Comprehensive Musicianship Unit Prepared for: Dr.

Wendy McCallum Band and Jazz Methods (SY)

Lux Aurumque
Eric Whitacre

Published by: Carpe Ranam Productions

Prepared by: Claire Powell

Table of Contents
Discography 3 Historical Notes 3 The Composer 5 Historical Style Period 5 Performance Aspects 6 Interpretive Aspects 6 Flow Chart 9 Concepts, Subconcepts, and Objectives 10 Glossary Of Musical Terms 12 Activities for Teaching Comprehensive Musicianship 14 Bibliography 19

3 Discography Lux Aurumque Eric Whitacre. Teaching Music Through Performance in Band Vol. 6, North Texas Wind Symphony, Edition no.: CD-683, GIA Music: 2008. Lux Aurumque - Eric Whitacre. Choral Music, Elora Festival Singers, Catalogue No.:8.559677, Naxos: 2010. Lux Aurumque - Eric Whitacre. As performed by the Eric Whitacre Virtual Choir. Accessed on February 3, 2013. (http://www.youtube.com/watch?v=D7o7BrlbaDs) Lux Aurumque- Eric Whitacre. As performed by the Westminster Chorus. Accessed on February 3, 2013. (http://www.youtube.com/watch?v=hWUMVkw-Gi8) Paradise Lost; Bliss - Eric Whitacre. Paradise Lost Demo. Accessed on February 3, 2013. (http://ericwhitacre.com/music-catalog/music-theatre/paradise-lost) October- Eric Whitacre. Radiant Joy, Indiana University of Pennsylvania Wind Ensemble, Catalogue No.: KCD-11184, Klavier: 2010. Cloudburst- Eric Whitacre. The Music of Eric Whitacre, Rutgers Wind Ensemble, Catalogue No.: 2525-MCD, Mark Records: 2010. Sleep- Eric Whitacre. As performed by the Heliotrope Wind Symphony. Accessed on February 3, 2013. (http://www.youtube.com/watch?v=bnuX-2SZmP4) O Magnum Mysterium- Morten Lauridsen, arranged for Wind Band by Robert H. Reynolds. Southern Harmony, The Ohio State University Wind Symphony, Catalogue No.: 8.572342, Naxos: 2009. O Magnum Mysterium- Morten Lauridsen. O Magnum Mysterium, Chamber Choir of Europe, Catalogue No.: CD98.272, Hanssler: 2000. Earth Song- Frank Ticheli. As performed by the Arizona Ambassadors of Music. Accessed on February 6, 2013. (http://www.youtube.com/watch?v=_P8nlSeFvk0) Historical Notes This piece was adapted from the original a cappella choral work Lux Aurumque written by Whitacre in 2000. The original choral work was commissioned by the Master Chorale of Tampa Bay and uses the poem Lux Aurumque (Light and Gold) by Edward Esch as its text, translated to Latin by Charles Anthony Silvestri. Whitacre chose the poem based on its fantastic simplicity. The English text reads: Light, Warm and heavy as pure gold And angels sing softly

4 To the new-born babe. The Texas Music Educators Association and a consortium of bands commissioned Whitacre to arrange the piece for a symphonic band. The consortium was as follows: Dick Clardy, Director Klein High School M. Robert Poulin, Director of Bands Juan Seguin High School Alfred Green, Director of Fine Arts Irving Independent School District Jeremy Earnhart, Director L.D. Bell High School Scott Taylor, Director Richardson High School Michael Watts, Director Permian High School Kerry Taylor Westlake High School Rob Myers Flower Mound High School Wind Symphony Tony Gibbs Jack C. Hays High School Band Mary Hymel, Director Aldine High School Mark Edenfield, Director Spring High School Greg Hull, Director; Van Mathews, Director; Ben Maughmer, Director Haltom High School Phillip Alvarado, Director Rowlett High School

5 Steve Andre, Band Chairman Texas Music Educators Association Instead of leaving the work as it was, Whitacre rewrote the climax of the instrumental rendition to include the theme Bliss from his operatic work Paradise Lost. The Symphonic band publication of Lux Aurumque had its premiere at the 2005 Texas Music Educators Association conference.1 Lux Aurumque has also been arranged for TTBB choir and String Orchestra. Whitacre dedicates the wind symphony work to his friend Gary Green. The Composer Born in 1970, Eric Whitacre did not discover his love of classical music until he joined a college choir. His first piece, Go, Lovely Rose, was finished when he was merely 21 years old. He received his M.M in composition from the Julliard School of Music where he studied with John Corigliano. In 2012 he was awarded Alumnus of the Year by the University of Las Vegas. Despite his young age, Whitacre has grown to be one of the most acclaimed composers of his time. His first works were choral and his first album, The Music of Eric Whitacre, was named one of the top ten classical albums in 1997. He did not compose his first instrumental work until the age of 23, yet Ghost Train is still being performed across 50 countries and has been featured on 40 recordings. Though most of Whitacres compositions are choral, he continues to write for symphonic winds, orchestras, and solo vocalists. He commits himself to the music he makes, not only through writing but also by conducting choral and instrumental concerts across the globe. Historical Style Period Eric Whitacre has a very distinct contemporary sound. His 21st century works span a variety of instrumentations and vocal arrangements, all being crafted specifically for the group it is written for. In the instrumental setting of Lux Aurumque, Whitacre joins the many other composers who have adapted works from the original oeuvre to another idiom. Composers such as Mozart, Copland, and Grainger have all revised original pieces for wind band, though many kept the initial form and themes. With Lux Aurumque, Whitacre takes a further step to alter the original choral work for band by adding in a more drastic climax. He uses themes from his other works to make the instrumental rendition of Lux Aurumque more appropriate for the ensemble.

Performance Aspects
1

Eric Whitacre, Lux Aurumque (Carpe Ranam Productions: 2005), Program Notes.

6 Cross- Curricular Connections: ELA: Students study and analyze the poem Lux Aurumque (Light and Gold). Based on the text, students come to musical decisions about the piece. Students will answer questions such as: Does text affect how a composer chooses the style of music? Is there a line that sounds sweeter or more delicate than the others? How does text affect the voice with which you speak a poem? When would you want to listen to a piece like this? (e.g. when exercising, doing homework, on a trip) Give examples and explain why you feel this piece is appropriate for that moment.

Art: Students will create a visual representation of Edward Eschs poem Light and Gold. These representations may be in any medium such as paint, sculpture, or digital imagery. Technology/Media Arts: Students compile and digitize artworks created by other students representing Light and Gold. They will then create a slideshow that will be featured on a screen as the audience enters the concert venue where Lux Aurumque will be performed. As the work is so centered around the text of the choral setting, audience members may find an additional visual element too overwhelming. The student reading program notes for the piece will therefore describe the project to the audience, after which it will be turned off for the performance. The announcer will direct the audience to the foyer during intermission, when the pieces of art will be on display. In Performance: Students will announce the piece and give program notes Students in the ensemble will assist art students in transporting and setting up the sculptures, paintings, etc. in the lobby of the concert venue

Interpretive Aspects Melody This work is very centered around tension and release in the chords it builds, and so picking out melodies becomes difficult. The melodic material is very much linked to the text of the original choral composition. In the first eight measures of the choral piece, Lux is the only text. With this simple word, there is an amazing amount of motion and development in the pitches. As a general rule, fewer syllables in the text lead to more motion in the pitches. In measures 14 and 15, most of the ensemble is moving together on quarter notes. This is to replicate choristers singing gravisque in the choral work. At rehearsal letter E, the ensemble is reminiscent of the opening statement of lux. The text in the choral arrangement at E is canunt, once again a short word able to

7 be represented by only two notes. Section F becomes soft and delicate, but still maintains the syllabic rule. Measures 44-45, 46-47, 48-49, and 52-54 depict the word natum, where measure 50 states modo. Throughout the piece there are sections that are quite exposed, not all such sections can be considered solos. The first oboe in measures 5-8 is soundly solo material, as is first horn in measure 17. However the first trumpet and first flute parts are never solos per se. They may be an indicator of a melody line if need be, though this rendition does not focus on individuals. Whitacre chooses to have the ensemble working together to create the interest instead of bestowing it on one person. Harmony As Whitacre was writing this selection, he decided that, a simple approach was essential to the success of the work, and I waited patiently for the tight harmonies to shimmer and glow.2 This can certainly be seen in his harmonic writing. Chords take their time to mature, and resolve themselves accordingly. Whitacre uses suspensions and diatonic clusters to create dissonance, moving to more consonant material such as diads and major/minor triads. As harmonic content is the focus of the piece, tuning and balance are huge considerations when rehearsing. Making sure all voices are heard, that moving or entering lines are distinguishable, and making sure the consonances do not sound dissonant are all necessary for students to achieve success. Rhythm This piece is not rhythmically challenging for a grade 3 band. However rhythmic difficulties may lie in entrances and releases of sustained notes. Rhythmic patterns from each section may be found in the flow chart on page 9. Instrumentation Flute 1 Flute 2 Flute 3 Flute 4 Oboe 1 Oboe 2 Bassoon 1 Bassoon 2 Contrabassoon Clarinet 1 in Bb Clarinet 2 in Bb Clarinet 3 in Bb
2

Tenor Saxophone Baritone Saxophone Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Trumpet 4 in Bb Horn 1 in F Horn 2 in F Horn 3 in F Horn 4 in F Trombone 1 Trombone 2

http://ericwhitacre.com/music-catalog/wind-symphony/lux-aurumque

8 Bass Clarinet Alto Saxophone 1 Alto Saxophone 2 Instrumentation considerations As there are no percussion parts in this selection, it would be necessary to have percussionists using their time wisely. The teacher may provide students with private etudes or rudiments to practice, or decide on a percussion ensemble work for students to prepare in class time during Lux Aurumque rehearsals. Dynamics The dynamics in this piece constantly fluctuate. Whitacre built the selection around tension and release; the dynamics echo and enhance that concept. The soft dynamics at the beginning mirror the simple texture, and as the piece builds in texture, so too does it grow dynamically. Rehearsal letter C is the loudest section of the work with a constant f marking. F is by far the quietest section of the piece, ranging only from p to ppp, heralding the end of the piece and mirroring the text, and angels sing softly to the newborn babe. Texture The texture of Lux Aurumque is heavily based on the original choral milieu of the work. Much of the textural intrigue in the piece comes when the brass join the woodwinds, as the woodwinds play through most of the arrangement. The height of the piece comes at rehearsal C, when everyone in the ensemble plays, everyone is forte, and Whitacres Bliss theme enters in the stead of the original choral climax. Whitacre changed this section of the selection to make it suit an instrumental setting more effectively. Whitacre states: I recently made an arrangement [of Lux Aurumque] for brass choir (commissioned by the United Brass), and Im amazed at how the character of the piece changes with the different instruments.3 Students must be aware that texturally their interpretation of the piece will not be the same as the choral arrangement, though it is still vital that they remember to sing as they play. This rendition of Lux Aurumque may be for wind band, but it is still a choral piece at heart and must be treated accordingly. Bass Trombone Euphonium Tuba

Flow Chart

Eric Whitacres notes on Lux Aurumque can be found in Teaching Music Through Performance in Band Volume 6, GIA Publications: 2010, p. 385.
3

Concepts, Subconcepts, and Objectives

10 Melody Subconcepts: Melodic Fragments, Chromatic Passing Tones, Articulation Objectives: By the end of instruction, students will be able to: Recognize that melodies are not always defined as four measure melodic lines Identify the important role chromatic passing tones play in the development of the melodic fragments in Lux Aurumque Define legato and tenuto articulations Perform Lux Aurumque with accurate legato articulations

Harmony Subconcepts: Cluster Chords, Consonance, Dissonance, Intonation Objectives: By the end of instruction, students will be able to: Define the above terms Identify cluster chords in Lux Aurumque aurally and visually Play consonant and dissonant notes in a small group setting Recognize the importance of intonation in music Perform Lux Aurumque with accurate, consistent intonation

Rhythm Subconcepts: Stringendo, Rubato Objectives: By the end of instruction, students will be able to: Identify the stringendo section in Lux Aurumque Perform a solo etude using rubato Watch the conductor in order to confidently play Lux Aurumque using rubato as an ensemble

Bandstration Subconcepts: Balance, Tremolo Objectives: By the end of instruction, students will be able to: Define the above terms Articulate what proper balance should sound like Perform Lux Aurumque with outstanding balance Play a tremolo confidently

Dynamics Subconcepts: Contrast, Ensemble/Section/Individual dynamics Objectives: By the end of instruction, students will be able to: Define dynamic contrast Explain the difference between individual, section, and ensemble dynamics Demonstrate a wide dynamic spectrum Adjust their dynamics by listening across the ensemble

11 Texture Subconcepts: Tension and Release, Lyrical Expression, Diads, Triads Objectives: By the end of instruction, students will be able to: Use a metaphor to explain tension and release Describe lyrical music Identify the differences between diads and triads Identify diads and triads in the score Perform Lux Aurumque with lyrical expression

Form Subconcepts: Transitions, Arrival Points, Subdominant, Parallel Major Objectives: By the end of instruction, students will be able to: Define the above terms Identify transition sections and arrival points in the score Play the C minor scale followed by the subdominant and finally the parallel major scale confidently Play Lux Aurumque with exaggerated arrival points based on their knowledge of i-iv-I in the score

Additional Concepts Subconcepts: Adaptations, Eric Whitacres Virtual Choirs, Technological Resources, Connection of Music with Poetry Objectives: By the end of instruction, students will be able to: Explain why a composer may adapt their works for other ensembles Describe the importance of Eric Whitacres Virtual Choirs Relate the Virtual Choir to other relevant technological resources Recognize the importance poetry plays in Lux Aurumque and other pieces of music

Glossary of Musical Terms

12 Adaptation- When a composer sets a pre-existing piece for a different type of ensemble. Articulation- Using the tip of your tongue to interrupt airflow between different or single pitches Character- The quality a piece or section exudes Chromatic Passing Tone- Creates dissonance as it passes to a chord tone Climax- The height of a piece, usually full instrumentation and loud dynamic markings Cluster Chord- Dissonant group of closely spaced notes played at the same time Colour- Related to timbre, the colour of a piece or section is defined by instrumentation, volume, and tone Commission- When a group (called a consortium) pays a composer to write or adapt a piece for a specific ensemble Consonance- Harmonic agreement between two or more notes being played simultaneously Diad- A chord composed of only two notes, defined by the interval the notes create Dissonance- Harmonic discord between two or more notes being played simultaneously Dynamics- The volume at which a musician plays, generally ranging from pp (very quiet) to ff (very loud) Endurance- The amount of time a musician can play with quality tone before becoming fatigued, based largely on muscular strength Entrance- The point at which a musician joins a piece of music or phrase after a rest HarmonyIntensity- The power with which music is played Internal Pulse- Having a steady beat within oneself (rather than from an external source such as a metronome), should be consistent throughout the ensemble for any given piece Intonation- The accuracy of pitch, good intonation is generally considered to be the middle of a note in the A=440 system Legato- Passage to be played smoothly Lyrical- expressing deep emotion and feeling through music

13 Opera- A composition form based on a story performed in a dramatic style by vocalists Parallel Major- Major scale using the same root as its minor equivalent Release- The tail end of an entrance, when a musicians phrase ends and they enter from playing into silence Rubato- Rhythmic flexibility within a phrase, relaxing strict internal pulse to give music more character Singing- Using proper air and the vocal chords to create music, usually to text or vowels Stringendo- Accelerate tempo as forward motion, pressing forward Subdominant- The fourth scale degree of a major or minor diatonic scale Sustained- To keep alive and prolong a note using proper air support, dynamics, and other musical techniques Tension and Release- The pulling and liberation felt through dissonance and consonance Tremolo- Rapid alternation of two notes Triad- A chord composed of three notes usually built on a root, with a major or minor third and fifth above

Activities for Teaching Comprehensive Musicianship

14 Melody Subconcepts: Melodic Fragments Activity: Students will play the first two sections of Lux Aurumque. Once finished, students will discuss the ideas of melody, and motifs or melodic fragments. Is there really a melody in Lux Aurumque, or is the melodic material found in motifs? Students will take part in this assessment for learning discussion, and will understand that a melody does not have to be a full tune.

Melody, Harmony, & Texture Subconcepts: Chromatic Passing Tones, Cluster Chords, Consonance, Dissonance, Tension and Release Activities: Students will close their eyes and listen to the North Texas Wind Symphony recording of Lux Aurumque. Each time they hear a crunch or discord in the notes, they will put up their left hand, and each time they hear agreement between notes they will put up both hands, allowing them to aurally identify dissonance and consonance. The teacher will put the first page of Lux Aurumque on the overhead, SmartBoard, or projector. Students will listen to the corresponding section of the piece, and will put their aural concept to paper, seeing the changing cluster chords and how the individual notes put together create discord and agreement in an assessment for learning environment. Students will also discuss the notion of tension and release in relation to a rubber band. In groups of 4 or 5 assigned by the teacher, students will prepare a selected chorale to perform for the class. They will be responsible for bringing out dissonances and consonances as they see fit, as well as dynamics, melodies, moving lines, and all other musical ideas previously discussed in rehearsals. This assessment as and of learning will be assessed on balance, consonances/dissonances, dynamics, and tone quality by both peers and the teacher using a rating scale of 1-5: o 1= Unsatisfactory o 2= Needs Improvement o 3= Satisfactory o 4= Good o 5= Excellent

Rhythm Subconcepts: Stringendo, Rubato Activities:

15 The teacher will lead a warm-up using a rubato chorale. Following the warm up, the ensemble will play through Lux Aurumque. The class will have a discussion on what rubato is (referring back to the warm up), and how it differs from stringendo. Students will be asked to pick the section of Lux Aurumque they believe to be stringendo, and a vote will be taken. The teacher will reveal that it is in fact the final section at F that is played stringendo. The ensemble will play through the section to solidify the idea of pressing forward. This activity will act as assessment for learning, giving the students more terms to use in their musical vocabulary. Students will compose an eight bar etude as a class. In their private practice time, students will learn the etude and use their knowledge and skills to play the piece musically and rubato. Students will perform their rendition of the etude as a playing test marked using a rubric by the teacher, while their peers will give verbal feedback following their performance. Students will complete a 3-Minute Memo at the end of class. This piece of assessment as learning will ask students: o How often they look at the teacher during Lux Aurumque o Whether it is difficult to follow a rubato piece when they cannot see the conducting gestures o Why it might be important for all members of the ensemble to look up from their music every so often

Bandstration Subconcepts: Tremolo Activities: The ensemble will participate in a warm up focusing on groups of two notes. They will begin playing concert F and concert Ab slowly to ensure good intonation, tone, air, etc. Gradually, each individual will increase the frequency at which they play the notes, making them move faster. The teacher will tell students they do not have to move at the same time, as a tremolo is meant to sound trembling, not unison. Once concert F and Ab are successfully under the students fingers, the exercise will move to more tricky finger combinations such as concert Ab and C or concert D and F. Having completed this assessment of learning, students will assess as learning by playing a tremolo individually and receive verbal feedback from the teacher and their peers.

Bandstration & Texture Subconcepts: Balance, Diads, Triads Activities: The teacher will divide the ensemble in half, each half being assigned to either the teachers left or right hand. The ensemble will play a concert C

16 minor scale, but only move to the next note when their assigned hand gestures to. In this way, students will hear a number of diads, and will have an aural concept to put to the term. Having completed the exercise, the students will discuss the character of the diads they played and how much variety can exist between two notes. In groups of four, students will create a venn diagram outlining the characteristics of triads and diads. They will present their diagrams to the class, and play examples of diads or triads. Each student will be required to play and speak at least once during the presentation, and will be marked using a rating scale in this assessment of learning.

Form Subconcepts: Subdominant, Parallel Major Activities: Students will play a concert C minor scale- the key in which Lux Aurumque is written. They will then play a concert C major scale. They will discuss how the scales were similar, how they differed, and if they are somehow related. The teacher will define C major as the parallel major to C minor, and explain what a parallel major is. Students will next play an F minor scale, and discuss how it is related to C minor as the subdominant. They will play through C minor, F minor, and C major to outline the journey from i-iv-I in Lux Aurumque. The ensemble will play through and record Lux Aurumque, emphasizing the arrivals of i, iv, and I. Students will listen to the recording on the class website and hand in a reflection outlining how they heard differences in previous rehearsals and the recording emphasizing the harmonic path.

Melody, Harmony, Dynamics, Texture, Form & Additional Concepts Subconcepts: Articulation, Intonation, Dynamic Contrast, Ensemble & Individual Dynamics, Tension and Release, Lyrical Expression, Arrival Points, Transitions, Adaptations, Eric Whitacres Virtual Choirs, Technological Resources Activities: Having listened to Eric Whitacres Virtual Choir performing Lux Aurumque, students will discuss the idea of a virtual choir. Questions discussed will include: o What did it mean to those involved? o Did it change their lives? o Would it be difficult for someone to record their line individually as opposed to within the context of an ensemble? o How long would it take to put that many individual recordings together?

17 o How might we use this kind of technology to our advantage in a band room setting? o How was this choral adaptation of Lux Aurumque different from the wind symphony version? Having discussed these ideas, students will participate in a class Virtual Band. They will record their individual parts at a given tempo, and will use no rubato. They will tune to A=440 before beginning, will use legato articulations, a wide range of dynamics as rehearsed in class. This assessment will be of learning, and will be used for the students report card grades. Having received all student submissions, the class will put the individual recordings together to create a digital copy of them playing as assessment as learning. When adapting the piece to their specific instrumentation, students will pay close attention to arrival points, tension and release and transitions, ensuring that these sections are brought out. Students will be marked on their contributions to the summative project, their knowledge of arrival points, tension and release, and overall musicality.

Additional Concepts Subconcept: Connection of Music with Poetry Activities: Students will listen to the choral setting of Lux Aurumque and follow the text that will be up on the projector. Both the Latin and the English text will be available for them to read: Lux Aurumque, Charles Anthony Silvestri Lux, calida gravisque pura velut aurum et canunt angeli molliter modo natum. English Text: Light and Gold, Edward Esch Light, Warm and heavy as pure gold, and the angels sing softly to the newborn babe. In small groups, students will discuss the emotions they felt while listening to the piece. Each group will discuss emotions they heard in the music but not the text, in the text but not the music, what emotions were found in both, and if certain words were more heavily emphasized than others. Together the

Latin Text:

18 class will discuss the importance of poetry and text in choral pieces, and the transferred importance to instrumental music. Students will individually select a piece of music that is important to them from any genre. They will submit a copy of the piece, the text (and a translation, if necessary), and a written reflection of the piece. This reflection will detail how they discovered the piece, how the text and music work together to create the overall effect, and why it is so important to them. This assessment as/of learning will be completed in three drafts with written feedback from the teacher each time. Students work will be marked using a rubric according the quality of the recording and text included, as well as the depth of ideas formulated in the assignment, the accuracy & frequency with which they use appropriate musical language, and the personal connection to the piece.

19 Bibliography Discography- see page 3 Books: Miles, Richard, Larry Blocher, Eugene Corporon and Ray Cramer. Teaching Music Through Performance in Band Volume 6. GIA Publications: Chicago, 2007. Scores: Whitacre, Eric. Lux Aurumque. Walton Music: USA, 2001. Whitacre, Eric. Lux Aurumque. Carpe Ranam Productions: Los Angeles, 2005. Websites: Eric Whitacre Lux Aurumque for Wind Symphony Webpage: http://ericwhitacre.com/music-catalog/wind-symphony/lux-aurumque Eric Whitacres Virtual Choir singing Lux Aurumque: http://www.youtube.com/watch?v=D7o7BrlbaDs Eric Whitacres instructional video for Lux Aurumque Virtual Choir: http://www.youtube.com/watch?v=uh1c2xWVWiA GIA Publications page on Lux Aurumque: http://www.giamusic.com/search_details.cfm?title_id=21822 TED Talks Eric Whitacre: http://www.youtube.com/watch?v=2NENlXsW4pM