Dirait-on Spec Sheet

Title: Dirait-on from Les Chansons des RosesComposer: Lauridsen, MortenArranger: N/A

Publisher: Southern Music Publishing Co., Inc.Publication Date: 1994Publication ID #: N/AVoicing: SATBAccompaniment: PianoSolos: N/ALanguage: FrenchOccasion: General, Graduation, Valentine’s Day

Voice Ranges: S: Ab3-F5 A: Ab3-Db5 T: Ab2-Gb4 B: Ab2-Eb4

Concepts: Polyphony (as opposed to Homophony), French Diction, Unison, Divisi, Caesura, Fermata, Advanced Dynamics and Tempo Markings, Anacrusis, Points of Imitation, Homorhythm, Rubato

Skills: Singing Rubato, Part Independence, French Diction, Upper and Lower Phonation (Head and Chest Voice), Blending, Singing Legato

Potential Problems: Staggered Entrances, Clashing Parts and Melodies, Extreme Register Changes, Singing out of Time, Transitions

Dirait-on Study Guide

Title: Dirait-onSet of Songs: Les Chanson des RosesComposer: Morten LauridsenPoet: Rainer Maria RilkeVoicing: SATB

Historical Background: Rainer Maria Rilke lived and wrote around the turn of the century in central Europe, blending old ideas with popular ones. He was Austrian and wrote mostly in German but also wrote poems in French. This cycle revolves around human interaction with the idea of the rose and reflections upon its bearing on us as humans.

Concepts:

• Advanced Dynamic and Tempo Markings◦ deliberamente = deliberately, with meaning◦ meno mosso, molto meno mosso = less motion a d much less motion, respectively◦ poco a poco accel. e cresc. = little by little/gradually accelerate and grow in volumn◦ tempo primo = return to the original tempo after a ritardando or accelerando

• Anacrusis = a note or small group of notes before the downbeat that anticipate the melody or phrase.• Caesura = a deliberate pause in the music, brief or otherwise.• Divisi = Vocal sections sing separate parts.• Fermata = a note or chord sustained or held out for effect.• Homophony = all parts move cohesively.• Homorhythm = all voices sing the same rhythm at once.• Points of Imitation = entrances of the same musical idea that are staggered.• Polyphony = multiple melodies being sounded simultaneously.• Rubato = meaning “robbed time”, a feeling of pushing and pulling of the tempo.• Unison = all voices sing the same melody.

Skills:

• Blending◦ This piece is filled with unique and awe-inspiring harmonies which won't take effect if the choir doesn't blend.

• French Diction Tenets◦ Nasal Vowels

▪ The soft palette lowers and directs sound through the nasal cavity, Ns are NOT pronounced.• 'abandon', 'touchant', 'dirait-on'

◦ Liaison▪ If a word begins with a vowel, the last consonant from the preceding word gets tacked on to it.

• 'touchant|aux', reflet|éclairé, 'dirait|on'◦ Mixed vowels

▪ The tongue forms one vowel while the lips form another.• 'eur'=E+U

• Part Independence◦ In this piece, parts don't move together and often disrupt the others such as from Letters C to D. To counter

this, it's important to be able to maintain a part with confidence without interference.• Singing Rubato

◦ Counted as expressive markings, this piece is full of artistic manipulations of the tempo meaning the singer must be able to sing in rhythm but also out of tempo.

• Upper and Lower Phonation (Head and Chest Voice)◦ This piece involves quick, challenging register changes. In order for the piece to hold together, the ability to

connect head and chest voice becomes critical, particularly for tenors. Turn to back...

Form: The piece uses two melodies in various way. The first section of the piece is the first melody sung first by the men, then by the women. The second section of the piece is the second melody, sung first in unison, then in forms of a round. The middle section of the piece is both themes plus an extra tenor theme all in polyphony with one another. A transition leads back into the second section of the piece followed by a closing.

Describing and Analysing: In the space below, come up with as many descriptive qualities as you can to describe the piece and/or moments in the piece. Immediately associate this with musical terminology we've discussed over the course of the unit.

Example: “There's a really intense moment on page 11 because of the fermata at the top of the page.”

Dirait-on

Unit Learning Goals

1. Students will learn to actively describe music and musical events to then convert them into

musical terminology and techniques. (NS 6)

2. Students will be able to sing Dirait-on with beautiful vocal technique and musicianship

accurately executing all skills associated with the piece. (NS 1)

3. Students will be able to evaluate their own performance with specific details and ideas of how

to achieve more musical performances in the future. (NS 7)

4. Students will be exposed to the concept of attaching external meaning to a piece of music and

its musical ideas, establishing a deeper sense of purpose in music. (NS 6, 8, 9)

5. Students will understand relative concepts and skills to Dirait-on and be able to point them out

and perform them in the music. (NS 5, 6)

Time Frame (assuming daily 50-minute rehearsals):

Week 1 Introduce mm. 32-50 Introduce NASAL VOWELS and LIAISON

Work on Head and Chest Phonation Introduce POINTS OF IMITATION

Introduce ANACRUSIS

Introduce UNISON as opposed to DIVISI

Introduce mm. 1-31 (all French words other than ‘Dirait-on’ on ‘lu’) Introduce HOMORHYTHM

Week 2 Review mm. 1-50 and Aforementioned Concepts Introduce mm. 51-67 (all French words other than ‘Dirait-on’ on ‘lu’) Introduce POLYPHONY as opposed to HOMOPHONY

Introduce RUBATO

Week 3 Polish mm. 51-67, Practicing Part Independence Introduce mm. 68-95 Introduce FORM and how the choir could make mm. 76-86 have a different character than

mm. 40-50 Introduce French Text by means of Speaking Only

Week 4 Singing evaluations Practice transition between m. 67 and m. 68 Introduce FERMATAS

Introduce CAESURAS

Apply French Text to mm. 1-31 Practice French Diction by means of Speaking followed by Singing Practice singing through the entire piece

Week 5 Polish mm. 1-31, practicing entrances and cut-offs Attempt and practice mm. 1-31 from memory Polish mm. 32-50 Attempt and practice mm. 32-50 from memory, keeping in mind that mm. 40-50 are the

same as mm. 76-86. Week 6 Review mm. 51-67, mm. 68-75 Attempt and practice mm. 51-67, mm. 68-75 from memory Attempt and practice the entire piece from memory

Week 7 Practice the entire piece from memory Polish Entrances and Cut-offs Polish Dynamics Polish Rubato Practice describing a piece using musical terminology

Week 8 Review of concepts and distribution of study guide PERFORMANCE

Week 9 Reflection and evaluation of the performance Written Exam

Name:

Dirait-on Unit Written Exam

Section 1: Basic Information

Composer:

Poet:

Basic meaning of the text:

Section 2: Advanced Dynamic and Tempo Markings

For each of the directions below, articulate how you would perform the music differently.

1. deliberamente:

2. molto meno mosso:

3. molto rit.:

4. poco a poco accel. e cresc.:

5. tempo primo:

Section 3: Terms and Definitions

For each item below, insert either the correct term name or the term definition.

*Spelling errors will result in a ½ point reduction.

1. [blank] Staggered entrances of the same melody.

2. [BLANK] A note or small group of notes before the downbeat that anticipate

the melody or music.

3. Homophony [BLANK]

4. Casura [BLANK]

5. [BLANK] A note or chord sustained or held out for effect.

6. Polyphony

7. Homorhythm [BLANK]

8. Unison [blank]

9. Divisi [blank]

10. [blank] Meaning “robbed time”, a feeling of pushing and pulling on the

tempo.

Section 4: Form and Analysis

1. Recall the sections in which we learned Dirait-on. On the lines below, describe the form of the

piece, paying special attention to where the music changes and when it repeats itself.

2. Below are two small excerpts from presumably unknown choral pieces. Identify whether

they're unison or divisi. (circle one)

Excerpt A

A) UNISON DIVISI

Example B

B) UNISON DIVISI

3. Consider Dirait-on as a work of art. Assign the piece or moments in the piece three adjectives.

Then for adjective, use the terms we've learned in class to describe how the composer achieves

these adjectives.

Section 5: Skills Employment

1. On the lines below, name the three techniques of French diction we worked the most on in

Dirait-on and explain what each calls for. Give examples from the text of the music.

1.

2.

3.

2. On the lines below, describe the differences between head, chest and mixed voice. Articulate a

place or places in the Dirait-on where your use of register change was challenged.

Singing Skill Test

Part I: Students will sing assigned measures of Dirait-on. Students will be given two attempts for authenticity's sake.

Unsatisfactory Basic Proficient Distinguished

Respiration

0-6 7 8-9 10

PhontationNeeds practice in singing between registers.

0-6 7-8 9-10

Resonant Tone

0-6 7 8-9 10

Diction

0-6 7 8-9 10

ExpressionSome expressive markings neglected.

0-6 7-9 10

Pitch Accuracy0-6 7 8-9 10

Rhythmic Accuracy

0-6 7 8-9 10

Neglected breathing before phrases and managing breath.

More instances of neglecting breath

support and management.

Fewer instances of neglecting breath

support and management.

Took adequate breaths before phrases and

demonstrated adequate breath

management.

Unable to transition between or sing

clearly in any register.

Clear and resonant use of all three

registers.

Vowels are indistinguishable and

don't resonate.

Vowels don't remain open consistently.

Vowels remain open with few slips.

Vowels remain open and clear.

Nasal vowels, liaison and mixed vowels not

present nor acknowledged.

Nasal vowels, liaison and mixed vowels somewhat evident.

Nasal vowels, liaison and mixed vowels are

mostly present.

Nasal vowels, liaison and mixed vowels are

all present.

All expressive markings are neglected.

All expressive markings are

executed.

Frequent, consistent pitch matching issues.

Many hiccups, many pitches inaccurate.

Few hiccups, most pitches accurate.

All pitches are accurate.

Frequent, consistent duration and rest

issues.

Many hiccups, many durations and rests

inaccurate.

Few hiccups, most durations and rests

accurate.

Note durations and rests are accurate.

Singing Skill Test

Part II: In quartets, students will sing Dirait-on from beginning to end with the score. The quartet will be allowed multiple attempts if serious derailments occur or are inevitable.

Unsatisfactory Basic Proficient Distinguished

Unable to maintain a part.

0-3 4 5

Part Accuracy

0-2 3 4 5

Balance/Blend

0-3 4 5

Part Independence

Shaky or unsure but

basically able to hold a part.

Able to maintain the part.

Consistent inaccuracies

Moderate errors in

accuracy.

Slight errors in accuracy.

Complete accuracy attained.

Student was unable to blend with the group.

Student had trouble with

balancing with the group.

Student was able to completely blend with the

group.

Concert Reflection and Observation Report

Consider the concert that's just come to pass and our performance. In a two page or more reflection, name and describe three general strengths and three general weakness that could be improved upon. Then reflect on each piece and give a strength and weakness for each piece. Finally reflect upon your own musical contribution. Provide three examples of strengths you brought to the performance and three weaknesses you'd like to improve upon. Make examples specific!

The reflection must be typed and double-spaced using 12 point, Times New Roman font. If you have a problem with accessing a computer, speak with Mr. Rigsby right away!

Elements to consider:• Posture and Breathing• Phonation• Diction • Expressive Markings• Behavior • Focus• Memorization• Preparation• Enthusiasm

Rubric

General

Examples of StrengthsNot Defined Defined. Clearly Defined.

0-6 7-8 9-10

WeaknessesNot Defined Defined. Clearly Defined.

0-6 7-8 9-10Specific Pieces

Pieces Accounted ForThree or More Missing Almost All Pieces All Pieces

0-6 9 12(3 points per piece mentioned)

DetailExamples with acceptable discusion.

0-6 7-8 9-10Personal Contribution

Examples of StrengthsNot Defined Defined. Clearly Defined.

0-6 7-8 9-10

WeaknessesNot Defined Defined. Clearly Defined.

0-6 7-8 9-10

Few clear examples and discussion missing.

Specific examples with thorough discussion.

Related Reading AssignmentThe Language of Flowers

Henrietta DumontH.C. Peck & T. Bliss, 1851

Purpose: To practice attaching symbolic ideas (in this case, aesthetically appealing plants) to music and vice versa.

Symbolism is powerful social and literary device. From before the 19 th century and onward, using plants and flowers in poetry, fictional prose, and music has been used to indicate different emotions and implications. Our piece, Dirait-on, is from a song cycle about roses, indicating that it's about beauty in love. Look through the manual The Language of Flowers and find four that would be relative to your current state (example: “The vervain because I'm enchanted by choral music”, “The cactus because I ardently love Morten Lauridsen”, “The peony because I'm angry at Mr. Rigsby for giving obscure assignments”, etc.) Then connect your choices to separate pieces of music (also of your choice; must be appropriate for class) and write in detail how they relate to each other, pointing at moments in the music. (example: “The rosemary is appropriate for Josh Groban's song 'To Where You Are' because it represents remembrance. The music crescendoes as the narrator's memory of his loved one gets stronger.”)

Your assignment must be six paragraphs at least. This means a paragraph per selection with an introduction and conclusion. You must clearly indicate what pieces of music you're connecting your choices to and there must be a variety of content (example: love, affection, adoration and heartache are essentially similar but love, riches, grief and truth make a variety).

The reflection must be typed and double-spaced using 12 point, Times New Roman font. If you have a problem with accessing a computer or the internet, speak with Mr. Rigsby right away!

Basic InformationEarl RigsbyChoral Methods ClassroomDr. Don EsterFeb. 19, 2013

Prerequisite Knowledge and Skills• Level 3 tonal skills.

Behavioral Objectives• Students will review the concept of a French nasal vowel. (NS1, NS6, NS7)

• Students will sing mm. 32-67 of Dirait-on accurately and with proper vocal technique. (NS1)

• Students will accurately read a tonal excerpt from Dirait-on. (NS5, NS6)

Materials• ELMO Projector• Dirait-on sight reading excerpt.• On Whiteboard:

◦ Séquence de répétition.▪ VT▪ CT▪ ML▪ Dirait-on Idée Centrale: Polyphony

Procedures:0:00 Set/Vocal Technique

• Students sing:▪ ng-aw ng-aw ng-aw ng-aw ng-aw

(Sol Fa Mi Re Do)▪ Ascending by half step in the key of A

0:01 Choral Technique• Students sing the melody of Amazing Grace on 'Tu' in the key of F#.• Students sing the meldoy of My Country 'Tis of Thee in the key of F#• Students sing both songs simultaneously.

0:04 Music Literacy• Students will read Exercise 1 on solfege, then 'pa'.• Students will read Exercise 2 on solfege, then 'pa'.• Students will read Exercise 3 on 'pa'.

0:06 Literature: Dirait-on• Students will look at and read the tenor part on pp. 7-8 of Dirait-on.

◦ 1st time on 'pa'

◦ 2nd time on 'Dirait-on'0:07

• Letter C to Letter D◦ Students will read the melody on pp. 3-4 on 'lu'.◦ Altos will sing their part from letter C to letter D.◦ Altos and Tenors will sing together from letter C to letter D.

0:09◦ Sopranos will read their part from pickup to letter C to letter D.◦ Basses will read their part from from letter C to letter D.◦ Basses and sopranos will read their part together.

0:11◦ All parts will read their parts.

0:12• Students review mm. 32-49

▪ Nasal vowels▪ Tempo markings (new)

• Where in the music?• Demonstration

▪ Where is there polyphony in this section?0:14

◦ Students Sing0:16

• Review of polyphony and other CMP.0:17

• Final performance.◦ mm. 32-67 with accompaniment.

0:20

SPONGE: Discuss how Lauridsen's use of polyphony accentuates Rilke's use of roses as the central symbol

of the text. Ask students why Lauriden's music would reflect such a symbol.

CURRICULAR CONNECTION: Related reading assignment connecting music with symbolic ideas.