Ave Maria David

MacIntyre

Womens Choir
Grades 9-12
Week of 9/8-9/12

Core Standards Incorporated:

CCSS.ELA-LITERACY.RL.9-10.2
Determine a theme or central idea of a text and analyze in detail its development over the
course of the text, including how it emerges and is shaped and refined by specific details;
provide an objective summary of the text.
This is being incorporated through musical elements. While the texts are the same, the
inflections are different for each passage and voice, and are being interpreted.

CCSS.ELA-LITERACY.SL.9-10.1.A
Come to discussions prepared, having read and researched material under study; explicitly draw
on that preparation by referring to evidence from texts and other research on the topic or issue
to stimulate a thoughtful, well-reasoned exchange of ideas.
This is being used by sending students home with a listening assignment and asked to research
the composer. We can then speak about the composers interpretation as well as the students
individual interpretations.

CCSS.ELA-LITERACY.SL.9-10.5
Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive
elements) in presentations to enhance understanding of findings, reasoning, and evidence and
to add interest.
Again, this standard is utilized with a visual interpretation from the students, the teacher, and
the composer, as well as the listening assignment (YouTube allows students to watch the
performance).

Ave Maria David MacIntyre

Ave Maria David MacIntyre

Performance Notes:

Materials

Spiritual A Cappella choir piece

The Following materials may be used

and considered necessary:

5/8, 3/4, 2/4, 4/4 alternating meters.

SSSAAA womens voice arrangement

Metronome to demonstrate 5/8

time

Dedicated to the composers mother

Scores for the whole class

Piano to demonstrate tricky

passages

Level 6 NYSSMA Ensemble piece

Objectives
To understand the piece in a stylistic way as well as improve literacy, learn
asymmetrical meter, and dynamics to cultivate the intimate nature of the piece.

Other Resources
A rehearsal space with reverberation

Making Music:
Singing This can develop good posture habits among students, as
well as promote proper breathe control for the high and low ranges needed for
the students.
A Cappella This shows students that accompaniment is not always
needed to stay in tune. Listening to other members of the group is encouraged
to keep in tune.
Musical Literacy:
Asymmetrical meter, 5/8: counted as 1, 2, 3, 1, 2, as the beaming of
the composer suggests the groupings. Use group counting and claps and
stomps to allow students to feel the beat. Students will be in two groups. One
group will stomp while the other group claps the 1, 2, 3, 1, 2, Have group 1
speak the beats in subdvisions, and group two speak the beats as 1, 2, 3, 4, 5.
After a period of time when the students seem comfortable, switch the
counting and motion.
Repeat signs: At the designated areas on page 2, 3, 6, and 12, we
return to the symbols, and w here designated, use ending 2. Repeat the
sections twice when first learning them. Have the students mark on their scores
the repeats and where the go back to. Teach the second endings immediately
after the first ending.
Meter Changes: Shift counting patterns to quarter notes, and 3/4.
Repeat the exercise with 2/4 and 4/4. Have 2 groups. Group 1 claps in eighth
notes. Group two counts the different patterns of eighth notes. Ex.: Group 2
would count 1 ,2 ,3 ,4 ,5 , 1, 2, 3, 4, 5, 1, 2, 3, 4, 5, 1 and, 2 and, 3 and for the
first 4 measures. After doing all of the transition sections in different meters
and countings, switch group 1 and 2s roles.
Staccato markings in all parts: Explain the technique and demonstrate

Ave Maria David MacIntyre

the sound of the notes. Allow the ending to not be harsh, but be brief instead.
Legato markings in contrast to the staccato markings: have students
sing ms. 64 and 65 legato, then staccato. Allow the students to share their
opinion on which version of the notes they like better and why. Proceed to
explain why honoring the composers markings are important.
Ms. 22 and 23: voice crossing between S1 and S2 to be addressed.
Have them each sing in the opposing part that is crossed, then steal each
others notes.
Mini lesson in accidentals. Make sure the tuning of the choir is correct
and then show them the accidentals. Teach the chromatic solfege with pictures
of the hand signs and the syllables. Explain that each syllable can go up in half
steps and down in half steps.
Teach students about intervals, like m2, M2 and m7. Teach them that
these intervals are dissonant. Isolate the parts with these dissonant intervals
and have them stand next to each other. Allow them to sing their parts and
listen to each other to become comfortable with the intervals.
Go over accented sections. Demonstrate accents as a push rather
than a punch to avoid harsh tonality of the voices.
Rehearsal Letter I: address tempo change. Use a metronome in class
to show the differenc3e and practice following the conductor at this time. Have
students write watch or look up in their scores.
Making Connections:
The movement of 5/8 is like gears in a clock. The key is to keep pushing
forward and moving together.
The work means a lot to the composer. He dedicated it to his mother.
The title translates to Hail Mary and Mary is the mother of Jesus in the Christian
and Catholic faiths. The composer felt a deep spirituality about his mother and
the piece should be warm and caring even though it is precise.
The composer said he wanted a visual representation from
conductors. My vision is a hill being climbed by children. The quiet opening with
the descsant on the repeat is the crowd gathering at the bottom of the hill. The
gentle swell note shows the clamor of the congregation. Page 4 is the
beginning of the climb. Its not too difficult but the onward push of the meter
and the s1 and s2 voices are conversation being exchanged while going up hill,
like people speaking between breaths. Ms. 29 with its crescendo and absence of
time is the end of the climb, right before the top. The jubilation of the people
is shown by the missing mp that was after the mf, which remains on the S2.
Starting at Letter F, that is the climax of the piece and the top of the hill. The
forte dynamics combined with the accents on every note is the joy and
accomplishment of the group having reached the peak and seeing the sights on
the other side. The rest of the piece is like the same journey but rejuvenated
and faster because they are going down the other side of the hill.

Ave Maria David MacIntyre

Students should close their eyes and imagine a time where they
worked hard to achieve something difficult that they achieved. This is the
feeling they need to connect with the piece.
Cultural and Community Resources
The students should watch a video performance of this piece. This will
help them hear the meter, the dynamics, and the harmonies and dissonances.
Careers and Life Long Skills
Students learn about composers and arrangers by showing them
different arrangements of this piece for childrens voices.
Students can learn about the difference between voice parts and
SSAA compared to SATB choirs.
Children can be taught about A Cappella music, competitions, and the
committees that run them.
Students will learn about critical listening by working cooperatively
with the other sections and members of their own sections. This will also build
team skills.

Adaptations
This piece was written for a womens choir but can be adapted for childrens
choir.

Evaluation
Ave Maria is a Spiritual piece for a 6 part womens choir. The piece written by
Canadian composer, David MacIntyre, is a brilliant piece in mixed meter
designed to be performed in beautiful harmony.
Suggested Listening may include: 1. Las Amarillas by Stephen Hatfield. This
piece is just as fast paced as Ave Maria and has syncopated rhythms as well as
musical conversations between parts.

Ave Maria David MacIntyre