CMP Teaching Plan

Kasey Brylski
ERE THE WORLD BEGAN TO BE
Jack Stamp
Daehn Publications Grade 3/4:53 minutes

Broad Description
This piece is based off the 13th century plainchant "Divinum Mysterium.
This piece was commissioned by the Central Middle School Concert Winds and Percussion of Waukesha, WI.
This piece frequently alternates between simple and compound meter.

Composer Biography
Jack Stamp was born on March 5, 1954. He received his Bachelors degree in Music Education from Indiana University
of Pennsylvania, his Masters degree in Percussion Performance from East Carolina University, and his Doctors degree
in Conducting from Michigan State University. During his time in Michigan, he was the student of Eugene Corporon.
While he taught in the public schools of North Carolina, he was the Chairman of the Division of Fine Arts at Campbell
University. He was conductor of the University Bands at Indiana University for 25 years. Today he is the conducting
professor at the University of Wisconsin-River Falls. Stamp has won many awards including the Orpheus Award from
the Zeta Tau Chapter of Phi Mu Alpha, "Distinguished Alumnus" of Indiana University of Pennsylvania, "Citation of
Excellence" from the Pennsylvania Music Educators Association and the title of "University Professor" at the Indiana
University of Pennsylvania. He is also a founder and conductor of the Keystone Winds.
Williams, Chris. Retrieved from http://www.jackstamp.com/bio.html

Background Information
Along with being based off Divinum Mysterium, Ere the World Began to Be also originates from the hymn "Of the
Father's Love Begotten" written by Aurelius Clemens Prudentius. The hymn is a Christmas carol based on the Latin
poem Corde natus. Both the plainchant and the hymn were combined and records date it back to the 10th century.
The hymn is a proclamation of faith, is about how Christ is both human and divine, and addresses the creation of the
beautiful nature of our world from the sky, sun, water, glaciers, moon, stars, etc.
Stamp writes in the notes that the Melodic clustering, canon, modal harmony, and various contrapuntal devices within
this piece presents young band students with different musical techniques for them to explore.
 Elements of Music
Measure Meter Form Melody Rhythm Harmony Timbre Texture Expression
and
Tempo
4/4, Flute, oboe Whole, half, Ab unison Bright, Polyphonic, Sweetly,
1-8 Intro Ab
2/4, 3/4 dotted quarter, mellow moving
(4+4) Major
60 eighth
all Quarter, whole, Dissonant, Brassy, heavy Homophonic/ Stately
9-11 4/4, 2/4 syncopation Bb octave rhythmic,
thick
3/4, Flute, oboe, Eighth, half Bb D octave Warm, Polyphonic, Precise,
12-19 A section
7/8, 2/4 clarinet rounded thin simple,
(4+4) Bb Major
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B section Clarinet 2, sax, Eighth, half, Melody Warm, dark, Homophonic, Tender,
20-26 3/4, 4/4
Eb Major horn, euph dotted half overlapping reedy thin passionately
Flute, oboe, Eighth, quarter, Eb G Warm, dark, Homophonic, Passionately,
3/4,
27-40 A section clarinet 2, half, sixteenth octaves, C rounded thick precise
7/8,
(8+6) Eb Major trumpet 1 Major triad,
2/4, 5/8
Eb octave
Clarinet 1, alto 1, Eighth, half Melody Reedy, dark, Homophonic, Tender
B section flute, oboe, euph overlapping resonant thin
41-47 3/4
Eb Major in three
places
Flute, oboe, Eighth, quarter, Eb, unisons, Dark, heavy, Polyphonic, Tender and
48-61 clarinet, dotted quarter, octaves brassy, reedy growing in with fire
saxophone half, ties thickness sim.
Trumpet Eighth, half, G unison, Resonant, Polyphonic, Stately,
62-68 3/4, C section G
dotted half octaves, Eb bright, thick triumphal
(4+3) 2/4, 4/4 lydian
Major triad focused

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 Flute, oboe, Quarter, Unison, Resonant, Homophonic Stately,
clarinet 1, sixteenth in octaves, P5 bright, heavy and rhythmic, triumphal,
69-75 A section
trumpet 1, percussion, thick precise,
(5+2) Bb Major
trombone, euph, syncopation heavy
mallets/piano
Alto, horn Quarter, half, Unison Mellow, Polyphonic, Tender
76-78 4/4
whole reedy, dark thin
Flute, oboe Half, eighth, Octaves, Bb Full, focused, Thin until last Sweetly,
Restatement
79-end 2/4, whole, ties Major triad rounded, three moving
of Intro Bb
(4+2+3) 4/4, 3/4 resonant, measures
Major
dark

The Heart Statement

The heart of Ere the World Began to Be is the handling of the Gregorian chant throughout the piece as Stamp transforms it with
overlapping and changing styles using contrasting articulations, textures, and beautiful harmonies.

Introducing the Piece

To introduce this piece, I would read the lyrics from the hymn "Of the Father's Love Begotten." Another way to introduce the
piece is to have everyone play the chant together without telling them what it is.

Affective Outcome:
Students will embrace different beliefs people have.

Strategies
1. I would read the hymn to my students and have them listen to it as well. I would have them discuss what they believe is
the meaning of the poem. I would allow them to share their experiences if they wish to in order to help them make
sense of the lyrics.
2. I would have my students sing through the hymn.
3. We would discuss the historical significance of the religious connections that the hymn has through analyzing the lyrics.
4. We would then focus on the nature aspect of the lyrics and how they are depicted through the writing of Stamp.

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 5. We would explore the different musical elements that Stamp uses with the hymn and how it contributes to the overall
beauty of the piece.

Assessment
1. I will assess my students by listening to their discussion.
2. I will be able to know if they can appreciate each others thoughts and beliefs if they are engaging in an open and
accepting discussion.
3. Another way I could assess my students is having them compare the religious belief represented in Ere the World Began
to Be through an analysis of the lyrics with another cultures belief or their own belief.

Skill Outcome:
Students will subdivide through meter changes.

Strategies
1. As a warmup, I will have students play eighth notes while playing in the key of the piece to keep a steady beat together
as a band. I could also have them do the counting exercise that adds a note each time through the scale to get them
internalizing a pulse.
2. I will have students clap the eighth note pulse while counting out loud putting accents on the downbeat of each
measure.
3. I will then have them sizzle the eighth note pulse and then move on to having them sizzle their own parts through the
meter changes.
4. I will have the snare drum keep a steady eighth note pulse while they play through their parts and then have them play
without the snare but tell them to try and hear the sound of the snare in their heads.

Assessment
1. I will assess them by hearing whether they are able to stay together after the snare drum cuts out.
2. I will also be able to know if they are internalizing the beat through the meter changes if they are able to clap and count
at the same time and who is improving.
3. I could also assess them by having them play an excerpt that incorporates 7/8 meter without me conducting (alone or
as a group) to see if they are able to apply what they learned to something else.

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Knowledge Outcome:
Students will compose their own Gregorian chant.

Strategies
1. I will have them play the Gregorian chant that Stamp uses in the piece in unison.
2. I would facilitate an exercise in which they change the chant by having them play it in a cannon and changing aspects of
it. I would have them give examples of things they could do to change it slightly.
3. I would teach them about the historical significance of the Gregorian chant and the components of one.
4. I will have them write their own chant using what they learned and we would play some of them in class.

Assessment
1. I would assess them by looking at their chants to see if they understand the musical components of the Gregorian chant.
2. I could also assess them by having them take a quiz that asks them to write two or three elements associated with the
Gregorian chant.
3. Another way I could assess them is by having them look over each others chants and having them answer questions
like What musical elements are in this that make it a Gregorian chant? and/or What are some strengths and
weaknesses in the writing of this chant? List at least one of each

Recommended Recordings
North Texas Wind Symphony conducted by Eugene Migliaro Corporon - https://www.youtube.com/watch?v=bzrjPeCLLqw
I recommend this recording because it demonstrates the style of the piece well with clear contrasts of articulations and
thoughtful attention to balance to hear the layering within the piece. It is a professionally done recording and it a basis
on which students can get an understanding of how the piece should sound.
Saint Martins Chamber Choir unknown conductor - https://www.youtube.com/watch?v=TzIgBDZHD5U
I recommend this recording because it is a performance of the hymn Of the Father's Love Begotten. Students will get
an understanding of how to play the melody of this piece by imitating the way the choir sings it. By listening to this,
they will connect what it means to sing through their instruments to capture the beauty of the hymn through a different
means of performance.

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References
Jack Stamp. (2017, September 15) Wind Repertory Project. Retrieved from http://windrep.org/Jack_Stamp.
Williams, Chris. Retrieved from http://www.jackstamp.com/bio.html.

Works for Winds

Gavorkna Fanfare
Escapade
Divertimento in F
Cheers!

Glossary of Terms
Accel, A tempo, Rit, St. mute

Sang through, studied, and marked parts (check off as completed)

x Piccolo x Cornets/Trumpets x 1st Violins

x Flutes x Horns x 2nd Violins
x Oboes x Trombones x Violas
x English Horn x Euphoniums x Celli
x Bassoons x Tubas x String Bass
x Eb Clarinet x Harp
x Clarinets x Timpani
x Alto Clarinets x Snare Drum x Sopranos
x Bass Clarinets x Mallet Percussion x Altos
x Contra Bass/Alto Clarinet x Remaining Percussion x Tenors
x Saxophones x Piano x Basses

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