadence (HC) Measure 11 – Perfect Authentic Cadence (PAC)
Simple Duple
Parallel Symmetrical Non-modulating Three-phrase period
25
Four-Chords Chorale
26
Continuous Variation Chorale Continuous variation form is created by a repeated variation of a pattern. Often the pattern is a bass progression with new melodic materials freely added over the bass. Continuous variation form was popular in the Baroque period and is still popular today. Examples include Blues and Jazz improvisations over Blues chord changes. This chorale utilizes a theme and moves that theme amongst the voices in a continuous manner. The chorale is designed such that: 1. The first four measures in the soprano voice are the theme 2. The bass reduction is a repeated pattern 3. Each variation is symmetrical with the exception of the cadential extension at the end 4. The melody moves between voices 5. There is a progression from basic theme to increased ornamentation
Cadence types
Meter
Form
Measure 4 – Perfect Authentic Cadence (PAC) Measure 9 – Imperfect Authentic Cadence (IAC) Measure 13 - Imperfect Authentic Cadence (IAC) Measure 18 - Perfect Authentic Cadence (PAC)
Simple Duple
Parallel Symmetrical Non-modulating Continuous Variation
27
Continuous Variation Chorale
28
29
Student Original Chorale Composition * All Lesson plans leading up to this assignment are in Appendix A Time: In-class 20 minutes. Homework – 5 days Location: In-class and homework Materials needed: pencil, staff paper Assignment: 1) In the key of C Major, F Major, or Bb Major, compose 8 - 12 original measures using the “pop” chords a) “Pop” chords are I, IV, V, and vi b) ii chord is okay but must resolve to V c) Note: Example is in F Major, not Bb Major Items to Review 1) All previous lessons Guidelines: 1) Note values are a combination of quarter-notes, half-notes, whole-notes, quarter-rests, or half-rests 2) Left hand in root position, 1st inversion, or 2nd inversion as appropriate 3) Time signature is to be either 44 43 or 86 4) Label the cadences either Home or Away 5) Analyze the composition when completed 6) Complete the questions below 7) Rubric on following page Meter questions 1) What is the notated meter? Simple or Compound? 2) Is the notated meter duple, triple, or quadruple? Cadence Questions 1) The first cadence appears in what measure? What type of Cadence is it? 2) The second cadence appears in what measure? What type of Cadence is it? 3) If applicable: The third cadence appears in what measure? What type of Cadence is it? Form questions 1) Is the form Parallel or Contrasting 2) Is the form Symmetrical or Asymmetrical? 3) Is the form Modulating or Non-modulating? 4) Is the form Periodic?
30
Appendices Appendix A - Chorale Composition Unit Lesson 1: Rhythm Only Time: In-class 20 minutes. Homework – 1 day Location: In-class Materials needed: pencil, staff paper Assignment: Using only rhythm, compose 4 measures Review: 1) Time Signature 2) Note values 3) Definition of bar 4) Definition of meter Guidelines: 1) Note duration can be eight-notes, quarter-notes and half-notes and corresponding rests. 2) Each measure may contain no more than two beats of rest 3) Measure one is to begin on beat one 4) Time signature is to be either simple quadruple 4 4 or simple triple 3 4 5) Use rhythmic clef to begin (see example)
31
Lesson 2: Two Pitches Time: In-class 20 minutes. Homework – 1 day Location: In-class Materials needed: pencil, staff paper Assignment: Using rhythm and two pitches, compose 4 measures New items to Review: 1) Clef 2) Pitch-class 3) Note durations Guidelines: 1) Use the rhythm created for Lesson 1 2) Clef – use the clef for your instrument (Percussion use Treble) 3) Pitches a) Bass Clef use C3 and D3 b) Treble Clef use C5 and D5
32
Lesson 3: Two-Chord Progressions Time: In-class 20 minutes. Homework – 1 day Location: In-class Materials needed: pencil, staff paper Assignment: 1) In F Major, construct seven two-chord progressions – all of which are in root position 2) Label each chord and the interval between the chords a) Note: the example is in C Major New items to Review: 1) Intervals a) Major (M), minor (m), Perfect (P) 2) Triads a) Major (M), minor (m), and diminished (d or ○) 3) Root Position 4) Range Guidelines: 1) Clef – use the clef for your instrument (Percussion use Treble) 2) Range – all pitches should be within in a 10th a) Bass Clef use C3 through E4 b) Treble Clef use C4 and E5 3) Progressions a) Chords are a M2, M3, P4, P5, M6, and M7 apart 4) Note duration can only be half-notes
33
Lesson 4: Staff Writing Time: In-class 20 minutes. Homework – 1 day Location: In-class Materials needed: pencil, staff paper Assignment: 1) Using the system below, write out the following chords a) C Major, F Major, a minor , d minor , G Major, C Major 2) Put the bass of each triad in the left hand and the full triad in the right hand New items to Review: 1) System 2) Bass note Guidelines: 1) Note duration can only be whole-notes 2) Time signature is simple quadruple 4 4
34
Lesson 5: Right-hand Inversions Time: In-class 20 minutes. Homework – 1 day Location: In-class Materials needed: pencil, staff paper Assignment: 1. Using Example 2, redistribute the chords so that the right hand movement is minimized 2. Put the bass of each triad in the left hand and the triad in the right hand New items to Review: 1) Scale and Key signature a) C Major for example 1 b) F Major for example 2 2) Inversion a) 1st and 2nd inversion Guidelines: 1) Use F Major scale 2) Note values can be quarter-notes, half-notes or dotted half-notes 3) Time signature is to be simple triple 3 4 Example 1
Example 2
35
Lesson 6: Home and Away Time: In-class 20 minutes. Homework – 2 days Location: In-class Materials needed: pencil, staff paper Assignment: 1) Using the “pop” chords of Bb Major, create an eight measure, parallel, symmetrical, non-modulating period a) “Pop” chords are I, IV, V, and vi b) ii chord is okay but must resolve to V c) Note: Example is in F Major, not Bb Major New items to Review 1) Scale and key signature (F Major/Bb Major) 2) Cadences: a) Home Cadence / Away Cadence 3) Period a) Parallel b) Symmetrical c) Non-modulating Guidelines: 1) Note values can be quarter-notes, half-notes, or whole-notes 2) Use no rests 3) Left hand is the root of the triad 4) Harmony utilizes “pop” chords 5) Time signature is to be either simple quadruple 4 4 or simple triple 3 4 6) Label the cadences either Home or Away 7) Refer to page 11 – 12 for assistance then analyze the composition when complete
36
Lesson 7: Bass Inversions Time: In-class 20 minutes. Homework – 2 days Location: In-class and homework Materials needed: pencil, staff paper Assignment: 1) Using the “pop” chords of Bb Major, create n eight measure, parallel, symmetrical, non-modulating period a) “Pop” chords are I, IV, V, and vi b) ii chord is okay but must resolve to V c) Note: Example is in F Major, not Bb Major New items to Review 1) Scale and key signature (Bb Major) 2) Triad with figured bass 3) Inversion in the bass a) 1st inversion b) 2nd inversion Guidelines: 1) Note values can be quarter-notes, half-notes, whole-notes, quarter-rests, or half-rests 2) Left hand in root position, 1st inversion, or 2nd inversion as appropriate 3) Time signature is to be either simple quadruple 4 4 or simple triple 3 4 4) Label the cadences either Home or Away 5) Analyze the composition when completed
37
Lesson 8 – Student Original Chorale Composition Time: In-class 20 minutes. Homework – 5 days Location: In-class and homework Materials needed: pencil, staff paper Assignment: 2) In the key of C Major, F Major, or Bb Major, compose 8 - 12 original measures using the “pop” chords a) “Pop” chords are I, IV, V, and vi b) ii chord is okay but must resolve to V c) Note: Example is in F Major, not Bb Major Items to Review 2) All previous lessons Guidelines: 8) Note values are a combination of quarter-notes, half-notes, whole-notes, quarter-rests, or half-rests 9) Left hand in root position, 1st inversion, or 2nd inversion as appropriate 10) Time signature is to be either simple quadruple 44 simple triple 43 or compound duple 86 11) Label the cadences either Home or Away 12) Analyze the composition when completed 13) Complete the questions below 14) Rubric on following page Meter questions 3) What is the notated meter? Simple or Compound? 4) Is the notated meter duple, triple, or quadruple? Cadence Questions 4) The first cadence appears in what measure? What type of Cadence is it? 5) The second cadence appears in what measure? What type of Cadence is it? 6) If applicable: The third cadence appears in what measure? What type of Cadence is it? Form questions 5) Is the form Parallel or Contrasting 6) Is the form Symmetrical or Asymmetrical? 7) Is the form Modulating or Non-modulating? 8) Is the form Periodic?
38
Name: ____________________ Teacher: ____________________
Lesson 8 – Student Created Chorale Composition Project (60 points) Each composition must contain the items listed below. Title Composer’s Name Proper Key Signature Identify the key signature properly (i.e. A major) Proper Time signature Identify the time signature properly (i.e. simple duple) Tempo marking Correct number of beats per measure Uses a musical combination of notes and rests 8 complete measures Melodic Motion is by steps or leaps and is diatonic Harmonic Material contains I, IV, V (ii), and vi Neatness/correct notation of notes and rests Dynamic marking(s) Accurate Analysis of Composition Provide two neat copies
Points Earned __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________ __________
/ / / / / / / / / / / / / / / /
Max Points 1 1 1 1 1 1 1 5 5 8 7 10 3 3 8 4
Total Points
__________
/
60
39
Appendix B – Worksheets
40
41
Name: ____________________ Teacher: ____________________ Cadence Identification Ach Gott, wie manches Herzeleid (O Lord! how many miseries) 1) In measure 2, beat 3; identify the cadence as either Home or Away. _________________________ 2) In measure 4, beat 3; identify the cadence as either Home or Away. _________________________ 3) In measure 6, beat 3; identify the cadence as either Home or Away. _________________________ 4) In measure 8, beat 3; identify the cadence as either Home or Away. _________________________ Auf meinen lieben Gott (O wither shall I flee) 1) In measure 2, beat 1, identify the cadence as either Home or Away. _________________________ 2) In measure 4, beat 1, identify the cadence as either Home or Away. _________________________ 3) In measure 6, beat 3; identify the cadence as either Home or Away. _________________________ 4) In measure 8, beat 3; identify the cadence as either Home or Away. _________________________ 5) In measure 10, beat 3; identify the cadence as either Home or Away. ________________________ 6) In measure 12, beat 3; identify the cadence as either Home or Away. ________________________ Du Lebesfürst, Herr Jesu Christ (Though Prince of Life, O Christ our Lord) 1) In measure 4, beat 1, identify the cadence as either Home or Away. _________________________ 2) In measure 8, beat 1, identify the cadence as either Home or Away. _________________________ 3) In measure 12, beat 1, identify the cadence as either Home or Away. ________________________ 4) In measure 16, beat 1, identify the cadence as either Home or Away. ________________________ 5) In measure 19, beat 1, identify the cadence as either Home or Away. ________________________ 6) In measure 21, beat 1, identify the cadence as either Home or Away. ________________________
42
Name: ____________________ Teacher: ____________________ Cadence Identification – Answer Key Ach Gott, wie manches Herzeleid (O Lord! how many miseries) 5) In measure 2, beat 3; identify the cadence as either Home or Away. Away 6) In measure 4, beat 3; identify the cadence as either Home or Away. Home 7) In measure 6, beat 3; identify the cadence as either Home or Away. Away 8) In measure 8, beat 3; identify the cadence as either Home or Away. Home Auf meinen lieben Gott (O wither shall I flee) 7) In measure 2, beat 1, identify the cadence as either Home or Away. Away 8) In measure 4, beat 1, identify the cadence as either Home or Away. Home 9) In measure 6, beat 3; identify the cadence as either Home or Away. Away 10) In measure 8, beat 3; identify the cadence as either Home or Away. Home 11) In measure 10, beat 3; identify the cadence as either Home or Away. Home 12) In measure 12, beat 3; identify the cadence as either Home or Away. Home Du Lebesfürst, Herr Jesu Christ (Though Prince of Life, O Christ our Lord) 7) In measure 4, beat 1, identify the cadence as either Home or Away. Away 8) In measure 8, beat 1, identify the cadence as either Home or Away. Home 9) In measure 12, beat 1, identify the cadence as either Home or Away. Home 10) In measure 16, beat 1, identify the cadence as either Home or Away. Away 11) In measure 19, beat 1, identify the cadence as either Home or Away. Away 12) In measure 21, beat 1, identify the cadence as either Home or Away. Home
43
Appendix C – Teaching Meter Guide to Teaching Meter 1. Define the concept of meter using either simple or compound a. Simple means that the beat will always be divided into two equal parts. Values will be 2, 3, or 4 b. Compound means that the beat will always be divided into three equal parts so compound beats will always be dotted. Values will be 6, 9, or 12 2. Now include the concept of duple, triple, or quadruple with the values from simple and compound Duple = 2 or 6 Simple duple = Simple triple =
Triple = 3 or 9 2 3
Compound duple =
4
Compound triple =
4
Simple quadruple =
Quadruple = 4 or 12
4
4
6 9
8 8
Compound quadruple =
12
8
3. Define tactus: a physical representation of the beat (at one metrical level) 4. Play example of duple or triple 5. Play example again but with the addition of a click track to represent the tactus level a. Initiate a tactus by using small muscle kinesthetic participation. i. Tapping a toe ii. Clapping hands iii. Snapping 6. Play example again but with the addition of a click track to represent the tactus level a. Initiate a tactus by using large music kinesthetic participation i. March to the pulse ii. Step to the pulse iii. Clapping combination of accented and unaccented beat 1. Clap accented 2. Thigh pat unaccented 7. Play example again without the click track 8. Identify the meter as either duple or triple Duple Selections Mozart – Ave Verum Corpus Bach – Fugue in g minor John Lennon – Let it Be
44
Triple Selections Chopin – Waltz Strauss – Blue Danube Waltz Sound of Music – My Favorite Things
Name: ____________________ Teacher: ____________________ Meter Worksheet Based on the information given, fill in the empty boxes in the chart below. Remember, ask yourself what can be deduced from the information given, and what information you are asked to supply. Example: Find the Division Value and Time Signature Beat and Meter Type Beat Value simple triple
Division Value
Time Signature 3
Simple means that the beat will always be divided into two equal parts. Values will be 2, 3, or 4 Compound means that the beat will always be divided into three equal parts so compound beats will always be dotted. Values will be 6, 9, or 12 Duple = 2 or 6 Simple duple = Simple triple =
Triple = 3 or 9 2 3
Compound duple =
4
Compound triple =
4
Simple quadruple =
Quadruple = 4 or 12
4
Beat and Meter Type
9
8 8
Compound quadruple =
4
Answer: Beat and Meter Type simple triple
6
Beat Value
Beat Value
Division Value
Division Value
12
8
Time Signature 3 4 Time Signature 6
simple triple compound quadruple 2 simple quadruple 6
4
compound triple 3 2
4
compound quadruple 9
45
Name: ____________________ Teacher: ____________________ Meter Worksheet – Answer Key Based on the information given, fill in the empty boxes in the chart below. Remember, ask yourself what can be deduced from the information given, and what information you are asked to supply. Beat and Meter Type compound duple simple triple compound quadruple simple duple simple quadruple compound duple compound triple compound triple simple duple compound quadruple compound triple
46
Beat Value
Division Value
Time Signature 6 8 3 8 12 4 2 2 4 4 6 4 9 4 9 8 2 4 12 8 9 8
Metric Listening Map for Coldplay’s Viva la Vida (Music of the refrain found on the next page) Measure 1 – 8 Phrase (4 bars) Harmonic Rate (complete bar) Half-note Tactus (quarter-note)
x IV x x
V x
x x
x
x x
I x
x x
x
x x
x IV
vi x x
x
x
x x
x
x x
x x
x
V x
x x
x
x x
x
x x
x
x
x x
x
x
x x
x
Measure 9 – 16 Phrase (4 bars) Harmonic Rate (complete bar) Half-note Tactus (quarter-note)
x IV x x
V x
x x
x
x x
I x
x x
x
x x
x IV
vi x x
x
x
x x
x
x x
x x
x
V x
x x
x
x x
Measure 17 – 24 Phrase (4 bars) Harmonic Rate (complete bar) Half-note Tactus (quarter-note)
x IV x x
V x
x x
x
x x
I x
x x
x
x x
x IV
vi x x
x
x
x x
x
x x
x x
x
V x
x x
x
x x
----------------------------------------------Measure 1 – 16 Period (2 phrases) Phrase (4 bars) Harmonic Rate (complete bar)
X
x
X IV
x V
I
vi
IV
x
x
x V
I
vi
IV
x V
I
vi
IV
V
I
vi
Meter Listening Map– Coldplay’s Viva la Vida
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48
Appendix D – Chorale 102, Ermuntre dich, mein schwacher Geis
Key areas: G Major Tonic I
Pivot Chord Modulation G: V a: IV
Meter
Form
Simple Quadruple
a minor supertonic ii
Pivot Chord Modulation a: i e: iv
e minor submediant vi
Pivot Chord Modulation e: i G: vi
G Major Tonic I
Modulating Symmetrical Periodic 49
Appendix E – Four-Chords Song List This list is a sampling of selections that use the Four-Chords (I – IV – V – vi). It is not exhaustive and I encourage you to go find your own examples. Next time you turn on the radio, listen actively and discover new songs that are based on these four-chords. Enjoy! Track 2 Become 1 Africa Auld Lang Syne Barbie Girl Beautiful Behind These Hazel Eyes Bullet with Butterfly Wings Can You Feel the Love Tonight – End Title Complicated Don’t Stop Believin’ Down Under Forever Young Hey, Soul Sister I’m Yours If I Were a Boy In My Head It’s My Life Kids Let It Be No Woman, No Cry One of Us Paparazzi Pictures of You Poker Face Save Tonight Scar Self Esteem She Will Be Loved Someone Like You Superman Take Me Home, Country Roads Take on Me Taylor The Double Rainbow Song Time to Say Goodbye (Con Te Partiro) When I Come Around Where is the Love? Wherever You Will Go With or Without You
50
Artist
Album
Album Year
Spice Girls Toto Robert Burns Aqua Akon Kelly Clarkson Smashing Pumpkins Elton John
Spice Toto IV Robert Burns-a Tribute to Auld Lang Syne Aquarium Freedom Breakaway Mellon Collie and the Infinite Sadness The Lion King
1996 1982 2009 1997 2008 2004 1995 1994
Avril Lavigne Journey Men at Work Alphaville Train Jason Mraz Beyoncé Jason Derulo Bon Jovi MGMT The Beatles Bob Marley & The Wailers Joan Osborne Lady Gaga The Last Goodnight Lady Gaga Eagle-Eye Cherry Missy Higgins Offspring Maroon 5 Adele Five for Fighting John Denver A-Ha Jack Johnson The Gregory Brothers Andrea Bocelli, Sarah Brightman
Let Go The Essential Journey The Best of Men at Work: Contraband Forever Young Hey, Soul Sister We Sing. We Dance. We Steal Things I Am…Sasha Fierce Jason Derulo Crush Oracular Spectacular Let It Be Legend Relish The Fame Pictures of You The Fame Desireless The Sound of White Smash Won’t Go Home Without You 21 America Town Take Me Home, Country Roads Hunting High and Low On and On The Double Rainbow Song Time to Say Goodbye
2002 2001 1998 1984 2009 2009 2008 2010 2000 2010 1970 2010 1995 2008 2007 2008 1998 2010 2005 2008 2010 2000 1992 1985 2003 2010 1997
Green Day The Black Eyed Peas The Calling U2
Dookie Elephunk Love Actually Soundtrack The Joshua Tree
1994 2004 2008 1987
Appendix F - Mayhew Lake’s Bach Chorale Transcription Instrument Voicing Soprano Piccolo in C 1st Flute 1st Oboe Clarinet in Eb Solo or 1st Clarinet in Bb 2nd Alto Saxophone in Eb 2nd Horn in F Solo or 1st Trumpet in Bb 1st Baritone, Bass Clef 1st Baritone, Treble clef
Alto 2 Flute 2nd Oboe 2nd Clarinet in Bb st 1 Alto Saxophone in Eb 1st Horn in F nd 2 Trumpet in Bb 1st Trombone nd
Tenor 3 Clarinet in Bb Alto Clarinet in Eb 1st Bassoon Tenor Saxophone in Bb 3rd Horn in F rd 3 Trumpet in Bb 2nd Trombone rd
Bass Bass Clarinet in Bb 2nd Bassoon Baritone Saxophone in Eb 4th Horn in F 3rd Trombone nd 2 Baritone, Bass Clef Basses Timpani
51
Appendix G – Full Scores
52
53
54
55
56
57
58
59
60
61
62
63
64
