​ Zach Casper

October 9th, 2018

Mus 465- Choral Methods
Choral Unit
Assignment

Instructor: ​Mr. Casper

Ensemble: ​The Hangry High School
Harmonizers
 The first piece we are going to look at is Domine Fili Unigenite Arranged by Russell

Robinson. I chose this piece for it itsense rhythmic motives. Specifically, its constant use of

dotted quarter eighth. This rhythm is fairly common is high school literature and I want my

students to be prepared when they see it later on. We see this rhythm appear in the Partial

Hierarchy of Rhythm in the sixteenth note section. This rhythm can be tricky because it is often

misinterpreted as a triplet rhythm. I want to use this piece to ensure my students understand this

rhythm in context and can apply to more pieces later on in the year.

Another piece on the program will be Ubi Caritas by Maurice Durufle. I chose this

piece to help teach different pitch concepts in the context complex harmony. We see fragments

of the melodic pattern DRMFS throughout the entire piece which is one of the early patterns in

the tonal hierarchy. However, instead of staying exclusively in the melody line, this pattern

shows up in much of the harmony. This pattern is familiar to high school students at this point

and can help them be confident in their part despite the complex harmony surrounding the

pattern.

The final piece on the program will be James Mulholland’s setting of a red, red, rose.

The purpose of this piece is to connect to the students studies of english, specifically early

poetry. I plan to work in conjunction with the english teachers to help connect the lyrics of this

piece to the poetry they are working on in class. We will take some time to analyze the form of

this poem as well as it use of stressed and unstressed syllables. This knowledge will be used to

shape the way we perform the piece at the concert.

Graph Analysis:

Domine Fili Unigenite

Arr. Russell Robinson

Baroque

Tonality: F Major Form ABAC

Piano Introduction (mm. 1-8)

A (mm. 9-37) 2 part: 1 melody and 1 harmony, 3 part 1 melody 2 harmony

● Melody first in alto then soprano

● DRMFS melody Shifts up a fifth for sopranos

● Octave and 4th leaps present during melismatic sections

B (mm. 38-52) Polyphonic

● New harmonic ideas

● Fi Ri Si Di and Te present in several voice lines

● Major seconds between outer voices

A (mm.53 -69) 2 part 1 melody and 1 harmony

● Alto starts with melody on fa then soprano takes over ending with baritone melody

starting on do

● Similar stepwise motion to original A

C (mm. 70-90) Homophonic

 ● Trading melody lines between soprano alto together and baritone

● Stepwise motion and 3rd leaps in melody

● Melody line in generally melismatic

● Suspensions between soprano and baritone (mm. 85-88)

Piano outro (mm. 91-end)