Professional Documents
Culture Documents
Mus 3440 Ms Unit Plan
Mus 3440 Ms Unit Plan
Mus 3440 Ms Unit Plan
INSTRUMENTAL METHODS I
L AU R A R O T H S FA L L 1 5
Unit Plan
P rog ram
Snake Charmer by Randall Standridge
C aj u n Fo l k S o n g s b y F r a n k T i c h e l i
A z t e c F i re by J ay B o c o o k
P r o g r a m Not e s
We b e g i n t o n i g h t s a d v e n t u r e i n t h e A r a b i a n P e n i n s u l a .
Sn ake Ch armer in tro du ces us to a Persian scale,
t r a n s p o r t i n g l i s t e n e r s t o a n c i e n t d ay s w h e n s n a k e s d a n c e d
on street corners for their masters. The bands opening
mi mi c s a me l o dy pl aye d by s na ke ch a r me r s o f th i s ti me .
The following energy comes from the crow d watch ing the
pe r for mancethe exci te ment of seeing a snake, and the
thrill of seeing it tamed.
C aj u n Fo l k S o n g s c a p t u r e s t h e h e a r t o f a N o r t h A m e r i c a n
culture. Descende d from Nova Scotia, the Cajun people
we r e dr i ve n ou t of th e i r ho me s by F r e n ch s ettl e r s , a n d
resettled in Louisiana.
m ove m e n t i t s ow n c o mp l et e , s e l f - c o n t a i n e d s e c t i o n . T h e s e
n e a r an d d e a r t u n e s c a pt u r e n ot o n ly th e C aj u ns o r i g i n a l
c u l t u r e , b u t a l s o s h o w t h e i n fl u e n c e o f A m e r i c a n l i f e u p o n
their culture and music.
We e n d t o n i g h t s j o u r n e y w i t h a l i t t l e A z t e c F i r e .
Originally writ ten for mar ching band, this wo rk follows a
traditional Spanish march style. Using syncopation
( b e g in n i n g a n ote b et we e n two be a ts ) a n d exc i ti n g
har monies, this piece will propel you through energetic
f a n f a r e s , c o n t r o l l e d b u l l fi g h t s , m a r i a c h i m u s i c , a n d t h e
t r u e fl a i r o f a u n i q u e c u l t u r e .
B a s i c I n fo r m a t i o n : S n a k e C h a r m e r
T itle : Snake Char mer
Composer : Randall Standridge
Arranger/Transcriber/Editor : N/A
Publisher: Grand Mesa Music Publishers
Grade: 2+
S t y l e ( s ) : M y s t e r i o u s , S e r p e n t i n e ( f a s t ) , S l o w ( d ay d r e a m ) ,
and A g g ressi ve.
Key(s): This piece is based more upon a Persian scale than
common practice harmonic language.
Meter(s): common time throughout
Te m p o I n d i c a t i o n ( s ) : q = 90, q =150, q = 80, q =164, q =70 or q
= 170
Per fo r ma nce T ime: 5 40- 6 20, depen din g on en din g
t a ken a n d te mpi per fo r me d
Fo r m a l A n a ly s i s : S n a k e C h a r m e r
Analysis: Musical Description
Theme 1 and variations: ominous,
Arabian scale
Theme 1, 2, & variations
Theme 1
Section
Measures
1-40
41-86
87-95
96-148
Coda
149-155
C o d a O pt i o n 2 : Fa st E n d i n g
Coda
149-160
Fo r m : A B A B C o d a
B a s i c I n fo r m a t i o n : C aj u n Fo l k S o n g s
T i t l e : C a j u n Fo l k S o n g s
Composer: Frank Ticheli
Arranger/Transcriber/Editor: N/A
Publisher: Manhattan Beach Music
Grade: 3
S t y l e ( s ) : F l o w i n g , f a s t a n d b o u n c y, l e g a t o , g r a n d i o s e .
Key(s):
Meter(s): 2/4, 5/4, 4/4, 3/44
Te m p o I n d i c a t i o n ( s ) : q = 63, q =152-160 (amended to
q =40,
q = 160-168),
q =88
Fo r m a l A n a ly s i s : C aj u n Fo l k S o n g s
Analysis: Musical Description
Section
Measures
I n t r o d u c t i o n o f fi r s t t u n e , La Belle et le
Capitane, in alto sax solo.
T une developed
R e t u r n t o o r i g i n a l m e l o d y, b u t n o w
w i t h m a ny vo i c e s .
Development
E n d i n g t a g : m o d i fi e d m e l o d y a n d
fading chords.
1-17
18-49
50-55
56-71
Coda
72-74
Intro
1-5
6-36
37-82
83-92
i n fl u t e s a n d t r o m b o n e s .
Whole band receives main melodic
idea and develops it. Sound gets
f u l l e r, d a r k e r a n d m o r e d i s s o n a n t ,
which alternates with light
r e s t a t e m e n t s o f t h e m a i n m e l o d y.
Completely n ew downward r uns
Legato horn line with recap of
93-101
B A C
102-119
Coda
120-132
C o d a : m a i n m e l o d y a n d m a ny
d e v e l o p m e n t s c o m e t o g e t h e r.
B a s i c I n fo r m a t i o n : A z t e c F i re
= 132, q
= 144
10
Fo r m a l A n a ly s i s : A z t e c F i re
Section
Measures
Intro
1-13
14-29
30-47
48-56
56-62
First theme is
Coda
I n t r o A B A
A Coda
62-end
11
G los s ar y of Ter ms
A c c e n t - A stress or special emphasis on a beat to mark its position in the
measure
A c c i d e n t a l - A mark placed before a note which indicates that the previously
understood pitch of the note should be altered by one or two half steps
(semitones)
B r e a t h M a r k / C o m m a - A directive to the performer to break the phrase at
that point in the composition and breathe, thus assisting in the production of a
smooth phrase consistent with the composer's wishes
Choke-to stop a percussion instrument from resonating.
C o m m o n t i m e - 4/4 time.
C o n f u e g o - w i t h fi r e
C r e s c e n d o - A directive to a performer to smoothly increase the volume of a
particular phrase or passage.
C u e s - n ote s p l aye d b y a n oth e r i n st r u m e n t m a rk e d i n yo u r
part.
D e c r e s c e n d o - A directive to a performer to smoothly decrease the volume of
the specific passage.
D i v i s i - A directive in ensemble music that instructs one section
of instruments to divide into two or more separate sections, each performing a
separate part
12
13
II.
14
a. Stylistic Contrast
i . P l ay t h e t h e m e f r o m J aw s b y e a r ; n o t o n ly
w ill th i s impr ove th e in ton ation of major
seconds, but it will also demonstrate the
d i ff e r e n c e b e t w e e n s l u r r e d n o t e s a n d
s t a c c a t o s v e r y e ff e c t i v e ly.
i i . Fo l l o w t h e c o n d u c t o r ; t h e i n s t r u c t o r
conducts in a cer tain style, and students
m u s t p l ay a g i v e n fi g u r e i n t h e a p p r o p r i a t e
s t y l e . T h e y m u s t a l s o WA T C H f o r c h a n g e s !
b . C o n fi d e n c e o n i n d e p e n d e n t p a r t s
i . P l ay i n g i n r o u n d s ; fi r s t b y S AT B p a r t , t h e n
by sec tion , th en by in div idu al.
i i . I s o l a t e t h e p a r t , g a i n c o n fi d e n c e o n i t s o w n ,
then put it back with the rest of the
ensemble.
III. Aztec Fire
a . S y n c o p a t e d r hy t h m s
i . P l ay s t e a d y e i g h t h n o t e s , t h e n t a k e aw ay t h e
fi r s t e i g h t h n o t e .
i i . M a k e s y n c o p a t e d r hy t h m s t i e d / s l u r r e d
r hy t h m s i n w h i c h e a c h b e a t s d i v i s i o n i s
v i s i b l e . H av e s t u d e n t s a r t i c u l a t e t h e e i g h t h
n o t e o n t h e b e a t , t h e n h av e t h e m s l u r i t ,
t h e n e l i m i n a t e a r t i c u l a t i o n e n t i r e ly.
b . D o t t e d e i g h t h - s i x t e e n t h n o t e r hy t h m
i . U s e w o r d s d ay t o - d ay t o g e t r hy t h m .
15
i i . P l ay s t r a i g h t 1 6 t h n o t e s , t h e n l e g a t o t o n g u e
t h e fi r s t t h r e e , t h e n s l u r t h e fi r s t t h r e e .
T h i s r hy t h m i s t h e s a m e a s a d o t t e d e i g h t h sixteenth.
c . K e e p i n g i n t e n s i t y w h i l e p l ay i n g l e g a t o
( e s p e c i a l ly w i t h d y n a m i c s )
i . P l ay a d y n a m i c g a m e ; h av e s t u d e n t s p l ay a
l e g a t o fi g u r e a t a d y n a m i c l e v e l f r o m 1 - 5 ( p ff ) . S e c t i o n t h a t c a n k e e p t h e b e s t l e g a t o
style winsbragging rights.
i i . P l ay s c a l e s l e g a t o w h i l e p e r f o r m i n g
crescendos/decrescendos.
P i t c h & R hy t h m
M o n d ay
16
Wa r m - u p : P l ay s c a l e s B b m aj o r,
I n t r o d u c e t w o e i g h t h - s i x t e e n t h r hy t h m ,
as we ll as sy nc o p a tio n , th e n tu n e.
T u e s d ay
S i g h t - r e a d A z t e c F i r e s l o w ly
Wa r m - u p : I n t r o d u c e c h r o m a t i c s c a l e
P l ay c o n c e r t C s c a l e i n 2 - 3 - 4 b e a t s ,
anticipating meter changes, and then
tune.
Introduce concept of half steps, and
syncopate them.
We d n e s d ay
S i g h t - r e a d C aj u n Fo l k S o n g s
Wa r m - u p : R e v i e w c h r o m a t i c s c a l e .
P e r f o r m a u r a l e x e r c i s e s i nv o l v i n g h a l f
s t e p s , s u c h a s t h e t h e m e f r o m J aw s ,
then tune.
T h u r s d ay
S i g h t - r e a d S n a k e C h a r m e r.
Wa r m - u p : P l ay i n g c h r o m a t i c s c a l e w i t h
s y n c o p a t e d r hy t h m s . R e v i e w n o t e s , i f
n e c e s s a r y. T h e n , t u n e .
Practice Aztec Fire, going over the
o p e n i n g f a n f a r e ( m a k i n g r hy t h m s p r e c i s e
a n d t o g e t h e r, e s p e c i a l ly h i g h v o i c e s
e i g h t h - t w o s i x t e e n t h r hy t h m s ) .
P r a c t i c e S n a k e C h a r m e r , e s p e c i a l ly t h e
l o w v o i c e s r hy t h m s a t m . 4 9 & a l t o / t e n o r
voices at 68, & ever yone at m. 86 (Though
m o r e e x a mp l e s t h r o u g h t h e w o r k , t h e y a r e
F r i d ay
17
Achieved
a n d h ow t h e y m i g h t i mp r o v e .
- S t u d e n t s w i l l p l ay a l l p i e c e s w i t h a l m o s t
objectives
c o mp l e t e r hy t h m i c a n d p i t c h a c c u r a c y
- S t u d e n t s w i l l b e a b l e t o p l ay a o n e o c t av e c h r o m a t i c s c a l e .
We e k T w o
M o n d ay
18
movement.
S t u d e n t s w i l l p l ay t h e b e g i n n i n g o f S n a k e
T u e s d ay
We d n e s d ay
o f t h e p r e v i o u s d ay s l e g a t o s t y l e .
Wa r m - u p : S t u d e n t s w i l l p l ay a c o n c e r t F
scale, introducing the staccato style, then
tune.
S t u d e n t s w i l l a p p ly t h i s s t y l e t o t h e
s e c o n d m o v e m e n t o f C aj u n Fo l k S o n g s .
S t u d e n t s w i l l b e g i n d i ff e r e n t i a t i n g s t y l e s
b y p l ay i n g e x c e r p t s f r o m b o t h m o v e m e n t s
T h u r s d ay
o f C aj u n i n q u i c k s u c c e s s i o n .
Wa r m - u p : A r t i c u l a t i o n g a m e ! S e c t i o n s
will be selected to per for m on a concer t Bb
scale to a given ar ticulation. The rest of
the band must guess that articulation.
Students will give respectful feedback.
Then, they will tune.
T h e b a n d w i l l p l ay e x c e r p t s o f S n a k e
Charmer (m. 13-29, m. 57-68),
d e m o n s t r a t i n g e a c h s t y l e b e f o r e p l ay i n g
19
o n e i m m e d i a t e ly a f t e r a n o t h e r.
T h e b a n d w i l l p l ay A z t e c F i r e ,
d e m o n s t r a t i n g d i ff e r e n c e s b e t w e e n l e g a t o ,
F r i d ay
Achieved
Objectives
tongued articulations
-Students will demonstrate staccato,
legato, marcato, and accented
articulations
- S t u d e n t s w i l l a p p ly t h e s e c o n c e p t s t o
execute appropriate styles and
articulations to the music.
We e k T h r e e
M o n d ay
20
Intonation
Wa r m - u p : S t u d e n t s w i l l p l ay a B a c h
chorale. This time, when students tune,
they will be asked to identify whether they
a r e fl a t o r s h a r p .
S t u d e n t s w i l l p l ay m o v e m e n t o n e o f C aj u n ,
b e g i n n i n g a t m . 6 7. O n l o n g c h o r d s ,
students will be asked to build chords from
the bottom up, listening to their section
and adjusting (with help from the
i n s t r u c t o r ) a c c o r d i n g ly. T h e c h o r d w i l l t h e n
be put back into context.
Students will be assigned a pitch tendency
T u e s d ay
c h a r t , t o b e fi l l e d i n b y F r i d ay.
Wa r m - u p : S t u d e n t s w i l l p l ay a C s c a l e i n
rounds, adjusting their intonation
according to the directors instr uction.
Students will tune, identifying whether
t h e y a r e fl a t o r s h a r p a n d , w i t h d i r e c t o r s
a s s i s t a n c e , a d j u s t a c c o r d i n g ly.
Students will tune their augmented
seconds.
S t u d e n t s w i l l p l ay S n a k e C h a r m e r ,
ensuring that those inter vals are in tune.
Students begin adjusting intonation in
relation to the entire band.
21
T h e b a n d w i l l r e v i e w C aj u n , a p p ly i n g t h e
We d n e s d ay
T h u r s d ay
F r i d ay
n o t a ff e c t e d .
Wa r m - u p : S t u d e n t s w i l l p l ay a B a c h
chorale, then tune.
S t u d e n t s w i l l p l ay t h r o u g h t h e i r c o n c e r t
program from beginning to end, hear it
p l ay e d b a c k t o t h e m , a n d j o u r n a l a b o u t
th in g s th at we n t we ll, as we ll as h ow to
i mp r o v e ( b o t h t h e b a n d a s a w h o l e a n d
22
t h e i r ow n p e r f o r m a n c e ) .
Students will hand in their pitch tendency
Achieved
char ts.
- S t u d e n t s w i l l p l ay m o s t ( i f n o t a l l )
Objectives
We e k Fo u r
M o n d ay
T u e s d ay
23
d ec r e sc e n d o s, as we ll a s main ta in ing g o o d
tone in soft passages.
S t u d e n t s w i l l p l ay e x c e r p t s f r o m p i e c e s
that contain crescendos and decrescendos
( i . e . m o s t o f S n a k e C h a r m e r , C aj u n m . 2 2 2 8 , c r e s c e n d o i n t o 3 7, m . 7 1 - 7 4 , a n d
crescendo at 6 before the end &
decrescendo at 2 before m. 26 of Aztec
We d n e s d ay
Fire.)
Wa r m - u p : S t u d e n t s w i l l w a r m u p w i t h a
Bach chorale, continuing concepts of
listening across the ensemble and again
following the director s dynamic cues.
S t u d e n t s w i l l r e v i e w p r e v i o u s ly c o v e r e d
sections of music where intonation &
d y n a m i c s w e r e i mp o r t a n t , t h e n a p p ly i t t o
T h u r s d ay
entire pieces.
Wa r m - u p : C s c a l e i n r o u n d s . T h e d i r e c t o r
w ill ch an ge t empi th r oug h ou t.
S t u d e n t s w i l l p l ay a c h r o m a t i c s c a l e i n
u n i s o n , w i t h f o c u s o n t o n e q u a l i t y.
S t u d e n t s w i l l t u n e , a d j u s t i n g t h e i r ow n
instr uments.
S t u d e n t s w i l l c o n t i n u e b u mp i n g u p t h e
t e mp i o f p i e c e s ( w h e r e n e c e s s a r y ) w h i l e
F r i d ay
24
w i l l p l ay a c o n c e r t B b a t d i ff e r e n t d y n a m i c
l e v e l s , c a l l e d o u t b y t h e d i r e c t o r. T h i s
w i l l a s s e s s h ow w e l l t h e s t u d e n t s
know/understan d /can execute dynamic
contrast, and allow the students to test
t h e i r i n t o n a t i o n a t d i ff e r e n t d y n a m i c s .
S t u d e n t s w i l l b u mp u p a ny r e m a i n i n g
t e mp i , t h e n r u n t h r o u g h p i e c e s a n d w o r k
on tran s itio n in g t e mp o ch an ge s ( betwe e n
movements of the Ticheli, within Snake
C h a r m e r ( m . 4 1 , 8 7, 9 6 , 1 5 0 , 1 5 6 ) , a n d t h e
subtle change in measure 54 of Aztec Fire).
As p r e p arat io n fo r nex t we e k , stu d e n ts
will write about how music make s them
f e e l , a n d i f d i ff e r e n t m u s i c m a k e s t h e m
Achieved
f e e l d i ff e r e n t w ay s .
-Students will adju st their own in tonation
Objectives
issues.
- S t u d e n t s w i l l b e a b l e t o d e fi n e a n d
per for m the following dynamics with nice
t o n e : p p , p , mp , m f , f , ff
- P i e c e s w i l l b e u p t o t e mp o
We e k F i v e
M o n d ay
25
t h e b o t t o m u p , f o l l o w e d b y a c h o r d p l ay e d
t o g e t h e r.
S t u d e n t s w i l l r e a d t h r o u g h C aj u n Fo l k
Songs, identifying the melodic line(s)
(those with the main theme) and bringing
them to the foreg round. The band will be
T u e s d ay
We d n e s d ay
Wa r m - u p : S t u d e n t s w i l l p l ay a B a c h
c h o r a l e , l e d t o p l ay p e a k s o f p h r a s e s a s a
means of introducing expression.
A s a n e x a m p l e o f e x p r e s s i v e p l ay i n g , a s
we ll as p rac tic e fo r st age n e r ve s, so lo i st s
f r o m a l l t h r e e p i e c e s w i l l p l ay f o r t h e
class. This modeling will be used to
encourage discussion and expression in
o t h e r p l ay e r s . Fo r e x a mp l e , t h e m o d e l i n g
o f S n a k e C h a r m e r s o p e n i n g fl u t e s o l o m ay
26
f o r u n i fi e d e x p r e s s i v e q u a l i t i e s .
Wa r m - u p : B a c h c h o r a l e , w i t h f o c u s o n
peaks of phrases and intonation of the
ch o rale s ch ord s, fo llowe d by tun in g .
Stu den t s w ill work t owards u n if y in g styles
i n A z t e c F i r e a n d C aj u n Fo l k S o n g s , a s
F r i d ay
w e l l a s c h a n g i n g s t y l e s t o g e t h e r.
Wa r m - u p : B a c h c h o r a l e , w i t h f o c u s o n
dynamic contrast, intonation, and
phrasing. Then, students will tune.
Students will address how dynamic
c o n t r a s t c a n a ff e c t a p h r a s e i n S n a k e
C h a r m e r a n d C aj u n Fo l k S o n g s .
Students will run through their concert
Achieved
program.
-Students will balance elongated chords
Objectives
We e k S i x
M o n d ay
27
C o n c e r t P r o c e d u r e & R u n -T h r o u g h s
Wa r m - u p : S t u d e n t s w i l l p l ay a B a c h
chorale and a chromatic scale.
During this process, students will be asked
t o e x e c u t e d i ff e r e n t a r t i c u l a t i o n s ,
dynamics, etc.
Students will then tune, demonstrating
t h e i r s e l f - s u ffi c i e n c y i n t h e p r o c e s s .
The b and will then refresh themse lves on
a ny a r e a s t h a t h av e b e e n p r o b l e m a t i c i n
T u e s d ay
th e p ast 1. 5 we e k s.
Wa r m - u p : S c a l e s : c h r o m a t i c , B b , C , F.
Students will rehearse in the concert
venue. Students will r un through all
possible pieces, adjusting note length and
We d n e s d ay
T h u r s d ay
as possible.
C o n c e r t D ay !
Wa r m - u p : B a c h c h o r a l e
In the concer t venue, students will
practice setting up, entering the hall,
28
Achieved
concert.
- S t u d e n t s w i l l s u c c e s s f u l ly t r a n s i t i o n
Objectives
Similar Work s
By Standridge: A Carmen Christmas, Extremis,
C o m p a n i o n o f M y Vo i c e
29
30
R es ources
Aztec Fire (Concert Band Arrangement). Aztec Fire (Concert Band
Arrangement). YouTube/Devin Blackwood, 7 July 2008. Web. 15 Dec.
2015.
Cajun Folk Songs by Frank Ticheli. Perf. North Texas Wind Symphony.
Cajun Folk Songs by Frank Ticheli. YouTube/WindBandCentral, 8 Jan.
2015. Web. 15 Dec. 2015.
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