CMP

Teaching Plan
Emmeline Liske

The Lake Isle of Innisfree

Eleanor Daley
Oxford – 3:00

Broad Description
An early high school choral work for SSA and piano commissioned in 2000.

Composer Biography
Eleanor Daly is a Canadian choral composer, choral director, and accompanist born in 1955. She studied organ and piano performance at
Queen's University in Ontario. She is best known for her children's chorus works and has had numerous commissions throughout the US
and Canada. Her best known works are The Rose Trilogy and Requiem.

Background Information
The Lake Isle of Innisfree is a quality piece because of its intense musicality pedagogical opportunities. The text is a famous poem by
William Butler Yeats written in 1888 in which the narrator talks about building a solitary, serene life on the island of Innisfree. They dream of
being immersed in nature, though they seem to currently be living in a city. The poem uses detailed descriptive words with vivid natural imagery
and has the potential to provoke discussion about happiness and solitude. The text has a significant relationship to the styles and melodic lines in
the vocal and piano parts. Overall, the piece sounds consistent and whole, but there are several unpredictable elements and moments scattered
throughout such as changing rhythmic meter, and unexpected divisi harmonies. The texture and relationship between voice and piano is clearly
intentional and effectively communicates the message of the text. The form and design follow expected principles with elements of balance and
contrast that come across effectively. The piano is an equally important performing force and also includes beautiful melodic lines and harmonies
to complement the unison vocal lines. There are multiple layers of depth in the musical and contextual elements that make the piece an excellent
choice for study in an educational setting. Student performers of this piece will have opportunities to embrace the emotional capabilities of music
in new ways and develop new perspectives about directly and indirectly communicating messages through choral music.

This piece is best for a mid level high school treble choir. These students would now be used to high school life and participating in
music and choir at the high school level. Their lives probably revolve around school and the activities they are involved in out of school such as
sports, clubs, or music activities. Spending time with friends and family is probably important, and for many, work and jobs are a major factor in
their lives. They are likely focused on trying to fit in with their peers but also beginning to develop their own identities and values. Students of this
age are probably starting to come to terms with new responsibilities and privileges, and facing new decisions and opportunities. Though all
students would be in choir by choice, they will have different levels of participation and enjoyment in choir. Some would care more about the
quality of the music and performance and others would care more about the experiences and connections in the ensemble.
 This piece relates to the way the students are beginning to develop their own individuality and independence. They might feel distanced
from their parents or family and find that they enjoy spending more time alone. As they begin to think about their future plans and goals, they will
spend more time individually contemplating what they really want and what makes them truly happy. Students should care about this piece
because the text of this poem encompasses a lot of these feelings and emotions. It has the potential to prompt discussions about what it means to be
happy and content. Students can think about and discuss what their “lake isle of Innisfree” is, and what they do in their life that makes them feel
the way the narrator does. Additionally, singing a piece about the joys of solitude in a large ensemble of others with similar experiences may give
the students a feeling of belonging and support that they may otherwise miss in the chaos of being a high schooler. It serves as a musical reminder
of togetherness and the connectedness that can be felt through performing music. For many, it could contribute to their overall development of a
lifetime love of music.

Elements of Music

Measure Meter and Form Melody Rhythm Harmony Timbre Texture Expression
Tempo
half-note= Growing The left In the key of Piano only, Homophoni The phrase
56 and the and rising hand D Vlat major. very light c right hand starts softly
meter is in pitch, rhythm is The same and relaxed. chords and grows
2/2. The mostly very long harmonic moving in in dynamic
tempo is stepwise notes, and pattern is parallel and level as it
very free motion the right repeated similar grows in
and this hand moves from 1-2 motion. The pitch. It
Introduction
phrase in four and 3-4. melody is continues to
1-4 that begins the
ends with quarter Simple and projected grow into a
A section
an notes per diatonic by the top the next
allargando bar. over a tonic note of the phrase.
in measure pedal in the right hand.
4 that left hand.
leads into
the next
phrase.

2
 Melody is in Quater note 1 or 2 The new A unison The phrase
the vocal pulse chords per vocal vocal line begins
After a line and continues in measure, timbre is Vloats above softer,
brief begins with piano, and lots of added. a piano crescendos
ritard, it an octave the vocal suspensions melody on to forte
returns to leap, then line uses . top of block right away,
half works back only slow chords, then comes
note=56. First phrase of down to Vill half and along with back down
5-10
Time the A section in the quarter simple to mezzo
signature octave. The notes. octaves in forte. The
shifts to top of the the left climax of
5/4 for piano line hand. the section
two also is on beat
measures. projects a one of
countermel measure 7.
ody.
The phrase The melody quarter This phrase Differences The piano This phrase
slows continues to note pulse ends simply of timbre and vocal lowers in
down a be sung in continues, with an are brought lines now pitch and
little bit unison. but the authentic out through move dynamic
right away, work cadence a unison together in giving the
then Innisfree is line. parallel section a
ritards emphasized motion. sense of
even more, Final phrase of by holding closure.
10-13
until an a the A section out those
tempo on syllables
the much
downbeat longer.
of 13.
There is a
single 6/4
bar.

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 The melody Only Harmonies The focus The vocal The phrases
is again quarter move in shifts again part holds remains
projected in notes similar and to the piano out the last relatively
the top of chords in parallel only, and note of the calm and
the right the right motion over continues previous quiet,
Stays in The vocal line
hand hand with a tonic with a light, phrase though rises
2/2 and Vinishes the last
chords, and the left pedal. relaxed while the in intensity
uses only phrase of the A
is similar to hand timbre. accompani in the
quarter section while
theontriduc staying still. ment middle, then
13-16 notes. A the piano line
tion quarter returns to a comes back
tempo, but overlaps,
note phrase down.
again with serving as a
melody, but similar to
some transition into
with more the opening
rubato. the B section.
leaps and a introductio
contour n with a
that rises melody on
then falls top of piano
again. chords.
A mostly The quarter Harmonies Both vocal The bass of The phrase
stepwise note pulse in the piano and piano the piano would be
simple continues part move timbres are holds a performed
melody. and the in similar heard pedal notes with an
melody uses and parallel equally under expressive
Steady The Virst
only motion over importantly. moving dynamic
17-20 tempo in phrase of the B
quarter and a tonic chords in arc.
2/2. section
half notes. pedal. the right
hand and a
vocal
melody on
top.

4
 Another Almost the Moves to a Both vocal The bass The phrase
simple same non- and piano notes now would also
melody that rhythm as diatonic timbres are move in a be
functions as the harmony for heard more active performed
a response previous the Virst equally rhythm, and with an
Steady to the phrase. time and importantly. the melody expressive
Second phrase
21-24 tempo in melody in Eighth emphasizes is in just the dynamic
of the B section
2/2 the notes are a Vlat-VII vocal line. arc.
previous used to chord.
phrase. deemphasiz
e less
important
words
The melody The same 1 The The vocal For the Virst This phrase
is now measure harmony part is now time, the grows in
passed pattern is uses a split into vocal part is intensity
between repeated secondary two in two lines and
two three times dominant different that move dynamic
different but passed and then timbres- at different with each
voices between ends on a sopranos times. The repetition of
echoing two voices. striking V/ii and altos. piano part the text “live
Steady
Third phrase of each other chord that is now alone”.
25-28 tempo in
the B section on repeated leads into a made of
2/2.
text. ii chord in longer
the next notes. The
phrase. vocal parts
divide into a
3 part chord
at the end
of the
phrase.

5
 The melody It starts Diatonic, The three The texture The phrase
is in the with and ends vocal parts is more climax is in
Soprano 1 quarter with perfect now have to active now measure 29,
Starts in
part and the notes and authentic blend with with eighth and the
2/2, has a
top line of then the cadence. timbre of notes in the phrase
bar of 6/4,
the piano. It rhythmic the piano left hand slows and
then ends
is a mostly divisions on the same hand now decrescendo
in 2/2. The
descending divide in notes. harmonies s. The last
phrase
stepwise half in the in the vocal two bars of
ritards Last phrase of
29-32 line. next parts, the piano
during the the B section.
measure as though the transition
6/4 bar.
the section vocal parts into the next
There is
comes to a are mostly phrase.
also a poco
close. The homophoni
ritard in
piano part c.
the last
now uses
measure.
constant
eighth
notes.
The melody The Diatonic The vocal The piano The phrase
2/2 and a
is in the constant harmonies parts are part has would be
slightly
soprano eighth notes over a tonic now active performed
slower
line. It is the continue in pedal. blending in eighth note with a rise
tempo.
same the piano 2 part arpeggios and then fall
There is a
melody as against the harmony. that in the
ritard on First phrase of
33-36 the quarter contrast dynamics
the last B’ section.
previous B notes in the with the
beat
section. vocal parts. legato vocal
leading
parts
into the
moving in
next
parallel
phrase.
thirds.

6
 A newer The vocal The vocal The melody For 1 The phrase
melody parts use parts now projects in measure, decreases in
with more eighth notes move in the soprano the piano dynamic
active for 1 three part line over and voices and
rhythms. measure, harmony. the lower are intensity
then return The vocal parts together, over 4
Second phrase to the harmonic and the then they go measures.
A tempo,
37-40 of the B’ quarter and rhythm is piano. back to
2/2
section. half note much more contrasting
rhythm. active in parts.
general.
There is
emphasis
on a V/vi
chord.

7
 The melody Mostly The The vocal Underneath The phrase
stays mostly uarter notes harmony is lines are the very grows for 3
on single in the vocal in very close very legato static measures
note. parts and in a lot of and don’t melody, and then
eighth notes seconds. It move much, they other decrescendo
2/2 and in the piano. starts but the vocal parts s during the
steady simpler and piano sing more last
tempo. The gets more covers a interesting measure.
last bar is dissonant. broad harmony.
Third phrase of
41-44 in 6/4 and range. The piano
the B’ section
extends continues
the phrase large active
for 2 extra arpeggios
beats. in the left
hand and
big, slower
chords in
the right
hand.

8
 A new A triplet is One chord The vocal In addition This phrase
melody used for the per line is most to the is
with more Virst time in measure. important. eighth notes performed
skips. the melody. in piano, much
The piano and melody lighter than
continues in the before, and
2/2 with a constant voices, ends by
slight Final phrase of eighth there are slowing
45-47
ritard at the B’ section. notes, but two short down and
the end. also Vlourishes getting
includes in the piano softer.
two part that
sixteenth create a
note more
Vlourishes. complex
texture.
Mostly Held notes Parallel and Focus shifts The vocal The phrase
Returns to
stepwise in left hand similar back to soft line Vinishes grows
the
melody in with only motion piano only. the last overall and
original
all quarter quarter chords over phrases slows to
tempo in
Transitional notes. A two notes in the tonic pedal. with a held lead into the
2/2. At the
phrase into the measure right hand. note for two next phrase.
47-50 end it
return of the A pattern measures
broadens
material. mostly while the
brieVly to
repeats but piano
lead into
on lower begins the
the next
pitches. transitional
phrase.
melody.

9
 Leaping The There is a Both The counter The phrase
melody in constant faster timbres are melody in grows to a
the vocal eighth notes harmonic equally the piano is climax in
Steady line with a go away and rhythm prevalent in octaves measure 53
tempo. counter the simpler with mostly and very with chords with the
There is a melody in quarter diatonic loud. Villed in. The leaping
5/4 bar piano. The note pulse chords with vocal line octave and
51-56 A’ section
and a 6/4 melody returns. The some returns to then
bar. Ends then Vills in vocal line singing in decrescendo
with a the octave holds out unison. s and slows
ritard going back longer down
down. notes. through the
rest of the
phrase.
Same Piano left Diatonic The vocal The vocal This phrase
simple hand and chord timbre line is more rises and
stepwise B vocal line changes projects lyrical over then falls
section continue over a tonic over the a new, naturally in
melody quarter pedal. piano part rocking dynamic
returns notes, and here. piano part. level and is
A tempo, First phrase of
57-60 the piano The left relatively
2/2 B’' section
right hand hand of the quiet.
plays eighth piano now
notes. also plays
harmony in
quarter
notes.

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 Same The basic The same The vocal The piano The phrase
melody that rhythm chromatic line is more returns to gradually
is a returns to harmony is important playing grows from
response to only introduced and projects fuller mp to mf as
the quarter here with over the chords but the line
previous notes and emphasis piano with a less ascends.
2/2, steady
Second phrase phrase the melody on a Vlat-VII sound. active
60-64 tempo and
of B’’ section continues to chord. rhythm
meter
use quarter creating a
and half simpler
notes with texture.
one dotted
eighth note
rhythm.

11
 The melody The two The The lyrical The vocal As the
is passed melodies harmony is vocal lines part splits melodic
between use again more become the into 2, then lines grow
two vocal constant chromatic main focus. 3 parts for and
parts which quarter with more the Virst converge
repeat the notes and secondary time in into one, the
same text the piano is dominants. awhile. The dynamic
and rhythm now less It ends on a two melodic level
Steady patter three rhythmicall prominent lines are gradually
Third phrase of
65-68 tempo in times. y active and striking active while increases to
B’’ section
2/2 with half V/ii chord. the other a forte.
note chords. holds a long
note. The
piano plays
bigger
chords that
are less
rhythmicall
y active.

12
 The melody The eighth The three Both The The climax
is a mostly notes vocal parts timbres rhythmic is in
descending return in move in have to texture is measure 69,
stepwise the left parallel blend with simpler and the
line in the hand and harmonies each other with only phrase
2/2 for 3
soprano 1 the right with a lot of on the same two decrescendo
measures
part and the and and dissonances notes. different s and loses
until the Fourth phrase
top of the voices have and things intensity
69-72 fourth of the B’’
piano part. mostly suspensions happening over the rest
measure in section
quarter over 1 at once, but of the
5/4 with a
notes chord per overall it is phrase.
ritard.
measure in denser
the piano. because of
the added
vocal
harmonies.
The melody Other than This phrase The unison The texture The phrase
starts with 4 quarter is the Vinal vocal lines becomes has a slight
a leap then notes at the cadence of and piano very thin shape at the
descends beginning, the piece top line suddenly beginning
mostly 2/2
down the the rhythms and ends on have to with only a and then
with one Finally phrase
scale are very tonic. blend unison decrescendo
5/4 bar. of the B’’
stepwise. static whole together on vocal line s to piano at
73-80 This section and of
and half the melody. and slow the end.
phrase is the vocal part
notes. The chords in
slightly in the piece.
last note the piano.
slower
sung by the
vocal line
extends for
5 measures.

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 Underneath The left The right The vocal Once the The pianist
the held hand holds hand moves timbre single vocal shapes this
note of the long notes in similar fades away note dies Vinal phrase
previous with the and parallel and light away, the until
phrase, the right hand motion over piano texture slowing
piano has has quarter a tonic chords shifts to down and
2/2, steady its own notes until pedal. become being just decrescendo
tempo Coda-like stepwise the rhythm more piano ing to the
77-85 until a concluding melody in naturally prominent. chords and light,
ritard at phrase the top slows down a pedal note pianissimo
the end voice of the at the very in the left ending
right hand. end. hand. chord.
This is the
melody
from the
introductio
n.

Element Summaries:

Form
The form is clearly outlined by recurring piano interludes which accentuate the organization of the text and thus makes the emotional
development in the poem’s organizational structure a central focus. Sections of music and text repeat throughout the piece enough to be
familiar, but usually with slight variations that each evoke a slightly different intensity in the emotional response. The return of
recognizable sections throughout the piece helps it use the music to achieve the sense of home and comfort described in the text.

Rhythm
This piece builds emotional anticipation by using different time signatures in unexpected places to expand the phrase beyond the
listener’s expectations while still feeling natural. This correlates to the narrator’s anticipation or longing for inner peace. The rhythm is
usually very simple to add to the constantly serene feeling. The most meaningful or affecting words of the text are emphasized by being
held longer, sometimes because of additional beats in the measure. The piece alternates between constant eighth notes and constant

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quarter notes to give the listener a a sense of stability and contentment. The return of the A section refrain also returns to the simpler
quarter note rhythms which evokes a sense of returning to home or to safety.

Melody
The contour and shape of the lines are expansive enough to stir an emotional response, but each melodic phrase still ends with satisfying
closure and inner peace. The melodies use primarily stepwise motion so that when they do use wider leaps, the affective response is far
more compelling. Leaps are used to intensify the feeling of certain important words. The melody utilizes repetitive structures with minor
variations and sequence-like patterns in order to maintain the sense of familiarity and contentment. The sheer simplicity of the melody
seems to have been intentionally used to allow the the piece to convey its message of the joys of solitude and an uncomplicated life.

Harmony
Many of the repetitive sections use simpler, diatonic harmony, however when chromatic mixture and secondary chords appear, they are
clearly emphasized and purposefully bring out the most emotional words. Non-chord tones, suspensions, and other dissonances create
constant feelings of emotional anticipation. They are always resolved, sometimes after an extended period of time, creating an
overwhelming sense of security and comfort. The returning tonic pedal that is situated underneath several sections creates a feeling of
stability and peace. The harmony returns to this stable place just as the narrator wants to return to their stable place of peace and
solitude.

Timbre
The different timbres of the vocal and piano lines are used to create an emotional response by sometimes using contrasting lines and other
times blending into a single sound. It emphasizes the joys of togetherness, but also of individuality and separation. The piano is an equally
important expressive performing force. The timbral change when the vocal parts shift from a unison timbre to singing in divided parts
increases the potential emotional response by creating a striking shift in the sound that demands the listeners’ recognition and
contemplation.

Texture
The very simple texture correlates with the overall feeling of solitude and simplicity. When things get more complex or dense, there is
always a return to this simpler texture because this is what the narrator longs for and ultimately keeps coming back to. Much of the vocal
line is in unison, which conveys inner peace through its simplicity and represents the feeling of being alone with oneself that is
encapsulated throughout the work. When the A section refrain returns, the texture becomes more focused on the vocal lines and the text of
these lines in order to encourage the listener to pay attention to and think about what the text means to them. Daly is very intentional
about shifts between unison and harmony in order to match the character of each phrase and section. These texture changes are
emphasized even more by corresponding differences in other elements such as expression and dynamics that together evoke a strong
emotional response.

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Expression
Many phrases create expressive arcs that rise and fall, resting in a place of comfort and peace. Both the vocal parts and the piano often
communicate different, but equally expressive lines that come together to give each phrase an expansive shape. Most of the lines are
extremely legato and are sung and played lightly to create a feeling of tranquility. The phrases are clearly marked to correlate high and low
points of text with the high and low points of the music in order to make the emotional response of these two combined elements more
powerful. The tempo is very free and uses rubato and ritards to build anticipation of the release into a completely calm state.

Text
It is clear through an analysis of each of the above elements that the expression of the text has been a central tenant to all of Daly’s musical
choices. Daly repeats certain phrases of text from the poem for emphasis and uses melodic patterns and sequences to highlight these
repetitions. The piano and vocal parts use imaginative text painting on speciVic words (“linnet’s wings,” “lake water lapping,” “dropping,”
etc.). This creates an affective response by using musical images to put the listener directly into the physical setting. They can then be more
easily transported to the emotional state of the the text and music.

The Heart Statement

The heart of the piece is the anticipation created by unexpected time signature changes and suspensions which prolong the releases in the
resolutions in order to portray a sense of longing for inner peace.

Affective Outcome:
Students will reVlect on the idea of solitude and independence and make connections to Vinding happiness in their own lives.

Strategies
1. Students will draw a picture or describe in writing a setting or location in which they feel relaxed, comfortable, and happy. I
will ask them to read the lyrics individually and think about them with their comfortable place in mind. We will then sing the
piece while students continue reVlecting on what makes them happy. They will then keep this description or picture in their
folder as a reminder of what and where to imagine while singing the piece, and how to relate the lyrics to their personal
experience. (visual)

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2. Students will take time on their own to choose a piece of music that they listen to alone that makes them feel happy. They
will write a brief description of why the music makes them feel that way. They can choose to keep these songs and
reVlections private, but if they’d like to share their selections with the class, I will give a few students a chance to share at the
beginning of each class that week. (auditory)

Assessment

Unit ReVlection Journal:

Write at least 5 sentences per question.
1. Do you enjoy being alone or independent? How has this changed throughout your life?
2. Has your understanding and/or performance of The Lake Isle of Innisfree changed after completing activities in class this week? If so,
how? Reference either the song choice discussion, the peaceful location activity, or both in your response.

Grade: Completed or Not Completed

Skill Outcome:
Students will recognize and accurately perform rhythms in meters changing between 2/2, 4/4, 5/4, and 6/4.

Strategies
1

Performance:
Record the audio of yourself singing your part in measures 5-13. Sing using rhythmic counting, no text. You may use your music to
complete this assignment. Use the recorded piano accompaniment track in the background of your video.

1-2 3-4 5-6

Counting accuracy
Rhythmic accuracy
Student makes frequent counting Student makes a few numerical Student sings all counts correctly
errors. counting errors. and uses numbers that reflect the
changing meters.
Student makes frequent Student makes a few rhythmic Student sings all rhythms
rhythmic errors. errors. correctly.

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Tempo Tempo is inconsistent or Student maintains appropriate Student maintains appropriate
fluctuates. tempo for most of the tempo for the entire
performance. performance.

Knowledge Outcome:
Students will deVine text painting and examine how it is used along with musical imagery throughout the piece.

Strategies

1. I will play examples of other instrumental pieces that use musical imagery or text painting. Students will have a chance to listen
individually Virst and write down what images they think the hear in the excerpt. Next, students will join small groups or partners.
Finally, we will share and discuss ideas as a class, and I will reveal what the composer intended.(Auditory)

2. I will divide the class into small groups and assign an evocative excerpt or measure of the piece to each group. Each group will draw a
picture, or make a collage of pictures online that depicts the section. The class will view each groups visuals the next day and try to
predict which section or measure it depicts. As we continue to rehearse the piece, I will project different students’ visuals on the board.
(Visual)

Assessment
Written Assessment:
1. DeVine text painting in music. (5 points)

2. List any 2 aspects of music that can be modiVied to evoke a visual image. (10 points)

3. Using your score for The Lake Isle of Innisfree, list two examples of text painting and/or musical imagery. State the measure number(s),
to which part (piano or voice) you are referring, and what the part is depicting. You may use examples discussed in class, or think of your
own. (30 points)

Example 1:
Measure(s):
Part:
Explanation:

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Example 2:
Measure(s):
Part:
Explanation:

4. Choose one of the following images and give 3 examples of musical elements you could use to represent that image visually in a musical
composition. (15 points)

A thunderstorm
A tiger
A joke
A child

Example 1:

Example 2:

Example 3:

Recommended Recordings

University of Washington Women’s Choir (2014)

www.youtube.com/watch?v=fRWYOndLZdM
Elektra Women’s Choir (2015)
www.youtube.com/watch?v=NDe7OpWAyg0

References

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The Lake Isle of Innisfree. (n.d.). Retrieved May 10, 2021, from https://elektra.ca/pieces/lake-isle-of-innisfree-the/

Wahl-Fouts, S. (2018, October 05). Home. Retrieved May 10, 2021, from https://choralnet.org/2018/10/one-from-the-folder-weekly-
repertoire-thoughts-for-womens-treble-choirs-29/

Yeats, W. (n.d.). The Lake Isle of Innisfree by William Butler Yeats. Retrieved May 10, 2021, from https://www.poetryfoundation.org/
poems/43281/the-lake-isle-of-innisfree

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

Piccolo Cornets/Trumpets 1st Violins

Flutes Horns 2nd Violins

Oboes Trombones Violas

English Horn Euphoniums Celli

Bassoons Tubas String Bass

Eb Clarinet Harp

Clarinets Timpani

Alto Clarinets Snare Drum x Sopranos

Bass Clarinets Mallet Percussion x Altos

Contra Bass/Alto Clarinet Remaining Percussion x Tenors

Saxophones x Piano x Basses

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