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SSAATTBB
J. W. Pepper
Catie Mallory
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Teacher Guide
Table of Contents
Teacher’s Guide
General
Information.……………………………………………………………………….
.3
Learning
Goals…………………………………………………………………………………
3
National
Standards………………………………………………………………………….3
Score
Analysis……………………………………………………………………………
……5
Composer
Information………………………………………………………………………………………..
5
Historical
Context……………………………………………………………………………………………
…5
Text…………………………………………………………………………………………………
…………………5
Melody &
Harmony……………………………………………………………………………………………
.6
Rhythm……………………………………………………………………………………………
…………………7
Form…………………………………………………………………………………………………
………………..7
Timbre………………………………………………………………………………………………
………………..8
Texture……………………………………………………………………………………………
…………………9
Lessons………………………………………………………………………………
………9-17
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Lesson
1……………………………………………………………………………………………………….
.9-10
Lesson
2………………………………………………………………………………………………………
11-12
Lesson
3………………………………………………………………………………………………………
13-14
Lesson
4………………………………………………………………………………………………………
15-16
Lesson
5………………………………………………………………………………………………………
…..17
Glossary……………………………………………………………………………
…………..18

General Information
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Title: Elijah Rock


Arranged by: Moses Hogan
Text by: Enslaved Africans in America
Publisher: Hal Leonard Corporation
Grade Level: Medium
Label: Traditional Spiritual
Style: Gospel
Voicing: SSAATTBB
Accompaniment: Piano for rehearsal only
Performance Time: 3:05

Learning Goals (Instructional Objectives)


1. Students will demonstrate understanding of the text and create musical
phrasing/text painting for “Elijah Rock” while maintaining musical and
lyrical integrity. (Affective)
2. Students will interpret the historical and cultural context of “Elijah
Rock” by writing their own personal interpretation and putting
themselves in the speaker’s mind. (Affective)
3. Students will write in and perform proper counts of challenging rhythms
in “Elijah Rock.” (Skill)
4. Students will analyze and label chord structures of “Elijah Rock” while
identifying key signature with 80% accuracy. (Knowledge)
5. Students will apply knowledge of key signatures and chord structure to
identify all suspensions within their part of “Elijah Rock” with 80%
accuracy. (Knowledge)
6. Students will listen to recordings of spiritual music and use body
movements to identify the different sections with 95% accuracy and then
apply this knowledge of form to “Elijah Rock.” (Skill)

National Standards

MU:Pr4.3.E.5a Identify expressive qualities in a varied repertoire of music


that can be demonstrated through prepared and improvised performances.
MU:Pr6.1.E.5b Demonstrate an understanding of the context of the music
through prepared and improvised performances.
MU:Cn11.0.T.Ia Demonstrate understanding of relationships between music
and the other arts, other disciplines, varied contexts, and daily life
MU:Re8.1.E.5a Identify interpretations of the expressive intent and meaning
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of musical works, referring to the elements of music, contexts, and (when


appropriate) the setting of the text.
MU:Pr4.2.E.Ia Demonstrate, using music reading skills where appropriate,
how compositional devices employed and theoretical and structural aspects
of
musical works impact and inform prepared or improvised performances.
MU:Re9.1.E.Ia Evaluate works and performances based on personally- or
collaboratively-developed criteria, including analysis of the structure and
context.
MU:Re7.2.E.Ia Explain how the analysis of passages and understanding the
way the elements of music are manipulated inform the response to music.
MU:Re7.2.E.8a Describe how understanding context and the way the
elements of music are manipulated inform the response to music.
MU:Pr5.3.E.8a Develop strategies to address technical challenges in a varied
repertoire of music and evaluate their success using feedback from
ensemble
peers and other sources to refine performances.
MU:Pr6.1.E.5a Demonstrate attention to technical accuracy and expressive
qualities in prepared and improvised performances of a varied repertoire of
music
MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate,
how knowledge of formal aspects in musical works inform prepared or
improvised performances.
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score Analysis
Composer Information
The composer of the text from this piece is listed as anonymous but has
been passed down through the generations with the same text just different
melodies. The arranger was the legendary Moses Hogan. Moses George
Hogan (March 13, 1957 – February 11, 2003) was an American composer and
arranger of choral music. He was best known for his settings of African-
American spirituals. Hogan was a pianist, conductor, and arranger of
international renown. His works are celebrated and performed by high
school, college, church, community, and professional choirs today. His most
famous work today is The Oxford Book of Spirituals created in 2002. He
died at the age of 45 of a brain tumor, and his surviving relatives include his
mother, brother, and four sisters. His interment was located at Mount Olivet
Cemetery and Mausoleum, New Orleans, Orleans Parish, Louisiana.

Historical Context
This text is passed down by word of mouth originating with early African
slaves brought to America to work. It tells of a biblical story of a man
named Elijah. According to the bible, Elijah was a holy prophet and was said
to have similarities to Moses. To understand Elijah, listeners and
participants must also have a basic knowledge of Moses and Elijah. A
different look could be, how does this piece relate to the people who created
it? How do the words they selected have impact today?

Text
This text is passed down by word of mouth originating with early African
slaves brought to America to work. The words repeat very often. In my
mind, this means that they were important to the writer and should be sung
with care and a mindful spirit.
“Elijah rock, oh Elijah rock
Elijah
Elijah rock, oh Elijah rock
Elijah
Come on sister help me to pray tell me my Lord don pass dis way.
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Elijah rock, Elijah rock


Elijah rock, oh Elijah rock
Elijah
Elijah rock, oh Elijah rock
Elijah
Elijah rock shout shout
Elijah rock comin' up Lord
Elijah rock shout shout
Elijah rock comin' up Lord
Satan ain't nothin but a
snake in the grass
He's a conjur, he's a liar
Hallelujah, Lord.
Elijah rock shout shout
Elijah rock comin' up Lord
Elijah rock shout shout
Elijah rock comin' up Lord
If I could I surely would
Stand on the rock where Moses stood
If I could I surely would
Stand on the rock where Moses stood
Elijah rock, oh Elijah rock
Elijah
Elijah rock, oh Elijah rock
Elijah
Hallelujah Jesus, Hallelujah Jesus
Hallelujah Jesus, Hallelujah Jesus
Rock Elijah, Rock Elijah
Rock Elijah, Rock Elijah
Comin' up Lawdy, Comin' up Lawdy
Comin' up Lawdy, Comin' up Lawdy
Oh oh oh Elijah, Oh oh oh oh
Elijah
Oh Elijah
Elijah rock Elijah rock shout
comin' I'm comin' I'm comin' up Lord.”

Melody & Harmony


Throughout this piece, there are many different speakers of the story. I
picture the story being passed through a crowd. It starts with the bass
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voices with a forte, but the notes are quite low in the range, so they seem
quiet. With the basses leading the way in a steady beat, the tenors join in a
small way that sounds like someone peaking their head into a conversation
to add a quick comment. When the treble voices join in, it is similar in that
manner. As the piece progresses the voice color changes from a few
“hushed” voices to voices with intent that cannot be ignored. When the
tempo change occurs, it feels like the speakers start questioning their
purpose of following in Moses’ path but by the end of that section they are
sure this is where they are meant to be, wherever that is. As we continue,
the song speeds up and adds quite the dynamic contrast from the previous
sections. Towards the end, the speakers join together and proclaim, to then
break apart for a small time and end in an accented manner.

Rhythm
The piece is in common time but the majority of the notes are either
sixteenth or eighth notes, so it moves quickly. A good portion of the
entrances for the song are on off beats, I see this a potential obstacle that
will trip up the students. There are also good many tempo changes. These
can be drastic or subtle depending on the conductor. This song also repeats
many times, so once a certain section is learned it is easy to keep moving
on.

Form
The form of “Elijah Rock” is Song form. Form used in the composition of a
song, in particular a simple melody and accompaniment or a three-part
work in which the third part is a repetition of the first. Soprano Voice,
range: A3-D6; Alto Voice, range: E3-E5; Tenor Voice, range: A4-A5; Bass
Voice, range: E2-E4; Piano-for rehearsal only.
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Sections/ Measures Key Text


Intro (mm. 1-6) C Major (Basses and Tenors)
Oh Elijah, Elijah rock,
Oh
Rehearsal A (mm. 7-8) C Major (Men + Women)
Elijah rock ; repeat
Rehearsal B (mm. 9-12) A Minor (Altos + Basses)
Come on sister help me
to pray, tell me my
Lord done pass dis
way.
Elijah rock
Rehearsal C (mm. 13- Mostly A Minor Elijah rock, shout,
19) repeat shout Elijah rock,
Mm. 20-21 comin’ up Lawdy.
Elijah rock comin’ up
Lawd.
mm. 20- Satan ain’t
nothing but a snake in
the grass. He’s a
conjur. He’s a liar.
Hallelujah Lord.
Coda (mm. 22-27) A minor If I could I surely
(slower tempo) would stand on the
rock where Moses
stood. (repeat)
Rehearsal D (mm. 28- C Major (Basses & Tenor II, +
37) m. 30 Tenor I, + m. 32
Alto, + m. 34 Soprano
II, + m. 36 Soprano I)
Elijah rock, Oh
Hallelujah Jesus
Rock Elijah
Comin’ up Lawdy
Ah
Rehearsal E (mm. 38- A minor to C Major Oh Elijah
46, end) Elijah rock Oh
I’m comin’ up Lord.
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Timbre
The tone of this song should sound more gospel in style. Each part should be
sure that their part is distinct unto itself. This song is acapella so the parts
must be clear but correct in the style.

Texture
While most of the parts don’t line up, there are a few spots where they do
and these need to be brought out. When the choir is unison with words, the
words need to be clear but within the style. When voices become the
‘accompaniment’ they need to be cognizant of the melody and vice versa.

Lesson 1: History/Text
Standards:
MU:Pr4.3.E.5a Identify expressive qualities in a varied repertoire of music
that can be demonstrated through prepared and improvised performances.
MU:Pr6.1.E.5b Demonstrate an understanding of the context of the music
through prepared and improvised performances.
MU:Cn11.0.T.Ia Demonstrate understanding of relationships between music
and the other arts, other disciplines, varied contexts, and daily life
MU:Re8.1.E.5a Identify interpretations of the expressive intent and meaning
of musical works, referring to the elements of music, contexts, and (when
appropriate) the setting of the text.

Rationale:
The purpose of this lesson is to broaden the students understanding of the
history of the piece and to express their own ideas.

Objective:
Students will analyze both the text and music of “Elijah Rock” and write a
short personal interpretation
Students will then speak through the piece with the correct rhythm while
adding phrasing.

Materials:
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Paper
Pencil
Sheet music
Projector
Recording of the piece

Warm up:
T will play a recording of the piece and have the students write while
listening.

Sequence:
1. T will hand out music and paper to write reflections
2. Ss will list their interpretation of the piece, including point of view,
location, context, and reason behind it.
3. Ss will have 10 mins to do this while the song repeats twice.
4. T: “Now who would like to share their interpretation?”
5. T waits for someone to raise their hand and will call on at least 5
people.
6. T will then have the Ss sight-read the rhythm in time together.
7. After the rhythm portion, T will have them repeat the song while
listening for mistakes and errors.
8. T will correct errors and move on.
9. T will have Ss solfege the piece and encourage them to hum as they
solfege their part.
10. Solfege will take 10-12 minutes
11. T: “We will now sing through the piece on solfege.”
12. T leads the class on solfege, listening for mistakes and correcting as
needed
13. T: “Now that we have sung through it, does it make you wonder why
the words were put to this music?” “After having done your point of
view writing, does this change your ideas?”
14. T will call on a few students to answer and then move on to the closer.
15. T: “Remember to put your name on the POV papers and hand them to
me on your way out.” “Have a good day!”

Assessment:
Did students follow the criteria set forth for them in the POV writing?
3—Excelled
2—Attempted, came short
1—No attempt
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Lesson 2- Melody

Standards:
MU:Pr4.2.E.Ia Demonstrate, using music reading skills where appropriate,
how compositional devices employed and theoretical and structural aspects
of
musical works impact and inform prepared or improvised performances.

MU:Re9.1.E.Ia Evaluate works and performances based on personally- or


collaboratively-developed criteria, including analysis of the structure and
context.

MU:Re7.2.E.Ia Explain how the analysis of passages and understanding the


way the elements of music are manipulated inform the response to music.

Rationale:
Though this piece is labeled in C Major, it lies mostly in A minor. The
students will solfege the song in both keys, one written in their music and
the minor one written on a separate sheet of paper.

Materials:
Paper
Pencils
Solfege outlines in both keys
Music
Projector

Warm up:
Warm up on scales in both major and minor. Ask the students to identify the
major keys and figure out the relative minor.

Lesson Sequence:

1. T: “Good day class! Today we are going to experiment a little with


different keys and major and minor.”
2. T: “Does anyone remember what key our piece is in? You can look at
your music if you need help.”
3. T: “Okay everyone get out Elijah Rock. Now we already solfeged the
piece in which key?
4. T calls on someone to answer, ‘C Major’.
5. T: “Now can anyone tell me what the relative minor would be?”
6. T calls on Ss to answer. A minor
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7. T: “Now can everyone get a piece of staff paper. We are going to


notate and then solfege the piece in A minor.”
8. Each section will solfege their own part after notating their part on
the staff paper.
9. The solfege will be projected on the board in A minor.

10. This activity will take about 15-20 mins.


11. After that activity, we will sing through the piece on solfege written
for A minor.
12. T will listen for mistakes and correct as needed.
13. Ss will turn in A minor solfege sheet as exit ticket.

Assessment:
Did the Ss sing the correct solfege written for A minor?
Did they complete the assignment in class correctly?

3—Excelled
2—Attempt, few mistakes
1—No attempt
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Lesson 3- Texture

Standards:
MU:Re7.2.E.8a Describe how understanding context and the way the
elements of music are manipulated inform the response to music.
MU:Pr4.2.E.Ia Demonstrate, using music reading skills where appropriate,
how compositional devices employed and theoretical and structural aspects
of
musical works impact and inform prepared or improvised performances.
MU:Pr5.3.E.8a Develop strategies to address technical challenges in a varied
repertoire of music and evaluate their success using feedback from
ensemble
peers and other sources to refine performances.

Rationale:
This piece has a tricky texture for the most part. The students will work on
different section other than their own to grasp the piece as a whole, not just
their part.

Materials:
Sheet music
Solfege cards
Markers
Paper
Two recordings of Elijah Rock
Warm up:
We will warm up with scales in both major and minor. We will add solfege
cards to mix things up.

Lesson Sequence:
1. T: “Today class, we are going to switch it up today by singing each
other’s parts.”
2. T: “Can I have everyone find a partner of another voice part in
5……4……3…….2…………..1” “Okay now that you have a partner of a
different voice part, you are going to teach them m.1- m.19. You have
ten mins for partner 1 to teach. When partner 1 is done and p2 has it
down, sit down somewhere in the room.”
3. T waits and walks around to help and correct any questions or
mistakes.
4. Once P1 is done and they are both sitting, T has the class sing
together.
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5. T: “Everyone is going to sing now. P1 sing with your student and P2 do


your best to sing out.”
6. When the song is over T says, “Now partners you will flip jobs. P2 you
are now the teacher and P1 you are the student.”
7. T walks around to fix mistakes.
8. T: “Now that everyone is done, we are going to sing again like we did
before.”
9. T: “P2 sing with your partner to help them and P1 sing out loud.”
10. T walks around to listen and correct errors.
11. T asks students what the hardest part of this activity was.
12. T calls on at least 4 people to answer.
13. T regathers group and asks them to each grab a piece of paper and a
marker or two.
14. T: “I am going to play two recordings of the piece and I want you to
draw how the texture sounds to you. You may use front and back or
put it all on one.”
15. T then plays the songs and walks around to observe.
16. T: “Once you are done you can pack up.”

Assessment:
Did students teach correct notes and rhythms?
Did students participate in the activity?
3—Excelled
2—Attempted, few errors
1—Didn’t try
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Lesson 4- Rhythm

Standards:
MU:Pr6.1.E.5a Demonstrate attention to technical accuracy and expressive
qualities in prepared and improvised performances of a varied repertoire of
music
MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate,
how knowledge of formal aspects in musical works inform prepared or
improvised performances.

Rationale:
This lesson is meant to work the students in rhythmic way. It is also meant
to clean up rhythmic errors.

Materials:
Projector
Metronome
Rhythm Flashcards

Warm up:
Ss will read rhythm flashcards off the projector and clap each individual
rhythm accordingly. Then we will warm up on scales.

Sequence:
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1. T will start the piece and run it once listening for rhythm mistakes.
2. T will then clap a rhythm in 4/4 time and do the ‘ladder’ exercise.
3. ‘Ladder’- T claps or does a rhythm. Front row does it and passes it back
to the row behind them. Repeat
4. T will then ask Ss where they have problems on entrances for the piece.
5. T runs problem areas then joins class back together.
6. Class runs the song on both solfege and words. 1st on solfege then
words.
7. T listens and fixes problems and moves on.
8. T will split class into sections if there are still struggling.
9. T: “I hope everyone learned and cleaned up their part today. You did a
great job!”

Assessment:
Did students participate with the ‘Ladder’?
Did they clean up their part individual and as a section?
3—Excelled
2—Attempted, few short
1—Didn’t try
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Lesson 5- Movement

Standards:
MU:Pr6.1.E.5a Demonstrate attention to technical accuracy and expressive
qualities in prepared and improvised performances of a varied repertoire of
music.
MU:Pr6.1.E.5b Demonstrate an understanding of the context of the music
through prepared and improvised performances.
MU:Re8.1.E.5a Identify interpretations of the expressive intent and meaning
of musical works, referring to the elements of music, contexts, and (when
appropriate) the setting of the text.

Rationale:
This lesson is meant to demonstrate to the students that this song is not
supposed to be a stagnate song, that is has a natural movement.

Materials:
Can’t Stop the Feeling -Justin Timberlake
House of the Rising Sun- The Animals
Projector

Sequence:
1. T: “Everyone find a spot around the room next to someone you
normally don’t stand next to. This may seem silly, but I want everyone
to dance to the next two songs I play for you.”
2. T will play both songs and join in the dancing.
3. T: “Now I want you find groups or 3 or 4. You are going to come up
with some dance moves for “Elijah Rock” based on the music or the
rhythm or both and then demonstrate for the class.”
4. T will play a recording of “Elijah Rock” after the groups have been
gathered.
5. T will walk around and help where needed and listen for criteria to be
met in the creation process.
6. This process will take about 15-20 mins
7. After this time, teacher will regroup class and a volunteer group will
start us off.
8. After everyone has performed, we will sing through the piece before
they leave.

Assessment:
Did the students collaborate equally?
Did the students participate in the activity fully?
3—Excelled
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2—Attempted
1—Didn’t try

Glossary
A cappella- (with reference to choral music) without instrumental
accompaniment.
Consonance-the combination of notes that are in harmony with each other
due to the relationship between their frequencies.
Dissonance- lack of harmony among musical notes.
Texture-In music, texture is how the tempo, melodic, and harmonic
materials are combined in a composition, thus determining the overall
quality of the sound in a piece.
Relative keys-In music, relative keys are the major and minor scales that
have the same key signatures. A pair of major and minor scales sharing the
same key signature are said to be in a relative relationship.

Recordings:

https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0128435
https://www.youtube.com/watch?v=ru0K8uYEZWw
https://www.youtube.com/watch?v=5A-4VGfx5lU
https://www.youtube.com/watch?v=WyOvwJ28nfU
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SSAATTBB
22

J. W. Pepper

Student Guide
23

Table of Contents:

Learning
Goals………………………………….21
Score
Analysis…………………………………..21
Composer
Information……………………………………………21
Historical
Context………………………………………………….21
Text………………………………………………………………
……….22
Melody &
Harmony………………………………………………..23
Rhythm…………………………………………………………
……….23
Form……………………………………………………………
…………23
Texture………………..………………………………………
………..24
Assessments 1-
5…………………………………………………….25
Glossary………………………………………
……26
24
25

Learning Goals (Instructional Objectives)


7. Students will demonstrate understanding of the text and create musical
phrasing/text painting for “Elijah Rock” while maintaining musical and
lyrical integrity. (Affective)
8. Students will interpret the historical and cultural context of “Elijah
Rock” by writing their own personal interpretation and putting
themselves in the speaker’s mind. (Affective)
9. Students will write in and perform proper counts of challenging rhythms
in “Elijah Rock.” (Skill)
10. Students will analyze and label chord structures of “Elijah Rock”
while identifying key signature with 80% accuracy. (Knowledge)
11. Students will apply knowledge of key signatures and chord structure to
identify all suspensions within their part of “Elijah Rock” with 80%
accuracy. (Knowledge)
12. Students will listen to recordings of spiritual music and use body
movements to identify the different sections with 95% accuracy and then
apply this knowledge of form to “Elijah Rock.” (Skill)

score Analysis
Composer Information
The composer of the text from this piece is listed as anonymous but has
been passed down through the generations with the same text just different
melodies. The arranger was the legendary Moses Hogan. Moses George
Hogan (March 13, 1957 – February 11, 2003) was an American composer and
arranger of choral music. He was best known for his settings of African-
American spirituals. Hogan was a pianist, conductor, and arranger of
international renown. His works are celebrated and performed by high
school, college, church, community, and professional choirs today. His most
famous work today is The Oxford Book of Spirituals created in 2002. He
died at the age of 45 of a brain tumor, and his surviving relatives include his
mother, brother, and four sisters. His interment was located at Mount Olivet
Cemetery and Mausoleum, New Orleans, Orleans Parish, Louisiana.

Historical Context
This text is passed down by word of mouth originating with early African
slaves brought to America to work. It tells of a biblical story of a man
named Elijah. According to the bible, Elijah was a holy prophet and was said
to have similarities to Moses. To understand Elijah, listeners and
participants must also have a basic knowledge of Moses and Elijah. A
26

different look could be, how does this piece relate to the people who created
it? How do the words they selected have impact today?

Text
This text is passed down by word of mouth originating with early African
slaves brought to America to work. The words repeat very often. In my
mind, this means that they were important to the writer and should be sung
with care and a mindful spirit.
“Elijah rock, oh Elijah rock
Elijah
Elijah rock, oh Elijah rock
Elijah
Come on sister help me to pray tell me my Lord don pass dis way.
Elijah rock, Elijah rock
Elijah rock, oh Elijah rock
Elijah
Elijah rock, oh Elijah rock
Elijah
Elijah rock shout shout
Elijah rock comin' up Lord
Elijah rock shout shout
Elijah rock comin' up Lord
Satan ain't nothin but a
snake in the grass
He's a conjur, he's a liar
Hallelujah, Lord.
Elijah rock shout shout
Elijah rock comin' up Lord
Elijah rock shout shout
Elijah rock comin' up Lord
If I could I surely would
Stand on the rock where Moses stood
If I could I surely would
Stand on the rock where Moses stood
Elijah rock, oh Elijah rock
Elijah
Elijah rock, oh Elijah rock
Elijah
Hallelujah Jesus, Hallelujah Jesus
27

Hallelujah Jesus, Hallelujah Jesus


Rock Elijah, Rock Elijah
Rock Elijah, Rock Elijah
Comin' up Lawdy, Comin' up Lawdy
Comin' up Lawdy, Comin' up Lawdy
Oh oh oh Elijah, Oh oh oh oh
Elijah
Oh Elijah
Elijah rock Elijah rock shout
comin' I'm comin' I'm comin' up Lord.”

Melody & Harmony


Throughout this piece, there are many different speakers of the story. I
picture the story being passed through a crowd. It starts with the bass
voices with a forte, but the notes are quite low in the range, so they seem
quiet. With the basses leading the way in a steady beat, the tenors join in a
small way that sounds like someone peaking their head into a conversation
to add a quick comment. When the treble voices join in, it is similar in that
manner. As the piece progresses the voice color changes from a few
“hushed” voices to voices with intent that cannot be ignored. When the
tempo change occurs, it feels like the speakers start questioning their
purpose of following in Moses’ path but by the end of that section they are
sure this is where they are meant to be, wherever that is. As we continue,
the song speeds up and adds quite the dynamic contrast from the previous
sections. Towards the end, the speakers join together and proclaim, to then
break apart for a small time and end in an accented manner.

Rhythm
The piece is in common time but the majority of the notes are either
sixteenth or eighth notes, so it moves quickly. A good portion of the
entrances for the song are on off beats, I see this a potential obstacle that
will trip up the students. There are also good many tempo changes. These
can be drastic or subtle depending on the conductor. This song also repeats
many times, so once a certain section is learned it is easy to keep moving
on.

Form
The form of “Elijah Rock” is Song form. Form used in the composition of a
song, in particular a simple melody and accompaniment or a three-part
work in which the third part is a repetition of the first. Soprano Voice,
28

range: A3-D6; Alto Voice, range: E3-E5; Tenor Voice, range: A4-A5; Bass
Voice, range: E2-E4; Piano-for rehearsal only.
29

Sections/ Measures Key Text


Intro (mm. 1-6) C Major (Basses and Tenors)
Oh Elijah, Elijah rock,
Oh
Rehearsal A (mm. 7-8) C Major (Men + Women)
Elijah rock ; repeat
Rehearsal B (mm. 9-12) A Minor (Altos + Basses)
Come on sister help me
to pray, tell me my
Lord done pass dis
way.
Elijah rock
Rehearsal C (mm. 13- Mostly A Minor Elijah rock, shout,
19) repeat shout Elijah rock,
Mm. 20-21 comin’ up Lawdy.
Elijah rock comin’ up
Lawd.
mm. 20- Satan ain’t
nothing but a snake in
the grass. He’s a
conjur. He’s a liar.
Hallelujah Lord.
Coda (mm. 22-27) A minor If I could I surely
(slower tempo) would stand on the
rock where Moses
stood. (repeat)
Rehearsal D (mm. 28- C Major (Basses & Tenor II, +
37) m. 30 Tenor I, + m. 32
Alto, + m. 34 Soprano
II, + m. 36 Soprano I)
Elijah rock, Oh
Hallelujah Jesus
Rock Elijah
Comin’ up Lawdy
Ah
Rehearsal E (mm. 38- A minor to C Major Oh Elijah
46, end) Elijah rock Oh
I’m comin’ up Lord.

Texture
30

While most of the parts don’t line up, there are a few spots where they do
and these need to be brought out. When the choir is unison with words, the
words need to be clear but within the style. When voices become the
‘accompaniment’ they need to be cognizant of the melody and vice versa.

Assessment on Lesson #1:


Did students follow the criteria set forth for them in the POV writing?
3—Excelled
2—Attempted, came short
1—No attempt

Assessment on Lesson #2:


Did the Ss sing the correct solfege written for A minor?
Did they complete the assignment in class correctly?

3—Excelled
2—Attempt, few mistakes
1—No attempt

Assessment on Lesson #3:


Did students teach correct notes and rhythms?
Did students participate in the activity?
3—Excelled
2—Attempted, few errors
1—Didn’t try

Assessment on Lesson #4:


Did students participate with the ‘Ladder’?
Did they clean up their part individual and as a section?
3—Excelled
2—Attempted, few short
1—Didn’t try

Assessment on Lesson #5:


Did the students collaborate equally?
Did the students participate in the activity fully?
3—Excelled
2—Attempted
1—Didn’t try
31
32

Glossary
A cappella- (with reference to choral music) without instrumental
accompaniment.
Consonance-the combination of notes that are in harmony with each other
due to the relationship between their frequencies.
Dissonance- lack of harmony among musical notes.
Texture-In music, texture is how the tempo, melodic, and harmonic
materials are combined in a composition, thus determining the overall
quality of the sound in a piece.
Relative keys-In music, relative keys are the major and minor scales that
have the same key signatures. A pair of major and minor scales sharing the
same key signature are said to be in a relative relationship.

Recordings:

https://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0128435
https://www.youtube.com/watch?v=ru0K8uYEZWw
https://www.youtube.com/watch?v=5A-4VGfx5lU
https://www.youtube.com/watch?v=WyOvwJ28nfU