Fun-damentals of Music

Transcription

1 Gyneth Walker undamentals o Music or oodind quintet ith audience articiation 1. Rhythm 2. Melody. Harmony. orm

2 Commissioned y the Equinox Chamer Players: Paula Kasica (L), Ann Homann (OB), eanine YorkGaresché (CL), Carole Lemire (HN), Donita Bauer (BSN) or remiere March, 2005 St. Louis, MO This commission as made ossile y the generous assistance o the Regional Arts Commission St. Louis. duration: 1 0 dedicated to the memory and unloving sirit o Patricia Stenerg ( ) Princial Ooe o the lorida West Coast Symhony, memer o the lorida Woodind Quintet and Music Director o the Sarasota Pos Orchestra Pat alays anted the audience to oin in! undamentals o Music is intended to e oth educational and entertaining. The resentation ill take the orm o a Music Lesson, ith instruction and articiation. The music is oyul. And the emhasis ill e on audience involvement and enoyment. Each movement ocuses on one asic comonent o music. According to the directions given y one o the memers o the quintet, the audience ill oin the layers y claing (rhythms), humming (a melody), harmonizing (uilding chords) and raising hands, or erhas standing u (!), (to identiy ormal sections and thematic recurrences). This music is esecially intended or school rograms. Hoever, undamentals as also created ith general audiences in mind. Adults have een knon to enoy singing or taing during concerts. [!] amilies might share the exerience, erhas to see hich memers really are musicallyinclined! It is hoed that this ill e a memorale Music Lesson or all. * * * * * Dr. Gyneth Walker (. 197) is a graduate o Bron University and the Hartt School o Music. She holds B.A., M.M. and D.M.A. Degrees in Music Comosition. A ormer aculty memer o the Oerlin College Conservatory, she resigned rom academic emloyment in 1982 in order to ursue a career as a ulltime comoser. She no lives on a dairy arm in Braintree, Vermont. Gyneth Walker is a roud resident o Vermont. She is the reciient o the Year 2000 "Lietime Achievement Aard" rom the Vermont Arts Council. Walker's catalog includes over 10 commissioned orks or orchestra, and, chorus and chamer ensemles. The music o Gyneth Walker is ulished E.C. Schirmer o Boston (choral/vocal music) and MMB Music o St. Louis (orchestral/instrumental music).

3 undamentals o Music 1. Rhythm The Clarinetist s role in this movement is to lead the audience in claing rhythms. Thereore, the instrument may e let y the chair. Clarinetist comes to the ront o the stage here a large oster o the rhythmic atterns may e dislayed on a music stand to address the audience, oering the olloing guidelines (either read o arahrased): The irst element o music hich e shall exlore today ill e RHYTHM. And, in this irst iece o music, e shall need your hel in ringing the rhythms to lie. I ill lead you, conduct you, in claing the rhythms as art o the erormance. Clarinetist introduces and rehearses the ive rhythmic atterns dislayed on the olloing age. Clarinetist (erhas assisted y a local Music Teacher) may oer as much or as little instruction aout the rhythmic atterns and note values as is aroriate to the situation. Clarinetist ill also exlain to the audience aout cutos (such as ill e given at the end o mm. 2 0), dynamics (or the section at letter E) and the signaling o the inal reetition o a attern (see m. 61). The rhythms may e rehearsed ith ust the clas. Or, instruments may oin in, i they ish. Everyone might rehearse the section at letter C together in order to hear and understand the rhythmic dialogue. During the erormance o the music, the Clarinetist stands at the ront o the stage, leading the audience claing. In addition, the Clarinetist (and/or local Music Teacher) may oint to the rhythms dislayed on the oster as the rhythms occur in the music.

4 2 RHYTHM...

5 lute undamentals o Music q = º ith energy Clarinetist stands at the ront o the stage to lead the audience in claing rhythms (starting in m. 1) 1. Rhythm L L Gyneth Walker Ooe L L B Clarinet (clas only) Horn Bassoon L L L L L L L L L L L l. 7 L L L L A L > >. > L > L > L >. > > L > L >. > > L > L L L L L L L L } L L L } L } L } L L L L L } L L L >. > } > L. > } > L. > } L L L L L > Coyright 200 Gyneth Walker

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7 5 l. 28 L L L L L L L L L L L L L L L L nl L L L L L L L ( leads audience in claing) (sim.) L L L L L L L L L L L L L L n L L L L L L L L L L l. 2 L L L L L L D L L L L L L L L >. > >. > > > >. > > L >. > L > >. > > L >. > L > L L L L L L L L L L L L L L L L L L L L L L L L L }. L. }. } } } }. L }. L }. } } } }. L }. L }. } } } } l. 6 L L L L L L L L > >. > > L >. > > L >. > > L L L L L L L L L > >. > L > >. > L > >. > L >... L L L L L } L >. L >. L >. L L L L L > > L. L > > L. L > > L. L >

8 2. Melody The Ooist s role in this movement is to lay the theme, and then lead the audience in humming along. The goal is or the audience to ecome conident enough in humming the melody that they can erorm it ithout douling y the Ooe. (The other instruments start y laying the theme, ut then diverge into counteroint.) The more caale the audience is in sustaining the melody on their on, the less laying is needed y the Ooist. Instead, the Ooist conducts and encourages the singing. Instructions or the Ooist are rovided in the score and art. The Ooist erorms rom the ront o the stage. I desired, a oster o the melody may e dislayed on a music stand or the audience to see. And, i a local Music Teacher is assisting in the erormance, he/she may oint to the notes o the melody as they are to e hummed. Ooist introduces this movement ith the olloing ords (or a arahrased version): The next element o music hich e shall exlore today ill e MELODY. And, in this iece o music, e shall need your hel in humming along. I ill lay the melody or you once, and then you can oin in ith me. Once you have learned the melody, I may even sto laying mysel so that I can listen to you! Let us give this a try.

9 MELODY 9 Gently loing. cantaile

10 10 2. Melody l. Gently loing q = (Ooist lays this movement rom the ront o the stage, to lead the audience in singing [humming] along.).. cantaile.... l A.. Ḟ cantaile ( eckons to the audience... cantaile. l to sing or hum the melody..... L L L L L L L L. L L L L L L L L

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12 12 l. 58 L L. L L L L L L L L L L. L L L L. L L L L. L L L L C. L L L L L lays melody, or sings/hums ith audience. L L L. L L L L L L L L. L L L L. L L L L L L L L l. 66 L L L L L L L L. L L L L. L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L l. 7 L L L L L L L L L L L L L L L L L L L L L L L L L L L L. L L L L.. L L L L

13 1 l. 80. D. lays melody, or sings/hums ith audience. L L L L L L L L. L L L L L L L L. L L L L L L L L. L L L L L L L L L L L L L L L L L L L L L L.... l L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L.. l. 9 L L L L L L L L L L L L L L L L L L L L L L L L L L L. L L L L L L L L. L L L L L L. L L L L L L L L. L L L L L L....

14 . Harmony The Bassoonist s role in this movement is to lead the audience in singing itches hich orm chords. It is suggested that the Bassoonist divide the audience into three arts (moving rom let to right or viceversa across the auditorium). The Bassoonist exlains to the audience that they ill e singing notes, on the syllale la. One section ill sing a note and hold it, hile another section adds another itch, and so orth. A series o threenote chords (triads) ill e ormed. The chordal itches are also layed y the Horn, Clarinet and Ooe. So, the audience ill e suorted in their singing. But, the goal is or the audience to sing conidently enough that the instrumental suort is not essential. The Bassoonist s art ill have the chordal atterns, so that the Bassoonist can conduct the audience. As chords are ormed, the Piccolo enters ith a theme aove the chord. And, as the iece rogresses, the harmonic itches themselves ecome elaorated in the instrumentals. (The audience singing remains asic.) The temo increases, the music icks u energy, and there is even a section here the chords are ormed at doule seed. The Bassoonist stands at the ront o the stage. (No instrument needed.) I desired, a oster o the chords may e dislayed on a music stand or the audience to see. And, i a local Music Teacher is assisting in the erormance, he/she may oint to the notes o the chord as they are to e sung. It may e helul to ractice orming the chords once or tice eore starting this movement. Bassoonist introduces this movement ith the olloing ords (or a arahrased version): Music needs rhythm and melody, as e have seen. Music also needs HARMONY. Harmony haens hen several notes are layed or sung at the same time. The melody and rhythm ork ith the harmony to create a iece o music. We have here some notes or you to sing on la (oints to oster). This art o the room ill sing the irst note. The middle section ill sing the next note. And this last section ill sing the third note. When you all sing together, you have made a chord. Can you hear this Let s sing these notes no, and see i e can make harmony!

15 18 HARMONY

16 Picc. q = at a temo comortale or the audience to sing the itches to uild chords Ḟ * * * Picc. 11 A L L L L L L L L Picc. 21 L L L L L L L L L L L L L L L L 19. Harmony Bassoonist comes to the ront o the stage to lead the audience in singing the various itches o areggiated chords. Bassoonist does not lay instrument in this movement. Instead, the Bassoonist s art ill dislay the notes hich the audience is singing. * Play loudly enough to lead the audience singing, ut not dron it out.

17 20 Picc. 29 L L L L L L L L B Slightly aster q = º L L L L L L L L L L L L L L L L L L L L Picc. 7 L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L Picc. L L L L L L L L L L L C Slightly aster q = L L L L L L L L L L L L L L L L L L iω iω

18 21 Picc. 50 L L iω iω L L L L Picc. 55 L L L L Picc. 60 L L L L L L

19 . orm The Horn layer s role in this movement is to hel the audience identiy the dierent themes and ormal sections o the music. Also, the Horn ill e laying some o the music esecially, the theme associated ith the C section, as it recurs in the iece. Horn layer comes to ront o stage, ith Horn and horn art or laying this movement. Visual dislays, such as the osters used in the revious movements, are not necessary or this movement. The emhasis no ill e on listening to the music. The Horn layer introduces this movement ith the olloing ords (or a arahrased version): Today e have learned aout RHYTHM, MELODY and HARMONY. These are all arts o the language o music. These give us the sounds that e hear. And no, e shall learn aout the shae hich organizes these sounds into a musical comosition. or, one does not simly lay musical sounds over and over again. Instead, the sounds come and go, they change, and they interact ith each other. We call this MUSICAL ORM. This next iece has several sections. Each section is associated mostly ith one musical theme. There is the A theme, hich is energetic and roud, as i to say: Here I am the main theme! (Players demonstrate a it o the oening theme.) There is a second theme, the B theme. (Players demonstrate some o the materials starting at m. 1.) This is a gentle, singing theme. The Clarinet likes this theme! These to themes come and go in the music. Let us see i e can identiy the to themes hen e hear them. Horn layer divides the audience into three sections, identiying one section ith theme A, another ith theme B and telling the third section that their very secial theme ill e demonstrated next. Then, the layers lay samles o each theme, ith the audience raising their hands (or erhas standing u!) hen they hear their theme.

20 And, there is even another theme, the C theme. I lay this theme mysel! (Horn layer no lays some o the material starting in m. 9, and then instructs the aroriate section o the audience to identiy this theme.) There may no ollo some oortunities to test the audience in identiying their articular themes. The oodinds lay, and the audience raises hands or stands u. The Horn layer hels guide in this. Once everyone seems comortale ith the thematicidentiication rocess, the quintet may roceed to erorm this movement. As a last it o instruction to the audience, the Horn layer may say: Rememer no that not all themes ill e layed at the same time. Hoever, it is ossile that there may e sections here more than one theme is heard soon ater another. In other ords, the themes may interact. Listen careully to the music! The coming and going o the themes is art o the shaing o the music, hich e call the MUSICAL ORM. or the quintet: This iece is a rondo orm. A secial eature (to engage the audience) is the surrise insertion o arts o the C theme into the returns o the B sections. The alternation o B and C material increases in stretto, so that y the end o the movement, the to themes anser each other every halmeasure. It is intended that, i the audience has mastered the rocess o identiying the themes, hands ill e raised (or children ill stand u!) ith increased requency, hich could e a un and lively conclusion or the erormance! A B A C A BCBC A BCBCBC A BCBCBCBC

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