Views from the Choir Loft

Lesson 2: Intervallic Relationships

I’ve already mentioned that songs can begin on any pitch, but the intervallic relationships must not be changed. Let us now explore these intervallic relationships.

We usually use “solfege” (Do Re Mi Fa Sol La Ti Do) to help us learn these intervallic relationships. Instead of solfege, the French often use numbers (1 2 3 4 5 6 7 8). Either system is fine:

You probably noticed there isn’t quite as much space between two steps: MI-FA and TI-DO. This is because MI-FA and TI-DO are “half steps.” All the other steps (for instance, DO-RE) are “whole steps.” It is absolutely essential (and I cannot stress this enough) that you memorize MI-FA and TI-DO as being half steps. In the following video, I start on four different starting pitches, and then (always keeping the intervallic relationships inviolable) go up the first four notes. See if you can hear that MI-FA (the half step) is not as wide an interval as the other steps:

In the next video, I demonstrate the aural difference between an ascending half step and an ascending whole step. I could have chosen any ascending whole step (e.g. SOL-LA) or any ascending half step (e.g. TI-DO), but I chose DO-RE and MI-FA:

In the next video, I show the demonstrate difference between a descending half step and a descending whole step. I could have used any descending whole step (e.g. MI-RE) or descending half step (e.g. FA-MI), but I chose LA-SOL and DO-TI:

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski

Too much music!

Choosing music for the Sacred Music Symposium requires careful consideration. We make sure (always) to have great variety. Because the schedule is so full, there’s never sufficient time to discuss the music fully—indeed, we could easily do a month-long seminar on each piece! For example, last year Dr. Calabrese conducted a setting of the Magnificat by Father Guerrero (d. 1599). It is one of the most magnificent (pardon the pun) pieces ever written, and I wish I had time to point out the brilliant way he syncopates the word “dispersit,” which means “He has scattered” or “He has dispersed.” Superb!

—Jeff Ostrowski