Week 4 Reading: Repertoire Selection & Score Analysis

1. Complete the score analysis and score preparation as indicated in the bullet points
of the textbook p.63-64. Present your analysis in a graph following the example
provided. (BT 4-2 p.64)
a. Analyze the key, tempo, style, texture, and language
i. Key: G major
ii. Tempo: 104-108 BPM
iii. Texture: 2-voice w/ optional percussion accompaniment
iv. Language: Zulu w/ English Translations
b. Note the harmonic structure of the piece, including modulations and unusual
progressions
i. The majority of the song is in G major with a brief modulation to the sub
dominant key area of C. This momentary key change happens in the B
section staring on the pickup to m. 13 with Siyahamba.
c. Analyze the form of the piece, marking the score
i. Intro (mm. 1-4), A (mm. 5-12), B (mm. 13-17), Interlude (mm. 18-21), A1
(mm. 22- 29), B (mm. 30-33), A2 (mm. 34-40)
d. Write out the literal translation
(Zulu)
Siyahamba, ekukanyen' kwenkos',
Siyahamba, ekukanyen' kwenkos',
Siyahamba, ekukanyen' kwenkos',
Siyahamba, ekukanyen' kwenkos',
Siyahamba, siyahamba, oh,
Siyahamba ekukanyen' kwenkos'.
(English)
We are marching in the light of God.
We are marching in the light of God.
We are marching in the light of God.
We are marching in the light of God.
We are marching, we are marching, ooh,
We are marching in the light of God.
We are marching, we are marching, ooh,
We are marching in the light of God.

e. Notate the range of each voice part

i. Voice 1: D4-D5
ii. Voice 2: B3- E4
f. Research the composer, the purpose for which the piece was written, and its
performance practice
i. Siyahamba is a South African Folksong song composed by Andries van
Tonder around 1950. Originally composed as an Afrikaans hymn, the song
was later translated into Zulu by Thabo Mkize. It is also considered a
freedom song that was made up behind a background of apartheid political
oppression during when South African tribes were being discriminated
against. The popularity of the song in North America began in the 1990s
and since then, it has been in the standard choral music repertoire.

2. Explore one of the repertoire websites identified on p.66. Search for a choral piece
appropriate for middle school singers and justify your choice, providing the
reference. (BT 4-3 p.67)
a. Gloria Ad Modum Tubae By Guillaume Dufay
i. Good piece for female voices as it is not too high and neither too low of
range for singing.
ii. 2 part (SA)
iii. Polyphonic
iv. Stays in one key
v. Text is sing able at middle school level

http://www3.cpdl.org/wiki/index.php/Gloria_ad_modum_tubae_(Guillaume_Dufay)

3. 3. Using the resources in: Buchanan & Mehaffey (2005) and MENC (1991), collect
10 pieces for high school choir from different styles and periods, including some for
beginning and advanced levels, and some for treble and male voices. List them in a
table, indicating their periods, levels and voice types. (BT 8-3 p.131)

Title

Composer

Period

Level

A New Year Carol

from Friday
Afternoons, Op. 7

Benjamin Britten

20th Century

LEVEL 1

Treble
Voices(SSA)

Voice Types

Bist du bei mir

J.S Bach

Baroque

Level 1

Ich wollt, meine

Lieb
O Jesu Christ,
mein Lebens
Licht, BWV 118
An die Frauen (To
Women), Hob.
XXVb:4
Ave verum corpus

Mendelssohn

Romantic

Level 2

J.S. Bach

Baroque

Level 3

Mixed Voices
(SATB
Treble Voices
(SSA)
Mixed Voice
(SATB)

Haydn

Classical

Level 3

Mens Voices
(TTB)

Mozart

Classical

Level 3

Hallelujah, Amen

Handel

Classical

Level 3

Geistliches Lied,
Op. 30
Sehnsucht

Brahms

Romantic

Level 4

Schubert

Romantic

Level 4

Salut au chevalier
printemps, Op.
151, No. 2

Saint-Saens

Romantic

Level 4

Mixed Voices
(SATB)
Mixed Voices
(SATB)
Mixed Voices
(SATB)
Mens Voices
(TTB)
Treble Voices
(SSA)

4. 4
.

Create a chart that compares and contrasts the performance practices of the periods
of music collected in Question 3.
(BT 8-4 p.131)
Baroque (1600-1750)

Classical (1750-1830)

Romantic (1830-1900)

Contemporary (1900now)

Polyphonic
Definite and precise
beat
Fermatas mean end
of phrases
Slight changes in
dynamics
Little to no vibrato
Pure, light, florid
sound
Embellishment of
melody
Soprano and Bass
predominate

More Homophonic
Moderate tempos
without extremes
Crescendos and
decrescendos from
one dynamic level
to the next
Strong inner vocal
parts
More vibrato
Warmer tone color
Rapid melismatic
passages and
leggiero on lively
ones
First beat emphasis

Tempos can be fast

or slow; use of
rubato
Rich, dark tone
color
Even more use of
vibrato
Articulation:
Legato
Expressive: Free
and individualist
emphasis

Characteristics
vary due to the
plethora of
different prevailing
styles that have
emerged and are
emerging in this
time period
Such styles
include:
Impressionist,
Expressionist,
Nationalistic, NeoRomantic etc.