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TRANSCRIPT
Brazilian Folk Dance Suite
Adapted and Arranged by William E. Rhoads
Grade III
Basic Information About:
The Composer: William E Rhoads, 1918-1990, served in the U.S. Signal Corps during World War II after the war he became Director of Bands at Alamogordo, New Mexico public schools and later the Director of Bands and Chairman of the Music Department at the University of New Mexico. He published many works for band, orchestra, wind ensemble, as well as publishing books for the alto and bass clarinet. During his life time he received several ASCAP awards.
The Historical and Cultural Relevance:
This piece takes its form from the suites in the baroque era, when suites contained movements each representing a different dance. Brazilian Folk Dance Suite is a reflection on that style. The Brazilian influences can also be looked at when discussing the piece. The bossa nova became popular during the 1950's. Musicians like Stan Getz brought this style to the world with pieces such as Desafinado and The Girl from Ipanema. The beguine is originally from the islands of Guadalupe and Martinique. This dance was meant to be a ballroom dance on the islands and its music is very similar to the rumba and the spanish bolero. It was popularized in the United States in the late 1930's with the Cole Porter tune “Begin the Beguine”. The quickstep is still being used today in ballroom dancing competitions. In the 1850's the quickstep was a fast march, much like the marches used to accompany circuses. As a dance the Quickstep was popular in the 1920's and is the combination of other popular dances at that time such as the Foxtrot and the Charleston. The music has a fast syncopation march feel, much like a rag.
WARM-UPS These rhythms can be used many ways to warm-up.
Basic rhythm patterns of each style:
Other rhythms that might be useful to know:
M elodies to know 1.
2.
3.
1st Movement The Painter of Cannahay:
Bossa Nova
Notable Musicians: Joao Gilberto Stan Getz Astrud Gilberto Charlie Byrd Suggested Listening For Style: “Chega de Saudade” “Desfinando”
L istening Guide
1. Write “Intro” above the first bar
2. What is the dynamic in the Intro section? ________ Circle it in the music.
3. What instrument has the moving line in measure 4? _______________ Write that instrument in
the music above that measure.
4. Write “A” above measure 5.
5. What instruments have the melody beginning in measure 8? ______________ Write that
instrument in the music.
6. Write “B” above measure 19.
7. What is the dynamic marking on the pick-up to measure 19? _____________ Circle it in the
music.
8. What is the feel of the music in this section? Are the articulations staccato or legato?
__________________________________________________________________________
9. What instruments have the moving line starting in measure 23? __________________ __Write
that instrument in the music.
10. What instruments have the moving line starting in measure 31? _____________________ Write
that instrument in the music.
11. Write “A” above measure 35.
12. What is the dynamic marking at 35? ____________ Circle it in the music.
13. In what measures did we hear this melody before? ___________________
14. What instruments have the melody at 35? ______________________
15. Who plays in the last two measures of the movement? _______________________________
16. What form is this piece in? ________________________
The Bossa Nova
Name: _____________________________ Date:_______________________________
Directions: Listen to the recording of “The Girl from Ipanema” and fill out the questionnaire below.
What are some words that you could use to describe the style that is used to play the music? Be specific; some examples could be to talk about accents, beat stressing, dynamics, the “groove”, instruments used, etc.
How can we, as an ensemble, use some of those style techniques in the music? Look at your part and point out measures and sections that you feel can benefit from the techniques used.
Recording Assignment 1 Name: _____________________________ Date____________________________ Directions: Find your instrument on the following list. Record the passages from the first movement listed and fill out the quick questionnaire. F lutes and Oboes: Start at measure 16 in the first ending, take the repeat and play from measure 9 to the down beat of measure 19 and measure 46 and 47. I will be listening for correct notes, rhythms (this includes the rests), dynamics and articulations and a good tone. Clarinets: Play from pickup note into 39 to down beat of measure 47. I will be listening for correct notes, rhythms (this includes the rests), dynamics and articulations and a good tone. Saxes: Play from measure 31 to downbeat of 35 then play measure 44 to downbeat of measure 47. I will be listening for correct notes, rhythms (this includes the rests), dynamics and articulations and a good tone. Trumpets: Play from beginning to measure 5 and 42 to down beat of 47. I will be listening for correct notes, rhythms (this includes the rests), dynamics and articulations and a good tone. Trombones and Horns: Play from pickup into measure 33 to measure 26 then from pickup into 31 to the downbeat of measure 35. I will be listening for correct notes, rhythms (this includes the rests), dynamics and articulations and a good tone. Low Woodwinds and Low Brass: Play from measure 40 to the end. I will be listening for correct notes, rhythms (this includes the rests), dynamics and articulations and a good tone. Percussion: Everyone will play from beginning to measure 8 on the snare drum part and from 43 to the end once on the bass drum part and once on the claves part. I will be listening for correct rhythms (this includes the rests), dynamics and articulations and a good tone.
What are two or more elements of your recording that you did really well with? Be specific.
What are two or more elements of your recording that you could improve upon? Be specific.
Share your ideas, what can be done to help you and the ensemble continue to improve on this movement?
2nd Movement A Picture to Remember:
Beguine
Notable Musicians: Cole Porter Kirby Shaw Suggested Listening For Style: “Begin the Beguine” “Bolero” (Different style but has a very similar feel.)
L istening Guide
1. Write “Intro” above the first bar
2. What instruments enter in measure 7 with a new idea? ___________________Write those
instrument in the music above that measure.
3. Write “A” above measure 9.
4. What instruments have the melody beginning in measure 9? ____________________ Write
those instruments in the music.
5. What instruments enter in measure 15?______________________ Write those instruments
in the music.
6. Write “B” above measure 25.
7. What instruments have the melody starting in measure 24? ___________________ Write
those instruments above the bar.
8. What is the dynamic marking in measure 33?____________ Circle it in the music.
9. Write “B” above measure 41.
10. Who has the melody starting measure 41? ____________________ Write those instruments
above the bar.
11. Is this melody similar or different from what we have heard before? ____________
12. What happens dynamically in measure 48? _________________ Circle it in the music.
13. There is a moving line that starts in measure 55 and is passed to different instruments, name
the instruments that play that line. _____________________
14. What instruments have the final moving line in measure 61? ______________
The Beguine Name: _____________________________ Date:_______________________________
Directions: Listen to the recording of “Begin the Beguine” and fill out the questionnaire below.
What are some words that you could use to describe the style that is used to play the music? Be specific, some examples could be to talk about accents, beat stressing, dynamics, the “grove”, instruments used, etc.
How can we, as an ensemble, use some of those style techniques in the music? Look at your part and point out measures and sections that you feel can benefit from the techniques used.
Recording Assignment 2
Name: _____________________________ Date____________________________ Directions: Find your instrument on the following list. Record the passages listed and fill out the quick questionnaire. F lutes and Oboes: Play from beat 2 in measure 40 to the downbeat of measure 49. Then play measure 61 to the end. I will be listening for correct notes, rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. Clarinets: Play from beat 2 in measure 40 to the downbeat on measure 48. Then play measure 57 to measure 60. I will be listening for correct notes, rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. Saxes: Play from measure 17 to downbeat of measure 25. Then play measure 33 to downbeat of measure 40. I will be listening for correct notes, rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. Trumpets: Play pickup into measure 42 to downbeat in measure 48. Then play measure 55 to down beat of 61. I will be listening for correct notes, rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. Horns: Play from measure 17 to downbeat of measure 30. I will be listening for correct notes, rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. Trombones:Play from measure 24 to downbeat of measure 33. Then play from measure 59 to downbeat of measure 61. I will be listening for correct notes, rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. Low Woodwinds and Low Brass: Play from measure 36 to measure 49 . I will be listening for correct notes, rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. Percussion: Every one will play from measure 53 to the end on the Snare, Bass Drum, and Claves part. I will be listening for correct rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone.
What are two or more elements of your recording that you did really well with? Be specific.
What are two or more elements of your recording that you could improve upon? Be specific.
Share your ideas, what can be done to help you and the ensemble continue to improve on this movement?
3rd Movement Fiesta Quickstep: Quickstep March
Notable Musicians: Gershwin Henry Filmore Suggested Listening For Style: “Puttin' on the Ritz” “Honey Rag” (From the musical Chicago) “Circus Bee”
L istening Guide
1. Write “Intro” above the first bar
2. What is the dynamic marking in your first measure with notes? ________ Circle it in the
music.
3. Write “A” above measure 11.
4. What is the dynamic marking at measure 11 for the instruments that are playing? ________
Circle the dynamic (write it under the measure if you are resting)
5. Who has the new idea in measure 22 (it is something we haven't heard in the movement
yet)?______________________ Write it in the music.
6. Write “B” above measure 43.
7. Who has the melody in 43? ___________________ Write it above the bar.
8. Write “A” above measure 59.
9. Where have we heard this melody before?____________
10. Write “C” above measure 75.
11. Who has the melody in measure 75? ____________________ Write that above the
measure.
12. What is the dynamic marking in 75? ____________ Change it to say first time through
piano, second time through forte. (Trombones should remain forte both times)
13. Who has the melody starting in measure 91? ____________________ Write it in the music.
14. What measure does the repeat go back to? ___________________
15. Who has the moving line in the last eight measures?________________
16. Who plays in the last two bars? _____________________
The Quickstep
Name: _____________________________ Date:_______________________________ Directions: Listen to the recording of “Circus Bee” and fill out the questionnaire below.
What are some words that you could use to describe the style that is used to play the music? Be specific, some examples could be to talk about accents, beat stressing, dynamics, the “grove”, instruments used, etc.
How can we, as an ensemble, use some of those style techniques in the music? Look at your part and point out measures and sections that you feel can benefit from the techniques used.
Recording Assignment 3 Name: _____________________________ Date____________________________ Directions: Find your instrument on the following list. Record the passages listed and fill out the quick questionnaire. Then turn in both to me. F lutes and Oboes: Play from measure 27 to downbeat of measure 33. Then play measure 59 to downbeat of measure 70. I will be listening for correct notes, rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. Clarinets and Saxes: Play from measure 58 to the downbeat on measure 75. I will be listening for correct notes, rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. Trumpets: Play from beginning to the downbeat in measure 11. Then play measure 26 to measure 35. I will be listening for correct notes, rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. Horns and Trombones: Play from measure 90 to downbeat of measure 98. I will be listening for correct notes, rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. Low Woodwinds and Low Brass: Play from measure 3 to downbeat of measure 9. Then play measure 103 second time to the end. I will be listening for correct notes, rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. Percussion: Every one will play from beginning to measure 15 on the snare drum. Then from measure 50 to measure 61 on woodblock. Then from 107 to the end on tambourine. I will be listening for correct rhythms (this includes the rests and sustaining notes), dynamics and articulations and a good tone. What are two or more elements of your recording that you did really well with? Be specific.
What are two or more elements of your recording that you could improve upon? Be specific.
Share your ideas, what can be done to help you and the ensemble continue to improve on this movement?
Enrichment
Composition
Name:_____________________________ Date:____________________________
Directions: Choose one of the style rhythms on the warm-up page. Compose a 8 or more bar piece that uses this rhythm as a base with a melody over it. You may choose to write your piece in either C minor or its relative major. Record your piece. Turn in the piece and your recording. You will receive 2 points for achieving each criteria for a total of 8 points.
The Concert PowerPoint
Find or create a school appropriate item to be put on the PowerPoint that will be played during the concert for this piece. It can be a poem or a short story that describes what the piece makes you feel or see when you play the piece or it could be a school appropriate picture that you have created or found that you think best represents the piece.