teaching the michigan music stan dards in the instrumenta

Teaching the Michigan Music Stan

in the Instrumenta

Muskegon, Michigan HS Band & Orchestra, 1920

Michigan Music Conference

Amway Grand

Calvin College, Grand Rapids, Michigan

Teaching the Michigan Music Stan

in the Instrumental Classroom

Muskegon, Michigan HS Band & Orchestra, 1920-21

Michigan Music Conference

Saturday, January 21, 2012

Amway Grand - Haldane (3rd Floor)

8:00am – 8:45am

Dr. Phillip M. Hash

Calvin College, Grand Rapids, Michigan

[email protected]

www.pmhmusic.weebly.com

Teaching the Michigan Music Standards

Classroom

Teaching the Michigan Music Standards

in the Instrumental Classroom

Overview

The Michigan Music Standards and Benchmarks indicate that all music classes

should provide opportunities to perform, create, and respond to music in a wide

variety of ways. This mandate can be particularly challenging for band and

orchestra directors who also have a number of performance commitments each

year. This session will provide lessons ideas and resources for teaching the

standards in the middle school and high instrumental classroom while maintaining

the performance aspect of the ensemble. Discussion will focus on integrating

composition, improvisation, listening, analysis, and cultural/historical topics in

ways that enhance musical understanding and improve individual and ensemble

performance.

Clinician

Phillip Hash is an Associate Professor of Music Education at Calvin College in

Grand Rapids, Michigan. He holds an Ed.D. in music education from the

University of Illinois at Urbana-Champaign, a M.M in wind conducting from

Northwestern University, and a B.M. in music education from Millikin University.

Dr. Hash has published numerous articles and presented workshops on student

retention, band repertoire, student teaching supervision, and music education

history. Recent publications include articles in The Journal of Research in Music

Education, The Journal of Music Teacher Education, and Update: Applications for

Research in Music Education. His arrangements for concert band, strings, and

small ensembles are published by Grand Mesa Music, BRS Music, and Daehn

Publications. Dr. Hash taught instrumental music in the Chicago area for 14 years

and has received the Citation of Excellence from the National Band Association on

two occasions, as well as the Outstanding Chicagoland Music Educator Award.

Bands under his direction have performed at the University of Illinois Superstate

Concert Band Festival and the Illinois Music Educators Association All-State

Conference. Dr. Hash is a member of the National Association for Music

Education and the National Band Association.

Standards, Benchmarks, and Grade Level Content Expectations

Personal Curriculum

Visual Arts, Music, Dance,

and Theater

Michigan Standards, Benchmarks, and Grade Level Content Expectations for

Visual Arts, Music, Dance, and Theater

v.06.2011 49

GRADE 6

PERFORM

Standard 1: Apply skills and knowledge to perform in the arts.

(VPAA: C1, C2, C3, C4, C5, P1, P2, P4, R1, R4)

ART.M.I.6.1 Sing and play with expression and technical accuracy, an

increasingly diverse repertoire of literature at

developmentally-appropriate levels. Perform at least one

selection from memory.

ART.M.I.6.2 Sing melodies with confidence in a large group.

ART.M.I.6.3 Sing and play accurately in both small groups and large

ensembles, with appropriate technique and breath control.

ART.M.I.6.4 Use technology in a variety of ways in musical

performance.

ART.M.I.6.5 Sight read basic melodies in treble or bass clef, using

combinations of whole, half, quarter, and eighth notes and rests; in simple meter.

CREATE

Standard 2: Apply skills and knowledge to create in the arts.

(VPAA: C1, C2, C3, C4, C5, P1, P2, P4, R1, R4)

ART.M.II.6.1 Improvise tonic accompaniments.

ART.M.II.6.2 Embellish a melody of rhythmic pattern in various ways.

ART.M.II.6.3 Improvise short melodies consistent in style, meter, and tonality.

ART.M.II.6.4 Compose short pieces to communicate ideas and/or

stories.

ART.M.II.6.5 Demonstrate an understanding of some instrumental and

vocal ranges.

ART.M.II.6.6 Use a variety of traditional and nontraditional sound

sources when composing, arranging, and improvising.



v.06.2011 50

ANALYZE

Standard 3: Analyze, describe, and evaluate works of art.

(VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4)

ART.M.III.6.1 Identify and describe specific musical elements and events

in a given aural example, using appropriate terminology.

ART.M.III.6.2 Identify elements of music used in music of diverse genres

and styles.

ART.M.III.6.3 Demonstrate knowledge of the basic principles of rhythm,

simple meter (2/4, 3/4, 4/4), and the intervals of a major

scale.

ART.M.III.6.4 Develop criteria based on musical knowledge and personal

reflections to evaluate the quality and effectiveness of

music performances. Apply these criteria as self-

evaluation when performing and creating.

ART.M.III.6.5 Evaluate the quality and effectiveness of one’s own and

others’ musical performances and creations by applying

specific and appropriate criteria, and offering constructive

suggestions for improvement.

ANALYZE IN CONTEXT

Standard 4: Understand, analyze, and describe the arts in their

historical, social, and cultural contexts.

(VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4)

ART.M.IV.6.1 Identify a repertoire of music from diverse cultures.

ART.M.IV.6.2 Classify by genre a varied body of exemplary musical

works.

ART.M.IV.6.3 Compare, in several cultures of the world, the functions

music serves.

ART.M.IV.6.4 Identify the uses of technology in music.

ANALYZE AND MAKE CONNECTIONS

Standard 5: Recognize, analyze, and describe connections among the arts; between the arts and other disciplines;

between the arts and everyday life.

(VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4)



v.06.2011 51

ART.M.V.6.1 Identify characteristics materials of each art form.

ART.M.V.6.2 List musical elements and find a connection to at least one other discipline.

ART.M.V.6.3 Identify at least one artistic application of current

technology in music.



v.06.2011 52

GRADE 7

PERFORM


(VPAA: C1, C2, C3, C4, C5, P1, P2, P4, R1, R4)

ART.M.I.7.1 Sing and play with expression and technical accuracy, an

increasingly diverse repertoire of literature at

developmentally-appropriate levels. Perform at least one

selection from memory.

ART.M.I.1.2 Sing a melody in a small group.

ART.M.I.7.3 Sing and play accurately as a soloist, and in both small and

large ensembles with appropriate technique and breath control.


performance.

ART.M.I.7.5 Sight read basic melodies in treble and bass clefs, using combinations of whole, half, quarter, eighth, sixteenth, and

dotted notes and rests; in simple meter.

CREATE


(VPAA: C1, C2, C3, C4, C5, P1, P2, P4, R1, R4)

ART.M.II.7.1 Improvise tonic and dominant accompaniments.

ART.M.II.7.2 Improvise basic rhythmic and melodic variations.

ART.M.II.7.3 Improvise short melodies over given rhythmic accompaniments, each in a consistent style, meter, and

tonality.

ART.M.II.7.4 Compose short pieces to communicate ideas and/or

stories, within defined parameters.

ART.M.II.7.5 Arrange simple pieces for student’s classroom instrument

or voice.

ART.M.II.7.6 Use a variety of traditional and nontraditional sound sources when composing, arranging, and improvising.



v.06.2011 53

ANALYZE


(VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4)



ART.M.III.7.2 Analyze elements of music used in music of increasingly

diverse genres and styles.

ART.M.III.7.3 Demonstrate knowledge of the basic principles of tonality,

major chords, and I-IV-V harmonic progressions in major

keys.







specific and appropriate criteria, and offering constructive


ANALYZE IN CONTEXT



(VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4)

ART.M.IV.7.1 Describe distinguishing characteristics of a repertoire of music from diverse cultures.

ART.M.IV.7.2 Classify by genre and style (and, if applicable, by historical

period, composer, and title) a varied body of exemplary

musical works.

ART.M.IV.7.3 Compare, in several cultures of the world, functions music

serves and the roles of musicians.

ART.M.IV.7.4 Describe the relationship between technology and music.


Standard 5: Recognize, analyze, and describe connections among

the arts; between the arts and other disciplines;

between the arts and everyday life.



v.06.2011 54

(VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4)

ART.M.V.7.1 Describe and compare the relationships between the art forms and their characteristic materials.

ART.M.V.7.2 Describe ways in which music is related to the subject

matter of at least two other disciplines.

ART.M.V.7.3 Identify multiple artistic applications of current technology

in music.



v.06.2011 55

GRADE 8

PERFORM


(VPAA: C1, C2, C3, C4, C5, P1, P2, P4, R1, R4)

ART.M.I.8.1 Sing and play, with expression and technical accuracy, a diverse repertoire of vocal and instrumental literature, with

and without notation, including selections performed from

memory.

ART.M.I.8.2 Sing an ostinato.

ART.M.I.8.3 Sing and play accurately as a soloist, and in both small and

large ensembles, with appropriate technique and breath

control.


performance.

ART.M.I.8.5 Sight read basic melodies in treble and bass clefs, using

combinations of whole, half, quarter, eighth, sixteenth, and

dotted notes and rests; in simple, compound, and alla

breve meters.

CREATE


(VPAA: C1, C2, C3, C4, C5, P1, P2, P4, R1, R4)

ART.M.II.8.1 Improvise basic harmonic accompaniments.

ART.M.II.8.2 Improvise melodic embellishments and basic rhythmic and

melodic variations on given pentatonic melodies, and

melodies in major keys.

ART.M.II.8.3 Improvise short melodies unaccompanied and over given

rhythmic accompaniments, each in a consistent style,

meter, and tonality.

ART.M.II.8.4 Compose short pieces to communicate ideas and/or stories, within defined parameters and using standard

notation.



v.06.2011 56

ART.M.II.8.5 Arrange simple pieces for voices or instruments other than

those for which pieces were written.

ART.M.II.8.6 Use a variety of traditional, nontraditional, and electronic

sound sources when composing, arranging, and

improvising.

ANALYZE

Standard 3: Analyze, describe, and evaluate works of art. (VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4)



ART.M.III.8.2 Analyze the uses of musical elements in aural examples

from diverse genres and cultures.

ART.M.III.8.3 Demonstrate knowledge of the basic principles of meter,

rhythm, tonality, intervals, chords, and harmonic progressions through analysis.







specific and appropriate criteria and offering constructive


ANALYZE IN CONTEXT



(VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4)

ART.M.IV.8.1 Describe distinguishing characteristics of representative

music genres and styles from a variety of cultures.

ART.M.IV.8.2 Classify by genre and style (and, if applicable, by historical

period, composer, and title) a varied body of exemplary musical works and explain the characteristics that cause

each work to be considered exemplary.



v.06.2011 57

ART.M.IV.8.3 Compare, in several cultures of the world, functions music

serves, roles of musicians, and conditions under which

music is typically performed.

ART.M.IV.8.4 Describe the impact of technology on music and culture.


Standard 5: Recognize, analyze, and describe connections among

the arts; between the arts and other disciplines; between the arts and everyday life.

(VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4)

ART.M.V.8.1 Compare how the characteristic materials of each art can

be used to transform similar events, scenes, emotions, or ideas into works of art.

ART.M.V.8.2 Analyze ways in which music is related to the principles

and subject matter of other disciplines.

ART.M.V.8.3 Describe artistic applications of current technology in music.



v.06.2011 58

HIGH SCHOOL

PERFORM


(VPAA: C1, C2, C3, C4, C5, P1, P2, P4, R1, R4)

ART.M.I.HS.1 Sing and play with expression and technical accuracy a large and varied repertoire of vocal and instrumental

literature with a moderate level of difficulty, including some

selections performed from memory.

(21st Century Skills: I.3, I.4, I.5, I.6, II.1, II.7, III.3, III.4,

III.10)

ART.M.1.HS.2 Sing music written in four parts, with and without

accompaniment.

(21st Century Skills: I.3, I.4, I.5, II.1, III.4, III.6)

ART.M.1.HS.3 Perform an appropriate part in large and small ensembles,

demonstrating well-developed ensemble skills.

(21st Century Skills: I.4, II.5, III.3)

ART.M.1.HS.4 Perform music using instruments (traditional and non-

traditional) and electronic media. (21st Century Skills: I.1, I.2, II.2, II.3, II.5, III.2)

ART.M.1.HS.5 Perform from an instrumental or vocal score of at least four

staves.

(21st Century Skills: I.3, I.4, II.1, II.7)

ART.M.1.HS.6 Sight read accurately and expressively, music with a

moderate level of difficulty.


CREATE


(VPAA: C1, C2, C3, C4, C5, P1, P2, P4, R1, R4)

ART.M.II.HS.1 Improvise stylistically appropriate harmonizing parts.

(21st Century Skills: I.1, I.3, I.4, 1.5, 1.6, II.1, II.4, II.5)

ART.M.II.HS.2 Improvise rhythmic and melodic variations given

pentatonic melodies, and melodies in major and minor

keys.

(21st Century Skills: I.1, I.3, I.4, II.1, II.4, II.5)



v.06.2011 59

ART.M.II.HS.3 Improvise original melodies over given chord progressions,

each in a consistent style, meter, and tonality. (21st Century Skills: I.1, I.2, I.3, I.4, II.1, II.4, II.5)

ART.M.II.HS.4 Compose music in several different styles, demonstrate

creativity in using the elements of music for expressive

effect. (21st Century Skills: I.1, I.2, I.3, I.4, II.1, II.7,

III.3, III. 4)

ART.M.II.HS.5 Arrange pieces for voices or instruments, other than those

for which the pieces were written, in ways that preserve or

enhance the expressive effect of the music.

(21st Century Skills: I.1, I.2, I.3, I.4, I.5, II.1, II.4, II.7,

III.3, III. 4)

ART.M.II.HS.6 Compose and arrange music for voices and various

acoustic and electronic instruments, demonstrating

knowledge of the ranges and traditional usage of the sound sources.

(21st Century Skills: I.1, I.2, I. 3, I.4, II.1, II.3, II.7, III.3)

ART.M.II.HS.7 Create or adapt music to integrate with other media.

(21st Century Skills: I.1, I.2, I.3, I.4, II.1, II.2, II.3, II.5,

II.7, III.3)

ANALYZE


(VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4)

ART.M.III.HS.1 Demonstrate extensive knowledge and use of the technical

vocabulary of music.

(21st Century Skills: I.6, II.1)

ART.M.III.HS.2 Analyze aural examples of a varied repertoire of music, representing diverse genres and cultures, by describing the

uses of elements of music and expressive devices.

(21st Century Skills: I.3, II.1, II.7, III.2, III.7)

ART.M.III.HS.3 Identify and explain compositional devices and techniques

and their purposes, giving examples of other works that make similar uses of these devices and techniques.

(21st Century Skills: I.3, I.4, I.6, II.1)

ART.M.III.HS.4 Evaluate the use of music in mixed media environments.




v.06.2011 60

ART.M.III.HS.5 Make informed, critical evaluations of the quality and

effectiveness of performances, compositions,

arrangements, and improvisations applying specific criteria.

(21st Century Skills: I.3, I.6, II.1)

ART.M.III.HS.6 Evaluate a performance, composition, arrangement, or

improvisation by comparing it to similar or exemplary models.

(21st Century Skills: I.3, I.4, I.6, II.1)

ANALYZE IN CONTEXT


historical, social, and cultural contexts. (VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4)

ART.M.IV.HS.1 Classify by genre or style and by historical periods or

culture, unfamiliar but representative aural examples of

music and explain the reasoning behind their classifications.

(21st Century Skills: I.3, I.4, I.6, II.1, III.1, III.2, III.7)

ART.M.IV.HS.2 Identify sources of American music genres, trace the

evolution of those genres, and cite well-known musicians

associated with them. (21st Century Skills: I.3, II.1, III.2, III.7)

ART.M.IV.HS.3 Identify various roles that musicians perform, cite

representative individuals who have functioned in each

role, and describe their activities and achievements. (21st Century Skills: I.3, I.6, II.1, III.2, III.7, III.9)

ART.M.IV.HS.4 Analyze the impact of electronic music media in society and

culture.

(21st Century Skills: I.3, II.1, II.2, II.3, III.2, III.7, III.9)


Standard 5: Recognize, analyze, and describe connections

among the arts; between the arts and other

disciplines; between the arts and everyday life

(VPAA: C2, C3, C4, C5, P2, P3, R1, R2, R3, R4)

ART.M.V.HS.1 Explain how elements, artistic processes, and

organizational principles are used in similar and distinctive

ways in the various arts and cite examples. (21st Century Skills: I.3, I.6, II.1)



v.06.2011 61

ART.M.V.HS.2 Compare characteristics of two or more arts within a

particular historical period or style and cite examples from various cultures.

(21st Century Skills: I.3, I.4, I.6, II.1, III.2, III.7, III.9)

ART.M.V.HS.3 Explain ways in which the principles and subject matter of various disciplines outside the arts are interrelated with

those of music.

(21st Century Skills: I.3, I.6, II.1)

ART.M.V.HS.4 Explain how the roles of creators, performers, and others

involved in the production and presentation of the arts are similar to and different from one another in the various

arts and disciplines outside of the arts.

(21st Century Skills: I.3, I.6, II.1, III.2, III.7, III.9)

ART.M.V.HS.5 Analyze and consider the use of music and media for the future.

(21st Century Skills: I.2, I.3, II.1, II.2, II.3, III.2, III.7,

III.9)

The Kids Play Great. But That Music . . . By Stephen Budiansky

Washington Post, Sunday, January 30, 2005, B03

If there is a medal awarded for conspicuous bravery in the form of sitting through countless elementary-,

middle- and high-school concerts above and beyond the call of duty, I'd like the authorities to know that I

am eligible for it.

Unflinchingly, I have kept my face rigid through the most trying of musical ordeals. My kids are both in

high school now, but every now and then my jaw muscles still hurt from the effects of one fourth-grade

chorus concert.

I think only once in all those years did I give way to temptation and relate to the person next to me that bit

from one of the Marx brothers' movies, where Chico is playing the piano and a man sitting next to

Groucho says, "I love good music," and Groucho replies, "So do I. Let's get out of here."

I should hasten to add that I'm not really a curmudgeon, at least not when it comes to taking the normal,

abundant parental pride in the efforts of my offspring. I've never actually dreaded all these school band

and chorus concerts as far as the quality of the performers' efforts goes. Learning to play or sing is

impossible without some squeaks or screeches or rhythms that occasionally wander away for a stroll on

the erratic side, and I've always been genuinely impressed by how well the kids do.

No, the problem is not how they play. It's what they play.

What they play is always That Piece, as I've come to think of it. That Piece is not written by any

composer you have ever heard of -- not classical, not jazz, not pop, not rock, not blues, not folk, not

alternative Czech heavy metal fusion, not nothing. You've never heard it on the radio, not even late at

night at the bottom of the dial. It in fact exists nowhere in the known music universe -- except for the

twilight zone of school musical performance.

That Piece is nearly always written by someone who (a) is alive and collecting royalties, and (b) has a

master's degree in music education. It is always preceded by a very wordy description, read out to the

audience by way of preparation, explaining that the piece (a) was inspired by a medley of Lithuanian folk

songs and Gregorian chants that the composer heard while researching his master's degree; or (b) depicts

the journeys of Lewis and Clark and, if you listen carefully, you will hear the American Indian motif that

represents the faithfulness and courage of their young Native American guide Sacagawea and then in the

saxophones the sound of the rapids as the raft approaches and then the warning cry from one of the men

on the bank and then the raft plunging down the rapids and then the return to calmer waters and then

another set of rapids approaching and then. . . , or (c) evokes the soaring ideals we can all aspire to.

(Pieces in this last category usually have "eagle" in their titles.) If I've heard That Piece once, I've heard it

a hundred times. Different composers, different titles, same bombastic banality.

There had been hints of what was coming, back when my kids were in elementary school. Instead of

"Home on the Range" and "Jingle Bells," their school concerts were filled with rather slick but soulless

numbers cranked out by the music ed publishing industry. I vaguely recall one sort of Disneyesque self-

esteem-boosting number called "Possibilities," in which the fifth-graders informed us that they were "the

future." There was also a song about recycling.

But I wasn't prepared for the extent to which such new and original works of great mediocrity have

completely supplanted the real music -- classical, folk, Sousa marches, American popular music, Scott

Joplin rags, Broadway show tunes -- that was once a staple of the American school music curriculum.

And it's not a question of new vs. old: There's plenty of truly great contemporary music of all genres

being written. This stuff just isn't it.

I've pored over publishers' catalogues and lists of recommended pieces from various state music

educators' associations, and it's happening all across the country. In place of genuine folk music, there are

compositions "inspired" by the folk music of the American South or West, or Korea, or Africa. In place of

real rock numbers are "rock originals" by one of those school band directors with a master's degree. The

closest thing I've heard to a real Sousa was a creation called "Sousa! Sousa! Sousa!" that (according to the

publisher's description) "includes famous themes from 'Manhattan Beach' and 'El Capitan' along with just

a hint of 'Semper Fidelis' and other Sousa favorites."

I do understand the pedagogic purpose behind this stuff. Beethoven didn't have to come up with music

scored for middle school bands made up of 57 alto saxophones, 40 trumpets, 15 percussionists and one

oboe. Fair enough.

But music education is supposed to be about more than just learning to make your fingers move the right

way. It's also supposed to be about having the chance to experience firsthand the truly great music of all

genres -- the great music that, after all, is the whole point of learning to play or sing.

And, to put it kindly, it's hard to imagine anyone falling in love with music on a diet of band directors'

compositions portraying the initial helicopter landing of the 1st Marine Division during the Korean War

(yes, that really is one frequently played high-school band piece), or the one by the same composer that I

heard at my son's all-district concert a couple of years ago: Pretentiously titled "Symphony No. 2," this

turned out to be a blow-by-blow re-creation of Homer's "Odyssey," complete with musical depictions of

the Trojan horse's squeaking wheels and the crackling fires of Troy burning. I know this because the guest

conductor was the composer himself, and he spent 10 minutes describing to us what we would be hearing.

A bit of what is driving the dominance of all this pseudo-music are education-theory mandates that music

education "connect" with other parts of the curriculum (this probably explains those elementary-school

songs about recycling and self-esteem); a bit comes, too, from pressures for parent-pleasing or

competition-judge-pleasing pieces that are showy and give the illusion of being more advanced than they

are.

But the result is a terrible confusion of ends and means. One of the songs my daughter's all-county chorus

sang at its recent concert had won a 1991 competition among choral directors in Iowa. Described in the

program as a "blend of contemporary and madrigal styles," it was a nice enough, if completely

unmemorable, piece. But why, I kept thinking, couldn't they sing a real Elizabethan madrigal? Or how

about a Beatles song? Or anything at all that has inspired and touched and sent shivers down the spine the

way great art does?

If high-school English teachers stopped assigning Shakespeare and Faulkner and instead gave their

students the winner of the 1991 Iowa English teachers' novel-writing contest to read, I think we'd know

where to tell them to get off.

I did glimpse one ray of hope at my son's most recent high-school band concert, though. Sandwiched

between all the variations on Korean folk songs and musical depictions of erupting South American

volcanoes came a performance by a small woodwind ensemble, made up of students who met on their

own time after school. They had no director, no adult supervision, and had chosen entirely on their own

the one piece they performed.

They did Mozart.

Authentic Repertoire for Developing Bands Compiled by Phillip M. Hash - Calvin College (Grand Rapids, MI)

Original Works by Significant Composers

A Ballad, Theme, and

Variations for Band 2 Vaclav Nelhybel J. Christopher Music Co.

Aegean Modes 2 Vaclav Nelhybel E. C. Kerby

Alligator Alley 2 Michael Daugherty BandQuest/Hal Leonard

America Verses 2 Timothy Broege Manhattan Beach

Apache Lullaby 2 Michael Colgrass Carl Fischer

Arioso 3 Clifton Williams Masters Music

Bartok Variations 2 Timothy Broege Grand Mesa

Canto 3 Francis McBeth Southern

Carpathian Sketches 2 Robert Jager Marks/Belwin

Child and the Kings, the 2 Timothy Broege Daehn

Childhood Hymn 2 David Holsinger Wingert-Jones

Chorale and Shaker Dance II 3 John Zdechlik Kjos

Courtly Airs and Dances 3+ Ron Nelson Ludwig

Ere the World Began to Be 2 Jack Stamp Daehn

Festivo 3 Vaclav Nelhybel Belwin

Flourish for Wind Band 3 Ralph Vaughan Williams Oxford

Ginger Marmalade 3 Warren Benson Carl Fischer

Headless Horseman 2 Timothy Broege Manhattan Beach

Hymnsong of Philip Bliss 2 David Holsinger TRN

In Dulci Jubilo 1.5 John Zdechlik Kjos

Jody 2 Timothy Broege Manhattan Beach

Loch Lomond 3 Frank Ticheli Manhattan Beach

Martyr, the 2 Fred Allen TRN

Old Churches 3 Michael Colgrass BandQuest/Hal Leonard

Peace Song 2 Timothy Broege Bourne

Portrait of a Clown 2 Frank Ticheli Manhattan Beach

Praises 3 Francis McBeth Southern

Prelude and March 1.5 Arthur Frackenpohl Shawnee Press

Prelude on a Gregorian Tune 3-4 David Maslanka Kjos

Rollo Takes a Walk 3 David Maslanka Kjos

Second Suite in F (move. II) 3 Gustav Holst Boosey & Hawkes

Shenandoah 3 Frank Ticheli Manhattan Beach

Sinfonia XIX 3 Timothy Broege Boosey & Hawkes

Simple Gifts 3 Frank Ticheli Manhattan Beach

Slavonic Folk Suite 3 Alfred Reed Hal Leonard

Snakes 3 Thomas Duffy Ludwig

Stargazing 3 Donald Erb Theodore Presser

Stars Asleep, the Break of Day 1 Bob Margolis Manhattan Beach

Suite from Bohemia 2 Vaclav Nelhybel E. C. Kirby

Theme and Variations 1 Timothy Broege Manhattan Beach

Trains Heading West & 1.5 Timothy Broege Manhattan Beach

other Outdoor Scenes

Urban Scenes 3 Andrew Boysen Kjos

Variation Overture 2/3 Clifton Williams Ludwig

Variations on an Ancient Hymn 3 Howard Hanson Carl Fischer

Wildwood Overture 2 James Barnes Southern Music

Ye Banks and Braes 3 Percy Grainger G. Schirmer/Hal Leonard

O’ Bonnie Doon

Yorkshire Ballad 2 James Barnes Southern

Yuletide Dances 3 Timothy Broege Grand Mesa

Transcriptions

Medieval

A Medieval Banquet 2 Ken Singleton Grand Mesa

Renaissance

Battle Pavane 2 Susato/Margolis Manhattan Beach

Belle Qui Tiens Ma Vie 2 Arbeau/Margolis Manhattan Beach

Fanfare Ode and Festival 2.5 Gervaise/Margolis Manhattan Beach

Fa Una Canzona 2 Veicchi/Daehn Daehn

King’s Feast, the 1.5 arr. Singleton Grand Mesa

Renaissance Dances 1.5 Susato/Williams Alfred

Renaissance Festival 2 Susato/Singleton Grand Mesa

Renaissance Revel 2 Susato/Singleton Grand Mesa

Renaissance Suite 2 Susato/Curnow Hal Leonard

Soldiers Procession and 2 Susato/Margolis Manhattan Beach

Sword Dance

Suite 1500 2 Jan De Haan De Haske

Baroque

Adagio 3 Albinoni/de Hann De Haske

Aria and Fugue 2 Handel/Osterling Ludwig

Air and March 2 Purcell/Gordon Bourne

Bach and Before 2 compiled by David Newell Kjos

(Choral Collection)

Chorale (from cantata 69) 1.5 Bach/Conley Carl Fischer

Early English Suite 2 Dunscomb/Finlayson Boosey & Hawkes

Fugue in Bb Major 2 Bach/Daehn Daehn

Glory of Venice 2 Lotti/Singleton Grand Mesa

King’s Musicians Suite 3 Lully/Barr Ludwig

La Volta 2 Byrd/Fenske Daehn

Music for Queen Mary 2 Purcell/Garofalo Grand Mesa

Orlando Suite 2/3 Orlando/de Hann De Haske

Prelude and Fugue in 3 Bach/Moehlman Warner Brothers

Bb Major

Prelude and Fugue in 3 Bach/Moehlman Belwin Mills

D minor

Sarabande and Gavotte 2 Corelli/Johnson Rubank/Hal Leonard

Wolsey’s Wilde 2 Byrd/Hartzell Grand Mesa

Classical

Andantino 1+ Haydn/Davis Grand Mesa

Ave Verum Corpus 2 Mozart/Buehlman Ludwig

Ave Verum Corpus 3 Mozart/Johnson Curnow

Derbyshire Cavalry Marches 2+ Haydn/Hash/Walters Daehn

Eine Kleine Nachtmusik 3 Mozart/Jennings Hal Leonard

March for the Prince 2+ Haydn/Hash Grand Mesa

of Wales

March of the Offstage Army 2 Mozart/Hasting Bourne

Menuetto and Trio 2 Mozart/Hash BRS Music

(from Symp. #18)

Menuetto (from Symp. #40) 3 Mozart/Longfield FJH

Military Symphony 3 Gossec/Hubbell Lorenz

Military Symphony in F 3+ Gossec/Liest/Goldman Mercury

Sonata for Wind Band 2+ C. P. E. Bach/Broege Daehn

Romantic/20th

Century Ave Maria 2 Verdi/Buehlman Ludwig

Blessed Are They 3 Brahms/Beuhlman Ludwig

Chorale from Jupiter 2 Holst/Curnow G. Schirmer

Down a Country Lane 2 Copland/Patterson Boosey & Hawkes

Excerpts from 3 Wagner/Osterling Ludwig

Die Meistersinger

Jupiter Hymn 2+ Holst/De Meij Amstel Music

Linden Lea 2 Vaughan Williams/Stout Boosey & Hawkes

Nimrod 2/3 Elgar/Reed Warner Brothers

Norwegian Songs 2 Grieg/de Haan De Haske

Salvation is Created 3 Tschesnokoff/Houseknecht Kjos

Sanctus (from mass in F) 3 Schubert/Curnow Curnow

Sine Nomine 2 Vaughan Williams/Houseknecht Carl Fischer

Three Tchaikovsky 2 Tchaikovsky/Stout Bourne

Miniatures

To a Wild Rose 2 MacDowell/Sparke De Haske

Folk Songs/Cultural Music

African Festival 1 Quincy Hilliard Kjos

African Folk Trilogy 1 Anne McGinty Queenwood

African Sketches 2 James Curnow Hal Leonard

A Joyful Chanukah 2 Michell Bender Grand Mesa

An Irish Rhapsody 3 Clare Grundman Boosey & Hawkes

Chinese Folksong Medley 2 Robert Garofalo Grand Mesa

Chippewa Lullaby 1 Ann McGinty Queenwood

Country Wildflowers 2 Larry Daehn Daehn

Hotaru Koi 1 Nancy Fairchild Carl Fischer

Japanese Folk Trilogy 1 Anne McGinty Queenwood

Kentucky 1800 2/3 Clare Grundman Boosey & Hawkes

Korean Folk Song Medley 2 James Ployhar Belwin

Portrait of Australia 3 R. Phillippe Carl Fischer

Prospect 2/3 Pierre La Plante Bourne

Russian Folk Songs 2 Anne McGinty Queenwood

Sakura 1 Del Borgo Curnow

Song of Krishna 3 Robert Washburn Warner Brothers

Three Canadian Folk Songs 2 Roe Waterloo

Two Andean Folksongs 3 John Zdechlik Kjos

Variations on a Chinese Folksong 1.5 Robert Foster Wingert-Jones

Yagi-Bushi 3 Iwai Ludwig

Zacatecas 2 Codina/Balent Carl Fischer

Zacatecas 3 Codina/Glover Barnhouse

Marches

Most of the marches Henry Fillmore wrote under his own name are quite challenging. However, he composed

several pieces for school bands under the pseudonyms Harold Bennett and Al Hayes. Most are out of print in their

original versions though many titles may still be found in old school band libraries across the country. Those

marches written under the Bennett name are mostly grade 2 compositions. Military Escort is by far the most famous

of these. Other titles include Activity, Project, Success, and High Tower among many others. All of the pieces by

Fillmore were originally published by the Fillmore Music House which was purchased by Carl Fischer in 1951.

Karl L. King published 188 marches, many of which were intended for school bands. Many of these pieces were

published by C. L. Barnhouse and remain available in their original octavo size editions. Among some of the most

assessable are Torch of Liberty, Miss Trombone, Liberty Fleet, Valley Forge, and Alamo. Barnhouse has also issued

several new editions of King’s marches in their Heritage of the March series. Although the newer editions include a

full score, directors of smaller bands may find that the original editions offer more options for covering missing

parts. For more information see http://www.s-hamilton.k12.ia.us/karlking/.

q=128-138Menuetto and Trio

from Symphony #18 K. 130

© 2005 BRS Music, Inc. All Rights Reserved.

W. A. Mozart/arr. Phillip M. Hash

1 2 3 4 5

Flute

Oboe

Clarinet 1 & 2 in Bb

Bass Clarinetin Bb

Alto Saxophone 1 & 2

Tenor Saxophone

Baritone Saxophone

Trumpet 1 & 2 in Bb

Horn in F

Trombone/Baritone/Bassoon

Tuba

Snare Drum(opt.)

Bass Drum(opt.)

Triangle(opt.)

Glockenspiel(opt.)

Full Scoresempre leggiero et

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March from Scipio

Copyright 2012 by Grand Mesa Music Publishers

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Chinese Folksong Medley is based on two folksongs, both consisting of just 5 different notes.

In fact, many folksongs from around the world use just 5 notes and are based

on a pentatonic scale.

Compose your own 4 or 8 bar folk melody using only the 5 notes listed for your instrument.

Use the staff provided below

1. Make sure the melody is written is such a way that YOU can play it on your instrument.

2. Use only , , , You may also use a or half rest (sits on the line).

3. Remember to write in a or depending on which your instrument uses.

4. Be creative, but keep it simple. Repeating a rhythmic pattern or a short group of notes will

help your composition sound like a melody rather than an unrelated series of notes.

Compose Your Own Chinese Folk Song

Name: _______________________Instrument ____________________

5. Here are the notes for each instrument. Notice that it is NOT a scale.

One note is missing.

Flute, oboe, trombone, baritone, tuba, mallet percussion. - Bb, C, D, F, G

Clarinet, Bass Clarinet, Tenor Sax, Trumpet - C, D, E, G, A

Alto Sax, Bari Sax - G, A, B, D, E

French Horn - C, D, F, G, A

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2 3 4 5 6 7

Flute (Sop.)

Oboe (Sop.)

Bb Clarinet 1 (sop.)

Bb Clarinet 2 (alto)

Bb Bass Clarinet (bass)

Alto Saxophone 1 (sop.)

Alto Saxophone 2 (alto)

Tenor Saxophone (sop.)

Baritone Saxophone (bass)

Bb Trumpet 1 (sop.)

Bb Trumpet 2 (alto)

Horn in F (sop.)

Trombone/Baritone/Bassoon (bass)

Tuba (bass)

Mallet Percussion (sop.)

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Baritone Saxophone (B)

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Trumpet 2 in Bb (A)

Horn in F (T)

Trombone 1 (T)

Trombone 2/Euph./Bassoon (B)

Tuba (B)

Timpani (opt.)

Mallets (opt.) (S)

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Flute, Oboe,

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Alto, Tenor Sax

Alto & Bass Clarinet

Baritone, Trombone

Tenor & Baritone Sax

Bassoon, Tuba, Dbl Bass

Cymbals

Snare Drum

Tom Toms

Bass Drum

Moderato

˙ œ œ

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7

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9

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10 ˙ œwretch like

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11 .˙me.

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14

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15

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16

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17

˙ œ œblind, but

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18 ˙ œnow I

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œ œ œ Œ œ˙ œ

rit.(last time)19 .˙

see.

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20

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Amazing GraceJohn Newton

William Walker

© 2007 One Size Fits All Band Books

"AMAZING GRACE"

Aditional Lyrics:

'Twas grace that taught my heart to fear,

And grace my fears relieved;

How precious did that grace appear

That hour I first believed.

Thru many dangers, toils and snares,

I have already come;

'Twas grace that brought me safe thus far

And grace will lead me home.

The Lord has promised good to me,

His word my hope secures;

He will my shield and portion be

As long as life endures.

When we've been there ten thousand years,

Bright shining as the sun;

We've no less days to sing God's praise

Than when we first begun.

MELODY

HARMONY

BASS

PERCUSSION

& bbb 43 ..Basic Theme No Variations

œA

1

˙ œmaz ing

2 ˙ œGrace, how

3

˙ œsweet the

4

˙ œsound, that

5

˙ œsaved a

6 ˙ œwretch like

7 .˙me.- -

& bbb ..8˙ œI

9 ˙ œonce was

10

˙ œlost but

11

˙ œnow am

12

˙ œfound, was

13

˙ œblind, but

14 ˙ œnow I

15

.˙see.

16

œ Œ

& bbb ..Variation from Old Baptist Hymnal

œ œA

1

˙ œ œmaz ing

2

˙ œGrace, how

3

˙ œsweet the

4

˙ œ œsound, that

5

˙ œ œsaved a

6

˙ œ œwretch like

7 .˙me.- -

& bbb ..8 ˙ œ œ

I

9 ˙ œ œonce was

10

˙ œ œlost but

11

˙ œnow am

12

˙ œ œfound, was

13

˙ œ œblind, but

14

˙ œnow I

15

.˙see.

16

œ Œ

& bbb ..Bagpipe Variation

œ œA

1

˙ œ œ œmaz ing

2

˙ œ œœ œGrace, how

3

˙ œsweet the

4

˙ œ œsound, that

5

˙ œ œ œsaved a

6

˙ œ œwretch like

7 .˙me.- -

& bbb ..8 ˙ œ œ

I

9 ˙ œ œ œonce was

10

˙ œ œœ œlost but

11

˙ œnow am

12

˙ œ œfound, was

13

˙ œ œ œblind, but

14

˙ œnow I

15

.˙see.

16

œ Œ

& bbb ..American Traditional Variation

œA

1

˙ œ œmaz ing

2

˙ œGrace, how

3

˙ œsweet the

4

˙ œsound, that

5

˙ œ œsaved a

6

˙ œwretch like

7 .˙me.- -

& bbb ..8˙ œI

9 .œ jœ œ œonce was

10

˙ œlost but

11

.œ jœ œ œnow am

12

˙ œfound, was

13

˙ œ œblind, but

14

˙ œnow I

15

.˙see.

16

œ Œ

AMAZING GRACE

Traditional

2007 One Size Fits All Band Books

MELODIC VARIATIONS

OSFABB

Exclusive for:

Each Melodic Variation

can be played in place of the original

OSFABB Melody Part of Amazing Grace

MALLET

PERCUSSION

GUITAR

PIANO

VOICE &

CONDUCTOR

Aleatoric Example:

STREETS AND INROADS:

Fantasy for Winds and Percussion

by TIMOTHY BROEGE (Manhattan Beach Music, grade 2)

Much of the sound-texture/open-form music composed during the last several decades has been intended

for orchestra; Streets and Inroads tries to balance the scales, as it were, by providing materials for this

type of music that are designed for bands, i.e., variously sized ensembles of winds and percussion

instruments.

Many of the sounds called for in the piece are nontraditional: rattling of woodwind keys, playing of

mouthpieces removed from instruments, unpitched glissandi, etc. Most of the sounds in the piece do not

require specific pitches to be played; accordingly, the players have a great deal of influence on the various

effects which the score contains. The composer has provided an overall shape and general structure, but

many of the details of the piece are left to conductor and players. Such textures may be called aleatoric.

There are also aspects of aleatoric (or open) form in the piece: The conductor and players have options

with regard to the order in which certain events of the score take place. It is thus likely that no two

performances of Streets and Inroads will be the same. However, this is not to say that Streets and Inroads

is an aleatoric work, per se, because, to a greater extent it does always have similar content, the same

components, and a set (if variable) form. Therefore, although it contains aleatoric elements, it is not

overall a "chance" piece.

There are special educational and teaching opportunities. For example, for most players this will be the

first time they get to see a full score up close. Their way of thinking about notation will be expanded,

since in an open form piece such as this a player can go far afield from the notation. There is no one way

that the music sounds best: Consider the notation to be a set of materials for improvisation.

There is also the question of contest use. Judges are accustomed to making determinations according to

traditional criteria: intonation, ensemble accuracy, phrasing, and such. These criteria have less importance

in a work such as this. How then to judge a performance of Streets and Inroads? I suggest these criteria: is

it convincing? is it well done? is it performed with conviction? does it have expressive power? What

should be demonstrated in performance more than anything else is versatility.

How is the listener supposed to react to such music as this? In most of the traditional ways of listening I

would suggest that the audience concentrates on melody, harmonic change, counterpoint, and structure or

form. In Streets and Inroads, melody and harmony are replaced by abstract sound. There are aspects of

counterpoint in the piece, and, as mentioned, there is a perceivable form for the composition. So, despite

the unusual sounds heard in this piece, the listener does not have to "bring a different set of ears" to a

performance of it. It is fun for performers and listeners to travel on some different musical avenues, at

least once in a while.

Streets and Inroads was composed in 1975 for the Manasquan Elementary School Concert Band,

Manasquan, New Jersey. The score was revised in 1980.

Timothy Broege/Oceanport/July, 1990

JAZZ BAND REPERTOIRE SERIES

(Adapt for Concert Band)

These are mostly collections taken from popular series that include alternative instrumentation.

A number of individual titles are also available. See www.jwpepper.com for listings.

BEST OF ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE

arr. Mike Steinel & Michael Sweeney

HAL LEONARD PUBLISHING CORP.

Very Easy-Easy

From the acclaimed Essential Elements series for jazz ensemble, this is an economical collection

of 15 complete arrangements in a variety of styles at the very easy and easy grade levels. As a

bonus feature, each arrangement includes exercises for melody, rhythm and improvisation.

Arranged for full jazz ensemble, these charts will sound full and complete with a minimum

instrumentation of 3 saxes, 2 trumpets, 1 trombone and 3 rhythm. Books are also available for

nontraditional jazz instruments. A valuable teaching tool in addition to filling your programming

needs! Includes: All of Me; Ballad for a Blue Horn; Basin Street Blues; Blues for a New Day;

Bubbert Goes Retro; Bubbert's Groove; Ja-Da; Mister Cool; On Broadway; Perfidia; Satin

Doll; So What; Song for San Miguel; Sunday Afternoon and Take the "A" Train.

FIRST YEAR CHARTS COLLECTION FOR JAZZ ENSEMBLE

Various Composers

ALFRED PUBLISHING

Very Easy

Twelve charts for beginning jazz ensemble by leading arrangers. A variety of styles are included

from swing to rock. For flexibility, the charts are written for full band instrumentation, but work

just fine with only nine players. Optional parts are available for flute, tuba, French horn and

baritone T.C. Suggested solos are offered as well, and the conductor's book contains a full length

recording of all the titles. Titles include: Loosen Up; One O'clock Jump; Li'l Darlin; El Gato

Gordo; Pink Panther; Over The Rainbow; Rock This Town; Chattanooga Choo Choo; James

Bond; Jazzy Merry Christmas; Peter Gunn and The Judge.

BEST OF BELWIN JAZZ: FIRST YEAR JAZZ ENSEMBLE CHARTS

Various Composers

ALFRED PUBL / BELWIN DIVISION

Easy

This collection features a variety of styles and is arranged for full jazz band instrumentation, but

will sound full and complete with a minimum instrumentation of four saxes, two trumpets, one

trombone and three rhythm. In addition, optional parts are available for flute, clarinet, F horn,

baritone T.C. and tuba. The conductor's book includes full-length CD recordings of all titles.

Composed and arranged by some of the top writers in the field, this great collection includes: Bill

Bailey Won't You Please Come Home; Birth of the Blues; Embraceable You; First Time Around;

Gospel; Hot Chocolate; Jasmine Tea; Jingle Bell Rock; Poco Loco; Splanky; Sunday Morning

and TMI.

BEST OF BELWIN JAZZ: YOUNG JAZZ COLLECTION

Various Composers

ALFRED PUBL / BELWIN DIVISION

Medium Easy

The arrangements in this collection are written for full jazz ensemble instrumentation of five

saxes, four trumpets, four trombones and four rhythm. It will also sound full and complete with

reduced instrumentation of four saxes, three trumpets, two trombones and three rhythm. Optional

additional parts are available for flute, clarinet, horn in F, baritone horn T.C./tenor sax, and tuba.

The rhythm section parts offer suggestions for rhythms, piano chord voicings, and guitar chord

frames. All arrangements include suggested solos. The conductor's book includes full-length CD

recordings of all titles.

Titles include: Cantaloupe Island; Sing, Sing, Sing; Moondance; My Funny Valentine; Count

Bubba's Revenge; Sambaeando; Stompin' at the Savoy; Big Band Holiday; Grooved Pavement;

Now What; Drummin' Man and Swingin' Shanty.

BELWIN JAZZ BAND SERIES. Medium. Optional parts included for flute, horn in F,

baritone/tenor sax, tuba.

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8


By GEORGE VINCENT (ASCAP)CONDUCTOR26855S

© 2007 BELWIN-MILLS PUBLISHING CORP., A Division of ALFRED PUBLISHING CO., INC.All Rights Reserved Including Public Performance

To purchase a full-length recording of this piece, go to alfred.com/downloads

NO CLAMS, JUST OYSTERS

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Cue: 1st Tpt.

Cue: 1st Tpt.

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Soli (with A. Sax.)

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16

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Conductor - 2 - No Clams, Just Oysters

The Thunderer – J. P. Sousa

(2 Beats per

measure)

INTRODUCTION (# mes.?_______)

A # mes.? ____ A What instruments are added?

B B What is different? TRIO SECTION (key change)

C # mes.? ______ C

break C

break C

Write descriptors in each box for 1) volume and 2) articulation (marcato/legato)

“Spring” from the Four Seasons

By Antonio Vivaldi (1678-1741)

R = Ritornello E = Episode

R1 “Spring w/ all it’s

happiness is here.”

R1

R2

R2

E1 “And the birds

welcome it w/ happy

songs”

R2

E2

“And the brooks,

touched by the

breezes, flow w/

sweet murmurings”

(quiet)

R2

(Dominant)

E3 “Dark clouds fill the

sky announced by

lightning and

thunder.”

(Fast

“lightening

like” notes)

R2

(C# Minor)

E4 “But when everything

is quiet, the birds

begin to sing again

their enchanting

song.”

R2

R2

Sample Annual High School Orchestra Assessment

Part I – Written (score/119 pts. = %/100. Then divided by % by 2 = score/50)

I. Music Terminology – Matching (1 pt. each = 20 pts.) [ART.M.III.HS.1]

1. ______ allegro a. sweetly

2. ______ trio b. slower & broader

3. ______ poco c. moderately fast

4. ______ stringendo d. fast

5. ______ allegretto e. little

6. ______ dolce f. hastening

7. ______ feierlich g. expressively

8. ______ ausdrucksvoll h. soft, tender

9. ______ weich i. contrasting minuet

10. ______allargando j. solemn, grave

II. Music History & Culture - Multiple Choice (1 each = 15 pts.) [ART.M.V.HS.1]

11. ______ “Spring” from Vivaldi’s Four Seasons is

a. Based on sonnets written by a famous Italian poet

b. is the first movement of one concerto from a set of four concertos

c. is an early example of program music

d. both b and c

12. ______ A symphony is a work that generally has movements arranged

a. Fast-slow-fast

b. Fast-slow-minuet-fast

c. Fast-minuet-slow-fast

d. Fast-slow-slow-fast

13. ______ Orchestral music of the classical era typically features

a. Homophonic texture

b. Clear, symmetrical phrases

c. Dominance of string section

d. All of the above

III. Music Theory (12 pts.) [ART.M.III.HS.1]

14-19. Write the following key signatures and scales. (2 pts. each):

Freshmen: A, C, Bb, G, F, & D major

Sophomores: E, Bb, Ab, D, Eb, & A major

Juniors: A, Eb, & Ab major; d, e, & b natural minor

Seniors: B & C# major; c#, f#, b, & g melodic minor

20. Write the counting below the notes/rests for the excerpt below. (2 pt. per mes.= 24 pts.)

Identify the following excerpts as baroque or classical by circling the appropriate word. Briefly

explain your answer. [ART.IV.HS.1]

21. BAROQUE / CLASSICAL Why?:




25. You will see a video of a high school orchestra (not our own) playing the first movement of

Mozart’s Eine Kleine Nachtmusik in concert. The video will be played three times. You will

have time to write between each listening. Complete the evaluation form below indicating

positive aspects, areas for improvement, and strategies this group could use in rehearsal and

individual practice to make their performance better. (30 pts.) [ART.M.III.HS.5;

ART.M.III.HS.6]

Comments

Tone

characteristic sound, warmth, control,

support, percussion instrument

adjustment and sound

Intonation

correct pitches, matching within

ensemble

Balance

Parts covered as well as possible, blend,

proportion of melody, bass, harmony,

etc. Percussion balanced to ensemble,

overall ensemble sound

Musicianship

Dynamics, phrasing, appropriate style &

articulation, improvisation (jazz

ensembles only)

Rhythm

Correct rhythms, consistent tempo,

phasing, precision, appropriate tempo

changes executed together

Technique

Hand/bow position, tonguing/slurring,

fingering ability, ability to play

individual parts

Stage Presence

Posture, self discipline, neat appearance,

attention to conductor, deportment on

and off stage

Grading Rubric

30-26 25-21 20-16 15-11 10-0 Evaluation identifies

numerous positive aspects

and areas for

improvement with

specific strategies for

rehearsal and practice.

Comments are specific,

accurate, and clear.

Evaluation identifies

several positive aspects

and areas for

improvement with general

strategies for rehearsal

and practice. A few

comments are specific.

Most comments are

general, but mostly

accurate, and clear.

Evaluation includes some

positive comments and

areas for improvement.

Several comments are

accurate w/ some general


and practice. More detail

and clarity needed.

Evaluation includes a few

positive comments and

areas for improvement.

Some comments are

accurate w/ some general


and practice. Some

comments may be

inaccurate or incorrectly

stated. More detail and

clarity needed.

Evaluation is incomplete

with only a few helpful

comments.

26. Form – You will hear the first movement to “Spring” from Vivaldi’s Four Seasons two

times. Write the number called in the appropriate place in the listening map. (10 pts.)

[ART.M.III.HS.2]

“Spring” from the Four Seasons

By Antonio Vivaldi (1678-1741)

R = Ritornello E = Episode

R1 “Spring w/ all

it’s happiness

is here.”

R1

R2

R2

E1 “And the

birds

welcome it w/

happy songs”

R2

E2

“And the

brooks,

touched by

the breezes,

flow w/ sweet

murmurings”

(quiet)

R2

(Dominant)

E3 “Dark clouds

fill the sky

announced by

lightning and

thunder.”

(Fast

“lightening

like” notes)

R2

(C# Minor)

E4 “But when

everything is

quiet, the

birds begin to

sing again

their

enchanting

song.”

R2

R2

Part II – Individual Performance (50 pts.) [ART.M.I.HS.4]

Scales (10) Etude (15) Orchestra Rep. (15)

[ART.M.I.HS.1;

ART.M.I.HS.3]

Sight Reading (10)

[ART.M.I.HS.6]

Grade 9

Grade

10

Grade

11

Grade

12

Franz Joseph Haydn Austrian Classical Era Composer (1732-1809)

Franz Joseph Haydn was born in an Austria village. His

childhood was an extremely musical one and he often sang

with his family and neighbors. At a very early age, his

parents recognized their son's musical talent and allowed him

to become a musician. He sang with a local church choir, and

learned the violin and keyboard.

In his teens, Franz left the choir to begin working on his own

as a musician and composer. His big break came when he

was asked to be the conductor for Prince Esterhazy, a

wealthy Hungarian with an orchestra of his own. Haydn

worked for the Prince for 30 years and composing many

works.

When the prince died, Haydn decided to travel to London. When he arrived, he discovered that

he was a famous composer. Many of his pieces had been performed and sold in London for many

years.

Perhaps more than any other composer, Haydn is known for his wit. The most popular example

is found in his Surprise Symphony when his light, simple melody is suddenly interrupted by a

loud chord that "surprises" the audience.

In May 31, 1809, Haydn died a happy man and a beloved composer. He was one of the greatest

composers of the classical era and is often referred to as the "Father of the String Quartet" and

the "Father of the Symphony". He wrote 106 symphonies and many other works.

Haydn wrote the Symphony No. 94 in 1791 in London for a concert series he gave during his

first visit to England. The first performance of the work took place in London on March 23,

1792, with Haydn leading the orchestra seated at a piano.

Flesch-Kinkaid Grade Level = 8.4

Flesch Reading Ease Score = 63.4 (higher score = easier reading level)

General Music Today25(2) 47 –48© 2011 National Association for Music EducationDOI: 10.1177/1048371311425407http://gmt.sagepub.com

For teachers who are looking for more multimedia resources related to folk and global music, the Smith-sonian Folkways website may be a good place to start. For even more in-depth and hands-on experience with these materials, a Smithsonian Folkways Certification Course in World Music Pedagogy would be a logical next step.

Smithsonian Folkways, the nonprofit record label of the Smithsonian Institution founded to “record and docu-ment the entire world of sound” (Smithsonian Folkways, 2011), has made their extensive collection of audio and video recordings available through their website, which can be accessed at http://www.folkways.si.edu/. In addi-tion, when the Smithsonian Global Sound educational initiative was launched by Smithsonian Folkways in 2005, many new features were added to the website, including curricular materials for teachers and interactive online activities for students.

The Smithsonian Folkways website currently allows users to search their massive collection by artist, album, track, collection, series, “new releases, “best sellers,” or genre. The extensive genre list includes everything from African American music to psychology/health to world history. The “Advanced Search” option allows one to search by country, culture group, format, genre, instru-ment, label/archive, language, or year/decade.

Under “Tools for Teaching,” the “lessons and activi-ties” page directs the user to an interactive world map. One can click on a map location to find a lesson plan that uses materials available on the Smithsonian Folkways website (streaming videos, liner notes, music samples,

and podcasts). Each lesson plan includes information about cultural groups/music, suggested grade levels, objectives, procedures, and assessments.

Also under “Tools for Teaching,” the user can find entertaining and informative “interactive features” that allow the user to click on jazz or mariachi instruments and hear their sounds individually and in ensemble, scroll over beautiful artwork to watch detailed videos of Latin American artists, click on a map to hear musical examples from that location, assess learning through quizzes, and more. Links to additional resources provide a “world of learning opportunities” for teachers and students.

Many video clips and liner notes from audio record-ings made in more than 160 countries can be accessed on this website for free, and brief audio tracks can be sam-pled before downloading entire tracks or buying CDs. School libraries can subscribe to Smithsonian Folkways so that students can create personal playlists and teachers can create course folders or put tracks on digital course reserve. Free videos and lesson plans by region, and pod-casts of the radio show, “Tapestry of the Times” produced by Smithsonian Folkways Recordings and WYPR in Baltimore can also be accessed through iTunes U at http://itunes.apple.com/institution/smithsonian-folkways/id402449145.

425407 GMT25210.1177/1048371311425407BeegleGeneral Music Today

1University of Cincinnati, Cincinnati, OH, USA

Corresponding Author:Amy Christine Beegle, 290 CCM Blvd., Cincinnati, OH 45221, USAEmail: [email protected]

Smithsonian Folkways: Resources for World and Folk Music Multimedia

Amy Christine Beegle1

Abstract

This column describes multimedia resources available to teachers on the Smithsonian Folkways website. In addition to massive collections of audio and video recordings and advanced search tools already available through this website, the Smithsonian Global Sound educational initiative brought detailed lesson plans and interactive features to the fingertips of teachers and students. Smithsonian Folkways Certification Courses in World Music Pedagogy are also discussed.

Keywords

world music, culture, multimedia, folk music, video, teacher education, global music

World Musics

http://itunes.apple.com/institution/smithsonian-folkways/id402449145



48 General Music Today 25(2)

For those interested in more active and personal teach-ing methods and materials, teachers can attend a 40-hour intensive summer Smithsonian Folkways Certification Course to be certified in the specialized study of World Music Pedagogy. This course has been offered every summer since 2009 at the University of Washington and was also offered at the University of Idaho during the summer of 2011. It may be offered at more universities in the future. The course facilitates learning from music education scholars, ethnomusicologists, and “culture bearers” through songs, stories, movement, and playing instruments. Participants also learn to use audio, video, print, and electronic resources from the Smithsonian Global Sound website to develop curricular materials that are then made available to other teachers via the web.

Declaration of Conflicting Interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Funding

The author(s) received no financial support for the research, authorship, and/or publication of this article.

Reference

Smithsonian Folkways. (2011). Our mission and history. Retrieved from http://www.folkways.si.edu/about_us/mission_history.aspx

Bio

Amy Christine Beegle, PhD, is an assistant professor of music education at the College-Conservatory of Music at the University of Cincinnati. She has taught general music in public and private elementary and middle schools in Los Alamos, Chicago, and Seattle. She has presented workshops regionally, nationally, and internationally, and her scholarship has been published in the Journal of Research in Music Education, the Journal of Historical Research, The Music Educators Journal, the Orff Echo, and the Kodály Envoy.

http://www.folkways.si.edu/about_us/mission_history.aspx

http://www.folkways.si.edu/about_us/mission_history.aspx

Whitney Bradley

CMP Teaching Plan

Nitro Frank Ticheli

Copyright 2006 by Manhattan Beach Music

Analysis Broad Description: Nitro was commissioned for the Northshore Concert Band in celebration of

their 50 year anniversary season. Ticheli introduces the piece by explaining that nitrogen is the

most abundant element in the universe. It is found in the tissues of every living being. Ticheli

composed this piece to sound as if it is life-giving and energetic which presents one of the main

challenges for any ensemble performing this piece: keeping that energy moving and building

throughout the entire piece.

Background Information:

Composer: Frank Ticheli was born in 1958, and in 1991 he was hired as the Professor of

Composition at the University of Southern California’s Thorton School of Music. Ticheli is well

known for his concert band repertoire, and he has worked with many prestigious ensembles

including the Meadows Wind Ensemble from London, England, the Singapore Armed Forces

Central Band, and many ensembles throughout Japan and America. Ticheli has not limited

himself to only writing music for concert bands. He also composes choir, orchestra, and

chamber ensembles.

Ticheli has been the winner of numerous composition awards including the Goddard Lieberson

Fellowship, the Charles Ives Scholarship, the National Band Association/Revelli Memorial

Prize, the A. Austin Harding Award, the Britten-on-the-Bay Choral Composition Contest. He

also received first prize in the Texas Sesquicentennial Orchestral Composition Competition.

Frank Ticheli received his Bachelor of Music in Composition from the Southern Methodist

University. Both his masters and doctorate were earned at the University of Michigan.

Resources:

http://www.manhattanbeachmusiconline.com/frank_ticheli/biolocal.html

http://www.classiccat.net/ticheli_f/biography.php

http://www.naxos.com/person/Frank_Ticheli/39133.htm

Information on Composition: In his program notes, Ticheli writes that 78% of the earth’s

atmosphere is composed of nitrogen, and he also adds that it is the fifth most abundant element

in the universe. Nitrogen is created by fusion within the stars, and Ticheli uses the adjectives

“life-giving, energizing, healing, cleansing, and explosive” to describe the effects of nitrogen.

This, he writes, is what inspired him to compose this piece. Nitro was commissioned for

Mallory Thompson and the 2006 Northshore Concert Band in honor of their 50th anniversary

season.

Recordings:

Angels in the Architecture: The Music of Frank Ticheli - Volume 3

University of Texas-El Paso Wind Symphony

Ron Hufstader, Conductor

GIA Composer's Collection: Frank Ticheli

North Texas Wind Symphony,

Eugene Migliaro Corporon, conductor

Elements of Music

Formal Analysis:

ABA’- Sonata form with a shortened recapitulation

Measures 1-15 (A): Ticheli introduces the main theme in the trombones and horns. He uses only

five notes (Bb, F, D, Eb, Ab) and reorders them. What Ticheli describes as “woodwind

chattering” accompany the main theme. This accompaniment also focuses on the notes Bb, F, D,

Eb, and Ab. In measure six, the trumpets begin to take over the theme and manipulate it.

Measures 15-32 (A’): In this section the texture begins to shift. Instead of the articulated

woodwind accompaniment, the woodwinds begin to slur the accompaniment line. The most

notable addition to the section is the addition of C to the five main notes. The Eb also becomes

and E-natural.

Measures 33-46 (A’’): These thirteen measures conclude the A section of the piece. It is in these

measures that the theme begins to open. There is parallel octave motion, and this creates an open

sound. The trumpets and horns begin to closely imitate one another. Ticheli writes in his

program notes that this section needs to sound very “angular” (which is achieved through the

woodwinds and percussion). To do this, the dynamics should be followed closely.

Measures 47-53 (B): The woodwinds begin to take over in the development section. The melody

is played by the alto saxophone, first clarinet, and oboe at the octave and twelfth, once again

giving the music a very open feel. This voicing also imitates the overtone series, and since

nitrogen is an element, it can be assumed that Ticheli is referencing nature. The lower

woodwinds introduce a sixteenth-note flourish which battles with the upper woodwinds. Ticheli

writes that this is to bring humor to the piece.

Measures 54-71 (Continuation of B): The dancing theme dominates the lower woodwind

flourish, and this dancing theme is passed throughout the ensemble.

Measures 72-80 (Episode): This episode serves to return to the main theme, but the tension it

brings to the piece is notable. These few bars move chromatically, and the sound builds until the

sound nearly explodes in measures 77-80.

Measures 81-95 (Continuation of B): The main theme returns, and Ticheli makes the listener

think that this may be the recapitulation. However, he brings back the second theme to extend

the development. Ticheli brings the ensemble together on a unison F which then leads to the

actual recapitulation.

Measures 96-105 (A): The brass fanfare reenters, as does the “woodwind chatter,” until the

piece ends on a strong cadence.

Rhythm: The piece begins in 4/4 before it begins to alternate between 3/4 and 4/4. Toward the

end of the piece, Ticheli introduces 8/8 and 5/8 before returning back to 4/4 to end the piece.

Rhythm will be a challenge for a high school ensemble performing this piece. The triplet motive

is nearly consistent which will require continual subdivision and careful counting. The brass

players who do not always have the triplet rhythm, will need to also be careful counters so that

they can continue to feel the 4/4 beat.

Even if the students are counting correctly and playing the rhythms correctly, the piece cannot

lose energy. It will be easy for these repeated rhythms to “lose steam,” but they need to be

clearly articulated and played with a driving force since this piece was written to be “life-

giving.”

Melody: The melody is structured around only five notes, but it is complex and changing. The

pitch set is often altered, and the changes need to be clear and powerful. Balance may be

difficult as the brass need to pierce through so many woodwinds who are playing the energetic

accompaniment.

As the melody begins to pass through each of the sections, the ensemble has to be careful of

dynamics so that the melody can continue like a wave through the ensemble. It is important for

the accompaniment to be driving the melody, but the melody needs to drive forward as well.

Harmony: The most important feature of the harmony is that the voicing is written to reflect the

overtone series. Ticheli is clearly reflecting the natural world in this piece. The harmony

changes when Ticheli manipulates the main theme. He may have done this to create a sense of

evolving in the piece, but the accompaniment and the use of only five pitches brings a sense of

unity to the piece. However, this does create an array of harmonies. The cadences that bring the

piece from one section to another are very tonal and final.

Timbre: The timbre of this piece is bright and angular, but not in an unflattering sense. The

angularity of the piece provides the momentum needed to get from section to section. The

woodwind accompaniment creates the sound of a whirlwind. Nitrogen is created in the stars and

found throughout the universe. Ticheli is after a quality of sound that provides this feeling od

power and boldness but still embraces natural beauty.

Texture: Much of Nitro can be considered contrapuntal. This is particularly true in the A

section of the piece. The texture remains thick throughout the entirety of the work, evoking the

power of a single element in nature.

Expression: Nitro needs to reflect a “life-giving, energizing, healing, cleansing, and explosive”

character. The melody is passed through the ensemble, and careful attention to dynamics will

give the piece the proper feeling of evolving and shifting. Strong attacks and fast air will help to

keep the tempo from slipping and express the energy that Ticheli hopes to embody through the

music.

Additional Considerations

Heart: The heart of this piece is its energy. Although the piece is only three minutes long, it

feels longer to the listener because the energy is explosive and nearly overwhelming. Without

the correct amount of intensity from the players, the piece cannot be a success. It may be easy to

give an initial sense of energy, but maintaining that same energy will be the most challenging

part of performing Nitro.

Introducing the Piece: It would be impossible for students to perform this piece without

knowing uses of nitrogen. We will have a quick discussion about how nitrogen is use. I will

make sure that we discuss its uses as it is naturally found, but also the danger and power behind

nitrogen when it is mixed with other elements. As this will be one of the more challenging

pieces for a high school band, I will also play the recording of the LSU Wind Ensemble

performing this piece (http://www.manhattanbeachmusic.com/nitro/audio/nitro.mp3). The

recording will give the students an excitement for the final product. After hearing the piece, we

will talk about how the uses we previously discussed for nitrogen are encompassed in Ticheli’s

music.

Primary Skill Outcome: • Students will improve their overall technique through the development of the advanced

technical passages of the piece

Strategies: • Students will work in sectionals to allow each section to focus on the more difficult passages

for their instrument

• Students will be assigned technical exercises from a method book

• Discuss techniques that can be employed to make proper technique more achievable

Assessment: • In their journals, students will write about what they are having to work on or change in order

to play the more difficult technical passages

• Students will submit a Smart Music recording of assigned passages which will be graded

• Students will submit a Smart Music recording of assigned technical exercises which will be

graded

• I will sit with the students through sectional sessions to grade their progress

Knowledge Outcome: • Students will understand and be able to intelligent discuss the effects and purpose behind

programmatic music.

Strategies: • Students will keep journals throughout the semester. In this journal, students will be required

to find and listen to one programmatic piece and write about how the music reflects the

composer’s intentions

• Students will be assigned to groups. Each group will choose an element from the periodic

table and write a sixteen measure trio about that element.

• A final journal entry will discuss the advantages to programmatic music but also include the

student’s opinion on whether programmatic or absolute music has a more powerful affect.

Assessment: • The students’ journals will be graded at the end of the semester based on content and thought

behind the journal entries

• Students will perform their trios for the ensemble and give examples for how their music

reflects the element about which they chose to write

Affective Outcome: • As this is one of the more difficult pieces that the ensemble will be playing, students will be

explore both the frustration of learning a difficult piece and the gratification of being able to

perform a piece that was initially challenging.

Strategies: • In the first journal entry, students will write about something they began that seemed difficult

(not necessarily music related) and the feelings of progressing through the difficulty.

• In class we will discuss how to approach something that’s challenging. What will it take

mentally? What actions must we take when something is difficult?

Assessment: • Students will also include in their journals parts of the music they are finding frustrating and if

that frustration is lessening with time. I will read these journal entries and respond to the

students’ concerns and frustrations.

• Students will interview a person that they know who has been through a challenging life

situation. Students will ask questions about initial feeling about that situation and feelings the

person has now looking back on a situation which they were able to overcome.

Selection

I chose this piece because of the programmatic element of the music. Often, music is written

about events or people, but rarely is music about something so small, but powerful, as a single

element. I believe that this piece will make students think about how they interact with music.

So much of education is about being able to make connections, and Ticheli’s Nitro makes a

connection between something we cannot hear, but still being able to visualize how the music is

bringing something silent to life.

This piece is also challenging at a musical level. It will take a group of dedicated high schoole

students to be able to perform this music, and performing it well will take an even stronger level

of dedication. Nitro will likely be sight read at the beginning of the year and saved for the final

semester.

This piece is intended to produce a variety of challenges. Nitro will be a mental challenge, a

physical challenge, and because of the level of difficulty, it may be an emotional challenge that

will build the community of the ensemble as we grow together as musicians.

CMP Teaching Plan

Chris Gleason

[email protected]

...Not Afraid to Dream Brian Balmages

FJH Publication - Grade 3 Music Selection - Broad Description

• A great tribute piece for this level (similar to Boysen's "I AM")

• Unique low brass and percussion solis - difficult tuba duet at end.

• Wonderful embedding of "Lift High the Cross" within the work.

• Great piece to teach layering, texture and timbre.

• Allows students express feelings about death or loss.

Brian Balmages

Brian Balmages (b. 1975) is an active composer, conductor, producer, and performer. He received his bachelor’s degree in music from James Madison University and his master’s degree from the University of Miami in Florida. Mr. Balmages’ works for symphonic band, orchestra, and brass have been performed throughout the world, including the College Band Directors National and Regional Conferences, the Midwest Clinic, the International Tuba/Euphonium Conference, the International Trombone Festival, and the International Trumpet Guild Conference. His active schedule of commissions has included groups ranging from elementary schools to professional ensembles, including the Baltimore Symphony Orchestra, Miami Symphony Orchestra, the University of Miami Wind Ensemble, Dominion Brass, and others. He has also enjoyed world premieres in prestigious venues such as Carnegie Hall.

As a conductor, Mr. Balmages enjoys engagements with numerous honor bands and orchestras, university groups, and professional ensembles throughout the country. Notable guest conducting appearances have included the Midwest Clinic, College Band Directors Regional Conference, Mid-Atlantic Wind Conductors Conference, the Atlantic Classical Orchestra Brass Ensemble, and Meyerhoff Symphony Hall in Baltimore. He has also served as an adjunct professor of instrumental conducting and acting director of the symphonic band at Towson University in Maryland.

Currently, Mr. Balmages is the Director of Instrumental Publications for The FJH Music Company Inc. in Fort Lauderdale, Florida. He resides in Baltimore with his wife, Lisa, and their sons, Jacob and Collin.

As a composer, I used to write music only for advanced level ensembles. However, after marrying an elementary band director, and with the support of numerous friends, colleagues, and directors, I have found great joy and challenge in writing music for younger students along with my more difficult works. After all, the youngest of musicians are equally deserving of good literature and I can only hope that my music will inspire them the way I am inspired by a Mahler symphony." — Brian Balmages

Background Information ...Not Afraid to Dream is written in memory of Kevin Langlie, a high school senior who tragically passed away. At the

request of his school, it is designed to serve two purposes: to help bring closure to everyone at the school, and to celebrate

his life, both the serious and "not-so-serious" moments. The title comes from the eulogy delivered by his band director,

Christopher W. Jarvis: "His focus on the positive and the possible left no room in his life for negative attitudes and

excuses....He wasn't afraid to dream and share those dreams...."

The work opens with the sounds of various chimes, almost mimicking the sounds of church bells. This somber beginning

is reflective in nature and is a musical "moment of silence." As the melodies and harmonies grow out of this silence, it is

almost as though a ray of sunshine beams through the sound of the band to counter the earlier passages. A solo trumpet

hints at the opening of Lift High the Cross, one of the hymns that was sung at Kevin's wake.

Eventually, the tone of the piece turns to a much lighter note, picking up in both mood and tempo. A lighthearted melody

intertwines with changing meters as it begins to reflect Kevin's sense of humor and enthusiasm. The piece then falls into a

groove beginning with low brass (Kevin's instrument was tuba) and eventually spreading throughout the entire ensemble,

much like his personality tended to do.

As the piece drives forward, a full refrain of Lift High the Cross appears, undergoing several changes in harmony as it

competes with the main rhythmic motif for the spotlight. Eventually, the undeniable spirit of the opening theme of this

section comes back in triumph as the piece builds to one final climax. A brief tuba duet reminds everyone that Kevin is

still in the band; then the ensemble joins in for a whirlwind of harmonies that eventually finds its way home.

Musical Elements Form: Intro ABACADA

Measures What?

1-3 Wind Chimes, Outdoor Chimes, Chimes - separate entrances.

4-10 Low Brass "mournful" motif centered on d minor triad

11 Chimes- extended range g minor with seconds added (church bells)

12-16 Low Brass "mournful" motif with upper woodwinds responding "beam of light?"

17-22 A tempo - full ensemble plays establishing Bb Major but a tritone is used in the upper voices.

23-24 Ab major chord established with Lift High motif introduced by solo trumpet in Bb major.

25-30 Lift High motif altered and used with a call and response between tpt/cl and horn/altos/euph "beam of

light" in measure 27 on Eb Major then settling on unison F at 30.

31-36 Return of Low Brass "mournful" motif with fl/cl countermelody.

37-38 Fl/Ob/Bsn motif in F major counter the dark sounds of the low brass.

39-41 Low Brass "mournful" motif

42 Chimes - same as measure 11

43 Bb Major chord marked "dolce"

44-52 Bb Major continues by clarinets and low brass while horn and marimba perform Theme 1A on unison Bb.

52-60 [A Section] Theme 2 is introduced in the flute and oboe, while Theme 1A is in cl 1, horn, and mallet 2

60-68 [B Section] Theme 3 is introduced by the alto saxes with Theme 1B is in the tenor sax. Ride Cymbal is

added. At 64 Cl 2 & 3 join in Theme 1B and tpt 2& 3 join with Theme 3.

68-76 Cl 2&3, tsax, tbone 1 continue Theme 1B while the altos, tpt 2/3, horns, and cl 1 (in 72) play Theme 3

together. Beat 2 is emphasized in Theme 3 by the low brass, perc, and tpt 1 by means of bell tones.

76-84 [A Section] Theme 2 returns in upper woodwinds and mlt perc 1. Theme 1A is in tpt 2/3 and mlt perc 2

and a new Theme 4 is introduced by altos and tpt 1. Low brass/ww emphasize beats 2 and 3 with staccato

notes.

84-92 [C Section] Theme 5 is introduced by the tubas and euphs while Theme 1C (steady eighth notes) are

being played by the altos and horns. motif 6 is introduced in 99 by tpt 2/3.

92-100 Everything above continues but in 94 tpt 1plays Theme 4.

100-108 Full ensemble playing. Theme 1C by altos and horns. Theme 3 - picc, fl, ob, cl 1, mlt 1, Theme 4 - t.sax,

tpt 1, tbone 1/2, Theme 5 - tuba, euph, tbone 3, bsax, bcl, bsn, Theme 6 - cl 2/3, tpt 2/3.

108-116 [A Section] Big sound. Theme 1A in tpt 2/3, Theme 2 in upper woodwinds, and Theme 4 in altos and tpt

1. Low brass/ww/perc emphasizing beat 2 and 3 again.

116-124 Energy decreasing w/ Theme 3 in cl 2/3 and horns then to alto 1/2 only.

124-132 [D Section] Hn and tbones play open 5ths while timp and mlt perc 2 play theme 3 in unison. In 128 it is

just tuba and euph and the vibes play eighth notes alternating on octave Bb.

132-146 Full use of the hymn Lift High the Cross performed by clarinet choir, then joined by saxes and horn and

tuba.

146-162 Theme 3 in tpts and percussion leads to a restatement of Lift High by woodwind choir now in C Major.

New theme introduced (Theme 7) by tsax and horns. Builds in intensity.

162-170 Call and response of theme 7 between upper ww and upper brass.

170-End [A Section] Triumphant return of theme 2 in alto, tpt, horns with theme 1A played in upper woodwinds.

Low brass chord leading ear to C Major at 178. Following tuba duet in 178-179 (theme 2) is a final

statement by the entire ensemble of variation of theme 2 ending in C Major.

Rhythm Rhythm is a major component to this piece. Slow section uses just quarter, half, whole, eighth, and a few triplets. The

faster section is based off of eighth note subdivisions. Very few sixteenth runs exist in the piece. Students will need help

on rhythms that utilize ties. See the attached rhythm worksheet to see the various rhythms used in each of the themes

throughout the piece. The music has lots of energy due to the syncopation and quickly changing meters.

Melody The melody for much of this work revolves around the intervals heard in Lift High the Cross. This melody appears in the

slow introduction. Theme 1 is primarily used as a percussive device keeping energy and consistency throughout the work.

Theme 2 is very syncopated and has small leaps of a third. Theme 3 usually starts on the 5th of the chord and descends.

Theme 4 is marked by the same leap of a fourth found in Lift High.. Theme 5 is used in the infectious low brass groove

that is in arch form and syncopated. Theme 6 is used again like a percussive device usually in unison. Theme 7 is derived

from Theme 3 and is used at the end of the piece. It starts on the tonic and descends to the dominant which helps to propel

the music forward to the end.

Harmony The key signature throughout the composition is Bb Concert. The beginning section appears to be modal centering on a d

minor triad (Phrygian). When the fast section begins it is clearly in Bb Concert until measure 150 when it transitions to C

Major until the end. Balmages careful use of dissonance help propel this work forward. Moreover, Balmages layers

themes to keep interest as the tonal center does not change that often.

Texture The texture is homophonic in the beginning suggesting a chorale "moment of silence". The faster section representing the

boys energy and spirit is polyphonic. In fact, it is this great use of polyphony that creates the energy and spirit of the

music.

Timbre The timbre in the slow section is very dark. The sounds of the chimes is haunting and beautiful. The low brass need to

sustain their sounds and keep them rich and dark while the woodwinds offer glimpses of the sun. The fast section by

contrast is bright in color. Ending is C Major also gives a bright quality to the sound. The orchestration and syncopated

rhythms also help secure the light feeling in the sound.

Expression A significant challenge in this work is the contrast from slow and sustained introduction and the very upbeat fast section.

Articulations are important in clarity and unity. Dynamic contrast is marked, but shaping of the melodic line can also be

done especially within the chorale. Long complete phrases and continuity between sections make this piece effective.

The Heart The heart of this piece is its artful use of rhythmic and melodic themes that capture the transition and journey from despair

and somberness to jubilation.

Introducing the Piece "Apollo 13 Activity" Using an Anticipation/Reaction Guide have the student anticipate the music that will be performed

in the background of the movie "Apollo 13" as the rocket launches. Tell the students about the unsuccessful launches of

the past, the uncertainty of this launch, the "unlucky" numbers attached to this, the fear in the families, the excitement of

the moment, etc. Have them anticipate how the composer will capture all of those emotions and set up the visual elements

in the film. At the end of the activity, tell them that we will begin the study of a composer who was asked to capture the

mood surrounding an unfortunate death in a high school.

Objective 1 Psycho-Motor (Skill Focused) The students will be able to accurately perform independently and with others rhythms that contain ties.

Strategies 1. "Definition Time" - Students will define a musical "tie".

2. "Move the Tie Game" - a simple rhythm will be written on the board. The students will first be asked to count, hiss and then

play the rhythm. A student will then come to the board to move the tie to a new location. The band will then count, hiss and

play the rhythm, etc. To make this more advanced multiple rhythms can be added as well.

3. "Smart Warm-up" Use Smart Music to practice ties in warm-ups and various pitches.

4. "Not Afraid to be Rhythmic" Using the "Not Afraid to Be Rhythmic" worksheet, first count, hiss and then play each example.

Assessment

1. In band lessons, each student will need to be able to accurately count, hiss and perform each rhythm on the worksheet.

2. In groups of two, students will create two different rhythms by adding ties in different places on a series of differentiated

rhythm examples. The students will show the class where they placed the ties and then demonstrate the two rhythms alone

and then together.

Objective #2 Cognitive (Knowledge Focused) The students will identify and examine how various compositional techniques/choices can create various

moods within a piece.

Strategies

1. "You Are The Composer Activity" - You are asked to write a piece in memory of a high school senior who has passed away

tragically while hiking. What questions would you ask the family before you started composing the music?

2. "Anticipate/Reaction Guide" Identify the important aspects about Kevin that needed to be displayed in the music. Anticipate

what the music would sound like then identify and analyze the techniques used by Balmages and then react to the results. Did

it achieve the goal or idea it was aiming for?

3. "Identify the Theme" - copy the score and hand out one page to every two people or so. Using the "Not Afraid to be

Rhythmic" worksheet, have the students identify the themes on the page by drawing the symbols located on the worksheet

onto the page of the score. The students will then tape the score on the wall in order. Ask the students to go up by sections to

see how the piece is constructed and creates a create mood or emotion. (review pieces of this each day) - have on website as

well.

4. "Match that Mood" List the following "moods" on the board. Play in any order portions of the music and ask the kids to

identify the mood. Follow up by asking what techniques the composer used to create this affect.

a. Noble and Mystical- Lord of the Rings

b. Urgent - Mars

c. Joyful - Joy

d. Restful - Clair De Lune

e. Sneaky/playful - Midnight Mission

f. Anguish - Come, Sweet Death

5. "Venn Diagram" Using a Venn Diagram, compare and contrast "I AM" with "...Not Afraid". Examine the similarities and

differences and discuss.

Assessment 1. Using the portfolio, check to see that the Anticipation/Reaction guide and Venn diagram have been filled out accurately.

2. Students will select a piece of paper with a unique and specific mood on it. They will then compose an 8 or more measure

solo for their instrument expressing that mood. Students will be graded based on the rubric.

Objective #3 Affective (Feeling Focused) The students will explore their thoughts and emotions about fear, courage, optimism, pessimism and the

effects it has on us and others.

Strategies

1. Journal entry questions:

a. How could fear prevent you from dreaming and trying to reach for your goals?

b. Is it possible that fear can be good? If so when and why?

c. Is it possible to control fear? If so how?

d. When was a time when you were fearful, but overcame it? What was the result?

e. Is it possible that courage can be bad? If so when and why?

f. Why is optimism powerful?

g. Why is pessimism destructive?

h. In what ways can we use courage and optimism to help our band?

Assessment I will read the journal entries to check for depth of thought and understanding.

CMP Plan: Jupiter Symphony Title: Symphony No. 41, mvt. 4 “Jupiter” Composer: Wolfgang A. Mozart, arr. Gruselle

Grade Level: 4 Publisher: FJH

Music Selection

A masterpiece of Western music

An example of absolute music

Classical period bowing Sonata-Allegro Form

Analysis

Broad Description The finale of a classical period symphony, transcribed/arranged for string orchestra

Background information

The last movement of Mozart’s final symphony. His last three symphonies were written during the summer of 1788 for a subscription concert which never materialized. These symphonies are representative of the

culmination of Mozart’s development of the symphonic form in the Classical era.

This last work is assumed to have been started on July 25 and finished on August 10.

The nickname “Jupiter” (king of the Roman gods) was not Mozart’s, but was given to the piece later in reference to the enormity of scope.

In world history, the constitution of the U.S. was being ratified, and the French revolution was beginning

Elements of Music

Form Sonata-Allegro form

Exposition: 1-18 Theme 1 (Key of C: motive 1)

19-35 Transitional (introducing motive 2) 36-52 Fugue on motive 1 52-73 Transitional (introducing motive 3)

74-85 Theme 2 (Key of G—dominant: motives 4 and 2) 85-94 Transition/imitation 95-120 Coda

Development: 121-154 (motives 1 and 2)

Recapitulation: 156-163 Theme 1 (Key of C) 164-175 Developmental (motive 1)

176-193 Transitional (motives 4 and 2) 194-199 Theme 2 (Key of C)

200-207 Transitional (pedal on V)

207-end Coda

Rhythm

The rhythmic characters of the various motives are contrasting. Dotted rhythms in second motive suggest regal announcement or fanfare (king of gods)

Background rhythms in the homophonic sections are primarily the consistent driving subdivision of supporting voices. In the imitative and fugal areas, the overlaying rhythms result in rhythmic complexity .

Melody

5 diatonic motives are used in the original—four are used in this arrangement. They have contrasting contours. 1 and 3 suggest arches, 2 moves downward and 4 upward.

Motive 1:

Motive 2:

Motive 3:

Motive 4:

Motive 5 (in original)

Harmony Harmonic centers are typical of the classical period. First theme is in the tonic,

second theme in the dominant, both themes in the tonic for the recapitulation. The harmonic rhythm is slower in the theme areas, faster in developmental areas and relatively static preparing the recap (dominant expectation) and static at the

coda.

Timbre Off the string articulation and legato.

Texture

Areas of monophony, polyphony and homophony are strategically placed. The unisons are celebratory or fanfare-ish. The themes are introduced in a “melody with accompaniment” type of homophony, and the developmental areas are

fugal or at least imitative, displaying the balance and complexity that can be constructed with the small motives.

Expression The Classical style allowed for a wide range of affects, conversation, dialogue

and tension within a piece or a movement. In this work harmonic tension occurs in the developmental areas, where our ears are bended and the journey is unpredictable. Harmonic steadiness elicits feelings of calm, anticipation and

closure, while the melodic fragments suggest boldness, serenity, uneasiness, playfulness, discovery, and above all, grandeur.

Heart Statement The heart of this piece is in the rhythmic and melodic interplay of the four motives. These motives are masterfully manipulated to create a grand and

explosive work.

Introducing the piece Students write two measures of rhythm in 4/4 time. It must be set to a text, and the text must include their name. After sharing some examples, watch video of

Potter Puppet Pals: “The Mysterious Ticking Noise”. Homework assignment: write three or four contrasting two-measure rhythms also including your name.

Outcomes Strategies Assessments

Skill Outcome 1: Students will correctly execute off-the-string

bowings.

Strategies:

1. Students view videos of bowings from Baroque and Classical 2. Students review twinkles, playing both off and on the string versions

3. C major scale in using the bowings:

Half note for each pitch, slur two Eight spiccato eighths for each pitch

Half do one, half the other and reverse

Assessment: 1. and 2. Observation in rehearsal shows skill development

3. While playing scale with eyes closed, covertly select a student or two to play detaché instead of spiccato. Students have to identify the offending students

Knowledge Outcome 1: Students will identify, describe and create

motives.

Strategies 1. Identify the 4 motives in the score. In journals (notecards) describe

how they are contrasting

2. Using 4 colors of highlighters, identify and mark motives in an excerpt. Begin in groups of three or four, finish as homework assignment.

3. Play a segment of the piece and have students identify their own and

each other’s motives

Assessment 1. and 2. Peer assessment—compare notes, pencil and paper exam

3. Observation

Knowledge Outcome 2: Student will identify and describe monophony, homophony and polyphony,

Strategies 1. Listen to recorded examples of various textures, compare and

create Venn diagram

(ex.: Hallelujah chorus shows three textures in one work) 2. Identify various textures in this piece by playing excerpts, have students jot on card, or give a hand sign (sign language letters)

Assessment:

1. Written work reflects understanding 2. students identify textures in score and parts using predetermined icons

for each texture type

Affective Outcome: Students will explore how a composer engages an audience without extra-musical backdrops such as text, story or

dance (absolute music)

Strategies: 1. Listen to examples of programmatic vs. absolute 2. In this piece, describe the character of each motive with motions

and/or text with Mozart’s name (akin to Harry Potter activity) 3. Study a programmatic piece concurrently, or refer to a previously

studied piece for comparison

4. Create a representation of sonata form, showing the struggle between tonic and dominant in pictures or images

Assessment: 1. Journal entries show insight

2. Performance reflects the varying characters within the single movement

3. Students will write program notes for the two contrasting pieces

4. Peer assessment and discussion of representations

teaching the michigan music stan dards in the instrumenta

Documents