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Pie Jesu
By
Greg Gilpin

Student Handbook
Created by
Kyle Baack
Table of Contents:

Composer Information

Composition Information

Historical Perspective

Melodic Content

Rhythmic Content

Harmonic Content, Form and Structure

Content Map

Textural and Timbral Content

Stylistic and Expressive Content

Warm-up Exercises

Melody Exercises

Form Exercises

Rhythm Exercises

Listening Assignment

Video connection with art

Video Reflection Writing Assignmen

Vocabulary

Resources
Score Analysis:
Composer Information

Greg Gilpin

Originally from the “Show-Me” state of Missouri, Greg now resides in
Indianapolis, IN. He is a graduate of Northwest Missouri State University
with a Bachelor’s Degree in Vocal Music Education, K-12.
Greg is a well-known choral composer and arranger with hundreds of publications to his
credit. He does numerous commissions throughout the year and special arranging
projects for recorded works. He is also in demand as a conductor, working with choral
festivals and events, all-district and all-state choirs.

At home in Indianapolis, Greg is busy as a studio musician and producer in the
recording industry. These projects include commercial jingles, album projects,
Broadway and Disney.

Composition:
Pie Jesu or “Merciful Jesus” is part of the “Sequence” of the Requiem Mass, celebrated upon
the death or burial of a Christian, or the anniversary of that day.

Lyrics
Pie Jesu, Merciful Jesus,
qui tolis peccata mundi, who takes away the sins of the world,
dona eis requiem. grant them rest.
Agnus Dei, Lamb of God,
dona eis requiem. Grant them rest.

Historical Perspective:
The Requiem, or Requiem Mass, is a liturgical service of the Roman Catholic Church. The
liturgy is a repertoire of ideas or phrases prescribed for public worship. The theme of The
Requiem Mass is a prayer for the salvation of the souls of the departed, and it is used both at
services immediately preceding a burial, and on occasions of more general remembrance.
The regular texts found in Roman Catholic Liturgy:

 Introit
 Kyrie eleison
 Gradual
 Tract
 Sequence
 Offertory
 Sanctus
 Agnus Dei
 Communion

Originally the Requiem was meant to be performed in a liturgical service, with monophonic
chant. Monophonic means having a single unaccompanied melody, like a Gregorian chant.
Eventually the dramatic character began to appeal to composers to an extent that made the
requiem a genre of its own.

This use of the word requiem comes from the opening words of the Introit: Requiem æternam
dona eis, Domine, et lux perpetua luceat eis. (Grant them eternal rest, O Lord, and may
everlasting light shine upon them.) The Requiem Mass differs from the ordinary mass in
omitting certain joyful passages such as the Gloria, Credo, and Alleluia, and by the addition of
the sequence Dies Iræ.

Dies Iræ, or "Day of Wrath" is a famous 13th-century Latin hymn thought to be written by
Thomas of Celano. The poem describes the Day of Judgment, the last trumpet summoning souls
before the throne of God, where the good will be delivered and the evil cast into eternal flames.
The hymn was used as a sequence in the Roman Catholic Requiem Mass until the 1970 revision
of the Roman Missal. The motet Pie Jesu derives part of its lyrics from the last stanza:
Lacrimosa dies illa, Tearful that day,
qua resurget ex favilla on which will rise from ashes
judicandus homo reus. guilty man for judgement.
Huic ergo parce, Deus: So have mercy, O God, on this person.
pie Jesu Domine, Compassionate Lord Jesus,
dona eis requiem. Amen. grant them rest. Amen.

The Pie Jesu combines paraphrases of the final verse of the Dies Iræ and the Agnus Dei.

Pie Jesu Domine, dona eis requiem. O sweet Lord Jesus, grant them rest; grant
Dona eis requiem sempiternam. them everlasting rest.

Agnus Dei, or “Lamb of God,” is part of the mass, whose text is not allowed to change.

Agnus Dei, qui tollis peccata mundi, dona Lamb of God, who takes away the sins of the
eis requiem, world,
Agnus Dei, qui tollis peccata mundi, dona grant them rest,
eis requiem, Lamb of God, who takes away the sins of the
Agnus Dei, qui tollis peccata mundi, dona world,
eis requiem sempiternam. grant them rest,
Lamb of God, who takes away the sins of the
world,
grant them rest, eternal.

Melodic Content:
The melodic content of this piece is rather simple allowing the ensemble to focus on
other aspects of the piece rather than notes. The piece begins with one melodic thought with the
three parts, SSA, in unison. It is not until measure 9 that the three parts divide harmonically
(example 1). Measures 13-15 contain two part writing with the melody in the soprano 1. The
following two measures, 15-17, the piece switches back to three part writing with the melody in
the soprano 1 part. The soprano 2s and the altos have a new rhythm which is melodically
different than the Soprano 1 part (example 2). Then they return to unison until the beginning
theme is introduced again but this time in three part writing. This time the theme is in a different
key and the altos have different rhythms (example 3). The composition finishes up with a coda
featuring a delayed entrance by the altos on the same pitch and then resolving in the opposite
direction, resulting in a two part harmony. The last vocal phrase is three part writing in which
the only unordinary movement comes from a leading tone in the alto section, but it is supported
by the piano part as well (example 4). Throughout the composition the melody remains in the
soprano section. The piece has a few leaps but they remain the same leaps throughout the
composition. Otherwise the piece is primarily conjunct with rather simple melodic texture.

Rhythmic Content:
The rhythmic content is level three primarily because there is some variety between each
part. The piece is in 4/4 time and is asked to be „Moderato, with feeling.‟ The piece primarily
has three different rhythmic patterns which should be addressed. Beginning in unison, the
rhythm in measures 5-6 (example 1) is repeated throughout the piece. The combination of a
dotted-quarter-note and an eighth-note combine to form a large part of the rhythmic content.
Another rhythmic texture to pay attention to is found in measures 15-16 (example 2) because
there is a separate rhythm going on between the three sections. The Soprano 1s have the rhythm
we discussed above and the Soprano 2s and the Altos have a quarter note followed by a dotted-
half-note. The rhythm isn‟t too complicated but it is doing two different rhythms which can be
tricky. This occurs one other time in the composition which should be noted as well, in measure
19 (example 3). The third beat of the Alto section should be emphasized because it is the only
movement taking place at that time. The same rhythm reoccurs in measures 28, 30 & 34. Other
than these three rhythms the rhythmic content of this piece is composed primarily of the
combination of multiple quarter-notes, half-notes and dotted-half-notes.
Harmonic Content, Form and Structure:
The form of Pie Jesu is not completely independent of the rhythmic content or the melodic
differences found in the composition. Below are the measures that correspond with and what
key the piece is in at that time.

Form Section: Measures: Key:
Intro (piano) 1-4 c
A 5-12 c, Eb
B 10-18 Eb
A‟ 19-27 C
Coda 28-35(end) C

This form is called rounded binary, represented as ABA‟. A piece in binary form is
characterized by two complementary, related sections of roughly equal duration. The first section
will start in a certain key, and will usually modulate to a related key. Compositions in minor
keys will typically modulate to the relative major, the major key centered on the third scale
degree above the tonic. This is exactly what happens in this piece moving gradually from c – Eb
(example 1) in measures 7-8, finally landing in Eb. The piece then remains in Eb throughout the
second section until measure 19 (example 2). Occasionally, the B section will end with a
"return" of the opening material from the A section. This is referred to as rounded binary, and is
labeled as ABA'. This does take place in this piece and is found in measures 19 through the end
of the piece.

Gilpin has used secondary dominant chords well in this piece and has used modulations
carefully, yet has surprised us through the use of neighboring tones and the leading tone. The
use of secondary dominant chords has allowed smooth transitions into each different key; 7-8
(viio/V - V/III – III (I in new key) (example 1). The leading tone was significant in two specific
sections in which the alto section stands alone rhythmically. This dissonance between the
leading tone and tonic allows for a clash to be heard easily as well as a desired resolution to be
found in the following note; measures 28 & 33 (example 2)

Content Map:
Attached is a content Map of the entire piece.
Textural and Timbral Content:
The voicing in this ensemble has been asked by the composer to remain a blend of the three parts
at equal dynamic levels. However, when sections stand alone rhythmically they should aurally
stand out as well. The melody is always in the Soprano 1 section but the harmonies of the other
sections compliment and should create a unified sound. Here is a guide of the texture of the
piece.

Measures Voicing
5-7 unison
8-14 3pt
15-16 2pt
17-18 3pt
19-27 3pt
28-32 2pt
33-end 3pt

The timbre this piece is written for is piano. The piano rhythmically supports the ensemble and
musical content in the A section. It does not follow the rhythms directly but its base movement
supports the structure of the opening theme. The second section of the piece, the B section,
contains a piano part which plays contrary to the movement of the ensemble playing while the
ensemble has little or no movement (example 1, measures 13-16). The piece rounds out with
another statement of the A theme redone with the piano continuing to play contrary to the
structure of the rhythmic content of the ensemble. Leading up to the coda, in measure 27, the
piano gets back to rhythmically supporting the ensemble.

Stylistic and Expressive Content:
The style of this piece offers many opportunities to teach students phrasing and the
importance of dynamics. Stylistically the Pie Jesu began as a chant and its basic sound remains
and should resemble a chant. The phrase movement throughout the piece should represent a
series of chants resulting in a thorough representation of each melodic statement. The words
should speak for themselves yet the piece is often used for a more somber time, namely death.
Following the proper phrases indicated, as well as the dynamics asked for, will result in the
expressive element intended by Gilpin. The dynamic markings teamed with the melodic content
and chordal structure will cause the style intended.
Lessons:
Warm-up Exercises:
1. Continue to learn the major scale and arpeggio using solfege. Introduce the minor arpeggio
using solfege. Talk about the different spellings of a minor scale arpeggio in solfege. Do-me-so
= la-do-mi = re-fa-la (etc.)
2. Dynamic shaping must be covered in the warm-ups for this piece. Crescendos and
decrescendos are constant throughout the piece. Have a student come to the font and have the
choir sing on a chord, simple major/minor chord. In the front of the room have the dynamics
written on a poster-board. Have the student in front gradually point from one dynamic to the
next, no jumps, and have the choir follow the student. (composition)
3. Diction exercise: Have a student select a consonant and then attach the vowel to it
emphasizing the attack of the consonants. Using a major scale continue up doing this about five
times up and then back down.

Activity #1
Melody Exercises:
Conjunct movement is where the melody moves in intervals of a Major or minor 2nd. This is also
called stepwise motion. In measure

Disjunct movement is where the melody moves in intervals greater than a Major 2nd. This is also
called leaps.

Look at measure 8 and 9.

Which measure has leaps in it? ________________

Which measure moves in stepwise motion? ________________

Can you find two more measures filled with disjunct movement? #_________ & ________

Can you find two more measures filled with conjunct movement? #________ & ________
Activity #2
Form Section: Measures: Key:
Intro (piano) 1-4 c
A 5-12 c, Eb
B 10-18 Eb
A‟ 19-27 C
Coda 28-35(end) C

A piece in binary form is characterized by two complementary, related sections of roughly equal
duration. Occasionally, the B section will end with a "return" of the opening material from the A
section. This is referred to as rounded binary, and is labeled as ABA'. This “return” does take
place in this piece and is found in measures 19 through the end of the piece.

Check the following page for this assignment.
***Go to the computer and look in the folder My Videos. The following answers will come
from each video found there. I will give you the form and in the blanks provided write the color
the screen is when that section begins. The colors will change randomly so please listen closely.
Just because the color changes doesn‟t mean the section has. This section is focusing on the
vocal form so the first blank is the color when the first voice is heard, yes that‟s giving you
answers!
Select two of the three to do. Each correct answer is worth
 Avril Lavigne – Sk8er Boi  A New Found Glory - So Happy Together
o A ____________________ o A_____________________

o B_____________________ o B_____________________

o A_____________________ o A_____________________

o B_____________________ o B_____________________

o C_____________________ o A_____________________

o A‟____________________ o B_____________________
(this one can be tricky, it sounds different)
o A_____________________
o B_____________________
o Coda__________________
 Yellow Card – Ocean Avenue
o A_____________________  Cross Movement – It’s Time
o A_____________________
o B_____________________
o B_____________________
o A_____________________
o A_____________________
o B_____________________
o B_____________________
o C_____________________
o A‟____________________
o B_____________________ (sounds different)

o B_____________________

o A_____________________
This assignment will be graded on correct answers. Each song is worth 10
points. You are required to do three of the four and you may do the other for
extra credit towards this assignment. However, you can not get better than
100%. Total points possible: 30.
Rhythm Exercises:
For Pie Jesu the rhythmic content is not too diversified yet the three instances when they are
somewhat complicated primarily deals with entrances. Count-singing is something invaluable to
know how to do. Look at the following example and count-sing the first two numbers. Fill in
the count-singing for part three and we will sing it together in class. It is attached on the next
page.

Fill in the correct beats that you will stay still on with a pencil. With a marker that will be
provided by your teacher, fill in the correct beats that you will move on. Parts one and two were
give for you as examples.

*** Please fill out the rhythm for part three of the rhythm exercises.

.
Pie Jesu Writing Assignment
Part One

Now that you have listened to the song, Pie Jesu by Gilpin, reflect on how the music affected
you. Did you feel happy, sad, heavy, depressed, joyous, or enthused? Did the song cause you to
feel relaxed, anxious, peaceful, irritated, on edge, calmed, etc.? The song will be played a second
time during the brainstorm time if you need a second impression.

Step One: Brainstorm your reaction and the reasons why. Write the emotion or feeling the music
gave you, and then write a list of the aspects of the song that caused that emotion. You will turn
this brainstorm list in with the essay.

Step Two: Write an essay explaining your reaction to the song. Make clear what emotions you
experienced while listening to the music, and also explain what about the song evoked those
emotions. Be sure to consider the melodic and harmonic content, as well as the rhythmic patterns
in addition to the actual words of the song.

Requirements: The essay must be ¾ of a page long with proper grammar and punctuation. Refer
to the rubric for guidelines in how your essay will be graded.
Pie Jesu Writing Assignment
Part Two (On Your Own)

You have now watched a video of images coinciding with the song, Pie Jesu by Gilpin. Reflect
on the relationship between the images and the song, and choose one of the following options to
write about:

Option One: Write about the connection of the images to the meaning of the words in the song.
How is the song‟s lyrical meaning portrayed through the paintings and pictures?

Option Two: Write about the connection of the sequence of images to the melodic structure of
the song. Is there any presence of the rounded binary represented in the pictures?

At the end of your essay: Include a couple of sentences explaining how the images in the video
reinforced or contradicted the emotion you felt and wrote about in your first essay.

Requirements: The essay must be one page long with proper grammar and punctuation. The
essay must include an introduction and a conclusion. Refer to the rubric for guidelines in how
your essay will be graded.
Pie Jesu Part Two Rubric

CATEGORY 4 3 2 1
Focus on Topic There is one clear, The chosen emotion The chosen emotion The chosen emotion
(Content) well-focused topic. is clear but the is somewhat clear is not clear. There is
The chosen emotion supporting but there is a need a seemingly random
stands out and is information from the for more specific collection of
supported by song is general. supporting information or no
specific detailed information from the support from the
information from the song. song.
song.
Support for Relevant, telling, Supporting details Supporting details Supporting details
Topic (Content) quality details from and information are and information are and information are
the song give the relevant, but need relevant, but little typically unclear or
reader important more specific evidence from the not related to the
information that connections from the song is used. topic.
goes beyond the song.
obvious or
predictable.
Introduction The introduction is The introduction The introduction There is no clear
(Organization) inviting, states the clearly states the states the main topic, introduction of the
main topic and main topic and but does not main topic or
previews the previews the adequately preview structure of the
structure of the structure of the the structure of the paper.
paper. paper, but is not paper nor is it
particularly inviting to particularly inviting to
the reader. the reader.
Flow & Rhythm All sentences sound Almost all sentences Most sentences The sentences are
(Sentence natural and are sound natural and sound natural and difficult to read aloud
easy-on-the-ear are easy-on-the-ear are easy-on-the-ear because they sound
Fluency) when read aloud. when read aloud, but when read aloud, but awkward, are
Each sentence is 1 or 2 are stiff and several are stiff and distractingly
clear and has an awkward or difficult awkward or are repetitive, or difficult
obvious emphasis. to understand. difficult to to understand.
understand.
Conclusion The conclusion is The conclusion is The conclusion is There is no clear
(Organization) strong and leaves recognizable and recognizable, but conclusion, the
the reader with a ties up almost all the does not tie up paper just ends.
feeling that they loose ends. several loose ends.
understand what the
writer is "getting at."

Grammar & Writer makes no Writer makes 1-2 Writer makes 3-4 Writer makes more
Spelling errors in grammar or errors in grammar or errors in grammar or than 4 errors in
spelling that distract spelling that distract spelling that distract grammar or spelling
(Conventions) the reader from the the reader from the the reader from the that distract the
content. content. content. reader from the
content.
Pie Jesu Part One Rubric

Flow & Rhythm All sentences sound Almost all sentences Most sentences The sentences are
(Sentence natural and are sound natural and sound natural and difficult to read aloud
easy-on-the-ear are easy-on-the-ear are easy-on-the-ear because they sound
Fluency) when read aloud. when read aloud, but when read aloud, but awkward, are
Each sentence is 1 or 2 are stiff and several are stiff and distractingly
clear and has an awkward or difficult awkward or are repetitive, or difficult
obvious emphasis. to understand. difficult to to understand.
understand.
Grammar & Writer makes no Writer makes 1-2 Writer makes 3-4 Writer makes more
Spelling errors in grammar or errors in grammar or errors in grammar or than 4 errors in
spelling that distract spelling that distract spelling that distract grammar or spelling
(Conventions) the reader from the the reader from the the reader from the that distract the
content. content. content. reader from the
content.

Vocabulary:

Conjunct movement: where the melody moves in intervals of a Major or minor 2nd.

Modulation: the act or process of changing from one key (tonic, or tonal center) to another.
This may or may not be accompanied by a change in key signature. Modulations articulate or
create the structure or form of many pieces, as well as add interest.

Secondary Dominant: is a type of chord used in musical harmony. It refers to a dominant of a
degree other than the tonic.

Rounded Binary: Occasionally, the B section will end with a "return" of the opening material
from the A section. This is labeled as ABA'.

Melody: A series of linear events or a succession of changing pitches and durations.

Form: the structure of a particular piece, how its parts are put together to make the whole; such
as binary form
Resources:

http://en.wikipedia.org/

http://www.greggilpin.com/

http://rubistar.4teachers.org/index.php