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FA ’20: 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

A suggested BEST ORDER for completing this SCORE STUDY is:

I. IV. II. V. III. & then Final Questions

I. Audiation Decisions
II. Singing Decisions
III. Conducting Decisions
IV. Analysis Decisions
V. Marked Score Decisions
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I. Audiation Decisions:
Discography: Summary of important recordings and
performances, with notable comparisons:

Title of Piece Version 1: Version 2: Version 3: Version

https://www.youtube.com/watch https://www.youtube.com/watch https://www.youtube.com/watch https://w
It’s You I Like ?v=19_Iv7fvFog ?v=ld4TeVQBzfQ ?v=cnlyxSdVHmM ch?v=iA

Tempo Quarter Note = 126 Quarter Note = 75 Quarter Note = 85 Quarte

Key F Major Ab Major Db Major G Majo
Style A relaxed swing, Jazz Slow, Moodful Emotional More C
Type of soloist N/A Female Soloist Female Soloist N/A
Type of Choir, 4 voice parts Solo voice with orchestra Solo voice with piano Choir,
instruments
Solo N/A N/A N/A N/A
ornamentatio
n
Choral Style SATB N/A N/A SATB
Golden Mean 1:45 within the video 2:24 within the video 1:52 within the video 1:28 w

My Favorite Sound is: Choir with Jazz Emphasis

I will achieve it with tall vowels.

I will achieve it with proper placements.

I will achieve it with various backspace rules.

I will achieve it with a Jazz style.

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II. Singing Decisions

Sound:
o Breathing is on the breath, always together not syncopated from each
other.
o Placement is always forward within the backspace never from the throat.
o Vowels are nice and tall – this is Jazzy so try to match a brighter sound.
o Consonants are soft but still crisp enough to be heard.
o Blend is crucial for this piece, must listen to each voice part carefully.
o Must hear the melodies from the sopranos and altos so tenors and basses
may be lighter.
o Vibrato is NOT needed, straight tone for a piece like this.
Interpretative IPA Decisions:
o English text – must use those beautiful open vowels.
o Word Stress on the end of each phrase.
Soloists:
o NO SOLOISTS.
Kodaly Considerations:
o Tone set: Find each tone set for every phrase .
o Type: F Diatonic Major with chromatic pitches.
o Rhythmic set: Find each rhythmic set for every movement.
o Type: Simple Quadruple.
o Counting system: Count within each beat, internalize.
o Developmental teaching strategy: Sight-read each voice part all together
one at a time (present each part), then practice your own part (practice),
then perform (present).
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III. Conducting Decisions: big/small, in/out, up/down

What does my Level 1 look like in this piece?

(My kinesthetic set-up, my Laban dimensions [time, weight & space],
effort actions & feelings, marked in the score)

I will need to make sure that I am relaxed and within alignment so I can conduct
with ease and not tense up when conducting online.

1a. My awareness/implementation goals for Level 1 Kinesthetic

is/are to make sure I don’t move my shoulders forward and out
of place.

What does my Level 2 look like in this piece?

(My somatic facial affect, my emotional connection to the piece and my
facial affect, my mouth shape and my vowel shaping, my Laban
dimensions [time, weight & space], effort actions & feelings, marked in
the score)

This song is all about appreciating who you are as an individual, so a presence of
hope and joy can go a very long way for the facials within my conducting and
expressions while teaching.

2a. My awareness/implementation goals for Level 2 Somatic

is/are to not alter back to a normal resting face position and to
always be expressive with facials.

What does my Level 3 look like in this piece?

(What are my beat patterns, my cues, my levels, my word stress, my
releases, my size of gesture, my entrances, my melded gestures, my eye
tracking, etc., and how do I execute them, my Laban dimensions [time,
weight & space], effort actions & feelings, marked in the score)
and what do my Rainbow Lady drawings look like?)

I will be conducting in a simple quadruple meter so I will be monitoring my

conducting patterns while also giving instructions on how to approach certain
sections.

3a. My awareness/implementation goals for Level 3 Technical

is/are to not talk very long and get right into the singing, being
more direct than indirect.
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What does my Level 4 look like in this piece?
(When do I move out of the “patterns” and how, and WHY, my Laban
dimensions [time, weight & space], effort actions & feelings, marked in
the score) and what do my Rainbow Lady drawings look like?)

For this level, I will make sure that every single gesture and action taken within
my lesson is for a purpose and not an accident.

4a. My awareness/implementation goals for Level 4 Informed

is/are to make sure that I continue throughout the lesson no
matter what, even if a mistake or two was made.

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

N/A

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:
- Words & Music by Fred Rogers.
- Arranged by Paris Rutherford.
- From the popular television series Mister Rogers’ Neighborhood.
- This particular score takes an emphasis on Jazz.

Theoretical Aspects:
- Structure has an Intro followed by an ABA’C then another Intro
followed by an A”C’ with a Coda.
- Some chords borrow from other keys to emphasize the elements of jazz
within the piece.

V. Marked Score Decisions

Score Preparation:
1. Prepared Edition – Do I make a prepared edition for the choir?
a. While showcasing tone sets and rhythm, I will have prepared
presentations about how to teach those concepts from this piece.
2. Study Score – What is included in my study score?
a. I will make sure to have within my score of this piece the structural
analysis, the areas where it could be most complicated for students to
learn, and any pitches that are chromatic and writing ways to help
students reach those notes with ease.
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3. Conductors Score – What is included in my concert score?
a. I will make sure to have notated within my score the structural analysis
I came up with for the piece, along with the different cues I want to
give for breathing and coming in. I also will include the different
levels of the rainbow lady and dynamic markings I would like to
use/have within this piece.

~FINAL QUESTIONS~

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

After looking into this piece for the first time in front of others, I saw the
majority of what I wanted from my ASCAM into the piece. I can also show a
little bit more once I’m able to get control how to direct instruct and gaining
the attention of students.

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

performance of my choir?
After hearing different versions of this piece, there were moments where I
want to emphasize within each phrase of this piece. I will make sure even
while online that this gets done so the students can get the best from this
piece.