BACH CHORALES AND ORIGINAL COMPOSITION CHORALES WITH AN EDUCATIONAL SUPPLEMENT FOR WIND BAND...

BACH CHORALES AND ORIGINAL COMPOSITION CHORALES WITH AN EDUCATIONAL SUPPLEMENT FOR WIND BAND WARM-UPS

by

JUSTIN KOSZAREK

MASTER’S PROJECTPresented to the School of Music

and the Graduate School of Northern Illinois Universityin partial fulfillment of the requirements

for the degree of Master’s of Music Education

May 2012

ContentsIntroduction.............................................................................................................................................3

About the Composer............................................................................................................................................3About the Compilation........................................................................................................................................3Musical Comprehension......................................................................................................................................4

Brief History of Johann Sebastian Bach (1685-1750)...................................................................................9Brief History of the Chorale....................................................................................................................10Structural Phenomena and Units..............................................................................................................10

Meter..................................................................................................................................................................10Cadence..............................................................................................................................................................11

Mayhew Lake’s Bach Chorale Transcriptions...........................................................................................15Mayhew Lake’s Chorale Transcription #4 – Chorale 156: Ach Gott, wie manches Herzeleid.........................15Mayhew Lake’s Chorale Transcription #9 – Chorale 304: Auf meinen lieben Gott.........................................17Mayhew Lake’s Chorale Transcription #12 – Chorale 361/102: Du Lebesfürst, Herr Jesu Christ..................19

Original Chorales...................................................................................................................................21Four-Chords Chorale.........................................................................................................................................21Continuous Variation Chorale...........................................................................................................................23Student Original Chorale Composition.............................................................................................................25

Appendices............................................................................................................................................26Appendix A - Chorale Composition Unit..........................................................................................................26

Lesson 1: Rhythm Only...................................................................................................................26Lesson 2: Two Pitches.....................................................................................................................27Lesson 3: Two-Chord Progressions...................................................................................................28Lesson 4: Staff Writing....................................................................................................................29Lesson 5: Right-hand Inversions.......................................................................................................30Lesson 6: Home and Away..............................................................................................................31Lesson 7: Bass Inversions................................................................................................................32

Appendix B – Worksheets.................................................................................................................................35Appendix C – Teaching Meter..........................................................................................................................39Appendix D – Chorale 102, Ermuntre dich, mein schwacher Geis...................................................................44Appendix E – Four-Chords Song List...............................................................................................................45Appendix F - Mayhew Lake’s Bach Chorale Transcription Instrument Voicing.............................................46Appendix G – Full Scores..................................................................................................................................47

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Introduction

About the ComposerJustin Koszarek is the Assistant Director of Bands at Plainfield East High School in Plainfield, Illinois. He has had arrangements and original compositions performed and/or commissioned by the Plainfield East High School Symphonic Band, Plainfield East Marching Band, Plainfield South High School Marching Band, John F. Kennedy Middle School Band (Plainfield, IL), Heritage Grove Middle School Band (Plainfield, IL), and the Saint Francis Xavier Choir (Joliet, IL). He received his bachelor’s degree in music composition from Bradley University in Peoria, Illinois where he studied composition with Dr. Stephen Heinemann and percussion with Peggy Bonner.

Justin completed his master’s in music education at Northern Illinois University in 2012 where his mentors included Dr. Mary Lynn Doherty (Music Education), Project Chair Dr. Edward Klonoski (Theory/Composition), Dr. Ronnie Wooten (Music Education), and Dr. Jui-Ching Wang (Music Education)

Justin has performed with the Knox-Galesburg Symphony, Peoria Municipal Band, Prairie Winds Ensemble (under the direction of Robert Sheldon), and the New Lenox Community Band.

Email: [email protected]

About the CompilationThis compilation combines three of the most performed Bach chorale arrangements from the Mayhew Lake collection as well as two original compositions and one guide to student chorale composition1. The intent is to create a chorale compilation that demonstrates how to explore, learn, and perform a chorale and to lead the student in the combination of the basic elements of music2, expression3, and technical skills4 of performance. This compilation contains a guided emphasis on structure, meter, and harmony.

The utilization of chorales in warm-ups and tuning exercises builds the base of an ensemble by fostering tone, developing color, and demonstrating superior balance and blend. Chorales offer musical opportunities to hear the overall sonority of the ensemble and listen to the individual parts. This will aid the ensemble’s ability to both balance and blend. These skills are then transferred back to ensemble performance and to other areas of music.

The first three chorales are from the Mayhew Lake compilation of Bach chorales and represent the traditional Baroque style. In order to demonstrate other ways chorales may be utilized, I composed a fourth chorale that uses “pop” chords. These “pop” chords are those commonly found in a vast gamut of popular music. They are the Major I – Major IV – Major V – minor vi chords and inversions. In Appendix F there is an extensive, but non-exhaustive, song list. The fifth is a variation chorale demonstrating another manner of composition. The final chorale is intended to be composed by the reader, under the direction of the teacher, and is accompanied by eight lesson plans to introduce composition.

1 Koszarek, J. Chorale Survey. Message posted to http://www.facebook.com/groups/banddirectors/and personal communication with directors (2011, 04, 05; 06; 07; 11)2 Pitch, rhythm, harmony, dynamics, timbre, texture, form.3 With appropriate dynamics, phrasing, style, and interpretation and appropriate variations in dynamics and tempo.4 The ability to perform with appropriate timbre, intonation, and diction and to play or sing the correct pitches and rhythms.

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Musical ComprehensionThe musical standards assist in defining what a good education in the arts should provide. It guides students and teachers to an understanding of the basic body of knowledge and the skills required for this discipline. The select standards below are specific to this compilation and provide an outline of what the students should accomplish by its compilation. The standards are taken from the National Association of Music Educators (NAfME).

1) Singing, alone and with others, a varied repertoire of music a) Sing music in four parts, with and without accompanimentb) Demonstrate well-developed ensemble skills

2) Performing on instruments, alone, and with others, a varied repertoire of musica) Perform an appropriate part in an ensemble, demonstrating well-developed ensemble skillsb) Perform in small ensembles with one student on a part

4) Composing and arranging music within specific guidelinesa. Students compose music in several distinct styles, demonstrating creativity in using the elements of

music for expressive effectc. Students compose and arrange music for voices and various acoustic and electronic instruments,

demonstrating knowledge of the ranges and traditional usages of the sound sources

5) Reading and notating musica. Demonstrate the ability to read an instrumental or vocal score up to four staves by describing how

the elements of music are usedb. Sightread, accurately and expressively, music with a level of difficulty of 3, on a scale of 1 to 6

6) Listening to, analyzing, and describing musicb. Demonstrate extensive knowledge of the technical vocabulary of musicc. Identify and explain compositional devices and techniques used to provide unity and variety and

tension and release in a musical work and give examples of other works that make similar uses of these devices and techniques

e. Compare ways in which musical materials are used in a given example relative to ways in which they are used in other works of the same genre or style

f. Analyze and describe uses of the elements of music in a given work that make it unique, interesting, and expressive

7) Evaluating music and music performancea. Evolve specific criteria for making informed, critical evaluations of the quality and effectiveness of

performances, compositions, arrangements, and improvisations and apply the criteria in their personal participation in music

b. Evaluate a performance, composition, arrangement, or improvisation by comparing it to similar or exemplary models

c. Evaluate a given musical work in terms of its aesthetic qualities and explain the musical means it uses to evoke feelings and emotions

9. Understanding music in relation to history and cultured. Identify and explain the stylistic features of a given musical work that serve to define its

aesthetic tradition and its historical or cultural context

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TermsChord

ReferencesNon-chord

TonesMeasure

InformationForm Note

SymbolsKey

Information

Cadences Harmony

Chord Anticipation Barline Antecedent 8va Key Away Cadence (HC)

Harmonic Function

Diminished Triad

Appoggiatura Bar Asymmetrical Accidental Key Signature

Cadence Leading Tone

Equal Temperament

Consonance Bass Clef (F-clef)

Consequent Double-flat

Modulation Home Cadence (IAC/PAC/DC)

Roman Numerals

Fundamental Dissonance Fermata Double Period

Double-sharp

Parallel

Harmonic Note Escape Tone Measure Motive Flat RelativeHalf-diminished Seventh

Neighbor Tone

Pitch Period Natural

Interval Non-harmonic Note

Repeat Sign Phrase Sharp

Inversion Passing Tone Scale Degree

Phrase Group Slur

Major Triad Pedal tone Treble Clef (G-clef)

Symmetrical

Minor Triad Resolution

Root Position Retardation

Secondary Dominant

Suspension

Semitone

Tonicization

Triad

Tritone

Whole step

Term Definitions (alphabetical) 8va (ottava alta) – Direction to play notes under this sign one octave higher than written Accidental – Notational symbol placed before a note to alter its pitch (see double-flat, double-sharp, flat,

natural, sharp,) Antecedent – The first phrase of a musical period Anticipation – An unaccented non-harmonic note, sometimes regarded as an ornament, that belongs to

and is usually repeated in the harmony immediately following

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Term List Continued Appoggiatura – A non-harmonic tone that is approached by leap and left by step in the opposite

direction Asymmetrical – Two phrases having a different number of measures Away Cadence (HC) – A stable point of arrival on the dominant Barline – A vertical line drawn across a single staff or multiple staves to mark the beginning and/or end

of a bar. Bar – A single notated measure of music Bass Clef (F-clef) – Notational symbol that indicates where F3 is located on the staff Cadence – Stable point of arrival that concludes a phrase with varying degrees of closure. The most

complete closure occurs in a Perfect Authentic Cadence (PAC), followed by an Imperfect Authentic Cadence (IAC), a Half Cadence (HC), and a Deceptive Cadence (DC)

Chord – The sounding of two or more notes (usually at least three) simultaneously. Most chords are based on triads with the interval of a major or minor third between each of the three notes. The two most common chords are the major and minor chords. A major chord is composed of a major third above the tonic note, and a perfect fifth above the tonic note, a minor chord is composed of a minor third above the tonic note, and a perfect fifth above the tonic note. (e.g. see Major and minor Triad)

Consequent – The answering, or second phrase, of a musical period Consonance – Perfect consonances are the Perfect unison, fourth, fifth, and octave, imperfect

consonances are the Major and minor thirds and sixths. Diminished Triad: A minor 3rd on the bottom and a minor 3rd on top. Conversely a minor 3rd on the

bottom and a diminished 5th from bottom to top

Dissonance – Intervals of Major and minor 2nd and 7th and the tritone Double-flat – Lowers a pitch by two semitones (one whole step) Double Period – Consists of an antecedent and consequent. The antecedent contains two phrases and

the consequent contains two phrases. The cadence of the consequent is stronger than that of the antecedent

double periodantecedent consequent

a phrase b phrase a phrase b’ phraseHC PAC/IACIAC PAC

Double-sharp – Raises a pitch by two semitones (one whole step) Escape Tone – A non-harmonic tone that is approached by step and left by skip in the opposite direction Equal Temperament – Each of the twelve half steps within the octave are exactly equal size Fermata – A notational symbol placed over a note or rest to be extended beyond its normal duration, and

occasionally printed above rests or barlines, indicating a pause of indefinite duration. In Baroque music, often signifies the end of a phrase

Flat – Lowers a pitch by semitone (one half-step) Fundamental – The bass pitch upon which a chord is built

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Term List Continued Half-diminished Seventh – A seventh chord with a diminished triad and a minor 7th

Harmonic Function – The way in which chords interact and relate to each other Harmonic Note – Member of the chord Home Cadence (PAC/IAC/DC) – Stable arrival on the tonic Interval – The distance between two pitches. Intervals are defined as combination of two components:

Size of the interval represented by an Arabic numeral (3, 4, 5, etc) and the quality of the interval (Major, minor, Perfect, Augmented, or diminished)

Inversion – The position of a chord when the fundamental is not the lowest note. Key – A set of specific relationships around a central pitch called the tonic (e.g., relationship between

tonic and dominant) Key Signature – A collection of accidentals placed at the beginning of the staff Leading Tone – The pitch that lies a semitone below the tonic Major Triad – A Major 3rd on the bottom and a minor 3rd on top. Conversely a Major 3rd on the bottom

and a Perfect 5th from bottom to top

Measure – One complete metrical pattern. Measures can be larger or smaller than a bar. Minor Triad – A minor 3rd on the bottom and a Major 3rd on top. Conversely a Major 3rd on the bottom

and a Perfect 5th from bottom to top

Modulation – The process of changing tonic Motive – A recurring figure that is developmental to the piece Natural – Raises or lowers a pitch by a semitone (one half step); commonly used to cancel a previous

accidental Neighbor Tone – A non-harmonic tone that is approached by step and left by step in the opposite

direction Non-harmonic Note – A note that is not a member of a particular chord Parallel – Two keys with different pitch collections that share the same tonic (example, C Major and

c minor) Passing Tone – A non-harmonic tone that is approached by step and left by step in the same direction Pedal Tone – chord tone – sustains while harmony changes becoming a non-chord tone and resolves by

again becoming a chord tone; usually in the bassTerm List Continued

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Period – Consists of a antecedent and consequent phrase where the cadence at the end is the strongestperiod

antecedent phrase consequent phraseHC PAC/IACIAC PAC

Phrase – The smallest musical unit that ends in a cadence. Phrase Group – Several phrases that belong together structurally but do not constitute a period or double

period – typically when the final cadence is not the strongest one Pitch – (A frequency.) Relative highness or lowness of musical tones Relative – Two keys that share the same pitch collection but different tonics (example, C Major and

a minor) Repeat Sign – A type of barline that indicates a passage is to be repeated Resolution – Progression of a dissonant sound to a consonant sound Retardation – An upward resolving suspension Roman Numerals – Indicates the scale degree upon which the chord is built Root Position – The position of a chord when the bass pitch of the chord is in the lowest voice. This is

also known as fundamental position Scale Degree – The steps of the Major or minor scale. An Arabic numeral with a caret over it signifies a

scale degree such that: Tonic is scale degree 1^ , Supertonic is scale degree 2^ , Mediant is scale degree

3^ , Predominant is scale degree 4

^ , Dominant is scale degree 5^ , Submediant is scale degree 6

^ and, Leading-tone is scale degree 7

^ . Secondary Dominant – A chord used to tonicize a scale degree other than 1 ^ . Semitone – (Half step) Using equal temperament, the smallest musical distance between two pitches

(e.g. C – C#/Db) Sharp – Raises a pitch by a semitone. Slur – A notational symbol used to group notes Suspension – A chord tone that sustains while harmony changes becoming a non-chord tone and

resolves down by step to become a chord tone Symmetrical – Two phrases having the same number of measures Tonicization – Where a scale degree other than 1

^ temporarily assumes a tonic function Treble Clef (G-clef) – Notational symbol that indicates where G4 is located on the staff Triad – A chord made up of three notes constructed in thirds Tritone – Historically the augmented 4th – 3 whole tones– is the true tritone. Historically the diminished

5th is known as the false fifth. Current usage treats the two interchangeably Whole step – Two semitones (e.g. C – D)

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Brief History of Johann Sebastian Bach (1685-1750)Johann Sebastian Bach was born in born in Eisenach, Germany on March 21st, 1685. He died in Leipzig, Germany on July 28th, 1750. During his life he became a famed composer and organist with credits of around 1,120 compositions including full-scale sacred and secular cantatas, sacred vocal music, passions, oratorios, motets, chorales, arias, organ and keyboard sonatas, concertos, lute pieces, and orchestral works. Noted compositions include the Brandenburg Concertos, Well-tempered Clavier book one and two, Mass in B minor, the Goldberg Variations and, as many know from weddings, Jesu’ Joy of Man’s Desiring from Cantata 147 (Herz und Tat und Leben). Bach’s musical language drew together the styles and achievements of earlier generations in addition to his own unique mannerisms. Subsequently, he would become the culminating figure of the Baroque period.

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Brief History of the ChoraleChorales were originally referred to as a style of performance. As of the 17th century, the term chorale evolved into a reference to the melody and later, the combination of melody and text. The first settings of the chorale were traditional Protestant hymns during the Baroque period. Composers used simple language and melody, metrical verse, and strophic form to provide music during sacred service. Since those early congregational hymns, the chorale has developed beyond vocal music to also include a wide range of instrumental music.

While chorales were common during the Baroque period, they have become less common as other musical forms have taken over. However, in contemporary wind band literature, chorales provide for effective source material to teach band students to sing. The voice leading is typically easy to follow and the progressions are usually familiar to most students. However, singing is only one part of the chorale structure that is useful. Other key areas include:

The practice of tone, balance and blend Learning to interpret phrase and structural phenomena Listening to the horizontal intonation and movement of scale degrees Listening to the vertical tuning of intervals and chords Understanding the technical skills of scale and pattern recognition. Performing these chorales in a manner that there is ample time to hear how the melody moves horizontally

and how the chords are constructed vertically.

Structural Phenomena and Units

Meter 5 There are two categories of Meter: notated and perceived. The notated meter is associated with the time signature and perceived meter with music heard while NOT looking at the page. Both are created using a recurring pattern of accented and unaccented beats (otherwise known as strong and weak beats). The placement of these beats is determined by multiple factors including the beginning and ending of phrases, melody, harmonic rhythm (how fast or slow the chords are changing), and the tempo of the music.

The notated meter is best understood when time signature is properly deciphered. A time signature indicates the division of the beat and serves to place a level of the music within the metrical hierarchy. The beat can be divided in either simple or compound fashion. Simple division is when the individual beat can be consistently divided into two parts on the next faster level, such as when a quarter note is consistently divided into two eighth notes in 4 4 time. Compound division is when the individual beat can be consistently divided into three parts on the next faster level, such as when a dotted quarter note is consistently divided into three eight notes in 6 8 time. However, music may also suggest simultaneous simple and compound meter depending on the metrical level where the physical representation of the beat, the tactus, is placed.

Perceived meter is more what is audible than what is on the page. It is important for active listeners to hear the cadences, the form, and notice the tempo changes, as well as to understand the harmonic rhythm. Experiment

5 This section is based on a 2006 article by Dr. Edward Klonoski, music professor at Northern Illinois University. Klonoski, E. (2006). Improving dictation as an aural skills instructional tool. Music Educators Journal, 93, (1), 54-59.

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with how music moves between different levels of the music. Explore how the tactus and harmonic rhythm move between faster and slower levels. Take time to not only read the music but to actively hear the music.

A guide to teaching notated meter, a simple and compound meter worksheet, and a listening map of meter can be found in Appendix D.

CadenceCadences are one of the eleven types of structural phenomena discussed in Spencer and Temko’s A practical approach to the study of form in music6. In it they list the eleven structural phenomena as: cadence, tonality, tempo, meter, rhythm, dynamics, density, timbre, register, texture, and motive. Of these eleven, cadence is defined as stable points of arrival that concludes a phrase with varying degrees of closure. Cadences are separated into two categories: Home and Away. The Perfect Authentic Cadence (PAC) is the most complete member of the Home cadences. It is followed by an Imperfect Authentic Cadence (IAC) and lastly, a Deceptive Cadence (DC). Away Cadences are those that end as a Half Cadence (HC). In music after the Baroque period, plagal cadences, when written, would occur after authentic cadences and, as such, serve as cadential extensions rather than as independent cadences. True plagal cadences occur more frequently in Baroque Chorales.

Since cadences are stable points of arrival, the harmony gives the music direction towards the arrival point. Dr. Nicholas Meuse points out that a chord by itself serves no harmonic function. It is not tonic nor is it dominant. Only in the presence of other chords is there harmony.7 It takes chords to build harmony and harmony to progress towards cadences. To better understand the hierarchy of cadences, the chord members and their functions need first be understood.

In a progression, each chord has a job. Tonic function precedes either directly to the dominant function, or passes through the pre-dominant function before arriving at the dominant. Pre-dominant function proceeds only to dominant function, and dominant function proceeds only to tonic function.8

Pre-dominant

Tonic Dominant Tonic

Tonic chords Pre-dominant chords Dominant chordsI IV Vvi ii vii○

iii iii6

-------------------------------

Cadence examples

6 Spencer, P, & Temko, P. (1994). A practical approach to the study of form in music. 1-29. Waveland Press, Long Grove, IL7 Nicholas Meuse rightly points out that “Harmonic functions do not reside in chords, nor in the position of chords within an immanent tonal hierarchy. They result from a relation between chords. No chord is a dominant in itself, none is a tonic in itself; they become dominant and tonic with respect to each other when they occur in that relation.” “Toward a Post-Schoenbergian Grammar of Tonal and Pre-tonal Harmonic Progressions” Music Theory Online 6.1, 2000,http://mto.societymusictheory.org/issues/mto.00.6.1/mto.00.6.1.meeus.html8 Klonoski, E. & Hatmaker, J. A compositional approach to teaching harmony and voice leading. Unpublished manuscript.

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Home Cadences Away CadencesPerfect Authentic Cadence (PAC) Half Cadence (HC)

Imperfect Authentic Cadence (IAC) Phrygian Cadence

Deceptive Cadence (DC)

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Structural Units

Music is perceived as structural units. Motives or Subphrases are components of Phrases. Phrases are components of Periods or Phrase Groups. Periods or Phrase Groups are components of Parts or Sections.

Motive/Subphrase Phrase Period/Phrase Group Part/Section

The motive is a recurring figure that is developmental to the piece.

A phrase is the smallest complete musical unit that ends in a cadence. It possesses a clear beginning, middle and end and exhibits both melodic and harmonic motion.

Periods are a combination of two or sometimes three phrases where the final cadence is the strongest. They can be parallel (both phrases begin with similar material) or contrasting (each phrase begins with different material), symmetrical (same length) or asymmetrical (different length), and modulating or non-modulating.

Steps to Chorale Introduction

Steps to introducing a chorale1) Identify the tonal center(s) of the composition. Examine the key signature, the starting bass note and the

ending bass note. Use this to confirm the key or discover if there are multiple keys2) Once the key(s) are identified, sing the scale of the key, ending with a triad

3) Using solfege, sing through the bass line, then the soprano, the tenor and finally the alto linea) See next section "Discuss the Importance of Singing”

4) Play each line in unison5) Split the band into harmonic function groups (Soprano, Alto, Tenor, and Bass) and have the student play

their respective line. The version below is my variation on the Mayhew Lake instrumentation. The original version can be found in Appendix G

Soprano Alto Tenor BassPiccolo in C 2nd Flute 3rd Clarinet in Bb Bass Clarinet in Bb

1st Flute 2nd Oboe / 3rd Mallet Alto Clarinet in Eb 1st Bassoon / 4th Mallet1st Oboe / 1st Mallet 2nd Clarinet in Bb 2nd Bassoon / 2nd Mallet Baritone Saxophone in Eb

Clarinet in Eb 1st Alto Saxophone in Eb 2nd Alto Saxophone in Eb 4th Horn in FSolo or 1st Clarinet in Bb 1st Horn in F Tenor Saxophone in Bb 3rd Trombone

2nd Horn in F 2nd Trumpet in Bb 3rd Horn in F 2nd Baritone, Bass ClefSolo or 1st Trumpet in Bb 2nd Trombone 3rd Trumpet in Bb Basses

1st Baritone, Bass Clef 1st Trombone Timpani

1st Baritone, Treble clef

6) Move instruments to different harmonic function groups as desired to experiment with voicing7) Have the students compose a choral based on the lesson plans below (See Appendix A)

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Discuss the importance of singing1) Singing is important as it assists with the development of the aural skills and a solid sense of tonality.

a. The purpose of switching parts provides an opportunity for students to learn about voicing and how parts differ from their own in function, melody, and harmony

b. Good intonation depends on the musician’s ability to adjust pitch, to recognize and understand the function of that pitch in a harmonic context and how it relates to the pitches of the rest of the ensemble

2) Sing cadential patterns. a. Home patterns

i. From Chorale 4 (m.3 beat 3 – m.4 beat 3)Do Mi So So DoI I6 V6/4 V I

Special note about V6/4 When looking at the music it spells a tonic chord in 2nd inversion, a I6/4. However, it functions as a decoration of the V chord with a pair of suspension above the bass, thus a V6/4 that resolves to a V chord.

ii. From Chorale 12 (m. 5 beat 3 – m. 8 beat 3) Do So la So DoI V vi V I

iii. Do fa So DoI ii6 V I

iv.Do Mi re So DoI I6 ii V I

b. Away patterni. From Chorale 9 (pick up to m. 1 – m. 2 beat 1)

do fa do la Soi iv i iv6 V

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Mayhew Lake’s Bach Chorale Transcriptions

Mayhew Lake’s Chorale Transcription #4 – Chorale 156: Ach Gott, wie manches HerzeleidThe original hymn and text were written by Martin Moller (1547-1606). The Bach chorale was composed for the Sunday after the Circumcision (New Years Day) in 1725, which is also the Second Sunday after the Epiphany. The Mayhew Lake transcription is a transposition of Chorale 156 from A Major to Ab Major.

English translation by John Christian Jacobi(as written in Lake’s arrangement)

O Lord! How many miseriesAssault and discompose my peace;The path that leads to Zion’s gate

Is full of thorns and very strait

German

Ach Gott, wie manches HerzeleidBegegnet mir zu dieser Zeit!

Der schmale Weg ist trúbsalvoll,Den ich zum Himmel wander soll.

A second translation from the Chorale Book of England

O God, how many pains of heartBefall me now with cruel smart.The narrow way is troublesome

By which to heaven I must come.

Key areas: Ab Major Pivot Chord Modulation Eb Major Pivot Chord Modulation Ab Major

Tonic Ab: vi Dominant Eb: IV TonicI Eb: ii V Ab: I I

Pivot Chord modulations are those that take place within the phrase. The diatonic function of a chord within the original key serves as a different diatonic chord within the new key. This provides a pivot between the two keys. Cadence types Meter Form Measure 2 – Half Cadence (HC) Measure 4 – Perfect Authentic Cadence (PAC) Measure 6 – Half Cadence (HC) Measure 8 – Perfect Authentic Cadence (PAC)

Simple Quadruple

Parallel Symmetrical Modulating Period

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Mayhew Lake’s Chorale Transcription #9 – Chorale 304: Auf meinen lieben GottThis hymn and text were written by Sigismund Weingartner and published in 1607. It is commonly mistaken for Johann Heermen’s Lenten Hymn, “Wo soll ich fliehen hin,” but properly belongs to Weingartner. Heermen’s version was not published till 16309. The original tune is secular in nature and the sacred setting is first attributed to Johann Pachabel (1653-1706). While the lyrics for Lake’s transcription are of Heermen’s “Wo soll ich fliehen hin”, the musical setting is instead a transcription of Chorale 304, “Auf meinen lieben Gott.” This Mayhew Lake transcription is without transposition.

English translation anonymous(as written in Lake’s chorale arrangement)Translation for “Wo soll ich fliehen hin”

O wither shall I flee,Depressed with misery?

Who is it that can ease me,And from my sins release me?Man’s help I vain have proved,

Sin’s load remains unmoved

German

Wo soll ich fliehen hin, weil ich beschweret bin

mit vielen grossen Sünden? Wo kann ich Rettung finden?

Wenn alle Welt herkäme, mein Angst sie nicht wegnähme.

This is the translation for “Auf meinen lieben Gott” and is from the Chorale Book of England'

In God, my faithful God,I trust when dark my road;

Though many woes o’ertake me,Yet He will not forsake me;

His love it is doth send them,And when ‘tis best will end them.

German

Auf meinen lieben GottTrau’ ich in Angst und Noth.Er kann mich allzeit retten

Aus Trubsal, Angst und Nothen;Mein Ungluck kann er wenden:

Steht all’s in seinen Handen

Key areas: g minor Pivot Chord

ModulationBb Major Pivot Chord

ModulationF Major Pivot Chord

ModulationG Major

tonic g: V Mediant Bb: I Subdominant F: I Tonici Bb: III III F: IV VII G: V/III I

Pivot Chord modulations are those that take place within the phrase. The diatonic function of a chord within the original key serves as a different diatonic chord within the new key. This provides a pivot between the two keys.Cadence types Meter Form Measure 2 – Half Cadence (HC) Measure 4 – Half Cadence (HC) Measure 6 – Half Cadence (HC) Measure 8 – Perfect Authentic Cadence (PAC) Measure 10 – Imperfect Authentic Cadence (IAC) Measure 12 – Perfect Authentic Cadence (PAC)

Simple Quadruple

Parallel Symmetrical Modulating M. 1-8: Double Period M. 9-12 Period

9 Terry, C. (1917). Bach’s chorales: Part II – the hymns and hymn melodies of the cantatas and motets. 468. Cambridge: University Press

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Mayhew Lake’s Chorale Transcription #12 – Chorale 361/102: Du Lebesfürst, Herr Jesu Christ (Ascension hymn)

The original hymn and text were written by Johann Rist (1607-1667). While the lyrics for Lake’s transcription are of Du Lebesfürst, Herr Jesu Christ, the musical setting is instead a transcription of Chorale 102, Ermuntre dich, mein schwacher Geist. This Mayhew Lake transcription is a transposition from G Major to F Major

The Bach realization for Du Lebesfürst, Herr Jesu Christ (Chorale 361) can be found in Appendix E.

English translation by G. Mar(as written in Lake’s chorale arrangement)

Thou Prince of Life,O Christ our Lord,

Ascended to Thy Father,Where in sweet heavenly accord

The chosen righteous gather,How shall I prize the victory

Through struggle bitter won by TheeAnd meet devotion render

To Thee, our one Defender?

German

Du Lebensfurst, Herr Jesu Christ,Der du bist aufgenommen

Gen Himmel, da dein Vater tstUnd die Gemein' der Frommen:

Wie soil ich deinen grossen Sieg,Den du durch emen! schweren Kneg

Erworben hast, recht preisen,Und dir g'nug Ehr' erweisen?

A second translation from the Novello & Co.'s Original Octavo Edition.

O Jesus Christ, Thou dearest Lord,Thou Prince of life and glory,

Thou with the Father art adoredIn heaven, where saints surround Thee.

How best can I the victory singWon by Thy might, Thou gracious King?

What strains can I be raising,Thy love and power praising?

Key areas: F Major Pivot Chord

Modulationg minor Pivot Chord

Modulationd minor Pivot Chord

ModulationF Major

Tonic F:V supertonic g: V submediant d: V/III TonicI g: IV ii d: V/iv vi F: III I

Pivot Chord modulations are those that take place within the phrase. The diatonic function of a chord within the original key serves as a different diatonic chord within the new key. This provides a pivot between the two keys.Cadence types Meter Form Measure 4 – Half Cadence (HC) Measure 8 – Perfect Authentic Cadence (PAC) Measure 12 – Perfect Authentic Cadence (PAC) Measure 16 – Perfect Authentic Cadence (PAC) Measure 20 – Half Cadence (HC) Measure 24 – Perfect Authentic Cadence (PAC)

Simple Triple

Parallel Symmetrical Modulating

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Original Chorales

Four-Chords ChoraleThe four chords that are the foundation of this chorale are the same chords found in contemporary “popular” music, the I – IV – V – vi chords. These chords appear in many selections of music in combinations of root position and inversions.

Root position is when the bass note (or root note) is also the lowest note (or bass note) of the chord. Example, C Major in root position would be written C – E – G

An inversion is when the root of the chord is NOT the lowest note of the chord. Example, C Major in 1st inversion could be written as E – G – C or E – C – G. Notice that the C is not the bottom note. C Major in 2nd inversion could be written as G – C – E or G – E – C.

To better understand these harmonies, a bass line progression will be similar to or be a variation on 1^ , 5

^ , 6^ ,

4^ This is something akin to Journey’s Don’t Stop Believin’, or John Lennon’s Let it Be.

This chorale is designed to accomplish four goals. 1. That only four chords (I – IV – V – vi) are utilized but not necessarily in that order2. That there is asymmetrical phrasing3. That the melody remain in the top voice4. That the chorale have a "feel" of mixing 20th century “popular” song with 17th century chorale style

Cadence types Meter Form

Measure 4 – Imperfect Authentic Cadence (IAC) Measure 7 – Half Cadence (HC) Measure 11 – Perfect Authentic Cadence (PAC)

Simple Duple

Parallel Symmetrical Non-modulating Three-phrase period

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Four-Chords Chorale

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Continuous Variation Chorale

Continuous variation form is created by a repeated variation of a pattern. Often the pattern is a bass progression with new melodic materials freely added over the bass. Continuous variation form was popular in the Baroque period and is still popular today. Examples include Blues and Jazz improvisations over Blues chord changes. This chorale utilizes a theme and moves that theme amongst the voices in a continuous manner.

The chorale is designed such that:1. The first four measures in the soprano voice are the theme2. The bass reduction is a repeated pattern3. Each variation is symmetrical with the exception of the cadential extension at the end4. The melody moves between voices5. There is a progression from basic theme to increased ornamentation

Cadence types Meter Form

Measure 4 – Perfect Authentic Cadence (PAC) Measure 9 – Imperfect Authentic Cadence (IAC) Measure 13 - Imperfect Authentic Cadence (IAC) Measure 18 - Perfect Authentic Cadence (PAC)

Simple Duple

Parallel Symmetrical Non-modulating Continuous Variation

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Continuous Variation Chorale

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Student Original Chorale Composition* All Lesson plans leading up to this assignment are in Appendix A

Time: In-class 20 minutes. Homework – 5 daysLocation: In-class and homeworkMaterials needed: pencil, staff paper

Assignment: 1) In the key of C Major, F Major, or Bb Major, compose 8 - 12 original measures using the “pop” chords

a) “Pop” chords are I, IV, V, and vib) ii chord is okay but must resolve to Vc) Note: Example is in F Major, not Bb Major

Items to Review1) All previous lessons

Guidelines: 1) Note values are a combination of quarter-notes, half-notes, whole-notes, quarter-rests, or half-rests2) Left hand in root position, 1st inversion, or 2nd inversion as appropriate3) Time signature is to be either 4

4 43 or 8

6

4) Label the cadences either Home or Away5) Analyze the composition when completed6) Complete the questions below7) Rubric on following page

Meter questions1) What is the notated meter? Simple or Compound?2) Is the notated meter duple, triple, or quadruple?

Cadence Questions1) The first cadence appears in what measure? What type of Cadence is it?2) The second cadence appears in what measure? What type of Cadence is it?3) If applicable: The third cadence appears in what measure? What type of Cadence is it?

Form questions1) Is the form Parallel or Contrasting2) Is the form Symmetrical or Asymmetrical?3) Is the form Modulating or Non-modulating?4) Is the form Periodic?

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Appendices

Appendix A - Chorale Composition UnitLesson 1: Rhythm OnlyTime: In-class 20 minutes. Homework – 1 day Location: In-classMaterials needed: pencil, staff paper

Assignment: Using only rhythm, compose 4 measures

Review: 1) Time Signature 2) Note values3) Definition of bar4) Definition of meter

Guidelines: 1) Note duration can be eight-notes, quarter-notes and half-notes and corresponding rests.2) Each measure may contain no more than two beats of rest3) Measure one is to begin on beat one4) Time signature is to be either simple quadruple 4

4 or simple triple 3 4

5) Use rhythmic clef to begin (see example)

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Lesson 2: Two PitchesTime: In-class 20 minutes. Homework – 1 day Location: In-classMaterials needed: pencil, staff paper

Assignment: Using rhythm and two pitches, compose 4 measures

New items to Review: 1) Clef2) Pitch-class3) Note durations

Guidelines: 1) Use the rhythm created for Lesson 12) Clef – use the clef for your instrument (Percussion use Treble)3) Pitches

a) Bass Clef use C3 and D3

b) Treble Clef use C5 and D5

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Lesson 3: Two-Chord ProgressionsTime: In-class 20 minutes. Homework – 1 day Location: In-classMaterials needed: pencil, staff paper

Assignment: 1) In F Major, construct seven two-chord progressions – all of which are in root position2) Label each chord and the interval between the chords

a) Note: the example is in C Major

New items to Review: 1) Intervals

a) Major (M), minor (m), Perfect (P)2) Triads

a) Major (M), minor (m), and diminished (d or ○)3) Root Position4) Range

Guidelines: 1) Clef – use the clef for your instrument (Percussion use Treble)2) Range – all pitches should be within in a 10th

a) Bass Clef use C3 through E4

b) Treble Clef use C4 and E5

3) Progressionsa) Chords are a M2, M3, P4, P5, M6, and M7 apart

4) Note duration can only be half-notes

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Lesson 4: Staff WritingTime: In-class 20 minutes. Homework – 1 day Location: In-classMaterials needed: pencil, staff paper

Assignment: 1) Using the system below, write out the following chords

a) C Major, F Major, a minor , d minor , G Major, C Major2) Put the bass of each triad in the left hand and the full triad in the right hand

New items to Review: 1) System2) Bass note

Guidelines: 1) Note duration can only be whole-notes2) Time signature is simple quadruple 4

4

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Lesson 5: Right-hand InversionsTime: In-class 20 minutes. Homework – 1 day Location: In-classMaterials needed: pencil, staff paper

Assignment: 1) Using Example 2, redistribute the chords so that the right hand movement is minimized2) Put the bass of each triad in the left hand and the triad in the right hand

New items to Review:1) Scale and Key signature

a) C Major for example 1b) F Major for example 2

2) Inversiona) 1st and 2nd inversion

Guidelines: 3) Use F Major scale4) Note values can be quarter-notes, half-notes or dotted half-notes5) Time signature is to be simple triple 3 4

Example 1

Example 2

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Lesson 6: Home and AwayTime: In-class 20 minutes. Homework – 2 daysLocation: In-classMaterials needed: pencil, staff paper

Assignment: 1) Using the “pop” chords of Bb Major, create an eight measure, parallel, symmetrical, non-modulating period


New items to Review1) Scale and key signature (F Major/Bb Major)2) Cadences:

a) Home Cadence / Away Cadence 3) Period

a) Parallelb) Symmetricalc) Non-modulating

Guidelines: 1) Note values can be quarter-notes, half-notes, or whole-notes2) Use no rests3) Left hand is the root of the triad4) Harmony utilizes “pop” chords5) Time signature is to be either simple quadruple 4


6) Label the cadences either Home or Away7) Refer to page 11 – 12 for assistance then analyze the composition when complete

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Lesson 7: Bass InversionsTime: In-class 20 minutes. Homework – 2 daysLocation: In-class and homeworkMaterials needed: pencil, staff paper

Assignment: 1) Using the “pop” chords of Bb Major, create n eight measure, parallel, symmetrical, non-modulating period


New items to Review1) Scale and key signature (Bb Major)2) Triad with figured bass3) Inversion in the bass

a) 1st inversionb) 2nd inversion

Guidelines: 1) Note values can be quarter-notes, half-notes, whole-notes, quarter-rests, or half-rests2) Left hand in root position, 1st inversion, or 2nd inversion as appropriate3) Time signature is to be either simple quadruple 4


4) Label the cadences either Home or Away5) Analyze the composition when completed

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Lesson 8 – Student Original Chorale Composition

Time: In-class 20 minutes. Homework – 5 daysLocation: In-class and homeworkMaterials needed: pencil, staff paper

Assignment: 2) In the key of C Major, F Major, or Bb Major, compose 8 - 12 original measures using the “pop” chords


Items to Review2) All previous lessons

Guidelines: 8) Note values are a combination of quarter-notes, half-notes, whole-notes, quarter-rests, or half-rests9) Left hand in root position, 1st inversion, or 2nd inversion as appropriate10) Time signature is to be either simple quadruple 4

4 simple triple 43 or compound duple 8

6

11) Label the cadences either Home or Away12) Analyze the composition when completed13) Complete the questions below14) Rubric on following page

Meter questions3) What is the notated meter? Simple or Compound?4) Is the notated meter duple, triple, or quadruple?

Cadence Questions4) The first cadence appears in what measure? What type of Cadence is it?5) The second cadence appears in what measure? What type of Cadence is it?6) If applicable: The third cadence appears in what measure? What type of Cadence is it?

Form questions5) Is the form Parallel or Contrasting6) Is the form Symmetrical or Asymmetrical?7) Is the form Modulating or Non-modulating?8) Is the form Periodic?

33

Name: ____________________

Teacher: ____________________

Lesson 8 – Student Created Chorale Composition Project

(60 points)

Each composition must contain the items listed below.

Points Earned Max PointsTitle __________ / 1Composer’s Name __________ / 1Proper Key Signature __________ / 1Identify the key signature properly (i.e. A major) __________ / 1Proper Time signature __________ / 1Identify the time signature properly (i.e. simple duple) __________ / 1Tempo marking __________ / 1Correct number of beats per measure __________ / 5Uses a musical combination of notes and rests __________ / 58 complete measures __________ / 8Melodic Motion is by steps or leaps and is diatonic __________ / 7Harmonic Material contains I, IV, V (ii), and vi __________ / 10Neatness/correct notation of notes and rests __________ / 3Dynamic marking(s) __________ / 3Accurate Analysis of Composition __________ / 8Provide two neat copies __________ / 4

Total Points __________ / 60

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Appendix B – Worksheets

35

Name: ____________________

Teacher: ____________________

Cadence Identification

Ach Gott, wie manches Herzeleid (O Lord! how many miseries)

1) In measure 2, beat 3; identify the cadence as either Home or Away. _________________________




Auf meinen lieben Gott (O wither shall I flee)

1) In measure 2, beat 1, identify the cadence as either Home or Away. _________________________




5) In measure 10, beat 3; identify the cadence as either Home or Away. ________________________

6) In measure 12, beat 3; identify the cadence as either Home or Away. ________________________

Du Lebesfürst, Herr Jesu Christ (Though Prince of Life, O Christ our Lord)



3) In measure 12, beat 1, identify the cadence as either Home or Away. ________________________




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Name: ____________________

Teacher: ____________________

Cadence Identification – Answer Key

Ach Gott, wie manches Herzeleid (O Lord! how many miseries)

5) In measure 2, beat 3; identify the cadence as either Home or Away. Away

6) In measure 4, beat 3; identify the cadence as either Home or Away. Home



Auf meinen lieben Gott (O wither shall I flee)

7) In measure 2, beat 1, identify the cadence as either Home or Away. Away

8) In measure 4, beat 1, identify the cadence as either Home or Away. Home





Du Lebesfürst, Herr Jesu Christ (Though Prince of Life, O Christ our Lord)







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Appendix C – Teaching Meter

Guide to Teaching Meter

1. Define the concept of meter using either simple or compound a. Simple means that the beat will always be divided into two equal parts. Values will be 2, 3, or 4b. Compound means that the beat will always be divided into three equal parts so compound beats will

always be dotted. Values will be 6, 9, or 12

2. Now include the concept of duple, triple, or quadruple with the values from simple and compound

Duple = 2 or 6 Triple = 3 or 9 Quadruple = 4 or 12

Simple duple = 2 4 Compound duple =

6 8

Simple triple = 3 4 Compound triple =

9 8

Simple quadruple = 4 4 Compound quadruple =

12 8

3. Define tactus: a physical representation of the beat (at one metrical level)

4. Play example of duple or triple

5. Play example again but with the addition of a click track to represent the tactus levela. Initiate a tactus by using small muscle kinesthetic participation.

i. Tapping a toeii. Clapping hands

iii. Snapping

6. Play example again but with the addition of a click track to represent the tactus levela. Initiate a tactus by using large music kinesthetic participation

i. March to the pulseii. Step to the pulse

iii. Clapping combination of accented and unaccented beat1. Clap accented2. Thigh pat unaccented

7. Play example again without the click track

8. Identify the meter as either duple or triple

Duple Selections Triple SelectionsMozart – Ave Verum Corpus Chopin – WaltzBach – Fugue in g minor Strauss – Blue Danube WaltzJohn Lennon – Let it Be Sound of Music – My Favorite Things

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Name: ____________________Teacher: ____________________

Meter WorksheetBased on the information given, fill in the empty boxes in the chart below. Remember, ask yourself what can be deduced from the information given, and what information you are asked to supply.

Example: Find the Division Value and Time SignatureBeat and Meter Type Beat Value Division Value Time Signaturesimple triple 3

Simple means that the beat will always be divided into two equal parts. Values will be 2, 3, or 4

Compound means that the beat will always be divided into three equal parts so compound beats will always be dotted. Values will be 6, 9, or 12

Duple = 2 or 6 Triple = 3 or 9 Quadruple = 4 or 12

Simple duple = 2 4 Compound duple =

6 8

Simple triple = 3 4 Compound triple =

9 8

Simple quadruple = 4 4 Compound quadruple =

12 8

Answer:Beat and Meter Type Beat Value Division Value Time Signaturesimple triple 3

4

Beat and Meter Type Beat Value Division Value Time Signature6

simple triple

compound quadruple

2

simple quadruple

6 4

compound triple

3

2 4

compound quadruple

9

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Name: ____________________

Teacher: ____________________

Meter Worksheet – Answer Key

Based on the information given, fill in the empty boxes in the chart below. Remember, ask yourself what can be deduced from the information given, and what information you are asked to supply.

Beat and Meter Type Beat Value Division Value Time Signaturecompound duple 6

8simple triple 3

8compound quadruple 12

4simple duple 2

2simple quadruple 4

4compound duple 6

4compound triple 9

4compound triple 9

8simple duple 2

4compound quadruple 12

8compound triple 9

8

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Metric Listening Map for Coldplay’s Viva la Vida (Music of the refrain found on the next page)

Measure 1 – 8Phrase (4 bars) x x

Harmonic Rate (complete bar)

IV V I vi IV V I vi

Half-note x x x x x x x x x x x x x x x x

Tactus (quarter-note) x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x



IV V I vi IV V I vi





IV V I vi IV V I vi



-----------------------------------------------Measure 1 – 16

Period (2 phrases)

X x x x

Phrase (4 bars) X x x x


IV V I vi IV V I vi IV V I vi IV V I vi

Meter Listening Map– Coldplay’s Viva la Vida

Appendix D – Chorale 102, Ermuntre dich, mein schwacher Geis

Key areas: G Major Pivot Chord

Modulationa minor Pivot Chord

Modulatione minor Pivot Chord

ModulationG Major

Tonic G: V supertonic a: i submediant e: i TonicI a: IV ii e: iv vi G: vi I

Meter Form Simple Quadruple

Modulating Symmetrical Periodic

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Appendix E – Four-Chords Song ListThis list is a sampling of selections that use the Four-Chords (I – IV – V – vi). It is not exhaustive and I encourage you to go find your own examples. Next time you turn on the radio, listen actively and discover new songs that are based on these four-chords. Enjoy!

Track Artist Album Album Year2 Become 1 Spice Girls Spice 1996Africa Toto Toto IV 1982Auld Lang Syne Robert Burns Robert Burns-a Tribute to Auld Lang Syne 2009Barbie Girl Aqua Aquarium 1997Beautiful Akon Freedom 2008Behind These Hazel Eyes Kelly Clarkson Breakaway 2004Bullet with Butterfly Wings Smashing Pumpkins Mellon Collie and the Infinite Sadness 1995Can You Feel the Love Tonight – End Title

Elton John The Lion King 1994

Complicated Avril Lavigne Let Go 2002Don’t Stop Believin’ Journey The Essential Journey 2001Down Under Men at Work The Best of Men at Work: Contraband 1998Forever Young Alphaville Forever Young 1984Hey, Soul Sister Train Hey, Soul Sister 2009

I’m Yours Jason Mraz We Sing. We Dance. We Steal Things 2009If I Were a Boy Beyoncé I Am…Sasha Fierce 2008In My Head Jason Derulo Jason Derulo 2010It’s My Life Bon Jovi Crush 2000Kids MGMT Oracular Spectacular 2010Let It Be The Beatles Let It Be 1970No Woman, No Cry Bob Marley & The Wailers Legend 2010One of Us Joan Osborne Relish 1995Paparazzi Lady Gaga The Fame 2008Pictures of You The Last Goodnight Pictures of You 2007Poker Face Lady Gaga The Fame 2008Save Tonight Eagle-Eye Cherry Desireless 1998Scar Missy Higgins The Sound of White 2010Self Esteem Offspring Smash 2005She Will Be Loved Maroon 5 Won’t Go Home Without You 2008Someone Like You Adele 21 2010Superman Five for Fighting America Town 2000Take Me Home, Country Roads John Denver Take Me Home, Country Roads 1992Take on Me A-Ha Hunting High and Low 1985Taylor Jack Johnson On and On 2003The Double Rainbow Song The Gregory Brothers The Double Rainbow Song 2010Time to Say Goodbye (Con Te Partiro)

Andrea Bocelli, Sarah Brightman Time to Say Goodbye 1997

When I Come Around Green Day Dookie 1994Where is the Love? The Black Eyed Peas Elephunk 2004Wherever You Will Go The Calling Love Actually Soundtrack 2008With or Without You U2 The Joshua Tree 1987

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Appendix F - Mayhew Lake’s Bach Chorale Transcription Instrument Voicing

Soprano Alto Tenor BassPiccolo in C 2nd Flute 3rd Clarinet in Bb Bass Clarinet in Bb

1st Flute 2nd Oboe Alto Clarinet in Eb 2nd Bassoon1st Oboe 2nd Clarinet in Bb 1st Bassoon Baritone Saxophone in Eb

Clarinet in Eb 1st Alto Saxophone in Eb Tenor Saxophone in Bb 4th Horn in FSolo or 1st Clarinet in Bb 1st Horn in F 3rd Horn in F 3rd Trombone2nd Alto Saxophone in Eb 2nd Trumpet in Bb 3rd Trumpet in Bb 2nd Baritone, Bass Clef

2nd Horn in F 1st Trombone 2nd Trombone Basses

Solo or 1st Trumpet in Bb Timpani1st Baritone, Bass Clef

1st Baritone, Treble clef

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Appendix G – Full Scores

BACH CHORALES AND ORIGINAL COMPOSITION CHORALES WITH AN EDUCATIONAL SUPPLEMENT FOR WIND BAND...

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