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Kentucky 1800 Unit Study
Transcript of Kentucky 1800 Unit Study
by Clare Grundman
Unit Study Guide
Born in Cleveland, OH on May 11, 1913.
Grundman attended Shaw High School in East Cleveland,
and played clarinet in the high school band.
He spent his summers performing on trans-Atlantic passenger ships.
He taught in Ohio and Lexington, KY and returned to Ohio State in 1939 for a master of arts degree.
Upon completion he was hired as an assistant director of bands and taught orchestration classes.
Grundman performed as a chief musician in the Coast Guard Band during World War II.
Clare Grundman's primary influences for composition are Manley R. Whitcomb
and Paul Hindemith.
1. The Promised Land
2. I'm Sad and Lonely
The standard version of "The Promised Land" first appeared in Southern Harmony in 1835 and attributed Miss Matilda Durham of Spartanburg SC, as the composer.
"I'm Sad and Lonely" was originally harmonized by Leo Sowerby and found in Carl Sandberg's collection "The American Songbag"
The source of the folk tune Cindy is open to speculation and has been found in a number of books and collections ranging from Appalachia, to the Ozarks.
, composed in 1957, is based on the tunes of three American folk songs: The Promised Land, Cindy, and I'm Sad and I'm Lonely, melodies which are reminiscent of the years the pioneers were forging westward. It is a rhapsodic tone poem in which thematic material is treated in great depth and with variety. The work is a band masterpiece which has long since become a favorite with audiences.
-Program note from score
Kentucky 1800 incorporates both legato and marcato styles. It is important that correct phrasing is also understood as the melodic content is the force that drives this piece.
He attended Ohio State University and graduated with a bachelor of science in education degree in 1934.
American Folk Rhapsody No. 1
Overture to Candide by Leonard Bernstein; transcribed by Clare Grundman
An Irish Rhapsody
Clare Grundman died in South Salem, NY on June 15, 1996
I am bound for the promised land,
I am bound for the promised land
O who will come and go with me
I am bound for the promis ed land.
On Jordan's stormy banks I stand
And cast a wishful eye
To Canaan's fa ir and happy land,
Where my possesions lie.
O the transporting rapt'rous scene
That rises to my sight;
Sweet fields arrayed in living green
And rivers of Delight.
There generous fruits that never fail
On trees immortal grow;
There rocks and hills and brooks and vales
With milk and honey flow.
Soon will the Lord my soul prepare
For joys beyond the skies,
Where never-ceasing pleasures roll,
And praises never die.
All o'er those wide-extended plains
shines one eternal day;
there God the Son forever reigns
and scatters night away
No chilling wind nor pois'nous breath
can reach that healthful shore;
sickness and sorrow pain and death
are felt and feared no more
When shall I reach that happy place
and be forever blest?
When shall I see my Father's face
and in his bosom rest?
Filled with delight my raptured soul Would here no longer stay; Though Jordan's waves around me roll, Fearless I'd launch away.
Some of the folk song verses
You ought to see my Cindy
She lives away down south
She's so sweet the honeybees
Swarm around her mouth.
The first time I saw Cindy
She was standing in the door.
Her shoes and stockings in her hands,
Her clothes all over the floor.
I wish I were an apple
A-hangin on the tree
An' every time that Cindy passed
She'd take a bite o' me
She told me that she loved me
She called me Sugarplum
She drew her arms around me
I thought my time had come
She loved me on the mountainside
She loved me on the hill
And every time she said "I won't"
Her echo said "I will!"
She took me to the parlor
She cooled me with her fan
She said I was the prettiest thing
In the shape of mortal man
She loves me in the summertime
She loves me in the fall
If she don't love me all the time
I want no love at all.
My Cindy is a pretty girl
My Cindy is a peach;
She throws her arms around my neck
And hangs on like a leech.
If I had a pretty gal
I'd put her on a shelf;
Ev'ry time she smiled at me,
I'd jump right up myself.
Wish I had a needle and thread
Wish that I could sew
I'd sew that gal to my coat tails
And down the road we'd go
Get along home, Cindy Cindy
Get along home, Cindy Cindy
Get along home, Cindy Cindy
I'll marry you some day.
(or I'm gonna leave you now)
I'm sad and I'm lonely, my heart it will break;
My sweetheart loves another, Lord, I wish I wuz dead!
My cheeks once were read as the bud on the rose,
But now they are whiter than the lily that grows.
Young ladies, tak' wahnin', tak' a wahnin' from me.
Don't waste your affections on a young man so free.
He'll hug you, he'll kiss you, he'll tell you mo' lies,
Than the cross-ties on the railroad or the stars in the sky.
I'll build me a cabin in the mountains so high,
Where the blackbirds can't see me and hear my sad cry.
I'm troubled, I'm troubled, I'm troubled in mind;
Ef trouble don' kill me, I'll live a long time.
I'm sad and I'm lonely,
My heart it will break,
For my sweetheart loves another,
Oh I wish I was dead.
Young ladies take warning,
Take warning from me,
Don't waste your affections
On a young man so free.
Because he'll hug you and he'll kiss you
And he'll tell you more lies
Than the cross-ties on the railroad
Or stars in the sky.
My cheeks once were red
Like the red, red rose;
But now they are white
As the lily that grows.
I'll build me a cabin
On the mountain so high,
Where blackbirds can't find me
Or hear my sad cry.
I'm troubled, yes, I'm troubled,
I'm troubled in my mind,
if this trouble don't kill me,
I'll live a long time.
Style can first be taught outside the context of the music.
1. Using the scale the corresponds to one of the 4 key centers of the piece (G minor, E flat major, A flat major, and G major) isolate the articulation style on the root note of the scale of choice.
2. Model the articulation through singing and conducting gesture, and have he students first audiate the sound and then sing and gesture back.
3. Make sure the students and singing with good tone and pitch accuracy on this exercise.
4. Vary the exercise by using tonal and rhythmic patterns from the piece.
5. This exercise can be used for all articulations in a given piece of music and will also help with ensemble pitch accuracy.
Introduction: The band starts in staggered entrances moving from F major, to D minor and finally to G minor.
A: The Promised Land verse one in G minor. The style here is very legato
B: Chorus is stated in marcato style, with m. 4 of B returning to more legato style.
D: Transitional material establishes
Establishes Ab major.
E: I"'m Sad and Lonely" melody stated in Ab Major and voiced in the upper woodwinds.
F: Horns and Tenor Sax join in on the melody.
G: Transitional Material into Eb Major. Trumpet solo states main thematic material of the tune "Cindy", with a response stated in saxes, horns, and then low brass.
H: "Rhythmic" meter change to 2/4.
The full Melody of "Cindy" stated in Eb major.
I: Chorus of "Cindy" stated in call and response between highs and lows.
L: "Marcato" meter change to 4/4.
We have a restatement of "Promised Land in G minor with the last two measures modulating to G major.
M: Tempo broadens and the "Promised Land" melody stated in G major.
Kentucky 1800 is considered a folk rhapsody or tone poem without a clearly dileated form. Make sure you can identify whether you have the melody or a supporting part.
C: Promised land Chorus stated in marcato style.
Mark these terms in your music!
1. With motion: Moving ahead, not slowing
2. Flowing: lyrical and smooth
3. Marcato: Strongly accented
4. Catabile: Singing
Review Time! Please use formal writing for this response.
1. Who wrote Kentucky 1800? Give at least one detail about the composer.
2. What three folk songs are the basis for the piece?
3. Do you have the main melody? If yes, where? Which melody?
4. What is marcato? Cantabile? describe how you would perform each.
Blocher, L., et. al. (2009). Teaching Music Through Performance in Band. Chicago, IL: Gia Publications.
Flutes - 1
Eb Clarinet- 1 (opt)
Oboe - 1
Bb Clarinet - 3
Eb Alto Clarinet - 1 (opt)
Bb Bass Clarinet - 1
Eb Alto Sax - 2
Bb Tenor Sax - 1
Eb Bari Sax - 1
Bb Bass Sax - 1 (opt)
Bassoons - 2
Horns - 4
Cornet - 3
Trumpet - 2
Trombone - 3
Baritone - 1
Tuba - 1
Percussion - 3