1

FA ’17: MUED 376

A.S.C.A.M. Rehearsal Guide Template
Suggested BEST ORDER: I. IV. II. V. III. & then Final Questions

A.S.C.A.M =
Audiation Decisions
Singing Decisions
Conducting Decisions
Analysis Decisions
Marked Score Decisions

I. Auditation Decisions:
Discography: Summary of important recordings and
performances, with notable comparisons:
Away in a Version 1: Version 2: Version 3: Version 4:
Manger King’s College The Soundiva The Choir
By Murray Cambridge, North Classical of St.
and Stauff Joelle du Lac Texas Choir, Mary’s,
Concert Zoltán Colin
Chorale, Pad Baldy
Amye
Derix
Tempo 80 100 94 80
Key C Major D F Major C Major
Major
Style Solo with Solo to Strophic Strophic
background Choir
choir
Type of soloist 5 yr old Soprano None None
school boy
 2
Type of A cappella Piano A A
instruments
cappella cappella
Solo None None None None
ornamentation
Choral Style Soft, boy Strong Soft, Strong
choir sound Chorale legato Chorale

My Favorite Sound is: soft and round

I will achieve it with pure, round vowels

I will achieve it with back-space placement

I will achieve it with singing through the words and rule of the steady beat rules

I will achieve it with a slow, soft choral sound with a legato style
 3
II. Singing Decisions

Sound: Breathing – low and deep

Placement – lots of back space but singing with ping!
Vowels and modifications – more “ah” in vowels up top
Consonants – crisp for understanding but not cracking
Type of blend –very blended, straight-tone
Preferred balance – equal in all parts with sopranos slightly louder
Vibrato – none!

Interpretative IPA – “awEi In a mandjé no krIb foé a bEd, thuh lItl lord djisuhs
leid daun hIs swit hEd, Thuh stars In thuh skai luhkd daun wEr hi lei. Thuh lItl
Lord djisuhs aslip on thuh hei.”

Decisions: Translations – N/A (In English)

Word Stress – “MAN-ger,” “JE-sus,” “LIT-tle”
Phrasing and Breathing – 1st phrase (m.1-4), 2nd phrase (m.5-8), 3rd
phrase (m.9-16)

Emotional Buzz words – Peace, memories, sleeping

Coloration: Placement –Lots of back-space but within some “pingy” sound!

Soloists: Kind and type – None

Kodaly Considerations:

Tone set:
Modal

Rhythmic set:
Rhythmic set defined: ¾ beat pattern, mainly quarter notes
Counting system: 1, 2, 3, 1, 2, 3…
 4
III. Conducting Decisions: big/small, in/out, up/down

What does my Level 1 look like in this piece?

I have a pretty good stance and alignment. I think that my arms could be
out a little more and not tucked into my sides as much. Also, I tend to tilt
my head every so often.

A. My improvement goal for Level 1 Kinesthetic is: Keep my

arms out more!

What does my Level 2 look like in this piece?

I think I have a good facial affect and mouth shape. I am clearly emoting
the style of the piece. I could smile more during rehearsals though
because I will often drop my smile into a more focused look!

B. My improvement goal for Level 2 Somatic is: Smile more!

What does my Level 3 look like in this piece?

My cues are good and I really love my dynamics. I one of my rehearsal I
clearly was getting mixed up and tried to conduct a four pattern every
once in a while.

C. My improvement goal for Level 3 Technical is: Have a clear

three pattern and do not switch to four!

What does my Level 4 look like in this piece?

I saw more of the rainbow lady in my conducting but there could be even
more! I also saw how my dynamics created a gentle space.

D. My improvement goal for Level 4 Informed is: More Rainbow

Lady!

Is Movement or Choralography needed, and if so, how do I deliver it?

None
 5
IV. Analysis Decisions

Everything you study in order construct and develop an aural image of the
piece and to build a fluid, transparent, informed interpretation of the piece.

Historical Aspects: Composer – words: v. 1 & 2 anonymous, 1885

v. 3 attr. to John Thomas McFarland,1887.
tune: Mueller, James Ramsey Murray
harm. by Edward L. Stauff

History of the Piece - first published in the late nineteenth

century. Although it was long claimed to be the work of German religious reformer Martin
Luther, the carol is now thought to be wholly American in origin.

Performance Practice elements – often sung softly and

in a strophic choral setting as a hymn.

Theoretical Aspects: Analysis – Structural/Phrasal – The structure of

the hymn is A, B, A, C in the verses and two verses sung back to back. The
phrases are the same in both verses (1st phrase (m.1-4), 2nd phrase (m.5-8), 3rd
phrase (m.9-16)).

Analysis – Chordal – The chordal structure of

the piece circles mainly around I, IV, and V chords. The structure goes like
so: I – V – I, I – IV – V, V – I – I – IV – V - I

Kinesthetic Aspects: Starting around blue (very soft), then a little

more into the Orange (crescendo), and then Blue to Red to green!

V. Marked Score Decisions

Score Preparation: Prepared Edition – In my prepared edition I have all

of the dynamic markings, vowel modifications, LOTS of colors,
crescendos/decrescendos, buzz words, and flower drawings.

Study Score – Mainly a chordal and structural

analysis followed with some notes about the history of the piece.

Conductors Score – Only dynamic markings in

colors and the words “Peace” and “Smile” written above.

~FINAL QUESTIONS~
 6

Do I see my A.S.C.A.M. decisions in my gesture?

At the concert, I certainly did! I could see many of my dynamics
and I smiled!

Do I hear my A.S.C.A.M. decisions in the sound and

performance of my choir?
YES! The choir did their dynamics and had beautiful tone. Nearly
every one was smiling!